Kitten DeVille by Don Spiro

Renowned burlesque photographer Don Spiro talks the burlesque revival, Tease O Rama, King Kong, Doris Eaton and Jennie Lee’s vision.

Interview: Divertida Devotchka

You’ve been interested in cinematography and filmmaking since you were a young boy. At the age of only six you were shooting movies with your father’s super 8. I’m curious to know which films you found particularly inspiring when you were a child. How do your childhood film inspirations compare to those you had as an adult studying film in college?

I think that most people who are inspired to be filmmakers at a young age are informed by films they saw as children. The 1933 King Kong did it for me. NY Channel 9 showed it every Thanksgiving, followed by Son of Kong and Mighty Joe Young. I saw it when I was six and wanted to make films ever since, a desire that was only reinforced when Star Wars was released. I had the benefit of having parents who were interested in avante garde and classic films, so I grew up with Saturday afternoon Universal horror films, Marx Brothers, Abbott and Costello and screwball comedies, MGM musicals, Warner Bros film noir and the rest from local New York and Philly stations. Also, my father was into Charlie Chaplin films, so we would go to whatever colleges in the tri-state area were showing one, and soon started going to other films they programmed. The Seventh Seal, Pandora’s Box, All Quiet on the Western Front, and O Lucky Man! All stand out. And they took me to R rated movies, so I was well aware of modern releases. By the time I got to college I wasn’t only already familiar with most of the curriculum, I’d already done research on my own.

Unless I’m mistaken, you first began participating in the burlesque community in 2001 with the now legendary Velvet Hammer Burlesque. According to many performers I’ve interviewed, the year 2001 was pivotal in the development of the now booming burlesque revival, mostly due to the first Tease-O-Rama. Being that you’ve been not only a witness to but a participant of both the L.A. and New York burlesque scenes for arguably the entire burlesque revival, I’m curious about your take on how burlesque has evolved in the last decade.

You’re correct, I didn’t actively participate until 2001. The ladies (and gents) in the Velvet Hammer were friends of mine, I’d been seeing their show for years and had been going to their personal side projects as well. I didn’t get involved until they were accepted to perform at Tease-O-Rama in New Orleans and they staged a benefit to raise travel funds. Augusta, my girlfriend at the time decided that documenting the Velvet Hammer would be a fun project and a good excuse to go to New Orleans. The project expanded to a few years of work and ended up as a feature length documentary, “The Velvet Hammer Burlesque.” It was in New Orleans that we became close to the Velvet Hammer’s ‘sister’ troupe, the Va Va Voom Room of NYC, which included Dirty Martini, Julie Atlas Muz, the World Famous *BOB*, and Miss Astrid.

In New Orleans I didn’t just shoot the Velvet Hammer and Va Va Voom Room, I shot the Lavender Cabaret, Tigger, the Pontani Sisters, Dita and Catherine, Dane’s Dames, and anyone else I thought fun. Remember, this was before digital, so there weren’t many photographers and I thought it would be good to shoot for posterity. I shot with two cameras: one loaded with black and white and one with color film. I shot boxes of film, had them processed in New Orleans and printed in Los Angeles…it was very expensive!

That show introduced regional performers to others around the country (and world) for the first time. Thanks to that, and to the online community, everyone was able to share ideas, cross promote, and take burlesque to a new level.

Before TOR everyone involved in new burlesque had a more vintage aesthetic, they appreciated the glamour and art of the past and paid tribute to those that came before. Some were just fans of the art form, some had a rockabilly or pin up background, some theatre or dance, and some had come from the tradition of stripping. After TOR there were a new crop of performers, inspired not by Blaze Starr or Tempest Storm but by Dita von Teese and Dirty Martini. Many of them stayed with burlesque got to be great performers (and got to know the history), but at the time there were a lot of people who were using burlesque to conquer their fears, build self esteem, or use it to further some personal agenda. I got to see people, working out their issues on stage in front of an indifferent crowd, on the same bill with established talent and ambitious up and comers who are headlining today.

Melody Sweets by Don Spiro

Over the years, as burlesque became a buzzword almost synonymous with performance art, it seemed like anyone felt they could get up on stage and do burlesque or worse, teach it. The genre, as a traditional American folk art, seemed to get lost and the quality was diluted. As time has passed that is happening less, and a lot of the participants who have stuck with it have improved to the point where I am in awe of some of their accomplishments. The reputable teachers have outlasted the less qualified, and have genuine respect and camaraderie for each other.

My focus has always been on documenting burlesque, archiving the history as it is made. I’m curious what direction it will take, and how it will evolve, but I like my role as a passive observer. I know that some of my work has inspired others, and my involvement with some events and groups has helped keep burlesque alive, but other than that my interest is in seeing where others take it. Christopher Isherwood, one of my favorite authors (and another inspiration) wrote in Goodbye to Berlin, “I am a camera with its shutter open, quite passive, recording, not thinking,” and I feel that is an appropriate motto for a documentarian. As a photographer, I will always still have my own personal style, but as a witness to burlesque as a subject I like to stand back and see what happens. I’m involved with the movement, but I can’t control where it goes.

I’ve always been impressed by how genuine your backstage burlesque photos are – how candid they are and the apparent level of comfort between the subject and the shooter. What’s the secret to capturing that essence? Or rather, as a photographer, what are your suggestions on how to ensure that the subject is comfortable enough to produce a genuine shot?

There’s no secret. A reputation as someone who respects performers is the best way to get the kind of shots that I do. The community is really small, and someone who is disrespectful usually isn’t tolerated. I rarely shoot backstage unless I’m asked, or happen to be there and see something worth documenting. For the novice, make sure you have permission, be prepared to stop shooting the moment you are told, and keep any promises you make.

In most cases, I am just taking pictures of my friends backstage, and they are already comfortable with me. It’s years of mutual feeling, and it’s why I don’t usually shoot people I don’t know. If I do, I usually ask permission, and in many cases either the producer or one of the other performers introduces me, but if I don’t see that level of comfort in a person’s eyes I don’t  take the shot.

Burlesque people are always confident and self aware, so they are comfortable with who they are already, and are used to having cameras around. As a photographer I don’t have to deal with insecurities or pampering that you might need to do for someone else. However, through experience I am also aware of which performers do not want photos taken until they are in full make up, or when a backstage area is too crowded for me, or when some external situation may be causing tension backstage.

Over the years you’ve chronicled tons of important BHOF figures and events. What have been some of your most memorable moments as a participant? What about the most challenging moments for you as a shooter?

Shooting film was always the most challenging, you had to be experienced to know how a particular image would look when it was developed and printed, and any situation with low light was a challenge, particularly at live events where I didn’t get a second chance for a shot. An example is the Velvet Hammer Burlesque show at the El Rey Theatre November 2001, which had the Va Va Voom Room as guest performers and Miss Astrid as host. I’d watched the rehearsals. I wanted a crowd shot and positioned myself to the side of the runway, waiting for the moment when Michelle Carr would walk to the middle and be cross-lit by the follow spot and backlights. I knew when I took the shot that it would be a favorite. A shot I like looking up at Kitten de Ville at an outdoor show was similar…I put myself in the right place and waited for the right time.

Digital changed all that, but I still rely on my experience with film to get good shots without needing to fix them later. One of my first digital shoots was of Julie Atlas Muz as a mermaid in the saltwater aquarium behind the bar at the Coral Room. I had to climb above the tank to set up lighting gear to create shafts of light that would illuminate her and the fish that swam around her. I’m really proud of that shoot.

Most of my favorite shots, though, are the studio portraits I’ve done. Usually they are for promotion and publicity, but after we get what we need I like to experiment and challenge myself, working at odd angles or with dramatic lighting to get a particular effect. Those are often the most rewarding, and most fun.

I was interested to read about a project you worked on for years (are still working on?) which is inspired by E.J. Bellocq’s 1912 book of New Orleans bordello photography. You mentioned wanting to one day turn it into a book, and I wondered, do you still hope to do that?

I did that for over a year and would still love to get back to it full time but real work has gotten me a bit distracted. I have tons of negatives from that project, and would love to shoot more, but since it’s a personal project I don’t have a deadline to force me to commit to it. That project was and still is shot entirely on film; the goal is to someday print it as a portfolio book but without ever going through a digital medium, although now that may be cost prohibitive. There are fewer and fewer labs today that print directly from negatives, so I plan someday to learn platinum and palladium printing. I still shoot for the project when I get time, and if anyone wants to participate and is in NY or LA, let me know.

Lux Lacroix at Lucha Va Voom

Do you have any stories about any ridiculous set up that was necessary in order to pull off the perfect shot?

There aren’t any situations that I would call ridiculous to get a perfect shot, but I’ve been in plenty that others may consider ridiculous. For years I’ve been shooting burlesque Mexican wrestlers at Lucha Va Voom around the country. I’ve been doing it for so long the safety guys know me and know that I’ve got experience. I’ve gotten to get a feeling for when the best shot might present itself, and often that means putting myself in a precarious position ringside close to the action. I’ve had them land very close to me and some of them land outside the ring right beside me! I’ve seen photographers next to me get kicked in the head (or worse, the camera) and have even seen wrestlers land on them. But I never fool with my own safety, I can anticipate when to get the right shot, or what last possible moment I can stay in one place without getting hurt. The only disappointing time is when I need to be in certain place and I see someone else already there, getting the shot instead of me.

I suppose one kind of ridiculous job was when my friends Ron Lynch and Craig Anton had their show “The Idiots.” There was a point early on in the script where they shake hands and smile at the audience like a photo op. I don’t use flash when I shoot live shows, but they asked me to stand up and take their picture with a flash when they shook hands, so I became part of the show.

Many who only know you as a burlesque photographer might be surprised to learn that you’ve been a professional camera assistant and lighting technician for film and television for the last twenty years! Could you share some of your career highlights for our readers to give them a sense of the scope of your work?

Most of my credits are on IMDB, if anyone is actually interested in my resume. My very first job in Hollywood was camera work for a documentary about the Ed Wood film, “Plan 9 From Outer Space.” I got to meet everyone associated with Plan 9 who was still alive, and have great memories of Maila Nurmi, aka Vampira.

I worked a lot in TV, lighting shows like The Shield, Malcolm in the Middle, and others, as well as lots of feature films, both low budget indies and big budget blockbusters. I spent six months on B unit for “Deep Impact.” I was on the lighting team for “Memento,” and one of the only crew members to be on the show from the first day to the last, and it all shot close to my apartment, so that was a big plus.

Besides having friends who helped start the burlesque revival, I have also been friends with a lot of people who are actors and writers in Los Angeles, and much of my favorite work has been collaborating with them. I’ve shot short films with and taken portraits of people who later went on to do work on Mr. Show, The Simpsons, Carnivale, and some amazing shows. If I wanted to be a writer or performer I would have great connections!

Do you have any plans to do a retrospective of your work or anything of that nature?

I’ve thought about it, but every so often I’m asked to show work in a gallery or group show and that works just as well for me. I’ve also realized that curating my own work would be a full time job and I’m too close to it; I would need someone else to come in and do the actual labor. Maybe someday I’ll compile all the projects into compendiums and publish them individually, but since I feel I’m still involved with my subjects a retrospective wouldn’t be complete. Anything I would do would have to be of an incomplete, work-so-far nature.

I’ve shot literally thousands of photos since Michelle Baldwin’s book “Burlesque and the New Bump-n-Grind” was published, but if someone wants to see the type of work I was doing then that has a lot of my shots and is pretty comprehensive. Anyone who wants to know the origins of new burlesque should read it anyway; it’s a great primer.

Doris Eaton Travis by Don Spiro

What’s next for Don Spiro?

I’m working on a new documentary for a Los Angeles production company and that is full time. In addition, four years ago my fiancé Diane and I started a monthly hot jazz club called Wit’s End at a former speakeasy in Manhattan; I’ve gotten to know a lot of great jazz musicians as a result. As a labor of love, I’m also editing Zelda Magazine, which Diane started two years ago that celebrates the jazz age and vintage lifestyles. Because of Zelda Diane interviewed and I was able to conduct the last photo shoot with Doris Eaton, the last living Ziegfeld Girl, just weeks before she passed away. She was 106, lovely, and had a better memory than I do now.

I don’t shoot much weekly burlesque anymore unless I’m asked, there are so many people shooting I feel I don’t need to anymore. They days of being the only one taking pictures at a show are gone. My main interest is in the Burlesque Hall of Fame and the New York Burlesque Fest, and those jobs also entail helping coordinate photography policies as well as shooting the events. I’m also looking forward to the next Tease-O-Rama, because that show originally opened my eyes to burlesque as a world-wide phenomenon.

Anything you’d like to add?

We’re reinventing the wheel with burlesque. We’re taking a great art form and recreating it for modern audiences and sensibilities, but the aspects that make burlesque unique have a direct line to the past. You can’t have a general definition of burlesque anymore than you can any other art that lasts, but like jazz it has definable eras. Burlesque in the 30s was different from burlesque in the 50s, or 70s, and today it’s certainly not the same as it was in the 1880s. We know this because we can look at ephemera, posters, photos, and read stories and articles about it. With the internet this has gotten easier, but a lot of the past is disappearing, so documenting and archiving is necessary now. I’m hoping the Burlesque Hall of Fame can eventually fulfill the vision of Jennie Lee and be a true museum. Just as live events keep burlesque alive as living history, seeing a clear vision for the Hall of Fame as an ongoing non-profit repository of burlesque is important to me.

Agent Lynch by Elsa Quarsell

Q: Though Swedish born, London has been your home since 1999, and where you have made a name for yourself as an editorial and fashion photographer.  Your new book, The Domestic Burlesque seems to stray, in content at least, from the majority of your work for clients such as The Sunday Times, The Guardian, The Independent, and Vogue.

Do you strive, as so many photographers do, to separate your “professional” work (meaning client commissioned) work from your “personal” work?  Is it possible to be equally passionate about both?

No I don’t but I’ve noticed that you easily get pigeon holed.  Now that people know my personal work I tend to get more work related to burlesque. But I really enjoy the variety of the work I do. It keeps it interesting. I love it all.

Q: How did you first become involved or intrigued by the world of burlesque?

I’ve been going to 50’s and 60’s club for years as I love the music and style. They started having burlesque performances in one of those clubs and I thought it looked like a lot of fun so I started to research it and found lots of great performers that I wanted to photograph.

Angi B Lovely by Elsa Quarsell

Q: How was The Domestic Burlesque born? Why choose to shoot performers in their homes?

I had no interest in shooting in a venue where it’s all about the show and the stage character. I wanted to get a picture that showed a bit more of the person behind the character and I also thought it could be quite humorous. It started as a small project with the goal of having an exhibition but it grew bigger and bigger and BIGGER!

Q: What are some of your favorite behind the scenes memories from the shooting of the book?

When I shot Cha Cha Boom Boom (the girl covered in Nivea creme and feathers) she had quite a few builders on scaffolding right outside her windows…we had to tape up fabric in front. I would have liked to see their faces had the fabric fallen down!It was a really funny shoot to do, quite bizarre.

Tokyo was great as I had never been before and it was a very interesting experience. Going to peoples’ homes in cities you haven’t been before is the best way of getting to know the city. It was really interesting to see how people live over there (and everywhere else too).  I often spent a bit more time with the performers; I’d stay for lunch or dinner and got properly introduced to Japanese culture.

Coppelia

Q: The project took you traveling literally around the world, and took two years to complete.  Can you walk us through the logistics of such a project?  How did you find and choose the performers you wanted to shoot without being intimately aware of the local burlesque scene in each community? Were you looking for “the biggest names” or the “most interesting stories” or come other combination of factors?

I looked at flyers and websites for big shows and festivals to see who was performing in the different cities and who the big names were. Performers often suggested other performers too. I did all the interviews after so didn’t know about the most interesting stories. It was often a particular routine that caught my interest. For example, I saw a photo of Nasty Canasta somewhere doing the act in the photo ‘The Unknown Stripper’ and I thought that’s hilarious, I have to photograph her. And when I heard about Honey Wilde’s Margaret Thatcher act I thought ‘I’ve got to have her in the book’!

I would have loved to go to Seattle, Las Vegas and California as well as there are a lot of great performers over there but I just couldn’t afford going everywhere and I had to limit the size of project somehow. Maybe in a second volume….

Q: How did you manage to research and finance such a major undertaking? Did you seek to work with a publishing house originally, or was the book always to be self-published? What are the pros and cons of each route?

I’ve basically spent ALL my money on this project. I did try and get a publisher in the beginning and they all seemed to like the pictures but didn’t want to take the risk…or burlesque didn’t fit in with them. It was far from finished then and when I finally finished it I was so eager to get it out and didn’t want to wait another 1-2 years for a publisher. I had one publisher on board that was really enthusiastic and wanted it printed quickly but one day he just disappeared from earth….and I decided to self publish. It’s been fun doing it all myself and I’ve learned a lot, but it’s also incredibly hard. A lot of shops only buy from bigger publishers so getting the work out there has proved hard. You could all help by asking for it in your local book shop!

Q: Were there any notable observations you made regarding burlesque in different countries?  Does the scene in Tokyo vary greatly from the European scene? What about New York and Texas?  Are there larger observations to be made regarding sexuality or femininity in each culture?

The scene in Tokyo is pretty small and many performers come from a belly dancing background. Burlesque is not as accepted over there. But the performers I met are amazing performers, all working hard on making burlesque big in Japan. And they are all so full of energy, it’s all about happiness and laughter, like Coppelia said, “Colorful is happy!”

The New York scene is absolutely crazy, quite extreme and so funny! I had such a good time there!

Q: Walk us through your process once you met the performer, often for the first time on the day of the shoot.  How much of the posing is directed by you and how much is the performers?

I would normally arrive, have a look at the different outfits and decide what would work and where.  I would give a few directions of what I wanted and we would try a couple of different things. Mostly directed by me but sometimes it was a joint effort.

Q: Seeing as this is the January Issue, we have to ask: What are your New Year’s Resolutions?

To work as hard as I possibly can, promote the book, start a new project and get an agent in Berlin! I’d like to move there before the end of the year!

Molly Crabapple by Bill Wadman

Molly Crabapple, the founder of Dr. Sketchy’s Anti-Art School, took time out from her ridiculously busy schedule to talk divine mindlessness, Manet’s Olympia, maximalist aesthetics, hillbilly angels, guys with machine guns, and absinthe.

Interview: Divertida Devotchka

You’re the founder of Dr. Sketchy’s Anti-Art School, which now has more than 100 drawing salons throughout the world. Exactly how many Dr. Sketchy’s schools are there at current count? What first gave you the idea to mix cabaret/burlesque with art and drinking games, and did you ever imagine it would grow to the extent that it has?

Right now there are 130 Dr. Sketchy’s making trouble around the world.  When I thought up the idea as a broke art school dropout and former artists model, I wanted to fuse my passions for drawing and burlesque, but I had no idea that it would ever grow into this giant art octopus.  We’re on 5 continents, in cities from Akron to Zagreb, and have done everything from illegal flashmobs to parties at the Museum of Modern Art.

Illustration: Molly Crabapple

I’m very interested in one of your current projects, called “Molly Crabapple’s Week in Hell,” in which you plan to lock yourself inside a rented room for 5 days, completely cover the walls in paper and subsequently cover all the paper with your art. The entire process will be documented by photographer Steve Prue and the resulting materials will become a book of the same name. You’ve stated that your goal is to leave your studio and comfort zone and test your limits as an artist. What expectations do you have of this event?

I’m turning 28 in a few months, and wanted to kind of say goodbye to a period in my career.  I didn’t have a particularly easy start to my career, and I got a lot of blowback, both for being a young woman and for having worked in the naked girl industry.  It left me with sort of a chip on my shoulder.  I wanted to do something hard and definitive to say goodbye to that. I was talking with Warren Ellis, and had conceived of a very art wanky impossible to fund project, when he said “No.  Just rent a room.  Cover it in paper.  Fill it with art.”  So that’s what I’m doing.  I don’t know what will happen, except the sort of divine mindlessness you get when you draw way too much.

You recently spoke at a panel about women, muses and paintings at the Brooklyn Museum. You mentioned that your favorite work, Olympia by Manet, would likely be the focus of your discussion. I’d love to hear about your thoughts on the piece and why it’s your favorite.

Olympia is fuck-you confrontation in a pearly pink package.  The painting is of a famous courtesan, lying there, surrounded by her servant and all the luxury her business has earned her, staring at the viewer with these cold, impermeable eyes.  ”I dare you to judge me.”  It was rejected from the Salon, and the reason why was that the guys visiting it would have slept with her, and there she’d be, looking at them hard from the canvas.

You learned to draw in a bookstore in Paris. I’d like to know more about that experience and how you ended up there.

When I was 17, I was lucky enough to take off for Europe, and stumbled across Shakespeare and Company bookstore.  The legendary owner, George Whitman, saw me sketching outside and invited me to live there, along with the Tumbleweeds, a ragged, international group of poets and musicians that slept on the velvet covered couches.  It was one of the finest times of my life.  Seeing a grandly generous art endeavor like that last 50+ years (in fact, it’s still around, under the leadership of his daughter Sylvia), is deeply fucking inspiring.

You appear to be fascinated by Victorian and Rococo fashions, and you mention that artifice is your favorite subject. Tell us about your feelings on those topics and the notion of beauty as a mask.

I love both of those time periods of their maximalist aesthetics that hid an almost insane cruelty.  Sores under velvet patches, all of that. I came of age amongst underground performers- strippers, drag queens, burlesque girls, whose self-willed, and self -created beauty, was more interesting to me than that of any fashion model.

How and when did you start performing burlesque and for how long did you perform?

I started performing burlesque when I was 20, and kept at it till I was 24. While I did quite enjoy it, I was never very good.

You illustrate “Puppet Makers,” a DC Digital graphic novel described as a steampunk saga, which is currently in its third issue. You also have the graphic novel “Straw House” coming out in 2013, and if I read correctly, it’s about immortal carnies in the fifties. Please explain a little more about that project, as it sounds fascinating!

Straw House is the story of an immortal carnival that descends upon a small Appalachian town.  When ringmaster Al Kelly decides he’s looking for an heir, the resulting struggle will tear the carnival, and the town, apart.  It’s about love, family, rock and roll, and a gang of hillbilly angels.  I’m doing it with my constant collaborator John Leavitt.  We really hope we do a good job.

I saw a brief mention on your website of a stint in Turkish jail. Seriously? Do tell!

It was 3 hours because I was drawing in the South East and probably looking dopey.  The Jandarma were nice, but a group of guys with machine guns not letting you leave is scary.

You describe your art as “if Dr. Seuss backtracked through the time-space continuum and commissioned Toulouse-Lautrec to reimagine his storybooks.” From where else do you draw your inspiration?

Drunk bullshit sessions with friends, the London student riots, depraved nightclubs, underground performers, the scratch an ink pen makes going across cold press paper.

You’re notoriously mad about absinthe, so I’d like to know, what are the best and worst absinthe-drinking experiences that you’ve had?

Best? Probably my party on Tuesday, swigging it from the bottle, while pink haired rockstar Kim Boekbinder stood atop by flat files and played me “Absinthe makes my heart grow greener.”

Worst?  Night train from Budapest to Paris.  It was still illegal in most of the EU, and I shared the car with a Japanese kid who was smuggling it in.  As soon as the Austrian border police left we drank it all like monkeys.  Ended up in English garden in Munich with him, and have no idea how…

Anything you’d like to add?
Work hard, make friends, and don’t give up.

The crew at Pin-Up Girl Cosmetics. L-R: Kiah Clark, Sharif Hassan, Christine Starr Cookus, Kellyn Willey

Kellyn Willey, owner of Pin-Up Girl Cosmetics, talks poorly blended foundation, places to visit in Atlanta, grapeseed oil, human disco balls, and owning a business before she owned a car.

By: Shoshana

Q: Pin-Up Girl Cosmetics is a full concept unlike any we’ve seen in the country. You have a storefront location, with regular business hours, and on site photographers, make-up artists, and stylists, in addition to a retro clothing boutique. How was the idea born in 2006, and was there a “model concept” or “model store” to look to for inspiration?

There was no model for the shop. The original owner was an extremely gifted makeup artist and hair dresser. She wanted to have her own shop where she could express her talents. Eventually she met up with an equally gifted female photographer and opened the shop together in June 2006. It was just 2 talented young women expressing their creativity and passion of vintage culture and fashion.

Q: Your site mentions that the pin-up shoots were almost an afterthought, to document the fabulous makeovers, and now you have three full time photographers on premises!  Tell us about the evolution of that aspect of the business.

Yes, in the beginning the first owner just wanted to have a cosmetic boutique but then she met, who would be her co-owner, a local female photographer and they decided to join forces and make a store front together. Now, in our new location, photo shoots compete with the cosmetic services, but the shots win with a few steps ahead.

Pin-Up Girl Cosmetics Atlanta Store Front

Q: How did you go from “working at the shop in 2007” to “proud owner in 2009”?

Well I was hired in November 2007 as a makeup artist but predominately a shop girl: just very simple tasks with little to no real responsibility. Then the owner decided to go in a different direction when she realized that I was also a budding photographer and graphic designer. She cut the staff back 3 months after hiring me and made me store manager. Then by the end of the summer, we moved the shop out of Little 5 Points to Grant Park due to issues with our original landlord. It was the best thing we could have done. Eventually after a few months of being in our new shop home, the owner told me she was feeling overwhelmed by running the shop and taking care of her new baby, not to mention to the global recession being upon us all. She asked me if I wanted to be the owner…I said no way! I’m only 23 years old and I don’t even own my car!

Eventually I realized that if I wanted to keep the ONLY job I’ve ever loved and ever been good at, I was going to have to own it. So, in late July 09, she signed the entire company over to me. It was so terrifying and I had no idea what I was doing in the beginning…except pay the bills on time and advertise online. But with the support of my staff, family and friends and a lot of praying and midnight panic attacks, it all panned out over time.

Q: Your shop has recently tripled in size from its original location, and is now located in the hipster paradise that is Grant Park (Atlanta’s largest historic neighborhood), and become the “talk of the town”.  What are passerby’s reactions to the entire pin-up thing?  Have you noticed an increase in folks familiar with, and inspired by, the look recently?  Do you ever get walk-ins?

Oh yeah the neighbors really were shocked when they first saw us…they still are. Oversized paintings of nude women hang in our pink and red store front with corsets and stockings lining the walls. We’ve heard it all before, “What is this place? What kind of pictures do you take? What the hell is a Pin-up girl?”

We have many walk-ins every month, typically clients getting their brows done or shopping and then we have the Frequent Flyers! These are our clients who get multiple services a year…over several years. We have about 4 die-hard ones who are moving into their 8th and 10th shoots since 2007. It’s pretty incredible to have support like that in a business that’s not considered a necessity but a luxury. Not to mention having our newest addition to the Pin Up Girl family, “Lucky Starr” a fantastic vintage clothing and accessory boutique. Christine Starr Cookus is the brilliant owner and she was one of my clients years ago when we first moved into the Grant Park space. Christine is a breath of fresh air to our business, bringing with her tons of new clients and a positive attitude. She has only been with us a month and I can’t imagine the shop without her. Groupon has also brought us boat loads of new clients…219 new faces in 24 hours to be exact! We’re very blessed and more than thankful.

Client "Heather" by Pin-Up Girl Cosmetics

Q: In fact, you’ve been getting so much attention that you we’re named “Critics Pick- The Best Reason to Dolled Up” in the Best of Atlanta 2009 Issue of Creative Loafing.  What was your reaction?

To be honest, I cried. I had only owned the shop for 3 months and was stressed all the time due to low revenue from the recession. I remember that day so well. My best friend, Shellie called me up about 7am screaming, “You made the Best of 09!!!” I didn’t even know what she was talking about. I remember people voting for it online, but everything those early months was a blur. Then she emailed me the link…and I almost died. I felt like we won an Oscar, and in a way we had. It’s such an honor. I was and am still so proud of that. My staff deserved it for all the long hours they put in every week. They’re so patient and passionate.

Q:  On your list of services you also include theatrical and special effects make-up.  That’s unusual!  Were you or Kiah [Kiah Clark is the other make-up artist at PG!] formally trained in make-up, or are you all self taught?

Kiah and I both studied makeup under our perspective high schools. Theatrical makeup is something we do in our freetime…when we have it. Kiah does make-up for the local Rocky Horror Picture Show at the Plaza Theatre here in town when she has the chance. While I’ve done dozens of local, independent films and photo shoots with special effects makeup like zombies, severe bruising and gashes. Yes, we are self-taught and we have learned a lot of techniques from other makeup artists from around the region.

I would never call myself a special effect makeup artist, but I do believe a true makeup artist can pick up any cosmetic tool or product and figure out how to apply to any skin type in a matter of moments. I’ve done so many crazy makeup applications from making someone into a human disco ball, pageant and drag queen makeup to making myself appear as a zombie with buckets of blood pouring out of my mouth. I love it all!

More Pin-Up Girl Cosmetics Staff (L-R): Angel Green, Kiah Clark, Kellyn Willey, Charlotte 'Charlii' Collins.

Q: What are your biggest make-up or pet peeves, or common make-up mistakes?

Poorly matched and blended foundation….Yuck! A bad quality foundation whether it’s a powder, cream or liquid, is even worse when not blended into the face a neck well. If it doesn’t match your skin it can make you look old and dry to say the least. My favorite trick to well-blended foundation is to apply the makeup to your whole face with a brush our sponge then use your hands to blend the makeup into your neck and edges along your hairline and ears.

Too much undereye liner gets annoying to me too. Unless you have HUGE eyes, it can make you look decades older and tired. Try applying a small amount of liner to the inner bottom lid by your bottom lashes on the outside corner. Add a bit heavier of a stroke on the farthest outside point of that line wear your eye ends for added drama. You can even do the same technique on the top lid. It’s very Sofia Loren!

Q: What are your five favorite specific beauty products?

1) A great moisturizer! At our shop we love blending aloe vera gel and grapeseed oil as our face moisturizer. Grapeseed oil is packed with antioxidants, has natural SPF 15 protection, is closest to the oils your face produces and is a very neutral/mild emollient great for all skin types PLUS extremely affordable. If you have the drier or more mature skin, add more grapeseed oil. If you have oilier skin, use more aloe vera. Always moisturize when you have freshly washed skin that is still damp. You only need a nickel size amount of this moisturizing blend.

2) All-natural lip balm! It’s a secret to the perfect lipstick/gloss application. My favorite is Burt’s Bees original formula. Dry lips make you look dull, dehydrate and yes, old; all things we fear as women. Many lip products are made with mineral oils, parabens, alcohols and other petro-based ingredients and they only moisturize temporarily. I apply lip balm 3-5 minutes before I apply my lipstick and I make sure to bloat of any extra balm I have before I apply the lip color to ensure a lasting application.

3) A truly dramatic mascara! I don’t leave the house without it! There are so many great brands out there I can’t name them all, but I’m wearing Rimmel’s Glam’ Eyes Flirt lately and I love it. My old tried and true favorite is Physician’s Formula Plump Potion mascara. Try a heated lash curler AFTER you apply your mascara for even more drama. They really work and your lashes stay curler ALL DAY! Mine has a silicon strip instead of a metallic, bristly wand, and I can sanitize it after ever use. It was less than $10 from Ardell at Ulta.

4) A fantastic red lipstick! I fought red lipstick for years until I found PinUpGirl! I didn’t believe that it would look good against my dark skin. But I soon realized that it looks incredible on all skin types and ages, you just have to find the shade last works best on you. Cooler tones, like a more blue-based red, look better on fairer tones: think of red like a deep candy apple red. If you have darker skin tones, try a warmer red with more yellow tones like Coca-Cola red with a darker red or even a plum/ violet lipliner. ALWAYS line your lips first when applying a red lip. If not, it can bleed, feather and make your lips appear smaller than they truly are. For that true retro pout, heavily line the 3-dimentional line of your lip (slightly outside) and feather in the liner then apply the red and blend with a lip brush. Our favorite red are the ones we sell in the shop through our private label but MAC has some incredible shades especially in the Pro Longwear LipCreme shades!

5) A great teeth whitening system! It’s more affordable than you think. So many of us love lipsticks, especially those luscious reds and a bright, white smile will make all the difference in that sexy kisser of yours. I recommend a pre-brush whitening rinse, then a whitening tooth paste with fluoride using a good electric tooth brush (Oral-B makes the one I use and it’s less than $30..I’ve had mine for 4 years), a post-rinse with great restorative properties like enamel strengtheners to keep your teeth in shape and they even have whitening floss to brighten up in between your teeth. I guess I’m obsessed with pearly whites…but it’s a great way to always look your best without wearing a stitch of makeup!

Q: In just a matter of weeks, Atlanta will be filled with tourists checking out the Southern Fried Burlesque Festival.  If you could only recommend five places to visit while there, what are your picks for vintage minded visitors?

1) The Starlight Drive-In on Moreland Ave. It’s worth the drive to enjoy a great movie under the stars with your honey. Sometimes you can even catch a retro flick if you review their schedule.

2) The Clermont Lounge on Ponce  It’s where strippers go to die and party before they hit the ground. Yes, I just said that    This is a must-see experience that EVERYONE (over 21) has to partake of. Not for the faint of heart. Seriously, it’s a blast, especially on Karaoke night!!!

3) Holy Taco on Glenwood Ave  Some of the absolute best flash mural designing in the city, incredible cocktails and the food is truly amazing! I LOVE GREAT Mexican food and this place has INCREDIBLE Mexican food!!! I have had many a mid-day margarita there and I’m looking forward to my next!

4) Liberty Tattoo on Ponce or Grant Park  If you need to bleed, you’ve come to the right place! Just ask for Shay or Kaki or anyone holding a tattoo needle for that matter. Tell ‘em Kellyn sent you!

5) Anything in Little 5 Points I can’t list everything I love in Little 5 because there is so much but stop in Libertine for awesome accessories plus cosmetics, the Porter for their Belgian fries and a Lemon Gingerade (my favorite combo), Stefan’s for some hard-to-find vintage apparel, and Rag-O-Rama for great second-hand trends and finds!

Dangeorusly Dolly, self-portrait: "Nightmareland"

Atlanta based conceptual photographer Dangerously Dolly talks signature styles, copycats, and being overly optimistic.

Interview: Shoshana   Photos: Dangerously Dolly

Q: Your bio mentions after years of experience with post production, at 23 you made the switch to focusing on your own projects and shooting.  What was your previous gig, and how hard was the transition to being self-employed?

My previous gig was simply being a kid, but I took an interest in web graphics and design at 12 years of age. Being a self-employed photographer is really hard because you need to make it all happen. It takes a lot of marketing skills on top of the list of skills you need to simply be a photographer.

Q: Are you formally educated in photography (lighting, shooting, and post) or self-taught, more trial by fire?  What are your thoughts on the two camps?
Self-taught is the way to be. No one should be taught by an instructor on how to create art. It’s in your blood!

Q: Tell us about the early days.  What was your first shoot?
My first little shoot was with my little sister. I had finally gotten my first camera and was eager to play around with it. My first shoot with someone else was actually shot in a dirty motel room, haha! As wrong as it sounds, at least she wasn’t naked. I still love those pictures, but I’ve come a long way since then.

Q: How did you evolve to finding your own conceptual & high key style?
As I was getting into the whole pin-up scene, I realized as much I loved it, I couldn’t find a true create outlet through it. I was doing what others wanted to do and wasn’t really doing what I was capable of doing. My move away from pin-up and into a more alternative pin-up style which would be more of what someone considers “my signature,” I suppose, was when another photographer would accuse me of taking their ideas, when all I would be doing is referencing from the 1920’s-1960’s. I don’t understand how someone could point their fingers on something that has already been done time and time again. Of course shortly after my move away from that, it was like a breath of fresh air. The pictures I take might not be a true representation of what pin-up is, however I combine and mix all the spices together. I take a little from everything I like.

Q: What sets you apart from other pin-up photographers?

Although the pin-up photography world is large but still pretty small (if that makes any sense,) I would like to say that I do not involve myself in others business, or try to sabotage any kind of opportunities for anybody. I’ve had a real rough time with things like that and I’ve never understood why people like to pick wars on each other, for whatever reason. To be honest, it looks unprofessional. With that in mind, I stay to myself, I respect people, I keep it professional, and just simply ignore people I am aware of that like to create problems for others. I didn’t get into this to be stepped on or to further find misery sitting next to me. Photography should always be a fun and exciting thing, even when you’re hard at work.

Q: What is your favorite specific piece of equipment?
My computer, all the way. For too many reasons I can’t even list!

Q: There’s a quote on your site that says, “After investing in my shoot with DD my bookings went from unpaid work to paid work. She has a way with images that make people want to stop and look. Not only did I receive quality images worthy of my portfolio, I also received them in a timely manner! She doesn’t take pictures she creates art! “— BillieJo

What is your advice for gals who are looking to break into pin-up modeling?
If you want to be a pin-up model, just go for it. Don’t be nervous, don’t think you can’t do it because you can. The best way to start something is ALWAYS with a positive attitude.

Q: Think of the models you love to work with, your muses.  What qualities do they possess that make you want to work with them over and over?
A good connection is first, and being able to be open with my ideas, because that’s extremely important. If I don’t see a little bit of me in the picture, then there’s no Dangerously Dolly.

Q: What does the future hold for Dangerous Dolly?
I truly dislike being overly optimistic, but I really do see something big coming my way, I don’t know what it is exactly, but all I do know is that I pray it’s not a train or a bus because I have a lot left to accomplish and a lot to offer to many, many people. The best thing would be is to remain positive, and look forward to whatever great and amazing things may come out of my project.

Interview: Divertida Devotchka.  All photos courtesy of Cassandra.

You’re from Dallas, but you studied millinery at the Fashion Institute of Technology in New York City. You quit your office job after completing your studies and spent 5 years learning from and making hats with theatrical milliners on Broadway, fashion show hat suppliers and couturiers. What are some of the most important lessons that you learned during that time?

How important it is to work for other people!  What I learned from the millinery classes I took is so scant compared to what I learned working under these talented people who had been making hats for so much longer than me.

Your designs have appeared in W, Italian Vogue, D Magazine, and many more publications. What are some of your proudest moments/biggest accomplishments as a milliner?

The W cover was my first big boost to let me (and my supportive friends and family) know that I was moving in the right direction and to stay on this path.  My proudest moments though are when my customers come to pick up their custom hats and they love them.  When they so obviously feel good in them, I know I did my job well.

You moved back to Dallas in 2008 and opened your own shop. What prompted the move and what are some of the biggest differences between working in New York and working in Dallas?

I moved back to Dallas to be closer to my family again.  I had been gone for 8 years and am so fortunate to have a grandmother who is 95 and still here.  This also is a much friendlier market to start a new business in.

The majority of my New York business has been cocktail hats while Dallas is all fedoras and newsboys.  I don’t think there is a culture yet in Big D where putting on some veiling for an evening out feels natural.

What are some of the biggest rewards of being a small business owner? What are the more challenging aspects?

One of the biggest rewards is working so directly with my customers and putting a look together that expresses them.  I am also not a numbers person and am surprised how satisfying it is to balance my accounts every month.

The most challenging aspect is that you are doing everything.  Marketing, sales, inventory, the books…you juggle so many balls at once!

What is your all-time favorite millinery project that you’ve completed?

I have a dear customer who is a burlesque dancer in New York.  She will come in with outfits she is working on or dances she created and we will come up with hats to finish the look.  A felt teapot cocktail hat down to some nude colored veiling with rhinestones, she lets me explore my more creative side.

Who are some of your favorite designers?

For designer fashion I am loving Marc Jacobs right now. All those ruffles and long skirts, I think they are flattering and whimsical at the same time.  I just met an amazing artist the other day named Magda Berlinger who creates true art out of vintage lace pieces.  Each one is unique and so gorgeous on.

From where or whom do you draw inspiration for your creations?

I have a great archive of vintage hat books that I thumb through every season or when I am stuck on an idea.  I also visit museums if I need to refresh my color palate.  I follow the fashion trends to make sure my hats are wearable with the clothes people are buying.

What does the future hold for The House of MacGregor?

I would like to start selling my hats in Japan within the next year or two.  They are avid hat wearers!  I will probably maintain my second floor retail space; it gives me a lot more flexibility than a traditional store would to work on my pieces.  I will continue to source high quality materials to keep making my hats a step above what you would find in a traditional store.

Learn more about The House of MacGregor by visiting www.thehouseofmacgregor.com. You can also view more of her work at http://picasaweb.google.com/cassandra.macgregor.

Zamra wearing one of her recent creations. Photo: Pappas

Latex fashion designer Zamra of Dollskin Designs chats about second skin, lube, Jean Paul Gaultier, and being blown by Stephen Hawking.

Interview: Shoshana

You’ve stated that your work as an alternative model and a fire performer have greatly influenced your Dollskin Designs line.  How so?

As an alternative model I was exposed to some of the best latex available & learned what looked good in pictures & on bodies. As a performer I had to figure out what to look for so I would be able to move around comfortably &  what was easiest to get in & out of quickly. This has helped me make Dollskin Designs clothing fit better, accentuate each individual’s figure in the most flattering way, and more functional as far as getting dressed (or undressed!). Instead of struggling with powder or lube required for most pull-on styles my customers have only to zip or snap.

Tell us about the first time you bought a latex costume/outfit and what you love about wearing latex.

I stumbled upon my first latex piece, a halter dress, while out shopping with a friend. At that point I didn’t know much about latex & had to be helped into the dress by the sales clerk, but once it was on I was sold. It hugged my curves in a way I had never seen before! Later when I learned to shine it up, it was even more breath-taking. Latex feels, smells, & looks like nothing else out there, that’s why I love it!

When did your interest in fashion design begin?  Are you all self taught, or do you have formal training in fashion?

I’ve always been interested in fashion. I always loved putting together outfits when I was little & grew up playing around with different styles. After dreaming about clothes I could never seem to find ready-made I started altering the stuff I could. That led to making some things from scratch. To date I don’t have any formal training, but do have plans to go back to school for it so I can polish my skills & learn some new tricks.

Dollskin Designs Promo. Model: Kali Ann. Photo: Rasco. MUA/H: Ladonna Stein

As a designer, what are the challenges in working with latex?  What is rewarding?  Is the delicate nature of latex a gift or a curse?

Latex can definitely be a pain in the behind sometimes. It will decide to tear if you breathe on it wrong, It’s finicky on how it needs to be cleaned & stored. It likes to get static-y & cling to itself, especially when glue is involved. The rewarding part comes when you finish a piece, get it on a body, & shine it. Then the full effect kicks in. It’s usually pretty amazing! Latex’s delicate nature can be a curse, but it’s also what makes this material so beautiful & unique.

What is the inspiration for your designs?

I usually designs around my own eclectic style preferences, but am influenced by almost everything! I’ll look at medical tubing & picture a futuristic cyber outfit. Or an ornate wallpaper design & imagine a fabulous gown.

Who are your favorite fashion designers right now (alternative or high fashion)?

Of course I’m a fan of other latex designers, but also follow lots of corset & lingerie makers, leather workers, etc. As far as high fashion I like Jean Paul Gaultier & Alexander McQueen, as well as the flashier designers from Project Runway & the like.

What should gals look for in creating their first latex outfit?  What are the indicators of a quality piece?

You just need a basic idea of what you’d like. Some clients come to me with this & we come up with color options & creative details together. I always recommend starting with a basic, we can always add more detail to it later. I also like to factor in whether it needs to come on & off quickly & the buyers familiarity with this material.

Indicators of a quality pieces are seams that are smooth, clean & even. Zippers, snaps & under wire obviously take a higher skill set. The main way to tell is just to put it on & shine it up! It should mold to
you without being constrictive. You piece should be thick enough to smooth out your figure but thin enough to give that delicious second skin feel. And it should shine up to a glossy finish.

Zamra in Dollskin Designs. Photo: Ben Britt

If you could have dinner with any five people, living or dead, who would you choose and why?

One seat at this fantasy dinner would belong to Gary Oldman. He’s always intrigued me with his chameleon like acting ability.

Another seat would go to Vincent Van Gough. Although I don’t care for many impressionist painters, I’ve always liked his work. And it would be fun to try to learn the truth behind some of the wilder stories about him.

Stephen Hawking is another choice. I’m a huge science nerd & love having my mind blown.

Trent Reznor would also be on the list. As musical geniuses go, he’s one of my favorites. His music makes me think, it would be nice to share!

Rounding out the guest list is the artist Olivia De Berardinis. She has worked with & portrayed some of the best pin-up, burlesque, & alternative models out there & her work is stunningly gorgeous.

What does the future hold for Zamra and Dollskin Designs?

In the immediate future is a men’s wear line & a brand spanking new website, www.dollskindesigns.com More style & color options. All new technically complex details courtesy of some schooling and a lot of practice. Basically I want to make all the pieces I’ve dreamed up for myself & make others latex dreams come true as well. Bigger & better everything!

Costumer Megan Martin of BetterThanStuff.com talks Trinity Blood, Sci-Fi, Styrospray, cosplay, MTV, and well finished seams.

Interview: Shoshana

Q: When did you first become interested in costume design?

I was always into dress-up when I was a kid. I think I was doomed from the very beginning to get into historical costuming. I used to layer my dress-up dresses over each other so my skirt would be puffier, like I was wearing petticoats. When I was about 11 or 12, I decided I wanted a really huge, elaborate Marie Antoinette style dress. Of course, I couldn’t afford to buy one, so I set out to learn how to sew one for myself. I took a few lessons from shops and friends, and then just dove in head first. The first dress I ended up making was a simple Regency styled dress, like what’s seen in Jane Austen movies. It all snowballed from there!

Q: Have you always been a geek? (I use the term lovingly)

Hehe, yes, definitely! I’ve been a very devoted Star Trek geek for as long as I can remember. I even used to get into trouble in class because I was reading Sci-Fi and Fantasy books that I had hidden in my desk, instead of paying attention to the lessons. I got into anime later on, and that led to anime cosplay, where you dress up as your favorite characters for competitions, meet-ups, and photo shoots.

Q: Did you take formal training?

Well, sort of. I took lessons at a local sewing shop for about 6 weeks, during which we only managed to make a single vest. Instead of enrolling in the next set of lessons, I took a couple more lessons from a friend’s mom, and after that I started to teach myself. It was definitely a bumpy start, and the first skirt I made on my own was absolutely horrendous, but I was determined!  I learned a lot from online sewing sites, back in the days when online bulletin boards were a good place to get information and help on projects. Thankfully, there were some really great sites, which are still around today, like Marquise.de and The Elizabethan Costuming Page, which had great tutorials, pictures of extant period garments, and reference pictures. I’ve used those sites as references for at least 10 years, and still go to them whenever I need a jumping off point on a new historical costume.

Q: What was your proudest moment as a seamstress?

This September, a friend and I competed in a local costume contest and ended up winning “Best in Show”. I had never felt quite as giddy! We both had put so much work and time (and blood and tears!) into our costumes, and it was a really proud moment for both of us.

Q: What’s the most complicated costume you’ve made?  Most fun costume?

The most complicated costume was probably for a character name Cardinal Caterina Sforza from an anime series called Trinity Blood. Admittedly, I probably made it much more complicated than it needed to be, but I wanted to get every detail perfect. It ended up taking quite a bit of time (and sanity!), but the end result was more than worth it. As for the most fun, I love crafting anything that has a large headdress, or some armor! My last costume had this gigantic gold headdress, which was hugely detailed and had at least twenty different pieces. I made it out of craft foam and dimensional fabric paint! I did the same thing with some plate armor for another costume, where I used different thicknesses of craft foam to create detailing and designs. I think I really just like playing with craft foam.

Q: I know you did some costume work for an MTV awards ceremony a while back, if you could costume any celebrity who would it be and why?  If you had your pick of any film or television series to do costuming for, who which would you choose and why?

Oh, wow, that’s a good question! I’d love to do some costuming for Jennifer Ehle. She’s such a well known actress for period films and she has a great figure. I’d also love to do something for Kate Winslet. I love the characters she’s played, and she’s absolutely gorgeous.
For film and TV, I’d love to work on a period piece set in the 1750s-70s. It’s still one of my favorite eras. I wouldn’t mind working on the next installment of the Sherlock Holmes movies, too! Bustle gowns, gadgetry, all the Steampunk-esque elements, what’s not to love?

Q: What’s your most fun new product find?

I recently learned about this stuff called ‘Styrospray’, which is used in construction and insulation. It’s basically a hardener for foam materials. I’m really excited to try it in prop and armor making. I’m rather scared to try my hand at working with fiberglass because it’s such a mess and has such a small work time, so the Styrospray is a great alternative. It has a much longer work time (24-48 hours vs. the 5-7 minutes of fiberglass), you don’t have to embed anything in it like fiberglass cloth, and you can clean it up with soap and water while it’s still wet. It’s really exciting stuff!

Q: What should readers look for in quality costume construction?

Look for well finished seams.  They don’t necessarily have to be surged as long as they are finished off nicely with an edge stitch or some pinking. Make sure your costume fits you well, and doesn’t hang off you like a potato sack, or is tight enough to show any unflattering rolls or bulges. If you don’t provide the fabric for your costume, then make sure your seamstress will be working with quality materials. Some commissioners will use cheaper fabrics to save money, but the end product may not be as nice. Avoid things like panne/crushed velvet, cheap costume satins (shiny=bad!), and acetate velvets.  Fabrics made from natural fibers not only look better, but they breathe better, too.

Painter Ramon Barboza talks artistic discovery, low-riders, and the untouchable goddess.

Q: What’s your earliest art memory?  Do you remember the first piece of art you created?

My earliest art memory was when I was in the second grade; I drew a picture of Elvis holding a mic.  My art teacher was very impressed and hung it in the cafeteria.  That was the first time people actually noticed that I could draw.

Q: When did you discover oil as your medium of choice?

I discovered oil as my medium of choice my senior year in high school.

Q: I recently bought an Audrey Hepburn piece at Viva Dallas Burlesque.  Did you use other mediums as well as oil paints on canvas?  Airbrushing perhaps?  Can you describe your method?

Yes, I do use many other mediums in my work. The Hepburn that you purchased was painted with spray paint.  The method I use is spraying the paint through a huge poster board cut out stencil.  This is the same concept of silk screening, pushing pigment through a filter to mass produce work.

Ramon with his art at Viva Dallas Burlesque

Q: Local burlesque entertainers seem to show up as muses in your work often.  What is it about them that inspire you?

Well, the female nude body is the most common subject in my work.  My work glorifies the woman; it transcends her into a untouchable goddess.  So when I was introduced to the burlesque seen here in Dallas, it clicked in my head. The burlesque entertainers have so much in common with my work- strong, beautiful, confident, untouchable women that have so much power.

Q: You take commissions as well.  How does commissioned work differ from your own creations?

Yes I do commissioned work.  My commissioned work differs from my own creations a little because I am working with a customer.  The painting has somewhat of a guideline and is more or less a portrait; where as my personal work may be somewhat abstract and show more feeling.

Portrait of Coco Lectric

Q: Why do you work exclusively in black and white?

I work exclusively in black and white because I feel that the pieces have more of a timeless appeal.  I feel that color is more of a distraction to what I am trying to get across.

Q: I know cars are important to you.  What’s your favorite car, what’s your current ride, and do you work on them yourself?

Yes, automobiles are a big part of my life.  I have too many favorite cars and trucks to name, but I lean towards muscle cars, rat rods, and any Chevy short bed. My current rides are a 2003 Silverado which is bagged; it’s my cruising low-rider.  My other truck is a 1977 Silverado; it’s my street rod weekend cruiser.

Q: What does the future hold for you personally?  And for your work?

I plan on learning more mediums and expanding my work to the next level.  I want to make huge pieces that are 10 feet tall that will make an even greater impression.