Adore Pin Up Magazine - Issue 11 November/December 2015 by Adore Pin Up Magazine

Lady Rizo Garter Belts & Gasoline Miss Burlesque AU 2015: Bella de Jac Teer Wayde ‘Black Pinups’ Editor Candace Michelle Mimsy’s Trailer Trash Tattoo Dasha Cayenne + More!

Issue 11 Nov / Dec 2015 ADORE PIN UP 1

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Editor’s letter Issue 11 is a very proud one

Brianna Blackhart

for me. Getting to chat to

Subeditor

Moss, was an experience

Victory Lamour, a.k.a Tara

PHOTO BY LAUREN HORWOOD, ALSO FT. LILLA ROSTEN

Editor

On the cover

I will cherish for a long

Alyssa Hanley

time, and I am so excited to

feature our interview and stunning photos by power

Brianna Blackhart

team Lauren Horwood and

Featured writers

Kat Creasey in these pages. Creating a safe space for

Teer Wayde, Alyssa Hanley,

women to explore the way

Emily Russ & Pearl Davies

they want to represent

Featured interviews

themselves, specifically those that choose to do so through our shared

Victory Lamour, Bella de Jac,

women and their ideas and projects; has always been at the core of what

love for vintage fashion; and promoting a diverse representation of

Honey Holloway, Candace

I want to do with the magazine. I feel like this issue has really explored

Michelle, Dasha Cayenne

those themes in more depth, with every interviewee bringing something important to the table, and demonstrating that no pin up girl is ‘just a

& Bombshells Media

model’. It was also particularly valuable to have the chance to speak to

Get in touch www.adorepinup.com contact@adorepinup.com facebook.com/adorepinup @adorepinup

Candace from Black Pinups Magazine, and an important opportunity to reflect on what we can do to be more inclusive.

V ICTORY L A MOU R photography Lauren Horwood muah Kat Creasey location Lucky’s Speed Shop

I’ve just finished my 4th year of law school and I’m off on a big 45 day backpacking trip around South-East Asia to celebrate. If you’d like to see updates on my adventures, you can follow me on Instagram @briannablackhart. I wish the happiest of holidays to all of our readers!

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30 Contents 8 ‘CALIFORNIA GIRLS’ BY VESTIGE PHOTOGRAPHY 14 ‘CURVES ON THE CATWALK’ FT. TEER WAYDE 18 ‘AN INTERVIEW WITH A DIVA: LADY RIZO, UNESCORTED’ BY EMILY RUSS 21 ‘BEAUTY, BEAST AND MISS BURLESQUE’ BY ALYSSA HANLEY 26 ‘HIGH SOCIETY’ BY

LAUREN HORWOOD 30 COVER FEATURE: ‘A VICTORY OF LOVE’ FT. VICTORY LAMOUR

42 GARTER BELTS & GASOLINE 2015 FT. HONEY HOLLOWAY 48 ‘THIS IS WHAT MAKES US GIRLS’ BY JON LEE PHOTOGRAPHY 52 ‘MIMSY’S TRAILER TRASH TATTOO’ BY EMILY RUSS 56 ANGELIQUE NOIRE 58 JEANETTE IRIS 59 EBONY INFERNO 60 AN INTERVIEW WITH BLACK PINUPS MAGAZINE EDITOR CANDACE MICHELLE 62 ‘FABRIC, TRIMS & LACEY BETTIE

THINGS’ BY PEARL DAVIES 66 BOMBSHELLS MEDIA 68 BETTE BOOM 70 LIL’ PISTOL ADORE PIN UP 7

photography Vestige Photography models Eden Eve (this page) & Candace Campbell wardrobe & jewellery SparkleLux

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T EER WAYDE TA KES T H E R U NWAY FO R WHEEL S A ND DO L L B A BY

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Since 2011, I’ve had the absolute pleasure of teaming up with one of Australia’s premier pin up labels for my blog, where I’ve reviewed countless outfits and helped curvy girls find the perfect fit. For years I’ve been wanting to wear Wheels and Dollbaby but I was always a little worried about the fit with my ample assets. However, I took the plunge one day, those fears were laid to rest, and a life long addiction began! Earlier this year, it was announced that Wheels and Dollbaby would be closing the Telstra Perth Fashion Festival with a very special guest – Dita Von Teese. Instantly I knew I had to attend this event and started saving for an extra special trip over to Perth to see Dita rock the runway. Dollbabies all over Australia were abuzz with the news and everyone was rushing to get their hands on tickets for the event. While still planning to head over and cover this event for my blog, I received an email from Vanessa from Wheels and Dollbaby. We regularly converse about the brand, so I always love to see her name pop up in my inbox; but this time, I was not expecting to read what I found within this email. The label’s founder and designer Melanie Greensmith was requesting my presence to walk the runway for Wheels and Dollbaby in their fashion festival show. My heart skipped a beat and the daggiest of happy dances began in my bedroom. I called out to my husband who must have thought that I’d hurt myself as he rushed in to tend to me. I simply showed him the email and cried. I’m not usually this overly emotional when it comes to booking

news at the right time. When we

was calmer on my wedding day! With

announced that I would be included in

the nerves came so much excitement

the show, the support was overwhelming

and a real sense of achievement for

,and so many women were thankful that

me. I’ve had some very proud moments

the brand was publicly supporting curvy

in my modelling career, but this event

girls. My excitement was amplified as

changed everything for me. When show

kind words and encouragement from all

day hit, I was ready early with everything

around the globe rolled in.

I could possibly need packed, and dying

With anticipation growing, and nerves

to hit the runway.

up to my collarbone, show week finally

I was one of the first models to arrive

arrived. My husband and I jumped on a

into hair and makeup, and I parked

plane and flew over to Perth for the first

myself into the hustle and bustle of the

time ever for both of us. I think I packed

backstage area, ready to be primped

my whole wardrobe and every pair of

to the max. Our look was based on the

shoes I own purely out of excitement!

latest season campaign for Savoire Faire

“When we announced

that I would be included in the show, the support was overwhelming, and so many women were thankful that the brand was publicly supporting curvy girls. My excitement was amplified as kind words and encouragement from all around the globe rolled in.

”

at the Savoy; an old Hollywood wave hairstyle, smokey eye, glowing skin and a nude lip. I’ve always been completely comfortable getting my hair and makeup done, so I just sat back and let L’Oréal Paris hairstylists and MAC work their magic. Being one of the first to be ready means the longest to wait until show time, but with rehearsals, run through and fittings, the time passed fast. As I sat backstage, it was clear that I was very different to each model in the show. Being a size 16 around much smaller models, I really stick out and I think some of the girls might have been confused, as they were not aware it was a mixed size runway. There were two larger models in this show – myself and a stunningly curvy size 14 local model

We arrived in Perth on a balmy Thursday

who I did not discover until moments

afternoon and went straight to our hotel.

before the show. Feeling like the odd

For this trip we needed to be right in

one out would usually bring any model

the heart of fashion week and the Pan

down, but I looked at this situation as

Pacific on Adelaide Terrace was the ideal

progress and a brilliantly bold move

location. We checked in and instantly

forward in fashion.

got upgraded to one of the newly refurbished Premier Rooms featuring

Then the rush began! We knew our

sleek, modern furnishings, luxurious

marks, knew our music, and all we

marble bathrooms and a giant king size

needed to do now was get dressed and

Wheels has always been linked with

bed. We also had a stunning view of the

perfected. The moments before you hit

the smaller end of the size spectrum,

Swan River to wake up to every morning.

the runway are a whirlwind. I was so

and being asked, as a size 16 model, to

This floor was absolutely stunning, and

excited and focused and dying to hit the

wear their garments and represent the

perfect for a couple away for both fun

stage. Earlier that evening, I had met the

brand in a fashion festival is something

and work. The staff were so helpful and

lovely women who would be helping me

I’ve always dreamed of. Obviously, my

made our stay so comfortable and easy.

dress and change mid-show, so it was so

answer was a huge YES! Following that

There is nothing like a little hotel break

much easier to not stress when I had that

came the hard part – being tight-lipped

away from home to refresh the mind and

extra bit of help. My first outfit was the

about the event itself. I’ve never had to

body, and before a runway show, this is

stunning Kitty Kat Tie Top, Deadly Nights

hold onto a secret this big, but I knew

essential! I don’t think I have ever been

Pencil Skirt and the most deliciously

how vital it was to reveal such brilliant

so nervous before a big event. I think I

sweet Vivienne Westwood Classic Lady

runway work, but this was so very special to me.

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heels from Melissa Shoes. The powermesh fabric hugged my curves, and the billowing sleeve of the Kitty Kat was absolutely divine! There were no mirrors back stage so it was a little nerve wracking to not know what I looked liked before I stepped out for the world to see. I lined up and focused myself for the first walk, getting myself into the zone and preparing to strut and swing my curves. Then my name was called, and it was time. I stepped out and strutted down the 56 metre runway with pride, making sure I was composed while giving an extra wiggle in my step. The response was overwhelming! Cheering, yelling and so much support as I walked up and down. I could both hear and feel the love from the audience, but I needed to focus. Once I got backstage, it hit me just how amazing that was, but there was little time to take it all in as I needed to quickly change and do it over again. My second and final outfit was the stunning new Deadly Nights Mantrap dress in bright red. I’ve had so much success with the Mantrap’s size in the past so it was exciting to be able to show off the new sheer mesh version. I had no time to worry about if my bigger arms would be shown, if I’d look too curvy, or any of those usually negative thoughts. I just slipped into the Mantrap and walked back out! This time, I knew that the extra wiggle I put into my step might add an extra jiggle, and it turns out it really did. My curves created yet another roar of appreciation, and, from the feedback I received, my chest mesmerized a good portion of the crowd. Oh, the power of boobies!

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With each step I took down the long runway,

last day in style. As the press jumped on all

I was filled with pride, and I’ve never had a

of the images of the show, I was honoured

runway experience like it before. I’d do it all

to be included in many articles and to even

over again in a heartbeat to feel that rush and

be shown on prime time news.

confidence another time. There is so much preparation for a catwalk and in such a short amount of time it’s suddenly over. Being backstage, I missed out on seeing the stunning Dita Von Teese walk each time, but I could hear how much love the crowd had for her, and her outfits were absolutely amazing up-close. I also got to see all of the stunning items in person that I’d only had the chance to view online, and a few extra items that I never knew were being released. I swear my shopping list grew just by waiting backstage.

I knew once I returned home that I’d need to shoot my stand-out favourites from this show and that’s exactly what I did. Being an avid collector of the Dita Cardigan, it was always going to be numero uno on my list, and the deep burgundy shade is divine, but after the show, I instantly fell hard for the Salon Des Fleurs Lara Stone Dress. The fit on this dress makes all body shapes both look and feel amazing. The billowing statement sleeves, like that of the Kitty

Once the show was over, it was time to head

Kat top, are my favourite feature and

to the after party which marked the end of the

every girl needs this little black dress.

whole festival. I got to meet some amazingly supportive people, and recieved heaps of

Then, finally, my long-time favourite

positive feedback from guys and girls of all

item and most lusted after piece – the

shapes and sizes. I felt like people loved

bluebird custom leather moto jacket.

the diversity and really supported having all

I loved that these were used on the

shapes represented on the runway. Photos,

runway with Dita’s lingerie, and they

chats, drinks and lots of fun was had but then,

looked amazingly rock chic. I wore size

exhausted, I had to head home. All of that

16’s in each item, with the exception

anticipation and excitement had taken over

of the moto jacket, as I sized down for

and I’d achieved one of my biggest goals, so it

a tighter fit. This past year Wheels and

was time to relax finally, but when I got home I

Dollbaby have extended so many of their

could barely sleep – the excitement and energy

items to a size 16, and I could not be any

still remained!

more proud to help spread the word and

The next day was, sadly, our last day in Perth, so

represent their clothing in this size.

we celebrated with High Tea at the Revolving

This was the event of a lifetime, and

Restaurant and, of course, shopping. I was sad

I’m so thankful I got to be a part of it.

to have our trip end so suddenly, but so happy

Hopefully other companies take some

to be able to let my hair down and enjoy my

inspiration from this show and the work of Wheels and Dollbaby, and listen to their customers. When I started featuring Wheels’ size 14 and 16 garments in my reviews, the sizes instantly started selling out, and there is a huge market that many designers are missing out on. Hopefully, this is just the start of my work with Wheels and Dollbaby, and not my last runway for them. I adore being able to represent curvy women of the world and inspire others to feel absolutely amazing about themselves. model, stylist & writer Teer Wayde photography Katherine Davis Photography

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An interview with a Diva L A D Y R I Z O, U N E S C O R T E D By Emily Russ

here is a loud hum of anticipation

esque diva before she sings a note.

this work needs to be about immediacy,

as people spill into the infamous

When she belts out soulful numbers and

intimacy and the romance of the room.

Spiegeltent. Much of the crowd is a mix

cabaret versions of pop hits with dark,

of trendy young people and corporate

hilarious rants in between, her sparkling

men over 40, clearly dragged along

aura seduces the audience – even the

by their wives for ‘a night away from

greying sports-jacketed men. As she

the kids’. This is a Lady Rizo show – a

treated Australian audiences to her

magical place where glitter, wit and

‘Lady Rizo: Unescorted’ shows, I was

outrageous talent combine to make

lucky enough to watch her perform and

something truly unique. For those who

ask her a few questions.

don’t already know the name, oh, you have much to learn.

EMILY: For those who are unfamiliar with you, could you please tell me

Her life sounds like something from

a little about what audiences can

a movie. Growing up in what she

expect from your shows?

affectionately calls an ‘artist community’ in Oregon, USA, Lady Rizo rebelled with glamour. While some of us acted out with eyeliner and bad choices, her weapons were uncomfortable shoes and things that sparkled. After putting in the hard yards performing on a cruise ship for the nearly dead, the cabaret superstar went on to perform regularly at some of New York’s most prestigious venues including The Darby Club and

EMILY: I absolutely love your dark humour and how you see the funny side in a lot of 21st century problems and use it to belt out these powerhouse numbers. Do you find this liberating? LADY RIZO: What I really try to do is reflect the whole human experience. In my shows there is this heightened edge of glitter in your eye. There’s sadness and pathos and especially the feminine experience of emotion, which is, in a

LADY RIZO: I introduce myself as a

good and bad way, more expressive.

chanteuse at cocktail parties. I’m a

It’s a gift that we can feel these things

comedian and cabaret singer and

but it can be overwhelming, and I like

professional flirt, really. I deal with

to embody that in a way that even the

mass seduction of the audience. I do

tightest straight man can get some

it with glamour and luxury. It doesn’t

relief from it.

matter what your gender or age is, I don’t have an ulterior motive, just to have you in the palm of my gloved hand. And then the gloves come off.

Joe’s Pub. The list of accomplishments

EMILY: You always seem to create

continues with her 2010 Grammy win

these intimate experiences with

and having sung for names such as

plenty of audience participation. Is

Prince, Beyoncé and Jay-Z.

this something that you aim for when

EMILY: Your shows have a lot of variety, and it’s awesome how you don’t just sing a lot of the clichéd cabaret hits, but also a lot of original material. How do you choose the songs that you perform? Do you just hear something on the radio and think, ‘oh, I wonder how

you go on stage?

that’d sound in a cabaret style’?

jewels to make the great Elizabeth

LADY RIZO: Definitely. I feel like, what

LADY RIZO: It’s little things that

Taylor jealous, she is a Hollywood

else are we doing live performances for if

starlet reimagined. Her designer gown,

there’s not some sense of ‘it happening in

proudly showing off a huge baby bump,

the room’, ’only tonight’? We have tonnes

introduces her as a Dusty Springfield-

of other content to be entertained by so

When she emerges on stage in enough

strike my imagination, musically or theatrically. So much of the secret of great performers is that it’s just a delight to watch someone do ADORE PIN UP 19

something that they’re really enjoying.

LADY RIZO: I really like to paint and draw,

They have though, that Brits’ don’t

I think that’s number one – I have to

and to ‘paint your face’ as the queens

have, a more relaxed ease. They have

want to sing the song, I have to love

say. It’s very meditational for

a real casual-ness about them in some

something about the song. People

me to sit in front of a mirror and do

situations where I’ve found British

often send songs to me with some

the makeup – it’s good preparation. I

audiences to be really strict unless

suggestions. It usually has to do with

don’t do my own hair though, it’s just

totally drunk.

some kind of arc. Is there a theatrical

frustrating, you can’t see the back of

arc I can find? An approach? Is it so

your head. I’ve tried for years.

deliciously fun or just beautiful? But I know it when I hear it. With writing my own songs, it’s a bit harder because there’s a lovely difference that happens with other peoples’ work where you can

EMILY: You’ve performed for some big names in some amazing places.

EMILY: I have to say, congratulations

What would you consider to be the

on the baby! Are you worried that

highlights of your career so far?

you’re going to go into labour on stage?

LADY RIZO: I loved performing for the Swedish royal wedding at the palace.

not feel so responsible for

I also really loved doing

the content and you can kind

Sydney Festival actually.

of make fun of it or not. With

It was a big thing for me

my own songs it’s a little

because it was my debut

bit more vulnerable, but I’m

in Sydney and for some

proud as well. I’m proud to

zeitgeist-y reason I sold

present my own songs, but it

out like a 500 seat theatre.

does come with an element

For so many years you’re

of fear because you’re

trying to get people to

exposing your original work.

come to your shows, you’re just tirelessly promoting

EMILY: Do you have a

yourself. And then that

favourite song that you

happened and it’s like

perform?

‘oh, I just show up and it’s

LADY RIZO: No, they’re like

already in motion’. So that

children, you can’t have a

was very exciting, and also

favourite. Also, the moment

it’s where I met my love and

you pick a favourite you’ll

I’m having his baby now, he

get sick of it. I have a long-

was the lighting designer at

term love affair with this

Sydney Fest.

song called ‘Lilac Wine’

EMILY: What’s next for

which was written in 1950

you? What can we look

by James Shelton, and Nina

forward to?

Simone performed a cover of it and I just love so many

LADY RIZO: I’m having a

things about that song. I

baby! Maybe I’ll have a

love the setting, I love the

sidekick, maybe I’ll teach

emotions it conjures.

them to do harmonies and to at least do up my dresses.

EMILY: I am mega jealous of all the gowns you wear. Do they

LADY RIZO: Get a ticket, it might happen!

I’d like to do bigger, more

help you get into diva mode?

I have another six weeks to go but

theatrical shows with more people. I

babies have come that early. It would be

have another album that’s going to be

LADY RIZO: Oh definitely. There’s

a great show.

released soon and I’d like to do some music videos.

different ways you stand in a gown. Marchesa dress me occasionally but I’ve

EMILY: You’ve performed in Australia

fluttered around with other designers.

before. Here comes the token Aussie

I’m actually wearing a great designer

question. What do you like about

named Norisol Ferrari and I’m excited to

performing in Australia?

support younger designers.

LADY RIZO: I feel like Australians really

EMILY: You always look amazing!

have that British, Commonwealth tie and

You have awesome makeup skills.

they have a real respect for theatre and

How did you get so good at it?

the importance of live entertainment.

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Adore Pin Up would like to congratulate Lady Rizo on the birth of her son Tennyson. To check out Lady Rizo’s work and to look for future shows visit www.ladyrizo.com.

2015 WINNER BELLA DE JAC BY ALYSSA HANLEY WITH NYLON RIOT PHOTOGRAPHY ADORE PIN UP 21

An artist who has truly perfected the art of inspiring feelings of anticipation from her audience. The rustling of her long, silver skirt onto the Miss Burlesque Australia grand final stage in Darwin felt as though it was the calm before the storm. Slinky, quick steps to the tsking beat of the drum, her face hidden behind a huge magpie-esque hat, precise and sharp hands point down to her hat – “Oh yeah, we want to see what’s under that!” From a monochromatic colour scheme, lilting fingers invite the crowd to “come hither” into a bursting flourish of rainbow-colour lorikeet wings. Visually magnificent, spectacular and all the while seductive and feisty. After four years of competing in Miss Burlesque Australia, Bella de Jac has finally taken the crown. Her performances at the 2015 grand final, held in Darwin, were nothing short of both staying true to her own style and pushing her own boundaries as a performer. Bella de Jac has an illustrious past within the competition as a previous Miss Burlesque Gold Coast (2011), Miss Burlesque Queensland (2013) and the reigning Miss Burlesque Victoria.

“ Her grace and

elegance onstage is renowned, but don’t be fooled – she bumps and grinds with the best.

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Known as Australia’s mistress of tease, Bella de Jac has been a mainstay on Australian stages since 2010 after moving back from the UK, where she performed for two years. She’s been called “devastatingly sensual” which anyone will note, is an incredibly apt description when she glides across the stage with her dark brunette bob, eyes as deep as black water and delicate hands that make you feel as though you are dirty just watching her. Her grace and elegance onstage is renowned, but don’t be fooled – she bumps and grinds with the best. A powerhouse of the Australian burlesque scene both on and off the stage, Bella is also the founder of the Australian Burlesque Museum and produces regular shows BEAST and HOWL! Alyssa Hanley caught up with her to talk about her win at the 2015 Miss Burlesque Australia grand final. ADORE PIN UP 22

ALYSSA: Congratulations on being

had always considered myself a

BELLA: Oh yes! That act was inspired

crowned Miss Burlesque Australia

“classic” performer and I started to

very close to home. Tiberius is my

2015! This is your 4th year entering

understand that I didn’t really know what

adorable, not-so-little ball of fluff

the competition – how does it feel to

a bump and grind was, and what classic

and claws and teeth who inspired

finally win the crown?

could be. It taught me to respect where

#burlycatspam. What some of you

this was all coming from. It also showed

may already know is that burlesque

BELLA: Thank you! I don’t really know

me that I shouldn’t be classifying

performer and crazy cat lady go hand in

how to describe it. Surreal. I worked

myself as anything but a performer, not

hand, and there is an Instagram hashtag

incredibly hard, as I’m sure everyone in

as “classic” or “neo”. Because of the

dedicated to the combination of the

the competition did. But I don’t think I

competition I’ve pushed myself into

two. The act idea started when I was

ever really thought I’d get the big crown!

much fiercer territory than I ever would

joking with a friend about all the utterly

Apparently all the photos of me walking

have tried on my own. And comedy! Who

ridiculous things Tiberius does, and how

out onstage to be crowned are unusable

would have thought I could be funny!

funny it would be to just smash all the

because I’m pulling some crazy faces. Now that it’s finally sinking in I’m so excited. Perhaps there’s a bit of relief too, and sadness. I’ve loved competing, it’s been such an incredible experience. ALYSSA: Your hard work is definitely a testament as to what it takes to win this competition. Now in its sixth year – what do you think the competition means for the Australian burlesque community? BELLA: Miss Burlesque Australia has meant quite a lot to me personally. I intend on continuing to be involved in other supportive capacities because I think it’s important for other performers to get the opportunity to be part of it if they wish. I think MBA has had a huge impact on the Australian Burlesque scene. Competitions are not for everyone, but for those who want to use it to further themselves in a friendly and positive

Ultimately I think we get out what we put in. Never underestimate the positive effects a little spice and controversy can do to shake up an industry though! ALYSSA: You are well known for your

things he does into one act. I actually ended up having to cull a lot of jokes to fit the time limit so I think there will have to be a #burlycatspam part two. ALYSSA: I’m sure it would go down really well as a web series!

fierce classic performances – you

BELLA: There’s definitely enough

did not disappoint on that front this

material for it!

year. Tell us about your classic act – what was the inspiration? BELLA: My classic performance this year was a very special one to me. The costume idea has been in my inspiration notebook for years. I’d flick through and more ideas would surface, and then other acts would become priority. Then this year I decided it was ready to be made. On June 15th this year one of our fieriest legends passed away. I was devastated. Blaze Starr was a fabulous, witty, sexy woman and I admired her so, so, very much.

manner, I think it’s an incredible

It was like the idea said, “Ok, we need to

opportunity. I can only really speak for

do this now. Let’s pay our respects.” It’s

what it has done for me, and I believe

not really a tribute in the conventional

that a lot of other performers have had

sense as it’s not a recreation of one of

the same experience. I was virtually

her acts, it’s simply my tribute to Blaze

unknown to the Aussie burlesque

and all of the legends. The women who

community when I returned from the

carved a path for us now and inspire me

UK. Deciding to enter that first year

to get back on stage no matter what. I

was the best decision I could have

get quite emotional after I’ve performed

made. I met performers and producers

it. I actually feel quite emotional talking

from all over Australia and became

about it!

instantly immersed in this supportive

ALYSSA: What is your advice to those thinking about entering the competition? BELLA: My advice would be to consider what you want to get out of it. I don’t think anyone should go into a competition with a win-at-all-costs attitude. Healthy competition is great and it’s good to push yourself and your limits, but if winning is the only thing you want to get out of it it will likely be a very disappointing experience. Use the experience to meet other performers and producers, learn how to write yourself a good bio and press release, pluck up the courage to look for press opportunities, to create acts to a deadline and create the best work you can within the guidelines of the competition. Don’t forget that you can expand on your acts once the competition is over! Be respectful and courteous with everyone involved, from the stage

community. I’ve made some of my

ALYSSA: She was a great inspiration

kittens, to your fellow performers,

best friends and creative partnerships

to many. It was a really spectacular

producers, stage manager, venue staff,

through this competition.

number. And incredibly different to

everyone. You’re all in it together and

your other act that you performed

your behaviour may affect whether

It also pushed me to create outside

at the grand final. This is your first

someone you worked with books you

my comfort zone, to a deadline and to

comedy number and it’s absolutely

for the next show they put on. When it

really research the roots of Burlesque. I

hilarious. Tell us about your cat act!

comes to creating acts, don’t be afraid

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to use existing shows. Research,

preserve and celebrate our own

including storytelling, song and

research, research, then rehearse,

trajectory in this crazy art form and the

burlesque, which muses on the

rehearse, rehearse!

people who made it all happen. We

duality of humankind and of women.

have a huge amount of support, which

It became in a way, a feminist fairytale

is really lovely, and our first exhibition

for adults. It was received really well,

opens on the 26th of November at

perhaps because it mixes the darker

Hogan Gallery! We’re very excited.

more poignant moments with humour

It’s called ICONS, and will celebrate

and sass, and when we brought it to

some of Australia’s pioneers of new

Melbourne it was for the most part sold

burlesque, with costumes, props,

out. We’ve set our eyes on taking it up

photos, videos and lots of lovely things

the East coast next!

Invest wisely in your costumes. You will need to invest a little effort and money, but don’t bankrupt yourself. A little fact for you: the g-string from my classic costume came in a 3-pack from Kmart! Covered in sparkles and fringing it looks the part though. The money I spent went into the dress because that’s something that needed a professional to do properly. I’d like to see more performers honing their craft in the studio, getting private lessons with

to look at! All the information about the exhibition and special events that will be happening during this time is on our Facebook page and website.

experienced performers and rehearsing

ALYSSA: You also produce and tour

their acts. You should feel amazing

a theatre show called Beast. What

when you get out onstage! Not worrying

does that involve?

that you might forget your steps. ALYSSA: When you see someone with their eyes on the prize – you just know. You seemed very determined this year, did you go into the competition with eyes to win? BELLA: I think in my heart I knew this would be my last year no matter what, so deep down I really did want that crown and sash! It was a lovely journey though, doing two acts that were so meaningful for me meant that my focus before the grand final really was on putting on the best show I could. My mantra for the show was ‘gratitude and celebration’. I walked out onstage feeling so thankful for the opportunity to pour my heart out. ALYSSA: You are a very busy lady – you are also preparing for the opening of the Australian Burlesque

“Australia has had a

habit of glamourising performers from overseas. Not that they weren’t worthy of adoration, but we have a tendency to neglect our own. As a nation we’re not big on talking ourselves up. We want to research, preserve and celebrate our own trajectory in this crazy art form...

”

BELLA: Beast is a two woman show with

ALYSSA: So now you have the big crown – what are your plans for your title-holding year? BELLA: My plans are to really use the title to further the work of the Australian Burlesque Museum. My community has given me a lot, I’d like to give something back. Once the opening exhibition is finished we are focusing on at least 12 months of research before we look at putting on more exhibitions. I feel a sense of urgency in research and preservation at this stage, particularly as we’re so new. With my own career there will be a tour of course! Myself and Egson Ham, the Mr Boylesque winner will be working with The Strawberry Siren to put on quite a show around Australia. Beast will also be touring, and I am looking at the possibility of some international performances next year. There are a few other cogs in motion but nothing I can talk about yet! ALYSSA: Thank you so much for taking time out of your busy schedule to chat with us. Adore Pin Up wishes you all the best for your

Museum. Tell us about this.

myself and Kerry X, another Melbourne

BELLA: The Australian Burlesque

Burlesque Noir style. It was Kerry’s

Museum is a true passion project that

idea initially. She came to me with the

started when a number of us performers

idea because we’re often considered

were struggling to find information on

to be different styles of performers.

Australian burlesque history. I think

Kerry does a lot of horror and dark

in previous times Australia has had a

performance, and I have a lot of

habit of glamourising performers and

showgirl style acts, so she wanted to

productions from overseas. Not that

be the “Beast” and I’d be the “Beauty”.

they weren’t worthy of adoration, but

An opportunity came up to perform

we have a tendency to neglect our own.

with a caravan theatre called STRUMPET

To follow Miss Burlesque Australia

As a nation we’re not big on talking

during Adelaide Fringe and we decided

into 2016, visit their website www.

ourselves up. We want to research,

to turn it into a fully crafted show

based performer known for her

year as Miss Burlesque Australia!!! We look forward to seeing everything that you do! BELLA: Thanks for having me! Visit www.belladejac.com to follow Bella’s touring schedule. You can also find her on Instagram and Twitter under the handle @belladejac

missburlesqueinternational.com

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photography Lauren Horwood model Jade Hudson – Vivien’s Model Mgt makeup artist Maree Spagnol wardrobe Wheels and Dollbaby

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AN INTERVIEW WITH VICTORY LAMOUR THE PIN UP PERSONA OF TARA MOSS photography Lauren Horwood muah Kat Creasey location Luckyâ&#x20AC;&#x2122;s Speed Shop interview by Brianna Blackhart

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ictory Lamour is a vintage lover in V the modern world, interested in body positive pin up, sustainability and recycling, mid-century history, film, fashion and design. If you’re new to the Australian pin up scene but you recognise Victory’s face, it’s because you’ve no doubt seen it before. Victory is the pin up persona of bestselling author, award-winning journalist, television presenter, human rights advocate and international model Tara Moss. Adore Pin Up Editor Brianna Blackhart sat down with Victory in the retro-chic QT Hotel in Sydney to discuss the origins of Victory’s love for vintage fashion, her wealth of work, the way feminism intersects with the pin up community, and the importance of promoting diversity and learning from the past, and this is the interview that followed. ADORE PIN UP 32

BRIANNA: In February 2013 you wrote your blog post ‘Hate the way modern fashions treat your curves? Go retro’ after realising your issue was not with your post baby curves, but the way modern clothes fit (or didn’t fit) them. Tell us about your journey throughout the world of vintage fashion since then, and your favorite mid-century pieces you have acquired along the way. VICTORY: The personal revelation that I loved my new curves and wanted a style of dressing that suited them was in some ways typical, I’d say, in that I re-watched a midcentury black and white film starring Marilyn Monroe and it struck me in that moment that certain midcentury styles suited my new, more hourglass shape much better than modern cuts and lower waistlines. I’ve always appreciated the look of vintage styles on other women but had not thought I could wear them myself, perhaps because of my height (I am 6ft) or because I really didn’t know how to begin to find vintage to fit me. From there I became obsessed with re-watching classic films and paying attention to the styles and silhouettes. I don’t live in the city, so a fair bit of my initial shopping was done in local op shops and online. Since then I have also discovered wonderful vintage stores with good stock, and I’ve also come to love a lot of small businesses making or selling handmade repro, as my wardrobe is a about 50/50 vintage and repro. One of my all time favourite pieces is a red and black check late 1940s vintage dress from Glencheck in Berlin. It is cotton, but so beautifully worn that it feels like soft silk on the body after all these years. Berlin had some of the most remarkable vintage boutiques I have ever seen. They were like mini museums. Another of my favourite vintage pieces is a faux fur swing coat from Pink Flamingo in the Blue Mountains, and a blue vintage late 1950s Monarch makeup travel case used by January Jones as Betty Draper on the set of Mad Men. It takes pride of place. BRIANNA: What made you choose the pin up name ‘Victory Lamour’? What is it about having a separate ‘pin up name’ or persona that appeals to you?

VICTORY: I was on holiday with family in Western Australia at Christmas time last year when the idea first came to me. I wrote down some names and tested them out for a few days – Victory Lamour was the one that stuck. She is ‘Victory’, for pioneering WWII women, and Lamour for love and for Dorothy Lamour, the screen siren. A ‘victory of love’, you could say. In my case my alternate or pin up name isn’t a way to be truly anonymous, which is how some early pin ups and performers had to use their alternate identities, but rather, I see it as a natural and transparent extension of me – the opposite of hiding. Perhaps because I am a fiction writer I felt I could get closer to the fullness of my experience of vintage, closer to my sense of history and the uniqueness of the scene, by taking on a name that

Lauren Horwood and Sherbet Birdie. In your experience, how has shooting for work and shooting pin up style photos for leisure been a different

signals when I am in that space.

gender and performativity.

My love of vintage is very much part of my self-care – it energizes me creatively and helps to balance what can sometimes be very heavy advocacy work for women and children in difficult circumstances, in war zones or escaping violence at home. I felt I needed some separation between Tara Moss the advocate and Tara Moss the vintage nerd, and Victory allows me to explore that other dimension more fully and unapologetically. I can’t have one without the other in my life. They

BRIANNA: Rather than just celebrating vintage clothing flattering you, you credit the pin up community as providing a body positive space. What does body positivity mean to you, and how do you envision its link to vintage fashion and our community? What would be your response to the suggestion that body positivity and self confidence would come more

balance me.

VICTORY: I strongly believe in freedom of expression, as well as greater diversity – size, race and age and cultural diversity – in all areas of life and public influence, from politics to the media and advertising. I have written on this topic often, and spoken out about it from town halls to classrooms.

I wanted to expand my experience of vintage and retro, the history as well as the scene and people in it, and create a special space for those interests at VictoryLamour.com, where I can highlight great women in the scene, as well as restoration and recycling, body positive pin ups, hair tutorials and more. So far I believe it has been a good decision, because I enjoy my time in Victory’s part of my world, and it has opened up a lot of enriching interactions with others who have similar interests. So far, having two names hasn’t triggered any existential crisis – at least none that wasn’t pre-existing. BRIANNA: You have a long career as an international commercial, editorial and runway model. Recently you have begun shooting with local pin up photographers like

experience? VICTORY: I have been fortunate to shoot with some incredible photographers over the past 25 years, and I have developed a love for photography, art and design. There is something very different about being a model, versus developing an idea and shooting it. A few months ago I finally shot something I’d wanted to for years – a gender fluid rockabilly shoot, where I transformed from a woman into someone non binary and androgynous and finally transformed into a man, moustache and all. Shoots like that are exciting. You can explore the boundaries of self, self-expression and presentation,

easily to a successful model?

The vintage and retro scene has a flourishing body positivity movement within it, and I want to celebrate and shine a light on it. It is one of the reasons I feature body positive pin ups (and in future, designers) on my Victory Lamour blog and elsewhere. In this way I consider myself an ally of the body positivity movement. The vintage and retro scene, because it is ‘other’ than the mainstream – its own subculture or scene – allows for a more alternative and diverse set of subjects and looks. The commercial pressures are very different, or even altogether removed in some cases. ADORE PIN UP 33

“You can’t tell by looking

at someone what their relationship has been to their body, what illnesses, losses or joys they have experienced through that body they live in. I have a good relationship with mine, especially now that I am in my forties – despite the fact that I am by some narrow standards supposed to be ‘unsexy’ according to a middle-aged mum stereotype...

”

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Body positivity is a pretty subjective and personal space, of course. You can’t tell by looking at someone what their relationship has been to their body, what illnesses, losses or joys they have experienced through that body they live in. I have a good relationship with mine, especially now that I am in my forties – despite the fact that I am by some narrow standards supposed to be ‘unsexy’ according to a middle-aged mum stereotype – but I also had eating disorders in my younger years and was forced to lose too much weight when I was modeling. I have experienced chronic pain from my scoliosis, sexual assault and miscarriage through this body, as well childbirth, joy, pleasure and physical adventure. We experience the world through the skin we are in, and sometimes that can be complicated. But I also recognize that despite my various challenges, I have never had a body that attracted great ridicule or body shaming simply for being the way it is, because my body fits within a certain framework of what is ‘socially acceptable’ or normative in the society I live in. I am able bodied. I am not extremely thin or overweight. That’s why I consider myself an ally of the body positivity movement. I can’t speak from personal experience to the reality many face of being appearance diverse in a way that causes daily challenge. BRIANNA: Our society tells women to embrace traditional elements of femininity, particularly in relation to dressing and grooming, and to take pride in our appearances and be confident, however it is very ready to criticise us for being vain or shallow in these pursuits. Your experience with being labelled with the ‘fictions’ of not just ‘model’ (that is, being ‘nothing but a model’), but the monikers ‘dumb blonde’ and ‘bimbo’, is something you have written about extensively in your best selling book The Fictional Woman. In the book you also discuss your experience with not being treated as a ‘real’ author because of your modelling career and the perception that they are somehow incompatible, and in the past you even took a lie detector test to prove you penned your own writing. More recently, you received some critical social media comments about wearing red lipstick while visiting Syrian refugee camps as part of your work with UNICEF, and this included the suggestion that you, a celebrated human rights advocate, were just doing a “photo op”. How do you feel about and attempt to navigate this kind of conflict between, on one hand, the pressure to fit into the guidelines of traditional femininity, and on the other, the fall out for embracing femininity on your own terms and in combination with other parts of your life? Do you think that the vintage persona you have adopted makes this contrast more stark? VICTORY: ‘Gender’ as opposed to the biology of ‘sex’ is a social construct, and it is performed, and performed differently by different people. Many have written on this before – Butler, de Beavouir, etc – and I believe that separation of gender from sex and the acknowledgment of ‘performance’ is helpful in seeing the social pressures and traditions of gender that are at play in our everyday lives. In the mid-century, certain gender ideals and types of gender performance were very prominent. It can be argued that by adopting some of these outward expressions of gender now, when they are not ‘fashionable’ or ‘modern’, shows them for what they are, and makes them open to reflection and even subversion, rather than wholesale adoption in the spirit in which it might have been intended when those expressions were new and fashionable for their time. For example, in the scene it is common to see a woman in a conservative vintage 1950s dress, but with tattoos and/or piercings, or brightly coloured hair. There can be no doubt that the original meaning of those beautiful clothes have altered with time, and have changed to suit the individual. I enjoy that play on sartorial meaning, and the ways outdated clothes can suit progressive personalities. I also enjoy the re-discovery of old things, because frankly they are both beautiful and necessary. We can’t go on fetishizing the ‘new’ with our landfills and oceans overflowing with discarded things.

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photography Lauren Horwood muah Kat Creasey location Luckyâ&#x20AC;&#x2122;s Speed Shop

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In terms of the way we fictionalize the feminine, I think there is little doubt that we have historically tended to deify or demonise the feminine, so there is no realistic position to occupy as an actual, real life woman that is not influenced by or up to criticism precisely for those comparisons to the mythical or ‘fictional’ female. This can be observed, for example, in the multitudes of ways the female form is used to represent ideas like ‘Liberty’ or ‘Valour’, usually while partially clothed, while actual historical women are not represented at all. Of the 22 historical statues in New York’s famous Central Park, for example, all are male. We don’t do much better in Australia, though we do have statues of the queen. In all this there is a complex relationship to what is ‘female’, to ‘femininity’ and the concept of ‘woman’. If you are female but you ‘aren’t feminine enough’ you are bullied. If you are too feminine or decorative you are bullied. If you are male and you show some softness, sensitivity or vanity you are bullied for being ‘feminine’. It is fraught, as is the whole relationship between femininity and sexuality. All you can do is be you, and engage in the aspects of self and selfexpression that motivate and inspire you. For me, self expression usually involves red lipstick – my ‘crimson steel’ that helps me feel prepared for anything. That is true at home when I am writing books, in studios when I am being photographed or filmed, and when I am volunteering my time as UNICEF’s National Ambassador for Child Survival in refugee camps on the other side of the world. If people want to criticize the 30 seconds of morning ritual that is my wearing of lipstick while I am spending days in Syrian refugee camps, I can confidently say it isn’t about the lipstick. And also, I can confidently say these (few) critics aren’t using their eyes to see the other women in the images, the refugees themselves, because almost all of them are wearing makeup as it is part of their identity as Syrian women. Likewise the Lebanese aid workers who are women. Even many babies wear eyeliner there. It is a cultural norm to decorate. Yes, there is always a way to criticise a ADORE PIN UP 38

woman by appearance, and that lazy faux-superiority has been indulged far too long and far too often for my liking. BRIANNA: On the topic of receiving criticism from the public, online harassment is a big issue in the modern world, and it particularly affects women, especially in terms of sexual harassment. It appears to have a niche in the pin up community, where many women talk of being repeatedly propositioned and sexualised by male strangers online. Curvy and plus models also report being targeted with taunts about their weight in what is intended to be a safe, body positive community. You hold the role of ‘Family Ambassador on Cyberbullying and Children’s E-safety’ for online security software company Norton, and advocate for the need to teach better online ethics. Do you have any thoughts on carving safer spaces for women and young people online? VICTORY: Many groups of people get harassed online, including LGBTI youth, those who are appearance diverse or are minorities, and there is sadly also a wave of misogynistic sexual harassment, including graphic and sexual death and rape threats aimed particularly at women and girls online. The scale of it is only now starting to be recognized, and it has implications for safety and wellbeing as well as democracy and participation in online spaces and public life. I don’t have a magic, one step solution to this problem, but I do believe recent moves to update the law to keep up with technology is a vital change. For instance, there are now moves to specifically outlaw ‘revenge porn’ (explicit images shared without consent) and online bullying is now starting to be dealt with more adequately, with jail sentences when appropriate. It is against the law to make death or rape threats, or to encourage a person to kill themselves, and this is true online and in person. People need to recognise online ethics apply, as does the law. In my school talks I cover all of these issue with the kids, and speak about what their rights are, and how they can

report crimes against them or others. In my new non-fiction book Speaking Out, which is out in June, I have a large section on this subject. The last thing we want to do is to leave public spaces to the bullies. Supporting one another and being ethical digital citizens can help a great deal. BRIANNA: I have witnessed several women in their 40s who are interested in vintage fashion and the pin up culture express that they do not have the confidence to pursue it, and complain that it is a young woman’s community – which is ironic considering the age of 40s and 50s fashions. Do you have any thoughts on how to build confidence in the face of a perceived (or real) age gap? VICTORY: I do think we could benefit from greater age diversity, body diversity and racial diversity, and that is true in the vintage and retro community and in the broader mainstream. In the vintage and retro community it can be very young, and that is also true of the mainstream. The visibility of older women – I mean we are meant to live on average to age 86, not 35 – is important to me, and I see that as an aspect of body positivity which is less commonly acknowledged. The reality is, vintage suits anyone who wants to wear it. It can even especially suit older women, some of whom are truly experts in the style as they have been practicing it for decades. They are out there, it is just a matter of finding those women and shining a light on them, as Ari Cohen has done with Advanced Style, for example. I’d like to focus more on that relatively unseen element of the community on my blog in future. BRIANNA: Something that you spoke about when we met was the importance of encouraging ‘reflective’ rather than ‘restorative’ nostalgia (terms coined by academic Svetlana Boym) within modern vintage culture. Can you tell us a bit more about what that means? VICTORY: The late academic Svetlana Boym coined the terms ‘restorative’ and ‘reflective’ to refer to the two primary types of nostalgia she observed – one coming from a place of desiring literal, wholesale restoration and believing that past times were actually better or

“ If you are female but you

‘aren’t feminine enough’ you are bullied. If you are too feminine or decorative you are bullied. If you are male and you show some softness, sensitivity or vanity you are bullied for being ‘feminine’... All you can do is be you, and engage in the aspects of self and self-expression that motivate and inspire you.

”

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more ‘pure’ or correct than now, and the other coming from a place of reflection on history and the passing of time. In the vintage and retro scene that divide might be characterized as those who believe the midcentury was literally a better time to be alive vs. those who would never think that, particularly because of the gender and racial inequality, etc., but who love the midcentury focus for other reasons, or who believe some things were better then, while others were not. As I have always been drawn to reflections on time and history, the patina of the old, the ruins of old buildings, the appearance of aged images, etc., and because I am progressive and a feminist interested in human rights and equality, I fit very much into the ‘reflective nostalgic’ definition, rather than the ‘restorative’ type who literally wishes all could be as it was back then. Having said that, there is no strict divide necessarily, and many of us have elements of both types of nostalgia that motivate our interest in the past. I can still think that some things about that period were better than what we have now – the slower pace, the reusing and mending of the forties, etc. – without adopting a wholesale belief that restoring that era would be beneficial, but overall I fit very much into Boym’s description of a person with an impulse towards ‘reflective nostalgia’, while more conservative leaning people tend to fit the ‘restorative nostalgia’ definition more closely. I am writing about this in my PhD at the moment, so perhaps I will be able to explain it more thoroughly when that is complete. I do recommend The Future of Nostalgia by Svetlana Boym for those interested in these concepts. BRIANNA: You recently won the auction of several props used on the set of Mad Men, including a vintage blue Monarch makeup case owned by January Jones’ character Betty Draper. As a fan of Mad Men, did you feel particularly drawn to Betty’s character? VICTORY: I felt Betty was a product of her time, was misunderstood, and that she ultimately felt betrayed by the ideals she’d been brought up with. She did all the things she was taught to do – she

made herself beautiful and stayed slim as she was taught to, she practiced good manners, she had children and cared for them and kept the house nice as she was expected to – and her husband Don lied to her, took her for granted and cheated on her, breaking up their family dream. She must have felt the security she’d been promised for her work had just been an illusion, a lie. I identified more closely with Peggy and Joan, as working women, but in truth I felt that all of the women on the show were well drawn. I also won a compact used by Christina Hendricks playing Joan’s character in the series, and that takes pride of place in my boudoir along with Betty’s case. BRIANNA: Your young daughter Sapphira often features in your vintage style photographs, usually not posing, but as a natural part of the frame. Is Sapphira just happy to be doing what her mum is doing, or do you think she particularly enjoys being on set in the shoots? Does she engage with any other aspects of vintage culture you appreciate? VICTORY: Sapphira grew up watching me work, and she has an ease with the camera. I hosted a crime documentary TV series (Tough Nuts – Australia’s Hardest Criminals) when she was just 3 months old, with my husband Berndt and Sapphira both on set so I could breastfeed between takes, so it is unsurprising, I suppose, that she would see cameras as a regular part of life. At this stage we have made the decision to protect her from social media exposure by not showing her face in an identifiable way online, until she is older and she can decide for herself what she wants. She is a huge part of my life so she is in photos, but it is often the back of her head, or she is wearing big sunglasses or hats that obscure her face, and we save the clear images for our own personal albums. She adores our vintage caravans. They are like a cubby house on wheels to her, and we always keep books and toys in the cupboards. She also loves the women in the scene, with their colourful dresses and flowers in their hair, and she also loves the tattoos. I don’t know if she understands exactly what it is, as she is just 4, but she loves vintage and the vintage and retro look, undoubtedly.

BRIANNA: You own two vintage Viscount caravans with your husband, which you named Bettie and Lady Lamour. Can you tell us about your recent caravanning adventures? What does travelling in vintage bring to your trips? I adore time in our caravans. They are kitsch, cheerful spaces and they give me joy. I write books and blogs in them, we holiday in them and we use them as extra guest rooms when loved ones and friends visit us. Travelling in vintage matters to me because we are re-using old materials, and to me they are far more stylish and fun than any modern caravan I have found – at least in our price range. Vintage caravans are great way to holiday often, especially with kids, because of the freedom and lack of expense. There is no shower, no toilet – they are old school Viscounts with a dining area and sleeping area, and small kitchen and hanging space for your frocks and suits, just as they used to dress when holidaying in the midcentury. When we pull up in our caravans we are the most colourful thing in the caravan park, and kids come to us like we are a magnet. It brings smiles and conversation – our pink flamingoes probably help with that, too. I just wouldn’t want to do it any other way – the smiling and pointing as we drive through old country towns, the conversations with ‘grey nomads’ who had their honeymoon in the same kind of van in the 1960s, waking up to the bright colours and cozy space, the way you can just set off when you want to, the freedom – all of it. BRIANNA: What’s ahead for Victory Lamour in 2016? VICTORY: There are a lot of vintage collectors, pin ups, performers, restorers and retro designers I would love to interview at VictoryLamour.com. I am also finishing my next non-fiction book and looking forward to delving further into my academic study, which coincides nicely with the themes in the scene. Watch this space. And congratulations on your magazine. Independent publications rock.

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TA M BOR INE M O U N TA I N , G O L D COA S T, Q L D

Honey’s photo shoot by Holly West Photography Event photography by David Gatt Words by Paul Biagini Interview by Brianna Blackhart Pictured opposite Lucy Luxe

GarterBelts & Gasoline #7 has now been and gone, and

list. Some of this year’s ten stunning contestants applied

while we are all suffering a bit of post-festival blues, it

for up to five years before being chosen to compete in

is time to reflect and report. Held on top of Tamborine

what is now an internationally respected event.

Mountain in the Gold Coast Hinterland, Garter Belts & Gasoline runs over three days and nights, and pays

The GB&G Pin Up Contest is so much more than a bevy

homage to the culture inspired by the 1940s and

of ladies “standing around on stage”. Contest organiser

1950s American Hot Rod Culture. This year the live

Amanda Biagini calls for a very high standard from the

music stretched over most of the weekend with the big

girls, and on the big night, all ten entrants are expected

nights being the Friday and Saturday nights headlined

to present themselves to the judges and audience with

by American acts The Roy Kay Trio and The Margraves.

a full production and routine, with two girls this year

For the lovers of all things with wheels, the Vintage

actually singing (and sounding like angels). Each year

Soap Box Derby held on the Saturday morning and the

the festival operators invite some international VIP’s

car show at the Sunday Carnivale was the place to be.

to the festival, and this year was no exception, with the

As the name suggests, the two key elements to the

two headline bands from the USA being accompanied

weekend are beautiful women and cars. Both of these

by world class pin up photographer Holly West and

wonderful elements are accompanied by a killer art

master artist Shawn Dickinson, both out of California.

exhibition, outstanding bands and vintage markets.

This years Miss Garter Belts & Gasoline winner Honey Holloway won a photo shoot with the amazing Holly

The GarterBelts & Gasoline Pin Up Contest has been

West along with many other prizes, and a title to be

referred to many a time as “The Premier Contest” on

proud of for many years to come.

the Australian pin up circuit. Many of the girls following the now national circuit bow out or retire after being

If you would like to follow updates on the 8th

accepted into the GB&G contest, stating that they had

Garter Belts & Gasoline Festival, head to

finally made it and have nothing else on their must-do

www.garterbeltsandgasoline.com

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MISS GARTER BELTS & GASOLINE 2015 H O NEY H OLLOWAY p ho t o graphy Ho lly We st muah Nico le Fa rrel ly

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Residing in sunny Brisbane, Honey Holloway is a film student by day and burlesque student by night, and enjoys pursuing modelling as well as attending vintage events and watching classic films on her weekends. The ‘Miss Garter Belts and Gasoline 2015’ title joins her previous win of ‘Miss Pretty 2015’ at the Fassifern Fifties Festival, and we look forward to finding out what is in store for this promising pin up in the future.

admired and looked up to them so much! I thought I would feel intimidated because this was my first big pageant, and for most of the other girls this was their last. But when I finally met them all I was so shocked to find they were such genuine, supportive caring people! No cattiness, no bitchiness. Even now, months after Garter Belts, we are keeping in contact and organising our next meet up for tea and cake. We are like a little family! And I feel so fortunate to have spent time with these amazing people. And winning was truly the cherry on top of an amazing experience.

BRIANNA: What would you say first got you interested in vintage culture?

BRIANNA: How did you style your outfits and plan your routines or poses? Did you draw inspiration from anyone in particular?

HONEY: I think it started with my adoration for Victorian houses and antiques. Since I was 10 years old I’ve wanted to live in a Victorian house. I literally get heart palpitations if I see one! They are just stunning! You can see the creativity and hard work that goes into every inch of the house. That’s what I love about pre-1960s fashion as well. The garments are so intricate and created with such care. The silhouettes are so flattering no matter what body type or shape you are! BRIANNA: How would you describe your personal style today? HONEY: It has definitely evolved. I would always admire the styles from afar, never feeling confident enough to wear them myself. I started with dressing quite ‘normally’ but I would mix different pieces from different eras. I was a bit bigger then and never felt comfortable in my own skin. Then for my 18th birthday I wore my first Pinup Girl Clothing dress.. and my life changed! The clothes actually suited me, showed my shape and made me feel classy and sexy! That was the first time I had ever felt sexy. I wanted to wear dresses like that everyday and feel that beautiful everyday. So that’s what I did. From then on, I didn’t turn back. My cupboard is now filled with original vintage and retro reproductions. The only ‘normal’ clothes I wear are P.J.’s and tights! BRIANNA: Tell us about your overall experience taking part in the G&G Pin Up Contest. HONEY: I can sum it up in one word. ‘Amazing!’. Garter Belts has been the most amazing experience of my life thus far. My goal for entering was mainly to conquer my fear of performing. I had wanted to perform since I was a kid and fear of judgement had always stopped me. I was a little bit anxious when I found out who else was in the contest. Most of the girls I knew from other events and Instagram, and I

HONEY: I had been to the event the year before, so I knew a little bit about what to expect. However my first initial routine was completely different. In fact, I think I went through about 10 different ideas! I am a bit of a perfectionist and this performance was really important to me so it was really difficult for me to choose! The first thing I did was choose my music, and then I just developed the act from that. I actually planned my routine backwards – I had planned out my second half before my first half. The first part of my routine was very summer/spring themed, so I decided my outfit would be something I would wear to a picnic. I chose a two-piece outfit from Tara Starlet and then made my own little cape (or ‘capelette’ as I like to call it) to match. The second part of my routine I wore white undergarments and a robe. I didn’t draw on inspiration from anyone in particular, I think I just was inspired by the era and the music (Doris Day’s song ‘Perhaps’). BRIANNA: You’ve mentioned feeling intimidated going into the contest, and that overcoming performance anxiety was a goal that persuaded you to enter. How do you feel post-contest? Was there anything specific you did to help with nerves, or any advice you would give to pin up girls thinking about entering G&G or a similar competition next year? HONEY: Post-contest I am definitely on a high! Initially I was very happy with my routine, but the week before the contest I began to get nervous, and even for a split second thought about dropping out. All the girls had done contests before and I felt like I was probably going to fall off the stage or something! Thank goodness for our Facebook group. It was last year’s winner Miss Lucy

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Luxe who had the great idea of creating a Facebook page for the contestants so that if anyone was having troubles or needed anything or just wanted to voice their feelings of nervousness and panic, they could get advice and support from the other girls and realise they weren’t alone in their dilemmas. Driving there on Saturday night, I felt extremely nervous, but as soon as I got backstage I felt a strange calmness. All the girls were just hanging out and chatting and having a good time, and I didn’t feel any tension or worry at all. Even when we were lining up ready to perform, I was surprising calm and just excited to watch all the other girls’ performances. My head was telling me I wasn’t nervous, but my legs were shaking a little. The gorgeous Ivy Dynamite taught me a little trick to ease the leg shaking – just do lots of squats and leg exercises before you go on, as it makes the muscles stronger and alert so you aren’t as shaky! As soon as they called my name, the nerves set in and my heart started pounding, but I wasn’t going to let that stop me. I walked out there with confidence – “fake it ‘til you make it” was definitely my policy. For girls that want to enter, I say just do it! Just apply, and if you get in it was meant to be! It was never about winning for me, I just wanted to be involved. It’s about getting up there and showing everyone who you are and what you’ve got... but most of all its about showing YOURSELF that you can do anything and everything you put your mind to. Even if you don’t place, you will have made friends for life and have achieved something amazing by even getting up there. It has definitely been one of the best experiences of my life so far. BRIANNA: Apart from the obvious excitement of the contest for you, what else did you enjoy at the festival? HONEY: I loved everything about it! The location first of all is absolutely incredible. Mt. Tamborine is such a perfect place. I loved the music and the burlesque at the Saturday night meltdown, and the swing dancing! ADORE PIN UP 46

Sunday is great as well, getting to look at all the cars and stalls and the art show. So many beautiful clothing and accessories! And the food too!! The festival definitely has something for everyone, even if you aren’t fully into the vintage and rockabilly scene, it’s still a great time for everyone and its very family orientated too. That’s one thing that I loved about it – the Saturday night meltdown was an event for all ages, not just adults. This meant that my younger sister (who is 13) was able to come see me perform. Another great things was having the opportunity to shoot with American photographer Holly West! She is incredible at what she does and is seriously so lovely and genuine. It was a pleasure to meet her as I had been a fan for a while, and a dream to shoot with her!

“As soon as they

called my name, the nerves set in and my heart started pounding, but I wasn’t going to let that stop me. I walked out there with confidence – “fake it ‘til you make it” was definitely my policy.

”

BRIANNA: You speak wonderfully of other women in the pin up scene. Are there any fellow pin ups you are particularly close to or enjoy following online? HONEY: I love them all! I love seeing how each girl has a different take on pin up, whether it’s more rockabilly or more classic vintage. This definitely shone through in their Garter Belts performances as well as their social media. I especially enjoy seeing the wide range of photo shoots that Miss Foxy Rocket has been doing lately... there has been a lot! Foxy Rocket was number 11 and the reserve for the contest if anyone dropped out. I would have loved to see her performance as I know it would have been amazing! Oh and did I mention she’s a sweetheart?!

BRIANNA: How are you finding the burlesque classes you are taking? Do you have any plans to perform? If so, are there any particular ‘styles’ of burlesque that particularly appeal to you? HONEY: I did burlesque with INXS dance academy for a while back in my hometown in NSW, and I absolutely loved it. I am so excited to start at The Bombshell Burlesque Academy. I have only recently moved to Brisbane and would often drive over two hours just to see the lovely ladies perform. I am so excited to start classes and finally be a part of it. I am definitely wanting to make my way up to performing burlesque solo. I think I’d start with Classical, but id love to do all styles, although I think that might be a few years in the future! BRIANNA: Looking back at the year of 2015, in addition to your win at G&G, what are your proud moments in your pin up journey and modelling work? Is there anything specific you hope to do next year? HONEY: This year has definitely been an amazing journey - all that I hoped for and definitely more! G&G was definitely the big moment, and everything that followed has been a dream. Getting the opportunity to make so many new friends, to meet so many new people, to do so many photo shoots with so many talented photographers! Next year I think ill be focusing on finishing my film course, but will definitely still be going to all the pin up events, burlesque performances and doing more photo shoots. Its what I love to do, so I don’t see myself stopping any time soon! I’m excited for G&G next year too. I can’t wait to meet the girls and help with the event as much as I can. I am also excited to continue with the little business I have just started called ‘Kustom Kapelettes’. We make retro capes and capelettes for winter and summer. I decided to start the business as I had received so many questions about the cape I made for my G&G outfit, and so many people wanted one just like it. Other than that I honestly don’t know what the future holds but I’m very excited to find out.

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photography Jon Lee www.jonleephotography.com model Sarah Woolley @sarahalldolledup

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Trailer Trash Tattoo WORDS & PHOTOS BY EMILY RUSS

Nestled amongst rows of warehouses in one of Brisbane’s industrial regions is Mimsy’s Trailer Trash Tattoo – a vintage wonderland full of flamingos, vintage Barbie dolls and a group of talented tattoo artists. You’d be forgiven for mistaking Mimsy’s for one of the many mechanics or smash repair shops in the area, but when the giant warehouse doors open to reveal a tiki bar and Mimsy’s iconic pink, sparkly 1959 Sun Liner trailer, you know you’ve died and gone to rockabilly heaven. The brainchild of owner and full time tattoo artist Mimsy, the studio has been putting their own unique stamp on customers since 2007, originally operating out of its home studio. Opening their Archerfield studio doors in 2012, Mimsy’s has become a Brisbane tattoo icon, specialising in intricate and colourful rockabilly designs. While Mimsy herself favours a cutesy, girly style, each artist at Mimsy’s has their own personal artistic direction. Whether you’re after the classic swallows, scantily clad mermaids or some Creature from the Black Lagoon ink, Mimsy’s is the place to go.

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MADELINE GLASSEATER (LEFT) WITH MIMSY GLEESON

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“

Whether your body is a canvas of inked artistry, or you’re a tattoo rookie, the friendly artists and exciting environment of Mimsy’s Trailer Trash will make you feel at home – your dream vintage home. ADORE PIN UP 54

What makes Mimsy’s stand out is

“It’s just amazing to create tattoos

history, the stories, the pioneers and

their attention to detail – not only

in a vintage setting, and be able to

their past,” says Mimsy. “I adore my

in tattooing, but also in the studio

go on the road with all my creature

clients and meeting people and sharing

itself. Downstairs is home to yet

comforts,” says Mimsy. “People get a

a bond like no other – also with my

another charming vintage caravan

real kick out of the ‘souvenir’ quality

colleagues, fellow artists and peers. It’s

and a gorgeous tiki bar that looks

that getting tattooed in an old trailer

a very special and sacred thing to do a

like something from the set of

affords. It’s just super fun!” Whether

tattoo, and one I take very seriously.”

Gilligan’s Island. Designed as a kitsch

your body is a canvas of inked artistry,

1950s lounge room, complete with an impressive collection of vintage furniture, the upstairs waiting room invites customers to listen to some rock and roll, admire the walls and walls of tattoo choices, and await their appointment in style. If you haven’t made the journey to the studio but know the name, perhaps

or you’re a tattoo rookie, the friendly

To check out more examples of their

artists and exciting environment of

work visit trailertrashtatoo.net, or

Mimsy’s Trailer Trash will make you feel

check out the studio’s Facebook or

at home – your dream vintage home. Mimsy truly loves what she does and loves being part of a unique tattooing tradition. “I love the old time nostalgia associated with the tradition of tattooing - the rich and mysterious

Instagram page (@trailertrashtattoo) Walk-ins are welcome, but be sure to drop them a line at trailertrashtattoo@ hotmail.com or (07) 321 675 39 to book an appointment.

you’ve seen Mimsy’s out on the road. Mimsy’s vintage trailer is a regular at festivals such as Greazefest and Garterbelts and Gasoline, offering customers the novelty of getting tattooed in a truly retro setting. As if the beauty and glitter of the trailer itself isn’t enough of an attraction, the interior is always decorated with outdoor scenes that ooze vintage charm, and it isn’t uncommon to be welcomed inside by Mimsy’s own bikini babes or Las Vegas showgirls. Mimsy considers getting out and meeting new people through tattooing to be a passion of hers.

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ANGELIQUE NOIRE photography Vestige Photography

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JEANNETTE IRIS photography Vestige Photography hair Tony Medina â&#x20AC;&#x201C; His Vintage Touch makeup Lindy Sue set styled by Amber Cavener wardrobe Pinup Girl Clothing ADORE PIN UP 58

EBONY INFERNO photography Vestige Photography hair Tony Medina â&#x20AC;&#x201C; His Vintage Touch makeup Lindy Sue set styled by Amber Cavener wardrobe Dottie DeVille

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AN INTERVIEW WITH THE EDITOR OF

CANDACE MICHELLE interview by Brianna Blackhart photography Toon Photography model Candace Michelle

rustrated with the lack of women of colour in pin up publications, Candace Michelle started the Facebook page ‘Black Pinups’ in 2012, and in 2013 turned it into a print and digital magazine. Based in Texas, Black Pinups is now an international publication in its12th issue, and with its success Candace is also now also producing ‘Black Pinups’ and ‘Pinups of Color’ calendars. Editor to editor, Brianna Blackhart caught up with Candace to discuss the journey her magazine has taken her on.

BRIANNA: Can you tell us more about why you started Black Pinups? What does it mean to you to be able to provide a space where your readers can see more women of colour in print? CANDACE: I started Black Pinups because I didn’t see any black pinups! I love the pinup world and at the time I started the business, which was just a Facebook page, – Black Pinup Models – in January 2012, I didn’t see any modern day black pinups. So I started the page and hoped that it would gain traction and that I could see if there were any other black pinups or black women that love the vintage lifestyle. ADORE PIN UP 60

It means a lot to me to see black pinups and black burlesque performers in my publication because I’m the only one that has it. There isn’t any other black pinup publication, and who knows maybe in the future there will be, but it’s cool to say I was the first. I wasn’t trying to start anything, I just wanted to see more women that looked like me that loved Frank Sinatra, Humphrey Bogart movies and liked to go to swing dances and rockabilly shows. BRIANNA: You obviously knew when you launched the magazine that there was a serious gap in representation, but did you expect the success you’ve had and the reach the magazine now has? Do you have any particularly proud moments? CANDACE: I really didn’t expect the success, I mean after three months my magazine shipped to England! And I was shocked! I soon found out that rockabilly and retro culture is very popular over there, and there are quite a few black pinups from the U.K. I would say about 40% of the model submissions I get are from the U.K., which makes me very happy. I can’t wait to visit and get Black Pinups out over there.

My proud moment was my launch party. After about a year of working on it and stopping and starting, it finally was materialized and out for the world. I felt like a kid on Christmas morning when I received 25 copies of the 1st issue of my magazine. I couldn’t believe I put out a magazine! I still smile and get happy when I order my own copy for myself. BRIANNA: Part of what you do with the publication is showcase ‘lost black pinups’ – models and entertainers of the past who did not gain the recognition they deserved but no doubt would have received if they were white. Can you tell us a bit about some of the black women in pin up history that you have featured? CANDACE: For the first issue I wanted to showcase the first black Hollywood actress, Evelyn Preer. I love to learn and I’m so curious! I think I have the most curious personality out there, and I did research on who was the first black actress in Hollywood. It is sad that a lot of the pioneers have been lost to history due to racism. They got into show business for a reason – to show that they are out there and to show their talent and their love for what they do. I don’t want their work and their names to be unrecognized.

BRIANNA: While a common goal in the modern pin up community is to promote diversity, the scene often looks very white. In your experience did you or has anyone you have spoken to on this issue feel hesitant in joining the pin up community because of this? Do you often hear stories of pin ups of colour facing racism within the community? CANDACE: I have gotten a few uneasy smiles when I say Black Pinups. I want it to be a pinup magazine that has black women in it, and that at the end of the day you see a pinup magazine of beautiful women who happen to be black. I have gotten a lot of e-mails from pinups who said they couldn’t do pinup modelling because they weren’t white, they weren’t a model, they didn’t have the right look and there was no place for them to go. There was a model that wanted to do a photoshoot for my magazine and when she told the photographer the name of my publication, the photographer refused to work with her because it excluded white women. I have 6 or 7 modern pinup publications and altogether I would say they are about 5 or so women of color, with two that are black out of 200+

pages combined. Pinups of color are being excluded so that’s why I created the publication. I have heard some horror stories of not just the pinup community but the burlesque community, and how there is still some racism within, and it makes my heart sad because it shouldn’t be like that. BRIANNA: Is there any advice you can give to us and our readers about promoting more diversity and being welcoming within the pin up scene? CANDACE: I would say just give us a chance, that’s what we want – and to show that we do exist. We’re all bonded by our love of vintage. BRIANNA: I have a list of dream models I would love to have in my pages – do you do that too? If you had to pick a favourite woman you want to see in your magazine who would it be and why? CANDACE: No I don’t have that, but it is something I should look into. I would have to say hands down my dream woman or women in this case would Tia and Tamera Mowry. They’re twin sisters and they’re actresses, and I’ve been a fan of them since their Wriggly Spearmint

commercials! Right before they had their successful show, Sister, Sister. I have followed their careers since. They are lovely ladies, very smart, Christian, and classy. I love that they have remained true to who they are and have kept God first in their lives while living in Hollywood, which is hard to do. You never hear about them, just the next project they’re working on. They’re very funny and sweet ladies, I definitely want to work with them and be on their show! Tamera has a show called ‘The Real’ and I would love to be on that show and have the other ladies in my magazine as well. BRIANNA: What do your plans look like for Black Pinups and Pinups of Color in 2016? CANDACE: I’m working on going to Viva Las Vegas, I want to do more photo shoots, get my publication into more stores, and travel to London to do the same as well. Pinups of Color is still a baby, and I want it to grow on social media before I do anything else, but I have a lot of plans for both brands. I have great co-admins that run the page. Follow Candace’s work at blackpinups.net, www.facebook.com/blackpinupmodels & www.facebook.com/pinupsofcolor ADORE PIN UP 61

Fabrics, trims & lacey

A N E D I T O R I A L F T. D O L L H O U S E B E T T I E & D A S H A C AY E N N E W O R D S & P H O T O G R A P H Y B Y P E A R L D AV I E S , S A N F R A N C I S C O

aving a background in theatre costuming, owner and

The ‘Deja Vu Dessous’ line is separate from the Dollhouse

fashion designer Michelle Metens knows how to

Bettie original design collection, and is a soft compilation

impress lingerie lovers with the delicate designs of her San

of vintage revamp lingerie pieces, transforming

Francisco-based brand. Since the beginning of her online

yesterday’s treasures into today’s delights. Each piece is

store Dollhouse Bettie in 2004, Metens has wowed her

one-of-a-kind and made from authentic vintage garments

crowd with delicate garments, from authentic vintage pieces

and trims, while preserving original charms and giving

to handmade beauties that would dazzle on the stage and

them a fresh modern face. Designer Valerie Santillo has

in the bedroom. So popular have her creations been, that

been revamping vintage wears with Dollhouse Bettie

in 2011, not long after the global financial crisis, Metens

making the old new, and cutting away damaged materials

and her team grew to open their brick and mortar store in

to form an original elegance.

the popular San Francisco district of the Haight-Ashbury. This district is also called The Haight and is known as being the origin of hippie subculture. Metens and her crew now showcase over 25 lines of original designs, featuring a number of styles mixing fabrics and trims with the elegance vintage brings. They are known as “The best racy, lacy lingerie in San Francisco” by the area’s local media, The San

The popularity of Dollhouse Bettie has been welcomed on all bodies throughout America, so much so they have spread to over 37 retailers around the United States, including their flagship store in San Francisco. Not only does Metens work with national retailers, she works with local performers and models including burlesque

Francisco Chronicle.

starlet Miss Dasha Cayenne (pictured). Turning clients into

The Dollhouse Bettie ‘Madison Mon Amour Noir Playsuit’

designs only adds to their popularity. Meten dabbles in

(featured here) is a mix of soft stretch lace finished off

natural light photography for the sake of her business, and

with a generous length of inky black double face satin

her manufacturing studio doubles as a photography studio.

ribbon, allowing an adjustable fit over the bust. Metens’

Decked out with historic vintage charm, retro furniture and

designs are well thought out and accentuate every aspect

Victorian windows that give alluring natural light, the 3rd

of the feminine form. Dollhouse Bettie prefers to produce

floor space is perfect to showcase the gorgeous pieces

inspiration pieces rather than replicates, according to

Dollhouse Bettie has to offer.

associates that assist in the marketing of these stunning

Metens. They like to pull ideas from vintage archives and use elements to manufacture their designs, rather than just

Describing Dollhouse Bettie, model and burlesque starlet

using a copy and paste procedure. After finding difficulties

Dasha Cayenne explains: “Dollhouse Bettie does an

reaching out to local and international manufacturers as a

exquisite job of fashioning classic, vintage beauty into their

small business, Metens found it best to manufacture her

lingerie while still making a product that’s accessible and

goods locally in San Francisco to oversee production. It’s

easily wearable. I frequent their shop on Haight Street to

so local, in fact, that she has set up her own studio at The

pick up pieces to wear in my burlesque numbers... I don’t

Haight separate from the Dollhouse Bettie shopfront.

know what I’d do without them.”

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This page: Dasha Cayenne wears a new design coming soon to Dollhouse Bettie Opposite page: Dasha wears the Dollhouse Bettie ‘Madison Mon Amour Noir Playsuit’

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PEARL: What do you do for work and what do you do in your free time? DASHA: I’m a burlesque dancer and a caregiver. I perform solo in San Francisco, as well as with my beautiful partners in burlesque crime, the Wily Minxes. We’re all classically trained dancers gone a bit bad. And lucky for me, the woman I take care of during the day also loves burlesque! I love to glue sparkly things to bras, run the trail by my house, tell my evil kitty how evil she is, read books, drink whiskey, and rehearse group burlesque pieces with the Wily Minxes. PEARL: What do you love most about Burlesque? DASHA: The boobies! And I love being part of an inclusive community that celebrates and empowers beautiful people of all shapes, sizes, colors, genders, and sexualities. PEARL: If you could do anything, what would that be? DASHA: Anything in the whole world? I would eat pizza first. Then I’d secure reproductive rights and free healthcare for people everywhere. PEARL: In 2015, the United States of America made it legal in all states for same-sex marriage. In San Francisco you had Harvey Milk, the first openly gay person to be elected into public office, fight for this right before being assassinated in 1978. Is equality important for you? DASHA: There are few things more important. Even after the Supreme Court legalized same-sex marriage, LGBTQ Americans still face persecution and discrimination that threatens their well-being and livelihood. Most states lack laws to adequately protect LGBTQ folks from being fired from their jobs or denied basic services based on their gender identity or sexuality. We’ve made a lot of exciting progress, but we still don’t live in a country where its citizens are equipped with the same fundamental rights. And as Fannie Lou Hamer so eloquently said, “Nobody’s free until everybody’s free.” PEARL: What is your favourite thing about San Francisco, California? DASHA: It’s a tie between the sunsets at Ocean Beach and the pork at Taqueria Cancún.

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Bombshells Media

ladies who hadn’t had their hair and make up done for many years, wearing dresses they wore “back in their day”. The dresses they wore and which feature in some of the photos were very kindly loaned by Dickybird Dresses and Lauren Ellen Handmade, and

Bombshells Media is a fundraising

ALISON: Being a mum, a working mum or

project started by friends Alison and

a working woman we have a tendency to

Nicole with the motto “Celebrating

put ourselves last, and this was a fun and

The town of Warwick was chosen mainly

empowering way to show these women

because it is a stunning location, but we also

how wonderful and beautiful they are.

wanted to take the opportunity to shoot at

One of the mothers has 5 children and

the heritage listed Criterion Hotel, as it is

a husband who works away, and she is

owned by my family and fitted in so well

the most positive person I have met. It

with the old-style feel of the calendar. When

Women’s Association and is raising

was so beautiful to see her transform

choosing what and where to shoot, Nicole,

money for White Ribbon.

into a Bombshell! Nicole and I were lucky

myself and the photographer Paula spent a

enough to have Paula Brennan as our

couple of days at each location to brainstorm

photographer. She has a very special knack

each of the scenes, and some of the scenes

for making each of the girls feel relaxed

creatively changed on the day. We were also

and to bring out the very best in them.

very lucky to get Brisbane Stylish – Jenny

the femininity and beauty of every body”. Their 2016 pin up calendar, photographed by Paula Brennan, was produced with the Country

BRIANNA: What made you decide to start Bombshells Media? What kind of projects have you been involved in, and what do you have planned for the future of the organisation?

BRIANNA: The calendar features some gorgeous locations as well as gorgeous

ALISON: This is our first ever project doing

women. Can you tell us a bit about the

a calendar. Bombshells Media was started

different shoots you organised and the

out of a bit of tongue and cheek from a

concepts that surrounded planning

photo I posted on my Facebook page, and

them? How did you recruit the ladies

then it morphed into actually doing the

featured in the photos?

calendar as something fun, which then progressed into a calendar for charities.

ALISON: We had huge support from the

Nicole and I want to see how this calendar

Country Women’s Association ladies in

is received and then see where it will go.

Beerwah, Queensland. We wanted to show off the ladies and the quaint Beerwah CWA

were made from original 1950’s patterns.

Gaskell – on board, and she gave a lot of her professional input on the shoot days. We were very blessed to have the local ladies of the Sunshine Coast support us. The front cover model was one of the hairdressers in Warwick. We needed an emergency model to fill in and Chantelle kindly put up her hand. BRIANNA: What made you choose White Ribbon, the Australian campaign to prevent male violence against women, as the charity to donate proceeds to?

BRIANNA: In the promotion for the

building and the Glasshouse Mountains,

ALISON: It is unfortunate that domestic

calendar you specify that it is “a

which are synonymous to the Sunshine

violence is such a huge issue in our society

celebration of every day mums and

Coast and made a stunning backdrop. The

and a large number of people are affected

women”. Can you tell us about why

CWA ladies were all very keen to take part

by it. This calendar is about empowering

it’s important to you to highlight the

in the photo shoot for the scenes at the

women and celebrating our femininity.

mother’s involved in the project?

hall, and it was amazing to see some of the

Being in a DV situation, this is taken away.

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photography Paula Brennan models Kirsty Blinston (this page) & Jayne (opposite page) hair Talk ‘n’ Heads Warwick makeup Emmy-lee Styling Boutique wardrobe Dickybird Dresses (opposite page) interview by Brianna Blackhart view more at www.bombshellsmedia.com ADORE PIN UP 67

BETTE BOOM photography Emily Freeman Photography wardrobe Pigtails & Pirates van owner Craig Kennedy

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L I L’ P I S TO L photography Blast ‘Em Photography muah Jordan Calloway post production Alexa Arguello

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