Describe the overall Mother of London aesthetic.

I reckon Mother of London is pretty easy to spot- I don’t think I’ve ever designed a collection in my entire life that hasn’t incorporated gloves and a high collar, for instance – largely consisting of tailored and fully encasing garments, with a very deliberate nod to alternative culture. We’re primarily known for our leather work.

You’ll be releasing a number of t-shirts, which is a big step away from your usual intricate construction and stiff materials. Can you talk about that process?

I wanted to have a few basic pieces, like T-shirts and daywear, that would be a bit more attainable and practical than the usual Mother of London contraptions, but I didn’t want to just screen print a bunch of T-shirts, either. The garments are a custom cut of our own designs and the knit we’re working with is custom custom dyed. I had to spend some time learning knitwear basics and sourcing the right people and products to make this happen, and I’m most chuffed with the results.

This line is several years in the making – what’s was the final push that motivated you to take the final steps and make it a reality?

It was always the intention to make a ready-to-wear line, but a lot of resources go into making an entirely new line and the usual Mother of London tailoring and costuming side of the business has consumed most of those resources. This is where my former assistant, Jessica Darwin, stepped in and made it happen. I couldn’t have done this without her.

Does moving to and living in Los Angeles influence your work?

Although I don’t think it’s influenced me creatively, in terms of motivation and support it’s been fantastic. Los Angeles is a city full of people who get stuff done, and that spirit is totally lacking in London. So far, LA has been encouragingly enthusiastic about the London bleakness that is Mother of London, which was a nice surprise.

What do you anticipate for the near future of MoL?

It’s difficult to say, but I’m happy for things to continue going in the direction they are. 2011 was a fantastic year.

And finally – do you have a dream client, living or otherwise?

Janet Jackson!

Keep your eyes glued to the official Mother of London Facebook page over the next few weeks and follow @mildredvon on Twitter for the launch announcement.

Words and photos by Zoetica Ebb (@Zoetica)

Conjoined was developed by Zar, a special effects makeup veteran, stemming from the idea that tons of incredible art is being created by effects specialists behind the scenes in the film industry – art that deserves to be admired in the context of a gallery. Last year’s show was a big hit, but the Sequel managed to exceed all expectations, and Chet is thrilled:

“I am really blown away by the success of this year’s Conjoined II show. Last year was so big and amazing that I was a little worried that we wouldn’t be able to top it. But all the artists came through in a really big way and it made the show even better than last year. I am very grateful for everybody giving it their all.”

Just the day before, an unsettling sculpture featured in the show, Beavis and Butthead in Real Life, went viral online [it even made it to CNN] and was surrounded by curious onlookers at the gallery throughout the evening. Complete with braces, acne and beady eyes, the bobble-headed MTV teens were certainly an eerie sight to behold up-close. At least they’re not animatronic!

A number of moving sculptures are included in the show though: a glowing remote-controlled robo-chimp by Meats Meyers, “Cascade” – a shiny metal tentacle by Mark Setrakian and a robotic orchid by Brian Poor.

Bronze, steel, wood, epoxy, taxidermy [and even a tapestry by Tracey Roberts] graced the Santa Monica art space, its walls painted dark grey for the occasion, in a fascinating menagerie of assemblage, sculpture and kitchenware, if you consider Charles Crafft’s “Winehouse” teapot.

Some 2D pieces were on display, as well, including photography by Taslimur and paintings by Chet Zar, Brian Smith and yours truly.

Conjoined 2 runs through February 11th and is an absolute must-see. Be sure to check out the photo gallery below for a brief tour. As for the future, it looks like another hit is already in the works, according to Zar:

“I’ve already spoken to a few artists for next year and from what I hear people are planning to contribute, it’s going to be even bigger and better!”

Words and photos by Zoetica Ebb (@Zoetica)

Dashing threads aren’t the only offerings at this East Sunset boulevard shop – chic furniture, dinnerware, wall trimmings [antlers, anyone?] and other hand-picked goodies for your home are all here under one big roof, displayed with utmost form and care.

Conceived by (figures) interior designer Justin Warwick, The Warehouse is also the birthplace of The Classroom LA – a grassroots workshop Warwick founded with Kelsey Wintringham, offering classes in everything from sewing machine operation and planting herb gardens to building mason jar chandeliers. You can keep up with upcoming courses here. Registration fees vary, starting at around $30 bucks and climbing all the way up to the $170 realm.

Between the clever décor, the beautiful clothes, the knowledgeable staff and the classes, this place is well worth a visit – you’re sure to walk away a more stylish, better informed, and most certainly more inspired you!

Words and photos by Zoetica Ebb (@Zoetica)

Catering to everyone from hip hoppers to goth rockers, Mishka NYC collaborates with artists and brands to create unique tees, baseball hats, watches, jeans, leggings, etc. as well as other artistic endeavors, including videos, event production, making Cyrillic even more cool and a whole lot more. Bold, bloodshot eyeballs are among their most recognizable designs, alongside the brand’s iconic, angry, crowned bear logo.

If all that wasn’t enough, the Mishka “Bloglin” keeps you plugged into the latest releases from underground and established musical acts with reviews, as well as other cultural happenings. Indeed, in its near-decade of existence, Mishka has become nothing less than a lifestyle brand.

Whether you’re visiting a Mishka store in LA, New York or Tokyo, you can expect to see purple neon, octopus chandeliers, tons of rare toys from Rivera’s personal collection and cool art gracing the walls. In addition to all the sharp gear, of course. The shops’ design aesthetic is like the clothes themselves: bold and memorable.

Keep your ears [and giant eyeballs] peeled for news from Mishka NYC – this is shaping up to be a big year for these guys, according to co-founder Greg Rivera:

“In 2012 we are going to continue to bring people really solid collections, including our Spring 2012 collection, which I think is one of our strongest to date. We also have a lot of great collaborations coming out including music releases, [as well as] artist and brand collaborations. Check out the Bloglin for everything that’s going on!”

Mishka LA: 1547 Echo Park Ave Los Angeles, CA 213-536-4234
Mishka NYC: 350 Broadway Brooklyn, NY 718-388-1725
Mishka Tokyo: 3-28-5 Jingumae Shibuya, Tokyo 150-0001 03-6447-2813

Words and photos by Zoetica Ebb (@Zoetica)

You have a background in fine arts – how did you first get into making jewelry?

I have always been one for self adornments and took a few classes here and there while in college, but nothing ever materialized because I did not have access to a studio. Then, while my late fiance, James Ribiat and I were looking for a unique wedding/engagement ring we found OctopusMe‘s tentacle ring. Since I was getting my graduate degree at the San Francisco Art Institute, I was able to visit the OctopusMe studio. Deana Fukatsu and I got along immediately and I convinced her to let me be her apprentice after I saw how amazing my ring turned out. It is so exciting to see talented and driven artists that it makes me want to support and help as much as I can. Deana suggested that I make jewelry for Christmas presents that year. I made James and his brothers the very first Bat Skull cufflinks and that is where it started. Deana has been a great mentor, supporter of my jewelry line, as well as an amazing friend.

Your work features a number of nods to multi-cultural history, from tribal coins, traditional tartans and vintage kimono material to pieces resembling old-school Russian crowns a.k.a. kokoshniks. Can you talk about your historical influences?

There are several things that have influenced my work: growing up with parents who immigrated from Japan and nurtured my interest in the arts since I could start creating, Middle Eastern dancing, gothic subculture, art history and James.

As a child my parents would dress me up in kimonos, take me to Japanese festivals and I also played the koto (a traditional Japanese 13-stringed instrument). I loved watching samurai dramas with my dad while my mum instilled my interest in glamour.

My interest in other Old World aesthetics has been long going but it definitely became something concrete when I was in high school. I took up Middle Eastern dancing when I was fifteen and started collecting old vintage kuchi, Turkoman, Tuareg, and Indian jewelry while making my own costumes for performances. Dancing with my troupe exposed me to many different cultures from the Middle East, Asia and Eastern Europe since we not only performed Egyptian Cabaret but traditional folkloric, tribal dancing. Around this time I also became engrossed in the macabre, which tends to romanticize anachronism.

As I became more aware of art through art history, my exposure widened. I was lucky enough to study abroad in Europe, surrounded by old cathedrals and artwork that I had only seen through books and slides.

James was a huge history buff who had a deep reverence for upholding cultures and instilled the importance and pride that I have for my heritage. Of course the soft spot I will always have for tartans and all things Scottish comes from James (and what darkly alternative teenager hasn’t worn plaid skirts with heavy boots?). He was deeply involved in Clan Farquharson, his Scottish family clan, and would take me to highland games.

There is something extremely beautiful and idiosyncratic about the cultures and histories that I draw from that I want to keep them thriving, even though it may just be from a small outlet of my work. As much as globalization is a good thing, cultures, histories and languages get lost in the fold. I find that current cultures have a tendency to exalt the mediocre and I strive to go against that through my choice of influences, execution and materials.

You also use a great deal of recast and original metal vintage elements in your pieces. How do you go about collecting them?

As previously mentioned, I started my collection when I began dancing and going to local festivals. Southern California is by far the most diverse when it comes to showcasing different cultures represented at the Middle Eastern dance festivals. Ebay has also been a great resource for buying in bulk and most recently Etsy. I aim to only use the best of materials. Sometimes I have been able to find some beauties at pow wows, local boutiques and thrift stores.

Are there any materials you haven’t worked with yet and look forward to exploring?

There are a few. As basic as it sounds I would like to start using stones. Enameling has always been appealing to me as well as porcelain. I have a love/hate relationship with porcelain with what little I have dabbled with. One day I will conquer the beast!

What are some of the challenges you run into as a high-end jewelry designer in the age of disposable accessories?

I am very happy and appreciative of the good reception that my work receives but of course I get people complaining that it is too expensive. I am a strong advocate of long lasting, quality products. I still go to the local cobbler to get my boots resoled and the zippers replaced. I am by no means wealthy, but I am willing to spend more money on something that is well made.

It can be a bummer at times when you realize that there is a collective lack of consciousness when it comes to appreciating the arts and what actually goes into MAKING something by hand. Society takes for granted that the cars we drive, the homes we live in, the clothes we wear are all designed by artists. Without these creators, we would still live in caves and wear rags. However, my strong convictions of aesthetic values, quality work and presenting something that is well made to the public far outweighs making work that is disposable and cheap. Some of my pieces are so elaborate that it breeches the line of simply being jewelry into being an art piece, thus the high, luxury price. There is always an audience for something, I just need to focus on tapping into that.

I do have several pieces made out of pewter so my work can reach a wider audience and I try to take this into account when I design new work. Sometimes this is difficult since I naturally lean towards the extravagant and opulent.

What do you see in the future of Miyu Decay? Do you have any plans to delve into costuming?

Right now it is a part time business but of course, like any fellow artist, it would be amazing to have it as a sustainable full time job. It has only been about a year since I launched it so there is only more to come. I do still make my own costuming for dancing so it would be wonderful to attack that as well. I have my hand in so many different creative outlets, that it can be a simultaneous blessing and curse. I have recently started making artwork again after a long hiatus but it is exciting to be back in the full swing of creativity. Hopefully I will get to show the new drawings this year.

Words and photos by Zoetica Ebb (@Zoetica)

Your decision to make extravagant hats began with a dream. Could you describe that experience in detail?

I was not doing particularly well in life at the time when the dream of making hats came to me. In fact I was bedridden, in great pain, and on a financial roller coaster which spent most of its time going downhill. I knew that I wanted to pursue something in the realm of art but was so brainwashed with the idea that artists couldn’t make a good living that I had been scared to try. One night I dreamed of tiny top hats with asymmetrical lids and swirls on one side. The entire pattern was revealed to me as well as how to construct them. The next morning I awoke and immediately started making them, starting out with a batch of 13 which I put on my online profile and sold right away. I was so excited I just stuck with it, and now 3 years later I feel that dream helped me create a life in which I can survive just by making hats and headdresses, and am very lucky to be a successful artist.

Who do you picture wearing your pieces?

I imagine all sorts of extroverted people who take joy in wearing extravagant, obnoxious, gaudy, playful outfits wearing my hats. I definitely think they appeal to people with an alternative preference in style, specifically the burning man scene, burlesque dancers, belly dancers, and goth kids. I also think drag queens would love them but I have yet to reach that audience.

Distinct circus and fantasy elements are prevalent throughout your collections – are there specific characters, imaginary or historical [or both] that invigorate your imagination during the creative process?

I am inspired by the aesthetic of the underground circus, traveling gypsies, whiskey-drinking clowns, overtly sexual princesses, seductive evil queens, decadent and colorful birds, stilt walkers, anything that is shiny or glittery, androgynous beauty and sumptuous nudists adorned only in head gear and rhinestone pasties. I have not been inspired by a particular character but rather an imaginary one who I see in my head, dressed in lavish gowns made of fine tattered lace with trails of fabric blowing in the wind, belts of metal and jewels falling to decorate the hips, lashes for days, henna on her arms, and an enticing glare in her eyes.

Do you think you’ll continue working strictly in the accessory realm?

I love making accessories because they can be used to dress up even the most mundane attire. I think a lot of people are intimidated by over the top clothing but feel comfortable accessorizing with ridiculous items. There are a few clothing items I hope to experiment with, but I am mostly interested in “the finishing touch”.

What’s your most unusual commission to date?

The most well thought out gift I’ve been commissioned to make so far was for a very colorful woman who loved zebras. Her boyfriend had me make a zebra-inspired black and white feather mohawk with a detachable pony bit and a beaded metal veil. It was so perfect for her and turned out wonderfully! Most commissions I do are variations of what I already have in my shoppe. I also got to make a Cruella DeVille dalmatian print hat that was super rad.

Do you have a dream project?

I have a few! My dream project involving hats is a very lavish fashion show. I’ve started jotting down ideas; it would involve costumed women and men with (duh) the craziest headdresses I could come up with. Sounds predictable, I know, but when you see it, you will find it is anything but.

I also aspire to be an installation artist, which I have dabbled with in the past. I dream of being able to pursue that more in the future as well. Now if I could only find the time…

Purchase Bubbles & Frown accessories here.

Words and photos by Zoetica Ebb (@Zoetica).

Started in NYC by Improv Everywhere eleven years ago, the event has been gaining popularity ever since – so much so that a staggering 27 countries took part in Sunday’s festivities.

Multiple thousands of pantsless pranksters swamped subways all over the world, with LA’s participants -boxers, briefs and thongs on proud display- nearing 400 as they gathered at downtown’s Union Station to alternating amusement and dismay of unsuspecting bystanders, then rode the Red Line to Hollywood and Vine.

The official mission statement instructed “agents” to behave naturally and to answer inquiries with nonchalant ease, which became increasingly difficult as their numbers grew. When time came to pile into a train and head to Hollywood, the northbound Red Line was filled almost entirely with bottomless Angelinos.

Costumed heroes and villains faced serious competition as the raucous mob descended onto the Walk of Fame, while tourists wasted no time snapping away with every manner or photo-device imaginable. Even Mickey couldn’t resist a stolen glimpse.

Words and photos by Zoetica Ebb (@Zoetica)

Founded in Los Angeles in 2003 by Rita D’Albert and Liz Fairbairn, Lucha VaVOOM promises the most exciting, titillating, romantic Valentine date night ever! Founder/producer Rita D’Albert exclaims “Lucha VaVOOM is so excited about Valentine’s Day 2012 that we are extending it to three nights; it’s a menage a trois! We want to spend Valentine’s with you so we’re rolling into the Mayan a day early, full of love & kisses & sexo y violencia for everyone.” These shows will feature the talents of some of the strongest Luchadores ever seen on stage along with “Miss Exotic World 2005,” Michelle L’amour, one of the premiere names in modern burlesque. Also joining in is Peekaboo Pointe, known as the “Fastest Tassel-Twirler from East to West,” who’s graced the stage of nearly every burlesque show in New York City and is celebrated as one of America’s most dynamic and seductive entertainers. And there will be a brief marriage ceremony by the beloved Reverend Brown…on stage!

Order tickets before December 14th and they will come with a limited edition Sanchez Claus Christmas Card for you to give Lucha VaVOOM tickets as a Christmas/Hanukkah/Kwanzaa/Festivus present. Give Lucha VaVOOM tickets and you will take care of December AND February gift giving in one fell swoop!

Tickets and Cards available online and at these locations:
$35 General Admission tickets are available:

www.ticketweb.com
WACKO: 4633 Hollywood Blvd, Los Feliz
BRAT: 1938 14th Street, Santa Monica
GARAGE PIZZA: 100 ½ West 7th Street, Downtown Los Angeles

Photos by Zoetica Ebb

Aspiring volunteers, take note: bringing 200 pounds of art supplies into a country with rigid customs and bribe-hungry officials is not as fun as it sounds. Before we ever left American soil, I paid an exorbitant sum in American Airlines luggage tolls in addition to the mystery fees Lima customs charged us upon arrival. Still, this was less heinous than what would have transpired had I tried shipping everything ahead of time – namely dubious safety of the goods, taxes, taxes, taxes and steep storage fees, to boot. In the end, after a series of comical, Kafkaesque events, my donations and I made it to Moyobamba unscathed and the fun began.

Coming to rural Peru was a transformative experience in itself – being immersed in Nature with a capital “N” had been a dream for this life-long city dweller. Waking up to the Amazon jungle on my doorstep, the din of cicadas swelling all around and mystery insects setting up camp in my half-unpacked suitcase served as daily conduit to the Nature we forget – supreme nature that, here, can swallow us whole. Despite such temptation, I couldn’t allow this trip to become a week-and-a-half-long vision quest – after all, I had a class to teach and a mural to paint. Calls of the wild had to be placed on hold until another time.

D4RT in Yantaló consisted of three 2-hour workshops and three days dedicated to creating a mural. As I’m told is the local custom, not everything went according to plan – the school closed unexpectedly and an elaborate ballet of key acquisition was performed daily, so that my students and I could use the campus. And have you ever heard of “Peru time”? It’s real and at least thirty minutes slower than American time, which took some getting used to. Minor inconveniences aside, though, the kids, ages 7-13, took to my lesson plans [which I was lucky to have translated into Spanish and printed in advance] with much enthusiasm and diligence.

D4RT, part one: the class. Our first lesson focused on self portraits. To my surprise, none of the twenty kids in my class had ever drawn one and my request of them depicting how they feel, rather than how they look, was a welcome challenge. Several students even asked for second sheets of paper, stayed after class and created two drawings. Memorably, one girl drew herself as a bleeding she-Jesus on the cross, followed by a drawing of herself as a happy flower.
On our second day together, we explored comic books – I brought All-star Superman, Mafalda, Calvin and Hobbes, Marvel’s Wonderful Wizard of Oz. The first half of the class was spent reading and after, the kids learned how to tell 4-panel picture stories. Among my favorites: a man saved from drowning by a bear, a dog punished for eating a guinea pig, a seed growing into a tree and bearing fruit, then dying.

The final workshop was all about masks and painting. We passed around mask books and I asked the students to think about what they wanted their mask to represent, then to spend the rest of our time together creating it with acrylic paint.

D4RT, part two: the mural. It took one day to prepare the wall, another to sketch out the design, and then, through another series of circumstances beyond my control, I found myself with just one day to paint the thing, start to finish. I was flying out the next day and thus in for a serious art marathon, arriving at the school at 6:30am and beginning the outline just as the chickens began to stir.

By 2pm, I had five extra pairs of hands helping* – even the school guard joined in. Friends and neighbors brought by sustenance as we sweated our way through a humid jungle afternoon and into the evening hours. As the sun set over the forest at 7pm, the mural was as done as it was going to get. We toasted and dispersed, full of fumes and the sense of accomplishment.

It’s difficult to crystallize the breadth of impressions I’m left with, but as of right now, it looks like I will be returning to Yantaló next year, to do it all over again!

*A note of thanks: D4RT couldn’t have happened at all, had it not been for the help and translation skills of Milagros – a kindergarten English teacher who works with the Yantalo Peru Foundation.

Words and photos by Zoetica Ebb

“What’s farmers market like in LA’s hipster mecca?” you might dubiously ask the screen, but un-wrinkle your nose and cast your fears aside – it’s actually pretty great. For one, there is the rare chance to meet our neighbors and the potential for human interaction, which can be a prized commodity in this decidedly pedestrian-unfriendly town. And in addition to rows upon rows of organic produce, candied nuts, fine cheeses and fresh-baked bread there is a whole other section devoted to jewelry, vintage fashions, books, records and trinkets.

So once your [reusable, canvas, possibly Trader Joe's-logo-emblazoned] totes are brimming with things like imported Spanish goat cheese via Christine’s From Spain and seaweed tempeh from Dave’s Gourmet Korean food, refuel with a fresh coconut and walk over to the other side to feed your closet monsters. Unique, hand-made jewelry from Baubles & Beads, wide-brimmed hats, pointy shoes, ironic tees galore, African beads, dresses swirled in technicolor, leaves dipped in precious metals and the occasional pair of leather chaps are sure to sate and mystify into the afternoon.

Silverlake farmers market happens every Tuesday from 2pm to 7:30pm and every Saturday from 9am to 1pm, at Sunset and Maltman.

Words and photos by Zoetica Ebb