interview by : Vanity Kills
photographer : Jennifer Link
fashion stylist : Jennifer Link
makeup artist : Andrea Losecco
hair stylist : Jodie McGuire
models : Sarah Wintle & Vena Kayta

AUXILIARY ONLINE CONTENT
[ additional images not seen in the February/March 2013 Issue ]

Though not a milliner by trade, Rose Hemlock wears quite a few hats to perfection nonetheless. As creative director of Rose Mortem, she transposes femininity, tragedy, and innocence into gently ruched bodices, empire waistlines, and dramatically long lace cuffs; seamlessly weaving dark fantasy into each stitch. Coupled with bringing raiment relief to modern dames and dandies who feared that romance was destined to be relegated as a relic of the dusty past, Rose Hemlock will soon be delving into the realm of the ethereal with the upcoming launch of Faerie Clothing, a lighter sister label to her primary brand. In keeping with her status as a Renaissance woman, she lends her musical talents to The Awakening, finds time to flex her literary muscles, and raises two young boys (while wrangling two feisty felines to boot). Her expertise truly spans the gamut, and with ambition to spare it is doubtless that any task thrown at her would be accomplished with magnificence.
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interview by : Vanity Kills
photographer : Ian Compton
creative director : Pretty Deadly Stylz
fashion stylist : Pretty Deadly Stylz
makeup artist : Jesse Young
hair stylist : Jesse Young
model : Christine MacGibbon

Nearly ten years ago Futurstate’s Laura Stewart undertook the challenge of making the industrial nightclub a sexier place to be. This was accomplished by introducing cyber separates actually conducive to mobility: such as silver-on-black high-slit maxi skirts (which offered the ample legroom necessary to execute those kung-fu-esque kicks that tend to require other patrons to maintain a ten-foot radial distance from the dancer at all times) and halters that utilizes moisture wicking fabric (made to withstand a marathon Hocico stompfest with minimal grodiness). That’s just two of the innumerable reasons you’ve been catching eyefuls of Nemesis skirts and Avenge tops steadily infiltrating dark alternative festivals worldwide. And it certainly would not be a stretch to conclude that Futurstate has ascended to the status of “fashion gone viral”, due to the frequent appearance of circuit-printed Transkema sleeves in the now-ubiquitous YouTube depictions of EBM dancing spontaneously erupting in any given part of the globe. Still, there is no rest for the wicked.

As many cybergoths come to realize, the corporate path is usually neither the easiest, nor most interesting avenue to pursue, but it is the way to paying rent, expanding one’s palate past packets of instant ramen, and the ability to buy nice boots at will. Yet, despite the unavoidable suckage typically included in the standard relocation package to Desk Jockeysville (awkward team building exercises with coworkers you loathe, soul-sucking fluorescent lighting, and hours of brain-atrophying repetitive tasks) take comfort in knowing that Futurstate’s professional alter ego, Victory & Vice, managed to pull off the unthinkable by bridging the sartorial divide between work and play. Two seemingly opposing concepts were successfully united into a coherent whole when Stewart dreamed up a multifunctional collection of pieces that subtly give nod to the “dark and raw” undercurrent of subcultural elements, yet still seamlessly adapted to fit into a contemporary office environment. Spoiler alert, the prevalent black-on-black color scheme, fitted pencil skirts, and inconspicuously vintage military inspired dresses evoke a sense of instant familiarity. One would be hard pressed not to instantly recognize cuts and details that border on the limits of both retro and futuristic, with covert traces of Futurstate’s signature style while yet still rooted in the present just enough to create a viable smokescreen of workforce attire.

And those with any degree of familiarity with cyberpunk literature already know that the best way to subvert the system is from the inside.

What gave impetus to the rise of Victory & Vice?
Laura Stewart : Victory & Vice came into being as an extension of Futurstate, to fit the changing desires of some of our long time clients that have grown with us over the years. I started to notice excitement around transitional pieces that could be worn to the office as well as at night. It seemed there was a gap in finding a way to look professional while still expressing aspects of an alternative identity. I liked the concept of evolving with our customer, but felt there needed to be a distinct collection, allowing Futurstate to remain strong in its already established identity. The rise of Victory & Vice has been a refreshingly creative opportunity, an outlet to explore alternative themes in a new format. The look is more streamlined, semi-professional with a defined subculture edge keeping it distinct from what the mainstream is wearing. Beneath it all, the impetus of the new label is from my love of designing clothing and the desire to create fashion that others identify with.

view the full feature in the December/January 2012/2013 Issue

interview by : Vanity Kills
photographer : Amena Assaily
creative director : Pretty Deadly Stylz
fashion stylist : Pretty Deadly Stylz
makeup artist : Jenn Aqui
hair stylist : Pretty Deadly Stylz
model : Michelle Gray

What do blushing brides, goth girls, and Tinseltown types have in common? A mutual love of making an entrance, that’s for certain. And at least one made-to-measure corset meticulously crafted in the Toronto studio of Dianna DiNoble, where for the past twenty years this acclaimed waist sculpting goto woman has been making hourglass dreams come true under the name Starkers! Corsetry. Whether it be an ivory silk overbust finished with pearls and flowers suitable for a fairytale wedding, an extended thigh-grazing underbust concocted from crocodile embossed leather conceived with Montreal Fetish Weekend in mind, or a sapphire cincher for Jennifer Love Hewitt, the fruits of Dianna’s labor facilitate a perfect fit for every curve of every customer by drafting a pattern from scratch based on the individual measurements provided. “Off the rack” simply doesn’t exist in her vocabulary.

While Starkers! has garnered quite a following amongst faces one might easily recognize from their TV screen, such as cast members of True Blood and Dexter, DiNoble adheres to the philosophy that realizing each client’s one-of-a-kind needs, famous or otherwise, lies at the heart of her company. Dianna’s uncompromised dedication to customer satisfaction accounts for two thirds of the secret formula behind’s Starkers! success. The remaining third is attributed to the magic conjured up by the Gabrielle overbust and its cleavage-enhancing powers. Here’s to two more decades of dressing for excess.

What lead you to focus exclusively on bridalwear for your latest collection which was shown at FAT, Toronto Arts & Fashion Week, 2012?
Dianna DiNoble : It was my focus because it has been the focus of my clients over the past few years. When Starkers began, nearly twenty years ago, I primarily catered to the goth scene and made mostly black leather, brocade, and strappy corsets. It has made a gradual shift to more formal and bridal, and I believe it’s still the same individuals that I made corsets for in the 90s they are now older and wanting something more offbeat than a typical wedding dress, or formal gown. Corsets have also been predominant in wedding gowns, and brides like to have one that they can trust will be comfortable to wear all day because it’s custom made to measure. Also for a custom designed and fit bridal gown,
the price is good.

AUXILIARY ONLINE CONTENT
[ additional images not seen in the August/September 2012 Issue ]

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Ladies and gentlemen, bats and acrobats, individuals suffering from an incurable full-blown Beetlejuice obsession, let’s take a moment to discuss reality as we know it. Some claim that life’s a circus. Others believe it to be a dark room. One. Big. Dark. Room. Ergo, we might as well dress for the occasion.

Luckily, Gloomth’s new Haunted Circus line takes the guesswork out of navigating dress codes befitting the creepy carnival known as existence. Step right up to vests, jackets, and bloomers perfectly striped in black and white, offset by hand-cut red heart and gold star appliqués. Let the death-defying daredevil spirit abound in a leg-baring sashed black romper, always ready to stop passersby in their tracks. And don’t be shocked (but feel free to be amazed) if your reflection in the fun house mirror suddenly sprouts fangs. Or your cotton candy begins to taste strangely of absinthe.

AUXILIARY ONLINE CONTENT
[ additional images not seen in the August/September 2012 Issue ]

interview by : Vanity Kills
photographer : Ian Gattie
creative director : Jennifer Link
fashion stylist : Jennifer Link and Meagan Hendrickson
makeup artist : Leane Steck
model : Meagan Hendrickson

view the full feature in the August/September 2012 Issue

interview by : Vanity Kills
photographer : Collective Chaos Photography
models : Marlo Marquise and Elegy Ellem

The law according to Collective Chaos states that going green and staying true to your indulgent, hedonistic roots don’t necessarily have to be mutually exclusive concepts. Environmentally responsible living doesn’t confine you to a life of Birkenstocks and shapeless hemp-woven sacks. It does however force you to rethink your contribution to the local landfill. One way to put the brakes on the over-consumption madness, so prevalent in modern society, is to reduce textile waste. How, you ask? For starters, pondering your fashion purchases long and hard before plunking down the plastic for clothing that sacrifices quality, longevity, and, frankly often, originality in favor of a more attractive (read: cheap) price point. Sure, that out-of-the-box mass produced one-size-allegedly-fits-all latex mini will cost you no more than a price of a movie ticket and medium popcorn, but how many wears will you truly get out of it before it inevitably rips and begins its funeral procession to the city dump. Need I even mention that ten other girls will probably be rockin’ it too? On the same night, in the same club. No, thanks. So what’s the sexiest, most wardrobe-enhancing way to put less stress on our planet’s valuable resources? Collective Chaos’s latex pieces answer that pressing question by fleshing out the well known conservation concept of “Reduce, Reuse, Recycle” in the most sensuous way yet. Simply reduce the amount of filler apparel, by buying the highest quality pieces you can really shine in (figuratively and literally). Reuse by investing in exceptionally versatile garments, which can easily be styled in a thousand different ways (the V-Luptuous dress immediately springs to mind). And if you wish to part with your garb, you can easily recycle all of Collective Chaos’s 100% biodegradable, fair trade manufacturer produced latex. Sustainability has never felt so sumptuous.

What’s the best way to ease into latex for those curious, yet unfamiliar with its second-skin bodyhugging feel? Which one of your pieces would you recommend for a first time wearer?
Aliona : Wearing latex feels much more natural than you may realize. Most people are familiar with the comforting tightness of workout clothes and the sensual feel of leather. Well, if you marry the two, adding a dose of shine, sensuality, glamour, and invincibility, you might get an idea of what latex feels like. It’s impossible to describe, it needs to be experienced. My best advice for popping the latex cherry would be to, one, test your allergies, two, learn how to properly wear and take care of it, and, three, opt for spending a bit more, but on a higher quality piece, too many people get turned off by buying a cheap sample that does not fit or last.

view the full feature in the June/July 2012 Issue

interview by : Jessica Jewell
photographer : Liz Besanson
makeup artist : Deidre Grant
hair stylist : Mackenzie Hughes
models : Anastasia Eremenko, Veronica Dawn, and Morghan Dever

Autumn Kietponglert’s evocative designs combine darkness, texture, lines, and movement. Based out of Philadelphia, she’s part of a collective of designers forging a new fashion scene. She’s the creative director of the Heartless Revival brand and the designer of Autumnlin Atelier. Zipping down runways and gracing the pages of editorials, her creations are awe-inspiring. Her work has been showcased at New York’s Fashion Week and has earned international rapport turning heads with her international publicity.

Heartless Revival’s aesthetic is edgy, dark Tokyo street attitude colliding with refined, aristocratic Victorian fashions. Her most recent collection, “Sacred and Profane” maintains a brooding look while still integrating lighter materials and more understated, softer colors. They’re ethereal and carry the models down the catwalk with a mesmerizing grace and fluidity.

What’s the buzz all about? Where East meets West, where nightmares meet dreams, her designs are as unique as they are enviable. Auxiliary had the privilege of getting a minute of Autumn’s time to pick the brain of a prodigal creative.

read the full interview in the April/May 2012 Issue

With a few new endeavors on the horizon, the famous fashion design company and Sydney, Australia boutique known for their corsets and alternative couture, Gallery Serpentine, is still going strong after 15 years.

interview by : Vanity Kills & Jennifer Link
photographer : Zelko Nedic
fashion stylist : Gallery Serpentine
makeup artist : Emma Lee Court and Renee De Bono
makeup : Illamasqua
hair stylist : Ambo Ars
models : Miroslav Naskovic, Sophie J. Wilde, Susy Natal, James Heathers, Lauren Kyle, and Jeremy Ansley

It’s safe to say that upon handing yourself over to the whimsical couturiers behind Australia’s celebrated Gallery Serpentine, you’ll soon forget all about the outmoded notion of, “being dressed to the nines”. Instead, you shall be whisked right past 10 and into a world of instantly recognizable style that is off the charts. No surprise there, since this Sydney-based “Home of Australian Corsetry and Alternative Couture” prides itself on being an “Antidote to the Mundane”. After all, nothing lights up a room like a Gallery Serpentine pointed waist cincher fashioned from black aston brocade, a distinguished pinstripe kirtle skirt that drapes just right, or a high-collared undertaker inspired coat. But that’s just one small piece of a greater fantastically fashionable puzzle. If you heart’s desire lies in transforming your entire wedding entourage into a horde of airship pirates, the brand’s alternative bridal salon, can help you satiate your steamiest matrimonial appetites. And if you wish to be plucked from the banality of day-to-day life by the way of sartorially minded old-school carnival magic, where tunes and togs collide: Dark Fashion Theatre beckons with promises of delivering a tantalizing, multi-performer road show unlike that which you’ve ever seen, letting you fulfill those, “I’ve run away with a really well-dressed circus,” fantasies you’ve always harbored. At least for one night.

Writer Vanity Kills and editor Jennifer Link had the pleasure of interviewing Stephanie Calkin of Gallery Serpentine.

Jennifer Link : Gallery Serpentine has had multiple designers and guest designers throughout its 15 years, can you give us a mini history lesson, who were some of the highlights and who is still working with Gallery Serpentine today?
Stephanie Calkin : Annette Magus, my sister, was the sole designer when her first label, Magus, morphed into Gallery Serpentine in the early years after she came back from Camden in London where she had a great following. She developed the corsetry during this period when you couldn’t buy a corset in Australia. She continues to contribute her signature romantic neo-Victorian styles and also what I’d categorize as “practical goth” or “corporate goth” daywear. For me I was making “deadtech” creations utilizing circuitboard screen prints and wiring diagrams with used computer parts and often pictures of Einstein. It was great to have this recognized with a color spread in a local Sydney gay publication and getting the cover of another local paper and having the winner of the Miss Geek competition in the USA wearing one of my deadtech corsets.

Once GS started growing and we were employing some creatives who in the main came out of the theater costume background an acceleration of dramatic designs came through. Basically nearly everyone who has ever worked here has ended up contributing designs whether it is the production team or the retail team. We used to have very intense staff design meetings every few months and design sheets were rampant pieces of paperwork wherever you went upstairs in our old shop in a Victorian terrace.

Shannon Mullane is still with us after about eight years, she originally started as a work experience student and is now Production Manager and has designed some great new styles for us.

Other guest designers are USA steampunk legend, Evelyn Kriete and Sydney’s own Robert from Red Rabbit & Ensign who really helped us kickstart our GS Gentlemen ranges. Our new Dapper Bastard ranges are being spurred along by a Victorian style strong man and scientist, Abbadon/James Heathers.

read the full interview in the December/January 2011/2012 Issue

Enshrouded in a sensual darkness, Heavy Red has always catered to those seeking something more from goth style. An icon and designer whose workmanship has entitled them to countless loyal fans and followers, Tyler Ondine Whitman and the crew at Heavy Red continue to redefine the concept and approach to gothic by playing with both subtlety and drama always with an air of sophistication. For connoisseurs of a darker aesthetic, a darker beauty, the future of goth fashion has never looked so bright.

photograher : Jennifer Link
fashion stylist : Meagan Hendrickson
makeup artist : Andrea Losecco
hair stylist : Erin Moser
model : Agatka
interview : Vanity Kills

Heavy Red’s fashions bring out the best in a woman without overshadowing her. This great achievement can be partially attributed to the countless hours designer Tyler Ondine Whitman invested into studying and photographing the female form in all its variance; from the bare flesh of strippers, swaying from the poles of Chez Paree in San Francisco’s Tenderloin district, to the hyper-exaggerated visages of femininity presented by pageant winning drag queens in Alabama. Repeated exposure to this colorful Lucite heeled and be-sequined cast of characters taught Whitman how to articulate sensuality-drenched garments which readily invite flattery and praise, instead of simply drowning the wearer in a metric ton of lace, ruffles and tulle netting. As Heavy Red tirelessly continues to uphold the maxim of, “you should wear the dress, don’t let the dress wear you,” Tyler teases with previews of their fall 2011 collection, shares relevant tips on swimsuit season survival aimed at the black-clad crowd, and talks of perusing the principles of form fitting design at nudie bars.

Heavy Red is getting ready to launch their fall collection, what surprises do you have in store?
Tyler Ondine Whitman : Heavy Red is itself like a young woman, one who is always discovering new facets of her personality. One who explores her sexuality, one who redefines herself through substance and style. A woman who can be the picture of elegance during the day and a down right naughty spectacle after dark. The new fall line has so many exciting elements to help you create a look that is an absolute you. This season suitings, herringbones, pinstripes are playing a big role. Corsets like you have never seen before which will leave you breathless. Our new winter coat is in the works, definitely a must have for fall season. As always I have had some extra fun with some very over the top skirts. I am continuing to push the boundaries of what one could call a hoodie, with all new draping and accentuating of the silhouette. And of course some very unexpected surprises to tantalize the sophisticated Heavy Red shopper.

read the full interview in the August/September 2011 Issue

We all have a penchant for the dark, the macabre, and the taboo. Nottingham UK’s Krissy Gore of Gore Couture makes this otherwise “secret” fascination a part of her everyday. In a word: sick, but we love it that way. It is the one-of-a-kind artistry that goes into each corset fashioned at GC that brings the taboo to the forefront, but makes ownership of any of these creations an experience in blood-soaked craftsmanship.

photographers : Iberian Black Arts Photography and Bodó Janos Attila
models/stylists : Morgana, Elyssia, RazorCandi, and Silent Noise
interview : Vanity Kills

If sugar and spice and everything nice isn’t exactly the first thing you look for while corset shopping, there’s always broken mirror shards, disembodied doll heads, and stitched cadaver flesh. Let’s face it, sometimes gratuitous use of graphic horror violence warms the cockles of one’s blackened heart in ways pink floral brocade never will. Such occasions call for wearing something that makes a truly visceral impact. Like a gore-geously crafted steel boned underbust, bedecked with printed pages straight out of a serial killer’s diary — complete with eyelids harvested from those who perished at her hands. At times like this, Krissy Gore of Gore Couture makes exactly what it takes to quench your sartorial blood lust. This master craftswoman and corsetière, adept at glamourizing the ghastly, will clothe your inner zombie/vampire/bird of prey in tight-lacing garments designed to elicit stares of awe and admiration alike. Who says that torture and dismemberment shouldn’t be synonymous with style?

When did you first discover your love of corsetry? When did the deciding moment of merging your love of horror with your love of corsets take place?
Krissy Gore : I discovered my love of corsetry many years ago. For me they were always the icing on the cake to any outfit, whether on show or worn as a foundation garment. Gore Couture was a natural progression having already worked and been associated with other alternative clothing companies. I was already making corsets and was wanting to combine my corsetry skills with my art when I met Miss Fiendish who at the time was making some pretty awesome PVC prints. We got together and created Gore Couture. GC is now just myself, Krissy Gore, creating all the designs, prints, and embellishments from scratch.

view the full feature in the June/July 2011 Issue

BabyLove’s Latex, just one of five Renee Masoomian lines of head designer Renee Masoomian and business coordinator Dean Troxell, turns up the fashion on a traditionally fetish material and throws in a vintage twist. Add a little latex to your wardrobe or stock up your existing collection with BabyLove’s Latex’s versatile separates that are as fun and cheeky as the collection’s tagline; “When skirts were tight and women were loose.”

photographer : Luke Copping
fashion stylist : Jennifer Link
makeup artist : Andrea Claire Losecco
model : Manchester
assistant : Jason Stoos
location producer : Mario Lorenzo
special thanks : Silverthorne Mansion
interview by : Jennifer Link

What is the origin of the name “BabyLove’s Latex”?
Dean Troxell : I have pretty much always called Renee ‘BabyLove’. When we were thinking of a name for a new latex line, I half-jokingly proposed the name to Renee as a possibility and she liked it, so it stuck. Developing the line was the final addition to our stable, which consists of five distinct lines.
Renee Masoomian : The apostrophe in ‘BabyLove’s Latex’ is designation of ownership.

How does the aesthetic, branding, and target customer differ with BabyLove’s Latex from your other lines?
DT : There are five lines under the company label, Renee Masoomian. The last two are latex lines, but Matter + Form sometimes uses re-used bicycle inner-tubes. The first two tend to use more traditional fabrics than not. Renee Masoomian, higher-end signature line which utilizes classic traditional cuts and avant-garde elements. Circuit Bent, club and street wear. Matter + Form, bags and accessories line made from re-used bicycle inner-tubes. BabyLove’s Latex, latex basics and more intricate stock pieces. Soliloquy, ornate stock and custom latex pieces.

read the full interview in the April/May 2011 Issue