Designer JL Schnabel’s long-lived relationship with the supernatural combined with a strong fascination and a personal touch create the foundation for what lies  behind the jewelry of Philadelphia based Blood Milk.

interview by : Vanity Kills
photographer : Christina Brown
fashion stylist : JL Schnabel and Paul Romano
model : Tina Nguyen

Do you dream of unique adornments from beyond this realm, capable of effortlessly lending a supernatural air to your flowy, black tunics? Time to open your third eye and join the legions of sea witches, mediums, and other devout followers of Philadelphia’s esoteric jewelry house Blood Milk. Tap into your unconscious self with the guidance of a hand carved rune bracelet, find your way home (on whatever plane of existence it may lay) with a sparrow skull ring, or reach out to loved ones who shed their mortal sheaths by the way of a spirit board-inspired planchette necklace. Alas, these surrealist charms really ought to come with a caveat; you never know when you might just find yourself whisked away to the other side of reality. Which makes these occult ornaments even more enticing.

Other than the release of Blood Milk’s lookbook The Conjurer, did any noteworthy or surreal events take place in your life on the eleventh day of the eleventh month of the eleventh year? Can you give Auxiliary Magazine readers further insight as to why you chose November 11th for the grand unveiling of The Conjurer?
JL Schnabel : I’m interested in Jung’s ideas on synchronicity. I read somewhere that people tend to look at the clock at 11:11 more than any other time and I like to think that there are cosmic forces at play, but who knows for sure? I like the mystery of not knowing.

Do you foresee a modern day large-scale resurgence of mourning jewelry spearheaded by either the forlorn economy, the ever growing quasi-mainstream popularity of the nu-goth movement, or perhaps something different altogether?
JLS : I started becoming attracted to the idea of mourning jewelry around the time I lost someone important to me. I think in that sense, anyone who has become acquainted with death seeks out the comfort of mourning talismans whether they realize it or not. These types of jewels become a kind of psychic armor.

read the full interview in the February/March 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

Ronan Harris of VNV Nation reveals how he sins.

interview by Mike Kieffer & Vanity Kills

Perhaps the most well known modern EBM/futurepop group of today, Ronan Harris and Mark Jackson of VNV Nation continue on their vigilant quest to spread their music to any willing ear. Automatic is their newest weapon, which is powerful enough to please their fans and pull many more onto the VNV bandwagon.

Wrath – VNV Nation is entered in a fight to the death battle of the bands, who would you want to square off against and what weapon would you choose?
Ronan Harris : Not being a fan of violence or displays of testosteronal inspired violence, this is hard to imagine but if this was a scene in some far-fetched, postapocalypse, low-budget sci-fi movie with Christopher Lambert or JCVD as the cyborg leader whose very word means life or death through the medium of bad acting and interpretational dance, and including some obligatory cliché punk looking folk driving around in chopped up Pintos, firing shots into the air, while inexplicable gas explosions shoot up into the sky around an abandoned factory… etc. (see 1980s for more on this)… I guess I’d go up against Belinda Carlise, if nothing for the sheer bizarreness of it all. Was she a band, even if she was a solo act? Who cares. It’s my answer. VNV vs Belinda Carlisle. Weapon of choice; I think grenades or an MP5K should do it. It’d be quick. The after-party would be awesome.

Envy – If you could put one item on your tour rider that you would always get regardless of price what would it be?
RH : When we started out we used to put “One shaved Golden Condor” and some other necessary items on the rider that you really do need on tour but people didn’t seem to have the sense of humor we expected. Hell, it was for our amusement, no one else’s. If I could put an item on the rider now that I could actually have, it would be one of two things… One, a fabric-lined, wooden box containing a bottle of an ultra rare single-malt scotch that I happen to like, and a collection of handrolled Dominican Republic cigars. After load-out, when everyone’s gone home, the whole crew would all sit around and act like kings of the road, enjoying some fine scotch and discussing the day because our crew’s conversations are hilarious and it would be the high point of the day. Two, an inflatable bouncy castle to be erected in the corner of the hall. You can never go wrong with a bouncy castle. It’s the ultimate icebreaker at cocktail parties and promotes fine conversation covering a wide range of topics. That or people would take their shoes off, get on the thing and re-join the 8 year old mosh pit club, remembering what it was like to smash their nose while flying around on one, though without a parent to run to after.

read the full interview in the October/November 2011 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

Even in the uncertain economic climate of today, the old adage of “you get what you pay for” appears to hold as much weight as ever. If exquisitely opulent headwear is what your heart lusts after, it’s wisest to opt for an investment piece that is truly built to last. Kat Toronto of Hey Sailor! rises to the occasion.

interview by Vanity Kills

In recent years, accessory boutique chains latched onto the tiny top hat trend seemingly for dear life. It’s now easier than ever to affix a mass manufactured concoction of felt, marabou feathers, and sequins to your head for the low, low price of $12.99. Alas, it is advised that the ladies who pride themselves on rejecting the concept of disposable “fast fashion” , who long to add handmade tricorns, pillboxes, and cloches crafted with utmost skill and care to their accessory arsenal, to seek out San Francisco based master milliner Kat Toronto of Hey Sailor! So, if you dream of a nine-inch pirate ship sailing on a bed of hot pink PVC, pleat trims of whimsically striped fabric, and chenille dot veils decorating your ‘do, Kat can bring it to reality. And that’s just one way Hey Sailor’s splurge-worthy treasures can up your style ante at the drop of a hat.

Your venture into millinery began when you fashioned fancy head adornments to rock at events where you sang for the band Ragwater Revue. Despite your original desire to handicraft one-of-a-kind accessories intended solely for personal use, at Ragwater Revue’s shows, people offered to buy the hats right off your head which must’ve felt positively exhilarating. What did these proto-Hey Sailor! concept hats look like?

Kat Toronto : Many of the hats I created in the very beginning were fashioned from bits and pieces of vintage hats that I had procured while thrift shopping or on eBay. I absolutely love playing with slightly tattered and torn bits of vintage clothing and turning them into new garments or accessories, this is where Hey Sailor! Hats had its humble beginnings. While working on my BFA at the Kansas City Art Institute I created a collection of garments from recycled vintage clothing and vintage fabrics so I think it was just natural that this transferred over into my hat making. Although I greatly enjoyed creating these early hats from vintage materials I soon realized that I wanted to know more about the technique, trade, and history of millinery. So began my serious venture into handmade millinery, and ultimately, Hey Sailor! Hats.

read the full interview in the February/March 2011 Issue

photo : Zach Rose
interview : Zach Rose

Auxiliary Magazine’s regular contributor, the infamous Vanity Kills, is one that matches sharp wit and insight with a varied background in fashion, cosmetics, and music to bring readers content that is not only informative, but also highly entertaining.  Vanity Kills has plenty of experience writing on topics she enjoys and embodies, currently she has an online column on Lip Service’s webzine entitled, Lethal Style.  Contributing beauty articles and a multitude of in depth interviews with designers from around the world to each issue, she brings a unique and fun persona to Auxiliary Magazine.

What do you do at Auxiliary Magazine?

Instruct and inform the masses in all manners related to the fine art of warpaint application, interview people that don’t suck, and formerly provided comic relief with some 100% fictional ridiculous goth drama. Also I allegedly partied with the copy editor in at least five different states.

As an independent writer working with multiple companies including Lip Service and Auxiliary, what is it about writing that is most appealing to you? How did you get started?

As frustrating as it is at times, it’s the air I breathe. As much as writing the perfect paragraph which conveys my thoughts on Hello Kitty corsets in the exact matter I want it to keeps me up at night, I cannot picture ever NOT doing it. Being physically rewarded for my efforts with money and merchandise is nice, since I put a lot of effort into the written word, but it’s never been my motivation. The greatest reward is the immense sense of accomplishment derived from bringing to completion a finished piece that I would have loved to stumble upon, in either a book or a blog, and find myself. When I feel like I’ve written something equally informative and pleasurable to read.

I’ve always loved fashion magazines. As long as I can remember, I’ve read every woman’s magazine I could get my hands on and mentally devoured all the vignettes that accompanied the fashion spreads. My brain absorbed them like a sponge. It didn’t matter if the outfits themselves were hideous or exquisite. You can’t mount a painting on the wall without a frame. Words are that frame. In time, I found myself ‘styling’ things in my head. Constantly thinking of what shoes would go with what skirt and what earrings would complement the ensemble as a whole. Fleshing out these thoughts into full fledged fashion and beauty articles was just a natural extension of all that internal style obsessed dialogue.

(more…)

The Dec/Jan 2010/2011 Issue saw the final installment of My Life as a Goth Girl, an article that has been in the magazine since the first issue two years ago. Mlaagg, by Vanity Kills, is the fictional stories and dramas of Kimmy, the subculture-elitist, fetish-fashionista, yet sweetly endearing queen of the goth scene that everyone loves to hate. In honor of its end we will be posting all the illustrations done for the reoccurring article over the years. Read the final chapter of Kimmy’s story in the December/January 2010/2011 Issue out now!

October/November 2010 Issue

illustration : Maki Naro

December/January 2010/2011 Issue

illustration : Harley Sparx

Read the articles in the October/November 2010 Issue and the December/January 2010/2011 Issue!

The Dec/Jan 2010/2011 Issue saw the final installment of My Life as a Goth Girl, an article that has been in the magazine since the first issue two years ago. Mlaagg, by Vanity Kills, is the fictional stories and dramas of Kimmy, the subculture-elitist, fetish-fashionista, yet sweetly endearing queen of the goth scene that everyone loves to hate. In honor of its end we will be posting all the illustrations done for the reoccurring article over the years. Read the final chapter of Kimmy’s story in the December/January 2010/2011 Issue out now!

April/May 2010 Issue

illustration : Jinx in the Sky

August/September 2010 Issue

illustration : Harley Sparx

Read the articles in the April/May 2010 Issue and the August/September 2010 Issue!

The Dec/Jan 2010/2011 Issue saw the final installment of My Life as a Goth Girl, an article that has been in the magazine since the first issue two years ago. Mlaagg, by Vanity Kills, is the fictional stories and dramas of Kimmy, the subculture-elitist, fetish-fashionista, yet sweetly endearing queen of the goth scene that everyone loves to hate. In honor of its end we will be posting all the illustrations done for the reoccurring article over the years. Read the final chapter of Kimmy’s story in the December/January 2010/2011 Issue out now!

December/January 2009/2010 Issue

illustration : Alec Lewellyn

February/March 2010 Issue

illustration : Maki Naro

Read the articles in the December/January 2009/2010 Issue and the February/March 2010 Issue!