Artist Spotlight: Nico / babysbabybaby

Nico in their studio by Kate Addison

In a small studio on the border of Montreal’s Plateau and Mile End neighbourhoods, self-described ‘DIY tattoo artist’ Nico (they/he)  - known on Instagram as babysbabybaby - invites me to take a seat on a low leather couch and flip through a sizable collection of sketchbooks.

Nico’s art immediately demands your attention. His sketchbooks which hold all of his flash are teeming with colour. As you flip the pages, you’re greeted by bright pinks, greens and oranges and freehanded carnivalesque doodles which oscillate between charming and delightfully unsettling. With over ten thousand followers on Instagram, it is clear that Nico’s unique style resonates with a large audience.

I spoke with the artist in their studio about how they began tattooing and what this art form has come to mean for them in both their creative development and in their experience with a larger community of creatives. 

Nico in their studio by Kate Addison

Kate Addison for Also Cool: How did you get into tattooing?

Nico Wilting: It was just kind of a roundabout way. It wasn’t really something I saw myself doing for a long time. I started stick and poking in 2016, but very, non-seriously. It was a friend who first asked me to give them a tattoo, and then I kind of got interested in it.

In 2018 I was sinking into a really dark depression. I was in an unhealthy relationship and I [was wondering] what am I doing here? I was working full time and wasn't able to do any art, and I was [asking myself] what am I doing with my life? I had watched a lot of other artists teach themselves how to tattoo. I just curious if this was a way for me to survive capitalism as an artist, [because] after going through art school, I figured out that I didn't want to be a gallery artist. I ended up contacting a couple of tattoo (?) artists and everyone was super helpful. [Some artists] even invited me over to their houses and gave me a list of everything I needed to buy, and gave me pointers for starting out. The summer of 2018 was when I finally bought my machine and I started tattooing seriously. 

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A post shared by Nico ♊️ 𝑙𝑖𝑔ℎ𝑡ℎ𝑒𝑎𝑟𝑡𝑒𝑑 𝑡𝑎𝑡𝑡𝑜𝑜 (@babysbabybaby)

Also Cool: You went to art school? Tell me about the art you were making before you began tattooing. 

Nico: Originally, I  went to art school thinking that I was gonna become a graphic designer. [In my first year] I was loving my fine art classes, so I switched to Drawing in my second year. ​​[Art school] is very much about conceptual art. You have to have an academic form of defending your work. I think I did gain a lot from getting a BFA, but I just don't really feel like that part of the art world is for me. 

I really like how accessible tattoos are to people. Anybody can get a tattoo. One of my friends said to me that she sees tattooing as a way of curating her body and I [agree]. Tattooing lives in a lot of different facets but part of it is you're able to change and get autonomy of your body. Another [part] of it is that you're collecting art. It's one of the ways that I look at it when I get tattooed, that I’m collecting art on my body. 

AC: Can you walk me through your process of creating a tattoo, from creating your flash to the finished piece? 

NW:  I really like challenging myself to draw as much as possible. I'll have an idea and I'll just keep trying to push it. I'll see how well I can execute the drawing or how weird I can make it. If I start messing up, I usually try and make it work. Like, here *Nico gestures to a drawing in one of his sketchbooks*  I probably fucked up a little bit and I just coloured it in and made it darker.

I really like holding on to imperfections and the moments where I will mess something up. Trying to reclaim bad drawings is kind of part of my process, and then usually when I trace it to become a tattoo, I like to try and make the lines smoother. 

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A post shared by Nico ♊️ 𝑙𝑖𝑔ℎ𝑡ℎ𝑒𝑎𝑟𝑡𝑒𝑑 𝑡𝑎𝑡𝑡𝑜𝑜 (@babysbabybaby)

AC: What do you think makes your work unique to you? What does your art represent for yourself? 

NW: To me, it feels like freedom and just like a happy place and a safe place. I think that kind of goes hand in hand with getting a tattoo. I see tattoos as a form of self-protection or armour. When you get a tattoo you can suddenly feel cooler and more confident. [Tattoos] bring you to a safer place like within your own body, and I think that's what my work represents. It's like that safe place when you're watching cartoons as a kid where nothing can really hurt you and you know at the end of the episode, it's gonna be okay.

AC: You’ve been working as a tattoo artist for a few years now. What have you found to be your favourite part of this job? 

NW: I really like the personal connection. It's really cool to meet a lot of different people. There's also just how transformative tattoos can be for people. After you tattoo someone, seeing them look at their body with so much love and admiration is really powerful. My art is no longer mine once it's on someone else's body, it's theirs. It's part of their body and it's another reason they love themselves, which is a really intense, and magical thing.

For me, it feels like part of the job to make people feel comfortable and safe so that they have a good experience as they get tattooed, because you do carry that stuff with you on your body forever. If you have a traumatic experience getting a tattoo every time you look at the tattoo, you're gonna think about that experience. I try to do the exact opposite of that and [create] the cushiest, soft, and safe experience possible. 

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A post shared by Nico ♊️ 𝑙𝑖𝑔ℎ𝑡ℎ𝑒𝑎𝑟𝑡𝑒𝑑 𝑡𝑎𝑡𝑡𝑜𝑜 (@babysbabybaby)

AC: Have you found any challenging aspects of this job? 

NW: It's constantly challenging, especially being self-taught. Sometimes you just have questions that you don't know who to ask or how to get answers to. I do have a lot of help from my community because other DIY artists all kind of figure it out on their own. We ask each other a lot of questions, and we try to confirm each other's experiences and help each other out a lot, which is really wonderful to have. 

AC: Can you tell me a bit more about the DIY tattoo community in Montreal? How would you define DIY tattooing? 

NW: [DIY] defines this style [where] you're not doing any kind of traditional style of tattooing, you’re doing your own art instead. A DIY tattoo artist is someone who doesn't work in a shop, didn't do an apprenticeship, and doesn't do what would be considered traditional tattoo styles . [The community] extends outside of Montreal, and as much as the tattoo community is insular, it's also free and massive. There's people in the States, in Europe, Australia, and then there's this [DIY] community that feels somewhat inaccessible in Korea. The Montreal DIY community is for the most part really wonderful and really supportive of each other. Most people want to connect and be friends. Trading is another aspect of friendship in the community. 

I've traded for so many things. Obviously, I can't live off trades, because I need to pay my rent, but if my landlord wanted tattoos, I would do it. I've traded with jewelry artists, I've traded to get my hair done. Once I posted that I was looking for a couple of things and would trade tattoos for them and I got a TV from a former client. It kind of feels like a way of skill-sharing and connecting to your creative community. 

AC: Is there anything else you wanted to add before we wrap up? 

NW: I would just like to draw the spotlight away from myself and say that I think it's important just to look at Indigenous tattooers in this country. I think it's important to look at Indigenous tattooing and understand where it comes from. If you're getting tattooed, just understanding the history, [because] basically since the evolution of the Homosapien, we've been putting ink in our skin in some form or another. The last thing I would add is just support queer BIPOC artists as much as you can.

Other artists whose work Nico recommends are @soft.wraith @0p4qu3 @pattern___recognition  @dirtyl00ks @ayasappleworld @snuggelug @0000_95m @kuntrydirt  @mirionmalletatoue @astoria.tattoo  @phylotattoos @dranem.bag @fuzzywuzzums @charbataille @ericacyrtattoos

// You can find Nicos work on their Instagram @babysbabybaby//

Kate Addison

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Em&May: Montreal's Women-Run, Sustainable Brand Making a Difference with Inclusive Fashion

Em & May Into Orbit collection

It's rare these days to see a brand say that they're sustainable and size-inclusive actually mean it. Em&May is a small but mighty women-run brand based out of the Mile End in Montreal that focuses on swimwear, lounge, lingerie, and more.  

It's easy to assume that a brand is a massive production because they have a curated Instagram and a sleek website. In reality, Em&May is a small team of young women figuring it out as they go along, taking on every aspect of the business. They do everything themselves, from creating their garments to customer service and even arguing with Canada Post over the phone to keep shipping prices low.

I wanted to showcase the immense amount of hard work that goes into this project and spotlight the women behind it all. Em&May operates on a made-to-order business model. That allows them to produce the least amount of waste possible while also providing a huge sizing range where you can input your measurements to ensure that your clothes fit you perfectly. They're working hard to make their creative dreams come to life while staying true to their values.

I first found the brand a year and a half ago on Instagram and have been following them ever since. It feels good to know the money I spent at Em&May goes right back into sustaining the lives of a group of creative women instead of a huge faceless corporation. 

I've gotten to know Emilie and her amazing team of girls over the last few months and wanted to share a sneak peek of what it's like behind the scenes, so we sat down for an interview. 

Em & May swim

Malaika Astorga for Also Cool: When did creativity enter your life? Did it start with fashion, or did you have other hobbies?

Emilie for Em&May: I used to draw a lot when I was younger. I would come home from school and draw in my notebook, which is where I first became interested in art and creativity. Fashion was something that I always really enjoyed.

My grandma used to take me shopping when I was a kid. She would give me some money to run around the mall to buy whatever I wanted. It was the first time I got to pick things out for myself, and when I started to figure out how I wanted to express myself by developing my sense of style. 

Despite being interested in fashion at a young age, I never really knew I would study design. When I had just graduated high school in Newfoundland, I went to a school called Textiles, Crafts Apparel and Design, which gave me my first experience with sewing. I was so excited to stay late at school to sew my projects. 

Whenever my teachers would give us something to do, I would do three or four. We had the opportunity to have a fashion show and then sell the pieces afterwards, and everyone made maybe five or six garments, and I must've made 30 or 40 pieces. I had an entire collection and extras on top of that. After the show, people could come and shop the pieces, and it was crazy to see people from my high school take an interest in my work.

I had started a Facebook page in school that I would post on all the time, which is how I got my name out there. People began to become a little more aware of what I was doing, which carried over to Em&May, which started when I was in school in Montreal.

I used that Facebook page as the base of the business because I had already accumulated a bit of a following. 

Em & May swim

Also Cool: What's the creative scene like in NL? What was your experience like there creatively?

Em: My school was in downtown Newfoundland, but downtown is not like downtown here. It's not super commercial, it's more where artsy people hang out, and there's a lot of cafes, galleries, and local businesses. There's a creative community down there; it's just less fashion and more painting, pottery, etc. but not necessarily clothing. 

AC: Why did you decide to move to Montreal? What was your first impression of the city?

Em: The main reason was that my mom is from Montreal, and I always loved her side of the family. We would visit once or twice a year, and I really wanted to know them better, so I started looking into the different schools here.

In terms of first impressions, I came to Montreal when I was a kid or with my friends for concerts or shopping. But when you live in Montreal versus when you come to visit, it is completely different. When you visit, you're mostly downtown on St. Catherine, going to all the big box stores, and everything else is just entirely off your radar. 

When I moved here, I started school right away, which was a big adjustment. I got my first job walking down St. Catherine and applied to all those box stores. I got a job at American Apparel, which was my foot in the door to the whole life I've created now. I was only there for a month, and then I got a call for a job from Urban Outfitters, which was my first choice, so I switched over to there. I'm really glad I made that call because that's where I met all my friends, who are even now still a part of the same scene, and two months later, American Apparel shut down.

Em & May sweat set

AC: How did you first get involved with the fashion scene in Montreal?

Em: I met a lot of people through school, and I honestly just said yes to every opportunity given to me. I also engaged with a lot of people and brands that I liked online as well.

When I was in school, the scene was comparable to now. Now it's just so different, especially the side of fashion that I'm a part of now (handmade, sustainable fashion). These are things that I've always been passionate about, but I couldn't have imagined myself going into.

These days people are way more conscious about their money and think a lot about where and who they're buying from. I think the pandemic brought a lot of that into focus. 

Em & May sweat set

AC: What was your collab like with Citizen Vintage? What was a valuable lesson you learned from them?

Em: I love them. A girl I went to school with had a studio assistant position that I took over. I would do adjustments for their vintage clothing, cropping and hemming things. I would repair broken things, help out with the tote bags and other things. 

They were also so good to me when I started Em&May and gave me 24-hour access to their studio to work. School closed at 11, and if I still had projects to do, I would go to their studio and work there instead. They were so helpful and so supportive.

I was still working for them when I did my first-ever collaboration with them. They wanted to make some swim, and I offered to take over that for them. My brand continued to evolve and grow, turning into a bigger collaboration. They've also purchased wholesale from me before, and we did a bunch of different collections together.

They taught me a lot about planning collections, sizing breakdowns, wholesale and consignment. They guided me through that process, so I had a better idea of what was expected when I got deals with other stores and companies. 

Em & May Into Orbit collection

AC: How do you incorporate sustainability into your practice?

Em: When people ask about sustainability, they usually ask about fabric, sourcing, and fibre content, which we pay a lot of attention to. Most of our fabrics are made from either deadstock or natural organic fibres. Our swim is made from Econyl, which is made from ocean waste and plastic bottles. We had also made an activewear collection made of plastic bottles last year. We're always trying to find different OEKO-TEX certified innovation fabrics.

In terms of packaging and shipping, all our materials, paper, boxes, water-activated tapes, etc., are made from 100% recycled paper. We function on a made-to-order business model, which means that we only make what has been ordered to have the least amount of waste possible. 

Also, I can pay my employees more than a living wage. There's not a huge amount of production in Montreal anymore, and not many people who graduate end up working as a seamstress. So what's fun about Em&May is that we're able to build off each other and sustain each other's lives because of our business. Our process is also super collaborative, and everyone has creative freedom.

AC: What are some of your favourite spots in Montreal? Any favourite memories to share?

Em: I am a coffee addict, so I love Olimpico and Gamba. I also really enjoy martinis, especially after a long week, so I go to Henrietta, Majestique, and other cute, low-key places.

Em & May Into Orbit collection

AC: What's been the most rewarding thing about running Em&May? How do you feel like you've grown as a person & artist because of the brand?

Em: I think it's awesome that we can be such a small team and are constantly creating pieces that we want to do without a timeline, but also that we're creating pieces with such a huge size range. We have no restrictions for sizing at all so that anyone can buy from us. 

It's rewarding to have an idea, I tell the girls, and then we sit down and talk about it – and two days later, it's done and on the website. We don't have to wait six months to a year for these ideas to come to life. 

AC: Do you have any small businesses / other artists you'd like to shout out?

Em: Definitely @va1sseau and @rachelsudbury! 

AC: What's next for Em&May?

Em: This year I want to be more creative in a way that goes outside of traditional fashion. A lot is coming that's not necessarily ready-to-wear and is more like wearable art. We're going to be incorporating more statement pieces, avant-garde, wearable art with non-traditional elements.

You can meet Emilie and the Em&May team this weekend at our Holiday Pop Up this Saturday, December 11th, from 12-6. See our Instagram post for details. 

Em & May Valley bralette

Em&May

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Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Chimbites x Plastique Famille Present Almas, an Immersive Experience for Ancestral Healing (Balistikal, Cité-des-Hospitalières)

As the world slowly opens up, we begin to celebrate and heal with each other. At a time when collective healing is needed more than ever, the Chimbites and Plastique Famille are hosting Almas from November 10-15 at Chapelle de la Cité-des-Hospitalieres, raising money for Balistikal's Anti-Clinica.

Almas (Souls) is a week-long exhibit centred around the re-interpretation of spirituality through a queer, anti-colonial lens and the deconstruction of ancestral trauma linked to religion. Tickets available HERE

By RICO SERNA via Chimbites

CHIMBITES is an international artistic network born in Tiohtià:ke / Montreal and Colombia in 2020, when Rico Serna and Julicore began working together to curate, develop and produce fundraising events. Their work is rooted in intersectionality and mutual aid, focusing on raising awareness and redistributing opportunities and resources, aiming for global equity.

With members in Bogota, Barcelona and Montreal, their goal is to organize exhibitions and events to showcase, empower and connect LGBTQIA+, BIPOC artists, while fundraising for their communities. By booking artists from near and far, they seek to provide a common international platform that provides equal compensation for their work.

PLASTIQUE FAMILLE is an artistic entity born in Mexico in 2016 founded by Diego Israel and Monica Olvera, operating as a platform to create, develop and launch ideas. Their work orbits around new technologies, decolonial practices, critical thinking, and social relationships in arts & culture. PF has been based in Toronto since 2017, with different members worldwide. They have grown into an established newcomer organization by creating and engaging with different communities, developing artistic management, which centres a human approach in our interactions with the artists and their work. They seek to understand needs more holistically, engaging with artists on many aspects of their process, co-creating pathways that suit their needs in terms of mental health, ability and financial capacity.

Chimbites and Plastique Famillie aim to (re)appropriate the colonized segregation space, "the church," by showcasing artists from various backgrounds to create a sacred space for our community to express their artistic views on spirituality, mental health, and healing. A "ceremony" will take place on Saturday, featuring performers and musicians, aiming to raise funds for a mental and spiritual health fund for Balistikal, an LGBTIA2S +, Afro-descendant, indigenous and migrant community in Latin America.

Cité-des-Hospitalières via Chimbites

Balistikal is a community organization whose mission is to heal, transform and cultivate the Afro and Indigenous LGBTIQ+ community. Their Anti-clinic offers healing services such as Tarot, Oracle, Astral chart, sexology, dream interpretation, Reiki, meditation, and more. Their next event will take place on November 18, and they need our support to raise funds to offer 80 free spots for Trans and Black individuals in need of healing services.

By NEAGONORREA, LAKRAS, OTRUS EXTRAVIADUS via Chimbites

The Cité-des-Hospitalières is a former convent based in Tiohtiá:ke, also known as Montreal, the unceded traditional territory of the Kanien'kehá:ka Nation. It constitutes a unique spiritual and sensory space, protected from the turbulence of the city by the wall of the formerly cloistered complex. The Cité has been open as a transitory space in recent months, inviting innovative projects that re-imagine inclusive and transformative uses of this exceptional heritage site.

Featured artists: PABLO BARESCH (Video Performance), DIANE GARCIA RAMOS (Sculpture), EDSON NIEBLA ROGIL (Short Film), NEUS LAKRAVIADUS (Short Film & Photographs), SANTIAGO MENDEZ & GABRIEL PITO (Photograph), JOSÉ L. MENÉDEZ (Painting), RICO SERNA (Photography), PRINCESS PRADA, PASTIZAL ZAMUDIO (Performance), JULICORE & SANTIAGO HURTADO (Short Film)

With performances by Kokettte, Araya Guanipa, and Zi1oj and musical performances by Chivengi, Deidre Opal, Syana Barbara

Sensorial Environment by Diane García Ramos, Earth Note Scents/Daniela Madrid, Corium, and onyyysumo

Emotional support on-site in collaboration with AGIR Montréal Thursday 11 & Friday 12

Saturday 13th and Sunday 14th, 15:00-18:00 - On November 10, 11, 12 and 15, free admission, donations will be accepted at the door.

The venue is wheelchair accessible. COVID-19 Protocols will be followed.

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Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Montreal Designer Kate Turner Talks Launching a Brand, Montreal's Fashion Scene & Sustainability

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

When I moved to Montreal, one of the first things I noticed was how uniquely well-dressed everyone is, nonchalantly making the city their runway. It seemed like no one cared to judge each other too harshly for wearing something other than big box stores and name brands, with many people wearing their friend's clothing lines or merch. 

As the world opens up again and I've started going out more, I can't help but feel the same way I did all those years ago: Totally enamoured with the creativity I see in the way people dress. The combination of having so much time to ourselves, without having to dress for others, and now the celebratory ability to go out again has made for an explosion of personal expression and unique style. 

What's even better is seeing friends' brands or creative projects being worn out in the world. It feels special to bond with a stranger because you're both wearing a garment that your friend made or to recognize the coolest pants you've ever seen on Instagram worn by someone casually doing groceries.

Kate Turner is one of those brands that makes you stop and say, "Wait, I think I've seen those before!" I've been a long-time admirer of her designs, and it's been exciting to see the brand grow and collaborate with mutual friends, fostering the fashion scene in Montreal. Her iconic green and black checkered pieces have been worn by the likes of Lil Miquela and just about every cool Montrealer out there.

I caught up with Kate over email about her latest collection, how she got started, sustainability, and a lot more.

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Malaika Astorga for Also Cool Mag: Let's start with a bit about who you are and what you do.

Kate Turner: I'm Kate - I make clothes under the name Kate Turner.

Also Cool: How did you first get into fashion? Has this creative practice always been in your life, or is it something that came later?

KT: I liked to sew in high school, and I thought I was a cool dresser back then. My family is full of creative people, specifically my mom and aunts; they heavily influence me. 

After high school, I pursued other things but came back to sewing in my mid 20's. I started making really basic baggy dresses, and shirts and people loved them. Then a store sent me a message saying they would like to sell my clothes and I was so excited I didn't sleep. I was up all night thinking about how it was even possible to make clothes for a living. I wanted to study some more before starting my own brand, so I did a textile design studio program in a mountain town in BC. I consider myself self-taught as far as fashion design with a background in textile art. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Also Cool: How has your brand evolved over time, and what have you learned about yourself and your creative practice in the process?

KT: My brand evolves with my personal growth, the skills I learn and the connections I make. It is all on display. 

I had a studio in Chabanel for a year and made a lot of connections with small factories there. I found somewhere that makes ribbons out of whatever fabric you choose, so everything I made (like the Maya suits) had ribbons all over them. I am now into elastic shirring and making everything stretchy and texturized. I bought a specialized twelve-needle machine that took me more than a month to get working, so expect a lot more shirred items in the future! 

My creative process is all about making samples. That can be the scariest and hardest part, but it's really great to get ideas out of your head and see them in the physical world. 

AC: How do you incorporate sustainable practices into your brand? 

KT: That's a tricky question; I'm very wary of greenwashing and using "eco-friendly" as a way to sell clothes. I think the only way to be truly sustainable is to not make any new clothes at all. I think brands are misguided by marketing their things as such. 

All that being said, the things I do as a small brand are source secondhand first, deadstock next and high-end virgin fabrics like silk and linen. I save all of my scraps and either reuse them or give them away to hobby sewers. I've recently introduced hemp into my studio this year; it takes the least amount of water to grow each fibre and lasts for hundreds of years. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

AC: It seems like often people don't understand the amount of time, energy, and resources it takes to run a small brand. Could you break down this process for us and explain a bit about what goes on behind the scenes?

KT: I think a lot of people don't realize that behind the scenes, there are so many samples made before a garment is released. Even if it is a simple piece, there are usually a few prototypes/samples made and tested. And then you have to make one of each size and get those fitted. I always make my first prototypes out of secondhand bedsheets and then go from there. I make everything myself along with one seamstress, but I do get things like buttonholes, grommets, trims and spaghetti straps made in Chabanel. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

AC: What has your experience with Montreal's fashion scene/community been like?

KT:  I love making clothes in Montreal. I'm like a sponge; I get so inspired by what my friends and people on the street are wearing. It's quite impressive how creative people are at dressing in this city. It feels like you can wear the wildest outfits, and no one will even notice, which is not the case for most of Canada. It's a beautiful thing to witness Montrealers showing up and accepting expressions of our true selves through fashion, art and music.

AC: Last but not least, how can we best support you and your brand?

KT: The best way to support my brand is to show up to events that I have and engage in any way you can. You don't have to buy anything, but just showing up to support goes a long way. I'm grateful for the support I receive from my community.

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Kate Turner

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Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Bad Wrld Launches Sustainable Bath and Loungewear Spring/Summer 22 Collection (Danica Olders)

via Bad Wrld

If there's one thing I know for sure, it's that I want to be comfortable. We all know that loungewear has taken the world by storm over the past year and a half. It's since become a staple in our lives, impacted style trends, and at least for me personally, how I dress on a day-to-day basis.

But let's be clear, just because I want to be comfy doesn't mean I want to look like a pile of blankets. And in a world of over-consumption, if you're going to buy, why not buy from more sustainable and ethical brands?

Today we're premiering a collection that checks all those boxes and more, Bad Wrld. Bad Wrld is a luxury fashion brand specializing in one-off, custom and limited edition robes and accessories for after swim, bath, spa, club, or just to lounge in. The robes range from more classic belted robes to cute fits of towel shorts and cropped jacket tops.

The collection debuts with a beautiful video and photo series shot by Ariana Molly, which you can watch below.

via Bad Wrld

The brand is designed and made by Danica Olders, utilizing recycled towels and 100% cotton terry cloth as ethically and slowly as possible. Bad means bath in Dutch, which Olders discovered on a trip visiting family in the Netherlands as a child who couldn't find the restroom.

The new collection for Spring/Summer 22 is called "Bath" and features seven original looks of 12 style variations, all done in monochrome white and grey, showcasing the design features available when ordering something custom.

Danica Olders is a Canadian transdisciplinary artist interested in space. Not like outer space but the space between people; the distance from a person to their connected walls/objects, the ownership felt of said spaces and the interactive energy possessed by them.

Her work is highly symbolic and largely based on humour. It is direct yet animated and friendly, easy to be near while maintaining socially charged ideas underneath the playful surfaces. The work is surreal, abstract and often practical, appearing as paintings, murals, graphic designs, costumes/fashion, digital animation, sculpture and installation of some or all of the above.

Olders has worked with numerous musical and visual artists creating costumes and visuals (VJ) for performances, album artwork, music videos, promotional material and merch. She has produced her own clothing labels, The Lost City (2012-16), Bad Wrld, luxury bathrobes (2020). She has been involved in the art direction of various establishments in Montreal such as Bar Pamplemousse, Le Mal Necessaire and Bar Kabinet, designing and producing murals, signage and silk-screened wallpaper.

Watch the Bad Wrld runway below

BAD WRLD

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CREDITS

In order of appearance: Philippe Minkoué, Petr Barykine, Paige Walker, Marius Mevold, Julio Mendy, Audrey Mcdiarmid, Jessica Johnston

Camera Operator: Ian Cameron

Camera Operator: Jonathan Durand

Aerial Camera Operator: Sharif Mirshak/Parafilms

Original Music by Dapapa

Mixed and Mastered at Breakglass Studios by James Benjamin

Field Recordings by James Benjamin

Makeup Artist: Dahlia Doe

Photographer: Ariana Molly

Assistant Director: Laura Acosta

Production Assistant: Zander Blanchard

BTS Camera Op: Sam Rae

Transmission Executive Producer: James Benjamin

Transmission Producer: Ian Cameron

Executive Producer: Danica Olders

Director: Danica Olders

Co-Director: Ian Cameron

BATH by BAD WRLD - designed and fabricated by Danica Olders

Special thanks to: Anisa Cameron, Garret Douherty, Connor McComb, Lukas McComb, Mara Franco, Stacy Lee, Sherry Luger and Michael Mikelberg

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Artist Spotlight: Henry Hu

whitesink by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (10/10)

How do you decide to go from civil engineering to making a career for yourself as a visual artist? How do you know when it’s the right time to trust your intuition, and make that major life change that you need? For Henry Hu, these kinds of decisions have shaped his journey to becoming a full-time visual artist.

Exercising through various mediums, Henry Hu's (born 1995 Hong Kong) emerging practice commits to an infusion. An exchange. An immediacy. A link between the interior and the exterior — of a self, a being, an identity, a consciousness. 

Each individual series offers an overarching narrative, steps away from the present for a spell: tasked with casting new perspectives, fresh air to breathe, a spiritual relief. Often juxtaposing the past with the future, differing forms of surrealistic fantasies unfold across his works; along with a recurring structure, the heart of all series rests in harmony.

To be presented in dialogue with one another, all proposing works speak to the different natures of human existence, the quiet, the chaotic, those hushed periods, and at times the buzzing bangs.

Earlier this summer, we spoke to Henry about his work, travels, and how he decided to switch from civil engineering to visual art.

airydust by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (4/10)

Malaika Astorga for Also Cool: Let's start at the beginning. Has your creative practice always been a part of your life? How has it changed over time?

Henry Hu: No, not at all -- growing up, on no occasion was I engaged in anything creative, I suppose I just didn't particularly care for it. Looking back, I was nonchalant. My younger self was rather indifferent; nothing at school piqued my interest, and I never really paid much attention or even had the ambition to achieve anything. Quite honestly, I was just sort of present, unoccupied, existing really, that's all. Not once did it cross my mind, the desire to devote myself. But I did enjoy movies; that was the one childhood obsession that persisted over the years. 

It wasn't until at university, shortly after I started a degree in civil engineering that it didn't seem worthwhile. Still, I didn't dare to picture a future in a creative line of work. Then, it all came about ... a realization. I acted on an impulse, and from there, my inclination to pursue arts and film quickly hardened into determination. 

I began doing small series of digital arts, both static and motion works. It made sense for me spatially, didn't cost a lot, only a computer was needed. Meanwhile, I buried myself in films, day in, day out, revisiting different eras of past cinema. Eventually, the works from directors like Antonioni, Éric Rohmer, Víctor Erice, Edward Yang, Kieślowski, Woody Allen stood out and entirely broadened, reshaped my perception of films. It was then when I started to write. Straightway I recognized the familiarity; it was comfortable. I was at ease and was confident that films would be my primary outlet. I also registered that it would be a long road ahead before I could actualize my screenplays. 

Anyhow, I kept on with the visual works, trying out various mediums. Graphics, art books, photographs, and a little later, mixed media initiated the urge to coexist physical and digital arts. Until then, I had been utilizing solely digital tools, so it was essentially the desire to do something concrete, dynamic, and perhaps on a larger scale. With that in mind, I made new sets of digital artworks, specifically for print, onto numerous fabrics, surfaces -- eager to see how they would interact with raw materials: acrylics, spray paints, threads, modelling doughs. Trials and errors charted the progress, noting the little details. The end result was a plunge into maximalism, a playful flux of colour. But still, traces of everything pre-existed. 

It is merely fortuitous that this new direction, quite the polar opposite, from the films I have envisioned, which are all very hushed and quiet, muted tones. Nonetheless, it is a nice balance, separating the two mediums.

Selected work from night dot surrender by Henry Hu (2020)

Also Cool: You've lived in so many incredible cultural hubs. Can you tell us a bit about each one and what your experience was like there?

Henry: I was raised in Hong Kong, up north. I had a pleasant childhood and had many uneventful years of growth. I wouldn't have appreciated it then, but it is a time now I feel very fond of. My parents took us hiking quite often, surprisingly. For such a small city, Hong Kong has a wide-ranging of walking trails and mountains. Nature, I think, the fields, the woods, spring, winter, the clouds overhead, the streams beneath, they are gifts for a child. 

At fourteen, I started attending a boarding school in Queensland, Australia. There was a drastic shift in environment, to say the least, but frankly, there wasn't much to take away; they were good years. And the changes were all surface level, however significant they might seem first. 

Following high school, I moved to Sydney for university, and, well, that's that. To be fair, I never did feel deeply rooted in any particular place, culture -- but I am awfully glad for the experiences. It is what it is.

Selected work from night dot surrender by Henry Hu (2020)

AC: You switched out of a degree in civil engineering and instead developed your passion for art and film. What was that process like? How did you learn to trust your intuition in that way?

H: It was months of dissonance and dread. A turbulent time for me, so to speak. The loss of a dear friend. Riddled with unrest, unsettled. I turned inward. It wasn't very dramatic, and it didn't happen overnight. But once I went forward with the visual works and writings, I realized that I belonged. That was it. 

Strangely enough, it was then that I saw myself coming into being for the first time. I suppose you have to narrow yourself to a point, for better or worse. Staying truthful, being mindful, what to do, what not to do, within reason. The ring of authenticity. It is difficult to hold the line, and it is difficult to stay true, but it is very fulfilling to the spirit. Having reached an understanding, of sorts, to yourself. 

Now I tend to believe there wasn't actually any underlying cause -- obviously, the events that occurred factored in. Everything factored in. And yet, sometimes, it's just meant to be. When I discontinued the degree, it was liberating. I never gave it a thought other than to be sort of pleased. I wasn't at all seeking validation; I just got on with it. So it was, more or less, the willingness to accept, to really heed your own thoughts and feelings. They can be very telling. All things considered, I am grateful, at that very moment, the external circumstances allowed me to proceed, to an extent. I was granted the privilege to move forward, so it was fortunate for me, I guess. 

In the end, it also just boils down, instead of letting the decisions be governed by fear -- simply, a leap of faith. Not necessarily any grand expectations. More so, a belief, the self-assurance that it was the right path -- I, myself, made the conscious decision to commit, with that, whatever happens, happens … and, that's okay.

motor by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (5/10)

AC: What's the creative scene like where you are right now? What do you like about it, and what do you wish there was more of?

H: Earlier in the year, I had the opportunity to assist with indie films around Sydney. It was educative to spend time on set, to be observant. All around, it was delightful. As far as visual arts, well, in truth, I don't really know … Everybody does it differently. There are no rules. I had always intended to make some things on my own before branching out, connecting, and sharing. And so I did; I stayed underground, gave myself the time and space to work. But I am sure it's a very interesting scene out there, and now I look forward to getting more involved.

it hangs by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (8/10)

AC: I'm interested in how you incorporate sequencing into your work. Can you expand on this?

H: From the beginning, my approach was to develop full bodies of work, no matter the medium. For the most part, especially with the photographs and digital stuff, once I feel I have enough materials. I take a few days, occasionally a few weeks off, a clearing. Afterwards, I come back, work on the sequencing, and finish off. This was a process that emerged incidentally. Now I do it on purpose. 

With the mixed media works, it was somewhat different. I had all the pieces visualized, sketched out before getting hands-on with the paints. I was attentive, more meticulous, and deliberate with the materials and structures -- how this particular piece should close out the series or how this colour won't work unless applied to that specific texture. I did put in extra precision and clarity -- constructing, rearranging, bits here, pieces there. It was a new thing for me; I had no prior knowledge of paints. I thought if I were to do this, I might as well do it the way that felt most organic. I listen to music when I work. My mind would have been filled with second-hand rhythms and tempos, ingrained with a given flow, pacing of things. After all, it is instinctive. Now and then, things naturally align. They seem genuine and sincere. I will just leave it at that. It would be very unwise to fight against it.

let in by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (6/10)

AC: Who are some artists/creatives that are really inspiring you right now? (feel free to shout out friends)

H: I have been reading, re-reading a bunch lately. Sylvia Plath, her journals are something I return to regularly. Anne Truitt, who was known for her sculptures, but her writings are very stimulating to me. They are well worth the read. 

With films, this young Chinese writer-director Bi Gan, his works are precious, I highly await whatever he does next. 

Current music excites me a great deal. Mount Eerie, Julia Holter, Beach House, Weyes Blood, Florist, Perfume Genius, Car Seat Headrest, Let's Eat Grandma, James Blake, Tomberlin, Jockstrap, Laura Marling, Snail Mail. This year only, new records from Dry Cleaning, Vince Staples, Wolf Alice, Black Country New Road, Julien Baker. It's just joyful to have so much I could anticipate all the time. It's a good feeling. And also, Helena Deland, I came across her debut last year, been playing it ever since. (A nice surprise to see there's an interview piece with her on Also Cool!)

AC: What are you hoping to do more of in 2021, both creatively and career-wise?

H: Sydney is in lockdown at the moment. A chance to entertain new ideas. It's been productive. Did some digital art stuff. Continuing with the screenplays, visual references and research, all that. Just getting on, really -- I don't know how it's all going to pan out, but I am satisfied, the journey so far, I guess we will see.

Henry Hu

Website I Instagram I Twitter

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Miles Away Perfectly Captures Our Lustful, Summer Nostalgia

Still from Miles Away. Photos provided by the filmmakers

Nostalgia, heartbreak, toxicity, growing up, losing yourself… “Miles Away” portrays the deep nuances and contradictions of existence, the difficulty of navigating love when you lose yourself too deeply in its web, and when the last rays of the summer sun hit you with a wave of regret. Miles Away was the summer anti-love story we all needed.

I met with the film’s executive producer and production designer, Naomi Berezowsky, on a hot and humid Tuesday afternoon in Montreal. We sat down on the window ledge of her wood-paneled industrial loft she shared with other creatives throughout the pandemic, a space of art and collectivity. The late afternoon sun gave the room a warm summer atmosphere as we talked about Miles Away and her involvement with the film.

Still from Miles Away. Photos provided by the filmmakers

Losing Yourself and Finding Your Way Back with Miles Away

“At its core, the film is an anti-love story, set between the worlds of jazz and skateboarding. It serves as a time capsule for pre-pandemic 20-somethings evading the responsibilities of adulthood for the dream of an endless party, with no consequence.”

The story-less story follows Miles and Lulu as their worlds melt together when they fall in love, and the disintegration of that world. From drugs to skateboarding to making art in morning sun after a night of sex, the film touches upon the most intimate, seemingly insignificant moments of life which are what make us all too human. It is like a bird’s-eye view into those situations where we find ourselves feeling powerful, and yet are at our most vulnerable.

Shot in black and white, the nostalgia of the film is not just captured by the complex relationships, dialogues, and interactions between the characters, but by the beautiful Vancouver locations chosen by the team. From rollercoasters and urban parks to make-shift jazz clubs, the shooting was truly what Berezowsky calls “a love letter to Vancouver.”

The film does not follow the classic “lead in - climax - lead out” structure most Hollywood films do. The film is more nuanced than that, embodying the sense of fluidity and lust in the very way it was shot. It brings you closer to the raw experience of life – that hard-hitting reality that your actions will always affect others, no matter how much you try to escape it.

Watching the film, you are confronted with the most simple yet beautiful exposition of a human paradox: how freeing it feels to lose control, yet how destructive it can become when you strive to take control of the uncontrollable. I recommend Miles Away for anyone who has felt that inescapable, existential emptiness that hits when endless summer nights are just a bit too long.

Berezowsky sums it up best when she said, “it’s about when you lose yourself in a substance, you lose yourself in a relationship, you lose yourself in a lust for something... That lust for the endless party.” The cycle of neglecting external issues in youth and learning to take responsibility for oneself in adulthood – Miles Away forces us close to what we seek to push away and hide the most.

Still from Miles Away. Photos provided by the filmmakers

The Making of Miles Away

“As soon as we started filming, we threw away the script.” 

With a low budget of $25,000, Miles Away was shot over 12 days throughout the summer of 2019 after two years of development and prep. The crew committed to a summer schedule of four days a week, divided between filming and additional prep. Miles Away was shot all around the Vancouver area, with a couple of shots taken in Sydney, Australia. Berezowsky describes it as her “saving grace” from the other work she was doing for Hallmark holiday shows.

The film went a little – well, actually, completely – off script. With guidance from the director, who also plays the protagonist Miles, the actors “knew where the scene needed to go, [and] where it needed to end up for the story to be told.” Perhaps this is what gave the film its edge and relatability, what Berezowsky describes as its “organic” quality.

“What’s so interesting about it is that it exists in a semi-crafted reality,” explained Berezowsky. “It sits between truth and fiction, which is just really rare….it’s hard to [compare it] to anything else.” 

Not only did the actors’ instincts guide the film to its result, but the team itself was fluid in its roles. “We all wore a lot of hats because we were such a skeleton crew,” explains Berezowsky, emphasizing the fact that the film was pulled with only about ten people on the production team and thirty on cast. “There were moments when we all had to act as the assistant director,” she continues, especially in moments where the director was in character.

Blurring the lines between fact and fiction may be best illustrated when Berezowky gave a description of her impromptu and unexpected acting role in the film. It happened during the night when one of the most emotionally intense scenes was shot. “It was pushing midnight,” explains Berezowsky, “and everybody was kind of restless.

“I’m a musician and I’m a poet, and to fill this space where everyone was getting a bit restless, I went on the microphone and started reciting any of my slam poetry that I could think of on the spot... Then I sang this song that I actually wrote, [so] my own song is at the very end of the film which is pretty sweet.”

This kind of situation was not uncommon for the production of Miles Away. As she describes it, “I was the production designer and I ended up being in the film substantially… and that was unexpected but that’s just a testament to how organic [everything was] and how everything just unfolded really naturally.

“It was the team’s first time working together, and the first time creating a film for several of them. Receiving proper funding and support has been a difficult part of the process: a lot of people kind of wrote us off and were like ‘these are a bunch of kids with a video camera, good luck,’ and we’re still getting that today.

“[It’s] just about the power of the collective... we push each other, we inspire each other, we champion each other, and that’s why we’re still doing this.”

Behind-the-scenes of Miles Away. Photos provided by the filmmakers

Communicating the Language of the Film: Berezovsky's Story

“Sometimes it’s difficult to ask questions, sometimes it’s difficult to be like… ‘I don’t understand this form of trauma, I don’t understand this form of mental illness.’ But if given the chance to see it played out for you on film, you’re able to experience it vicariously through the character.”

This kind of experience is what Berezovsky,  on the set of Miles Away, helped to bring. “The production designer is responsible for the decorating, they’re responsible for the props, they’re responsible for any art that you see,” she explains. When production design is done well, explains Berezowsky, it is that “ ...you are learning about the character through it.”

Berezowsky began her career in film at twenty-four when she moved to Vancouver from her home state of Washington to study film. She began working on holiday shows, which helped her realize what she didn’t want to do with films: tell laughable and depthless stories “which served no purpose.”

As production designer, her role was to create “the visual language of the film” – the unspoken associations we create in our minds when we look at the environment of a scene. A hole in the wall may communicate anger, empty beer and wine bottles could communicate loneliness.“When you are creating the visual language of a film, it’s about the subtext… When you’re reading the script, and you’re reading the dialogue, and you’re reading these actions, there’s always a subtext to these actions.” 

Filmmaking, what she believes to be “the most powerful medium,” can give people “the chance to see the world through other people’s eyes.” After pausing and thinking, she continues to say that what film provides is the opportunity for people to “be confronted with… a human experience that they wouldn’t necessarily understand – or be able to – and definitely not be able to identify with themselves.”

Aside from her busy filmmaking life, Berezowsky is also part of a band SRFISNOYS, whose upcoming demo you can soon stream on their Soundcloud.

Naomi Berezovsky, the executive producer and production designer of Miles Away. Photo credits to

Miles Away

by Size 8 Studio

written and directed by Samuel Campbell Wilson

produced by Alexandra Francis and Eric Medcalf

Instagram | Support the film on Indie GoGo

Soline Van de Moortele is a Philosophy student at Concordia/insatiable feminist, raver, and writer.

Wordpress

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Artist Spotlight: Camila Gaza Manly / @lysvonasta

Camila Gaza Manly. Photo courtesy of Kitty Evans, styling by Céline Blais.

Looking for an extra touch of magic to brighten up your home – literally? Montreal-based lighting designer Camila Gaza Manly has made it her mission to blend artistry with functionality through her lighting collection known as Lys von Asta. Her craftsmanship maintains a strong sense of curiosity, producing ethereal light sculptures that truly shine.

Through comforting clouds of meringue and cheeky expressions of novelty, Camila’s work proves that it is possible to add whimsy to everyday needs and spaces. In exploring her work, I realize the deep symbolism of lamps in the home. Our spaces can be a reflection of ourselves, offering representations of our tastes and values. While lighting may be broadly used to reveal other decor, lamps themselves can – and should – be works of art.

Scroll on to read my delightful conversation with Camila, peppered with creative influences and reflections on her artistic growth. Take a look around your space, and imagine what more it could be.

The lamps of Lys von Asta. Photo courtesy of Kitty Evans.

Rebecca L. Judd for Also Cool: Hi there Camila, thank you for taking the time to speak with me! I’m so curious about you and your art, and I know our readers are too.

To get started, I would love to know more about your creative background. How did you first emerge as an artist, and as a lighting designer more specifically?

Camila Gaza Manly: I would say both go back pretty far in my life. I grew up on Vancouver Island in BC, so I had a very rural upbringing – surrounded by nature, going to the ocean and camping…  I also went to Waldorf school, which was a big early influence on my development artistically. So when it comes to my artistic style and early background, [those things] are a strong foundation that I still draw from a lot now. 

Both sides of my family are very artistic – my mom’s side is German, and she’s an artist. Both her parents were artists. My whole family [were] painters and sculptors, it’s probably in my blood or something (laughs). My dad's side is half Danish with lots of wood workers, and he's a musician. [His family] had farms and were always working with their hands and being artistic.

I came up with the name for my project during lockdown when I was thinking about my family a lot. ‘Lys’ is the general word for ‘light’ in Danish. It can also be used to mean ‘lamp’ and ‘candle’. ‘von’ means ‘from’ in German, and is part of my mother’s maiden name that I didn’t receive. And ‘Asta’ was my great grandmother's name on my Danish side. I never met her, but have always felt very connected to her. We share petite stature and certain characteristics. She raised twelve children on a farm and lived until the age of 96. She has always been a great source of strength for me. ‘Light from Asta’ is where my heritage and aspirations meet.

When it comes to [transitioning into] lamps, that also started around the same time [in life]. At Waldorf school, my teacher really didn’t like the overhead fluorescent lighting in our classroom. She would turn them off and bring in her own lamps – I think we had about 12 different lamps in the classroom instead of the overhead lighting. I got used to that softer light work environment – I think it might make a lot of people feel less motivated, but I work well in comforting lighting. [Our class] would also do lantern walks, which were outside in the autumn, and we would make our own lanterns. That would be my earliest lamp-making experience. 

I was also lucky enough to work on large-scale lantern festivals with my mom's sister, which is something she did regularly during her illustrious career. My favourite [festival] was the Dark Sky Festival in Jasper. It was an astronomy-based festival, as [Jasper] does not have a lot of light pollution. They had Chris Hadfield talk, and kids could come and see the night sky from cool places. We did a nature walk and we had giant mushroom lamps and little dioramas with space scene backgrounds. It was so magical to create that little walk through the forest.

Also Cool: That's such a tender memory to hold close. [Lamp making] becomes a testament to your growth as a person. It [must be] a really nice constant to have in your life. 

Camila Gaza Manly: I think that’s a good way to put it! It has felt a lot like a constant. My family always had nice lamps, my school always had nice lamps, [and then] transitioning to high school and university was quite different – partly just because of the lighting. 

AC: Right, there are so many reasons why you’d want to create art that’s not only beautiful to look at, but very livable. 
What does it mean to you to produce art through this specific medium? Why does lamp artistry feel like the right outlet for you?

CGM: It kind of feels like it’s my own canvas. I’ve always painted and drawn and worked in wood and sculpted a little bit, but creating something that’s more of a functional sculpture… somehow, it feels more true to who I am. If I just have a canvas or a piece of paper… it’s two-dimensional. I would say the three-dimensional aspect is very big for me right now. 

I finished my degree last year, during the pandemic, in linguistics and philosophy. So [another] part of it too is just that I have been burnt out since finishing school, [but] returning to earlier influences and inspirations has been really inspiring. [These influences] keep feeding off of each other – when I was doing my [100 Days of Creative Prototyping] project, I had all these ideas to begin with, but the more that I would do them, the more they would come, tenfold, all the time. I think it was that daily practice, where even when I didn’t want to do it, I forced myself to do it.

AC: You briefly mentioned your background in linguistics and philosophy. To be in the arts community and not enter it by way of [formal university] training … I’m curious to know how you think that affects or enhances your art.

CGM: On the business side, it gives me a strong foundation to organize things. I was really involved in the linguistics community, so I got a lot of experience managing and organizing events. 

I feel really happy that I did the degree I did, even though right now I’m pursuing something totally different. Before I studied linguistics, I was studying French – just to live in [Montreal] – and that’s how I found out about the linguistics program. [Even] before that, my plan was to go to school and study industrial design, because I wanted to make lamps.

But had I done that, I wouldn’t be making the lamps I’m making now. I'm sure I would be making cool stuff, but I feel glad that it happened the way it did – now I'm making things that are completely out of my own head and sometimes they're pretty funky and weird.

I’ve had friends who’ve gone to art school and sometimes I was envious of the ability to just go to a studio and take that time off of thinking and writing papers. I wanted to take some elective classes but it’s hard to do that. But seeing my friends go through formal art training, I feel like it’s really limiting in a lot of ways. You learn a lot, but I think some people lose their personal creative [touch]. 

AC: You need to think about it, too, through a lens of “transferable skills” and thinking about what it is you bring to the table. It's intimidating to consider the inaccessibility of certain resources, by virtue of not studying [your craft]. But it's also really exciting to think about “okay, how can I turn it around?”

CGM: I think it also created a necessity for me to return to making things with my hands. I love academics, but I’ve always needed that balance. It’s so refreshing to engross myself in a project where I don’t need to go “X, Y, Z…”

The lamps of Lys von Asta. Photo courtesy of Kitty Evans, styling by Céline Blais.

AC: Looking at lamp artistry as its own specific field within fine arts and design, what does the arts community for this kind of creativity look like, and how have you participated or interacted with it?

CGM: [I interact] definitely through inspiration and influences… like Isamu Noguchi, who made the Akari light sculptures in the same timeline as mid-century modern furniture. He modernized a traditional approach – he [used] a lot of traditional Japanese craftsmanship to make them. I think I love [his designs] because they are such a beautiful mix between the old and the new. I am attracted to where those [styles] meet – there’s a lot of lighting nowadays that is very cold and corporate-feeling, so I have a desire to see more soft and organic lighting on the market.

Besides Noguchi, I am also inspired by Danish mid-century style... Mads Caprani and Le Klint. There’s a traditional blend of a wood frame within a pleated paper lampshade. Those are also influences.

When I first started making [my lamps] during my project, I kept feeling like I needed to search out other small lighting companies. It is great to connect with them – I have found some cool accounts on Instagram and Pinterest or different places on the Internet. But I think it’s also just been refreshing to connect with artists from all different disciplines who are taking their craftsmanship and putting a personal twist on it. It feels really welcoming to connect with people like that, even if we are not making the same thing.

AC: That’s awesome – and going back to what we were talking about with versatility, it’s this thought of “perhaps I specialize in this one thing, but that doesn't mean I can't connect with other fields and other ways of doing and thinking”. It’s also good to get in touch with nostalgia and connect with fundamental creators.

CGM: I think, because I'm making the prototypes completely by hand, I feel more inspired by other people who are also making everything by hand… whereas a lot of lighting nowadays is industrial and mass-produced, and I feel that there are some pretty cool designs, but there’s something lost between creating a prototype and getting a factory to make it.

AC: Are there any creative influences that you have held close over time?

CGM: Yes! There’s a hat designer based in Berlin – Maryam Keyhani. Her Instagram, her whole website and business just looks like a dream.  I feel like there’s this connection between hats and lamps – there’s a similarity in shape and form. I love seeing how [Keyhani] creates, it’s so influenced by play and experimentation and feels very free.

I am also inspired by architects and sculptors from the mid-century era, like Charles and Ray Eames. I actually made a little model of the [Eames house] during my project and put a light inside. And [Alexander] Calder – I made quite a few lamps that were inspired by his mobile sculptures, where there’s wire connectors and parts that hang and turn.

With [the artist] Yayoi Kusama and her polka dots, I love the idea of getting wrapped up in something you love and it consumes your life in a good way. Lastly, there’s Masha Reva who lives in Ukraine – she does these cool sculptures made out of vegetables, and does large-scale drawings and paintings as well. With artists like that, working in several different mediums, I’m always really inspired.

Camila Gaza Manly surrounded by Lys von Asta lamps. Photo courtesy of Kitty Evans, styling by Céline Blais.

AC: Congratulations on completing your 100 Days of Creative Prototyping project! It seems like the process was rather fruitful for you, and there were so many goodies to come out of it (I’m partial to the open-faced lamp with the pearl, so divine.) Could you elaborate on your intentions for this project, and how it served your creative growth to finish it?

CGM: The intentions of this project were to create a practice for what I wanted to commit to. At the beginning, it literally was practice – I was practicing folding, putting different shapes together and working with different kinds of papers and materials. 

In early January, I was just making paper lampshades because I wanted to start learning how to make them. Then I heard about the 100 Day Project as a thing that anyone can do, at any time. I think [the challenge] was more popular in the winter, we were still in the middle of lockdown and curfew in Montreal. When I heard about the 100 Day Project, I was also terrified, because most people do a little drawing or a little dance, and I'm going to make a hundred lamps (laughs).

I was partially inspired to do something so ambitious by this ceramic artist in the States, Lolly Lolly Ceramics. She previously did this project and had 100 black mugs with a different kind of handle on each one. That had me thinking what a challenge it would be, but also how creative it forces you to be. 

I was also able to work on my tendencies towards perfectionism. I always wanted everything to be perfect, and that’s quite hindering when you want to move forward and get new ideas. I thought this project was a good way to move away from that. Every night, whether I loved it or hated it, I forced myself to post it on Instagram – which was really hard because sometimes I wasn’t happy with them. Now, as I’m on the other end of it, and I’m taking all the inspiration from the project, it’s really great to look back [at] that time and remember all the ups and downs experienced, and to have a controlled view of that.  I can pick and choose which parts I want to take and which parts I want to leave behind, because as much as I was prototyping designs, I was also prototyping techniques – and I think that’s the biggest takeaway for me going forward. There are still some designs that I am tweaking to make and sell, and others where I just made them purely for fun and to experiment.

AC: At the end of the day, if you’re completing the assignment then you’re completing the assignment. That exercise in self-accountability must have been so rewarding.

CGM: Yes! The process also made me analyze it in different ways. At one point in the project, I thought “Oh, I should be alternating… so one day, I’ll make a hanging lamp, and one day I’ll make a standing lamp”. But some days I wasn’t inspired to make a hanging lamp, I wanted to do something else. I had to find that balance of what’s actually important here and then move forward with that. 

Camila Gaza Manly surrounded by Lys von Asta lamps. Photo courtesy of Kitty Evans, styling by Céline Blais.

AC: Are there any major lessons that your creative journey has taught you? What do you feel that you have yet to learn?

CGM: Something that I felt I learned through the [100 Days of Creative Prototyping] process was what can be done in a certain amount of time and what can’t. As much as [the project] fed my inspiration and kept me going – the medium I was working in, paper, was really accessible for that process – I was still really curious to add other materials. With the project, I kept feeling the limit of the time constraint and how I couldn’t go further. I want to work with wood eventually, like a wooden base with a paper lampshade. I’m also interested in clay, and ways to make a stronger structure for some of them, especially the standing ones – I didn’t make any floor lamps because of that reason, but I would love to in the future.

There’s also a lesson I’ve learned from the artists in my life. When you think you make a mistake, it's often the best part of what comes out of it, even if it’s really frustrating in the moment. I definitely had a lot of those moments during the project where something went wrong and I was like “This is not what I wanted!”, but at the end of it, it was better than I could have imagined. So I think when you plan something, you can only plan it so far until you actually do it. With the project, what was really cool is I didn’t have time to plan. I didn’t have time to get these perfect images in my head and then try to execute them. I was taking this lesson and putting it into action.

In terms of what I have yet to learn, I definitely want to explore different folding techniques moving forward, because I learned quite a few in the beginning, but I would then keep using the same ones in different ways with patterns or colours or a picture depicted on [the folding]. I want to practice more with creating sculptural shapes. There are a million possibilities. For me, it's partly a challenge because I was never good at math, and there's quite a bit of math involved with the types of folding that I've been doing. It can be quite technical. 

AC: Thank you so much for your time, Camila. What can we expect from you next, and how can we support your work?

CGM: Right now, I’m working on my website. I will be offering an online web shop, and I’m going to have a drop of lamps when I launch. I’m still tweaking some things, but I want to have some made-to-order lamps available as well as [opportunities for] commissions. [Note: Camila’s site is now live - check it out here!]

I also want to have [my lamps] accessible for other opportunities – months ago, I was part of a music video for a local musician. [Félix Dyotte]. I brought my lamps there to be part of the set. It would be great, moving forward, to offer [my lamps] if someone wanted them for wedding photographs or something else. I would love to collaborate with people in the future, because I feel like it’s such a special opportunity to create warm, intimate environments.

[Finally], I will be joining a Chicago-based online platform called Bird & Tale. It's run by husband-and-wife duo Brad Stumpf and Jeffly Gabriela Molina. He is a painter and works at a lighting company, and she is primarily a painter. They feature incredible emerging artists and designers through their online platform and their physical showroom in Chicago. My lamps will be showcased both online and in the showroom. I’m really looking forward to being in such wonderful artistic company!

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Camila Gaza Manly / Lys Von Asta

Instagram | Website

Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of a studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

This interview has been condensed and edited for clarity.

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Related Articles

How To Fix Radios: A Film About Finding Queer Community in Rural Ontario

Still from How To Fix Radios

When you're a queer kid in a small town, it feels like you might be the only one. Even though we (queer people) are beginning to have more and more media representation, it seems like we're often the victim of a hate crime or are only included to make the production seem more diverse. 

But what if I told you there was a film by queer kids in a small town about queer kids in a small town? Introducing "How To Fix Radios," an indie film made by a bunch of queer Ontarians on a shoestring budget. 

I had the chance to catch up with two of the film's creators, Casper and Dimitri. They're both under 20, based in Kingston, Ontario, and full of passion. We shared our experiences growing up as queer Ontarians, trying to figure out a creative path at 18 years old, and how you can find community in the most unexpected of places. Our conversation was one of the most genuinely heartwarming and comforting I've had in a while. 

Still from How To Fix Radios

Malaika Astorga for Also Cool Mag: Let's start with the basics. Who you are, what do you do, and what is your film about?

Casper: My name’s Casper. I'm a freelance filmmaker, photographer and writer. That came into play a lot with the film because I wrote half of the script. I love nature, visual arts of all kinds, painting, and embroidery sometimes, but film is my main passion. 

Dimitri: My name is Dimitri, and I play Ross in the film. I love acting; it's something I've been doing for a long time now. I dabble in most of the arts. Both of my parents are musicians, so I've explored that. I'm always keeping an eye out for acting opportunities, which there are not many here (in Kingston).

Also Cool: Yeah, but maybe making them for yourself, as you've done, is the best way to go. Could you give us a synopsis of the film?

Casper: The film follows a teenager named Evan, who's a sort of narrow-minded and isolated guy. One summer, he decides to work at a bait shop, as teenagers do in these rural areas. Upon arrival, he encounters his supervisor, Ross. 

Ross has this exuberant personality and a very unique style. This sort of throws Evan off because it's very different than what he grew up with. After meeting Ross, Evan gets to know his world, including Ross's sister and this underground dealer character, their boss' son. Upon discovering the chaotic world that Ross lives in, Evan's worldview expands and changes, and he discovers more about himself. 

The film was really inspired by our growing up in this area in rural Ontario. The good, bad and the ugly, all of it just together and how that affected us and our worldview. 

Still from How To Fix Radios

AC: I rarely see characters in film who aren't accepting and aren't painted as evil and instead are acclimated to queer culture. It's a nice contrast to the narrative of a lonely queer trying to survive in a straight world. I'm curious why you told the story that way and why you think it's important.

C: The character of Evan was a really important one to us. Both I and my co-writer Emily have been either one of those people at different points in our lives. Evan was that feeling of not fitting in, but at the same time not realizing what's right under your nose. 

It's also about how queer communities and friend groups form. We sort of gravitate towards each other naturally. That sort of idea is never really shown in media, where queer people are shown in rural areas. It's always "Oh, I don't want to be here anymore, I'm trying to get out of here." This is a key element in parts of the film. Still, we also wanted to portray how queer people can have found communities and families in any place.

AC: Many queer coming-of-age films portray the queer leaving the suburbs/farmland to find the other queers in the city. It's really comforting to see an alternative. 

D: It was so cool to play that kind of character for me because I was the first person to come out at my school in 6th grade. As a young, newly out queer person, I wanted to consume as much queer media as possible. There were so many characters who I looked up to just because they were representation for me. The potential to be that for someone who needs to see that, it's the most beautiful thing. All I really want to do is to help people be more comfortable with themselves. 

Still from How To Fix Radios

AC: What kind of queer representation did you have growing up?

C: I think D and I had very similar experiences coming out and growing up. I came out in grade 7. I'm the kind of person who naturally gravitates to media and escapism in general. That was a huge part of my identity, finding those movies or TV shows or books. 

One thing we really wanted to portray is how much the dialogue about queer people has changed. When I first came out, the only narrative I saw was that queer people lived in the city. As a queer kid in rural Ontario, I felt like the only way I could really be happy is to move to one of those big cities. It was all queer kids leaving rural communities, OR they got hate-crimed. 

This is still a reality, and it does happen. We show some of that in the film, as well as the other side of life where these places can be really beautiful. We're just trying to show it as beautiful instead of as a place that people are always running away from.

AC: I think that would've helped my younger self a lot. There are so many different ways to be queer that I'm still learning about now.

C: Showing all these kinds of identities and stories without a huge Hollywood budget has been so important for us. You can make this content and representation and form these communities for free. This has been really important with our film. 

Even though we had such a low budget, that's kind of what made it. That's the reality of having a queer community in a place like this; you don't have a ton of funds or marketing or whatever; you just have each other.

AC: I think that it demonstrates the genuine sentiment of the film. It is just you and your friends who are really passionate about sharing this story and these experiences. 

What is the art scene like where you're from? In my experience, it seems like rural areas with queer teens tend to have a great art scene. It's small, and maybe you hit the ceiling real quick, but it's enough to get you going. 

C: A huge part of why this film got made in the first place is this school that all of us went to, LCBI. It's a school in Kingston that has a film-focused program called Studio LC. The program is run by two teachers who pour their hearts and souls into it. Basically, we just got to make short films and learn about cinema for six months. Without that guidance, I don't think this would've been possible. 

Kingston is kind of an arts town; it has a huge arts community. The film industry in Kingston was non-existent until five years ago. But recently, Netflix filmed something downtown, and we've had a few things happen in film here since. There's now a film office that is ramping things up, and I think the future of Kingston is going to be a really vibrant arts community. 

D: There are also a couple different youth groups for queer people specifically. It was really helpful to be around other people who were like me. I went to the pride parade in Kingston even before I was out. Seeing people who were queer and older and happy means a lot, especially to younger people. 

Still from How To Fix Radios

M: Who are some local artists who inspire and you think deserve more credit?

C: Oh god, ok, I think we're going to have to do this D. So our composer who's not here (Hector Jenkins) just released an album called Don't Let Me Grow Up. It's a really great album, and we used quite a few songs for the film's soundtrack. It's very Ontario-core indie-pop but not really indie rock, indie-folk. He's a great musician. 

D: The music that plays over the campfire scene in our movie is by The Orange Alabaster Mushroom, my dad's band. It's kind of like psychedelic garage rock. He's my dad, so I think I'm a little bit biased, but I think it's so cool. 

AC: That's the craziest band name I've ever heard. I assume that making a film is harder than you would think it is. How was the process of figuring all of that out?

C: It was a huge learning process. One of the most fulfilling things of the entire thing was finishing writing the script. Before that, the only things I had written before screenplay-wise had been short films. So delving into the feature was a whole different world.

In terms of the feature itself, it was really a feat to pull off. I'm really surprised we even did it because of how hard it was to get the ball rolling, mainly because of COVID and filming regulations. The filming process itself was fun but challenging. It was hot and muggy all the time but also so much fun to hang out and make a movie.

For the post-production process, it was a struggle. I edited from September to December. On top of that, we had no producers at all except for the seven of us. 

I'm 18, so learning how the music and film industry works, especially with licensing, was one of the hardest things I had to do. Finding those people and reaching out, and — if they even responded — trying to coordinate something with that. After reaching out to many artists and being quoted 20k for one song, or having them say “sorry, we're not interested”, we found these two artists. They were just so incredible and lovely. One of the songs was Tall Cans by Pigeon Pit. They're a musician based on the West Coast of America. They were so nice and gave it to us basically for free. The other band was The Spook School out of Scotland, who also basically gave it to us for free. 

D: I could talk for hours about how much I love those bands. I've been listening to The Spook School since I was 15, so having their music in the film and having them watch the premiere was just mind-blowing coolest fucking thing in the world.

AC: Yeah, I realized pretty early on that I should just email the people I thought were cool and ask to interview them. That's how I made friends. 

C: Yeah, I found that the only way to make anything or make any progress is never to wait for something to come to you. You literally just have to search it out. Shout out to my mom for helping me navigate the legal side of things because that was a learning curve. 

Still from How To Fix Radios

AC: I'm sorry if everyone in your life is asking you this, but I'm curious. So you're both at an age where you may or may not go to school or move to a different city, what are your plans for the maybe not-so-near future?

C: Haha, it's ok. I'm used to it at this point. It's a tough thing, especially with the pandemic, but I applied to university last year. I deferred but, as time goes on, I get more and more turned off by the idea of film school. 

It just doesn't seem like the right environment for me to learn. After completing a feature, I can't really see how that learning could be sufficiently brought into a classroom. So I've kind of been turned slightly away from that but still keeping my options open. That being said, I'm always looking for opportunities to work on set and pursue what I've been building. 

I was going to go to Toronto for film school, but now I'm kind of thinking that I might stick closer to home. Especially after making this film and embodying Ross's story and seeing how much he still loved the place he lived in, even if it didn't work for him sometimes. I kind of took that to heart and kind of accepted that this place isn't that bad. 

D: Similarly to Casper, I'm also keeping my eye out for opportunities. I'm lucky to be friends with a bunch of very talented people who write very talented things. 

It's tough to plan things right now, which is hard because I'm very much a planner, but I'm hoping to move a little further out of town by the end of the year. Spending so much time out in the country, I just remembered how much I love it. It's so quiet and peaceful, and the stars you can see at night just make me want to cry. 

C: I went on a walk today, and I just feel lucky to live where I do. The things I value the most are just time and nature and quiet. We're such introverts (laughs).

Still from How To Fix Radios

M: Do you have any rituals or things in your life that are important to you? The way I walk home from work/school indicates whatever era of my life I'm in. I'm curious what might be similar to that in your own life that makes you feel grounded and connected to yourself.

C: Every single day, I go on a walk or a bike ride that's about a mile. I can't miss it, or else I feel like crap. Every single day I walk down my road, which we shot a lot of the film on. It kind of feels like as I'm walking past the places we filmed, I see a vision in front of me of what we were doing, and it's cool to be able to reminisce every day. Walks are really important to me, and I just love being outside in the country.

D: I also love walks even though I live in the city. The other day I went down by the water and watched the ducks for a minute. It's just the simple things that mean so much, especially to me right now, because it's so hard to plan and have grand achievements that a lot of people expect out of you. That being said, doing a feature-length film is absolutely incredible, but it's not something that happens every day. So seeing the animals coming out of hiding after the winter is beautiful.  

C: I saw like 200 geese today fly over my head; it was really weird.

Still from How To Fix Radios

M: In one of your TikToks, one of your characters was described as having a lot going on but being chronically bored. I relate to this on a very deep level. Can you expand on this?

D: That was me talking about Ross. Ross is such an interesting character. He was described to me as someone who's walking down a flight of stairs with his eyes closed with the confidence that he'll end up upright anyways, but with no way of knowing.

I think Ross does have a lot going on, from an outsider's perspective. It's a lot to take in for Evan, but it's been happening for his whole life for Ross. He's constantly seeking out alternatives but not committing to them. Causing havoc just to see what will happen.

C: He's kind of a “fuck around and find out” kind of guy.

M: I think maybe that's just a creative queer thing where it's like, "I know where I'm supposed to be, but I don't know how to get there, and I don't know what it is, but I can feel it. And I know if I do certain things, then I can find that feeling, and I'm just going to have to do lots until I get there."

C: That's so accurate; it's like being a ship in the night.

M: Yeah, you just bounce off of things until something sticks.

C: Yeah, no one knows what they're doing, but we're all trying.

Still from How To Fix Radios

M: I also really strongly believe that constant change is one of the hardest things to grapple with, but it is a really important lesson to learn how to ride with it. Especially when you're learning about all these new terms and identities and understanding how you fit into them, and you evolve from one to the next. TikTok has been a really good tool for that, for me at least.

C: It's like a good version of Pandora's box. I find that it's a huge part of Evans's character as well. He's never labelled and never labels himself as anything or says what he is because that's what the experience is for so many people. It's this constant, "What is happening with me?"

D: NOT STRAIGHT!

(all laugh)

C: I think it's also important to have a character who questions their identity, and there's never a solid "This is what I am" moment at the end of the film. Giving a concrete identity is unrealistic, and it doesn't really happen nearly as often as people think it does. 

AC: Where can we find you on the Internet, and how can we best support your and film and any future projects?

C: You can find us at How To Fix Radios on Instagram. We have a post with everyone's pictures and bios and how to contact them to hire them. 

Many of us are going in different directions, but I'm currently working on a script about vampires in Ontario.

AC: I love Ontario-core.

How To Fix Radios

Instagram I TikTok

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Anna Rudzit / @sugaronyoursouls Takes Preconceptions of Beauty Into Her Own Hands

Makeup, photography and retouching by Anna Rudzit

The work of Moscow’s makeup aficionado Anna Rudzit – better known as @sugaronyoursouls – is not for the faint of heart. While most makeup artists concern themselves with the perfect wing or smoothest blend, Rudzit exists in a world of her own. Held together by macaroni noodles, clementine peels and clouds of pigmented goop; the term “experimental” serves her craft a limited justice.

When I first came across Rudzit’s creations, I was not sure whether to feel startled or exhilarated. I consider myself to be a devoted follower of the makeup industry, one that is – unfortunately – rather occupied with chasing perfection. Since confronting Rudzit’s work, something has awoken. Her marks of expression are a gift to this industry, a sign to shake up notions of “creativity” and embrace the uncomfortable as a portal to something beautiful. 

I had the pleasure of chatting with Rudzit about her creative philosophies and her variety of influences, among other subjects. Read away!

Rebecca L. Judd for Also Cool: Hi there Anna! Thank you for taking the time to speak with Also Cool – I am a recent fan, but your looks have already taken over my 'Saved' tab on Instagram. For those unfamiliar with your work, can you explain what it is you do?

Anna Rudzit: Hey Also Cool Mag! Thank you for this opportunity, I appreciate it. I am [an artist] doing experimental and avant-garde makeup. It's something between makeup and art. If we [were to] dig deeper, [this comes] from our ancestors, who decorated themselves with various objects and painted on their faces to show their place in their society. In my opinion, the closest thing to avant-garde makeup today is high fashion. Experimental makeup gives great opportunities for creativity, and there are practically no boundaries. At the same time, you can create in the moment and allow yourself to make mistakes.

Makeup, photography and retouching by Anna Rudzit

Also Cool: Your work fascinates me because it validates that any form of facial experimentation is capable of being recognized as 'art'. Your work strays away from the polish or precision that we assume of makeup artists – you have proven that random tools like Post-its, balloons and scotch tape can also create a unique and intriguing makeup look. How did you decide to move in this direction with your art as a makeup artist? 

Anna: [Ever] since childhood I was interested in makeup, and I also had access to my mother's cosmetics and the absence of prohibitions in creativity from my parents. In adulthood, I [gained] skills in photography, retouching, and I [completed] makeup artistry courses. In the end, I united all this and decided that I didn't want to create something simple and understandable. I was interested in experiments – images on the verge of beautiful and ugly. I wanted to share my own perception of beauty, [and] to tell a story. I like to create images on my face and photograph them as if it were a one-man theater.

AC: Together with Russian artist Anna Meder, you co-founded Messymakeupcommunity, an artistic community dedicated to "unusual and experimental makeup". Tell me more about this project, and what you hope to achieve with it!

A: [Mine and Anna’s] creative paths began almost at the same time, that's how we got to know each other. At the beginning of [our] journey, we faced the fact that it is very difficult to get [exposure through] the magazines and the communities so that people can see your work. Most often, popular [outlets] choose a picture without noticing [the] real person behind it. Just a beautiful image and that's it. Our approach is completely different – we show artists who want to be seen. It doesn't matter what [kind of style of] photo was taken and how high quality it is. It's important to catch on to the idea.Our community exists as a platform to support all artists – famous and beginners – who are interested in this kind of creativity. We believe that creativity makes our world a better place.

Makeup, photography and retouching by Anna Rudzit

AC: Who is it that influences your artistic approach? Do your influences include fellow makeup artists, or people outside of makeup altogether?

A: I am not inspired by [anyone] in particular. On the contrary, I try to turn off what I [have seen] in order to focus on my experience. I've always been passionate about psychology, surrealism and David Lynch. This is what has always interested me. When I started my blog, a kind of alma mater [for developing my makeup] was #uglymakeuprevolution. 

I am often asked about inspiration, but I think we are inspired by the same things. Nature, people, art, architecture, cinema, fashion, personal experiences and so on. The main trick is how you put it through your mind and imagination. 

AC: What has been the biggest challenge for you as a makeup artist, and how have you overcome it?

A: The biggest challenge [has been] non-constructive criticism. I understand perfectly well that the world will never be neutral, and social networks are a toxic place. But sometimes it still affects me. In such cases, I try to focus on love and support.

One of the very first and [most] difficult, from an ethical point of view, was the work [I did] based on the Xavier Dolan film "Matthias and Maxim". The main character (Dolan) had a birthmark all over his cheek. I was deeply impressed by the director's reception. It was powerful. And I did not hesitate to draw exactly the same on my cheek and took a photo. 

I was not going to publish the photo, [as] I did it for myself in a creative burst. Later, I told my friend about this and showed the photo. She persuaded me to publish it for her sake, arguing that she has a large birthmark and she was embarrassed all her life, and my work [gave] her confidence that it is unique and beautiful. As a result, I conducted a mini research [sample] among my friends and came to the conclusion that there can be no definite answer, but my friend's words influenced me and I made up my mind. This idea was soon stolen from me without any twinges of conscience. Since then, I have tried not to touch on [controversial] topics, because I don't want to offend anyone.

Makeup, photography and retouching by Anna Rudzit

AC: Although the variety of your looks is captivating, I imagine that some of them must be hard to wear... What is your go-to look in the day-to-day? Do you ever leave the house wearing your unconventional looks, or are those reserved for Instagram?

A: In everyday life, I don't wear bright or extravagant makeup, but once I painted my face at an online party. And my model [has previously] spent the whole day with chains glued to her eyes. She was excited, because she didn't think that it would be comfortable and beautiful at the same time.

AC: Thank you for your time, Anna. We here at Also Cool can't wait to see what you do next! As a parting question, do you have any next steps to share with us? What do you hope to achieve in the rest of 2021?

A: I plan to [collaborate] with several brands, I think it will be interesting. I have an idea to make some material objects, not just photos with makeup. Of course, I will continue to experiment in the field of beauty. I also dream of participating in an exhibition with my works.

Makeup, photography and retouching by Anna Rudzit

Anna Rudzit

Instagram | Messy Makeup Community

Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of a studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

This interview was conducted over email, and has been condensed and edited for clarity.

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Louise Campion Challenges Corporate Power Dynamics With Her Colourful Paintings

Painting by Louise Campion

We’re all for artists who challenge the patriarchal structures of the corporate world, and Louise Campion is doing just that. She’s a Montreal-based French painter, who’s series "Wondering if men in suits turn me on or piss me off" really struck a chord.

If you’re frustrated with your 9-5, and love bright, bold, colours, you’ll love Louise’s work. We got to chat over email about the series, allyship, and more.

Painting by Louise Campion

Malaika Astorga for Also Cool: When did you get into painting? Has your creative practice always been centred in painting, or has it evolved over time?

Louise Campion: I started painting classes at six years old. Around 15, I got more and more into art history and contemporary art. Eventually, I started learning about conceptual art and would choose my mediums depending on the idea I wanted to focus on. But as stimulating as this journey was, I came to realize that I am, first and foremost, a painter. Centring my practice around painting is the most natural way for me to research and create. I am still open to other mediums, but I just know that painting makes the most sense when it comes to my own sensibility.

Also Cool: I love any art form that plays with the absurdity of office culture. What do you think you've learned about yourself by existing in relation to these men in suits and also through making paintings about them?

Louise: To clarify, I am not currently working in an office environment. My dad has worked in an office all of his life and growing up, I was surrounded by a lot of people who did or were aspiring to. I found ways to avoid office jobs, except for that one summer, which was very alienating for me. My observations of the corporate world are made through personal experience, discussions, readings, and research. I keep learning and adjusting my views every day.

I am trying to create an environment for myself that is as free as possible from the corporate mindset, which is, consciously or not, based on an oppressive system. However, I do think we always exist in relation to these "men in suits," whether we admit it or not. In a capitalist society, anything you do or buy would have been in some way regulated by someone behind a desk taking decisions based on a profit. The very mere fact that this is the social structure we've been raised in makes it very difficult to completely detached oneself from it. My sense of safety, comfort, pleasure were programmed to find themselves in the idea that money is central. 

Thus, my answer is that I am on a journey to deconstruct these presets, but it takes time and as important as it is, it is not very comfortable.

Painting by Louise Campion

AC: You often speak of how success and hard work only matter if they are free of oppression and yet are fascinated with white male office culture. Can you break down some of the ways that someone in an office environment can fight against the barriers of oppression that often exist in these spaces?

LC: This is the million-dollar question, right?!

When I talk about contemporary western oppression, I refer to the different systemic issues standing in the way of climate and social justice. It includes white supremacy, patriarchy, classism, heteronormativity, ecocide & pollution, among others… Obviously, most of those issues are deeply engraved in our system. They're tough to counter since they are extremely beneficial to the 1% who are economically governing us right now. How do you stand in the way of the wealthiest people on the planet when said planet functions under capitalism? All the more when you happen to work for these people?

Realize that it is a lot of work: Current systems are profiting from current oppression and won't show you how to fight it. They actually make it very easy to ignore it, even as an oppressed person. You have to go out of your way to teach yourself and make changes happen. I know you and your colleagues are comfortable right now, but others aren't, and you can help with that. This will be a never-ending journey. We're in it for the long run.

Educate yourself to educate others: Through the infinity of resources available out there for free! Books, videos, podcasts, articles, illustrations, graphics, Instagram accounts, TV shows, blogs… Whatever speaks best to your learning mechanisms: it is already there; just look for it and share the knowledge!

Get trained: Attend anti-oppression training. Organize one in your workplace. Professionals will give you and your coworkers concrete tools to implement in your work environment. Ideas to discuss. Changes to make. In Montreal, I know that CoCO (the Centre for Community Organization) offers various workshops on anti-oppression and conflict resolution, and they're very good. I am sure you can find other similar resources.

Implement anti-oppression policies: Make it mandatory to be inclusive. Make it punishable to be oppressive. On the professional level. (CoCO can help to write the policies).

Pay attention to who you give your money, time and energy to (which are all the same things under capitalism): Who do you work for? What do you buy? Where do you spend your weekends? What do you watch on YouTube and Netflix? Where do you get your nails done? Who do you play basketball with? Where do you volunteer?

The corporations that are oppressing people and killing the planet gain their power from money. Money that you can decide not to automatically give them, as a first step towards not condoning oppression. In many instances, your money could go to people and things that are undermined by the current system, hence encouraging a more ethical, kinder economy. Slowly but surely, start paying attention to things like who you buy from, what it's made of, who the money is going to, and more.

Although there is no such thing as ethical consumption under capitalism, there are multiple ways to get closer. Do some research. Make it exciting. Love spending the money you gave your time and energy for in the right places.

Learn to differentiate performative allyship from genuine effort: Whatever you do, make sure you're actually helping and not just making yourself feel better. Check yourself. Google things instead of taking an underprivileged person's time to answer your questions. See if you can help an initiative that is already there, instead of creating your own. Question your reflexes because they're based on entitlements and privileges, and it takes time to deconstruct them.

Vote for someone who cares: This one seems a bit obvious, but voting for people (at any scale) who will work towards fighting for those issues might be an idea to consider, haha.

It doesn't have to be perfect, and it doesn't have to be all at once: I once read that it takes around three months for a new habit to become automatic to the human brain. I have started tackling my "bad" habits half a decade ago. I didn't change everything in one day. I implemented a small change, and when it became normal to me, I started tackling another. Five years later, my lifestyle has drastically changed, and I'm excited about improving more and seeing where I'm at in another five years. Improving gradually is better than changing everything and then giving up. One small change is better than none.

Last but not least, you're gonna fuck up: As established earlier, this is a long learning process, and we're all making mistakes. There is so much material to integrate into the journey of inclusivity: Don't give up. When you fuck up, don't beat yourself up forever. Don't apologize endlessly. Just learn your lesson, research a bit more, and move on.

Painting by Louise Campion

AC: How do you balance your practice IRL with your online presence? Does social media affect your creative practice at all?

LC: I am still figuring it out, evolving, adjusting the way I present myself online, as well as the way I use the platform to learn about my peers and field.

On one side, social media (especially Instagram) shows me a lot of art, news from galleries, museums, collectives, artists I follow, critics etc. It keeps me on track with what's happening in the art world and gives me clues on where to look for more. It also allows me to display my practice easily, to reach an audience from my own bed! So it's a very useful tool. Sometimes this idea that I need to stay active online to show that I am productive and professional to my "following" forces me to go to the studio and paint on days that I had trouble finding the motivation.

On the other hand, it can be overwhelming and anxiety-provoking. Seeing what everyone is doing (/only seeing their success) can be very tough because I tend to compare myself a lot. But when I mainly produce from home and rarely have IRL contact with my art community, it's easy to fall into a vicious circle of insecurity towards my own practice.

Ultimately, I am getting better at finding the balance. I have started to see Instagram only as an optional tool that I can use, or not, depending on my energy level and needs. My mindset is now to see others' successes as inspiration instead of paralyzing competition. I've stopped following accounts that bring me down. If it makes me nervous instead of motivated, I'll unfollow or hide their content. It's nothing personal. Art memes pages also help a lot in keeping things real, bring a lot of fun and comfort to the artistic Instagram experience.

Painting by Louise Campion

AC: This is the mandatory quarantine question, but I am actually really interested in how your creative practice has been affected throughout the pandemic.

LC: The beginning of quarantine last year was very beneficial to me. Fall 2019 was right after my graduation. When you've spent the first 20 years of your life in school, it is quite an adjustment to find purpose without academic demands. March to June 2020 gave me space, lowered the pressure. Everyone was stuck at home, so suddenly, it was okay if I was too. I was so lucky I had a studio at home, a close friend as a roommate and an adorable cat. I rested, cleaned, thought about a lot of things, and started producing and applying to things again.

After last summer, my mental and physical health started deteriorating. Lots of projects got cancelled or postponed again. Lockdown got stricter. All of this free time stuck at home became somehow exhausting. Yes, I was still lucky, but expectations were back. I am expected to produce because I am an artist and have nothing else to do, right? But my bubble is so small. I don't see anyone, I don't talk to anyone, galleries were closed again, curfew happened. I miss human contact, miss the energy of a crowd, miss my family, my friends from home, and miss Montreal even though I haven't left it in a year.

It all comes in waves; I see this whole situation as an ocean. Sometimes I feel like I am drowning, but other times I keep myself afloat. Museums reopening was truly the highlight of my winter. I am not as productive as I'd like to be, but still, we are in a global pandemic, so I try to be kind to myself. I always have projects ongoing. Nowadays, I am trying to achieve at least three "productive" things a day so I don't get stuck in a depressive episode but don't overwhelm myself with pressure.

What I'm saying is that it varies a lot, and I'm just trying to keep swimming, haha.

AC: Switching gears, who are some people or artists who have inspired you this year?

LC: My art partner, ex-quarantine mate, and very close friend Tatianna has been huge support this year in various ways. She is a great artist who inspires me daily. My friends Joyce, Akira, and Francois are also strong sources of growth, purpose or just by being themselves. They constantly challenge my views and keep me in check. Chloë and Nina have been important parts of my Montreal support system through COVID. I'm thinking about my friends Chris and Devon, who have been going through challenging situations this past year and are still fighting to become the best version of themselves.

Otherwise, Inès Longevial and Chloe Wise are two women figurative painters I look up to a lot and am inspired by.

Louise in her studio

AC: What are you looking forward to developing with your art this year?

LC: I am excited to change the scale in my paintings. I'll make a bunch of smaller ones and lower the figures' scale simultaneously, which is a challenge to me. I would like to start using more white and skin tones colours in my compositions, but we'll see how I feel when it's actually time to choose the pigments!

I also want to draw more. I am excited about this series finally growing because I started it knowing it would gain its power through numbers. 

AC: Finally, do you have any upcoming projects we can look forward to? If not, is there anything/anyone you want to shout out?

LC: I've been selected for a solo show at the CCGV for the 2021/2022 programming, so I'm looking forward to that. We still don't know about the exact dates since it depends a lot on how the government measures will evolve but keep your eyes on my socials, and I'll let you know as soon as possible!

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Louise Campion

Website I Instagram

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media specialist, currently based in Montreal.

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Artist Spotlight: Rommy Kuperus of ROMMYDEBOMMY

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The ROMMYDEBOMMY Ikea Food Purse. Photo by ROMMYDEBOMMY

The sunshine is near, as are pastel hues, friendly faces … and lots of tasty treats! It’s true, spring hasn’t even sprung and we’ve already got picnics on the brain. Whether you’re dressing to impress for your bubble or just really hungry right now, we have one proposition – indulge in the decadence that is ROMMYDEBOMMY, the creative concoction of Rommy Kuperus. 

Rommy Kuperus is a 29-year-old artist and designer based in Harlingen, the Netherlands. The essence of ROMMYDEBOMMY is breaking from the mainstream and taking camp to the dinner table. Also Cool was recently able to connect with Rommy via email, where she dished on her growth as an artist and all the goodies yet to come.

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Rommy Kuperus of ROMMYDEBOMMY modelling one of her creations. Photo by ROMMYDEBOMMY

After spending some time as a student in product design, Rommy decided to forge her own path. Food has always been a passion and inspiration for the artist, and making it into permanent art was Rommy’s dream come true. “I like the shapes and colours even more than the taste of it,” she explains to me. “Every time I go to the grocery store, I am amazed by all those beautiful textures. A lot of people don’t realize that [the] grocery store is a museum itself.” 

This fascination shows across her wide array of designs and creations. Farfalle bow ties, Popsicle purses and a wearable tray of airplane food are just some of the options to snack on. There are also Bundt cakes and chicken nuggets to put up as home decor. Her work covers pieces of childhood nostalgia and touches on so many cultural staples. If you can eat it, Rommy can probably design it.

How do these treats get made, you ask? Rommy herself is behind every step of the process, from the concept to the cherry on top. She gathers inspiration from food bloggers and pastry chefs all around the world, and handcrafts her designs with various forms of clay and foam. They are made-to-order, and Rommy takes her time to ensure that a unique vision is reflected in all her products.

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Rommy Kuperus of ROMMYDEBOMMY posing with her Bundt Cake Home Decor. Photo by ROMMYDEBOMMY

This range of products reflects her customers and admirers from every pocket of the world, and Rommy is proud to work with all kinds of taste buds. “The Classic Pancake Purse with butter and syrup is one of my best-sellers,” she notes. “The Eaten Birthday Cake Purse is really popular at the moment. I have a lot of customers from the USA and I figure that they like the cakes the most.” Rommy also works with many British customers, a group that she describes as “more outgoing,” and she says that they tend to request the Potato and Supermarket Chicken Purses. Drool!

Since the COVID-19 pandemic started, Rommy’s business has boomed. “To be honest, it was the best year I have ever had,” she shares. “People couldn't go to their favourite restaurants, cafes, or the movies, so they [spent their money and time] on different things. I have never received so many orders as when the COVID-19 [pandemic] started.” Although the Netherlands is still under lockdown, she has been able to continue the ROMMYDEBOMMY business from home – where she makes her treats, styles and directs the product shoots, and ships each order out in a perfect pink box.

Part of this growth can be attributed to Rommy’s clever usage of social media. She advertises her products every day through creative shoots and immersive videos of her artistic process. The ROMMYDEBOMMY Instagram page boasts over 65,000 followers – this is how I discovered Rommy, after a friend sent me some of her delicious content. But her biggest audience can be found – where else? – on TikTok, the ultimate platform of the pandemic. She has garnered over 2.5 million likes and nearly 200,000 followers after starting her TikTok account just 9 months ago.

@rommydebommy

Croissant purse 🥐🇫🇷✨ SHOP: www.rommydebommy.com ##rommydebommy ##handmade ##croissant ##fyp ##foryou ##foryoupage ##foryourpage

♬ Hit Sale (feat. Roméo Elvis) - Therapie TAXI

When I ask her to elaborate on this growth, she confesses that it almost didn’t happen: “My 15-year old cousin pushed me to go on TikTok, [and] I didn’t want to. But when I finally uploaded my first video, I realized it could be huge for my brand. After a month, I already had more followers on TikTok [than] on my Instagram. I completely underestimated TikTok in the beginning, [and am] pleasantly surprised!”

Running the ROMMYDEBOMMY shop sounds like peaches and cream, but it can be hard work for just one person. Translating an artistic vision to reality can also be hard work, and I was curious if there were any foods that Rommy struggled with designing. “It doesn’t happen often,” she remarks, “but last year in January I started with an Oyster Purse and I wasn’t feeling [the design] at that moment. I put it away, and last month I decided to finish the purse – it became one of my most liked pictures on Instagram.” Take a look at her final product – we’d be shellfish to keep it to ourselves.

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A post shared by ✨R O M M Y D E B O M M Y✨ (@rommydebommy)

Perhaps you’re interested in shopping ROMMYDEBOMMY, but want to make a bolder statement. Or, maybe you just can’t pick a favourite food (okay, relatable). Rommy also makes some groovy creations outside of the world of food. You can carry around an ear, some TP or a bar of soap if that’s what suits your fancy. My personal favourite was the purse I least expected – the sanitary pad. When I asked Rommy about this design, she was proud to reflect on its place in her shop: “The sanitary pad [design] was to make a statement. We need to normalize menstrual hygiene. Some people still call it gross and disgusting, [but] it’s nature. I think the end result of the sanitary pad looks really elegant and chic.”

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The ROMMYDEBOMMY Sanitary Pad Purse. Photo by ROMMYDEBOMMY

In getting to know more about ROMMYDEBOMMY and the woman behind the brand, I was left inspired by Rommy’s commitment to mixing fashion with fun. Our conversation reminded me of all the whimsy and magic that can be found in everyday life, and how holding onto that is so very important.

Looking ahead at what’s to come, Rommy has a few tricks up her sleeve. “There are a lot of exciting things coming this year,” she shares. “More collections, more giveaways and more next-level food purses!” Needless to say, we’ll be hungry.

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The ROMMYDEBOMMY Avocado Egg Toast Purse. Photo by ROMMYDEBOMMY

ROMMYDEBOMMY

Website | Instagram | TikTok | Etsy

Facebook | YouTube

Rebecca L. Judd (she/they) is a writer and student currently based in Ottawa. When not stuck in a daydream, she can be found writing, collaging, and talking about The Sopranos to anyone who will listen. Instagram | Twitter

This interview has been condensed and edited for clarity.

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I’m For No One’s Consumption But My Own: Meet NYC Treasure Kitty

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Kitty, edited by peachy_kai

In our era of “the everyday celebrity,” where creators’ means of gaining a reputation and fanbases are (sometimes) dictated by social media savviness and a viral appeal, one roadblock remains: authenticity. Across all forms of creative expression, the timeless questions of “Why do artists do what they do?” and by extension “Who are they, really?” are always on the table, especially now that creators willingly let us peer into their everyday lives online. A few odd years ago seeing artists “just being themselves” could majorly stain their image. Now, the advent of “get ready with me” and “day in the life” style social media segments humanize, and even glamourize, the day-in and day-out of lived experiences. In other words, the exposé has retired and vulnerability has been readily embraced. Relatability is in, and can even be your ticket to widely received recognition via innovative corners of the Internet. At the same time, the idea of online availability trickling down into how success is born and raised also threatens how people are treated by their audiences.

With little barriers between creators and consumers, the pressing question becomes “How do creatives preserve and care for their sense of self when so much of it has to be on display in order to stand out?” This theme was at the core of my conversation with Kitty, a multidisciplinary visual and makeup artist, fashion designer and model, who uses social media to showcase their creative portfolio and network within the fashion industry and beauty community. 

On the surface, Kitty and I actually have a lot in common. We’re both 23 years old, earth signs, and are living with our parents after graduating post-secondary during the pandemic. Though we share a “just figuring it out” mentality, there is, of course, one key difference between us: their 35.9K following on Instagram. Through chatting with Kitty, I learned that the upkeep of their artistic passions, in tandem with their social media presence, is made entirely possible by staying true to their biggest source of inspiration, themselves. 

“When it comes to my creativity, a lot of people ask, and are surprised, when I say that I’m mainly my own source of inspiration,” they say with a small smirk across their face. “I’m like, what do you mean who inspires me? Why does it have to be somebody else? To me, being a real artist and a real creative doesn’t mean you can’t find inspiration in others, but basing my drive off someone other than myself is something I’ve never experienced or felt,” they add. 

For Kitty, self-reliance is a must and comes naturally when conceptualizing new projects. From a young age, they’ve always been encouraged to pursue creative freedom, and continue to reject being boxed-in when it comes to self-expression. Their looks combine ethereal whimsy with the underground edge of their hometown of NYC, adorning them with a presence that exudes originality. Much of their determination is evidenced by the origin of their name and artistic outlook. 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

“I’ve been in love with cats since I was a little kid. I remember I used to go to art school and they would get so upset with me because all I wanted to do was draw cats,” they laugh. “My instructors couldn’t understand why, but cats always represented much more to me than just my favourite animal,” they explain. “I’ve done a lot of research on their symbolism, and cats represent the concept of one’s inner-child and a sense of playfulness, and how to embrace that. My connection to cats brought my work to life… [It’s] just very magical, and also very safe. I feel like that’s my energy, and how I want people to feel when they see my work.” 

This story was made a little sweeter by the fact that they had a kitschy kitten poster behind them during our Zoom call. 

Kitty also expressed that their relationship with their inner, imaginative world has only come to life in a tangible way after learning to cultivate their distinctive sense of style.

“Since I graduated high school I’ve gone through so much shit. Back then, I didn’t really know who I was. Though I still added my own personal touch when it came to how I expressed myself, I still felt like I had to be a ‘certain type of girl.’ Back then, I didn’t even know I was non-binary, and I wasn’t surrounded with the right people who allowed me to feel more fluid in myself,” they articulate. “In terms of my evolution, I’ve really learned to free myself from norms that were pushed onto me, and there’s no going back.” 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

Though much of Kitty’s growth was made possible by nurturing self-acceptance, sharing it with the world via social media unexpectedly lead to online admiration; much to their surprise considering their humble intentions. 

“As I always like to say, I don’t think people realized that I started from my fucking basement,” they giggle. “I didn’t have a tripod and I didn’t have a ring light. I just had some backdrops, and you know, I would do a fun makeup look here and there. That’s when people started reaching out to me, and I realized diving into the industries I was interested in was possible.” 

Kitty tells me that while the start of their online buzz brought professional opportunities in the world of beauty and fashion, the downside of broadcasting their personal brand on a public platform has made for a lot of challenges. Like a lot of online creators, Kitty struggles with maintaining boundaries and managing their followers’ expectations. 

“Personally, it feels like I’m never enough for some people, you know?” they begin. “I’m very grateful for all the love and support I get, but at the same time, I get overwhelmed because people feel very entitled to my time and personal life.”  

Just as they were about to make another point, Kitty noticed an Instagram DM notification pop up on their phone, and read it out-loud to me. 

“Hi, if you don’t mind me asking, how did you pay your bills when you were just starting to model, what were you doing?” 

They roll their eyes, sigh and smile. The timing is a little much for both of us. 

“Yeah, like you see?!” they exclaim. “I can only give you so much of me and my experience. I do joke a lot, saying that I’m not real… But, I am a real person. I have feelings and things I need to process… I don’t always want to be perceived. At the end of the day, I’m for no one’s consumption but my own.” 

Laughing off this note of frustration, Kitty and I got on the subject of how they’re learning to self-advocate on social media, and how much of it draws from protecting their art, as so much of it comes from a sentimental and intimate place. 

“People are so used to me being sweet and nice, but one thing I refuse to be silent about lately is the makeup community not understanding the difference between recreation and inspiration. Another part of people wanting too much from me is when they say they’re ‘inspired’ by me and use that as justification to recreate my look without properly crediting me, especially with my rhinestone looks,” they share. “People might label me as being a bully or being mean, but I’m tired of being accused of gatekeeping when I’m defending something that fully represents me.” 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

I then asked Kitty how they keep up their momentum and stay grounded within these circumstances, realizing how exhausting they must be. 

“I feel like everything really comes full circle. Everything I have has really just started from myself, and I can’t lose sight of that because I want others to get there. For example, I’ve been working my way into the modelling industry since I was 19, and it’s very toxic. I realize now, after walking fashion week at 5’5, that I can break the mold and inspire people who have features like mine; models who are short and have weird noses, or like a nose bump… any kind of nose, and any body type. Even though I still deal with people who try to manipulate and undermine me, and who expect me to work for free… I want to always give back to others because I feel like when you give back, the universe will return it to you eventually, you know?” My friends remind me that not everyone is going to want to come with me on my journey, but that leaves room for new people and new energy.” 

In closing our conversation, Kitty tells me what they’re looking forward to in 2021 after undergoing so much self-discovery in the past year. 

“I feel like what I was missing before was the self-love that I started finding in 2020. I think a lot of that translates into my work now, and I hope people recognize that I am much happier. I’ve got some exciting collabs coming up in the future and my website is growing. Even though things are uncertain in the world right now, one thing I learned in the past year was to do all the things [I was] afraid to do. I want to carry that energy forward and continue to evolve.” 

Kitty shot by estherfromnewyork for uzumakigallery

Kitty (They/Them)

Website | Instagram | TikTok | Youtube

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

This interview has been condensed and edited for clarity.

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Artist Spotlight: Gabriella Scali

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Sorry Girls by Gabriella Scali

Get to know Montreal-based photographer Gabriella Scali, whose photos initially caught our eye with with their attention to texture and muted colour schemes. Read and experience Scali’s reflections on following the band Sorry Girls on their past North American tour in her photo essay below. Within, Scali shares the charming, intimate moments of touring with a band through a gentle lens, and discusses how her relationship with her work transformed through reminiscing these nostalgic moments a year later.

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One year ago, I left Montreal to follow Sorry Girls on their tour across North America. My boyfriend is one of the musicians in the group, and as a photographer sensing a great opportunity, I immediately bugged him to have me tag along. I knew I had to document the band and their adventures on the road, in motel rooms and behind stage curtains. 

Only packing a handful of film stock with me, I had to be very meticulous about what I wanted to capture. This is one of the reasons I always prepare my ideas in advance by sketching scenes and images: It calms my anxiety before the actual shoots. But on tour, it was creatively difficult. I couldn’t easily have control over the scenes and create images following my drafted ideas like I usually do. Being shy to approach the subjects fully and the quick pace of the tour schedule made it difficult for me to take pictures I enjoyed. 

At this point in time, I wasn't very well acquainted with the other musicians in the band, and the process of following and documenting people that I barely knew was unsettling. I feared that the results might be overly-reserved and inauthentic. When my photos came out of the lab, a sinking feeling of disappointment came over me. I realized I had kept a deliberate safe distance from the subjects, in order to disturb their experience as little as possible. I tossed my photos aside. It wasn't until later that I was able to find beauty in my polite, introverted approach. The artists’ faces were often obscured by flares and reflections, creating an effect as if they are in a different realm, like light peeking through a translucent curtain. I noticed, however, that in time this shy obfuscation, approached with a cautious veil towards the beginning of the journey, began to lift. The warmth of the California sunshine began to seep in, illuminating the subjects' faces and the shadows between us.

Now one year later, when I look at my photographs I am faced with nostalgia and a bittersweet sensation. I feel the desert wind on my legs, the yellow sun warming my arms, and I smell the sweet scent of gasoline as I picture the mountains swiftly passing by. I also recall the cramped 15 hour drives, the unhealthy road-meals and the poor sleeping habits. I see my personal transformation in these photos. I see the time it took me to reach my comfort level, and how I was eventually able to let go of my expectations and preconceived results and to instead embrace the music scene’s vibrant and spontaneous energy. Spirited, suddenly full of power and brightness. This trip was like a flare you had to quickly grasp, otherwise it is lost. I wonder if I will ever experience this feeling again.

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Gabriella Scali is a Montreal-based photographer who started taking pictures as a young teenager, always dreaming of travelling to quiet places and capturing people by creating mood and settings around them. In 2016, she received her BFA in Photography at Concordia University. She also found inspiration in new surroundings, studying design at Bauhaus University in Germany, where she travelled across Europe and displayed her work in exhibitions. She now works as a graphic designer for a non-profit organization and works on her photography projects on the weekend.

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Gabriella Scali, photo courtesy of the artist

Gabriella Scali

Instagram | Website

Sorry Girls

Instagram | Website | Facebook | Spotify | Bandcamp

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Artist Spotlight: Caitlin Prince

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Caitlin Prince is a Vancouver-based artist and ceramicist making functional and sculptural work in clay. We had the chance to visit her studio this summer and get a glimpse of her instantly-recognizable, naturally-hued cups and vases. We also tested out those iconic dimple cups to see if they live up to all the Instagram hype - they do, and the morning coffee routine hasn’t been the same since. We caught up with Caitlin and her art school BFF, Liv, over Zoom to talk shop, the value of functional art during COVID, and getting ripped off by one of the Real Housewives of Vancouver.

Maya Hassa for Also Cool: What does your work look like and how do you approach your art practice versus making pieces for production? Does your attitude change for those different types of work?

Caitlin Prince: Because it's consistent work, it's a privilege to actually be producing art that you enjoy making - and have people be receptive to it and want to buy it. My vases are definitely my main creative outlet. Cups are just production work, but there's been a lot more interest in that lately, so my policy is to make everything one-of-a-kind. They're all uniquely marbled and the dimple or shape is always slightly different.

I don't ever want to be a production potter that's making a thousand of the exact same piece. I don't want to be a factory - you can have ceramics produced in a factory pretty easily. Even the stuff that I make could be manipulated [for mass production].

MH: That's part of the value of what you're making as well - that it's one-of-a-kind, that it's only been produced in small batches.

CP: With the vases, it's exciting to be able to make each one different, but then people are like, "Oh, I saw this one here - can you reproduce this for me?" I don't even think I have the skill to make something identical!

There's a lot of other stuff that I’d rather do. I've been really interested in collaborating with different artists - people who do painting or metal work, putting different crafts together.

I would actively like to do it, but I just feel like I don't have the time now during COVID. It's even harder to coordinate than usual - everyone's kind of scattered. Some people are hyper-productive, but most of the time , if you ask someone to do something, they'll get back to you in three months. I can't even respond to an email for work!

It has definitely affected my ceramics practice because I don't feel like I'm really making art anymore. I'm making consumable goods. Its weird because sometimes I feel like I'm compromising of my artistic integrity.

Olivia Meek: Do you find that there are other ways to make the production work more creative? What methods can you use as a creative outlet? I imagine you'd have different glazes and things, but is that the only way to spice it up?

CP: In terms of spicing things up, there are other objects that I want to make. I want to make really big pieces. I like pushing the limits when I'm making a big pot - like a powerhouse pot.

OM: What about miniatures?

CP: Miniatures are fun too - those are more when I'm trying to flex, or when I'm procrastinating, I like to make like really tiny things.

OM: You could could break into the dollhouse market…You could carve out a whole new market for influencers who are downsizing.

CP: The miniature scene is actually huge!

CP: There are actually a lot of people who have tiny [pottery] wheels the size of a dollar and throw on them. It's total TikTok content, but I'm here for it.

Going back to the topic of COVID, I don't know how it's affected me as far as production goes, but I feel less motivated than before. It's like that doom where you think, "What am I even doing? I'm just making things." Thankfully people get a lot of joy out of my work - and that recognition feels so amazing.

I've met so many kind and wonderful people throughout this, too. Meeting with my clients and hearing how much they appreciate not only supporting a small artist, but also the actual pieces themselves, I realized that maybe I'm not even looking at my work as much of an art practice right now. The people who receive it really seem to appreciate it as such, though.

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Credit: Briggs Ogloff

MH: Now especially, people are turning to art - consuming it almost as a coping mechanism.

OM: Living through COVID really opened people's eyes to the importance of supporting artists - realizing, "Oh, if we don't support artists, they can't actually do anything!" When people are spending so much time alone in their homes, having objects that bring them happiness and make their living space tolerable is important.

MH: How did you find the role of social media playing out in this time?

CP: Most of the traction I've received with my work has been through certain influencers posting it on social media. Also through stores within my community, like one in Gas Town that did a wonderful job of putting a spotlight on the work of local artisans.

Online sharing is super beneficial, but I think it's funny too, because I am such an "un-aesthetic" person. I'm not posing with my minimalist little cup of coffee in my sparse home. I definitely have an aesthetic, but there's this whole culture that my work really fits into that I'm just the polar opposite of.

A lot of people expect that I'm going to be this quaint, linen-wearing, flower-picking person - whereas I'm actually just sitting here in my gym clothes, sweating at the studio. It's interesting how I can curate my style of work to a certain audience. I don't think people would necessarily connect my lifestyle and the way I present myself with the pieces I produce - I think that's pretty funny.

Curating an online presence isn't natural for me. I'm 29 years old - if I were three years younger, I would have had that [self-marketing] ability. Living through so many weird Internet times - like Myspace and Tumblr - I have no shortage of an internet persona. I have a presence, but it's just not necessarily one that would be appealing to the demographic buying my work.

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Credit: Briggs Ogloff

MH: Tell us about "The Peasant" - your current online persona. Where does that come from?

CP: I think it was just the toil of life and being constantly just like, "Oh, like, I can't..."

MH: Life led you to feudalism?

CP: Yeah...

MH: Does "The Peasant" serve as a contrast to that influencer lifestyle of the people you mentioned before?

CP: Probably - the peasant persona is just representative of the shitty side of me where I acknowledge that this is life, we're doing it, we're working for the man.

OM: Maybe "The Peasant" is Caitlin Prince - in the context that you're making goods for a demographic that you don't feel like you personally fit into. I mean, you could fit in if you wanted...

CP: I'm fitting in more now - at least no longer being a broke art student. Literally being so broke and spending outside of my means constantly - and not even having a studio for so many years. I was just working whack jobs to support having a practice and not wanting to give up on it. I'm actually surprised that I didn't! That's something that I'm ultimately proud of. You have to f*cking love art as a hobby to put in your extra time and money, to stick with it, but I'm glad I did.

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Credit: Briggs Ogloff

OM: Tell us a bit about your work during art school.

CP: A lot of my early work in university - especially with ceramics - was just testing the limits of the medium. I was interested in learning what was possible - like when I was making ceramic Jesus toasts. That was a play on existing Jesus figures, but also [the infamous Jesus toast relics] that you can purchase on eBay. I literally dipped pieces of bread in clay slip and fired them in the kiln so the bread would fire out. With every Jesus toast made (until I made a mold of it) bread was sacrificed.

OM: The toasts had Jesus decals because at the time there was a whole thing on the internet about a lady seeing Jesus in her toast.

CP: I made that mostly because I thought it was funny, but also just wanted to put clay-covered bread in the kiln.

OM: When did you realize that ceramics was your thing?

CP: Probably in my second or third year of university - that was when I really fell in love with clay. There are so many ways to manipulate it, and so many materials you can use to beat it, mold it, and make it into weird stuff. The experimental aspect is really exciting - and it's also a kind of escape.

MH: Do you have a preferred style of working with clay?

CP: I really enjoy throwing on the wheel and then adding hand-built elements. A lot of my pots are partially thrown and partially done with coil building. I like mixing both. I could throw the entire pot, but it would be too perfect-looking. I like when it appears more organic, and less like it's just been made on a production line.

There are many cool ways that you can manipulate clay, but glazing has never been my thing. I'm more into the clay bodies themselves. I use a clear glaze for food safety and water retention, but all the color variations you get are through the natural clay bodies themselves. I like to mix different brown and black clays, whites, speckles, grays - all that.

Another thing I like about ceramics is that you can work with the chemistry behind it - you can add different elements when you're firing it to produce new textures, colors, or different effects on the body. Then there are all the options for structure - mold-making, hand-building, and wheel throwing - and the surface design elements. It's this limitless medium. It's also cool to be able to work on something and then just reset and be like, "Oh, I'll just recycle it, use it next time."

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Credit: Briggs Ogloff

OM: Tell us about the Lohan plates!

CP: That was back in art school when we learned a new technique called the decal technique. I thought it would be so funny if I made a set of commemorative plates. I think Lindsay Lohan's fifth mugshot had just been released.

A commemorative plate as an object is so bizarre to me. It's pretty useless, yet there are so many of them celebrating royalty or celebrities. I wanted to commemorate someone very controversial - a mess.

OM: Lindsay Lohan was one of the biggest celebrities of our generation and then was just in jail constantly.

CP: Maybe there was something comforting about it - the buildup and beat-down of a celebrity. Now they don't get torn down the same way. The Kardashian-Jenners are loved and hated, but they're still so influential. Our generation had Paris Hilton getting built up, torn to shit, and then built up and torn to shit again. Amanda Bynes, too. We witnessed really weird demises of people.

The Lohan plates were really well-received, and funnily enough, led me to the Real Housewives of Vancouver. They were entered in a show at school and this woman who runs a gallery in Vancouver really liked them - she was working for one of the Housewives whose husband was a big art collector in Vancouver. The Housewife decided she wanted me to make commemorative plates of her, so I ended up making some 50 plates with pictures of her and her cat on them.

MH: Did she end up selling them?

CP: Yeah, so it didn't go as well as she thought it would. I went to the show - I was mostly there for the free wine and to see who was actually going to buy these plates - and at the end of it, they didn't even pay me! She was like, "Oh, we'll be in contact with you about payment," and literally avoided paying me for months.

That was my first commission and first experience being screwed over as an artist. When she finally came around to paying the last $50, she met up with me downtown pulled out her big designer purse, and actually tried to give the plates back - she was like, "We have some left over, would you want to be paid with those? Do you want these back?"

It was definitely a wacky experience, but also an interesting first foray into life as an artist showing and selling my work. She works at a car dealership now.

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Credit: Briggs Ogloff

OM: Decorative arts and ceramics have always been pushed to the side, where it's like, "Oh no, that's not art, it's craft." That was one really annoying thing about going to art school - the idea that there are two types of people - the "crafts" people and the "artists". The fine art and design programs were so elevated, while ceramics fell through the cracks. Ceramicists were made fun of constantly - it was actually crazy.

CP: I have this internalized self-loathing for production pottery that is rooted in that schooling experience and having to put meaning to work . Not everything has to have a "concept" behind it. Some things can just purely be enjoyed.

MH: Do you think that what you're doing now, working with boutiques, is a result of being taught to make technically perfect pieces for commercial success? Or is it the other way around - do you attribute your popularity to the unique imperfections of your work?

CP: At Emily Carr, there was no emphasis on being commercially successful. We didn't learn how to market ourselves as a business. We didn't learn any of those skills. I would have probably benefited more from going to a business school and just pursuing ceramics as a hobby, if that was my goal, but I also like making work that people can afford and own. Work that isn't completely unattainable. I don't need to have my pottery on a pedestal.

I think that art should be accessible. Especially now, creating affordable art that you can get out to people - there's something to be said for that.

https://www.caitlinprinceceramics.com/

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Credit: Briggs Ogloff

Artist Spotlight: BestWorld

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“Dreamscapes” by BestWorld

BestWorld is the moniker Ottawa-based surrealist collage artist Sierra, who is the latest artist in our series of spotlights. We first came across her psychedelic collages on Instagram, and wanted to know more her creative process and how she creates such unique and dreamlike images.

Malaika Astorga for Also Cool: Hi Sierra, tell us a bit about who you are and what you do.  

Sierra: Hey, I’m Sierra a surrealist artist. My days consist of drinking lots of coffee and hanging out with my baby kitten, Zephyr. I just recently turned 24 and I’m in that stage of recognizing that time is passing by super quickly and I’d rather be putting my energy to things I love doing. It’s kinda as if I’m in a quarter life crisis, but in the best way possible. Most of my days are honestly spent daydreaming and envisioning the future. Naturally being this way has given me an edge on creating, but has definitely stunted me in other aspects of my life. I created BestWorld a few months ago honestly out of sheer boredom, working back to back government contracts in Ottawa and [discovering] it wasn’t for me. On my lunch breaks, I started to create vision boards and took up multiple courses in graphic design. I was also heavily obsessed with 70s concert posters at the time and was like, “Oh hey… turning my work into something tangible would be cool.” I also have a background in business which has helped me out a lot. 

AC: How did you first get into art? Has collage always been your primary medium?

Sierra: I got into art at a very young age, in fact it was probably the only thing I was deemed “good” at up until my late-teens. I literally sucked at all sports and was terrible in school. I was a very stubborn child. My dad and I, when I was around 7 up until my late teens, would create these giant playlists and draw illustrations to the songs. I believe my love for art first started around this point because I was feeling things that I couldn’t really put into words for the first time. 

Sketching and painting were my primary mediums growing up. I still do draw a lot and paint sometimes. I do feel like the future of art is going to be very digitized with Procreate, so I’m starting to learn new mediums and formats as we speak.

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“Devyn’s Dream” by BestWorld

AC: What’s the creative scene like where you’re from? How do you think it’s influenced your work?

Sierra: The creative scene where I am from has definitely flourished in the last 5 years. I really do think Ottawa has a lot of potential and there are some extremely talented people here. A lot of my friends here are creatives and the community is pretty close knit, which is really warm and fuzzy. When you’re surrounded by talented individuals. it definitely pushes you to become the best version of yourself. This is my last year in Ottawa as I will be moving to Vancouver this summer, but I am extremely grateful for Ottawa’s creative collective. 

AC: Your work is super psychedelic and colourful, a nice break from the minimalist aesthetic we often see on Instagram. Where do you find your inspiration? Who are some other artists who have really influenced your work?

Sierra: Haha, thank you so much! I get my inspiration mostly from other surrealist artists and other visual artists, my own dreams and visions and of course, as well as music. My top three favourite artists are: Salvador Dali, Jean-Michel Basquiat and Victor Moscoso. Dali’s painting “The Elephants” is honestly probably where it all started for me. I saw the painting when I was around 10 and I was completely blown away by its otherworldliness. Basquiat was overall just such an interesting character, who was way ahead of his time. My favourite work of his is “Riding with Death,” which he painted right before he died. He was illustrating his opinions on the state of the world at the time and the racism he was experiencing. Victor Moscoso’s use of colour is what really intrigued me about him. It was just super unconventional; he made so many rock posters, advertisements and comics in the 60s and 70s. He was the first rock poster artist of the 60s and highlighted the entire psychedelic/hippie movement going on at the time. He also just seems like a super sweet lad. 

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“Kiss the Earth that Birthed You” by BestWorld

AC: Who do you usually listen to when you’re creating new work?

Sierra: I usually just put on a Spotify playlist I’ve created while making new designs. As of now I’m, really into 53 Thieves, Washed Out, Melody’s Echo Chamber, Japanese Breakfast, Frank Ocean, Weyes Blood, beabadoobee, Jay Som, Toro Y Moi, Litany, TENDER, The Strokes, RF Shannon, Crumb, Tame Impala, Jimi Hendrix, Andy Shauf, King Gizzard & The Lizard Wizard, Mazzy Star, Chloe x Halle… Honestly could add 10,000 more artists in there, I listen to music all day.

AC: You mentioned that you’re doing more commissioned work lately. How have you found the transition from making art for fun, to beginning to be able to monetize it? What are some tips/resources you could give to up and coming artists?

Sierra: As of now, I’ve been incredibly lucky. Everyone I’ve collaborated with has been amazing to work with and I’ve made some long lasting friends. My advice to up and coming artists is to honestly stick to your guns and don’t get pushed around by anyone. Believe in yourself, as scary as that sounds. You’re working for yourself and you can decide, pick and choose who you’re working with. Make sure they are good humans because your name and brand is on the line. Overall, you don’t want to be working with shitty people regardless, just know your worth. 

Especially when you’re first starting out, you might have imposter syndrome. Try to brush those feelings aside because it happens to the best of us and I believe every artist has these thoughts from time to time. Also, collaborate with other artists and learn from them. Don’t be afraid to direct message your favourite verified artist on Instagram; they may have some phenomenal advice for you. Don’t think you’re above or below anyone or anything and don’t be afraid to take risks. It’s only when we truly push ourselves out of our comfort zones… That’s when we grow as individuals and artists. 

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“Otherworldly Realms” by BestWorld

AC: What’s your creative process like? How do you usually find your images?

Sierra: My creative process can take up anywhere from 20 minutes to 2 hours depending on the piece I am creating. It takes a lot more for commissioned work as I am working with someone else's visions, whereas I kinda have mine already known in my mind (if that even makes sense haha). When I’m working on album artwork or single artwork, I listen to the song over and over again to pick up on sonic motifs and lyrics, and then incorporate them into the cover art. I find most of my images on vintage archived libraries. For my hand cuts, I go to thrift stores and buy their clothes and ask if they have any mags from the 70s I can use. 

AC: Finally, is there anything that you want to promote or mention? How can we best support you and your work?           

Sierra: Support local businesses and your pals. Keep your artistic friends close because trust me, I can tell you they work hard. The best way to support me would honestly just be to have some conversations with me, feel free to reach out to me on Instagram at anytime. I love humans so much haha. I also have a second shop launching shortly where I will be selling t-shirts, bags and a lot of other things. My Etsy will still be available to purchase prints, canvases and custom artwork. Thanks so much for your time!

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“I’ll Change” by BestWorld

BestWorld

Instagram | Etsy

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Meet ONYX Bodywear: The Size-Inclusive, Vancouver-Based Lingerie Brand

Model is wearing the V harness, Garter belt, G-string (with lace) and Double Strap leg garters by ONYX Bodywear Model River Rusalka I Photographer Jamie Edgar Photography

For ONYX, the individual brings the product to life.  

Feeling sexy should not be constrained to body types portrayed in the media. Everyone deserves the opportunity to embrace their divinity and sexiness within. Founder Sandra Haney introduces ONYX Bodywear as a, “Proudly inclusive, accessible, body and sex-positive Canadian brand. Each product is a statement piece - whether that be edgy/alternative or sexy is up to the customer.” Haney spoke with me about the story behind ONYX and their mission for body-positive lingerie. 

When COVID-19 restrictions eased in B.C. this summer, I stumbled onto The Hive Home & Gifts, a boutique in Squamish with clothes and miscellaneous items from local designers. After noticing me gazing at the tantalizing strappy harness on display, a salesperson informed me that a woman-owned company crafted it in Vancouver. Sliding my fingers along the straps, I felt dedication in ONYX’s stitching. Compared to similar harnesses I had bought online, which held no grip and ripped after a night of dancing. The material was soft yet durable and also vegan as it was all elastic strapping. 

Haney says “We stand by the quality and the fact our products can change for when your body changes.” The customer can adjust key straps so they can wear the harness for hours comfortably and fit it perfectly for their body shape. ONYX’s approach is creating products as one-size-fits-most as they can adjust from XS to XXL (or more) depending on the style. 

Model is wearing Black choker, Criss-Cross cage bra, G-string (with mesh) and Cheeky harness by ONYX Bodywear Model River Rusalka I Photographer Jamie Edgar Photography

Haney’s story begins with a shopping trip for her 40th birthday. She ventured into various boutiques in Vancouver on the lookout for intimate fetish-inspired apparel - returning home with hundreds of dollars worth of lingerie. Unsatisfied with her haul because of inconsistency in fit and style- the customization process unfolded. “I looked at basically a pile of elastic, lace and mesh and thought I could make this myself!”  She believes that some boutiques fail to supply quality, affordable lingerie that adapts to different body shapes. Budget-friendly items seem to be mass-produced packaged in plastic film or the more luxurious brands come at an exorbitant price. There was a gap in finding something in between with the strappy style she was searching for

Shortly after Haney met up with a long-time friend and former colleague Alison Palmer for their semi-regular bitch and stitch session. Haney mentioned the idea to make some harnesses or cage wear and together, designs for ONYX Bodywear began. Haney says that “ [we] shared a creative synergy that extended beyond our professional relationship and friendship, and ONYX was born out of that.” 

ONYX’s humble beginnings as an Etsy shop producing sexy accessories for everybody. Haney never set out to create products for wholesale. However, that changed in 2018 when Palmer strolled into Your Open Closet,  the sister-shop of Womyn's Ware, known for its sex-positive values including toys and sexual health items for folks hoping to transform their self-care routine. “A big thing we represent is that feeling sexy and looking sexy is healthy and good - for themselves - or however they want to do it,” says Haney. 

Palmer was her business partner during the early stages - helping out with start-up, design and production up until 2018 when she left to concentrate on her full-time career. They remain close friends and ONYX still carries one of Palmer’s original designs:  the diamond cage bra that makes everyone feel like royalty. 

Needing a partner to help the business grow, Haney recruited her friend of almost 30 years, Marga Devam, to help. Devam is based in Edmonton and supports ONYX in design, manufacturing and sales

Model is wearing Black choker and the Criss-Cross cage bra by ONYX Bodywear Model River Rusalka I Photographer Jamie Edgar Photography

Despite the simplicity of their designs, the manufacturing process is time-consuming. “It takes a long time to assemble with a lot of attention to quality work and details - definitely not fast fashion and makes labour costs higher.” Before each harness reaches consumers, the ONYX team designs a prototype, adjusts, sews alterations and revises until they have a final product that meets their standard. ONYX’s website features a limited selection of cage bras, harnesses and garters - of several distinct designs that change once or twice a year.

 "We are a small operation, so compared to some other brands we operate lean and produce many of our orders on-demand, so there is no wastage," says Haney. Currently, in addition to Devam, she has two part-time seamstresses sewing their products. 

Pre-COVID, ONYX attended trade shows to help grow the brand and connect with consumers. Haney says people would commonly remark, “I love your stuff, but there is no way this will fit me!” She challenges them to try it anyway. After they try on one of our products they feel sexy, strong and empowered,  “it’s a rush every single time - it just makes you feel so good when you see something you’ve made make someone feel that way.” 

Haney recognizes that ONYX designs a niche product that will not fit everyone’s taste. The harness allure is more likely to interest a crowd looking for an alternative or edgy look. The stretch of the strapping does not work for those interested in exploring their kink for leather and bondage. However, strappy fashion is becoming more mainstream which also speaks for ONYX’s versatility beyond erotic fashion. Haney says, “you can wear [the harness] with your most utility, comfortable bra and daytime outfit, and it just takes it up a notch - so there is that versatility for boudoir and every day.” 

You can purchase ONYX’s products at various brick and mortar shops in the Pacific Northwest, Alberta, the Midwest of the USA and even Kenya. Haney says “We are a local brand and our growth has been careful baby steps, but we are moving in the right direction.” 

Model River Rusalka I Photographer Jamie Edgar Photography

ONYX

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Dutch Fashion Label Elzinga Talks Growing Up in the DIY Music Scene & Feminist Fashion Inspiration & More

Via Elzinga

Elzinga is an up-and-coming Dutch fashion label that recently took over Paradiso during Amsterdam Fashion Week. They debuted their latest collection on the all-girl punk band The Klittens, catching the attention of Forbes and many others. The collection speaks to and honours the nightlife scene while simultaneously reflecting the "silence" with this collection's simpler shapes.

We spoke to Lieselot Elzinga, Co-Founder & Creative Director of Elzinga, to get to know more about the brand.

Via Elzinga

Malaika for Also Cool: Tells us a bit about Elzinga. How did it start and how has it evolved over time?

Lieselot Elzinga: We started the brand Elzinga together back in 2018. Miro and I had just graduated from the Rietveld Academie in Amsterdam. Following the great response to our graduation collection, we decided to start a brand together. We got in touch with Parrot Agency, a design sales agency based in Amsterdam. They coached us through translating our grad collection to a more sellable product with the same rock-’n-roll energy and spark.

Now after releasing a few collections on MatchesFashion I feel like we have learned to work and reach our clientele. Our designs are definitely influenced by our experiences with our buyers and our clients.

Via Elzinga

 Also Cool: What's the fashion and music scene like where Elzinga is based? How has that affected the label creatively?

Elzinga: Elzinga is based in Amsterdam. I was brought up in the middle of the music scene in Amsterdam. It's basically the core of the brand. The music scene in Amsterdam is small, but there is a lot of variety. Many bands are always sprouting from this tiny scene, and that is very inspiring to me as a designer. 

I used to play a lot around the Netherlands from a very early age with my teenage girl band Fuz . As a girl group, we really figured out how to use fashion as a tool to gain more confidence and power on stage. If you are on stage, you want to convey a very direct and clear message. You want the moment you walk on stage to be powerful and you want the audience to react. This is basically our brand ethos; we want our designs to be simple and direct in shape, but still extravagant and a little rough around the edges. 

Via Elzinga

 AC: How did Elzinga decide to pair up with The Klittens for this show?

Elzinga: With our last show, we wanted to highlight the importance of live music and individual expression in today's society. We did our presentation in the legendary music venue Paradiso in Amsterdam, a place where big bands and performers took the stage (pre corona). It is also a place that nurtures the local music scene, a scene that has been hit hard by the coronavirus. 

We choose The Klittens to play during our presentation first because we love their music, but second because they are a young all girl group that really needs to be supported in a man's world like the music industry. I have experienced first hand what it is like to be an outsider in the music industry and I really feel like we need to push for diversity as a brand. 

Via Elzinga

AC: What are some of the label's inspirations? Musically and visually?

Elzinga: As a brand we are extremely inspired by different influences. Early garage music like Suicide and bands like the Cramps and the Breeders are a huge inspiration to us. We really find the DIY element in our aesthetic extremely important in our visual identity. 

Visually I feel extremely inspired by artists such as Cleas Oldenburg, especially his early performance work he did in NYC called 'The Store' I also find inspiration in artists such as Keith Haring and Penck. 

I like simplicity and direct expression when it comes to visual art, which also shows in our use of simplistic prints and shapes.

Via Elzinga

 AC: What's something unexpected about the world of fashion that Elzinga had to learn along the way in order to succeed?

Elzinga: Something you definitely don't learn in art school is to think about your clients and the people who will buy your brand and will support you as a designer. We find it so interesting to listen to our clients feedback and in that way pin point what the Elzinga woman is about and how her life is and what she want to look like and radiate to the outside world. 

Via Elzinga

 AC: How can we best support Elzinga right now?

 Elzinga: It's so important to support small brand and labels at this time. Like any other small brand, follow what we are up to, check out our new collections and projects and maybe consider buying one of our products in the future :)

Elzinga

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Stop Asking for Permission: An Interview with Multi-Media Artist sunnie

sunnie by Alexis Zygan

Sanaz, also known as sunnie, considers herself a performance artist above all else. We sit on the rooftop of her modern minimalist apartment building. She prefers a more in-depth dwelling, although this is home for now. The sun scorches as we settle into the only semi-shady outdoor seats. sunnie fans me with her portfolio, tucked into a duotang, and casually lights a smoke. I pull out my cell phone, which doubles as a recording device. As I press record on a voice memo, I ask sunnie what inspires her as a handpoke artist working out of  a private studio in Vancouver. 

- - -

After rambling on about how “tattooing is the only thing [she is] good at,” we stop recording, pausing the voice memo. With the permanence of documentation no longer looming over, we talk about her course of life and self-perception. She divulges into how “even in this moment, i respond, am being responded to. i learned it - have a checklist of diverse ways of responding to surroundings. Some of it is how society wants us to respond. [Others are] how we want to respond to things. We are acting.” She assures me that “acting does not mean that it is fake.” sunnie refers to herself with a lowercase i - an indication of her humble nature. 

sunnie by Alexis Zygan

sunnie’s story begins in Montreal: the city Vancouver residents move-to to fill the void. She pursued the Cell and Molecular Biology program at Concordia University. Her parents expected her to become a surgeon and purchase stability in the form of a single-family dwelling in Coquitlam. However, she felt a magnetic pull towards inducing paradigm shifts through the freedom and flexibility of analysis and creativity. “i am still a scientist!” she corrects.

sunnie graduated with a joint major in Art History and Studio Arts. In the same month of she graduated, she unexpectedly lost her studio apartment. After couch-surfing for weeks, a room was offered to her in a time of desperation, to temporarily sublet. This space would end up changing her life forever. “i fell asleep more on the living room couch than my temp bed /on that couch i got my first handpoked tattoo--on that red couch/ i did my first tattoo.” After sneaking a glance at a top-secret sketchbook, her roommate Lawrence identified her artistic potential in insignificant scribbles. While most aspiring tattooists begin by practicing on oranges and potatoes: he believed in her ability to such an extent that he offered his skin as a canvas. Although Lawrence was not the first person to encourage her to tattoo them; he was the first to succeed in convincing sunnie to experiment on human skin.

sunnie by Alexis Zygan

After graduation, sunnie continued to work in Montreal until being dismissed. The unexpected news instigated her to express a declaration of rage by meticulously smearing black-tar charcoal on pearl-grey paper. Stumped on how to pay bills amid unemployment, she put a portfolio together, priced her pieces, and decided to make handpoking her main hustle: “i could not go back to the red couch, i tattoo on a red bed now.” At that time, she had just moved out of her roommate's into a work-live studio. This space served as a liminal zone to strengthen her skills, while preparing for her eventual move to Vancouver. 

As an Iranian immigrant, sunnie grew up isolated from the culture of tattooing. She didn't even know you could make a career in handpoking, and had internalized her parents’ disapproval of tattoos. That being said, the support and love she received from the handpoking community prevented parental perception from sabotaging her practice. sunnie emphasizes, “[these people] embrace, teach, and correct instead of criticizing me. [They] validate me, [and] check up on me. It is honestly other people that keep me going; people believe in me. i am blessed.”

sunnie by Alexis Zygan

sunnie started tattooing with a machine gifted to her by her roommate. However, the machine was too quick; a distraction that prevented her immersion into the present moment. sunnie explains that she simply “softly erases the skin,” to reveal art that has always been hiding underneath the surface through handpoking. Although she had no idea at that time, tattooing would not only give her financial stability, but also end up nudging her to take up other artistic practices, such as painting and poetry. She could easily stay in her room for days, allowing her abstractions to surface. As a tattooer - connecting with people was a necessity because it pushed her beyond her introverted inclinations. sunnie shares: “i connect with people, their secrets and essence — physical and philosophical — ink is accepting of me and others, of our space and taste. Tattooing is perhaps saving me from extreme self-isolation.”

When her time in Montreal adjourned, she moved to Vancouver due to her love for sushi and proximity to family and friends. When she first landed in Vancouver, she lacked the connections and funds to secure a tattoo space. Handpoking had become more than a career at this point; a way to stay sane while settling into a new environment. sunnie is grateful for the trust people had and have in her. Sharing how “[they] started inviting me to their space, for me to tattoo them/ i operated mostly by word of mouth/ same strangers would invite me to social things to talk tattooing/ now i am very shy.” To ensure hygienic protocols, she would thoroughly inspect the cleanliness of the space before beginning the procedure; packing her tattoo equipment into a grey and gold suitcase. She speaks fondly of an experience tattooing a client called Sean, in a van by the Spanish Banks. A year ago, she was invited by Vasia, an established handpoke artist, to join her studio space: an invitation she gracefully accepted. Stepping outside of her observant zone to socialize was worth the stress that came along with the interactions. From time to time, she still tattoos out of her client’s chosen space.

sunnie by Alexis Zygan

sunnie has been tattooing for three years now. Although she found her path in the arts, she considers herself “still doing surgery — although a little less bloody, i still heal — truly i work systematically/ i research — i’m thorough.”  As a tattooer, sunnie approaches every project with pristine precision by first taking time before responding to every email, ensuring the subject aligns with her values and vision. Then, above all, she makes sure she feels intuitive inviting them into the ethereal space they will potentially co-create.

sunnie has learned a lot over the past three years. More than anything that she no longer needs anyone’s permission to pursue her passions - especially not her superiors. She considers her cultural background, “creating dissociation of identity/-- simultaneously cast aside and celebrated.” In the future, she hopes to tattoo more Farsi scripts on people - specifically قر, pronounced ghuur - “when your body subconsciously moves to the music/ we call that ghuuur! it’s  magic!.” sunnie declares, “i am iranian/ i am a woman -my entire existence is political/ my art is an act of resistance towards/within the patriarchal system we live in- everything i do/call it art or not- this interview is an act of resistance -i am claiming my space, physical and philosophical, as an Iranian immigrant - a woman.” 

sunnie

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Alexis Zygan

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