Wednesday, January 20, 2010

North American Burlesque Revival - Vision Magazine China



1 How did you get interested in burlesque? When was the first time you see it? What did know about it at that time? What did you feel?

I saw my first burlesque performance in 1990 after being re-acquainted with my friend Tanya Cheex; creator of Skin Tight Outta Sight. She told me that she was a burlesque dancer and invited me to photograph one of her shows. This was in the early days and they were only a handful of dancers doing this kind of work. I had never heard about burlesque before. Tanya Cheex was at the forefront of burlesque revival in North American. The first performance I attended was funny and sexy at the same time. The theatrical parodies combined with ‘turn of the century style’ stripping made me laugh and feel excited at the same time.

2 How long have you been working on this project? Are there any changes of burlesque that you have seen during these years?

I have been working on this project for over ten years. When burlesque resurfaced they weren’t many dance troupes in Toronto or the world for that matter. Many of the female fans started their own troupes after seeing Skin Tight Outta Sight, the Dangerettes and Pynky Love Goddess. Now there are a lot of burlesque dancers. Over the last ten years I watched Skin Tight Outta Sight fan base grow from a handful of fans in a small bar to the Toronto Burlesque Festival which draws thousands of people. The festival features performers from Canada , the U.S and around the world.

3 Where did you take these pictures? Is camera prohibited during the show? Do they mind your camera when they are dressing up and performing?

All of the photos were taken in Toronto , Canada but some of the guest performers are from the U.S or Europe . They welcome professional photographers to take pictures because they are proud of what they are doing. Although most troupes don’t allow backstage photography Skin Tight allowed me to take some pictures for awhile because of my affiliation with the troupe.


4 You should know and talk with some “exotic dancers” during your work, right? Do most of them do this job willingly or are forced by life? Are there any special stories or people that you want to talk about? Please tell us something about them.

No-one does burlesque because they are forced. They do it because they love it and they find it empowering. Today's burlesque challenges the stereotypes of what is sexy and beautiful. Although some of the performers have formal dance training, worked as models or even strippers the majority are regular woman. They fit all body types: voluptuous, skinny, tall and short.
Burlesque is very popular and the shows sell out in major cities across North America and Europe . However self producing is expensive so most dancers in Toronto have day jobs as well.
Sauci Calla Horra of Skin Tight and co-producer/ coordinator of the Toronto Burlesque Festival has an Honours degree in Theatre and Psychology. By day she works as a social worker helping homeless woman and by night she takes to the stage as the always sexy ‘Sauci Calla Horra’.

5 Generally speaking, who are the producers and composers? Who design the costumes?

Dancers make their own costumes, produce their own shows and market themselves. Burlesque revival is grassroots, creativity and passion are the driving forces behind this scene.

6 Do the performers do some training everyday?

Some train everyday on their own or train several times a week as a group. They have a busy schedule. They do everything themselves from designing their clothes to self promoting and marketing.

7. As far as you know, how popular burlesque is in your place and around the world? Why do you think it is so popular?

Until recently it was very underground but now that it is more mainstream it’s become very popular across the world. You can see how its influenced fashion.

I think burlesque is popular because its entertaining and funny. Burlesque creates a sex positive space that both woman and men can enjoy.

8 Why do you think there are more and more women audiences?

In the new burlesque the woman are in control. I think the female fans recognize this and they find the material more sexy than what the mainstream offers them. Many attend the shows with their boyfriends or spouses.

9 What is your attitude toward burlesque after your long time working on this project?

Burlesque is becoming more popular and it’s fan base is also becoming more diverse. Corporations are hiring dancers to perform at their events. Some men have started their own burlesque troupes.

I find it interesting in an age when sexually graphic images are available with a mouse click that burlesque is more titillating.


*All photos by permission from performer and photographer*

Friday, January 15, 2010

Behind The Garter Belt: Manuge Et Toi

Christina Manuge of Manuge Et Toi is garnering quite a reputation amongst us showgirls for her original and meticulously crafted costumes. Her unique presentation of fabrics and colour-blocking make you stand out from the rest and the plus side is they hold up to the demands we put on them, from a vigorous dance routine to yes, being artfully tossed to floor! I am not so patiently waiting to collaborate on a new piece as we speak!
1.What is the importance of costuming to the burlesque performance.? Do you come up with the act or the costume first?.
I believe that costuming can make or break a burlesque performance – and the performer. Great costuming is completely necessary to becoming a star in the burlesque world. Obviously, talent and ambition are a huge part of it, too. But realizing the importance and effect of your costume is number one on the list of attributes of every great burlesque star. Your costume should be looked at not as an expense, but an investment.

It’s important to have an open plan when collaborating on a burlesque costume design. I try to consider all of the lovely and spectacular things my client can do with each detail of a costume, as we design it. A performance can evolve from its costume, or visa versa.

2. When did you realize that your costumes had to be custom made and not off the rack?

I wouldn’t have it any other way. I decided long ago (after years of working towards it) that I didn’t actually want to be a fashion designer. I knew I would never want to put myself in the situation where I’d have to pump out a line every season. I much prefer working one on one with people, collaborating on one elaborate presentation at a time. Once I made my first custom burlesque costume, I knew I had found my place in the design world.

3.What inspirations do you draw from?

Glamorous, classy dames and the corsets they rode on in! ;)

4. Do you get inspired from vintage burlesque photography or performers?

Not really. I do love them, but what inspires me are the ideals I have in my mind of the kind of classic sensuality, strength and sexuality that ooze from a truly spectacular woman – and the moves that such a lady could pull if she were, say, on a stage at a burlesque show! It’s hard to show on the outside the women that we all can be on the inside. When a performer really holds that feeling up for all to see, it can cling to every woman in the house.

5.What are your favourite costumes that you've made? What was the most
challenging?

Every new costume is a challenge. I make sure of it! My skills are evolving every day, and I don’t intend to settle on any one way of doing things. My two favourites are the peacock costume I made for Coco Framboise late in 2008, and my newest creation for Miss dd Starr – I’m so in love with that one, in fact, I think it may blow the peacock out of the water. It was debuted at “Of Corsets and Striptease” on September 29th, 2009. I wish I could show you, but we’re just arranging a photo shoot with Miss dd now!

6. What is the funniest thing that has ever happened to you while making
something?

When I was first starting out, and Coco Framboise was almost my only client, I didn’t have a very good hold on my work/sleep schedule. I used to have to pull all-nighters to hit my delivery deadlines (I hate to be late!). When I dropped off Coco’s first Manuge et Toi corset, I was in a bit of a stupor and exclaimed that I was never going to do that to myself again! I meant that I had unnecessarily put together my colour blocking in the most difficult way possible, but for months poor Coco thought I didn’t want to do any more corsetry! When she brought it up I had no idea what she was talking about – I love making corsets! – but eventually figured it out. ‘From now on,’ I told her, ‘don’t believe a word I say when I’m handing over your costumes; I probably haven’t slept for days!’

I’m much better with my scheduling now. ;)

7. What materials do you get the most excited about working with?

I love silk. Great colour combinations get me really excited, too. I love to work with three or four hues at once... but if it’s silk, I’m already pretty thrilled!

8. Explain the importance of closures and fastenings on costumes for the
burlesque artist?

The type and strength of a closure is very important for my clients. Performers have to know that things are going to come off easily, but not unexpectedly! From snaps to zippers, hook-and-bar sets, bra back closures and really good garter grips, it must all be well thought-out and thoroughly practiced for a performance to go smoothly.


9. What was your most bizarre costume? Discuss.

My two most bizarre costumes to date both came out of collaborations with Chassy VanKlaas. One consisted of mock parts of a 1969 Shelby Cobra engine, and the other – my favourite of hers so far – was based on The Log Driver’s Waltz! A great piece of truly Canadian nostalgia, but the best part was that we designed a uni-pastie of a double-ended saw for the reveal! Bizarre? Yes. Awesome? Yes!!

10.What tips can you offer those who aren't crafty?

You don’t have to be crafty. You just need to know what looks good, what doesn’t, and who to go to for help (me!). Also, if you’re not sure what looks good, the best thing I can suggest is to *really* look in the mirror (study yourself), watch other people (study them!), and make an effort to learn basic design principals. These things will all help immensely.

11. If you had an unlimited budget what would you make? The sky's the limit!

Oh gosh... I guess I would take in every idea I’ve ever wanted to incorporate, and make a series of costumes that together would embody every drop of design genius I could muster!


12.There’s a recent insider controversy about how many Swarovskis one can put on a costume. Discuss.

LOL Well, I have to say that though I am pro-Swarovski, crystals are not the only thing that can make a costume sparkle. What about thoughtful, beautiful design details, enticing colours and lovely fabrics?!?


13.What batteries fuel an outfit? (eg. Charisma, smile, non tangible thing)
Thoughtfulness, Design, Fit, Style, Practicality, Sensuality, Presentation...


14. Where can we learn to make our own costumes- what workshops do you offer?

I plan on offering creative pastie-making workshops as well as a ‘perfect crystal work’ class next year, where I will share some of my best tricks and techniques.
To check out Christina's work go to http://www.manugeetoi.com/


Photo Credits:

Coco’s Peacock: Coco Framboise, http://www.cocoframboise.com/
Photography by Tess Francis, IronHorse Productions: http://http//www.myspace.com/ironhorseproduction
Chassy’s Log Driver: Performer: Chassy VanKlaas http://www.facebook.com/profile.php?id=1851919658&ref=ts
Photography by Mopo Art: http://www.facebook.com/mopoart
Christina and Coco Framboise – Photography by Andrea Heins: http://www.andreaheins.com/