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WELCOME TO GLORY DAYSEditor’s Letter Welcome to the debut issue of Glory Days magazine! This publication is dedicated to those who choose to incorporate some kind of vintage or historical influence into their everyday life –whether it’s burnin’ up the streets on a retro scooter, dressing in authentic WWII uniforms and re-enacting a war long since over, emulating a classic Vargas girl or if you’d simply like to dip your toes into the flourishing vintage lifestyle culture.
We hope you enjoy our summer holiday edition as much as we enjoyed putting it together. We look forward to receiving your feedback and incoporating your ideas into issue two. xxx
Claire
Community is everything to this scene and through Glory Days we aim to foster a feeling of support, cooperation and fun. We encourage you to embrace the burgeoning vintage events calendar, the proliferation of vintage small businesses and the individuals who have chosen to adopt elements of this lifestyle into their everyday lives. We aim to be an inclusive magazine that everyone with an interest in the vintage lifestyle or aesthetic can feel part of, and they feel reflects them, with a unique New Zealand flavour. This magazine came into being as the result of an excited conversation between friends and we hope the enthusiasm translates through these pages. The theme of this issue is the magic of summer holidays and the nostalgia of summers past. We reintroduce the glamour of bathing beauties both through our Bathing Beauties competition (held at the Wanganui Vintage Weekend in late January)- and via the pages of this issue which contain a story tracing the history of bathing suit competitions, accompanied by our gorgeous vintage swimwear fashion shoot. We also introduce some of our regular columnists including Grace La Belle (The Burly Q Review) , Carlos De Treend (Lipstick On Your Collar) and Luke de Large (Mad About Mod) and we welcome aboard our talented stable of writers, photographers, stylists and models. If you’d like to get involved or advertise your business, we’d love to hear from you- drop us a line at glorydaysmagazine@gmail.com
Rose
Natasha 3
THE TEAM EDITORS
Claire Gormly, Natasha François, Rose Jackson
SUB EDITOR
Faye Lougher
CONTRIBUTORS
Carlos De Treend, Claire Gormly, Elizabeth Clarkson, Faye Lougher, Luke de Large, Grace La Belle, Lemomi Oakes, Malayka Yoseph, Natasha Francois, Melanie Freeman, Rose Jackson, Sarah Lancaster
PHOTOGRAPHERS
Elizabeth Clarkson, Little Death Photography, Mandi Lynn
DESIGN
Stephen Templar
DESIGN ASSISTANT Nathalie Gregory
PUBLICITY & EVENTS
Natasha François, Rose Jackson
ADVERTISING Claire Gormly
The opinions expressed by the contributors are not necessarily those of the publishers, but we like to encourage different opinions, healthy debate and a variety of ideas at Glory Days. Anyone prfrom oviding material for Glory Days must ensure they acquire permission if necessary before submission. We make every effort to trace copyright holders, but apologise if we make any transgressions. Do get in touch if you feel that your work has not been properly acknowledged and we will right any wrongs. The editors would like to thank the following people: Our wonderful contributors and designers for their enthusiasm, support and talent – we could not have done it without you, The New Zealand vintage community – from swing and rockabilly, to burlesque and mod we love you all, Te Papa Museum for generously allowing us to view and feature part of the collection, New Zealand Libraries electronic collection – an amazing historical resource available to all.
Cover Credits:
Photography - A La Mode, Model - Kiriana Spagnolo, Styling - The Vanity Case, Swimwear Swanwear
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meet some of the
Contributors
Faye Lougher Lady Gaga may have been “born this way” but I reckon I was “born too late”!My name is Faye Lougher and I am a big fan of the 1950s, especially the women’s fashion and hairstyles. Nothing puts a bigger smile on my face than dressing in a floaty dress with a huge frilly petticoat underneath, accessorised with the matching handbag, gloves and shoes of course! My favourite event each year is the Beach Hop in Whangamata, where I can indulge my passion for 50s and 60s clothing, cars and music. Keep an eye out for me in 2013 in my red Thunderbird with colour-matched retro caravan!I’m also a stickler for old-fashioned spelling and grammar – none of this text-speak for me, thank you very much! I have my own business, Writeability (www.writeability.co.nz), and I spend my days writing, taking photographs and editing to ensure that high standards of written English are maintained! Malayka Yoseph
Like so many of us, my first real vintage clothing introduction came from my Grandmother. I would visit her in Germany and she would let me parade around in her 1960s Dior, Pucci and Chloe frocks,
each more fantastic than the last.I fell in love right there and then! Over the years my own collection grew until I had run out of room.So I joined forces with another vintage-obsessed friend and we began to sell at all the local markets. Before long, I found myself swept up in this amazing vintage community that I never knew existed. I looked for any opportunity to support local burlesque acts, go to hot rod shows, check out rockabilly bands and compare notes with other vintage lovers. I even met my fiancé on the dance floor at the Beach Hop! These days I have succumbed to the fact that I just can’t live without my old treasures and vintage has become a whole way of life. There’s something about the simplicity and elegance of the days gone by that continues to fuel my obsession for vintage treasures and the fascinating stories they bring with them. Steve Templer I’m a recent convert to swing dance which has led me through the looking glass into the magical world of vintageness. I’ve always had a love for the fantastic style of vintage cars and machinery. As a child I would draw cantankerous steam trains and voluptuously curvaceous 1950’s inspired cars, slicing them in two and drawing elaborate diagrams of the internal workings. Which actually was a great help years later when designing props for the Hobbit. Prior to that, I worked as a graphic designer on King Kong and became immersed into 1930’s New York typography and signage, a lovely era to work in. I mainly work as an illustrator, based in Wellington in the “Honey Badgers studio”. I also exhibit regularly. My art work has a distinctly dark Victorian atmosphere especially my sculptural work. My illustration has a strong 50’s influence. I’ve also produced kid’s music videos and illustrated a children’s book which has just come out called the “Wreck of the Diddley” so go out and grab it, go on, you know you want to! I’m excited to be part of the vintage revolution and meet the wonderful people who all share a charming imaginative view of the world, who create their own world and love living in it. 5
FEATURES Page 7 what’s in a name? Q&A with the winner of our magazine naming contest
Page 10 I do Like to Be Beside the Seaside
A history of the swimming costume and bathing beauties
Page 36 Hopped Up –
Getting under the hood of classic cars
Page 38 Back in My Day Taking a trip down memory lane
Page 46 The BurlyCue Review All about burlesque with the fabulous Miss La Belle
Page 50 Make Do & Mend Get crafty at your next picnic
Page 13 Bathing Belles Bespoke Swimwear from Swanwear Swimwear that will turn heads
Page 52 What’s Cookin’, Good Lookin’ Food glorious food
REVIEWS
Page 20 Mad About Mod – Luke de Page 30 This Vintage Town Large weighs in on vintage vehicles
Page 22 Provenance – Delving
into Te Papa’s historical costume archives for treasures
Page 24 Cheap Thrills Behind the covers of the original pulp fiction
Page 27 Lipstick on My Collar – Dapper gent
Carlos de Treend encourages readers to experience the refined decadence of Vintage living
FASHION Page 28 People Watching Street Style Imagery from Little Death Photography
Page 34 Fully Fashioned An in-depth look at fashion through the ages
Shining a spotlight on Wellington’s vintage scene
Page 41 Net Worth
A closer look at the best vintage blogs
Page 44
Hi Fidelity
A word or two with band leader Sal Valentine of Sal Valentine & The Babyshakes
Page 49 Papershaker – Finding the best vintage leads for you.
EVERY ISSUE Page 8 Glory Days hot list These are a few of our favourite things –
Page 54 Hot Dates Upcoming vintage events around New Zealand
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– Tell Tabitha
Your burning vintage dilemmas solved 6
WHAT’S IN A
I am torn. I have days when I am a flapper and dream of the twenties, days when I find myself ‘making do and mending’ and dream of the forties and then I see a fifties dress or a huge Pontiac and the fifties start calling. I don’t know if I could pick any one era.
NAME
What do you get up to when you are not naming magazines?
Q&A with Anastasia Dell – Magazine Naming Queen. By Rose Jackson
Until very recently, Glory Days magazine was about to go out on the virtual shelf sans name. After lengthy debate amongst the editorial and contributing staff, we still couldn’t decide on a name, so opened up the floor to the public and held a good old-fashioned naming competition. Entries were submitted via our facebook page, and the top three picks were put to a vote. Anastasia Dell’s entry caught our eye immediately, and we were most pleased when Glory Days took the lead and cinched the win. We wanted to find out a little more about the woman behind our name.
I am doing up a 1910 villa, trying to repair its long neglected garden and looking after the last of my three children still at home. If I scrape time I sew, craft and op shop. Do you have any vintage style secrets you would like to share with the readers? Cheap L.A. brand pressed powder from the Warehouse; $5.00 a pop and it is smooth, stays on and doesn’t smell foul like some do. I love ‘natural’. It is a beautiful pale vintage powder with quite a bit of coverage. A value store liquid eyeliner and a cheap blue/red lipstick and you are good to go. Also blush lightly applied to the apples of the cheeks adds a touch of something and whips five years off your age.
Hello Anastasia! Thank you for entering the magazine naming competition, and congratulations on the winning entry. What was your inspiration behind the name Glory Days? I sometimes dream I wake up and we are back in the days when things were made to last, where people were civil to each other and no one dragged themselves down to the shops in their ugg boots with their bum hanging out of their pyjamas. I remember when people were proud of growing up in ‘Godzone’ and not fleeing to foreign countries. I think the days when people could have a little pride and dignity, work one job per family and provide for their kids, were truly the “glory days”. Are you a vintage fan, and if so what does that word mean to you? I am a definite fan. Well made clothes, well-built stylish houses, domestic furniture made with aesthetic consideration and quality materials all wrapped up in a little class.
Anastasia Dell
If you could choose any era to live in, what would be your pick? 7
R U O F O W E F THESE ARE A
S G N I H T E FAVOURIT
Debonaire Do’s
NZ’s “Pop up” Vintage Salon. Beautiful hair, makeup, styling for all your vintage and special occasion wants and desires. Covering the Central North Island – Waikato region, but available to travel to your event. For further details contact via email at michswingal@yahoo.co.nz, or check out their facebook page https://www.facebook.com/pages/DebonaireDoos/113632354865?fref=ts
The Great Gatsby
Baz Luhrman’s interpretation of the classic book by F Scott Fitzgerald is not due out in NZ cinemas until May 2013 but judging by his previous cinematic extravaganzas and the trailers that have come out so far, it’s sure to be a feast for the eyes and a huge source of inspiration for art deco fans. While we wait, we are going to rewatch the 1974 version starring Robert Redford and Mia Farrow.
Bobby Soxer
Wellingtons best kept vintage secret is the weekly “Bobby Soxer” stall at Frank Kitts Market. Kate Burgess Withers makes pretty vintage style dresses from authentic 1950s patterns and she also makes to measure. Kate has a facebook page: http://www.facebook.com/ bobbysoxernz , you can contact her via email Kate@ bobbysoxer.co.nz or get hold of her on the good old fashioned telephone: (04) 971 4225
Napier’s Art Deco Weekend
Have you ever suspected that you were born in the wrong era? Experience a full immersion 1930’s-style life at the Art Deco Weekend in Napier. Held from the 14th to the 17th February, New Zealand’s spiritual Deco home plays the gracious host to a plethora of themed events from street bands and Depression dinners, to Gatsy picnics and classic cars. View the full event lineup at http://www.artdeconapier.com/
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I DO LIKE TO BE
BESIDE THE
SEASIDE
‘Bathing Beauty’
contest at Paraparaumu. Negatives of The Evening Post newspaper. Ref: EP/1958/0006-F. Alexander Turnbull Library, Wellington, New Zealand. “http://natlib.govt.nz/records/22300301” http://natlib. govt.nz/records/22300301
a history of bathing beauties and their swimming costumes By Rose Jackson New Zealand is blessed with over 15,000km of stunning coastline; its inhabitants are never more than two hours from a beach and New Zealanders enjoy spending much of their leisure time beside the seaside, especially as the main Christmas holiday season falls over summer. Yet until relatively recently the ocean was an unknown world, and not a place for humans to venture into. It was not until the late 17th early 18th centuries that the health benefits of salt water were espoused by doctors and other health professionals, and people began to dip their toes in the watery depths of the deep blue sea. Ever since the ocean became a place to play rather than fear, enterprising city councils have sought to capitalise on the summer season with a range of activities for their sun and sea worshiping visitors, including the much anticipated bathing beauty contests. The history of the bathing beauty is closely intertwined with the history of the swimsuit and the shifting moral and industrial sands of modern society. Without the industrial revolution, technological advances in fabrics and manufacturing, and a relaxation in the moral fabric of society, it is fair to say that swimsuit parades would be just a twinkle in an enterprising town committee member’s eye. 10
(‘Bathing Beauty’ contest at Paraparaumu. Negatives of The Evening Post newspaper. Ref: EP/1958/0007-F. Alexander Turnbull Library, Wellington, New Zealand. “http://natlib.govt. nz/records/23107731” http://natlib.govt.nz/records/23107731
Following the industrial revolution, changes in the hours and working conditions of employees gave them more free time to enjoy life outside of the factory. Transportation networks were also beginning to open up, which made travel to seaside destinations within the reach of far more people. The strict Victorian sense of morality meant people stayed clothed, but they could enjoy promenading along the water’s edge in a range of increasingly elaborate beachwear. In fact, piers were invented to give people a sense of the sea surrounding them, without actually having to strip down to an indecent amount of clothing and get in the drink. When the dress reform movement came along in the mid 1800’s (although its effect only really took hold in the late 1800s), the strict clothing conventions that women in particular had to adhere to were relaxed to
allow garments suitable for athletic activities including swimming to be worn (such as bloomers) and the number of restrictive undergarments were recommended to be reduced or removed all together. This relaxation of strict dress codes was also a reflection of the societal changes that were occurring during this era, although there was still an insistence on separate-sex bathing and even bathing machines that were wheeled out into the sea so ladies could protect their dignity from prying eyes with a privacy screen around them.
enforced covering up as much as possible. Men also had to wear woollen suits with underpants over the top – due to the rather suggestive form-fitting nature of wet wool!
Female swimming costumes started out as woollen suits that were exceptionally heavy, impractical and quite frankly dangerous to wear. They were accessorised with bathing slippers and oilskin hats to ensure all modesty was preserved. Men mainly swam naked until the puritanical Victorian age
Early one-piece swimsuit inspiration came from performers and artists, rather than the garment industry, as people tried to emulate the increasingly popular stars of the stage and screen. Annette Kellerman an Australian swimmer and actress - insisted on wearing form-fitting outfits for her water ballet routines which she performed the world over, and was arrested in the US for indecent exposure. She starred in Hollywood movies wearing a one-piece costume similar to those worn by burlesque performers as it was practical for showing off her moves, which started a frenzy for the unitard as people wanted to emulate their screen idol’s style.
Beauty pageant contestants and crowd, Marine Parade, Napier. Raine, William Hall, 1892-1955: Negatives of New Zealand towns and scenery, and Fiji. Ref: 1/2-041967-G. Alexander Turnbull Library, Wellington, New Zealand. “http://natlib.govt. nz/records/22793158” http://natlib.govt.nz/records/22793158
Beach hats disappeared after WWI when excess consumerism was frowned upon, and costumes also became shorter as demand for fabric increased and rations declined. By 1920 New Zealand-based manufacturers including Roslyn and Canterbury were producing one-piece Canadian costumes and the style in fashion for more form-fitting outfits carried over into swimwear. 11
Sunbathing became a popular pastime in the 30s, and swimsuits changed to reflect the growing trend for health and outdoor fitness. Elasticated fabrics were invented which allowed for more figure-hugging costumes to be worn and shown off. The twopiece costume was slipping quietly onto beaches as early as the 1930s. The term “bikini”, however, was not coined until 1946 due to the devastating reaction it was getting on beaches – likened to the impact of the atomic bomb on Bikini Atoll (in fact the designer first called the style the Atome). New Zealand was a little behind the times in picking up the trend for the two-piece, only adopting the look fully in the 1960s. However parading around in swimming costumes, two-piece or otherwise, at beachside beauty pagents began in the mid 1920s, with popularity surging in the 1950s and 60s. Bathing beauty pagents were often part of a full two weeks’ of seaside entertainment put on by local councils in soundshells and other outdoor venues, as eager beachgoers left work behind and enjoyed Christmas holidays at the beach. In the beginning at least, these pagents were full of wholesome ideals and a desire to promote and award natural rather than artificial beauty. A 1967 Weekly News article revealed that “false eyelashes and heavy eye makeup meet generally with a cool reception”. Contestants were lured in to compete with monetary prizes and a chance to travel to other bathing beauty contests both nationally and abroad. In recent times, it seems that the bathing beauty contest has lost its way. Swimming costumes have become skimpier, heels higher, muscles more pumped. It often seems the focus of the contests have shifted to a more racy version of the once innocent seaside event – perhaps a reflection of the increased sexualisation of modern Western culture. There are however, still examples of a more inclusive type of event, including the Bathing Belles competition at Art Deco Weekend, where entrants are encouraged to don period specific costumes and strut their stuff at the waterfront sound shell. Glory Days magazine is keen to revive the classic Bathing Beauty contest, which celebrates ladies and gents of all shapes, sizes and ages in gorgeous vintage or vintage inspired bathing costumes. As part of the launch of the publication, a Bathing Beauties Contest was held at the Wanganui Vintage Weekend on Sunday 20th January. To check out our worthy winners, please go to www.facebook.com/glorydaysmagazine 12
Bathing Belles
Beach and Glamour. Two things the 1950s did so well.
Racy Black 13
Racy red
Racy Black
Recreate the look with a pair of vintage inspired togs, and don’t forget the red lipstick. 14
retro fun
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stripey fun
All togs by Swanwear :
www.swanwear.felt.co.nz
fifties dream
Styling by The Vanity Case photography by A La Mode Models: Jessica, Kiri, Debbie and Bridget 17
50’s Dream “all togs by Swanwear” photography by A la Mode
http://www.lamode.co.nz/p/magpie-dragonfly-sign-up-list.html 18
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MAD ABOUT
MOD
Of course we men are also keen to get the best shoes, suits and that perfect haircut – but let me get into these in future issues – as now that it is summer, they become secondary once we hear the sound of a well tuned V8. It is interesting to observe that men and women have such a different result when spending time with their vintage hobby. When a lady disappears into the depths of her bathroom or wardrobe, we can be sure she will emerge after two hours with the most amazing hairdo, perfect make up and an outfit to match – ready to show off. It will have been a strain on the man’s patience (he sure was ready after and shower & shave), but we all agree that this wait is worth it. When we men disappear from the face of the household to indulge ourselves into our vintage/classic passion - we re-appear with exactly the opposite effect. Not only will two hours be spent just to get the right tools and to chill the beers – we will go missing for entire weekends, and only the odd bang of backfiring engines and echo of cursing will reassure our lady that we are still somewhere in the closer area. When we finally get back to our better halves – our hair, face and clothes will all be everything but amazing – oil and grease will be the predominant feature.
Photo Martin Horspool By Luke deLarge Let’s face it : when we speak about “vintage accessories” there will be a distinctive difference in the interpretation between the ladies and us guys. The girls have a sea of choices and will easily get lost in offers for make-up, hair, dresses, handbags, shoes etc. When it comes to the most common vintage - or classic accessories for guys, you most likely have to follow him out into his garage (also known as the man-cave). He might not be able to carry his vintage passion (eg : car) around like a purse – but he can carry his vintage loving partner wherever she wishes. We talk about our classic cars, motorbikes and scooters - which are a vital part of the scene and help setting the stage for yesteryears events as well as giving us a chance to live a bit in the past on a day-to-day basis. 20
Now a few words to those of you who do not own a classic- or vintage vehicle but think about starting this hobby. To own a classic car requires quite a bit of space, skills and pocket money – it is a dream come true for many guys but can also easily turn into a nightmare – so make sure you are ready for this project on all levels. A good spaced garage or shed is the base for this, as you will need a roof and light for those late night engine work sessions. There is no advice what car to get, as it is entirely a matter of taste and budget. The advantage of a classic car is that once you have it finished, you can take the whole family including your dogs to the beach, the batch – or the Beach Hop. For those of you with a smaller wallet and even smaller work space, a classic motorbike or scooter is a great project. They can be built up in a rather small workspace without kicking the family car out of the garage – and the investment in base machine and restoration can end up being just a fragment of what you’d need to invest in car. For example a full restoration of a collectable Italian Vespa GS 160 from the 1960’s will set you back far under 10k – with the result of having true classic wheels to join rides and even commute on a day to day basis. Once you have your wheels you just have to check what is on ; there are a huge range of brand specific rides and rallies, as well as the bigger vintage . The Beach Hop in Whangamata is one destination for you, so is the The Hot Rod Blow Out in Auckland. events
There are regular rides for bikes and scooters like the monthly “Mockers Benediction” ride starting from the Hard Luck Café in K-rd. Social media like Facebook is a helpful tool to stay informed where and when rides and shows are happening – now it is on you to get the timing right and have your vehicle ready when your lady is dressed to impress – then head out for a cruise …
Photo’s Martin Horspool 21
provenance Ines and the GI jacket By Malayka Yoseph
“If this jacket could talk it would do so in so many languages.” – Ines Helberg When Ines’ father came home with a shiny new black bicycle one day in 1947, it was as though he had given her a key to the world. “This was a monster of a bike – black with big handle bars, one wooden tyre and one solid rubber one. It was the most beautiful bike in the world”. Five years of being confined to her neighbourhood in Amsterdam and not venturing further from home than to school and the soup kitchen had left 17 yearold Ines itching to get out and explore post WWII Europe. On her beloved new bike she set off around Holland travelling from one hostel to the next.
much like normal.
“My first wandering summer I remember good weather, saddle sores from that old bike and never having enough to eat because I did not have enough food coupons. I loved every minute of that trip.”
The only evidence of a war at all were the wings of the windmills which had been used by the Resistance as a kind of Morse code. But even they turned peacefully that summer. The hostels were run with a strict sense of order where regular meals were paid for in the form of food coupons, and the evenings were spent playing games and part taking in traditional folk dances.
Holland in 1947 wasn’t the war-torn country we might imagine it was. In fact many parts of the country had barely been damaged at all and life went on
Jacket, 1940’s. Maker unknown. Gift of Ines Helberg, 2010, Museum of New Zealand, Te Papa Tongarewa (GH 16763)
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“When I roamed the countryside in that beautiful warm summer there were just black and white cows in green pastures, the odd sheep, low squat farmhouses and willow trees along the many ditches.”
“For a rebellious difficult young person like myself, my hitchhiking adventures through some parts of Europe were really running away from home. With little money, sometimes with no maps, I just followed my nose, rain or shine.” One day, shortly after returning, Ines headed to a street in Amsterdam that specialised in second-hand clothing and army surplus goods. There, hanging on the rack, she came across an old American GI jacket that would become her constant travel companion over the next 60-odd years. “Just for the fun of it, I started collecting embroidered badges – that is, when they became available later on.” Eventually, her curiosity for what lay beyond Holland led her to put the bike aside in favour of hitchhiking. “Hitchhiking so shortly after the war was rather common among young people. Public transport was still chaotic and few had any money.” So from then on any spare time during school holidays was spent exploring the likes of Belgium, France and parts of Germany. Naturally the jacket was decorated with more badges with every trip. It kept her warm in the castle prison-turned-hostel in Cannes (rumoured to be the place where the Man in the Iron mask was confined), it was with her when she worked odd jobs at petrol stations for extra food money, and it kept her safe from unsavoury characters with roaming hands who had given her a lift to Lyon.
panion and continued to be covered in souvenirs of the places she had been. For somebody who prefers not to be photographed, this jacket works as a kind of album. There is a badge in memory of her father’s birthplace in Haarlem, a reminder of the Australian town where her son was married, and a keepsake for the bombed-out Aachen cathedral that she watched skilled stonemasons repair. Sadly not everybody held the same understanding and appreciation for this special jacket of memories. “In a small country town in NSW I learned that it was not safe any more to wear. Walking along a main street I was followed by three youths – too close for comfort – who glared at me and my jacket. I took refuge in a shop – took it off, turned it inside out and never wore it again.” Not knowing quite what to do with it, Ines eventually contacted Te Papa, who were more than happy to adopt it into their collection and there it remains. Now a fine vintage of 82 years-old, with her husband long passed away and her children all grown up, Ines has resorted back to the lifestyle that suited her so well. Once again she hits the road, travelling from one hostel to the next, often by train and always by herself. She is a true example of the fact that age really is just a number in your passport.
In 1956, after battling her way through an unhappy marriage, illness and an overbearing mother, Ines escaped to the furthest place she knew. “New Zealand in the sixties was indeed a strange place. No cafes, nothing open on the weekend – the whole country seemed to die on Friday night after late night shopping and wake up again on Monday morning.” It was here that she met and married her second husband, and with that her hitchhiking days were all but over. Although she went on to have three children, adventures with them were rare. “My husband ruled the home and holidays were always just camping in Ranui so he could go to work from there. I never learned to drive and that kept me very restricted.” Nevertheless the old jacket remained a close com23
CHEAP THRILLS. Behind the covers of the original ‘pulp fiction’
There was even a risqué lesbian series (Strange Sisters) although it was targeted squarely at heterosexual men. By NATASHA FRANCOIS Their covers were tantalizing: a shapely fishnet-clad leg here, a hard-boiled detective there. Their titles were equally compelling: Heroes, Rogues and Jezebels, Libel was a Blonde, Bella Donna was Poison and Never Trust a Martian. Instantly recognisable for their tawdry cover art (the covers were often designed first), their forgettable plots (the storyline was entirely secondary and frequently failed to live up to expectations) and intriguing cover lines: (“a novel of temptation and primitive passions”, “a blazing novel of restless women who explored every avenue of emotion”), we devoured them en masse from the 1930s through to the 60s. The ‘Pulps’- so-called because of the cheap pulp wood paper scraps on which they were printed (magazines on higher quality paper were known as “glossies” or “slicks” and aimed at the middle and upper classes) spanned every genre imaginable from westerns and science fiction to crime and adventure. 24
The first pulp fiction novel, Frank Munset’s Argosy Magazine appeared in 1896. Contrary to popular opinion, pulp fiction is not a direct descendant of the dime novel – the small pocket sized volumes featuring the exploits of Billy the Kid and co– rather, it was the “slicks” of the 1880s and 1890s (Century, McClure’s and Munsey’s) that spawned the pulp publishing phenomenon. Due to their relatively pricy glossy paper, the “slicks” had to sell for 50c or even a dollar to make a profit, so publishers were keen to cut costs to appeal to those with more modest means. While it’s true that the pulps were often poorlyedited, riddled with grammatical errors and scoffed at by the upper classes for their lack of literary merit, their low prices and lurid cover art attracted many working-class readers who wouldn’t otherwise have been able to afford them. This combined with skyrocketing literacy rates, helped ensure the success of the new medium. Larger-than-life heroes, glamourous dames, far-flung
locales, aliens and evil villains peppered the pages devoured by much of urban working class, who, without television, spent their spare time pouring over the pulps.
In recent times, the pulps have developed something of a cult status; certain titles fetch high prices on eBay and are eagerly snapped up at garage sales and thrift stores.
However, during the Second World War, the flourishing industry fell into steady decline – caused by paper shortages, rising expenses and the rise of comic books, television and the paperback novel (in an ironic twist, many of the paperback houses which contributed to the death of the pulps were in fact created by pulp publishers).
Donald Kerr, Special Collections Librarian at the University of Otago says while the world of pulp has often been dismissed as ‘ephemeral and of little or no consequence”, the tide is turning, and they are beginning to be acknowledged for their vast contribution to pop culture history.
And the landmark decision in 1949 by Street & Smith Publications (whose circulations had been as high as 1.6 million copies) to cease publishing its pulp magazine line sounded the death-knell to the American pulp industry. Meanwhile, closer to home, the 1939 embargo on American pulp magazines prompted Australian publishing houses to start churning out their own versions. Even after the war was over and paper rationing had been lifted, there remained a voracious market for the soft-cover novelettes. While the majority were published in Sydney, including the likes of Calvery Publishing Cleveland Publishing, Currawong, Invincible Press, and Horwitz Books, many titles were widely distributed in New Zealand (by Gordon & Gotch) and despite their formulaic content, eagerly consumed by local readers.
The Dunedin pulp aficionado curated the 2010 Otago University’s Pulp Fiction exhibition –a prime opportunity to display the 900 pulp titles he acquired five years ago- and remains a devotee of the art form (to check out his stock pile visit: “http://www.library. otago.ac.nz/exhibitions/pulp_fiction/index.html” http://www.library.otago.ac.nz/exhibitions/pulp_fiction/index.html) Kerr calls the collection, which also includes an archive of photographs and draft book covers by Robert Maguire (1921-2005) the American illustrator and artist who produced over 600 covers for crime pulps- an invaluable resource for literary scholars, social historians, book designers and pulp paperback fans. “This is popular culture as read by our uncles, fathers, grandmothers ... and they exhibit not only the cover art but also a fascinating insight in gender issues, social mores, and language of the day.”
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FAMOUS PULP FICTION AUTHORS:
“http://en.wikipedia.org/wiki/Isaac_Asimov”
Isaac Asimov
“http://en.wikipedia.org/wiki/Ray_Bradbury”
Ray Bradbury
“http://en.wikipedia.org/wiki/Raymond_Chandler” Raymond Chandler
“http://en.wikipedia.org/wiki/Agatha_Christie”
Agatha Christie
“http://en.wikipedia.org/wiki/Joseph_Conrad”
Joseph Conrad
“http://en.wikipedia.org/wiki/H._P._Lovecraft”
H. P. Lovecraft
“http://en.wikipedia.org/wiki/H._G._Wells”
H. G. Wells
“http://en.wikipedia.org/wiki/L._Ron_Hubbard” L. Ron Hubbard
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LIPSTICK ON MY COLLAR By Carlos de Treend My dear fellows, I urge you at once, no, implore you, to scrub underneath those fingernails of self-doubt. Untether the shackles of modern worthlessness and cast yourself, eyes wide peeled open into the refined decadence of vintage living. I, like you, started this journey a sceptic. Being left to my own devices, partner lost to the boutique sales in a small town just over the hills, sun high in the sky and not a single tree under which to seek shade nor refuge, I sauntered through the doorway of what I imagined to be at some point, a picture theatre. (A wild guess later confirmed by the hundreds of early film posters that adorned its high walls.) I soon realised I had unwittingly stumbled upon a vast array of household wares. No two single items the same. At first glance, they appeared to be regular items, albeit from an age much surpassing my own years. But on closer inspection it seemed the one carrying theme, the single consistent feature of each item, was an overwhelming sense of character. It appeared as though each drawer set, chair, bookshelf and hat stand was instilled with a sense of unbridled purpose and dignity. At once I was compelled to seek out a single object to buy for my own unremarkable home, in essence, to exude that same image of strong purpose and selfworth.
stuffed, striped armchairs, breathed the musty oil of dark walnut cabinets, ran my index finger along the golden roped edge of cushioned seats, stared in near enchantment at a collection of thinly fading wall tapestries that depicted fox hunts, riverside picnics, civil war and religious iconography. As I furrowed deeper into the beckoning belly of the cluttered cavern of mixed estates, my bewildering sense of desperation swelled. I gently overturned loungers, vanities, telephone desks and flowerpot stands. I rummaged through cadaver-sized wooden chests filled with chipped ornaments and lace. It seemed entirely likely my heart would burst from my chest unless I could locate that one signature object to dispel all preconceived notions and possibly launch my life into abundant fulfilment. Thick spiralling waves of upturned dust could be seen in the slivers of sunlight streaming through tiny gaps in the shop wall like a swarm of tiny bees dancing in the slipstream of my wake. It was one of these glimmers of dust-filled sunshine that had landed upon a pin button leather panel, half obscured by standing lamps and commemorative teaspoon shelving and I was drawn to inspect this object out of mere curiosity. I found part of who I am today in the back west corner of that second-hand store, blotched with sunlight in the form of an overstuffed, wing-backed fireside chair with matching ottoman. Deep brown leather faded and scuffed in all the right places. Brown the shade you would expect a water buffalo to be at arms’ length. I slid into that dark cold and majestic chair with elation and relief known only to a man who’d walked 20 miles in shoes a size and a half too small. The sound and texture of its leather gripping and sliding against my jeans, I imagine, is what $10 notes feel when they’re being pushed sideways down into my wallet. Needless to say, I bought it right then and there for all the change in my pocket to the utter dismay of my then partner, who thought it looked too old. My fireside chair didn’t complete me. I didn’t even have a fireplace. This was merely the first purchase in a near obsessive collector’s hobby, and certainly will not be my last. I now raise a glass to you, my fine fellow gentlemen. May your quest for the perfect chair be fruitful and may you find it in remarkable condition at an unquestionably reasonable price.
I stroked fine embroidered cloth, squeezed over-
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Debbie, Fritz and Kate Credit: Tannia Lee - www.facebook.com/tannialeefashionstylist Shannon: Credit – Sean Joyce – Little Death The rest credit – www.facebook.com/photographybySharyn
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By Claire Gormly Wellington is an early adopter of all things ‘different’, so it comes as no surprise that it is difficult to walk 100 metres without bumping into a vintage or vintage inspired store. The street of choice is Cuba – that quirky long stretch of retail heaven. The buildings, themselves very vintage, are slowly being overhauled to meet new earthquake codes, so there are a plethora of pop up shops and scaffolding. Cuba has real vintage, vintage inspired and vintage themed, so here are my picks…
Emporium is a new addition to Cuba Street at number 103A.
They cater for both men and women. For the vintage seeker who has a little more cash to splash don’t miss
Ziggurat and Hunters and Collectors – Wellington institutions, and the place to find older, more special pieces.
ZIGGURAT
Boys… make sure you don’t miss Particles of Time – right at the top of the street at 287 Cuba.
Owners Georgina Lewis and Jimi Smith moved here from Christchurch earlier this year after losing half of Owner Yvonne Ragen has had the shop for almost four years, initially dressing both men and women, their Christchurch shop in the earthquake. but over the past year has sharpened her focus to just They source their authentic vintage stock from the the boys. United States, so you are guaranteed to find pieces An expert in the overall look, she will give you unthat no one else in New Zealand will be wearing. 30
surpassed service, using her vast array of clothing and accessories. She will ensure that you understand the details that make up the look you are going for.
often re-work successful designs, changing details & fits slightly. We have a stack of Vogue magazines from the late 50s and early 60s that are an endless source of inspiration.”
If you want altered vintage, Rag mama
Of course you will need refreshment, and there is nowhere better for a vintage cuppa than Martha’s Pantry at 276 Cuba.
Rag have a wonderfully designed shop at 219 Cuba.
For a beautiful ‘vintage inspired’ clothing range check out Swonderful ( 241 Cuba).
Their pretty, girly pieces are very 1950s inspired this season, and their prices very reasonable. Ginny says about the design process: “We usually start with fabrics and let them speak to us. We also
Martha’s Pantry is a delightfully old-fashioned tearoom complete with gourmet sandwiches, homemade baking, coffee and tea as well as the most delectable High Tea in Wellington, all served upon the finest of bone china. The décor, the staff, the latte in a tea cup… all perfectly presented.
For vintage hairstyling I truly believe that The Powder Room is unsurpassed in New Zealand. It’s worth a visit just to look at the bespoke art deco mirrors and the vast collection of hair and beauty artifacts that line the walls and shelves. Salon director Lisa says: “We offer all hairdressing services and the vintage styling options include finger waves, pin curls, roller sets and brush outs, victory 31
Or pop into the Full Swing Dance Studio at 110 Cuba street on Friday night for a ‘Speakeasy’. Run by Wellington’s original vintage dance company , you can listen to old time tunes and partake in a little dancing.
rolls, beehives and bouffants. We also offer individual lessons on vintage styling. We do use traditional techniques but we also have the latest in setting and styling appliances, which can dramatically speed up the process of most styles if needed.” Plus they have stylists that can do the ‘Middy Cut’ the basis for 1940s hairstyles. For vintage entertainment keep an eye out for either of Wellington’s two resident bands.
Roseneath Centennial Ragtime band, and the Wellington Shake Em on Downers.
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http://www.stephentempler.co.nz/
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FIESTA
FASHIONS
2) A collection of 1940s & 50s Mexican themed embroideries from New Zealand and full skirts. The Mexican take on the trend allowed for a range of vivid shades, rather than the red, black, and blue that dominated European inspired fashions, and for bigger, more naturalistic embroidery. by Lemomi Oakes 1) 1980s embroidered Mexican blouse worn with reproduction 40s dirndl skirt and vintage 40’s ‘Dancing Senorita’ embroidered apron.
“I’m not wild. I’m just Lupe” proclaimed star of the silver screen and ‘Mexican Spitfire’ Lupe Veléz, and under her influence and that of other glamourous Mexican film stars like Dolores Del Rio, fashion went wild for bright South of the Border styles. Pattern companies raced to issue designs for gathered peasant blouses and embroidery transfers featuring Mexican motifs. Fabrics came in ‘Mexican stripes’ and shades of ‘red earth’ and ‘Mexican tan’. Even couturier designers like Schiaparelli got in on the act, issuing striking suits with pockets made from Mexican lizard skin – complete with feet and tails. The MexiCali look first became popular in the 1930s as an American variant of ‘Alpine’ and ‘Peasant’ fashion trends, all featuring simple embroidered blouses 2) A 2) 34
The more cheerful colours were embraced against the sombre background of the Great Depression. Hollywood contributed to the trend with escapist Mexican themed movies like 1936’s historically based ‘Robin Hood of El Dorado’; and Veléz’s early 1940’s ‘Mexican Spitfire’ series. The entertainment industry lauded Mexican dances as “the most popular of the world’s national dances because of their fire and colour in action and costuming.” Film stars appeared in “striking hats of Mexican influence” and peasant blouses worn with full horizontal striped skirts in blue, green and white, set off with “a huge Mexican hat in matching colours.” Even if you weren’t a film star, you could imitate the look through commercial patterns. Every major pattern company issued a design for a peasant blouse with embroidered sleeves or yoke. Some even came up with more fanciful designs: a boxy souvenir jacket with the back embroidered or appliqued in scenes
mainly left to those north of the equator. That doesn’t mean the vintage fashionista in New Zealand can’t indulge in a little ‘South of the Border’ styling today, either through real vintage finds or modern MexiCali inspired reproductions.
Fabrics: Look for bright, saturated colours in shades
Mexico lost none of its exotic cachet at the end of the war; the fuller post-war fashions simply gave more scope for Mexican inspired designs. Circle skirts were painted with scenes of Mexican dancers, 3) Three examples of 1940s Mexican themed novelty prints, in cotton (top) and rayon (bottom) of Mexican life proclaimed that you had holidayed in Mexico, and McCall’s 1399 allowed the home sewer to imitate the look, even if she never made it to Mexico. “Gay Old Mexico” was the perfect mental escape during the Great Depression, and World War II further increased its popularity. Mexico became a land untouched by war in the public mind, and patriotic wartime fashions mingled with Mexican motifs, with Mexican fabrics printed in shades of ‘Air-Force blue’ and ‘Legion d’Honneur red’. Cheerful frocks in Mexican inspired colours were touted as just the thing for leave-dates, and magazine ads promised that if you dressed right “when he comes back, it’s a honeymoon in Mexico.” Mexico lost none of its exotic cachet at the end of the war; the fuller post-war fashions simply gave more scope for Mexican inspired designs. Circle skirts were painted with scenes of Mexican dancers, and the less committed Mexico enthusiast could add cactus or sombrero appliqués to her apron and have a fiesta as she did the housework.
of air-force blue, teal, kelly green, marigold yellow, tomato red, and pumpkin orange, and pair them with crisp white. Prints feature typical motifs like cactus, or Aztec inspired geometrics. Less common are Mexican inspired prints in Art Deco pastels of aqua and lavender.
Shapes: For the full look, pair striped dirndl skirts with embroidered peasant blouses, or a full circle skirt with Mexican motifs and a fitted bodice. The 40s focused on wide shoulders with embroidered yokes, the 50s on full skirts with painted scenes.
Trims: Skip the cliché poodle on your circle skirt,
and applique cactus or sombrero motifs instead. Dress up any full skirt with rows of ric rack, trim and bobbles. Recycle damaged vintage Mexican-themed embroideries as trim on blouses or as appliques on circle skirts.
Accessories: Slide on chunky wooden bangles, or
silver and turquoise jewellery. Add a South of the Border costume brooch. Slip on your espadrilles or huarachas, or wear tan leather shoes. Protect your skin with a broad straw hat – striped is best, and a stiffer brim is better. Finish it all off with a tooled leather bag, and you’ll look real grand by the Rio Grande. 4) McCalls 995, circa 1939
Mexican-themed home embroideries were the most common expression of the MexiCali fashion fad in New Zealand. Scenes featuring Mexican dancers and cacti were a popular design on tea cloths, napkins and tray cloths. There are some examples of ‘Mexican stripes’ in New Zealand fashions of the ‘40s and ‘50s, and small costume pins with sombreros or burros are not uncommon, but the wilder examples of painted circle skirts and embroidered jackets were 35
HOPPED UP by Faye Lougher When you see Cheryl and Pete Staples’ stunning 1957 Chevrolet BelAir you can’t help but be impressed. They say the PH4T57 rego says it all – “she’s a powerful, hot and tough ’57”.
Photo by Cheryl Staples bored and stroked to 503 cubic inches, which Chez says is loud and lumpy with plenty of grunt! The car was vinned in 2007, certified in 2009 and the interior completed in 2011.
While immaculate now, when purchased the car was definitely a project and the full, body-off, groundup, rebuild has taken the better part of 8½ years to complete.
The custom paint is a dark burgundy and the interior is cream Italian leather upholstery with burgundy and black accents. Originally it had a bench seat but Chez said long trips rendered them both in need of a chiropractor so they changed it to bucket seats.
After Chez’s father died in 2003 Pete saw an ad for a ‘57 and they went for a look. The car was dismantled with parts stowed throughout the garage and the original chassis out the back. Pete took some convincing but Chez and her mother talked him around, planning to have the car on the road in time for her father’s unveiling.
PH4T57 attracts attention and the couple feel the restoration turned out better than they imagined, despite the cost. So-called ‘professionals’ let them down with substandard workmanship, or took shortcuts with their design, but they say they learned a lot about how not to run a project build and who to stay away from next time!
Despite their best efforts, it wasn’t ready and unfortunately Chez’s mother had became terminally ill. It wasn’t until after she died in 2004 that the couple tackled the project.
“The ‘57 Chevy has always been Pete’s dream car… which I reminded him of when we bought it. It’s definitely not your traditional stock ‘57 Chevy. She’s been built tough to drive hard and we make no apologies for how she looks and sounds. We wanted a car that’s a bit different and turns heads. She’s not everyone’s cup of tea but that’s the thing with building hot rods – everyone has their own take on how it should look.”
The chrome was in bad condition even when redone, so the couple decided to de-chrome and colour code the bumpers, with other chrome accents either being removed completely or changed to suit the smoothed new look. The first motor was upgraded to a 454 BB Chevy V8 36
The car is a driver not a trailer queen and stone chips are testament to the fact they attend as many events
Photo by Cheryl Staples
Photo by Cheryl Staples as possible in it. They’re regulars at the Beach Hop and Pete also participates in the Father’s Day drags at Meremere, as well as using her as a limo for weddings and special events.
Photo by Cheryl Staples
The couple’s next project is restoration of Chez’s parents’ original Holden bodied 1937 Chevrolet Roadster. Her parents rebuilt the rare convertible in 1978, rebuilding it again after a major fire in 1979 gutted it. “I had always had a real soft spot for this car, and said if we ever found it we would try to buy it! To finally have it sitting in our garage today is awesome and in September Pete and I started the huge task of full ground-up rebuild.” Chez says they are pleased their sons, Cameron and Tory, are happy for them to go S.K.I.ing now and then – Spending the Kids’ Inheritance! “We’d like to thank everyone who helped, advised, criticised, slaved, donated blood, sweat, tears and still kept smiling during our 1957 Chevrolet BelAir project build. Especially thanks to Cameron and Janelle, grandson Benjamin, the new little hot-rodder due this year, and Tory and Lauren.” Photo by Sue Berryman. 37
BACK IN MY DAY… Agnes Darby – 1940s fashion By Malayka Yoseph
scrap of paper and furiously start scribbling notes. Agnes can’t understand what I could possibly find so interesting about 1940s fashion. “Why did they call it the naughty forties anyway? Oh it was such a terribly dull time”. You get a real sense of the struggle between practicality and, at the same time, the desperation to hold onto the old ways during the war time. On one hand, women were expected to remain modest and feminine, yet on the other, there simply wasn’t time to fuss around when there was so much work to be done. Agnes tells me with a giggle that at some point during the war, shorts became popular with women (they still came down past the knee of course), however her father would always make them get changed into a respectable frock before taking lunch down to the workers on the farm. She claims not to have worn her first pair of trousers until the 1980s. “Do you sew”? She asks me. I tell her I can, but to be honest I’m much too lazy. Agnes’s mother taught her how to sew when she was fourteen and from then on she made all the clothes for herself and her family. There were no fashion magazines or clothing stores, in fact there was very little influence from the outside world at all. The only way to really keep up with changing fashions was to head to the local fabric store and browse through the pattern books. Even underwear had to be made at home. Forget the racy 1940s lingerie that we so often have in mind, I can almost feel Agnes shudder down the phone as she recalls those ‘ghastly’ undergarments.
Agnes would have been just another young teenager huddled around the family radio on September 3rd 1939. British Prime Minister Neville Chamberlain announced in a crackling BBC report what everybody had been dreading, Germany had surpassed its deadline to withdraw troops from Poland and the Commonwealth was called to war. Ten short days later, young kiwi men from all over the country began to enlist in the army and disappeared by the boatload. “Eighty-six”, Agnes tells me when I call her late one morning, “is just a number you know”. Before long, our fifty-six year age gap seems to dissolve and we’re chatting away like old school friends. I’m scarcely prepared when she starts recalling those teenage years during the war. I grab for the nearest 38
“Everything was rationed back then so we had no elastic or lace. Rather, underwear was made from white cotton and had a button on the side. You had to, of course ensure that you had sewn it on very well otherwise you might find your underpants around your ankles”. Young men during this time were scarce and finding a husband wasn’t altogether easy. “We all met our husbands at local dances. When I say dances I mean proper balls with classical music, none of that standing around and tapping your foot business”. This was the one time when you could really get dressed up. I suddenly felt like Agnes had left me sitting here in 2012 while she drifted back to the 1940s. “We would come home on the weekends and sit
at my mothers pedal sewing machine making new ball dresses. I think rayon was the fabric that most resembled silk at the time. I made a lovely pale green frock once…” she trails off. Make up was the one thing that you could always get. So when they got fancied up, they rosied their cheeks with rouge and made the most of vibrant red lipsticks. Surprisingly enough she claims they never wore eye make up though. “We would roll our hair up in the front and always pinned a fresh flower into it”. Hats were worn to church, skirts became shorter so as to save fabric and every girl in town made a mad dash to the local store if word got out that a new shipment of silk stockings had made it in. “You know, we didn’t have much but somehow it was alright because nobody had anything. You just did the best with what you had and got on with things”. It seemed that –although the government continued rations for some months after the war – everything rapidly changed in the late 1940s. After years of restrictions and frugal living, fashion, design and general living standards vastly improved. Most clothes were still homemade but those Kiwi’s coming back from Europe, and American soldiers stationed in New Zealand brought influences from overseas. Designers such as Dior created the image for a new modern woman and showed them that clothing didn’t just need to be practical anymore; they could be beautiful and even elaborate at times. Today’s
fashion and throwaway culture must be nothing short of astounding to a generation that managed to do so much with so little.
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NET WORTH Blogtastic:
by Melanie Freeman
I am one of those people that just can’t take it easy and do one thing at a time. I have had busy schedules for years and years. I actually thought it would calm down with the baby but it was full speed ahead a couple of months later then the baby was suddenly born. Sometimes things tend to be super stressful because before by the time one project is finished, the next is starting already. I am also a graphic designer and do freelance commissions; so that’s one more thing added to the pot. And now we’re renovating our kitchen too. My husband is the same as I, one thousand things going on all the time. But I’ve noticed I am pretty good at doing nothing too when I am home in be-
tween rehearsals, jobs and shows. And I still consider the blog to be my “free time” even though it stresses me if I don’t have the time to post or prepare my posts. So far it is easy to take Dag (my baby) with me during the day to the gym and to our burlesque studio, but I guess it will be harder as he gets a little older; getting more restless and running around. My husband or my parents stay with him when I have shows or workshops- so that works pretty well. But I still have time to snuggle and play silly small games with Dag. There is always something to do, but I take days off every now and then. It’s those do-nothing days in between that keep the wheels in motion. Which eras inspire your personal approach to style?
Link: http://freelancersfashion.blogspot.co.nz
I’ve noticed most bloggers and ladies into vintage tend to say the 1920-1960’s, but I guess it’s pretty much the case for me too. I like certain styles and elements from those eras but also the seventies too. Generally speaking, I like to play with vibes and details from some eras but I think my style has developed into a rather timeless one. Over the past few years, my favourite has been the late fifties and early sixties which also shows quite a lot.???
Location: Finland
What has been your all-time favourite vintage purchase?
Blogger: Ulrika Bachér Blog: Freelancers Fashion Blog
I began reading Ulrika Bachér’s Freelancers Fashion Blog a couple of years ago and have constantly been drawn back by her classic sense of vintage style. This mama, graphic designer and talented burlesque entertainer takes some time out from her busy schedule to share a few of her favourite things with you. How do you keep the balance in your busy lifestyle with entertaining, being a mama and blogging?
I wear my clothes and accessories in cycles– certain items get worn a lot for a while and then some pieces might be forgotten for a long time in between. So it’s hard to name anything in particular. If I had to single out one item, it would be my leather jacket which I got over ten years ago from a thrift store. I haven’t worn it for a year now as it needs mending. I even did a blog post about it a long time ago. 41
Where do you like to shop? Mostly online, when it comes to both new and vintage items. Tops, striped shirts, underwear, shoes and such, I mostly get from high street stores. The best shoes I’ve got are often the ones I just bumped into at random. But otherwise I am rather bad at shopping in person, especially when it comes to vintage: I have a problem choosing if there is too much in front of me at once. So I often end up not buying anything at fairs or flea markets or forcing myself to get at least something so I don’t regret it later. But it sometimes does happen that I regret not picking a certain item up afterwards. When I’m online it’s no problem, I find it rather hard to restrain myself. To name a few favourites I like Trashy Diva, Mod Cloth and Love Miss Daisy Vintage.
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Sal Valentine and the Babyshakes Interview By Rose Jackson
Sal Valentine & The Babyshakes are a 9 piece rhythm & blues/band that have been charging around Auckland giving the finger to navel-gazing jazz snobs and selfcentred indie kids for the last two years. Their aim? To get the joint jumping each and every time they play. Band leader Sal Valentine took some time out of his busy schedule to share a few home truths with Glory Days magazine.
Who is Sal Valentine and what’s all this about baby shaking? Before we go any further - good afternoon, and it’s lovely to be of your acquaintance. It should also be mentioned that ‘Babyshake’ is one word. It’s a term of endearment that a wonderful friend of mine invented (Thank you Ms Anna Hanlon, you’re a doll). I’m a singer, band leader, composer, arranger, drummer, Auckland University jazz degree graduate and vaguely competent pianist. My band ‘The Babyshakes’ is the best goddamn band you will ever hear in your time on this earth.
When did Sal Valentine start playing, and why?
Sal Valentine and The Babyshakes is equal parts pure entertainment, good music and total audience pandering with a dash of creative marketing thrown into that muhfucka to taste. I noticed that every damn jazz band I’d see perform would trot up on the stage and start playing seemingly ignorant of their audience’s desires. To assume that the audience in front of you wants to hear your 10 minute dick-in44
hand improvisation is hella presumptuous indeed, and a little too selfindulgent for my liking. The same attitude towards performance was and still is rife in the Auckland indie scene, with audiences remaining unengaged and cross-armed at far too many shows around town. So I started an almost entirely performance based jump ensemble designed to get people back on the toes again, smiling, and best of all - enjoying jazz.
Who and what are the band’s major influences? I’m not going to bullshit you like some artists and musicians might and claim I take influence from something completely unrelated to my craft - my song writing is influenced entirely by other musicians and of course my life. I seem to constantly put myself in situations that are emotionally and/ or psychologically overly stimulating, and then like a dope wonder why I’m head-over-heels or freaking the fuck out. This, when combined with the fact that I know a whole host of colourful cats and have some of the most interesting friends I could ever hope to know, results in juicy subject matter and almost entirely autobiographical lyrical content on tap all day every day. Good value.
Does sartorial style play an important part in preparing for your gigs? Most certainly. I have an enthusiastic interest in menswear and I enforce a dress code for The Babyshakes on every date. Oft backstage I can be found re-tying ties, dusting off suits and feeling stern, should anyone turn up sans pochette.
What is your favourite era for music? I really don’t think I could pick one, but I do find myself dwelling in the 1950’s quite a bit... Sure, rock’n’roll was happening but I’m more interested in what was happening on the fence between rock and jazz. Things got blurry as a mofo for a while there, and I find the cross-section delightful.
Do you play for music nerds, dance nerds or yourselves?
Where can people listen to your music, find out about upcoming gigs and show some fan love? We have an album coming out early this year and more importantly a single that hit the airwaves before recently. Currently you can check us out on Facebook, Tumblr, Twitter and YouTube. Just search ‘Sal Valentine and The Babyshakes’, or follow the links below. Easy. www.salvalentine.tumblr.com https://twitter.com/Sal_Valentine https://www.facebook.com/pages/Sal-Valentine-TheBabyshakes/120770394640928
The Babyshakes are for anyone and everyone.
If you could play any gig in the world from the past, which one would it be? The chance to play any one of the original speakeasies would be an absolute blast - the illicit thrill of it all entices me no end. I think, considering much of our lyrical content encompasses the culture we exist in quite definitively, playing a venue where people have come to exclusively to get wasted would suit us down to... Oh wait we play venues like that nearly every weekend. Churr.
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had it when I took up swing dancing again in 2008. This dress fits like it was made for me.
With Miss Busty Labelle
My first vintage frock shopping expedition (year 2000) to find a 1930s style frock for a swing dance took a visit to four op-shops until I found a style that was suitable. I had looked closely at a book called The Pictorial History of Costume before I went out shopping. My search produced a black jersey knit 80s-does-30s-perfectly dress with shoulder detail, a waist motif and a wonderful flared skirt for dancing. I still own that frock, and it, along with drawn hosiery seams, won me my first best-dressed competition. Going from vintage love to burlesque was a natural progression. I already admired Dita von Teese with her 1940s style, and after more research into the art of burlesque I found a beautiful empowering and political stance that I had never encountered before. Today I am enjoying the power and freedom of owning my own beauty and being able to portray myself as I see fit without self-deprecation. I know that through taking my own risks and feeling-thefear-and-doing-it-anyway empowers other women who see me. We are all gorgeous beings who deserve to shine and feel beautiful.
Greetings. I am so happy to be writing for the wonderful collective of swell gals putting together Glory Days. I’m Miss Busty La Belle, burlesque dancer, dance teacher, entertainer and lover of all things vintage. I love dressing vintage or vintage style, because there was a style, a cleverness, a sophistication to the way clothing was cut. It flattered women’s figures. Women would take the time to style their hair, wear makeup and look fantastically feminine whilst keeping their modesty. Growing into vintage clothing collecting was a clear path for me; when I was growing up my mum would buy or donate items for my dress-up box. It was so wonderful to put on her high-heel shoes and some flimsy fabric as a skirt with my best friend, and go visiting our neighbour. As I got older my mum would visit the op-shop almost daily and find wonderful bargains. One of my most favourite frocks that I have had for over 10 years came from my mum’s op-shop finds. It’s a beautiful green and white polka-dot 1950s style frock, handmade probably in the 1980s. My mum wore it for a while (although I don’t recall) and eventually donated it to me. I had in the back of my closet for many years. And eventually remembered I 46
I recently made a trip to Burlycon, a large conference for burlesque folk in America. It was so wonderful to see such community and sharing. Whilst in America I got to visit my favourite vintage shop, Lil Gypsy, in Salem, Oregon. I love this place, there’s hats from all over the world hanging in the room, and a wonderful selection of jewellery. And 1930-40s clothes that fit me. I find it hard getting that era of clothing in New Zealand. My most recent acquisition is a beautiful cashmere suit with beaded collar from 1940s in a near-new condition that fits like it was tailored to me. I’ve never had such luck in New Zealand. If you’re into vintage or looking to dress vintage style, my advice is to always search the ‘old ladies’ dresses in the op-shop and try them on. You never know how they will fit. Know your body shape and embrace it – it’s a big factor in how the clothes look and some figures are best suited to an era. I look forward to bringing you some profiles of some lovely modern-day pinups along with their tips for achieving their look. Warmly,
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Win: Products from Queenie May Vintage Skincare $40 voucher for Besame Cosmetics $70 voucher from Licks Online Vinyl Murrays Pomade. Total Prize pack worth over $200 Tell us what you would like to see in Glory days Magazine: Post a photo that captures the essence of what you would like to see written about in the next issue of Glory days.
(but please play nicely) If you are not on Pinterest but would still like to enter just send us a photo and commentary or upload it to our facebook page, we will put it on Pinterest for you.
Have fun! Fine print: Glory Days maintains the right to use the winning photo and story idea in any capacity. No photos will be accepted that could be construed as inappropriate or harmful to others. Anyone who posts derogatory or inappropriate comments will be removed from the board.
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STEPHEN TEMPLER GICLEE PRINT 48
Book Review: The Chaperone by Laura Mortiarty (Penguin,$35) Move over Mad Men. The roaring twenties appear to be the next fertile decade, ripe for plunder. Hot on the heels of Boardwalk Empire, Downton Abbey and The Great Gatsby remake, comes Laura Moriarty’s new hybrid of fact and fiction. It’s the summer of 1922, and straight-laced 36-yearold Cora Carlisle is chaperoning stroppy future silent movie star, 15-year-old Louise Brooks from Kansas to New York City – where she will attend an elite modern dance school. While their relationship is acrimonious at times; wannabe flapper Louise scandalizes Cora with her pro-integration and anti-prohibition stance, the trip ends up having life-changing implications for both. While you naturally expect the queen bee with the iconic blunt bob to steal the limelight, it’s Cora’s own gradual transformation against a backdrop of social upheaval that consumes the majority of the storyline. Rich in historical detail, this coming-of-age novel perfectly encapsulates the spirit of a nation on the cusp of change. By Natasha Francois
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Step 2:
Draw your pattern pieces.
• You will need 1 x CENTRE, and 1 x SIDE (you cut it out 4 times) • The SIDE piece will also have extra 1cm to turn over the top of the tin (double this to turn over again for a neat edge),
By Sarah Lancaster Summer is all about picnics, baking and packed lunches to enjoy with family and friends. Before the days of landfill-destined Gladwrap® and tinfoil, the most practical thing was to pack lunch in a biscuit tin. Any of Enid Blyton’s Famous Five characters would agree, so why not do the same today? Relive this past-time picnic packing method by up-cycling some vintage fabric prints and an old biscuit tin. Happy picnicking, and don’t forget your lashings of ginger beer!
• Add 1cm seam allowances to your pieces.
Tools to get ready: • • • • •
measuring tape ruler pencil or tailors’ chalk newspaper paper scissors
Step 1:
• • • • •
sewing machine thread fabric scissors thrifted pillowcases optional frill
Measure your biscuit tin on the inside with measuring tape; sketch out your measurements onto some scrap paper.
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Step 3:
Cut out and cut a notch onto the pattern where you need to ‘turn over’
Step 4:
Find your fabrics. Pillowcases are best as they are thinner and you want to avoid too much bulk on the top as your lid will no longer fit.
Step 5:
Lay your pattern piece on your fabric and use some cans to keep it in place.
Step 10:
Where you have nicked on your SIDE pieces, turn fabric over once (1cm) then twice (another 1cm). You can press this with an iron to keep it in place. Stitch down 1cm from the edge to finish your turned edge neatly.
Step 6:
Trace around the edges with chalk, or a pencil.
Step 7:
Cut out on the INSIDE of your lines so you don’t see your drawn lines.
Step 11:
Fit it to your biscuit tin and fill with freshly baked treats ready to share!
Step 8:
Cut a nick into the fabric where you put notches on your pattern.
Step 9:
With right sides together, sew each side to the centre (making sure your ‘nicked’ end is on the other end) then sew your sides together making sure their right sides face each other as well.
Optional extras:
• For extra prettiness, top stitch a ribbon trim, or lace trim to the turned over edge. • No sewing machine? Cut the pattern out of newspaper and collage some images from old vintage magazines or past fun picnic photos. 51
WHAT’S COOKIN’ GOOD LOOKIN’? This issue - strawberry and basil, a delightful combination By Elizabeth Clarkson
As the decades go by, we become more intrigued by the beauty of food and all its complexities. Instead of adding to the extensive recipe lists at our fingertips, I would like to discuss flavours and combinations which you can discover. If you look inside your cupboards knowing what can work together, you can adapt recipes to create your own. The first combination on my agenda is strawberries and basil. What a lovely contrast of sweet and savory.
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Basil will bring an aromatic hit to your sweet strawberry dishes and summer drinks. It has a hint of aniseed, is peppery, yet ever-so-slightly minty. Basil creates depth and adds colour. Try it in a strawberry milkshake. Strawberry and basil martinis are divine. Simply add basil to a bowl of fresh strawberries and finish with honey balsamic dressing. Bake with style - try a goats cheese strawberry cheesecake with fresh basil leaves sprinkled on top. YUM!
Dear Tabitha, Dear Tabitha,
My husband has been bringing me a red rose every Friday for the past two years. This is a very sweet I dearly love my sweetheart, but he simply won’t do gesture, which I appreciated in the beginning. Howthe dishes. No matter what I try, things always end ever, I am now coming to resent those roses and find up in a disagreement. What can I do to get a little myself wishing for more spontaneity from him. Am more help around the home? I being a wretch or is it acceptable to want a little Sue, Timaru more excitement in my life? Claudette, Balclutha
Dear Sue, It is every modern woman’s prerogative to have equity in the home. Your sweetheart should not be asked to do the dishes; he should be expected to do the dishes! I think the best course of action is to have a frank heart-to-heart about the situation. Pick a time to talk when you are both relaxed and in a space where you are not looking at the mountain of dishes. Listen attentively to each other about the situation and if he still won’t budge, perhaps you can negotiate that he does another chore instead to make up for it, or that he pays for a new dishwasher.
Dear Claudette One must ask if it is the rose or your husband that you have grown tired of?
Regards, Tabitha Send your quandaries by post or email to: tabitha@glorydaysmagazine.com
Yours, Tabitha
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Circle these events in your diary now! february: Anissa Victoria’s Twilight Vintage Market Pallet Pavillion, Christchurch February 8, 5-9pm
Vintage stalls, buskers/ performers/, licensed bar, food stalls and live music. Thereafter, held on the second Friday of each month. For more info, visit www. facebook.com/pages/Anissa-Victoria-Loves-Vintage
Glory Days Launch Party
Valentine’s Day Special
The Cabana, 11 Shakespeare Rd, Napier February 14 Your lady will love this show- and so will you! We’re breathing new life into your art deco weekend with some cheeky vintage fun. Lady Cashmere is glamourous, Bon Bon Rocher is talented and Honey Suckle is cheeky, while Voluptuous Twinkle and Kimberley Grace bring comedy and great legs to the stage. Top Burlesque performers in The Cabana’s intimate setting bringing romance and comedy together for a great night out with fabulous costumes and enviable shoes! Supper is included.
Lucha Lounge, 1 York St, Newmarket, Auckland February 8 - 9pm onwards. Every good magazine needs a launch party and ours is going to be a vintage spectacular. We’ve secured an amazing lineup: Sal Valentine and the Babyshakes“the best damn rhythm and blues band you will hear in your life”, Lilly Loca will be putting the va-va-voom into vaudeville, The Cinnamon Sweethearts, an all-girl 40s style dance troupe, will charm your socks off, and the Notorious Netti Page will be spinning sweet tunes from the 20s to the 60s all night. Tickets are $10 from Scooter-e-Motion or on the door. Don’t miss the party of the year! For more info, email glorydaysmagazine@ gmail.com
Deco Me, Darling’ Workshop
Rita Sue, 1220 Great North Rd, Auckland February 10, 10am-1pm
Deco Me, Darling’ - Private Styling for Art Deco Weekend ! Toad Hall Backpackers, 11 Shakespeare Rd, Napier February 14, 10am-1pm
Get ready for the big weekend with Decadia and the Vanity Case. $40 per person. Email claire@the vanitycase.co.nz to book.
Step back in time to the roaring 20’s with this fun, informative hair and makeup workshop. Join Rose from Decadia - Vintage Beauty & Style, to learn several quick and easy techniques to achieve those elegant deco era waves, and how to apply makeup to get yourself looking suitably flappered! The three hour workshop costs $50 and includes a personal styling pack plus full use of gorgeous Besame cosmetics. Places are limited to 8 people per session, so get in quick smart. Email Rose at decadiavintage@gmail. com to secure your place!
New Zealand International Tattoo Expo
GEON Art Deco Weekend, Napier
The Big Thank You: A Classic Car Show and 1950s Pinup Girl Competition
February 14-17
The Art Deco Trust’s annual extravaganza offers more than 200 events, including aerobatic flying displays, steam train rides, a “Great Gatsby” picnic and a tea for surviors of the 1931 Napier earthquake.
Vintage Hearts Burleque Show- A
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Claudelands Events Centre, Hamiton February 23-24
All that is hot and hip about urban street culture will be on show at New Zealand’s International Tattoo and Art Expo in February 2013, including the world’s best body painters, tattoo and graffiti artists, along with a wide range of other entertainment.
march:
The Strand, Tauranga March 16.
A hot rod and classic car extravaganza featuring some of New Zealand’s best Holdens, Falcons and boy/girl racer cars. There will also be a pinup girl
competition judged by major sponsor Trelise Cooper. This purpose of this show is to raise awareness for organ donation and encourage people to to discuss their wishes with their families, should they ever be in a situation where organ donation is possible. For more info, email melaniest@adhb.govt.nz
Puttin’ on the Britz
The Winchester, 24 St Benedicts St, Auckland March 16 After a successful 2012, The Rock n Roll Circus is back to kick off 2013 with a Brit themed burlesque show that will delight your senses. Putting on the Britz is dishing out lashings of burlesque, live music and crazy theatrics that will carry you through a three hour event featuring some of Auckland’s favourite burlesque entertainers, Miss Vintage 2012 and DJ Klassix of Paris. for more info, visit www.facebook. com/rocknrollcircus2012
Sony Beach Hop 2013, Whangamata March 19-24
The biggest classic, custom and hot rod car show in New Zealand. The best nostalgia fair and the most rock n roll bands, dancers and entertainers for miles around. For more info, visit www.beachhop.co.nz
Retro America presents Beach Hop Burlesque @ The Beach Hop, Whangamata March 22
Whether you’ve had the pleasure of experiencing burlesque before or you’re a burlesque virgin, this R!8 event is set to blow your socks off. With the best burlesque performers New Zealand has to offer, you can expect Miss Burlesque NZ 2012, Willow Noir Phlossy Roxx, Fanciforia Foxglove, Ruby Von Rifle, Alegra Fantail and Leigh Jen Derriere to deliver a show you’ll never forget. Get in quick as this show WILL sell out.
Hot Rod Blowout
Rosebank Road Go-Kart and Speed Track, Auckland March 31 Not your ordinary car show! Hotrods, kustoms, bands, special guests, automobile auction, retro beauty pageant, refreshments and much more.
Burlesque Tea Party, Auckland March (date tbc)
Come and join us for an evening of laughter learning a cute and sexy burlesque routine from the one and only Miss Phloss. Enjoy vintage high tea from All About T and a cup of tea while making new friends. For more info and to book a space, email tonya@allaboutt.co.nz
The Square Affair, Palmerston North Easter Weekend, March 30-31
Take a trip down memory-lane and re-live the 1950s and 60s in Palmerston north City this Easter weekend with the Square Affair a retro day with fashion, racing and fun events for the whole family.This year’s event features classic movies at Downtown Cinemas and a drive through town by classic cars on their way to Awapuni Racecourse where Sires Produce Stakes Race Day takes on a distinctly retro feel. Doubledecker buses travel a circuit throughout the day linking the suburbs to the cafes serving high-teas and retro dishes, and the racecourse.The main event at the racecourse features a fabulous fashion show with retro-inspired parades including a informal high tea styled luncheon. Kids can enjoy games from yesteryear such as an egg and spoon race, sack races and more.
april: The Very Vintage Day Out, Auckland April 13
The Very Vintage Day Out is an event where lovers of all things vintage come together for shopping, workshops, high tea, networking and entertainment. Performers from around the country will entertain guests with burlesque, swing music, cabaret and comedy. We will also be crowning Miss Pinup New Zealand and patrons are encouraged to get into the spirit of the day by dressing up for spot prizes and photo opportunities. To get involved or to find out more, email veryvintagedayout@gmail.com
Want your event included in the next issue of Glory Days (may-July)? Drop us a line at: glorydaysmagazine@gmail.com 55
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