Look Queens
- Citrine Cash Collins
- Oct 5
- 28 min read
Citrine Cash Collins interviews 11 drag queens
Note: This is the full version of the Q&As published in our fashion + drag magazine.
What’s the old saying? “You can’t get by on looks alone.” While that may be true, looks can get you very far. They have the ability to pull focus, quickly swing the spotlight in your direction, and call people to pay attention without saying a single word. When I was a child, before I harnessed my power in other ways, style and fashion offered me the first tool to assert myself in an often hostile (read: homophobic) world. And when I couldn’t find or afford the outfits I dreamed of, my fingers learned to sew. My love of fabric and beauty has led me to some powerful places and given me some crazy stories to tell. Plus, the wardrobe to match.
From the hallways of Vogue to being on set with legends like Karl Lagerfeld and Naomi Campbell to flying to Paris Fashion Week last minute with a couple of hundred dollars in my pocket…twice! Lately, though, I’ve been curious for a common thread, eager to see what ideas are woven throughout the work of other drag artists who harness the gift of great style. So, I interviewed 11 queens who inspire me the most – on the looks they love and the stories behind them. For some, their artistic flow is found in the adrenaline of a deadline, while for others it’s a year-long spiritual process calling on labor-intensive construction and the support of their community. No matter the path, each of these queens are pushing the boundaries of style and storytelling in their own way.
Drag Name: Gloria Swansong
Instagram: @gloria_swansong
TikTok: @gloria_swansong
What inspires you when it comes to fashion and style?
I’m inspired mostly by materials (fabrics, new techniques, fit) and historical research. Anything from 90s runway to 18th-century portraits to 19th-century extant garments.
Describe the concept/references behind this specific look.
After a decade of doing drag, it seemed fitting that I make a swan gown finally. I wanted the swans to feel like they were lifting off of the gown, with a nod to Charles James and the silhouettes of his ‘swan gowns.'
Describe your process from start to finish for this look.
It took me three years to finish, with most of the time being spent making the stiffened swan appliques. My friend Anthony Earnest Kieran illustrated the swans. I had them printed, and I set to work over two and a half years, slowly building the gown, making the swans, hand sewing them on, and rhinestoning. It took so long because I would slowly do it between projects.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
I feel like I’m flying, and yet grounded to my soul. Making, creating, and performing are all one and the same feeling as flying to me.
What was the easiest part of creating this look?
Drawing it haha
What was the most challenging part of creating this look? How did you solve any problems you encountered?
Really making all of the swans. I couldn’t have done it without my dear friend Liv Rigdon, who helped make the majority of them! I had several iterations figuring out how to make them, and also how to create the swan ‘tail’ and how it would live on the gown in a way that I could get it on and off.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
It was really for my soul. It’s a painting for me. It performs beautifully and always stops a crowd. It’s consistently the look people most often say is their favorite.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
I haven’t worn it ‘a lot’, but it has made some big appearances. It’s hard to travel with and I’m very careful not to wear it too much in case I damage it. Every time I wear it, I learn new ways to move and pose in it.
What advice would you share with anyone who is trying to express themselves through fashion and style?
Find people who are doing things that intrigue you and try to learn from them. You can teach yourself a lot, but you can learn more richly from others, and create community.
If you could design for a fashion house, which one would you choose?
Dior or Schiaparelli.
Drag Name: La Zavaleta
Instagram: La.zavaleta
TikTok: la.zavaleta
What inspires you when it comes to fashion and style?
When it comes to fashion, my inspiration comes from nightmares and fantasies. I love the unexpected and looking beyond norms. As for my style, my Mexican roots have a big impact. My style is also very spontaneous, and depending on the energies around me, it can be very spiritual.
Describe the concept/references behind this specific look.
THE DENIM DEMON. La Zavaleta is considered a demon. When I came up with the concept, I knew I wanted to play with the idea of her being the dark entity she is, except vibrant. When I was creating my moodboard in my head, the references that came to me were K-pop idols and anime characters, as well as different styles of fashion that usually don’t get combined.
Describe your process from start to finish for this look.
At the start of the process, I knew I wanted to work with upcycled pieces, and as an environmental activist, I believe fashion can be made with fashion that already exists. My team and I decided to go to the thrift stores and select pieces with the same type of fabric and different shades of blue. We proceeded to deconstruct them to make different pieces that would later get put together during the styling process before the final look. The process is more organic and playful. It took us five hours to complete this look. The look consists of two pairs of jeans, a jean jacket, and a plastic horn. Besides using our sewing machines, we also used safety pins, hot glue guns, and knives to make the rough edges.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
To get into my creative flow, I need to burn some palo santo, listen to a good techno set, and have my team well-fed and in the right mindset. We all need to understand that the process can be stressful, and if we get stressed, we start to lose sight of the artistic vision. The flow needs to be fun and freeing. When I’m in the flow, it’s very spiritual and I feel the connection with my inner being and the universe.
What was the easiest part of creating this look?
The easiest part of creating this look was breaking and cutting down the jacket and the jeans. The punk in me likes to be destructive and go wild. The ripped fabric represents that.
What was the most challenging part of creating this look? How did you solve any problems you encountered?
The most challenging part of the process was the sewing. We broke three needles because denim can be very thick and strong. We solved the problem by putting a new needle in every time, but also having a good time. We turned negatives into positives and made things lighter by making jokes. Even though the sewing can be challenging, it will not stop the fun.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
This look was for Bushwig CDMX and Austin, TX in 2024. Being crowned Miss Bushwig is a big responsibility, and I always want to show the best of me. This look was created specifically for our tour. I love to look stunning while performing and wanted it to show parts of my Mexican culture. I feel this represents my true colors as an artist.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
I have worn this look multiple times, but it changes every single time because of how I style it. Every time I wear it, the headpiece makes me feel powerful. It’s La Zavaleta in full form. She is a demon, but not all demons are evil; she has a softer side, too.
What advice would you share with anyone trying to express themselves through fashion and style?
If I have to give any advice, I would not say anything… just kidding! If you are thinking about fashion and style, you are already on the right path. Don’t be scared to show the real you and find your own lane, don’t copy but get inspired and make it your own.
If you could design for a fashion house, which one would you choose?
I think this is the easiest question. Without a doubt, if I could design for a fashion house, it would be Vivienne Westwood; punk and glamour are where I thrive. I love Vivienne Westwood’s process of making looks where she focuses on collecting different materials, fabrics & pieces to style them together and create something unique but always ready for the runway.
Drag Name: MAGNIFA
Instagram: @iammagnifa
TikTok: @iammagnifa
What inspires you when it comes to fashion and style?
I’m most moved by vivid color palettes that avoid neutrals. I’m partially color-blind, and while I struggle in the transitions between colors like pinks and tans, greens and browns, blues and purples, I feel satisfaction when I see bright, shocking colors that communicate their strength and energy before I even land on the language to describe the color. That’s why I love seeing people who boldly use color and contrast to define their style and stick out in any landscape. I adore fashion and makeup history, with a particular passion for the late 60s, and that space-age era has most often inspired my drag looks. I’m also very inspired by treks through vintage and antique stores and through the colorful films I’m slowly checking off my watchlist on Letterboxd.
Describe the concept/references behind this specific look.
This look had two main inspirations: First, it was the dress shape, which was inspired by a late 60s design by Pauline Trigère that I encountered years ago on Pinterest and more recently via FIT’s 2024 “Statement Sleeves” exhibit. I was so delighted by the drama of the long sleeves that almost scraped the floor. Second, the plaid bag I’m holding was found in the flea markets in CDMX and gifted to me by composer Angélica Negrón, after our trip there with my drag mother, Untitled Queen, where I had assisted her in the filming of a drag opera music video. The bag led me on the hunt to find a plaid-like fabric that carried the same purple and orangey hues.
Describe your process from start to finish for this look.
Once I had received the plaid fabric, I had to find a purple lining fabric, and from there, I just had to figure out a pattern for cutting the sleeve. Luckily, searching for more history of the dress online led me to discover that the FIT exhibit featured a digital rendering of the Trigére dress in motion and rendered as a flat pattern. Seeing the shapes allowed me to easily cut pattern paper to my appropriate length and trial the sleeve from there. I lined the sleeves and then merged them into a column dress pattern.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
Typically, once I start touching the materials, I can get into a flow. I try to build protected time blocks for making progress on a specific project so that I have time to really get into the groove. If I get deep into the flow, time flies, and I start to surprise myself with the results that ensue.
What was the easiest part of creating this look?
Once I had cut the fabrics, sewing this dress was a breeze! (I wish it could always be this simple)
What was the most challenging part of creating this look? How did you solve any problems you encountered?
The most challenging part of this look was the belt I made, which I ended up just tying around the bag! I improvised a few versions of paper patterns for the belt because I wasn’t happy with the initial width and tapering. When I finally cut the fabric and sewed it, I realized the result was a strange combination of a cummerbund and an obi, and I felt it wasn’t going to enhance this look. The wig was its own challenge as well. I had a separate vision for a geometric tiered lob that mimicked the colors in the dress, but once finished, it was not the fantasy I had hoped! With 8 hours left until getting ready for the photoshoot, I decided I’d pivot to something simple.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
I made this look for a show I was a part of at HERE Arts Center, celebrating the Untitled Queen and Angélica Negrón opera music video project, Guava, which I assisted on. I wanted to have the look and bag with me to honor our time all together in CDMX, where we filmed the video.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
I wore this look for the second time at the photoshoot where we captured this image! While I enjoyed wearing it the first time, the photoshoot really brought out more ideas for styling with the scarf and the belt tied around the bag. When I work with my drag sister, Voxigma Lo, we experiment with the different options I bring, and we piece them together in different ways to see what really sings through the camera.
What advice would you share with anyone trying to express themselves through fashion and style?
Personally, I’ve found a lot of joy and inspiration in evaluating the media that most excites me. A few years ago, I began thinking about the things I loved as a child and the kinds of colors and visual energy that I gravitated towards in media: Hairspray and Scooby-Doo are just two examples of visual worlds that have made their way into MAGNIFA- part Tracy Turnblad, part Daphne Blake. As I’ve searched for rabbit holes of media that feature space-age fashions and bright colors, it has led me to acquire so many more reference points! Fashion history has also been such a wellspring of inspiration for other historic trends that I’d love to remix into my designs.
If you could design for a fashion house, which one would you choose?
Pierre Cardin would be a dream (though I’d happily say Courreges or Paco Rabanne as well). The experimentation that these designers did in the late 60s are some of the most inspiring pieces of fashion I’ve seen that influence my aesthetic goals and experimentation. It would be such a joy to play with their house codes and revive the Space Age aesthetics in a time when Earth feels so hostile!
Drag Name: Jasmine Rice LaBeija
Instagram: @jasminericenyc
What inspires you when it comes to fashion and style?
Beautiful, hyper-feminine bodies and glamorous curves.
Describe the concept/references behind this specific look.
It was inspired by Mariah Carey.
Describe your process from start to finish for this look.
Wish and a prayer. As I am a self-taught sewer, I usually hope for the best. And usually God is always in my favor.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
The end goal and vision of feeling the accomplishment really gets the creative flow going for me. It is almost like an adrenaline rush as I picture everything in my head.
What was the easiest part of creating this look?
Spending the money. Which was still not easy, but definitely the easiest part.
What was the most challenging part of creating this look? How did you solve any problems you encountered?
The most challenging part was the space to sew all these yards of fabric in my small studio apartment. For the skirt, I had to go outside my apartment into the hallway to lay and cut the fabric.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
This look was designed for the Guggenheim Christmas concert presented by Works & Process. I think it really elevated the evening as the train was so massive and sparkling under the lights.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
Every single time I wear this outfit, I feel so glamorous, fabulous, and extra.
What advice would you share with anyone trying to express themselves through fashion and style?
Do what truly makes you happy and brings you joy. Express yourself to the fullest without any reservations.
If you could design for a fashion house, which one would you choose?
Alexander McQueen.
Drag Name: Missleidy Rodriguez
Instagram: @Missleidyrodriguez
What inspires you when it comes to fashion and style?
The fantasy! The DRAMA! Being able to tell stories through the clothing we put on our bodies, I find, is the most fascinating part.
Describe the concept/references behind this specific look.
This look pulls from some of my biggest inspirations in both fashion and performance — specifically, the Cuban showgirls of the Tropicana in Havana.
Describe your process from start to finish for this look.
This look was actually part of a series I did inspired by birds. I presented the idea to one of my good friends and favorite designers in NYC, Jazzmint Dash. She took the concept and elevated it to an entirely different level!
What do you do to get yourself into a creative flow? How does it feel when you’re in your creative flow?
I usually start by creating a goal and setting a deadline. Then it’s game time — I work best under pressure! Once I’m in the flow, everything just clicks.
What was the easiest part of creating this look?
Putting it on.
What was the most challenging part of creating this look? How did you solve any problems you encountered?
Honestly, I felt completely at ease in Jazzmint’s hands. She might have a better answer for this than I do — haha!
Was this look for a specific event, shoot, etc.? Describe how it enhanced the performance, story, etc.
This look was created for a photo series I shot with Victor Demarchelier. It gave the drama that we needed for the shot.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it, or different?
I’ve only worn it twice — once for the shoot and once for a wedding. Each time, it feels like slipping into a character. It always hits differently, but it’s magic every time.
What advice would you share with anyone trying to express themselves through fashion and style?
Have fun and go big.
If you could design for any fashion house, which one would you choose? I’d want a mash-up of Valentino and Richard Quinn. I feel like I’d live very happily there!
Drag Name: Jazzmint Tetra Dash
Instagram: @jazzmint.dash
TikTok: @jazzbyjazz
What inspires you when it comes to fashion and style?
When I did my MFA at the New School, my drag was doing a lot of aesthetic heavy lifting in my work, but I didn’t start out with the most solid theoretical foundation to justify why crossdressing felt so urgent and necessary to my creative practice. Over those two years of investigation, it became clear that the escapism I was finding in drag was a salve for a much deeper lack I was feeling in my everyday lived experience. This triggered ongoing conversations about gender and transness, class position, and political affiliation. I have since dedicated myself to an intense pursuit of making real the whimsy and fantasy I first discovered in drag. The term I developed to describe this ritualistic pursuit in my work and life was “imaging.” It felt similar to imagining, but instead of creating the picture in my mind, I would manifest compositions of my ideal self through style and glamour in material reality. This is what really propelled my sewing practice. I have spent years trying to force the two spheres of my personal and creative style Venn diagram closer to a full eclipse. I have reached a place where I don’t want there to be any formal separation between me in and out of drag. This emotional and philosophical vantage point deeply informs the art of dressing in my world; none of the clothes I make for myself are restricted to a photoshoot set or a nightclub.
Describe the concept/references behind this specific look.
Christian Lacroix and Bob Mackie are two personal heroes of mine, so I guess the work is in some way inseparable from their influence. I made the dress because I knew I had this photoshoot coming up in a church that was “monster” themed, but I was also set to be a bridesmaid at my friend’s wedding in Copenhagen, and I didn’t have much time, so I needed one dress that would work for both occasions. I wanted to feel somewhere between Gothic and Baroque, and somewhat vampiric. I loved the romance and drama of brown and silver tinsel lacey brocade, so I leaned in to the density of ornament and tried to encrust the dress. It was later in the process that I realized I was sort of referencing a reliquary, where the skeleton of a saint or important figure in the clergy would be encrusted in jewels by nuns posthumously during the Holy Roman Empire, and then housed in a glass casket.
Describe your process from start to finish for this look.
The dress is a zip-back corselette gown, with a polyester Chinese brocade outer sheath. There is some hand draping of the skirt, and an insane amount of crystal/beading/charm ornamentation on the bodice.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
I don’t care how arrogant it sounds, but I have dedicated my life to my work over the past ten years, and so I am never not in my creative flow. I work from an at-home studio, and it feels incredibly important for me to do something related to my work every single day. The days when I cannot make something are only tolerable because I use them as an opportunity to wear something, to live in the clothes outside of the studio. When I am in the studio, if I have to stop working on a project halfway through, it can feel agonizing. There are days when I will put down a dress and turn off my sewing machine because I just absolutely have to go to sleep, and will then lie in bed restlessly for hours, irritated that I had to stop. If possible, I’ll wake up early the next day and try to make up for lost time. I should find a psychiatrist, honestly.
What was the easiest part of creating this look?
The easiest part of creating any look is when there is a prompt and a reason for making it. The creative north star of having an occasion to design for makes it so much easier to justify creative decision-making, as well as money spending.
What was the most challenging part of creating this look? How did you solve any problems you encountered?
Trying to strike a balance that would make the dress appropriate for both of the occasions where I needed to wear it. I knew I had this big photoshoot, but I also had my friend’s wedding. On the invitation, which was written in Danish, the dress code requested “your most fabulous party outfit!” So I didn’t feel too restricted, but still, the wedding was in Copenhagen and my Danish friends are so chic. I imagined everyone would be in head-to-toe Issey Miyake, so if I designed from the complete opposite side of the room, we could admire each other through our differences. I felt like I couldn’t compete with the chic Scandinavian perspective, so I went with camp to self-soothe.
What advice would you share with anyone trying to express themselves through fashion and style?
Make all your own rules, and look inward for as much as you can. Try to build as much of your world on your own as possible, and reference only when it’s genuinely useful and will enhance your practice. We already have Mugler and Vivienne Westwood; we don’t need 100 versions of those clothes all trying to be the original thing. Don’t get me wrong, I LOVE knock-off culture, and in school I wrote a paper about how the only punk gesture left is to wear knock-off fashion, which I still believe to be true. BUT, the thing that makes a really fabulous knock off is when you know it’s fake and it’s so bad that it’s not really trying to be the real thing. An original thought with real purpose and identity will always be more special than chasing the success of something that already exists in the world. Good taste is just about having the confidence to be unashamed about what you like and pursuing it in an authentic way entirely.
If you could design for a fashion house, which one would you choose?
Christian Lacroix.
Drag Name: Jade Ferrari
Instagram: @iamjadeferrari
TikTok: @iamjadeferrari
What inspires you when it comes to fashion and style?
I’m deeply inspired by bold self-expression, the power of color, and the fearless energy of drag and queer icons throughout history. My style is all about joy, confidence, and unapologetic glam. If it turns heads and makes someone smile, I’ve done my job.
Describe the concept/references behind this specific look.
This look is a love letter to the disco era with a modern drag twist. The polka dots are playful and vibrant, a nod to retro fashion and nightlife culture, while the silhouette and styling channel fierce femininity and attitude. I was thinking of icons like Grace Jones, Diana Ross, and a sprinkle of Lisa Frank energy.
Describe your process from start to finish for this look.
The look started with the fabric. I saw it and instantly felt like it needed to be on a stage. Once I had the dress concept, I sketched out the full vision, including matching gloves and a headband to tie it together. Then came styling the wig: big, voluminous, and blonde for maximum drama. The makeup was the final layer: bold brows, exaggerated eyes, and rich lips to balance the color explosion in the outfit. It all came together the night before the show.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
I play music, light incense, and let myself be surrounded by art photos, colors, old movies, and drag performances. Once I’m in that flow, it feels like everything slows down and becomes clear. Ideas just start pouring in, and it’s like I’m channeling something bigger than me. That’s when the magic happens.
What was the easiest part of creating this look?
The easiest part was the confidence I felt in it. The moment I put the dress on and looked in the mirror, I knew it was a showstopper. It just worked from the color to the fit to the energy it gave off.
What was the most challenging part of creating this look? How did you solve any problems you encountered?
The gloves gave me the most trouble. I wanted them to be fitted and seamless, but the fabric had limited stretch. After a few failed attempts, I adjusted the pattern and used a lining to help it glide on better. It took patience, but it was worth it for that full matching fantasy.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
It was for a Pride weekend performance at a club known for its high-energy crowd. The look lit up under the stage lights and matched the electric atmosphere. It felt like I became a walking celebration. It enhanced my performance by giving me that extra boost of confidence and flair. People fed off that energy, and I fed off them right back.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
I’ve worn it a couple of times, and it hits different every time. The crowd’s energy always changes, but this look always brings fun, sass, and nostalgia. It’s like slipping into a character that’s familiar but ready to evolve each time.
What advice would you share with anyone trying to express themselves through fashion and style?
Don’t be afraid to be loud with your look. Fashion isn’t about rules; it’s about stories, emotions, and presence. Wear what makes you feel powerful and free. And remember: confidence sells the fantasy. If you believe in it, others will too.
If you could design for a fashion house, which one would you choose?
I’d love to design for Moschino and one day walk for them. They understand fun, camp, and drama while still delivering fashion with intention and artistry. It’s playful but powerful, exactly how I see my drag.
Drag Name: Kekoa Is
Instagram: kekoais
What inspires you when it comes to fashion and style?
I’ve been interested in fashion for the majority of my life. Being raised in the arts, elements such as high contrast, proportion, material, and finalization are things I’m always looking for when it comes to putting together a look.
Describe the concept/references behind this specific look.
For this specific look, I wanted to do a version of a “painted flower”. I knew I wanted to create a 3D element with the look, hence the large plumeria, and I wanted it to feel like brush strokes brought the piece to life.
Describe your process from start to finish for this look.
So after creating the base garment, I hand-painted the fabric and took leftover fabric to make the skirt. When the look came together, I knew I was going to be a platinum blonde as the garment already had dark elements, and to keep the focus on the design yet still complimentary, I went with a red stiletto.
What do you do to get yourself into a creative flow? How does it feel when you’re in your creative flow?
To get in the flow, I really just start. Once I get going, I flow into it pretty seamlessly because I already have a plan in mind and know how to execute it. Take the flower. I already knew I needed to give the base a structure, so I went with neoprene, as it still had the elasticity I needed, was simple to work with, and able to give body to the shapes.
Was this look for a specific event, shoot, etc.? Describe how it enhanced the performance, story, etc.
I’ve worn this dress for a performance for my show Red Lantern District, where I paired the bodysuit with a white petal skirt to evoke the concept of “Bawang Merah, Bawang Putih,” an old Indonesian folktale. I was performing an Indonesian song, so it added my own personal sense of nationalism without a direct reference.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it, or different?
It’s a look I treasure a lot, and I usually keep her for more special performances and occasions as she’s a delicate piece.
What advice would you share with anyone trying to express themselves through fashion and style?
Any advice I would give would be to remember that there are no rules and no one has it right. Everyone is going to share opinions A, B, F, 8, X, or whatever, and they still wouldn’t have it right. Because it’s all subjective, the world is organic, and so is style, so let people live, wear what they want, and if anyone has an opinion, deck them in the face.
If you could design for any fashion house, which one would you choose?
As a designer myself, I was introduced to the world of fashion by Jean Paul Gaultier, so that would be great. J.W. Anderson would be amazing as well. Personally, I’d like to take a quieter house like Lanvin and bring it back into the current zeitgeist. Lanvin needs a bite, and I’d love to take a chomp at it.
Drag Name: Lemon Chiffon
Instagram: @lemon_Chiffon_
TikTok: @lemonchiffon
What inspires you when it comes to fashion and style?
When it comes to style, I am really inspired by seeing people on the street and their individual style.
Describe the concept/references behind this specific look.
With this look, I was referencing the Giambattista Valli Spring 2023 Couture show. I loved the gowns that went down the runway and wanted to recreate one of my own.
Describe your process from start to finish for this look.
I didn’t have any patterns for this look; I just eyed it off the photos and videos from the runway show. Draping it on my body after each set to make sure it looked good on my body. I had to guess how much taffeta I needed and I got 20 yards.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
It can take me a while to get into the creative flow; sometimes, all I need is a fast deadline, so I have no choice but to get things done! So maybe it is the pressure that helps the creative flow! Once I’m in it, I’m addicted to it and love the process of creating.
What was the easiest part of creating this look?
Deciding I wanted to make it!
What was the most challenging part of creating this look? How did you solve any problems you encountered?
I had never made a garment like this, so just having to trust myself to create the shapes and make it happen. I think I broke five needles in the process of making it, due to the bulk of fabric I was trying to shove through the sewing machine!I had lots of backups and kept replacing them.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
It was for the 2023 New York Glam Awards. It was my first time going, and I wanted to really show up. It was the first time I had ever worn a garment like this, and the fact that I had constructed it made it all the more special.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
I have worn this look a couple of times. It makes me feel regal and expensive. I love the drama that comes with wearing it.
What advice would you share with anyone trying to express themselves through fashion and style?
Just go for it! Don’t overthink it and wear items you love! It’s more about having a few statement pieces than having a stack of clothes.
If you could design for a fashion house, which one would you choose?
I think it would be Acne.
Drag Name: Tillie the Clown
Instagram: Tillietheclown
TikTok: tillietheclown
What inspires you when it comes to fashion and style?
I feel like it’s obvious to say that the 80s inspire me, but I’ve always been drawn to old circus costumes and clownery.
Describe the concept/references behind this specific look.
This look is inspired by generations of mourning attire. A little Lydia Deetz, Death Becomes Her, and 1930s mourning attire.
Describe your process from start to finish for this look.
This look, I scoured the internet for a black 80s prom gown, and I found this vintage Jessica McClintock dress, and I loved the silhouette and the sparkles of it. I knew I wanted to style it over a black bodysuit to really let the focus be the dress and the sort of ghostly figure.
Everyone knows I have a signature hat that I created and always wear, but I wanted to push the boundaries of what I had already established - adding a veil, making it out of a beautiful wool, and adding the little pom pom fringe around the face that, from afar, kind of gives a Lydia Deetz bang illusion.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
I always aim to be open to inspiration. I never really look at other queens’ costumes. So much of what I do is about the feeling. I try not to fall into trends. When I created this character, it was isolated in the COVID lockdown, so I like that it feels pure to me. I think it’s also important to give yourself humanity and take breaks from creating and go out in the world and experience life, and just absorb.
What was the easiest part of creating this look?
I mean, the dress already existed - it just needed to fit me.
What was the most challenging part of creating this look? How did you solve any problems you encountered?
Adding a veil to the hat was somewhat challenging, as I had to figure out how it would drape over a cone and then put it all on, facing the world. I opened that show with “so my dad died on Saturday, and I didn’t want to cancel, so I just made it my whole bit,” and everyone laughed. At that moment, I remembered that there is a very thin line between comedy and tragedy.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
This look was originally put together for a show that I did two days after my father’s passing. So there is an aspect of mourning, but also wanting to really step into my best and most fabulous self that this person couldn’t accept.
It’s reused for a death becomes her number. It was my first time wearing it in two years, and I felt it was the time to reimagine her, and I felt that it was a good nod to the final scene from the film.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
I have worn this look only twice. It felt very solemn the first time, and I really wore the veil down for the whole show as I was really struggling with being vulnerable. The second time around, the veil is pinned up, and I felt more powerful in it.
What advice would you share with anyone trying to express themselves through fashion and style?
Wear what you like and don’t let anyone or anything tell you what to wear.
If you could design for a fashion house, which one would you choose?
I would love to collaborate with Thom Browne or Richard Quinn and see what they would make for Tillie.
Drag Name: Oracle
Instagram: visionsoforacle
What inspires you when it comes to fashion and style?
I’m inspired by handmade, bespoke pieces, as well as repetitive techniques that create a new texture for the garment’s basis. Some of my favorite references include 1970s fashion catalogues, as well as vintage sketches like the Arlequine sketch by Fabius Lorenzi.
Describe the concept/references behind this specific look.
For this look specifically, I wanted to combine bespoke techniques with the visuals of trashy lingerie. This look was made with a Christmas performance in mind, but I wanted it to be functional for multiple uses and stand alone as a fashion piece. I work a lot with ribbon, and so I wanted to take my knowledge from previous pieces and upgrade them to create this look.
Describe your process from start to finish for this look.
I started with a sketch showing a bunch of ribbon loops, then decided to start with the top. I sewed multiple strips onto bra cups I already had to create the weaving pattern, then sewed loops across the edge of the cups. To create the straps, I used wide ribbon for the neck strap with a Velcro attachment to allow it to go around my head and hook onto the other cup. The back strap is constructed from a long piece of elastic, then a piece of ribbon with gathering was placed over it to cover. The gathering allows the back piece to stretch despite the ribbon itself being non-stretch and lets the bra sit firmly on the chest. For the skirt, I used ribbon with built-in wire on the edges and sewed three layers of loops to create the mini skirt. A Velcro fastening was added to the hip, and then I sewed a large bow over that to cover the fastening.
What do you do to get yourself into a creative flow? How does it feel when you are in your creative flow?
Creatively, I like to look at sketches and Pinterest to get inspired, often taking inspiration from the shapes or texture of different looks to create a final concept of my own. During creation, I like to have a TV show or a podcast playing so I can have my hands focus on working. Time passes very quickly when I’m creating. Often, I will check the clock and five hours have gone by, and I’ve been working on the same piece the entire time.
What was the easiest part of creating this look?
The easiest part of my look was sewing the quilted pattern on the cups, since the cups were the only thing I didn’t make from scratch.
What was the most challenging part of creating this look? How did you solve any problems you encountered?
The most challenging part was the back elastic strap of the bra. I was finishing the look the night before and realized that I didn’t have any actual elastic. So, I ended up using medical gauze that I ran a couple of zigzag stitches through to complete the look. That was also the only time I used a machine during the process; everything else was hand sewn.
Was this look for a specific event, shoot, etc? Describe how it enhanced the performance, story, etc.
This look was created for a Christmas performance of the 1961 song “Christmas Kisses." I wanted myself to look like the present, and I had an audience member sit in a chair while I kissed their cheek and gave them a lap dance. This look allowed for complete movement during the performance, but also sold the visual of looking like a present.
Have you worn this look once or multiple times? If multiple, do you feel the same every time you wear it or different?
I’ve only worn this piece once so far; it’s very delicate due to the ribbon, and I don’t want the skirt to get crushed. I do hope to wear it multiple times in the future, as I love the effect it creates, and I have multiple other concepts for performances that work with it.
What advice would you share with anyone trying to express themselves through fashion and style?
To me, fashion needs to start from a place of what you are drawn to most. What types of materials and shapes get the strongest reaction out of you? That’s where it starts for me. Once you understand what you gravitate towards, it’s about mixing those things together to create something that no one else could create but yourself.
If you could design for a fashion house, which one would you choose?
In terms of design, I would love to design shoes for Miista. They have amazing silhouettes to pull from, and I think they could expand on the colorways and patterns they utilize. I also think the camp factor of Fashion Brand Company has a lot of room to develop and lean into a more chic and high-fashion space, while retaining the whimsy of their existing catalogue.
Comments