A chat with Actor/Muscian, Micko Westmoreland

                                  

                                               

                                         KA: Hi Micko! Thanks for chatting with me.

So, as most people know you were in a magical little film in the late 90s called, Velvet Goldmine. You played the mysterious, ethereal, Jack Fairy. You've done so much since then, which we'll talk about, but what is it like to go back and watch yourself in such an iconic character?

I got a dream role in Velvet Goldmine, you see this character that isn’t you whilst at the same time it is. 

As a musician in real life, it was a role which I could extend into. An alter ego created by Todd Haynes that I’ve become good friends with over the years!

Jack appears in the film every 15 or 20 minutes or so, you can engage with the story independently of that character, especially since the movie is so engrossing.

Then he appears again, so for me it’s like what a great film & oh cool, I’m in it too..

Westmoreland and Michael Stipe on the set of Velvet Goldmine.

 

KA: I heard Jarvis Cocker from the band Pulp was originally supposed to play that character. How did you get it instead of him?

MW: Todd was making friends & meeting fabulous people from the Brit Pop scene at the time the movie was being made. There’s echos of Glam in that genre, so there were musicians old & new happy to contribute.

Jarvis turned down Jack Fairy after some thought which in hindsight was probably wise. His persona was too big to step into the part of another musician that was so mysterious. Todd has however worked with Jarvis since, check out this link featuring the work of Stephen Sondheim

I'm Still Here, Performed By Jarvis COCKER

 Performed by Jarvis Cocker

Directed by Todd Haynes
Music and Lyrics by Stephen Sondheim
Created for HBO Documentary "Six by Sondheim".

 

KA: There were so many great actors you got to work with, Toni Collette, Ewan McGregor, Jonathan Rhys Meyers, etc. Any good stories of your time creating with them?

MW: Too many to mention. I really liked Tony Colette, she was a wonderfully warm person & a really great laugh. She helped me a lot with my lack of acting experience. There’s certain scenes where she was literally moving me around the frame, in the Sombrero club for example but the viewer doesn’t see it. Ewan McGregor very much treated me like an equal which was very gracious of him, as he was a massive star, particularly at that time. Jonny had a big heart too. 

Todd Haynes is very nonhierarchical, so it all trickles down from the top. Everyone was very accessible on the set, from the sparks, through to wardrobe, to the actors. It was a wonderful time.

 

KA: The film was also filled with some lovely smooches. Everyone in the Fandoms that later came, were focused on the Ewan McGregor and Jonathan Rhys Meyers famous kiss, but you also lip locked a couple talents. What was that like, were you made comfortable? 

MW: Absolutely, I got a full on smacker with Toni, in line with her effervescent character. With Jonny, no tongues Ha ! Sssssh 

In that bathroom seduction scene I really had to act, I was quietly surprised when I saw it.

KA: So, you went on the work with Trent Reznor on his Nothing label. How did that come to be, how did you meet, etc, and what was that like as far as being a musician goes?

MW: The nothing records deal was independent of Velvet Goldmine, although I’m sure the boost in profile that came from the film helped.

Trent's AR guy, was into Luke Vibert (Plug); the album was called Drum & bass for Papa, I was on the same label so they found out about me through him. 

We were signed along with a number of Warp acts. The electronica thing didn’t particularly happen in the states so we were all ‘let go’ after the one album.

KA: Reznor found a lot of great bands that didn't go very far, like the band Prick for instance. I really dig them. What bands do you think are underrated?

MW: Pere Ubu, the Silver Apples, Wendy Carlos, Peter Perrett

KA: Your music with the band, Micko & the Mellotronics now is very reminiscent of 90s britpop with a glam touch. What are some surprising ways your music has been described and how would you personally describe it?

MW: I personally don’t think in terms of category as I’m not looking to define myself, I’m trying make the music change & evolve at all times.

However, it’s fair to say that there’s a fair bit of social observation & kitchen sink drama in the mix.

Working with Jon Klein (ex-Banshee/Specimen) has had a big impact on the sound, he’s an amazing player & working together on the album was tremendous fun. We have been compared to brit pop, but that’s I think largely because of the lyrics, there’s a tendency to look for what it’s like, in order for others to cognise it. I hope that’s it unlike anything else really..

 

Micko & the Mellotronics

KA: which bands in the 90s were you big on? I was a huge Pulp, Suede, and The Verve fan myself. 

MW: I wasn’t really into the band scene during the 90s I was into electronic music. The technology was opening up tremendously & the possibilities seemed limitless, the bedroom musician was the buzz phrase around that time. I did like Supergrass & Pulp though difficult bands not to like

KA: What record labels do you currently work with? 

MW: I set my own up in 2015 www.landlinerecords.com I really want to do my own thing, so that was the sensible way to go. I’m dead lucky because I’ve never been been interfered with when making my own stuff. I did an album on Terry Edwards’ Sartorial label (PJ Harvey, Madnesss, Blockheads) before that. Terry is a great friend & a wonderful player..

KA: You went to art school, yeah? Who are some of your favorite artists? I myself am big on pop surrealism.

MW: I like Egon Schiele, the de Brucke group, Man Ray, Marcel Ducamp is my favourite of all time. So pretty old school.

KA: So, acting, music, art, what else do you love? Any hidden talents?

MW: Reading Raymond Chandler & watching Columbo episodes.

KA: What has been your new 2020 quarantine routine, has it motivated you or made you slack a bit?

MW: I’m been putting out the 1/2 Dove - 1/2 Pigeon album, so there’s been things to do. But covid has been a twitchy & confusing time for everyone. 

 

KA: Give me three bands to listen to and 3 films to watch.

MW: Here’s 3 albums Histoire de Melody Nelson by Serge Gainsbourg, Snowflakes are dancing by Iso Tomita, Future Days by Can

Mulholland Drive by David Lynch, Spirited away by Miyazaki, Performance by Nic Roeg 

KA: What is your everyday life like? You have a son, yeah?

MW: Yes, I have a 3 year old, Gene Joseph, he’s a total blast. If you have a kid, simple things become very apparent, like the primary directive of the species, we are put here essentially to make more of ourselves, it’s as base as that.

KA: How do you balance your creative career with family life?

MW: That’s a very good question..

KA: (LAUGHS) 

KA: Are you looking forward to the day you can show your son your role as Jack Fairy? 

MW: He’s already seen pictures. Yes, absolutely. I’m also looking forward to watching it on BBCZ in my dotage.

KA: Have you been able, before Covid,  to tour with your bands, and are you planning any social distance streaming shows? 

MW: We’ll be back on the road gigging when there’s an assemblage of reality. Too much competition with the tele box with a live streaming. 

KA: I found you by chance in a Facebook group. How has social media benefitted your career? 

MW: It connects a lot of things up, like this for example. It is annoying that we seem to be being quietly bugged. Turn your microphone off in settings! I’m no conspiracy theorist though, there’s far more evidence that people don’t know what’s going on than do.

KA: Tell me about some of the interesting members of your different bands you've had. You work with the guitarist of souxie and the banshee, comedians, among others? 

MW: I’ve worked with members of The Specials, The Stranglers, Madness, The Damned, The Blockheads, the band's own Jon Klein of course, from Specimen/Siouxsie & the banshees, Terry Edwards (P J Harvey) & Neil Innes from Python & Bonzo Dog to name a few. So some brilliant talent. That’s one of the best things, working with really talented people.

For our videos, we have worked exclusively with Ashley Jones & managed to attract some fantastic actors. All the connections essentially came from the comedian Kevin Eldon, who I play in a charity band with for the Teenage Cancer Trust. Paul Putner (Title Britain) has helped a hell of a lot too.

KA: What bands are popular in your area of England right now? 

MW: Ou, not sure on that one, your not asking the right person

KA: When we hungout (socially distanced, of course) you said meditation helped you in the past. Has it helped with your creative side? 

MW: Yes, massively. I couldn’t really write lyrics before meditation. I could come up with the odd phrase but that was it. I heard David Lynch talking about TM on the radio one morning & it sounded so fascinating. He was right. Without sounding preachy, it’s good for balance, it resets & reminds you what’s important. Problems that seem really big find perspective. If you suffer for anxiety, insomnia for you just feel blocked in some way, it will help tremendously. It blasts bad habits to bits. The beauty of it is, that you can take from it what you wish. TM is not looking to take anything from you, it’s only going to give..

KA: Any thing you'd like to say to readers of the blog, or fans? 

MW: What was the quote from the keyboard player in the outro of the Spinal Tap movie, ‘Have a good time, all the time’. Were only here for so long after all

KA: thank you so much for your time, Micko. You are a gem. 

Micko &the mellotronics "Psychedelic Shirt 

Photo credits to Ashley Jones

Interview With Contortionist, Twisty Troy

KA: Mr Twisty Troy, so nice to have this chat with you. 

TJ: THank you, Kim. I'm happy to chat with you! 

KA: how are you handling quarantine, how are you keeping yourself busy? 

TJ: I wish I could claim I was doing all the right stuff. Exercising, and making art or learning a new craft, but really I've spent much of my time reading, watching movies, and hanging around upside down.

KA: I think there is too much pressure put upon us doing something wonderful like writing the next best novel during the pandemic. 

KA: you and yours are all healthy though? 

TJ: Yes, all is well in the household, thankfully.

KA: So let's dive in. You are a bit different from the majority of people I interview, hell, different from most PEOPLE. Can you tell folks just what you do? 

TJ: Aha, I am a contortionist, and a creature actor. I turn the creepy monsters in the rubber suit, up to 11! You can usually find me upside down, or bending around corners just waiting to startle someone unexpectedly.   

KA: And you are definitely the best I've seen! 

KA:  When I first discovered you on America's Got Talent, I went to YouTube to re-watch your performance and I saw loads of people asking if you had the rare, genetic disease, Ehlers-Danlos Syndrome-a genetic connective tissue disease that causes extremely hypermobile joints ... Which I also suffer from. What can you tell all those curious people who wonder or are concerned about your health? 

TJ: Well, EDS is a connective tissue disorder that has a wide range of severity. (oh you already described it!)  While I haven't been officially diagnosed, I do tick a few boxes on the Beighton score (a popular screening technique for hypermobility). However, I'm one of the lucky ones who doesn't experience pain. So far *fingers crossed* I do know my limits, and none of the things I do cause me any pain or fatigue; I'm not actually dislocating my joints - it's just hypermobility.

KA: I don't fully dislocated either. 

KA: so, let's rewind. When did you realize that you could do interesting things with your body, and when did you decide to do something entertaining with it? 

TJ: Oh, I was able to do it since I was young. I was also hyperactive, so looking back I was probably a handful for my poor mother. Aside from it being a cool parlour trick, or something to show my co-workers at the office, I start using it to entertain guests at the theme park I worked at over the summer to put myself through undergrad. It was a hit!

KA: Was AGT the only competition show you've been on? 

TJ: I've been to a few now. I've performed on Showtime at the Apollo with Steve Harvey, (that was my first big one) A few "Got Talents": America, France, Italy, Australia, China. It's been a whirlwind of adventure.

KA: And I have to ask, how did you get on with Simon Cowell? I've noticed he's softened a bit since American Idol days. 

TJ: I was so afraid of him before I actually met him in person. Keep in mind, I only knew him from the American Idol days where he was known for being brutally honest. And I was so afraid he would chew me up and spit me out. In fact, that's why I chose him in my creep out attempt, because I wanted to get him before he got me, hahaha. However, he was nice!

KA: let's talk success! Your IMDB page is becoming very impressive. You're in The Flash, and the film adaption of Scary Stories to Tell In the Dark-in which your character scared the hell out of me! What else have you done and what's next? 

TJ: I've played the role of Pretzel Jack, a contortionist murder-clown on Channel Zero: The Dream Door, an unfortunate victim in The Soska sister's horror thriller, Rabid, Baba Yaga in Hellboy was also super fun.

KA: Were you a fan of the Scary Stories book series? 

TJ: I adored them! They were the most popular books at the library when I was a kid, always checked out, dog-eared, well-worn. It was such an honour to play a part in the film!

KA: if you weren't doing what you do, what do you think your life and occupation would look like? 

TJ: I'd probably still be working in Human Resources, to be honest. I enjoyed the regular office job. Never imagined I'd detour into this 

KA: Do you have a circle of contortionist buddies you work with or is this a very solo type career? 

TJ: Contortion is pretty niche art in the already niche art of circus work, so many people work solo, but I do have a circle of contortionist friends in Australia and Africa. I performed a duo contortionist last year with my fellow contortionist Ess in Toronto (Instagram: @strangewonderfulcreature), and we retained world-renowned choreographer, Roberto Campanella to create a radically different contortion routine. The two of us travelled a bunch performing for circus festivals in China, as well as Paris for Cirque de Demain and France's Got Talent,

KA: so, can anyone else in your family contort? 

TJ: Just me! I'm the black sheep! Haha!

KA: one thing about you is that you are so nice! I mean, impressively sweet. I'm sure a lot of people would never guess that because what you do "scares" people. What are some other misconceptions about you and what you do? 

TJ: A lot of people think that it hurts. (It doesn't.) And when the first viral videos of me started popping up, a lot of people took the "scary" vibe I went with and argued that it was proof that demons exist, and that I was an alien, or possessed by spirits only pretending to be a regular human. That gave me a laugh!

KA: Oh, and word on the street is you have some Funko Pops made of you! First off, congrats, and second, how did that happen? 

TJ: I love my Funko Pops! My first one was a gift from (Instagram: e.m.a_customs), and he made a custom figure of me after my first appearance as Rag Doll in The Flash. It's on my shelf, and I smile every time I look at it. Scary Stories was in theatres all over, and I guess I made an impression because Jangly Man and Harold the Scarecrow were selected to be official Funko Pops! and *then* Super amazing artist, (Instagram: @themonstermaiden) created 3 pops of my top three characters. Pretzel Jack, Baba Yaga and her own take on Jangly Man. I love them all to pieces!

KA: What are some things you always carry with you. What's in your bag, Twisty Troy?

TJ: I wish I had a more exciting answer, but generally just the main three: Phone, wallet, keys. 

KA : Besides being a bendy boy, what are your other hobbies and passions? 

TJ: I love to read, and while I haven't played in years, I did play the tenor saxophone in a jazz band. As crazy as I look contorting on screen, when I'm not, I'm pretty quiet.

KA: Given the pandemic allows, do you have any new projects coming up in the not too distant future? 

TJ: I actually had some projects right about to begin when everything shut down. We'll see when it all starts up again. With hope, I'll be showing up again on the big screen before long!

KA: Thank you so much for chatting with me. I think you are a delight! 

TJ: Thank you for having me!

Troy On America's Got Talent

A Short Chat With Pulp's Candida Doyle

KA: Hello Candida! Thanks so much for chatting with me.

KA: You, my dear, are quite the talent! You were with the British Pop group, Pulp for how long?

CD:I joined Pulp in 1982/3 when I was 20! And never left.

KA: You originally got in the band because a brother of yours was in there first, yeah?

CD: My brother and best friend were on bass and drums, I was a Pulp fan and joined when keyboardist Tim Allcard left.

KA: It took you guys quite some time before you achieved any mainstream or even indie success, what was it like in those days pre-"A Different Class"?

CD: The first 10 years were fun but very tough. A lot of driving between Sheffield and London, none of us had any money. In 1993 we signed to Island, got a wage and things picked up from there.

KA: How did things change in later years?

CD: Things changed, we had a crew to carry, pack and set up our 'gear'. Luxury!

KA: How did you manage relationships with men or even with friends and family while recording, gigging, etc?

CD: I missed a lot of family gatherings through Pulp and my relationship with the bass player Pete was difficult cos he left the group and I did not.

KA: What was it like being the only female in a group during long tours? I can't imagine having female issues(cramps, PMS, etc) and only having men in my living space. Hehe.

CD: I definitely missed female company; men converse differently to women.

KA: How did you get into keyboard? Did you start with the piano?

CD: I began piano lessons aged 7/8!

KA: I know you have been open about having been diagnosed with rheumatoid arthritis as a teenager. What kind of struggles, if any, has that brought to being a musician, or a human being for that matter?

CD: Arthritis bought a lifetime of hidden struggles on a daily basis. But I am over that now.

KA: What is some advice you'd give other people trying to live out their dreams with a chronic condition?

CD: I would advise seeing a therapist to people with a chronic condition because I think 50% of the problem can be mental!

KA: Not much is out on the web about you. I know, I looked! Are you married, children ,etc?

CD: Not married, no kids, very happy with my life! No plans to reform the band!

KA: Have you done any other musical endeavors besides Pulp, either before or after? You joined Jarvis on stage during his solo gigs a few times, right?

CD: I joined Jarv for his first 4 performances of Jarvis. It was fun but temporary. He had to do his own thing!

KA: A lot of musicians struggle with drugs once they get to a certain point in their careers(not all of course) Did you ever get caught up in any substance abuse during your heyday?

CD: I witnessed a lot of substance usage but never indulged. I came close but thought I'd only feel worse later!

KA: Being a female in the music industry, what kinda prejudices did you experience?

CD: I did not experience much prejudice.

KA: Did you feel you got the right amount of recognition? Do you think being in a group where someone who developed the fame that Jarvis Cocker did made things a bit uneven in the band?

CD: I always thought l wasn't filmed enough when we were on TV! !

KA: Pulp reunited in 2011. What was that like touring again, and being back on stage with the guys? Was there ever a doubt that you would agree to gig again?

CD: Reforming was great fun; whilst still occasionally terrifying.

KA: It's been said that Russell Senior struggled with anxieties about touring, did you have any anxiety, or other emotional struggles?

CD: In 1996 mid June l did freak out on tour and began having panic attacks. That put an end to my enjoyment of it all.

KA: What is in your bag? What do you always have with you?

CD: I always have keys, lipstick, a pen and visa card and change in my bag/pocket.

KA: Thanks so much for taking the time to speak to me. Your music has made me the person I am.

CD: Thanks for your compliments! Sorry if my answers are a bit dry, l hate typing and get lazy about giving details! x

Interview With Fashion Designer, Jared Gold

Jared Gold is a fashion designer of avant-garde American Gothic fashion.

Photo by 

Pedro Zalba

KA: Hey there Jared, thanks for the chat. Where are you right now, my dear,  and what are you up to?

JG: I am in Salt Lake City, I seem to move between here and LA every eight years like clockwork.  I just finished working on the Sparklepark and I am working on building a new collection to premier here this Winter: Outer Darkness 

KA: You've done so many amazing things with fashion. Let's start at the very beginning. How did you get where you are now? 

JG: I started sewing clothes and hats in my parents garage and ended up selling them at Lollapalooza during its early formidable years when Perry Ferrel was still heavily involved with the creative. I really had no idea how to sew or how people would react to the crazy clothing I was making, but it was such a coincidence with the zeitgeist and what came out turned out to be RAVE clothing. I was really interested in screen printing all through high-school because Warhol had such an influence on my life.  The screen printing has always been an integral part of everything I have designed. After a whirlwind partial education at Otis in Los Angeles, I began making pieces for the infamous Fred Segal, which eventual led to my collections being purchased by Barnys, Henri Bendel, Beams Tokyo, and many other stores that understood my viewpoint of punk victoriana. After large runway events at Bryant Park in NYC, it was the attacks of 9-11 that brought me bak to Utah to begin my new fashion house Black Chandelier.  We opened 6 stores in total including the website and just tried to make as much amazing work as possible with my Utah team.  Eventually we were showing collection in Salt Lake City and then moving to Los Angeles to show it again.  I have always felt like a designer that told a tale of two cities. 

KA: Your fashion has been described as American Gothic and Avant Garde. Do you agree with these descriptions?

JG: I love both of the monikers. I think the term American Gothic is really referring to my tendency to askew sexuality in my garments and really glamorize high collars, buttoned-up fronts and even very conservative hairstyles used by polygamists. As far as Avant Garde is concerned, I think anytime you see something completely new, it is Avant Garde.  I always try to bring new ideas and sensibilities, so I fully embrace this. 

KA: As a child, you were a piano prodigy. What made you decide to not follow the musical path, and what other instruments are you into?

JG: My mother started teaching me piano when I was 3 and I eventually graduated to a very intense local teacher that had been trained by John Cage at a conservatory in Paris. She taught me above all else that music was not the right notes, or the right timing, but the emotion you were expressing. This said, I was always able to vibrate complex and unnamed emotions through all of my work.  I think the piano training and the intense discipline of practicing up to three hours a day is what has enabled my most powerful artistic outcomes. 

KA: Your clothing company, Black Chandelier. That's such an amazing name for your style of clothing. How did you come up with it?

I thought about this name for almost two years, I really tortured myself over this one.  I really wanted something that could in a single image be an oxymoron as well as a new way of seeing things.  Something made of pure light, yet completely black. 

KA: In 2006, you got to be a guest judge and feature some very interesting creations on America's Next Top Model. What can you tell me about that experience... And your unique  creations? 

JG: Clint Catalyst was working as a writer for the show and really made this happen.  They wanted us to come on and kind of terrorize the girls with our live hissing Madagascar cockroach brooches, It was really fun and the girls did quite well, but in end it turned out to be the clothing that stole the show, The collection was called Glinka and was heavily inspired by Russian handicrafts and music. The girls looked amazing in the clothing and I am still friends with quite a few of the models from that season to this day. I would say all in all it was a pleasant experience, but they kept asking me for more negative responses and really wanted me to be mean it seemed. I did not comply.

KA: What fashion designers do you typically wear when out and about, and what about when you're just relaxing at home? 

JG: I try to make most of what I wear because it really has to have a softness level that makes it barely there. I have transitioned to a look that really just provides me with comfort and luxuriant pleasure all day.  I do have a few Belgian designer pieces that I still love to wear when I really want to bring the children a look by Walter van Bierendonck, Martin Margiela, and Dries Van Noten.

KA: Who IS Jared Gold? What is a typical day like for you. 

JG: I wake up and draw as long as I can, then move on to doing some light work before heading out on an 8 - 12 hour meditative walk.  Living in Salt Lake really lets me expand my inner peace and be as creative as I can.

KA: Did you ever get into the party scene that comes with the territory? 

JG: Oh hunnnnny. I would say I was the opposite of this fashion-ey party scene. If I am notorious for anything it is not pandering to celebrities and really trying to keep everything as fresh and punk as possible.  I was invited to do a small performance at a Paper Magazine party in New York City at the ultra posh Dietch Projects Gallery during fashion week.  Four of us arrived wearing all Victorian rabbit costumes. We played the xylophone, tap danced, screen printed my Jared Gold rabbit logo on the wall, then handed out little bags of candy.  Little did anyone know that the bags contained live cockroaches. When we heard the first scream, we kicked over a large box of live roaches and as you can imagine, it was total pandemonium. Not my finest hour, but probably my proudest. 

KA: Writer/model, Clint Catalyst, has been said to be your muse. In what ways has he inspired your creativity? 

JG: I love Clint! He really helped promote my brand and collaborated with me on so many amazing looks. He understood what I was doing at its very core and made sure everyone saw the gore inside. LOVE!

KA: You've also done some international work with Germany's  Next Top Model. What was that like, and how different was it from America's response to you? 

JG: GNTM vs. ANTM was so different.  The German version had the MOST exquisite models and dressing them was a pure joy, they were so professional and the production company really wanted to make the show as beautiful as possible as opposed to ANTM where there baseline was the drama, not the creativity.

KA: What do you keep with you at all times?

 JG: Rotring Tiky Graphic 3.0 Black pen and a pink notebook.

KA: Hypothetically: I need an outfit for a photo shoot. What would you create for me in a pinch? 

JG: I have kept a very complete archive of almost everything I have ever made.  I do always prefer to make something new, but I'm sure we would be able to mash together something sick.

KA: What is the process of making, say, an entire dress. How long would a typical Gold style one take? 

JG: I recently made a wedding dress that consisted of one of the most beautifully embroidered Hungarian shawl from the Victorian Period that I heat bonded to a Uhaul blanket.  The punk of taking something so refined and marrying it to something so cruddy really delighted my heart.  The process then ensued of sculpting the material. I did not make a pattern for this dress, (first time ever) and just let it happen under my hands.  I consider this one of my favorite garments I ever made, and it took about 4 months of work.

KA: What has been your moment. Your biggest, "I made it" moment? 

I was in London and this gaggle of Japanese tourist ran up to me chanting my name begging for photos.

KA: AHH! That must have been surreal!

KA: What gets you down in this business, is there anything that made you want to say "fuck it"? 

JG: Having to go to parties and suck up to people.  I suffer no fools.

KA: Any cringe worthy moments on runways, shoots, etc? 

JG: Madonna's stylist called to see if I would just giver her a scarf.  I told him that Madonna was not going to run out of toilet paper if she wrote me a 75.00 check. BYEEEE

KA: And here I thought she supported fashion designers she liked.*rolls eyes*

KA:What are you currently working on? What should I expect to see from you in the coming years?

JG: I am working on a project that is so complex and large scale, I dare not mention its name, but it has to do with operating delight. 

KA: Do any films or music inspire your work?

JG: I think the most beautiful movie is David Lynch's Dune.  There is something that always returns and haunts me about this one.  The power of an entire film filled with completely new images, costumes, sets and characters, just blows my mind,  Nothing is familiar...true punk. 

KA: As a plus sized girl, are you going to be incorporating an extended sizes in your collections?

JG: I have been the rounds with the question many times, I think my collections are moving more towards custom items, so yes, I can make you anything you like my dear. Size means nothing anymore. 

KA: Oh, how long I've waited to hear that phrase, "Size Means Nothing"

KA: What is a fashion trend right now that you just can't get on board with?

JG: Instagram 

Check out all things Jared Gold here!

goldjared.com