We had the pleasure of being interviewed by Tam Wrigley from iStyle TV.
It was a fun interview check it out here!
We had the pleasure of being interviewed by Tam Wrigley from iStyle TV.
It was a fun interview check it out here!
1) Whats it like to be famous?
Being famous is like being in a room full of mirrors that you smash up nightly then glue back together in the morning. Infamy is both a curse and a blessing, where the invisible and visible are in flux and you walk a tightrope of power play whilst yourself major wedgies with the sequinned g-string of narcissism.
2) How did Betty feel like after the competition?
Betty feels enraged by competition. She lives for it, or so she is told to live for it. Like a predator the Grumble is in a constant race against her imagined self, like a parrot bouncing infront of its mirrored cage, the race is a dance Grumble never tires of.
3) What where her thoughts when she saw herself in the bin?
When Grumble sees herself disposed she is not suprised. This world can’t handle so much beauty. So she starts the process again, she picks herself out of refuse, recycling and re-inventing body and brain bits. Getting the flesh together to take it on and take it off.
4) How did you go working with the guys at Xray Doll?
Xray Doll create psychedelic, bombastic art that Grumble loves to live within. Xray doll are as freaky as they come and Betty Grumble loves to get on board with their unique brand of colourful and subversive expression.
5) Tell us a crazy story that has happened to you recently?
I am currently in London! The craziest Grumble experience recently has been dancing completely nude at the NYC DOWNLOW with Jonny Woo and the tranimals of London.
Dreamy and experimental, her designs are born of a desire to infuse the intangible into the material world. I asked her about the influences behind her new project, “Transcendence”
LJ: Where did the inspiration for Transcendence come from?
TS: The main inspiration comes from Nature, the greatest designer of all! The textures, shapes and defining elements all come from noticing and rethinking what Mother Nature has already created. I am also inspired by architecture and the historical legacy of fashion. Silhouettes for my current collection were highly influenced by historical costumes of the 14th-18th centuries, such as medieval dresses or regal robes. I think Game of Thrones has something to do with it, and Once Upon a Time. I’m obsessed with both.
My intention regarding the design concept was about bringing historical elements into modern society to give the wearer a chance to get a sense or feeling – an emotional experience, which goes far beyond the materiality of the garment itself. I feel that even in an updated modern application, each particular historical style comes with the baggage of meanings attached to it and therefore creates a different emotional atmosphere around, as well as inside, the wearer; it changes the energy flow.
LJ: Who are the designers or artists that you most admire?
TS: Alexander MQueen’s genius has always been a source of admiration and inspiration. And I am totally in love with Antonio Gaudi’s architectural marvels. No matter how many times I visit Barcelona I just can’t get enough.
LJ: What drew you to fashion and design? Is there an iconic image in particular you remember seeing, or have drawn inspiration from?
TS: I think what inspired me and got me on the creative path in the first place wasn’t a visual of some sort but rather a feeling. I became fascinated by fashion when I realised how powerful the medium is. I came to understand that just switching the way one dresses can influence others, and at the same time each particular look adjusts one’s personality as well. I believe that’s why fashion is such a force – it sells not just a dress but everything this dress represents, a whole package of emotions, feeling and meanings attached to it. Such a complicated relationship is exactly what inspires me the most. I’m always curious about what is hidden behind the surface. And my belief is that the richer the surface is, then the more protected you become inside. That’s probably why i’m so obsessed with textures and surface embellishments (smiles).
LJ: What’s the last dream you remember having?
TS: I can’t remember any recent dream in particular; they usually fade away quickly. They are always colourful adventures – saving the world, friends or total strangers from some weird event – I jump, fight and fly a lot! Sometimes I’m even blessed with seeing my future designs.
LJ: And did you always want to be a designer? As a kid, what did you want to be when you grew up?
TS: Honestly, it’s a funny thing, I don’t have clear memories about who or what I wanted to be when I grow up. No particular occupation comes to mind. But I always wanted to become someone who has an influence on other people – the good kind, of course! As a kid I dreamed of being a queen or a princess, or a cosmonaut. As I reached my teens I got into creative arts and sewing, and that’s exactly what I’ve wanted to do ever since.
Art Director & Retoucher @ XRay Doll
A man of many talents, Wassim Bazzi is the wizard behind art direction, design and digital retouching at XRay Doll. Described as a creative mercenary, inspired by comic books and the wonderful world of pop culture, I sat down and asked him about XRay Doll’s plan to take over the world.
LJ: What is your background?
WB: I originally started as a graphic designer. I got my design degree and started designing for a photographer, working as his assistant, and he was teaching me photography as I went. Then his business exploded - figuratively, not literally - and he moved overseas. I was already dabbling in photo editing at that point, so I got a job as a scanner in a studio, and did a bit of design for them. I learnt retouching from the retouchers there and then became a full-time retoucher.
LJ: You make it sound like it was all so easy!
WB: Haha, yeah - I got pretty lucky. My first employer, he used to call me ‘Osama’ - he told me “Osama you son of a bitch, you gotta get yourself an ABN, you’re not my employee, you’re a freelancer! From this day, I give you freedom!” (laughs). After running my own design business for a few years, I gave up because it did my head in. And I was having more fun and earning more money doing retouching ‘cause at that point, no-one was really doing it in Sydney. From there, I started getting jobs in advertising as a retoucher and working for advertising photographers, and interiors and architectural photographers. I started getting into art direction as well, freelancing for agencies.
LJ: So where did XRay Doll come into all this?
I’d learnt so much from working with art directors and agencies, and I loved it; but I didn’t want to just focus on art direction for advertising agencies - I wanted to focus on the creative side too, and I really enjoyed applying the skills I learned into fashion. So I was forging my own little path, and then I met Chrissie (Hall, XRay Doll’s photographer).
LJ: Was that at VAiG Studios?
WB: Yeah, I met Chrissie when she was a photgrapher there. The owner of VAiG, Gary Logan - god rest his soul - he was the one who first suggested we work together. Chrissie got back from the UK right when I was trying to figure out what I wanted to do with art direction. She showed me her portfolio, and I said “yeah, maybe we should work together”… then Gary said to me, “her folio is actually one of the best high fashion folios I’ve seen. You two should work together”. That just sealed the deal for me. Water Assassin was our first shoot, and from there we started XRay Doll.
LJ: What’s your masterplan for XRay Doll?
WB: (impersonating Arnold Schwarzenegger) My masterplan is to crush the enemies, see them driven before me and hear the lamentation of their women! (laughs). I guess the masterplan is to get paid for doing what we love. That’s what it’s all about. I mean, now we do what we love because we love it, while we have other jobs that pay the bills. I want to have enough clients so that Chrissie and I can be as creative as we want full-time. I know it’s a long way to go, but you gotta start somewhere.
LJ: Going back to childhood, who or what were your biggest inspirations?
WB: My biggest inspiration was 70s anime - I’m talking obscure, 70’s anime like Future Boy Conan, and comic books. I grew up reading comics like Superman and James O’Barr’s The Crow. Watching a lot of television, growing up with a lot of pop culture - I came here as an immigrant, so that’s how I learnt about culture in general. I watched Perfect Strangers every afternoon - Balky, man I related to that motherf****r. I was Balky!
When I was in high school, I got into photography and I loved nudes, and bodyscapes… bodyscapes because it was like close-ups and weird lighting and angles - it’s like a little cross-section of the body that looks like something else when you’re far away, then you go ‘ahh’, that’s actually an elbow, or whatever.
LJ: What’s the first iconic image that just grabbed you when you were a kid?
WB: The Superman logo. I wanted to get it as a tattoo on my chest, but you’d have to wax it every day. No-one wants hair growing through the Superman logo.
LJ: What about iconic images in fashion?
WB: One image that always stuck in my head, that made me want to create the kind of fashion imagery that we’re doing now was the ‘Pervert’ campaign - there was a girl sitting on a chair wearing just a sweater, no bottoms, and there’s a kitten on her crotch - and the tagline was ‘Purr, purr… Pervert’. I had that up on my wall. [That campaign] was everywhere. I think I was like 15. I mean, it helped that I was hormonal and was like “yeah! Alright, that’s exactly what i’m feeling” - but as an image, it really stuck with me. That was definitely an iconic image.
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See more of Wassim’s work at his website:
Photographer @ XRay Doll
I spoke to XRay Doll’s photographer Chrissie Hall about aliens, going naked for Spencer Tunick, the future of XRay Doll – and the 15 heads hidden below us...
CH: I’ve got like 15 heads underneath where we’re sitting now. I didn’t want to leave them in my garage, so I brought them here. I brought a whole big bag yesterday, no-one saw me. And no-one will ever know that it’s a bag of heads.
LJ: Is that what you had in the boot of your car (the other day)? That’s so creepy, you had a bag of heads in the car…
CH: Yeah. I can’t wait to use them.
Chrissie Hall is obsessed with Doll Parts. Heads, eyeballs, and decomposing doll babies pop-up in her exhibitions, films and photography. Their presence is a recurring theme in her art, so it comes as no surprise that they worked their way into the name of her new (ad)venture, XRay Doll.
LJ: You’ve started the company with Waz (Wassim Bazzi), what are your backgrounds?
CH: Well my background is filmmaking, and Waz’s background is in graphic design. When I got back from the UK, I met up with Waz and we started working together doing a lot of shoots for submissions for magazines. And from there, it’s like, “we’re doing all this amazing work – why don’t we join forces?” So we did, and XRay Doll was born.
LJ: What inspired you to be a photographer?
CH: Through high school, we didn’t have photography, but my friends and I had this toy alien, Yidda, and we’d go round taking photos, documenting Yidda’s adventures on camera… Aliens are a massive inspiration.
LJ: What were some of your early influences?
CH: I loved David LaChapelle, and TV shows like The Head, The Maxx, Aeon Flux, Strangers With Candy… I was so into that show when I was young. And Ænima by Tool – the cover with the holographic eyeballs, how it moved… I absolutely loved that. I’m inspired by things that are colourful, interesting, dark. Dark yet colourful.
LJ: You’ve done a lot of shoots over the years – do you have a favourite place to shoot?
CH: My favourite place was in a dinosaur park in London, called Crystal Palace. It was so surreal, shooting by these massive dinosaur statues. I shot on infrared film, which makes all the greens red, and that was just so amazing. Get some coloured infrared film people!
LJ: You must have had some amazing experiences on shoots over the years…
CH: Actually, my favourite experience would have to be working with Spencer Tunick. I got to assist him on the shoot, and be in his installation as well. It was such an awesome experience. Because everyone was naked – you felt like everyone was all the same. It was just… really free. Fashion is a massive statement of who you are, and with everyone naked no-one knew what kind of stereotypical person they were…it was interesting because everyone was just, nothing.
LJ: So you’ve released a book and done quite a few exhibitions over the years; will this feature in the future of XRay Doll? Are there plans for exhibitions?
CH: We will have heaps of exhibitions! We want to do exhibitions and movies and short films. We want to make the whole XRay Doll experience really interactive, so it connects to different genres and people and ages throughout the world.
LJ: Speaking of future projects, I’ve heard you’re in the middle of shooting a new book with a model who appears on the website, Charly Brown. Can you tell us a little about it?
CH: Charly, she’s my muse! She’s XRay Doll’s muse. I can do anything I want with her creatively, and she loves getting into character. We’ve been shooting now for four years, and so I thought why not start collecting all our imagery and make a book together, and just make it really conceptual and artistic. With each page you dive straight into a story, whether it’s an alien abduction, exploring caves, shooting lasers from your head, whatever. Shooting for the book has been a lot of fun, so I think it’s going to be quite playful.
LJ: You’re obviously attracted to the weird – is your work about exploring the subconscious, or just a desire to do something different and challenge boundaries?
CH: With my work, I want to delve deeper into that subconscious or that dreamscape world…I just find it fascinating. Making images weird and pushing that boundary is a way of making everything interesting. And I really want to go further into that world. I got involved with XRay Doll to be really creative, and explore that element of my work, and push it further. Because I think people need to see interesting things now to get noticed. Not so much shocking, but creative. ‘Cause if you’re just shooting something that’s normal, no-one’s going to take notice.
See more of Chrissie’s work at:
All images © Chrissie Hall Photography