Dita Von Teese | Page 253 | the Fashion Spot

Dita Von Teese

I feel like it's a bit too much :unsure: I think it would have been the perfect amount of daring had she not shown her lower stomach..
 
Well, I also think she shouldn't have shown her belly, but generally I'm in love with this look.
I love the fact Dita has come back to heavier eye make up, and this opera gloves-just ooooh, pure femme fatale. :heart:
 
I love her last look. It's kind of gothic. It reminds me of when she was a little bit younger.
 
I love the draping on the top half, but the skirt below the belly makes its look cheap.
 
I don't like the dress itself, but she is still working it. Such a vamp.

Agree with Evve, loving the gothic make-up and gloves. I bought long leather gloves a couple of years ago but I've been to timid to wear them. Might try the look now.
 
she's wearing this JPG Fall 2002 HC
JeanPaulGaultierFall2002MavI6-iymnxl.jpg

stylebistro
 
I think she looks amazing in that dress.
(Not a fan of the color though.)
 
I saw her in SF on Tuesday and she was absolutely wonderful! I think my favorite out of all her acts was the Martini Glass but she looked just as stunning in real life as she does in pictures. It was an awesome night.
 
Spectrum, SFStation.com: Dita Von Teese Brings Strip Strip Hooray to The Fillmore
by Matt Crawford
May 16, 2012

After 20 years of modeling and performing, Dita Von Teese is the modern-day ambassador of all things burlesque in the U.S. and abroad, but until recently her live performances have not been seen outside of private high-end events and infrequent one-off engagements.

That changes with her new Strip Strip Hooray tour, featuring a 90-minute burlesque show at venues that traditionally host mid-size rock concerts. She brings the show to The Fillmore for two sold-out shows on May 21 and May 22 after kicking of the tour earlier this month in Los Angeles. We spoke with her about the show during a phone interview.


You just wrapped up the first two nights of the tour in L.A. How did it go?

It went great—two sold out shows with a wild ruckus audience. Everyone is really excited and it got really good reviews.

I read on your Twitter feed that a couple got caught having sex in the bathroom.

That’s right. During intermission right after I ride a mechanical bull, apparently a couple got ejected, which is not what I wanted. They got removed from the show due to venue policy, which is a shame. I think they should have gotten an award.

Is that a first for you?

I don’t get to see what’s going on in the shadows of the audience, but I’m sure it’s not the first time.

So, why do the tour now after 20 years of performing?

Dita Von Teese Strip Stip Hooray
// by Kaylin Idora Photography
Over the past 20 years, not only has my show evolved a lot, but the burlesque scene has evolved and the audience is a lot more vast than what it once was. Over the past seven or eight years, I’ve been doing so many private parties—from Louis Vuitton to the Cannes Film Festival. I’ve been doing a lot of shows in Europe and for the fashion crowd and the elite. I want the energy that comes from the real fans and people who buy tickets.

It must be a big difference between the crowd at a high-fashion event and a rock ’n’ roll venue like The Fillmore.

It’s cool to walk out and have Francis Ford Coppolla, George Lucas and Steven Spielberg sitting there staring me right in the face, but it’s totally different from people screaming wildly and seeing girls that are all dressed up to see me. They understand what burlesque is about. I’ve had to give lessons about burlesque at a lot of VIP shows.

Los Angeles has a big burlesque scene and SF has events every month…

I think San Francisco and New York are the biggest places in America for burlesque.

Have you connect much with the scene here?

I used to do a lot of shows with all the girls from Tease-O-Rama, so I have a lot of Friends up there. It’s one of my favorite cities to visit. I’ve taken a lot of time to just go there and have fun. It’s been awhile since I’ve performed for the public there.

Do you have any favorite spots to visit when you’re not working?

I like to hit my favorite vintage stores. I like this place called Torso Vintages. La Rosa is another place where I find great things. I love this jewelry story called Lang Antiques. When I came up there, I was sort of lost in that store for hours.

I always love to eat up there—going for good dim sum. There’s always something to do in San Francisco. For me, it’s always been a happy hunting ground for sharp-dressed men.

I’m sure our audience will be happy to hear that. Do you think burlesque has reached a new height in popularity?

I think so. In the past two years, it’s really reached a pinnacle point. Yes, everybody knows what this word “burlesque” is, but it’s getting to the point where it needs to be accurately shown. People get a little bit confused when they sit down to see a movie call Burlesque and there’s no burlesque or striptease in it. That movie kind of gave us a little setback.

Burlesque is not singing and feather boas. It’s adult entertainment and it always will be, despite peoples’ efforts to sanitize and capitalize on it. I’m just trying to stay true to the history of American striptease and burlesque. Why do we have to take away all the risqué parts to make it ok for people? I’m not interested in anything like that.

I read that somewhere that you think the song “Fever” should be banned from being associated with burlesque.

(Laughs) Yeah, there are a lot of burlesque clichés. “Big Spender” and “Fever” are the first songs that anyone who has the brilliant idea to try burlesque reaches for. It’s so much more than that.

The LGBT community has embraced burlesque. How has that impacted the genre? Do you take that into consideration when you are performing for a crowd that might be half gays and lesbians?

I think it’s the highest form of flattery to capture the attention of gays and lesbians, so of course, I’m thrilled with that. But, generally, I just keep doing what I’m doing and I hold myself to my own standards of perfection and what I think is sexy. The only way you can be sexy is to do what you think is sexy. You can’t think about what everybody else wants to see because then you look like someone who is trying to be sexy for somebody else. I’m super happy and flattered and I feel lucky that they come to my shows.

Let’s talk about your car collection. You have a few classics, right?

Right now I have three; I sold two others recently. I have a 1946 Ford convertible, a 1939 Packard and the car I drive the most is my 1953 Cadillac Fleetwood. It’s call Steel Xanax because every time I get in I’m totally calm and soothed.

There’s no shortage of press or opinions about you online. What do people most often get wrong?

I think the only thing that really bothers me is sometimes people don’t really understand that I’m not someone who just shows up and performs. I do a lot of stuff myself—I put rhinestones on the outfits, I paint and I produce a lot of this myself, which is not normal for a lot of people. I’ve got almost $500,000 invested in this show. It’s easy for people to dismiss me and say, “she’s just a stripper.” I’m fine with being called just a stripper, but there’s a lot of work, devotion and obsession that goes into doing what I do.


via pocketvenus.com
 
Dita Von Teese
Burlesque queen’s crowning achievement


Dita Von Teese
She is perhaps our leading lady when it comes to celebrating the female form in all its glory, and now Dita Von Teese heads the burlesque brigade with her full-length revue at House of Blues in Mandalay Bay, May 17-19. The buxom bombshell recently talked to Las Vegas Magazine, revealing the beauty behind one of the most stunning forms of art.

Q: Your new show sounds like it was tailor-made for Las Vegas. Tell us the highlights of Strip Strip Hooray.
A: Strip Strip Hooray is the name of my hourlong full-length revue. I am performing four of my most lavish acts with a cast of the crème de la crème of the international burlesque scene. We have the hilarious Murray Hill as our emcee and an amazing lineup of diverse burlesque performers, each of them revered in the neo-burlesque scene. This is the first time I’ve put all of my most loved numbers all in one revue, and I have personally invested over a million dollars into those four acts alone, so this is a chance to see what I’ve been working on for all these years, and what my show has evolved into, and to see burlesque on a grand level, up to par for Vegas! My acts for this show include my martini glass act that most people know me for, but it’s been reinvented for this tour with an all-new costume and martini glass prop, covered entirely in crystal. I also will do my Rhinestone Cowgirl act, based on the act I created for my role as MAC Cosmetics’ Viva Glam spokesperson. It’s funny and outrageous, and it brings the house down every time. A lot of my fans always wanted to see it, because it’s one of my biggest production numbers—so we worked hard to make it possible to present it in this show, which isn’t easy because it’s a real mechanical bull. (It) takes a lot of effort to stage it. I’m also doing my Opium Den act as a finale. It’s the most unique, cinematic and timeless act, and I am very proud of it; it’s my biggest production number. Each of my acts features extravagant costumes with over 100,000 Swarovski crystals each, custom-made Louboutin shoes and grand stage props. There’s nothing like it, even in Las Vegas.

Q: Where did the idea for a touring burlesque show come from?
A: I’ve been building and performing my acts for the better part of 20 years now, so basically the idea comes from my fans wanting to see me perform and my desire to try to build a full-length revue around my acts. The past several years, much of my performance time onstage has been in Europe at shows like The Crazy Horse Paris, and for VIP events, so I really wanted to have a chance to do a show for my real fans in America. This is the first time I have ever brought my full show to Las Vegas.

Q: Burlesque has seen somewhat of a resurgence in recent years thanks to the movie Burlesque and other high-profile placement. Why is it important to keep the art of burlesque in the spotlight?
A: It’s important for me mostly to make people understand what it is exactly, because I think it’s odd that even though burlesque was a huge part of American entertainment history, that it’s still considered taboo here. The term “burlesque” as we know it today comes from a type of risqué variety show in America that one would go to see in the 1930s and ’40s, and performing striptease—“stripping” is the word to describe what the burlesque performers did onstage. It’s not just my opinion; it’s a fact. Nowadays we use the word “burlesque” to describe this retro-styled striptease that is seeing a big revival. Without the strip, it’s not burlesque, that’s for certain, and the greatest burlesque star that ever lived, Gypsy Rose Lee, called herself a stripper. “Stripper” is not a bad word, and you aren’t going to hear me tell you that there is a difference between burlesque and stripping, because I think that’s awfully pretentious to go on and on about how burlesque isn’t really stripping… it is! Burlesque-style striptease is where the modern pole dancing-type strip originated from, and essentially, we’re all related. Initially, I worked in strip clubs, as did most of us that were at the forefront of the burlesque revival in the early 1990s—and, I’m not ashamed to say it, it’s all relative.

Q: There are those who have been critical of the art form over the years. How do you respond to that?
A: I’ve never had anyone that actually saw my show criticize it, really, that I know of! I think that once one sees what burlesque is all about, and sees who burlesque audiences are and understand what they get from seeing a show like this, there is very little to say against it. The detractors are usually people who know nothing about it, people that watch reality TV, or sit in front of the computer and badmouth just about anything they see. I’ve received rave reviews from the very best newspapers all over the world, fashion and news magazines, plus my fans are super chic, so I don’t really think much about people that don’t like what I do, because there is no real reason to bother with worrying about what a stranger thinks. You can be a juicy ripe peach, and there will still be people that don’t like peaches! I only care what people I admire and like think! I have a lot of prominent fans who do really great things that I admire, from novelists, philosophers to directors and fashion designers … Steven Spielberg brought his daughters to see me dance, Sophia Coppola hired me to perform for her father’s birthday in front of their family, Paulo Coelho is one of my biggest supporters and Jean Paul Gaultier never misses my shows in Paris. So, I don’t waste time fretting over what strangers on the Internet say, you know? A lot of women view it as an inspiration to see these shows, especially ones like Strip Strip Hooray, that have a diverse selection of performers. Many of the burlesque fans see it as a way to feel beautiful and sexy without feeling the need to fit into the typical modern day standards of beauty, where the emphasis seems to be on unattainable, natural, bikini-model, so-called healthy-looking, tanned, slim bodies. Burlesque embraces artifice, fantasy, diversity, and it’s an image that can be emulated by anyone who puts their mind to it, really. It’s about sensual freedom, and the enjoyment of sex and fun of a playful nature! Seduction and feminine prowess! And I would say that the men, for the most part, are enjoying the benefits of this … But when I first started out, I think I had more male fans—many told me they had sneaked into burlesque theaters as kids. I think that back then, the emphasis was more on titillation for a predominantly male audience, but I think it’s also quite interesting that it was more acceptable back then in many ways than it is now in the United States. I perform a lot more often in Europe, and there is an entirely different attitude toward burlesque as art, whereas in the U.S., sadly, most people don’t know the rich history of burlesque in America, where it was truly invented and perfected. Americans have taken steps backwards with regard to sex and nudity, and that’s a shame. But really, now the audience for burlesque is diverse; you have people from all walks of life, all ages. I do say it’s a great place to meet girls like me … we definitely have a vast number of women in the audience wearing red lipstick and garter belts!

Q: Do you feel as if Las Vegas has embraced burlesque or does it still have a way to go?
A: I think it has a bit of a way to go, because many of the burlesque-themed shows and clubs in Vegas are commercialized and sanitized for audiences, and me, I’ve been trying to stay true to burlesque’s risqué nature, just as the great stars of burlesque did that came before me. I want to change people’s minds about what it is to be a stripper, the same way Gypsy Rose Lee and Lili St. Cyr did. I have no interest in candy-coating the history of burlesque for mass appeal. I want to bring them something they can’t see anywhere else, and stay true to what I set out to do 20 years ago when I first wanted to create a new stylized version of a classic burlesque show. I hope that people will see this show and have a better understanding of what burlesque was and will also see how it has evolved for this new audience, which is mainly comprised of sophisticated people from all walks of life that enjoy sensuality, glamour and fun all in one show. I like the idea of changing people’s minds about striptease. I find something very powerful and interesting in the confusion of elements—sensuality, elegance, playfulness, vulgarity, high fashion, sex, humor. I enjoy the challenge of making something taboo something chic. Strip Strip Hooray is a great example of the real neo-burlesque, with the brightest stars in the business.

Q: If you weren’t a burlesque superstar, what do you think you’d be doing professionally?
A: I would probably be a stylist of some kind; I’m good at creating glamour!
via pocketvenus.com
 
LA Weekly (USA) May 4-10, 2012
Photography by Star Foreman
Written by Gendy Alimurung

via pocketvenus.com
 
Intelligent Collector (USA) Spring, 2012
Photography by Axel Koester
Interview by Hector Cantú

These are captures from the digital version of Intelligent Collector magazine. The second image (Dita and Eva) is the large pull out poster which comes with the hard copy. Marilyn Monroe is on the other side.

I love this article, especially the following excerpt. It made me laugh because it could be describing my own Mother:


“My mother used to collect antques. She loved buying vintage furniture and stripping it and re-doing it herself. So we were always looking at antiques, vintage furniture, going to garage sales.”

via pocketvenus.com
 

Users who are viewing this thread

New Posts

Forum Statistics

Threads
215,710
Messages
15,312,819
Members
89,726
Latest member
evabanana
Back
Top