In a recent post, I described how many burlesque performers collaborate very closely with designers, and named corsetier Garo Sparo as one of our favorite collaborators. Happily, Garo consented to an interview and allowed me the honor of taking some photos in his studio while he fit me for the “Parade of Muses” in his Sparkle and Cinch Fashion Show coming up on February 6.
In a recent post, I described how many burlesque performers collaborate very closely with designers, and named corsetier Garo Sparo as one of our favorite collaborators. Happily, Garo consented to an interview and allowed me the honor of taking some photos in his studio while he fit me for the “Parade of Muses” in his Sparkle and Cinch Fashion Show coming up on February 6.
Can you give me a little history about Garo Sparo? How did you begin designing? What do you like most about it?
I grew up around design. My grandparents were experts in bead-work and lace making. We always had sewing machines in the house while I was growing up. I began learning clothing construction from a Native American costume designer in Long Island when I was 11, which led to designing my first dress at 14. My teenage years were spent making hats that were sold in local shops and night clubs and making clothes for myself and friends. I think what I enjoy most about designing is that it allows me to make a living doing something I love, and I constantly get to work with inspiring and talented people.
Photos on the wall in Garo’s Studio.
You’re in the East Village where so much of the current burlesque scene exists or originated. How is the East Village scene for you?
The East Village is an amazing place, I live and work here and I would not want to be anywhere else. I think it is the only place in Manhattan where I could really feel inspired. There is always a strong gathering of colorful and creative people here to work with.
How did you become involved with burlesque costuming?
It began with working with * BOB * in the nineties. I always loved doing costuming, especially that which is functional and involves layering and mechanics, which burlesque often does. It also made sense that I would do burlesque work because corsetry is one of my specialties.
Tell me about your relationships with two or three of your burlesque clients.
Bambi: I love working with Bambi because her costumes are always transformations of her own personality into some kind of creature; a character that represents who she is by being totally off the wall and quirky but still beautiful and elegant. Her personality is embedded in the outfit and the costume is used to portray it.
Bunny Love: The purpose of Bunny Love’s costumes is, and the reason I love working with her, is that they are created to abstract her true motivation. I once heard * BOB * describer her as “a playboy bunny with rabies,” which is absolutely true. We always design things that are very sweet and girly, super feminine and even prim and proper. It is always to counter the truly subversive and bizarre nature of her acts.
* BOB *: * BOB *’s personality is framed by her costumes. She is not necessarily transformed into another character, but they serve to honor and present her own beauty and character and represent her distinctive taste and aesthetic.
How involved in the process of designing the costume or act do you become?
I become very involved in the creation of the entire piece. I discuss with the performer what will happen in the act. I then break it down so that the costume completely works with the choreography, and allows everything that will take place to happen in the smoothest, most beautiful manner possible.
As a costumer and performer I often find that the costume dictates the choreography, or the other way around. Do you find yourself getting involved in the acts? Do you go to see them after you make the costumes?
I always dissect the whole act so that everything will happen in a gorgeous succession. I design the costume, but also work with the performer on the choreography so that everything works together as a whole. Usually the performers that work with me perform acts that are particularly “costume –centric,” so the outfit and choreography go hand in hand. I am always busy but I do try to see my clients perform when I can.
What has been your most challenging experience with creating a burlesque costume? Your most satisfying? Your favorite costume?
I think the most challenging outfit to date was probably Bunny Love’s pink cake. It has to go from being a 5’8 tall cake to falling onto ground into a pile of ruffles in a matter of seconds. This was definitely quite a challenge mechanically.
It’s hard for me to choose favorites but one costume that was very satisfying was Bambi’s shrimp costume. It was very complete and extremely layered. It included something like over 10 elements of accessories and layers, and to top it off she had a lemon wedge that squeezed glitter juice all over her body! All the coordinating elements that created a beautiful whole made it very satisfying to design and create.
Another one of my favorites was Bambi’s blacklight snail costume. I love it so much because she actually could get inside of it. It was beautiful on its own or under blacklight. It was extremely visually pleasing and also very layered and complex.
A sketch in Garo’s studio.
What’s next for the fabulous Garo Sparo?
I am doing a fashion show in February 2008 that I am very excited about. I will be showcasing my recent work and many of my burlesque and drag clients will be present to show off things I have made for them. I am very happy in my career at this point and am working to keep doing what I’m doing but on a larger scale. I want to continue to do couture, and costuming for film, events, burlesque and all types of performance. I love doing all of these things and I want to keep growing and expanding.
More photos from Garo’s studio
Garo’s Website
-Jo Weldon
Jo Weldon is Headmistress of the award-winning New York School of Burlesque and is a regular burlesque performer. Visit burlesquedaily.blogspot.com to read her daily blog.