Kool Kat of the Week: David Richardson, a.k.a. “Baby Doll Schultz,” Glams and Hams it up with Chris Buxbaum during Their “Schizophrenic Photogenic” Opening Party at Luckie Street Gallery!

Posted on: Jun 25th, 2014 By:

by Melanie Crew
Managing Editor/
Contributing Writer

Get dolled up in your sleaziest glam get-ups because David Richardson, a.k.a. “Baby Doll Schultz” and Kool Kat Chris (Beat) Buxbaum [December 2012; see ATLRetro’s Kool Kat feature on Chris Buxbaum, here] have a phantasmagoric ballyhoo of sizzlin’ sights, sounds and tastes awaiting your deviant little hearts at their “Schizophrenic Photogenic” opening event invading Luckie Street Gallary this Saturday, June 28, from 7 to 11 pm! So, get scandalous and strut your stuff down to the Luckie Street Gallary for a night of mischief and mayhem!

David has been rockin’ the glammed up club scene since the early ‘80s, donning provocative style and inventive transformative creations, birthing the evolution of his stage persona, “Baby Doll Schultz”!  In the late ‘80s to mid ‘90s, he was a member of Elaganza, a comedic drag troupe that performed at Atlanta hot spots: the White Dot, Blake’s, Backstreet, the Metro and various other clubs that have since closed. He’s performed with ATLRetro’s sci-fi vaudeville Burly-Q faves, Blast-Off Burlesque, was a member of The Anatomy Theatre, a band that combined electronica with performance art and even had the opportunity to portray his idol, Divine during performances at The Plaza Theatre’s screenings of John WatersFEMALE TROUBLE (1974) and PINK FLAMINGOS (1972)!

ATLRetro caught up with David for a quick interview about his love of dramatic costuming, his stimulating past performances, his love of John Waters and his upcoming rockin’ art show, “Schizophrenic Photogenic,” with Chris Buxbaum . And while you’re gettin’ voyeuristic with our little Q&A with David, experience Baby Doll Schultz in action with his former drag comedy troupe, Eleganza at the Metro, performing a parody of Tammy Faye Bakker, here.

ATLRetro: Your taste for the glamorous drag scene erupted in the early ’80s when you began getting dolled up while clubbing and performing at some infamous ATL hot spots, such as the White Dot, Blake’s, Backstreet and the Metro. What drew you to this energetic sub-culture of erotic and phantasmal proportions?

David Richardson: The fantasy and possibility that is inherent in nightlife has always had a lot of appeal for me. You can be anything or anyone you wish to be, if only for one night. You’re not required to be real or politically correct or anything. You can be a different person every night if that is your desire. The donning of makeup and dramatic attire is freeing in the sense that it allows one to play a character and inhibitions are lowered, thus allowing you to be more yourself and more the way you would like yourself to be.

Having rocked the glam club scene of the early ’80s to the ’90s, would you say the scene has changed? Any nostalgia for the old days? What would you say has improved?

The scene is definitely different now. There aren’t as many large clubs and 24-hour clubs are extinct. The average club-goer doesn’t put as much effort into their look now as back then, when everyone seemingly strived to be a fashion plate. That’s not to say it isn’t vibrant and fun today, because it is! The thing I miss most about the old days is the music; maybe because it was all new to me, but I prefer older music. Somehow it seems more meaningful. What I really dig about clubbing now is the young drag queens. They are really great. The makeup is more extreme, the looks are more fashion forward and they seem totally prepared when they hit the stage. I can’t tell you how many times I stumbled onto a stage, not knowing the words to my song and not having worked out a routine of any kind. Luckily my improvisational skills and the spontaneity of the moment saved me on more than one occasion!

You’ve shared the stage with our sci-fi punk vaudeville pals, Blast-Off Burlesque.  What was your favorite performance with them, and why?

My favorite was when we performed BARBARELLA (1968) at Dragon Con 2013 in the Glamour Geek Revue [See performance here]. It was my first time at Dragon Con and I loved it! There was such a sense of wonder and joy at Dragon Con; the dedication to costuming and achieving perfection in a look was completely evident. I got to play the “Great Tyrant”, complete with a golden unicorn horn. I made the costume for that show, which was covered with hundreds of hand-sewn feathers and took a full month to make. I am very proud of that look! I have loved every performance with Blast-Off Burlesque, but our show at Dragon Con 2013 was extra special!

Can you tell our readers a little about your glory days as a drag performer with the troupe, Eleganza?

We (Eleganza) lampooned the ‘70s and ‘80s, with our best shows being thematic. For example, we had a “Fashionquake,” where each member made a mini-collection with two models sporting fashions made of trash and disposable materials. All of our fabulous fashions were destroyed in the finale when an “earthquake” hit the club. We also had a STAR WARS night where all of the numbers were of a sci-fi nature. That night culminated in me wrestling a heckler, who was a collaborating performer planted in the audience, in a kiddie pool full of pork and beans, no less. We also had “The Joey Heatherton Bleach Marathon”, a new-wave night, a show that was a homage to the LOVE BOAT and our “Beautify America” night, where we did makeovers on audience members who we then attacked with cans of shaving cream. The troupe even created a feature length video, directed by David A. Moore, called HAVE YOU SEEN KRYSTLE LITE?, which premiered at Backstreet. The other members of Eleganza were Trina Saxxon, Clive Jackson, Superchic, Krystle Lite, Lurleen and Judy La Grange. We even had Lady Bunny as a special guest one night. Our performances were all pretty irreverent and unpolished, but we had a blast and did it with enthusiasm.

What can you tell our readers about your ’90s band, “The Anatomy Theatre”? And your rock opera play, “The Asylum” that you’d perform at the Masquerade?

The Anatomy Theatre was the brain child of my friend Myron, blending electronic music with performance-art theater. “The Asylum was an electronic rock opera of sorts set in an insane asylum. Myron was “Dr. Boris” and another friend, Carla, was “Nurse Needles”. They cured the patients by killing them. I played “Harold”, a psychosexual. My cure was electro shock therapy in an electric chair. Stacy, another friend, got a lobotomy with a power drill in the show while our friend Scott was given a scalpel to eviscerate himself. It was replete with gore and black humor. We performed the play three times at the Masquerade. Myron released two self-produced cassettes and performed numerous times, even opening for The Legendary Pink Dots and Frontline Assembly.

You’ve stated that you had the opportunity to play your favorite idol, “Divine”, on a few occasions during The Plaza’s screenings of FEMALE TROUBLE and PINK FLAMINGOS. What about her do you admire? Are there other drag queens you’d like to impersonate?

When I was a kid, I remember reading a review of PINK FLAMINGOS (1972) in the newspaper and it really fascinated me. I didn’t get to see the film until a decade later, on home video, and it got me hooked on John Waters and Divine. What inspires me most about Divine is the absolute fearlessness and ferocity she projected. She also showed me that big girls don’t have to hide in the shadows but can shake it up there with the best of them. I was really honored to play “Dawn Davenport” and “Babs Johnson” with Blast-Off Burlesque. It would be fun to impersonate Lady Bunny because her look is so iconic and recognizable.

You stated that in the late ’90s you withdrew from the rowdy nightlife and became ‘domesticated’.  It seems you’re back, and better than ever! What was the catalyst that drew you back into the fabulously raucous flame of female impersonation?

(It was a) Midlife crisis, I guess. I was wondering if my best years were behind me and decided not to withdraw quietly into seclusion. I returned to my passion, dressing up. I believe that my looks now are more accomplished and thoughtful, and I find inspiration everywhere. I even dream of outfits and concepts to hybridize into my collection of characters.

How did you and Chris (Beat) Buxbaum meet? You two seem to have a vibrant artistic relationship; one that screams out in the wicked art you two create. How did you become Chris’ saucy and sinister subject?

I met Chris Buxbaum back in the late 1980s. We had a ton of mutual friends. We didn’t actually start working together until about three years ago when he was photographing the fabulous performers of “Sukeban, a very creative group of individuals performing at My Sisters Room in East Atlanta Village [FENUXE, November 2010]. His photographs at “Sukeban eventually became his “Transformers show. From there, he approached me with the “Schizophrenic Photogenic project and naturally, I was intrigued. It doesn’t hurt that I’m a big old camera hog and a ham! It all seemed so natural and easy.

I also participated in a MODA (Museum of Design Atlanta) event with Chris and Kool Kat Caryn Grossman titled, “The South’s Next Wave: Design Challenge” [December 2012; see ATLRetro’s Kool Kat feature on Chris Buxbaum and Caryn Grossman, here]. During this event, an interior designer was paired with an object-maker and given a color theme to produce a vignette installation. They (Chris and Caryn) were paired with a fabulous cake-maker and given the color blue. The vignette was inspired by Marie Antoinette in a futuristic rococo boudoir setting. Our team went on to win the challenge, which was decided by patron’s votes for their favorite vignette.

What can our readers expect when they come to ‘Schizophrenic Photogenic’ at the LUCKIE STREET GALLERY?

A Happening! A Warhol Factory-style event is the goal of our opening. I’m very pleased and proud of what we have accomplished. The photos are stunning and hopefully each character depicted tells a story. We are encouraging patrons to attend decked out in the most extreme glamour-sleaze looks they can get their hands on. The best look will win a prize!

Do you have anything special planned for ‘Schizophrenic Photogenic’? A little rockin’ hell-raising and deviant shenanigans, maybe? Give our readers a little taste of what mischief and mahhh-velous mayhem they may find themselves mixed up in!

I will be getting into face for the bulk of the opening at a pink satin vanity, adding and layering more and more until my face is completely covered. I plan to be a cross between Liz Taylor in the film BOOM (1968) and Incan Princess Yma Sumac. A silent film, LA BOITE DE BIJOUTERIE, shot by Milford Earl Thomas, will be playing on loop for the duration of the night. There will also be live music performed by Weary Heads, featuring Chris’ son Henry Buxbaum on vocals and bass along with his band mate Andrew Boehnlein. Usually a very feedback noisy band, they are doing a special unplugged set that may include some glamorous and sexy covers. Drinks will be provided by Jennifer Betowt and Deep Eddy Vodka will be featuring four different flavored vodka cocktails!

What’s next for Baby Doll Schultz?

I fully expect the world to entertain me with experiences not yet anticipated! Foregoing such, I will create my own experiences, continuing to explore the magic of transformational costuming. There are many upcoming events which I will attend in order to support the creative efforts of others, but, as of now (for me) I am in the hands of vagabond winds and will set sail to whatever destination they take me.

What question do you wish somebody would ask you? And what’s the answer?

I wish someone would ask, “Are you bringing Disco back?” to which I would reply, “I’m bringing sexy back!”, but really, just kidding (I am bringing Disco back)! But seriously, to answer the question, I wish someone would ask me if I enjoy what I do. Too often I get asked where my ideas come from and how I come up with what I do. The answer is innate to who I am, so my looks and outfits come out of my experiences and what I want to portray. And the answer to whether if I enjoy what I do is a resounding, “Yes, yes, yes!”

Can you tell folks something about you that they don’t know already?

I am a big time movie buff; my favorites are the Italian Giallos of the ‘60s and ‘70s. Anything by Dario Argento of course, and there are also some wonderful offerings from Mario Bava. Any of the Giallos starring Edwige Fenech are stand outs for me!

All photos courtesy of Chris Buxbaum and used with permission.

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Kool Kats of the Week: A Romance by Design: Artists Caryn Grossman and Chris Buxbaum Collaborate in Life and at MODA

Posted on: Dec 7th, 2012 By:

Chris Buxbaum and Caryn Grossman.

By Torchy Taboo
Contributing Writer

Have you ever known two people from utterly separate times and places in your life, and then one day you learn that your worlds collided and they have become a couple, and it’s one of those rare “aha” moments? It happened right before my eyes. Caryn Grossman and Chris Buxbaum are two wonderfully creative and fascinating people. Then suddenly BANG! They are collaborating on an installation as part of “The South’s Next Wave: Design Challenge” at the Museum of Design Atlanta (MODA). The special exhibit  began November 11, 2012 and runs though March 31, 2013

The sum of Caryn’s and Chris’ creative energy is formidable, making them the perfect candidates for Kool Kats of the Week. So I took the opportunity to chat with them about their dynamic cross-pollination

Torchy Taboo/ATLRetro: Chris, when I first met you, you were a DJ with an amazing record collection and a lifelong David Bowie fan. Is there a fave Bowie period? How have his styles influenced you creatively?

Chris: If pushed, I would say my favorite period was the “Berlin Era” (Low/Heroes/The Idiot/Lust for Life) – all that angst and faded glamor. Other than the “lost decade” (most of the ’80s), I love all Bowie’s work. The fact that it varies wildly in sound and vision is what attracts me to it. And never sticking to one look or genre – borrowing like a magpie from a wild variety of sources, both high and low art, is the most important thing I took away from it.

I see Glam-rock influences in the MODA installation….

Chris: Everything I did as a young fashionista in London (glam/early punk/ club kid/fetish pioneer) informs what I do now – an obsession with androgyny and fluid identity being the main thing that carried into this project. The photos in the installation, from a yearlong collaboration with supermodel David Richardson, are actually from another project that is nearing completion called “Schizophrenic Photogenic.” We are in talks with some galleries with a view to presenting these early next year.

You’ve both been shop keepers and lived the retail life. Thoughts on that?

Caryn: I think we both really miss it – I know I do. There’s something about the hunt for a fantastic mix of things, and then watching and interacting as people come through. We’re about to open a little retail space in Paris on Ponce, and I can easily see it growing into something more.

Chris: What I learned from being a shopkeeper is that while I am very good at creating a “look” and an atmosphere, I am no business man.

Chris and Caryn's installation "Darkly Deeply Beautifully Blue" at MODA's South's Next Wave exhibition.

Chris, when did photography become part of your picture?

Chris: I have always carried a camera since i was a teen, but originally just to document what I was doing. It stemmed from having such a bad memory – just so I could remember where I had been. I only started getting “arty” about it when I had my Gallery “Boho Luxe.” The advent of digital really freed me up to experiment and learn -not so much for the ease of manipulation, but because you could now afford to make lots of mistakes and learn by trial and error, which is the only way for me. I don’t think I have ever read an instruction manual in my life. Meeting Caryn was the final ingredient. She pushes me to achieve and then is wonderful in helping me collate and publicize the work. She really is the magical final ingredient.

Caryn, tell us a little about how cross-pollinating your fantastic interior design skills with Chris’s photography. Talk to me about the mixing of your styles.

Caryn: On a job, there’s actually this wonderful synergistic flow; we both have an eye for color, shape and form, so the projects we do for our clients come together really easily – and beautifully. As far as a personal style, I love a sense of irony in design, a surprise tucked around a corner. It’s really evident in the MODA installation, and pretty much the same here at home.

My space is always a reflection of how I feel, and when I met Chris I was in a very melancholy, introspective kind of place. The loft I was living and working in really reflected that – lots of soft tones and heavy drapes to envelop me. Some things were overly lush, others were worn by time, but overall the space had a very soothing vibe, which was exactly what I needed it to be. I’d had a number of artists come through, so there was a lot of graffiti on the walls, so I think the sense of color and joy was there, it was just tucked away a bit more.

When Chris and I moved into our first loft together, the space was quite a bit smaller, and things had to condense. All of a sudden the graffiti wall was center-stage and Chris’ leopard bar was kind of integral to the mix. We still have a pretty soft surround, with the heavy drapes, but the space is much livelier, much more colorful, and much more in keeping with the boldness of Chris’ photos. I love it – it’s a happy space, really filled with a lot of laughter and love.

Caryn and David Richardson at MODA's opening night party.

I know that you are both versed in the organizing of unique events. It’s apparent that projects like this huge MODA event are second nature for you as a couple.

Chris: Before I discovered photography as an art form, I would say that putting together events, club nights, parties was my only talent – it’s like cooking – you have to have the right balance of ingredients and a pinch of magic. Caryn moved in very different circles from me, and she has a knack for publicity and finessing the right people. She can really write, and she has the education, technical skills and connections to make crazy ideas become reality. “Darkly Deeply Beautifully Blue” was a true collaboration in every sense of the word. We worked shoulder to shoulder for five months to make that happen. Then we called in all our amazingly talented friends to make it real:  Milford Earl Thomas to make the film, Timo Evon and James Hoback for their artisan skills.

Caryn: I’ve always believed a collaborative process is the best, so even when I was working alone I always had other artists in and out of the space. Sometimes we shared the space and produced events together, sometimes it was just me inviting an artist in to show or play. It always brought me joy, and I loved seeing the creative process of others. It’s what makes my own work thrive, so producing events just came naturally. For a number of years I did it quarterly, opening my space up for all kinds of works, and all kinds of people, and I know my own creativity grew exponentially.

Happy Blue Family Chris Buxbaum, Caryn Grossman and Henry Jack Buxbaum!

What exactly is the MODA event?

Caryn: The exhibit, called “The South’s Next Wave,” is actually a design contest:  each design group chose or was assigned a color (ours was blue) and then assigned an object.  Ours was cake.  The only directive the curators gave was to design a monochromatic setting for the object. I envisioned ours as a room.

I thought it’d be great for Chris and I to do the space together. Chris had the idea to have a silent film made so that the “set” would remain animated after the opening. The film was shot on black and white 8 mm with a handheld camera and then tinted blue, frame by frame.

There were actually three openings: one for the press, one black-tie for wealthy patrons, and then the grand opening night.  The first two were so serious we decided to go all out on the third night and have David in the space as Marie Antoinette.  People loved it – they went nuts!  The event was sold out.

And how did you get involved?

Caryn: Sixteen designers from across the Southeast were chosen by the curators, Tim Hobby and David Goodrowe of a firm called Goodrowe/Hobby.  They had put out a call for entries for the object designers, so I approached Tim Hobby and asked him how the set designers were going to be chosen. I knew Tim from some design work we had done together years ago. He said the designers were going to be individually selected based on innovative style and merit – I presented him with some of my more recent work, and we were in.

David Bowie and a young Chris Buxbaum.

Give us more of the juicy details and logistics about the MODA installation.

Caryn: Creating the space for MODA was an amazing process. I had a vision of something over-the-top, kind of an ironic play on Marie Antoinette, and Chris’ photos were just a natural fit. Glam, punk, drag and my vision for design all came together almost seamlessly. Chris’ work and aesthetic was the perfect irony and surprise I was looking for, and the rest of the project kind of rolled on from there. I’ll let Chris tell most of this one, as once the vision came together, he really took it that step further by assembling this amazing team that ultimately included a filmmaker, drag performer, artistic finisher, Chris’ photos of course, and some pretty over-the-top furnishings and these unbelievable cakes by a company called Couture Cakes Inc. The museum crowd went nuts over it, especially the second opening night, which was the night we had our own Marie Antoinette – all seven-plus feet of him in platform heels, in the space.

I guess MODA is the perfect example of how our styles mix, and how we work together. I’m hoping it’s the start of a lot of great things.

Chris: “Darkly Deeply Beautifully Blue” came together really organically. We went with blue because we were in the middle of a big project for CG CreativeInteriors [Caryn’s interior design firm]. When we have a project, we cover the walls of the loft in paint chips, fabric samples, inspiring pictures, etc, so we literally have to look at it all day. Since we were loving the colors we had chosen for this residential project, we decided to pull them over into the MODA one. We decided to use my pics of David Richardson to pull it out of being just decorative and give it an edge (and also to get them a wider audience). When we learned that our featured product was to be high-end designer cakes, the Marie Antoinette theme seemed the obvious way to go. Caryn worked tirelessly to find fantastic furniture and architectural products – the floor alone took almost a month to sort out [and] our first two ideas (mirrorball tiles/glitter wall paper) would not come together. In the end she sourced 40,000 silver rose petals. We drained six whole wedding stores of their supplies.

Tell me more about your crew selection and how they fit together.

Chris: The final thing that helped separate us from the pack was having David in the vignette live on opening night. It’s hard to ignore seven-and-a-half feet of drag queen with a Marie Antoinette wig and a birdcage on her head. And the cake maker, Lisa Humphreys, of Couture Cakes Inc.,  did an amazing job – even those shoes are cake.

We were also very honored to have Milford Earl Thomas (CLAIRE: A SILENT MOVIE) make a short film for us also featuring David. It turned out so beautifully and was designed to hold the viewers’ attention when David himself was not in the installation. I would love to work with him again in the future.

Caryn Grossman.

Share your vision of the future five or 10 years from now.

Chris: Vision for the future: an April wedding on the rooftop of the Telephone Factory, a solo gallery show for “Schizophrenic Photogenic” early 2013;  a group show with Rose Riot at Cherrylion and, last but not least, to grow CG Creative into a flourishing modern design firm.

Caryn: Wow. I have no idea, expect I know it will include the two of us, and some amazing intriguing happenings going on. I can easily see what we created at MODA taking on a life of its own. Whatever it is, and wherever we’ll be, I’m sure it will be fascinating – and happy.

Visitors to MODA get to vote on their favorite vignette and object. Chris and Caryn’s installation, “Darkly Deeply Beautifully Blue” is #6. The voting ends February 15.  Each vignette is set up with the Skovr app, so that viewers can access facts and video about the designers while in the galleries or from home.  More info on the museum hours, etc., can be found at www.museumofdesign.org.

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Kool Kat of the Week: Nicolette Valdespino Fashions a “Bohemian Playground” at Paris on Ponce

Posted on: Jul 11th, 2012 By:

Nicolette Valdespino

By Torchy Taboo
Contributing Writer

A visit to Paris on Ponce always feels like stepping into New Orleans or indeed – Paris – in the middle of Midtown Atlanta. I adore its historical, yet timeless French aesthetic. The unique antique shop will be celebrating that French flavor with their first annual free Bastille Day Festival, Saturday, July 14 from 11 a.m. to 4:30 p.m. and Sunday, July 15 from 11 a.m. to 9 p.m. Sunday evening from 6-9 is the Party Fantastique with Baton Bob, Minette Manifique burlesque, magician Chad Sanborn, All Hands Productions puppetering and film premieres from Escobar Productions.

In the early 21st century I dreamed of having my own event there. However, the owners at that time shied away from getting into the complexities of running and renting a true event space and only did so sporadically. The year 2011 saw a change, however, with new owners, a new manager named Nicolette Valdespino and a fresh new take on sharing the space with the public.

Le Maison Rouge is the 4,200 square foot event space that is over-the-top Moulin Rouge-themed within the heart of the store….In this last year, we have hosted two public auctions, participated in ‘The Next Cool Event,’ hosted the Atlanta Film Festival, made a film, been named the ‘Best Antique Store in ATL’ by Jezebel Magazine, and now we are kicking off a whole flush of new remodels with the Bastille Day Festival,” bubbled Nicolette. In a way chatting with her is like a conversation with the evolving space itself. Meaning of course, that ATLRetro could not resist making her Kool Kat of the Week.

ATLRetro: My first visit to PoP was to perform at an event in 2002. I walked in the front and was enchanted, but had to ask, “Why are we performing at an antique store?” Tell us how you first came there.

Nicolette: [While] shopping for a couch I walked into Paris on Ponce for the first time. I had my own interior design business [in Portland, OR] for eight years and then decided one day that it was time to try to be a East Coast girl. So I packed up the pug and drove across country in search of design adventures. When I walked into the shop in April 2011, I met Skip [Engelbrecht] and Dennis [Baker] [the new owners] and immediately recognized and respected their vision for the new Paris on Ponce. They had worked for the previous owners, George and Judi, for 11 and eight years respectively and had just bought the business weeks before.

Tell us a story about yourself as a budding designer. Did you rearrange your mother’s furniture and redecorate your bedroom seasonally?

Well, I was always described as a “busy child” and was constantly trying to build/sew/create something. At about four to five years old, my mother began hauling home large boxes from the San Francisco Children’s Hospital where she was a nurse, and I would build go-carts, furniture and once a sink complete with plastic bags of water and turn screws for faucets. Hard lesson there – water + cardboard = Not as much fun as you’d think.

I think the first interior design project that I really did was when I was seven – I wanted a canopy bed. My mother nixed that so I just took down my curtains and rods and staple-gunned them to the ceiling around my bed. Done.

You’re from Portland. What experiences there shaped your creative vision?

Portland is very DIY, very vintage, re-purposed, locally made and handcrafted – which is why I moved there in the first place. There is an easy sense of community that involves musicians, artists and philanthropy. But after 11 years, I had created what I needed to there in the arts/music/design/fund-raising scene.

What is the arts scene like  in Atlanta compared to Portland?

Frankly, the art scene [here] is just like Atlanta [itself]: bigger, bolder and from many more perspectives and mediums. It tends to be a louder and more high-minded scene and gets the attention it deserves.

Nicolette Valdespino with Paris on Ponce co-owner Skip Englebrecht.

What drew you toward Atlanta and were there other cities that you considered moving to?

I was actually plotting my new life in New Orleans when I got sidetracked to Atlanta by a girlfriend who lives here, suggesting that the original California kid might want to put her toe in the water in a large Southern city before I went “deep south” as she called it. The sense of history, craftsmanship and ornamentation that is on the streets, in the air, in the architecture and the culture on the East Coast as opposed to the West eases my soul and inspires me. I don’t know that I’ll have children in this lifetime, and when you start thinking that way, you start wondering who exactly is going to remember you. That leads me to start thinking about all of the hands and stories that created these cities and furnishings that were interesting, emotional and forgotten. By re-purposing, valuing, and preserving these artifacts, I feel more involved with those lives and more a part of humanity in general. Perhaps someday I will be distantly remembered for my interpretations as well.

What historical era of design is your personal favorite?

I should have been born in the 1930s. While I am delighted and really enjoy modern shapes and styles of clothing and furnishings, my personal aesthetic is and always has been a sort of twist on 1940s couture. My father used to refer to pocket money as “hat money” because that is exactly what I would spend my jingle on as a child. I love toppers, circle skirts and pin-up styles. They just feel the most natural to me. Feminine, timeless, and they seem to make people happy. My personal style in decor is greatly influenced by all of the traveling I did as a young person with my French grandmother. If it’s gilded, baroque, velvet, marbleized and slightly decaying, I’ll immediately start to squeal.

How does this inform you as a professional designer?

When I design someone else’s space, it has nothing to do with what I personally like. It is all about the interpretation of that person’s background, personality and resources. Style doesn’t have anything to do with expense as well. Often times, revamping what a client has and custom, locally crafted pieces are much less expensive than just purchasing ready-made items. Plus, you are fostering money within your community and really customizing a space towards the haven that everyone deserves to call home.

In what ways have you influenced the “new PoP”? In other words, when I walk into the venue, where will I see your fingerprint?

Skip, Dennis and I are most certainly a team when it comes to the direction of Paris on Ponce and PoP Marche. I will say though, that I am ridiculously focused on making sure that not only does our new “PoP Marche” have something for everyone, but that the individual booths are very specific to a given lifestyle. I want them to be little complete worlds unto themselves. I want PoP Marche to be startling. From space to space, you are jarred into a whole different vision. Eventually I would like a book store, a toy store, a cafe, a prop studio, an in-house upholstery shop, a gallery for local artists, even a barbershop would be fun. Come, play, experience, purchase, participate and enjoy yourself, and know that the next time you walk in, you will see whole new installations.

What event has been the most fun and exciting for you at PoP?

When we made the giant paper Marie Antoinette for “The Next Cool Event” that was a great crafting project, and the way it was received as compared to other businesses very expensive displays was really satisfying. Our aim was to show that we could make the most ordinary of mediums be extraordinary. Clever beats a dollar bill every time.

Truthfully, though, I’m most excited about the upcoming Bastille Day Festival. I’ve thrown a lot of parties, weddings and charity events before, but never a festival, and never for a guest count that I can’t even imagine. The idea of making it an annual festival is really thrilling, too. Cementing Paris on Ponce in the community as a bohemian playground for artists, writers, performers and dreamers feels like not only is it attainable, but just over the horizon.

If you hadn’t become an Interior Decorator, what might have you done?

I think that it is compulsive for me to create and interpret. Everything. I’ve been sewing and creating my own wardrobe since I was seven. I am no fine artist, but I love to sculpt. Industrial design and furniture design are fascinating to me because you genuinely get to create objects that engage people and serve practical purposes. I have built couches, tables, chairs, and the reinterpretation of leftover furniture pieces through re-upholstery and faux finishes has been a lot of fun lately.

Did you ever expect to be involved in events coordinating and what is your role in the events that take place there?

I throw parties. I love throwing parties. I love them so much I became an officiant so that I get an excuse to participate in other peoples’ parties – kidding – kind of!  Throwing an event is like a shorter, more satisfying version of designing an interior. You come up with a concept and a budget, pull it all together while trying to make it surprising and clever, and everyone has a great time. The one large drawback comparatively is that it’s all temporary. A great party is a great memory, and nothing practical that someone can utilize in the future. But, of course, one’s life is simply a collection of memories, so it is pretty important when you think of it that way. I love the idea especially of doing this Bastille Day Festival here, aligning and showcasing these artists and performers so that they can get paid for being brave and creative. In the future, I would love to make it a fundraising event for the Atlanta arts community.

As far as most of the private events in Le Maison Rouge goes, Dennis is the resident event coordinator, but concerning our previous opening gala, auctions, the upcoming Halloween party, I anticipate that my extra special brand of nonsense will be all over that.

What do you see yourself doing five years from now?

Smiling. Laughing. Building. Learning. Becoming better, brighter and more honest about everything I do. I know that I am extremely lucky to be where I’m at. In this city, in this store, with such great bosses who never red-tape my visions. And I know that I’m here because I work really hard to make this life as full as possible, and that means saying “yes’ when others say “no,” looking for the silver lining, and being creative with difficult situations. There is always a way to make things work if you just breathe, be humble about your perspectives, and take those big leaps. Kind of like when I jumped out of a plane last year on my birthday and the parachute collapsed 30 feet from the ground…Wait-that didn’t work out so well – but I’m still glad I did it.

If I can help to pull off this new vision, this bohemian playground, creating a new corner of culture, I will be a very happy girl and then maybe a whole new endeavor. I’ve been too lucky thus far to plot my future.

Note: All photos are courtesy of Nicolette Valdespino and used with permission.

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