The sky was a bright electric blue when Mo Lappin of Howlpop and I sat down to tea and chat about lawless fashion and what shoes to wear to the apocalypse. I’ve been a huge fan of Mo’s cut & paste recycling genius for many years now and boast a solid collection of treasured garments. Here’s the transcript of our get-together, sans the noise of bombs dropping and suns exploding.
Jo B: Hi Mo, thanks so much for coming to this Mad Tea Party today! Let’s start with the name Howlpop, which grabbed me instantly when I found your Etsy shop. Is there anything behind the name? It always put me in mind of Alan Ginsberg Meets Michael Jackson… something like that! Am I close?
Mo Lappin: The truth of the matter is not such an exciting story. Back in the mid 90’s I was living in SF venturing into the eBay world and I had a vintage bright yellow donut phone I was selling. It sold to a guy in Japan with a user name of POP HOWL, and I just loved those two words together. I loved the way it sounded, just like you Jodi. It wasn‘t really inspired by pop culture, but I just liked the rawness of the words. It’s like pop art, with teeth! There are no rules in all this, the Howl is the edge. I toyed around with the words for a year or so, then I bought the domain in 1997.
Jo: Well, that makes sense, the Japan connection. I love how the Japanese mash up Western culture and send it back to us spinning on its head. Howlpop seems to have a strong New Orleans connection, but I also get the sense that your life is an adventurous one (and thanks, btw, for the great photo of your own trusty magic boots, below)… Which places have had the biggest influence on your work and why?
Mo: I grew up in Boise, where I had a vintage/alternative fashion boutique called Retrospect for eight years (1988-1995). This period gave me the chance to develop a point of view concerning fashion and design. I moved to San Francisco in 1995 where I lived for five years. I relished the anonymity of the large city, and embraced the feeling of the whole world in a microcosm. After five interesting years the wild west call of New Orleans was irresistible. So I landed there in the spring of 2001. I determined from that point on I would live as an artist, and made myself sit down and overcome my fear of the sewing machine. I realized my designs had to be self made or they would lose something. The idea of New Orleans and the freedom to live as an artist with the whole culture of parading and festivals, I mean, there is always a reason to dress up there, Jodi! Life is a festival in New Orleans! I was delighted to discover that nothing that I made was too far out for someone not to love it and want it in that magical city. I realized there was a niche for me there, people didn’t know what Howlpop was, but they loved it!
Jo: Boise! For me, it was Columbus, Ohio and then here in the DC Area a vintage shop called That Girl which I ran out of my house for awhile. There must be something to this land-locked youth that sends us flying to the coasts in search of a different context for life. I love the whole concept of life as a festival and I really see that in your joyful design aesthetic. And I can’t believe that you too had a fear of the sewing machine… I wonder if that’s more universal than anyone realizes?! Your work is so incredibly free; have you had to push yourself to allow for chaos and chance or does it come naturally to you?
Mo: I call myself a line eraser when it comes to art and life, removing obstacles and unnecessary lines allows me to embrace chaos and chance. This automatically assumes that I have to be open to the happy accident as well as drawing from my surroundings and life experiences.
Jo: What a great way to express that… line erasing. It’s really gentler than my version which seems to want to veer toward a certain violence with scissors, but truly springs from the same place of a desire to remove barriers and obstacles. I’m going to think about erasing, that’s a whole new idea to me. Still, I can’t say exactly why I feel this way, but your aesthetic seems to have socio-political underpinnings. Are there any manifestos in the world of Howlpop or is it really just for fun?
Mo: Is it fun? Perhaps I am sometimes bored of the sewing part, but the designing is endlessly enticing. I am self indulgent enough to only end up making things I really like. And even after all these years and so many things, I get very excited when I start making something. When I start cutting into things I often have no clear picture of the end result. Every piece is a sketch, that is why I don’t take it too seriously and that is why I don’t take it to the fine finished point, I spend an intense but short period of time designing each piece.
In Boise, Idaho in ‘91, I started my first fashion line called Shrew. The men’s line was called Shrewd. I was, in my own Edith Wharton style, reclaiming a word that had negative female connotations, and twisting it to open possibilities for conversations about feminist issues. So you got me there, Jodi!! I consider myself a citizen of the world these days, and this prompts me to use language and elements of design to be inclusive and enable connections between everyone. I mean, 8 year old girls or 70 year old ladies can go crazy about Howlpop! People seem to like to rest their eyes on something that confuses and delights them. A lot of my fashion is intentionally unisex. I sometimes wonder why people waste their personal billboard space advertising for Nike or Gucci, which tells us nothing about their own personal world view, and it wastes all the opportunities of their first impression. So, yep, there is intent. Busted!
Jo: Shrew and Shrewd… you are just brilliant with the poetry, you know? And I can see you working intensely and super fast, while I’m intense but work for so long that I often have to go back and edit because I’ll tend to go past the actual endpoint. And I can truly see the politics of inclusiveness operating under your creativity, the genderless ageless aspects of your art. In fact, I think this photo above is one of the first Howlpop images I saw and when I contacted you I felt certain I was talking to the guy in this photo.
What do you think of the description “post-apocalyptic” in art and fashion? Is that a term you’d use to describe Howlpop? And can you tell us exactly when/where the apocalypse is going to happen so that we can start planning our wardrobes now? In particular I need to know which shoes to bring.
Mo: Yeah! I would say that post-apocalyptic is a great description of Howlpop! Because it is completely recreated from existing materials… so, much like the coming apocalypse perhaps predicting a time when things aren’t manufactured anymore, and we make from what we have, which is certainly plenty here in America. A trip into any second hand store reveals the mountains of cast offs available now, so I don’t think that anyone will be running around without clothes after the apocalypse, unless that is their desire.
Heels! No heels girlfriend! Completely impractical for the apocalypse. Jodi, wear your favorite shoes, but there could be a lot of basketball. And remember, a hot pink flat goes with everything.
Jo: Ok, I’m going to take your advice and not go tripping through the apocalypse trying to shoot hoops in my Westwoods. Speaking of the upper eschelon, are there any fashion designers you particularly admire or have been influenced by? I think we both share a love of Alexander McQueen and I’m trying to remember if you made it to the Savage Beauty exhibit at the Met last year…
Mo: For me to miss the McQueen show would have been the equivalent to a Tibetan monk missing the Dali Lama. I went twice. It was a pilgrimage. It was so eye opening in a real way, to be able to stand so close to his work, and to see how he put things together, it demystified him for me and awed me simultaneously. Martin Margiela and the whole Belgian deconstruction movement really blew my mind about fashion in the late ’80’s early 90’s. I’ve always looked at fashion since I was a young girl, it is infused in me. Xuly Bet and his fashion collages and Coco Chanel and her liberation of the female form; Any designer who liberates through their work inspires me.
Jo: I wish I had gone back to the McQueen show a second time b/c the first viewing was so visually and emotionally overwhelming it was hard to truly absorb it all. And Xuly Bet! I can’t believe you brought it up… I haven’t thought about that Funkin’ Fashion house for a long time. I bought a little collaged sweater from that line back in the early 90’s at Patricia Field, when her store was still on 8th Ave., and I loved that piece. He was so ahead of it really, from upcycling to modern tribalism, his African pop-culture vision was so fresh and unique. And of course, I too love those Belgian deconstructionists particularly Ann Demeulemeester. Now, I must ask, how massive is your stash of discarded garments and textiles for reworking? Are you any better than the rest of us at using materials at the same rate as you acquire them?
Mo: When I moved into my new studio, I winnowed out all the riff raff from my raw materials. In doing that it helped clarify my vision for what I’m up to right now. That said, I’m a genre jumper, and I still enjoy surrounding myself with unlimited possibilities. So, yes and no, Jodi, yes and no.
Jo: Awhile back I tried to get to Asheville NC to take a workshop you were giving, but sadly I never made it. Do you give workshops often, and how do you teach other artists to embrace their own inner Howl?
Mo: Jodi, I love doing workshops because it is really fun to explain my lawless techniques to current/future seamstresses and see the lightbulb go on when they realize they don’t need a tape measure to fashion-party Howlpop style!!
Jo: Sharing your freedom to create just takes it all to another level in my mind and heart. What music is playing in the Howlpop atelier when you’re at work? Somehow I picture there’s a hard-rockin’ soiree when you’re designing!
Mo: Jodi, I’m gonna come clean here. It is more often than not new country, straight off the radio. I like to stay in touch with the real world, but I do go all over the road with what I listen to. And then I get hung up on songs, depending on the show or event I’m working on, the ideas I’m trying to get across are driven by the music, so I relentlessly listen to the same song over and over while I design the show.
Jo: I never pictured a country soundtrack for Howlpop, but of course it makes perfect sense and one of the things I love about you and your work is the constant surprise element. Well, I could personally stay and chat with you all day, but I’d better let you go off to your next adventure. Do you have any parting advice for readers who want to make clothes but feel they may not have the skills and training in the traditional sense?
Mo: Pick up the scissors, and start! Be fearless, because really, what is the worst that could happen?! It’s not brain surgery.
Jo: I love this picture of you celebrating The NOLA Saints big win, and I’m going to chant that mantra when I’m working… What is the worst that could happen?!. Thanks so much Mo for breaking all the rules and helping us keep it fearless. xoxo