Summer Style June 27 2016

For our latest lookbook we teamed up with style blog Black In Bloom, plus our go-to vintage supplier Poor George Vintage. Together we worked on custom pieces, cross-collaborated on styling and wardrobe, and put together some motivational shots for your summer wardrobe. Get inspired for some warm weather adventures, and easy ways you can update your style.

View the Summer Style lookbook

A Chat with Adam J. Kurtz aka ADAMJK March 18 2016

Adam J. Kurtz is possibly one of the more well-known “small artists” we carry at Strange Ways. You might have seen his book 1 Page At A Time, or bought some the products he released in collaboration with Urban Outfitters. His commentary on modern appropriation by referencing Joy Divison's “Unknown Pleasures” artwork is still being shared around the internet today. In fact, you may have seen much of Adam's work online, as he's amassed a large social media following. This is probably because he's able to add emotion back into everyday life. His simple, yet insightful drawings bring a human touch to online media which can feel forced, fake, and unfulfilling.

Adam is one of the few artists we've carried from the beginning of Strange Ways, and he still has a presence at our shop today—larger even. It's been great to watch his career grow, and appreciate him taking a chance on our little shop when we first began. Adam is a friend, and I'm happy to be able to talk with him more about his background and insight into the art he makes.

Let's just dive right into it and discuss how you began creating your artwork. What was some of your earliest pieces and inspirations?

I don’t know that I had early “pieces” necessarily. My “art practice” was born out of a hobby, I was never intentionally building anything until people started calling me an artist and then I was growing a “body of work” and then I had a book and then I turned real. But I’ve always really enjoyed bright colors and simple shapes. That’s a sort of visceral childhood thing, right?

Your work can seem both hopeful and sad at the same time. What inspires you, and what are you hoping people take away from your work?

My work is really personal. It’s usually actual emotions or feelings or events that I’ve experienced, translated into something a little more universal or digestible. I am hopeful and sad at the same time! I am sappy as fuck. I am afraid of myself. I am proud of some things that other people aren’t proud of. So I cover a range.

“Oh, I am definitely a graphic designer.
But ‘artist’ encapsulates so much more
of all the other things I do, too.”

A lot of what you create are tangible objects. In many ways they are “useful” items—or “small gifts” as you've stated you enjoy. What's the idea behind art in this type of medium?

Not everyone is, or can be, an art collector. Some people just like nice things that they like. So I try to make work for those people. You can’t necessarily buy a bunch of $500 prints, but you can treat yourself to a $10 pin, or gift a couple to friends. It’s all about making things affordable and easy to collect. I’m also not a huge fan of owning too much “stuff,” so I gravitate to little things.

On a related note, do you ever consider yourself a designer versus an artist? Do you consider there to be a difference? It seems nowadays that the lines between the two slowly blurring.

Oh, I mean I am definitely a graphic designer. But “artist” encapsulates so much more of all the other things I do, too. I’m sort of an “illustrator” and kind of a “product designer” and slightly a “brand” and it just all wraps up nicely in “artist.” I channel feeling into something else. I think that’s art probably.

An assortment of popular lapel pins designed by Adam J. Kurtz.

One of your more popular projects is the Unsolicited Advice planner that you crowdfund each year. Can you talk a bit about them, and why you think people are willing to invest in them every year?

Unsolicited Advice is another example of accessible, digestible art. I love zines, but you read them from time to time and then put them on your shelf. The planner has some zine-like elements, a fun and DIY spirit that feels personal and small-scale, but a practical purpose that serves you daily. It’s also just a fun, nice thing. If you’re going to use a calendar it might as well be one that makes you laugh!

Correct me if I'm wrong, but these planners influenced your first book backed by a major publisher. How did the planners and your other work inspire 1 Page at a Time?

The planners have a lot of weird little surprises, and tiny nagging reminders to help you get your shit together. When I first met with my publisher at Penguin, she told me she loved all of that good stuff, and knew it could be expanded into a standalone book. 1 Page at a Time embodies a lot of my ideas about life and how to live it, but is also weird and surprising. It’s simple enough to not be overwhelming, and like the calendars, it becomes whatever you make of it as the year goes on.

I assume creating items that allow the viewer to interact with them is something you enjoy. Your books ask the readers to draw in them, write down answers, and express themselves. What do you appreciate about this type of interaction?

When you make work about life and feelings and introspective thinking, it can’t be a monologue. I can’t tell someone how to process their world. Our experiences are not the same. “Self-help” is kind of a misnomer. Self-help books are more like “I tell you what to do” books. When you instead choose to interact with a book, write down your own feelings, and process them as a whole, then you are truly helping your self.

You've been invited to have an event at MoMA, you've worked at Buzzfeed, you created a shirt for Tumblr plus exclusive product for Urban Outfitters... Any insight into working those big name connections? How did most of these partnerships come about?

Every single situation is different, and I don’t know if there’s a “life hack” to making cool opportunities like these happen. BuzzFeed was a day job, and I applied for it the same way you apply for any job. I uploaded a resume to a website.

I think one thing that does seem to work sometimes is being genuine. Your honest enthusiasm for a brand or a project is palpable, and some of the coolest opportunities I’ve had simply came out of being excited in a casual conversation.

Other opportunities are flukes. My book editor found me through my personal projects. MoMA invited me because my book is a top seller… I didn’t even know they carried it there. Life is unpredictable and sometimes coincidences line up.

You now live in Brooklyn, NY but you're originally from Canada. Was the move to NYC a part of pursuing the Big City dream of being a “true artist”?

I was actually living in Baltimore after college, and was in a little bit of a rut. A friend got a job offer in New York and randomly asked if I wanted to move up with him. I kind of wasn’t doing too much else, and worked remotely for a marketing firm. I said yes and moved three months later. It was only a 3 hour drive, we just threw our shit in a truck and I’m still here.

You're a popular guy on Instagram and other social media outlets. Do you find online interaction a key part of your work?

To be honest, I am not sure my whole thing would work without the internet. So much of my simplest work relies on human connection, whether implicit in the words, implied in the style, or tied to me: a real, live, open, human person.

How did your moniker and online handle ADAMJK come about? I think it's pretty obvious, but it seems like many people know you by this nickname more than your full artist name.

I’ve gone by Adam J. Kurtz since grade school and I don’t know exactly why. People were calling me ADAMJK before I was, it just makes sense the way we find variations of our names for usernames. It started a little earlier on the internet, before our full names were attached to everything. It was definitely me, but afforded a tiny amount of anonynimity.

For the past month or so you've taken a break from selling your art (which we've happily worked with you to sell many of your items in our shop during this time). You've been working on finishing your second book to be published by Penguin. Can you say how this will different from your other books, and possible your other work in general?

At this point, it’s actually been three months! Three glorious, amazing months of not processing daily orders. I love having a shop and sending work directly from my hands to someone else’s, but it is time consuming, and I did really need that time for this new book.

PICK ME UP: A Pep Talk For Now & Later is similar to 1 Page at a Time in that it’s an interactive book that I made. Everything else is pretty much different. This time, it’s not linear at all, and pages don’t end after you write on them, but rather build over time so you can see how you grow, and take your own advice when you’re losing your shit.

Most notably, this new book contains a lot more writing! It’s still very much about whoever is using it, but there is also general advice and reflection on life. It’s still very casual, and I don’t present myself as any kind of expert. I’m not telling you what to do ever, because I have no fucking clue either.

A lot your work revolves around phrases, bits of advice, and thoughts to ponder. Would you be so kind as to end our interview by leaving readers with one of these anecdotes?


Shop the ADAMJK collection


Joshua Grannell on Christ, Evil, and Being a Cult Leader October 25 2015

Photography credits: Jose A Guzman Colon, Amanda Rebholz, Nicole-Fraser Herron, Brian Benson

In the world of cult cinema, Joshua Grannell may very well be the Queen of Cult. Based in San Francisco, his day job is really more of a night job—entertaining followers of his “Midnight Mass” screenings of cult classics. Their priest: Joshua's alter ego drag queen Peaches Christ. Along with showing fan-obsessed films like Showgirls and Welcome To The Dollhouse, Peaches and her team put on theatrical performances filled with audience participation and often-times feature guest appearances from cult icons like John Waters and Elvira: Mistress of the Dark.

Over the decade of performing and idolizing these movies, Mr. Grannell decided to put his love of cinema and theatre into a film of his own. He wrote and directed the indie horror comedy All About Evil, which we're helping to commemorate the 5 year anniversary of with a limited edition artist print. Below Strange Ways talks with Joshua Grannell about being a cult leader, why the “others” of the world inspire him, and why the cinema is his church.

First things first, I want to talk about how most people know you: your alter ago Peaches Christ. For anyone who has never heard of her, how would you describe Peaches to them?

Peaches, the character, was born in my senior thesis film, Jizmopper: A Love Story.  I was studying film production at Penn State University and the actor we’d hired to play the drag queen in the movie I was directing didn’t pull through for us—so Peaches was born and stepped in to play the part. My advice to first-time drag performers is always: “Try not to put your first-time drag in a movie, so that people can't discover it forever”. I would say that Peaches is the outgoing, outrageous, glamorous, comedic extension of the cult movie loving nerd that Joshua is. There’s plenty of overlap, but I tend to be more introverted and shy out of drag; whereas Peaches is all about putting on a show, leading a cult movie audience through their celebration, and celebrating the underdog.

A large part of what has made Peaches Christ (in)famous is hosting your popular Midnight Mass screenings. Where did the idea for these shows come from, and what happens on a typical night? They seem to facilitate an almost Rocky Horror type of fandom.

Midnight Mass started in the summer of 1998 and the first ever show we did was with a screening of Faster Pussycat! Kill! Kill! I came out as Peaches and held a “Mass” that concluded with a Tura Satana look-a-like contest. I was terrified nobody would show up—or worse nobody would enter the contest. But we had a great turnout, and some great contestants. Drag star Putanesca won when she cart-wheeled across the stage and karate chopped me. I couldn’t have imagined then that some years later I’d be doing shows with the actual Tura Satana. The shows have evolved to become elaborate theatrical stage-shows celebrating cult films, sometimes with cult icons and stars playing onstage with us as well.

A look at the behind-the-scenes of creating a Peaches Christ stage show.

Were you always drawn to being a performer—and if so, why did you decide on drag? Tell me about the humble beginnings of Peaches Christ. I can't picture you just performing in night clubs for tips...

I’ve always been a performer and have always been super inspired by movies and so much of what I do with drag is informed by my love affair with cinema. Most of my drag career was built in cinemas and on the stages of underground nightclubs like Trannyshack back in the late 90's and early 00's. I’m also inspired by underdogs—the “others” of the world. I like to think that Peaches Christ leads a cult of devoted followers who worship the cult movies we all love. It’s my job to create events that celebrate these movies, and I borrow lots of ideas from other cults like the Catholic Church. I think for us, the cinema is our church and we earnestly believe in these characters. We are the nerds, the freaks, and weirdos with a wicked fierce sense of humor. We’re the Dawn Weiners who grew up to become the Dawn Davenports. Both Dawns are Saints to us.

For many of your stage shows recently you've brought in a popular drag queens who became famous on RuPaul's Drag Race. Was this a conscious decision? Why do you think drag is having a resurgence in popular culture? (By the way, when is Ru going to invite you on the show as a guest judge?!)

I don't think Ru will ever invite another queen as a guest judge, unfortunately. Seven seasons in and it hasn't happened yet. The conscious decisions to work with girls who've been on TV was about celebrating their own cult of fans in our shows, and bringing performers I'd personally felt inspired by somehow. I really enjoy Drag Race; and some of the girls go on the show and I know I want to work with them.

You call yourself a “cult leader”. Obviously, you're a lover of cult cinema and fandom, but what draws you to it? The movies? The audience? What makes it special?

For me, as a young queer-do growing up in a conservative Catholic School, the discovery of early John Waters movies, Divine, and The Rocky Horror Picture Show really, truly changed my life. They were my own It Gets Better videos. These sorts of cult, outsider films became my religion. So while I say that I'm a cult leader in a somewhat tongue-in-cheek way, I'm also kinda serious. We come together in movie theatre to worship what we love. The cinema is our church, and I am comfortable saying Mass.

Much of your influences come from horror. What is it about the genre that inspires you? I find that often queer people relate to the themes in the horror genre, and often-times cult films tend to be in horror. I imagine you must find connecting threads between some of your more obvious inspirations.

I think I'm a sensitive person. Maybe one of those people that others describe as “too sensitive”. I sometimes have trouble with real world horrors, like war, crime, poverty, and abuse. I think that the fantasy world of the horror genre really allows me to exercise feelings and fears in a safe, fun way. I'm also just attracted to darker, wicked subject matter. I'm not totally sure why, but I've always loved it and continue to.

How did your love of horror and niche cinema influence your debut film All About Evil? Where did the idea for it come about? Were there any specific movies you looked to for inspiration?

I was running a single-screen theatre when I wrote the movie, and I had anxiety around the fact that all the great neighborhood cinemas were closing down across the country. Multiplexes were popping up everywhere, and I started thinking about what length we should go to in order to save our old movie houses.  I guess that led me to the idea for the plot. I was also really inspired by the only female exploitation filmmaker from the 60's and 70's, Doris Wishman. I kept thinking about how she built a career making disgusting, rude, exploitative films just like her male contemporaries and how unique she was.

The movie is outrageous, funny, gory—and also a bit nostalgic. That can be a bit hard to balance. Was there a certain tone you were going for with the movie? I imagine setting it in a struggling cinema house was a very purposeful choice for you.

Yes to all of this, and the tone was a very fine line to walk. I wanted the movie to be outrageous and comedic, but I also wanted it to have real darkness; the characters to have a real pathology to them. I'm glad it came out the way it did, but there were times on-set where I'd ask myself “What the hell is this?!”

The cast is all-around pretty stellar, especially for a low-budget indie horror film. The film hinges a lot on Natasha Lyonne and Thomas Dekker, who both have solid careers. How did you go about casting them? Natasha, particularly, puts in an enthusiastic turn as “De-BOR-ah”.

I had been a fan of Natasha's for years and years. She was always on my wish list of actresses. I just never thought we'd actually get her. It was a great coincidence that our talented director of photography, Tom Richmond, had also shot The Slums Of Beverly Hills starring Natasha. He was able to call her and put us in direct contact.  She read the script, we had some phone conversations, and she agreed to do it. I can't picture anyone else in the role now. Thomas was on TV when I met him. He was shooting Terminator: The Sarah Connor Chronicles and was playing John Connor. I went to the set and we met in his trailer and when I saw his personal DVD collection I knew he'd get the movie. I told him he couldn't say no. He didn't say yes right away, but eventually he did and now we've worked on loads of projects together. I adore him.

You've also managed to attract special film guests to your live shows, and with All About Evil you convinced some to continue that relationship onscreen. How was not only working with, but directing, icons like John Waters' veteran Mink Stole and Cassandra Peterson aka: Elvira?

By the time I'd asked both of them to be in the movie we'd become friends and I felt comfortable asking them to do it, but even though we're friends I never stop being a fan. I remember they were both so totally professional and easy-going and comforting to me on the set. It was a really stressful time, and I can remember them being so supportive and helpful to me personally.

I just have to ask about the “titty chopper” scene—whose idea was it?! Where did it come from? All the deaths are creative, but I'm not sure something like that had been put to film before.

That whole guillotine scene was my idea and I really wanted to do something that suggested the character was betraying her gender. She was no longer an ally, and she was willing to do whatever it takes to put butts in movie theatre seats. This, again, was where I was watching old Doris Wishman movies like Bad Girls Go To Hell and thinking “Wow, you'd never know a woman came up with this awful stuff.”

When All About Evil first premiered, you screened it across the United States in pure Midnight Mass style with live performances and audience participation. You seem to be taking your shows to other cities more and more, having just recently finished a month-long residency in Provincetown, MA. Are you finding there to be a pull for you to be seen more and more outside of San Francisco?

With the internet and social media, more people around the world are discovering our weird little world of theatre and movies; so there has been an increasing amount of opportunities for us to travel and do shows in other cities. I really enjoy it and am just thrilled I have a job where I get to travel. I loved doing the run in Provincetown especially because I got to be there long enough to really enjoy it.

A couple years after filming All About Evil, you (as Peaches Christ) also teamed up with Elvira for a film festival sponsored by HorrorHound Magazine. I imagine that must have been a sort of full-circle moment from admiring horror movies, creating one, and then judging them.

It was incredible! I remember when we were shooting the ads for it and I was sitting on a set with her. We were both in drag I just had to keep pinching myself. It was like a wonderful dream.

Aren't you also teaching a class at the San Francisco Art Institute? Tell us about it.

I teach a class there called “Creating Character” where students learn about artists who develop alternative personas to create artwork through. All of the students then workshop their own new character, and create work through them that they wouldn't have otherwise made. Next semester we'll be doing more with the “digital persona”, so you should be able to meet these characters online soon.

How does it feel that 5 years have passed since completing All About Evil? Have you watched it recently? Looking back, is there anything you're particularly proud of about the film?

I can't really believe it has been five years, probably because I still get asked to go places to screen it and perform the pre-show. Two weeks ago I screened it in Pittsburgh and then my alma-mater Penn State. Both shows were really special “full-circle” type experiences, because I hadn't been back to Pennsylvania since I went to school there. I haven't watched the movie in a while, but I could hear it from my dressing room at Penn State and it was fun listening to the students laugh and scream.

You seem to be very busy lately, but are there any plans for another movie in the works? Where do you think your career is headed in the next 5 or 10 years? Any goals you have yet to hit?

I'm working on a movie right now, still developing it. The film is really different from All About Evil, but still pretty outrageous. I have loads and loads of goals still. I'd love to write a book someday, and I'd love to make a movie that then becomes its own fully realized stage-show. I'm hoping that's what happens with this new one I'm working on.

5 Year Anniversary
All About Evil
Art Print

We've teamed up with Joshua and his Peaches Christ team to release an exclusive screenprint celebrating his debut film. Grab your copy of the limited edition run and relive the movie mayhem.

Artwork by Brian Butler



Strange Style July 23 2015

To showcase how one can wear our collection of patches, pins, and buttons we teamed up with a hot model and a talented photographer. The Strange Style lookbook gives some inspiration on how these easy and inexpensive touches can add personal expression to your style. Check out the entire photo series—and then go shop our Flair section!

View the Strange Style lookbook

The Best DIY Jean Jacket Ever Made June 16 2015

About a month ago we received a large order of stock for pins and patches that was being sent to Hong Kong. Having worked in the design and manufacture industry for years, I'm always a bit weary of any big quantities of product being sent to Asia. Sometimes this can mean a factory is going to knock off all the items and sell them overseas where no one in the United States is likely to find out about it.

So I did a little research and contacted the customer directly. Turns out the big order came from Tony Spackman—one of the Design Directors over at high-end label Givenchy. Was it for inspiration? Research? Turns out it was just for fun! He planned to use all the pins and patches for a custom jacket he was working on for himself.

Needless to say, I was very curious what the end result was going to look like and told him to send me a shot when he was done making it. Well, a few days ago he posted his jacket for all the world to see—and it's awesome! I should have expected that someone with this kind of design pedigree wouldn't just attach them all straight on. He managed to take a classic, retro look and modernize it.

Tony's “Golden Blackout” jacket has been DIY-ed with patches painted matte black, allowing the 3D thread to stand out. He also took apart pins for accents, and placed mostly gold pins on the lapels. The style of the jacket has been elevated to something high-end worthy of any runway. I thought it might inspire some of you with your creations and the product you can buy from us!

Thank you to Tony for allowing me to share his work (as well as the mention of the shop), and props to all the awesome brands and designs that are a part of Strange Ways.

Alex Dakoulas
Founder & Creative Director

A photo posted by Spackman (@tonyspackman) on


A photo posted by Spackman (@tonyspackman) on


An Interview (+ Giveaway!) with the Man Behind Explorer's Press March 11 2015

Up North in the scenic terrain of Canada lies a promising, emerging brand. Founded in 2012 in Vancouver, BC, Explorer's Press aims to help you personalize the everyday with a variety of tangible goods. Their pins, patches, keychains and more remind us to keep exploring, and have some fun along the way. By combining a vintage aesthetic with a modern flair, the designs feel current while tied to something timeless. It's a refreshing tone that's building Explorer's a strong following far beyond its mountainous homeland.

Click here to view all Explorer's Press product carried at Strange Ways.

Strange Ways had an exclusive chat with the founder of Explorer's Press, Brendan Megannety.

Can you explain the history behind Explorer's Press? How did it come about?

I was working as a screen printer in Toronto, making zines and shirts in my spare time, and I ended up doing a few patches just for fun. I was planning on having them to include with zines and trade with people, and they kind of just blew up. That's how Explorer’s started.

Do you have an artist background? Do you come up with the products mostly solo, or is a team involved?

I don’t have any formal training, but I’ve always drawn and painted pretty much since elementary school. I do all the art myself, unless its a collaborative piece which I’ve done a few of.

You're one of the top selling brands at Strange Ways, partly because of the popularity in flair like lapel pins and patches. I think you're one of the first brands I really took notice doing this. Can you speak to what influences you in making these?

I’ve always collected patches since I was in Boy Scouts, there is something I really like about embroidery and how imperfect it is. I’ve also been in to lapel pins for a while. In Toronto, I used to always go down to this flea market on Sunday where there was this vendor that just had huge binders of lapel pins. I’d always grab 3 or 4 every Sunday. I like how simple they are.

“I’ve always collected patches. There is something I really like about embroidery and how imperfect it is.”

A lot of the mottos and imagery used in Explorer's Press relates to finding your way in what seems like the midst of a struggle, or being outcast. Is this a theme you actively try to inject into the product?

For Explorer’s my concept has always been to make things that I want to wear or use, and not cater to a theme or trend. I guess in that, the message varies depending on how I’m feeling or whats happening in my life. I think the brand is pretty loose and leaves me a lot of room to play around with concepts and ideas.

Being a self-taught artist and establishing your own company, would you say there is a sense of independence or self-discovery in what you do?

I think that I learn a lot about myself from running Explorer’s Press. Running my own business has been a huge learning experience, as well as just pursuing a creative endeavour as a full time job. I’ve found that I need to have other creative outlets that are just for me alongside the brand, just to keep myself feeling fresh. I take art classes and practice different disciplines of art that have nothing to do with Explorer’s.

You're based out of Canada, a land full of scenic outdoors. Does this influence the “explorer” part of Explorer's Press?

Big time. I get outside as much as I can, and have been into camping and hiking since I was a kid.

What's up with Canada, anyway? There seems to be a lot of hip + edgy brands emerging from that region—something I'm going to call “Canadian Cool.” Is there something in the air when you go further North?

Less pollution, maybe! Or maybe the crippling winters make it easier to stay inside and design cool shit.

You mention the aesthetic of Explorer's Press is nostalgic. What draws you to the past? Do you find there to be something missing about today's culture?

I suppose the simplicity and straight forwardness of design from the 80s and 90s is what draws me to stuff from that era. You thought you were a bad boy? You bought a t-shirt that said bad boy on it. I see that coming back a bit. I am really drawn to design from souvenirs from that era and even earlier. Pennants, pins, patches, matchbooks, fridge magnets and stuff like that.

I don’t know if anything is missing from our culture—I just don’t really care about a lot of stuff that goes on. I just do my thing.

What's your goal with the brand? Where do you see it going in the near future?

Besides world domination, I’d like to get some in house cut and sew items going. I just want to keep having fun doing what I love!

Follow Strange Ways & Explorer's Press on Instagram
for a chance to win the prize package below!

1 People to Kill Sketchbook, 1 Headed Somewhere Keychain, 1 Knowledge Patch, 1 No Time For Anything Pin

Details announced this week on Instagram: @shopstrangeways + @explorerspress

An Interview (+ Giveaway!) with Artist Sara M. Lyons January 20 2015

Sara M. Lyons is an artist based out of southern California. Her doodle-like illustrations splashed in bright colors have a carefree attitude that give them a uniquely West Coast vibe. Strange Ways is stoked to carry items created by Ms. Lyons including our exclusive nail decal sets and Cry Now, Cry Later tee that was just released.

 Below she talks about her retro comic book inspirations, her obsession with Lindsay Lohan, and what it means to be a 'professional weirdo.'

Your style is very distinctive—the linework, colors and imagery you use all feel like your own voice. What do you get inspired by?

I pull inspiration from all over the place, but I can definitely trace my style back to my earliest influences, which were Betty & Veronica comics. I used to spend my allowance on Double Digests and could while away whole afternoons drawing my own characters in the Dan DeCarlo style. I also get a lot of inspiration from pop culture in general; both the mainstream and the fringe. John Waters movies, early punk rock, '90s cartoons, Toddlers & Tiaras, trashy tabloids, the girls' toy aisle—there's so much good stuff out there.

Your work can come across as both cute and dark. How do you mange to pull that off? Is that juxtaposition something you strive for?

It's not so much something I strive for as much as it's just who I am. I sometimes feel kind of at odds with myself because it can be hard to reconcile the part of me that collects Hello Kitty stuff with the part of me that knows all the words to GG Allin songs. I think I can't really help but let both of those sides out when I'm drawing.

You call yourself a “professional weirdo”—I take it you're proud of your off-beat tendencies?

Yeah, I was a weird little kid and then I was a weird teen and now I'm a weird adult. There were times in my development when I wanted really badly not to be weird, and times when I was ostracized for my weirdness. So as an adult, to have been able to embrace it and make a living out of it, it's very gratifying.

How did you get involved in creating nail decals? Is it what most people know your work by?

I'd say yeah, my nail decals are probably the most popular thing I do. I started making them a few years ago because I already had all these cute little drawings that stood alone as icons, and I was friends with a lot of girls involved in the nail art community. Back then there weren't many options for nail decals with original artwork on them and I thought, “There has to be an easy way to transfer these drawings onto my nails.” I did a ton of research, tested out a lot of products, and figured out how to manufacture them from my apartment—the rest is kinda history.

Since then I've released a ton of new styles, and worked with a bunch of cool clients on custom and commissioned designs. I never meant to be a “nail decal designer,” and I still consider myself an artist first and foremost, so it's been a really fun and unexpected ride.

We must talk about Lindsay Lohan... You've created a zine on Lindsay Lohan, replaced Andre the Giant for her in your Shepard Fairey parody, illustrated an art piece based on her mugshots, and more. Why the fascination with Lilo?

I LOVE LILO. Lindsay has always stuck with me. We're about the same age, so I feel like she's been on the periphery of my consciousness for most of my life. I loved her in Mean Girls and was really fascinated and horrified by how her huge fame really affected her life. Watching her kind of downward trajectory was like... I wanted to help her out. I was kind of struggling myself at the time with my own issues, and I guess I could see myself in her. I just felt like I wanted to get her on my couch with a Golden Girls marathon and work it all out.

I still feel like that. There's something about her that's just very relatable to me in spite of how wildly bonkers her life is. I really want to be her BFF. My friend Jerry from Von Zos (through whom I released the “Fast Cars, Cheap Thrill” mugshot piece) jokes that “her people” have my name on a list somewhere, and if I ever try to get near her they're going to take me down. But I just love her. My Linds-centric work definitely has some irony to it, but there is no irony in my affection for her; it's truly genuine.

Did this obsession with Lindsay Lohan kickstart the inspiration for your “Social Hierarchy print” that features Mean Girls, Jawbreaker, and Heathers?

To an extent. It was probably one part Linds, one part my nostalgia for the '90s (Jawbreaker was a major favorite for my witchy friends and me in 9th grade. We would watch it over and over at slumber parties and sigh over Rose McGowan), and two parts general affection for that kind of neo-pinky-violence high school girl gang oeuvre. It was also kind of a reaction to the recent resurgence of interest in Clueless, which I always felt was a little overrated. Don't get me wrong, it's great, but it lacks the darkness of Heathers and Jawbreaker and even Mean Girls. And as someone who had kind of a shitty time in high school, the darkness is part of what interests me about reflecting on that stuff.

On Wednesdays do you wear pink? You don't seem to be afraid of pink...

On Wednesdays I do indeed wear pink. I also wear pink on Thursdays, Fridays, Saturdays, Sundays, Mondays, and Tuesdays.

Your work has been featured in Nylon Magazine, Complex, refinery29, Urban Outfitters and more. How has press like this come about?

Honestly, I don't really do much self-promotion beyond using my own social media, so I'm always surprised and flattered whenever I get any press at all. But I think that if you're working really hard and making stuff that hasn't been done before, people will take notice.

Your work seems mostly product-based. Is there a certain aspect you enjoy about working with lifestyle products?

I love that it makes my art accessible to everyone. Not everyone can afford an original piece or even a fine art print, but most people can afford a pack of nail decals or a pin or a postcard. Right now my drawings are literally at the fingertips of women all over the world, and that's really cool. The most satisfying thing about my work is how it connects me to people.

Any big plans for the near future? Your own brand? Gallery shows? Or just continuing to with what's been successful?

2015 is going to be pretty hectic, I think! Right now I'm finishing up a small body of work for a gallery show at Sally Centigrade in Denver. “Whatever Forever” opens on February 19th and will feature new work by Mandy Hazell and Betty Turbo, as well as myself. Fans should also download the PicCollage app if they don't have it already; I'll be releasing more new sticker sets with them this year. I'll continue to roll out new products in my own shop over the next few months—I'd love to expand into apparel this year and find a manufacturer for my nail decals to make them better than ever, but we'll see!

I also have a few exciting projects that I have to keep under wraps for now, but I promise y'all are going to be seeing me this year

Follow Strange Ways on Instagram for a chance to win!

Autographed “Social Hierarchy of the High School Female” art print
Signed by artist Sara M. Lyons + filmmaker Darren Stein (writer/director of Jawbreaker)!

Details announced this week on Instagram: @shopstrangeways

Strange New Haven January 04 2015

Photo of downtown New Haven by Chris Randall. Support his work by purchasing a 2015 calendar here.

Moving to New Haven, CT was the start of a new chapter in my life: new city, new business, new friends, new dog. As far as the shop goes, we've done well so far and have had some great support. The city has been treating me and Strange Ways well, and I can't thank you all enough for helping turn my dreams into reality.

I hope 2015 will be a big year for Strange Ways. I'm not trying to do this as a hobby. I want this to be my business—“my life,” so to speak. I'm glad Strange Ways is connecting with people through the online shop, but that's only half my goal. The hope is by summer, Strange Ways will set up shop permanently.

If this store happens, it will be in New Haven. The city is undergoing a revitalization. Already known for its food; jobs and housing are growing steadily. There's money being invested everywhere by the city, and people in town are making changes for themselves. The climate is ripe for creative types and entrepreneurs, too. There's great things going on in New Haven—and I think Strange Ways can thrive here.

I've been searching exhaustively for months for a storefront that fits our budget and size. In doing so I've explored a lot of the city; investigating the neighborhoods, other shops, where the good spots are, etc. I've been making connections and doing research, too. It seems like every other day I hear about a cool new spot opening up, new event, new place to visit. It's difficult to keep track of it all! That's why I decided to create a guide for the city.

Above you will find a link to what I'm calling the New Haven Field Guide. As someone new to the city, I know this would have come in handy not just for finding a business location, but also for hanging out and having fun in town. I hope it shows the buzz being made here. When Strange Ways finally sets up permanently, you can see we'll be amongst a mix of great restaurants, shops, galleries and more in New Haven.

Thank you again for the support of Strange Ways. I hope one day soon we can add our storefront to this guide.

Alex Dakoulas
Founder & Creative Director

Linnea Quigley + Kenneth J. Hall Talk Horror Workout October 27 2014

Twenty-five years ago a horror writer and a horror star teamed up to make a spoof of their beloved genre. Kenneth J. Hall (Puppet Master, Critters) and Scream Queen Linnea Quigley (Return of the Living Dead, Night of the Demons, Silent Night Deadly Night) created a send-up of two popular tropes at the time—fright films and exercise videos.

That video was Linnea Quigley's Horror Workout and until recently, it was owned only by the most devoted cult collectors. Found in old video collections, rabid fans would grab up copies at conventions and vintage stores. It was almost an urban legend of sorts to many people, but as video clips surfaced online it only spread current interest. Recently the video was released for the first time on DVD, along with brand new features, in a special edition run.

Strange Ways had an exclusive chat with the star and maker behind this cult classic, now available in our shop with a limited edition tie-in tee.

First things first: how did this crazy idea for a mash-up of fright films and exercise videos come about? Did it take convincing for anyone involved to actually get it made?

KH Dave DeCoteau (Creepozoids, Sorority Babes in the Slime Bowl-o-Rama) was doing pickups on a film called Murder Weapon at an insert stage in Hollywood. I dropped by and he was filming a shot of Linnea attacking someone with a (rubber) sledgehammer. To stay in frame her aim had to be precise, so the up and down movement looked very mechanical.

I joked that it looked like an exercise routine and said “We should do Linnea Quigley's Horror Workout.” Everyone laughed, but it wasn't long before I convinced Dave to produce it.

Part of the charm of the video is it's lo-fi, B-movie quality found with independent productions. Nowadays digital technology makes it easier to shoot and edit a video, but I imagine it wasn't that simple back then. How was the filming process?

KH It actually was shot with state-of-the-art (at that time) Betacam equipment on a two day shoot. But shooting and editing old-school linear video was an absolute nightmare. Everything technical that could go wrong did. I go into detail about this on the commentary and interviews in the new release.

LQ I remember the second day all the sound was off on this huge bit I had to do, so we had to film it all over again.

One of the stars of the movie, besides Linnea, of course—is the hair and wardrobe on the actresses. Linnea, if you have still have that studded bra and underwear set I bet that would sell! And the 80s crimped hair, the nightgowns, cut-up tees... was this a personal style, a style of the time or was more thought put into it


KH Linnea is better to answer this than I, but I do remember our makeup artist, Cindy Warren, not only was responsible for the big hair—but she was cutting the t-shirts as well.

LQ I actually just used my own stuff. My friend, Cindy, did my makeup and she did create my white, torn top. She was really good, but the other girls brought their own wardrobe.

I still have my studded bra, but I am attached to it! And I still have the belt and bottoms. You see that belt in a lot of movies.

Kenneth, what was the scriptwriting like? The film spoofs zombie films, slasher movies, exercise videos, slumber parties, and more. It's almost set up like vignettes. Was there a certain thought to the narration? Did you every think of making a feature length movie?

KH The project was always conceived as a novelty video, so I never thought about making it a feature. I just wanted to make something fun that Linnea's fans would enjoy. Remember, it was still the 80s and most horror films had some degree of humor in them. It was very different from today, where these movies, in my opinion, take themselves far too seriously. Anyway, I liked writing comedy so the entire script was written in a matter of days.

Once we got into it, I realized that the exercise sequences would have to be long if the running time was going to hit 60 minutes. At one point, I suggested we cut it down to 30 minutes. The producers wanted to keep it at an hour, so that's the way it stayed.

How was the original video released to the public? Was it put out in theaters? Without the help of the internet, like in this modern era, how did you promote it?

KH As with all low-budget releases, it was put out on VHS to what was a thriving market at the time. Magazines like Fangoria kept fans up to date with what was coming out. There was no theatrical release for a lot of independent genre films then, because the drive-ins and single-screen hard-tops had all but gone. Who was going to pay the same price at a multiplex for a B movie as they would a major studio release?

In the case of the workout, there was never a question of theatrical because it was shot on video. Video did not play in movie theaters… period!

LQ I remember we did a lot of PR through Entertainment Tonight and E! channel too. It got out there that way to the public, then it kind of took on a life of its own.

Linnea, you've been titled the “Queen of Scream”—did you look at this video as sort of a “stamp of approval” to being an official (if not the ultimate) scream queen? Or was that status already achieved before filming?

LQ I did it to do something fun; not to cement myself into “Scream Queen-dom”. That wasn't a thing back then. It became one a few years later—people wanting to become scream queens. However, I am glad to say Playboy just voted me “Sexiest Scream Queen of All Time” this month. So get your workouts in now while you can stay in shape! Haha.

Did you two ever think that 25 years later people would still be interested in a vintage horror workout video? What prompted you to put out a re-release on DVD?

KH We weren't looking to the future back then. Over the years since, the VHS has been in constant circulation and it's been bootlegged shamelessly, even on YouTube. I wanted to put out a better-quality version on DVD for a long time and was finally approached by some people to do so. They produced the extra features and went back to the original 1" tape master, which hadn't been opened since the 80s, to digitize it.

LQ No, never even thought there would be a 25 years later. I was really proud of it and that Ken and I had thought of this great idea, but didn't know who would buy it. It was in VHS format and I get a lot of people bringing the original up to me at conventions. Now we have the new DVD! It's good memories.

Some people even do it on their birthdays every year and I have pics to prove it! They'll have a cake of me... its very flattering! Guys and girls too.

Linnea, you seemed to step out of the spotlight a bit in the past decade. Now, your career is having a resurgence with doing more film work and classic movies you starred in like this one getting releases.

LQ I am working, but the problem is I'm not in LA. My parents got sick and since I'm an only child I had to move back home to help. I miss LA like crazy where it is easier to get stuff going. I gotta get back there for more!

Any chance you two will team up again for a new feature? Linnea Quigley's Horror Workout: The Sequel?!

LQ Yes, I'd team up with Ken to do another. It would be a lot of fun! This was so original, it would be hard to beat it, but I'd love to try.

KH I would love to work with Linnea again, though a sequel would hardly be my first choice. This was something we did for a laugh many years ago, and it's nice to know it's still remembered; with a new generation of fans discovering it.

On a side note, Linnea informed us she actually wrote and recorded a song with her band The Skirts called “Strange Ways”! A video for it was filmed as a part of Beverly Hills Girls.You can see the excerpt here.


Buy Linnea Quigley's Horror Workout DVD here—plus our exclusive, limited edition tee!


Making Of A Logo October 19 2014

My career is rooted in graphic design. I think the graphic tees I made in college are what got me noticed and began my start in working on lifestyle products. A graphic for a shirt is very similar to a logo. Both must represent something visually: a feeling, a message, a point of view. I don't create all the product we carry at Strange Ways, but I knew I wanted to form our branding considering Strange Ways is sort of an extension of myself and my style.

The most recognizable imagery for Strange Ways will be our logo. Below I've described a bit of the thought process in deciding how it came to be. I wanted do this because firstly, I think it's kind of fun. Secondly, to show you—the customers—the care taken behind this business. I don't take much of what Strange Ways does lightly from who we buy from, what those products says, what brands to represent and even yes, what our logo looks like.

The first step for me is always writing down what it is I'm trying to represent, and doing some initial sketches off of the computer with what comes to mind. I want Strange Ways to be about individual style, unusual imagery, fringe culture and unique ideas. I want this to be a place for like-minded outcasts to come together, and see there's people out there making the odd stuff they want to wear and use. To me, that conjures up imagery of close-knit groups of “weirdos” like covens, outcasts, Illuminati and various cult followings. Being in New Haven, CT—the home of Yale and Skull and Bones—I thought secret societies were a good source to draw from too.

I began collecting imagery relating to these groups, amassing symbols and iconic imagery. I find it advantageous when collecting images to see where they overlap and repeat. This usually means those connotations would resonate with the general public. The most repeated imagery I found were geometric shapes—particularly circles and triangles. (With research I also found out the triangle is the strongest geometric shape—which I love—and a circle represents unity.) This is a very good place to be, because those images are so iconic. My thought is the that best logos are simple, but memorable. Crests can be cool and elaborate designs can look nice, but to me those become more illustrations instead of icons.

I started making tons of computer sketches. I ended up being really drawn to the formation of a circle and a triangle overlapping. Making the circle secondary evoked a thought of 3 different corners coming together, and in doing so connect a circle. I liked that grander idea of different outcasts forming a bond. The different internal and external shapes also play off each other well. I knew I wanted the actual word Strange Ways to be in the logo. As a new business it'll help people identify our name. I also knew we'd need 2 different versions depending on aspect ratio. Often times a square is great for a logo, but a logotype is often horizontal. I wanted both, but to make sure they connected.

As far as design style, maybe this is more of a personal taste, but I was drawn toward creating something smooth and clean. I will say I did think it was important in utilizing this darker, almost occult-like imagery to not make it feel too intense or frantic with the quality of linework. I thought it could evoke a sort of amateurish quality around a business I want to be taken seriously. The juxtaposition of more raw imagery with a clean finessing I thought could create an interesting contrast.

With this in mind, when finalizing the style of the logo I went sleek and modern. When choosing a font I wanted something that had hard lines and 90 degree angels to mimic the geometric shapes I was using. The letters I chose didn't work out perfectly as they were, so I made adjustments to the heights and points of some of the letters.

In the end I came up with a logo that has different design elements which can be pulled apart or put together when needed. I think it comes across modern, while referencing something from the past. Currently I prefer putting the logo on a black background with inverted white text to give off more of a mood, but many times it'll be represented on a white background too. In the future I may play with adding color, but the basis of it stands well in black and white and I'm going to keep using that for now. Hope that was informative and interesting, but most importantly that you dig our logo! Thanks for reading up about the ideas and identity of Strange Ways.

Alex Dakoulas
Founder & Creative Director

Letter From The Owner September 18 2014

Hello all you strangers out there,

Welcome to Strange Ways! I hope it becomes the destination for you when you're looking for a new piece of clothing, a unique gift or just want to be inspired by what some cool people are making. Check in here before you stop by the mall; I promise you'll find something more interesting. You'll also be supporting small brands, independent artists/designers and entrepreneurs. We want to offer you the same professionalism as those big guys, but with more compelling product.

The thought for this shop has been long in the making. I've dreamed about starting up one ever since I began printing my own t-shirts in college. The idea of having control over a space that I can showcase my little slice of life always sounded amazing. I never thought that day would come so soon, but I just turned 30, moved to a new city and all the stars just seem to have aligned.

I think coming to this has been a natural progression. I went to school for graphic design; graduating from Massachusetts College of Art and Design in Boston. During my time there I took a wide breadth of classes from film to photography to screenprinting to, obviously, design. I've always been very interested in many mediums—which at the time was very daunting, but I'm actually finding to be quite advantageous as the owner and frontrunner of this shop.

My biggest draw always came from working on lifestyle products. I love making things that people connect with and see themselves in. While in school I started designing graphic tees and selling them. I wanted to express myself, but figured maybe other people might relate to them too. Turns out they did. I even won a school award for my designs and I wholeheartedly think these t-shirts are what got me my first real job.

Right after college I began working for Converse (as in Chuck Taylors) in their footwear design department. I created not just graphics and shoes, but learned a whole lot about materials, color choices and product design. I stayed there for almost 5 years and it was truly a defining period of my life where I learned so much about product and business. I met some of the most talented and authentic group of people there as well, where we both learned and played. I would also go on to work for Puma in a very similar role as my job at Converse. Both jobs taught me a lot about work ethic, timelines and not just the U.S. market, but the world and the trends that fly around it.

Congruently while having a corporate job, I wanted to satisfy my personal creativity. For about 5 years I also ran a graphic apparel line called Dance Party Massacre. Now, if you love 80s slasher movies or popular culture you would have also loved our clothing. With a theme dubbed "party horror" I created a niche for myself and the brand. While having a big wig job allowed me to learn from the system, running my own brand allowed me to learn from practice. I was able to bring in some amazing illustrators and talent to help me as the brand grew, until eventually I became more for a creative director.

Coming from a hands-on designer background, stepping into the more conceptual and task-oriented role of creative director was actually pretty smooth. To me, a great product comes from what it stems from or what it represents. When I was designing shoes or t-shirts, I wasn't selling that item; I was selling what on that item says about the person who wears it. I love working on things for people to connect with. I truly believe that what we choose to buy, wear, put in our homes, etc. is a representation of who we are. And I love it when something I had a hand in making (even if it's just collecting it all into one spot), a stranger can see themselves in too.

Curating and helping develop the items that Strange Ways carries also connects me to the makers behind it. I really enjoy collaborating with others, and I get as much pleasure out of developing concepts than I do in actually putting my hand to paper. This shop allows me to do more by utilizing and showcasing other people's talents, and I think it'll really help widen what can be accomplished. The fact that we can also give lesser known people or brands a larger platform is the icing on top. More independent creators also tend to put out more interesting product; not tied to the standards of commercial consumption. Their work says something; it has a voice and a style. That's the stuff I want to be a part of.

I hope that this new shop is the start of something great. I hope you find Strange Ways to be unique and cool enough that you want to keep coming back, and that you want to share it with friends. I want to not only work with the makers of the items we carry, but the people that buy it too. Feel free to drop me a line anytime. Welcome to our strange little world.

Alex Dakoulas
Founder & Creative Director