Supplemental Document
Date of Oral Interview: February 2014
Research Subject Name: Rosanna Esparza (RE)
Researcher: Diana Cabral (DC)
DC: I’d love to know where you were born.
RE: I was born in East L.A. and I was raised here. Just about a quarter mile down the road.
DC: Do you associate with the term (Chicana)? Is that how you identify yourself?
RE: For me it’s from my mother and her activity with the Chicano movement in the 70s. She
would take us along with her. Part of the marches. That’s who we were, that’s who we
represented. The Chicano movement and Chicanas, our family is very strong, the women are
very strong. My grandmother ruled her house, she ran it like clock-work and that’s what I am
used to.
DC: Can you describe your typical customer, or who do you have in mind when you design?
RE: I’m a Chicana, I’m from East L.A. and I love it and I love you. It’s an armor and a message.
That is my mind set when I am creating.
DC: What would you say is your design signature?
RE: The hand and heart is like ofreciendo mi corazon (offering my heart). So everything is
very peace, love, and harmony, you know. But it’s also saying, I’m Chicana, I’m from East L.A.
and I love it and I love you, you know, so…it’s an armor and a message. That’s my mind set
when I’m creating…
DC: Studies show that clothing can actually help support identity development. Do you believe
your designs can help do this? Why? How?
RE: For me my designs are like an armor. It makes the statement that we are all the same
underneath. It’s like an omuletter saying “This is who we are.” My clothing images say “I love
who I am and where I am from.” It also says “I’m Chicana.”
Date of Oral Interview: February 2014
Research Subject Name: Ofelia Esparza (OE)
Researcher: Diana Cabral (DC)
DC: I’d love to know where you were born.
OE: I was born here in East L.A. too. I’m a home girl.
DC: Do you associate with that term (Chicana)? Is that how you identify yourself?
OE: Most certainly.
DC: Studies show that clothing can actually help support identity development. Do you believe
the clothing you wear has helped you develop your identity?
OE: For me Chicana right away brings up connotations and images.
OE: I found a voice that I never had and that is what I identified with. I went to school in the 40s
and 50s and fashion was the identification for Chicanos.
OE: what I used to wear that was Chicano was a blouse my mother made for me that was made
of retazos (remnants) but she put an eyelet that she could put a ribbon through but, I wore Levis
jeans that were my brothers and I would just fold them up. And so that was my own mimicking
the fashion that was in place
DC: What do you want your style to say about you?
OE: This is why I’m special, I’m Mexican and Indigenous and it felt good. When I started
teaching I wore a lot of things in my hair because I have big hair. I wore sashes on my hair. I
even love the African look.
On the topic of her daughter Rosanna Esparza:
OE: I have to say that the last design is so beautiful and she only printed a few. I think it’s one of
the best; the tree of life. Which has been kind of a logo for her, an icon for her but she added an
angel or something. She added two birds on it. It’s really beautiful. It went fast. She made bags
and bandanas. It was for Day of the Dead.
DC: When purchasing your clothing, do you consider if the garment was made out of natural
fabrics (organic clothing) and if the process to make the garment was ecologically safe and
supportive of fare labor practices?
OE: I know our family, especially Rosanna, likes to focus on animals that are endangered,
environmental things. That’s important to me. Not only on designs but looking for products that
will enhance that
OE: Mostly I buy from Plaza de La Raza, places that have items that are from the area of origin.
I don’t go looking for that but when I find it I buy it. You know, I only go to one thrift store
that’s near my house, especially since we’ve had this store, I don’t have time to, I don’t go out
shopping. Whenever I go I find something that’s wow.
On the topic of fashion statements through clothing and symbolism of images:
OE: The colibri is part of that and hummingbirds represent their (those who have passed) spirits
DC: I had an opportunity to see a little bit of your art on line and I noticed that you use certain
images.
OE: I use the hummingbird a lot, I call it my animal spirit, so it’s my spirit, and it’s not only my
spirit but it’s [a symbol] of hope and peace. I think a visions of hope.
Date of Oral Interview: February 25, 2014
Research Subject Name: Moiselle Amoureux (MA)
Researcher: Diana Cabral (DC)
DC: And you mentioned that there was a lot of Hispanic or Latinos… in the area… so how do
identify yourself today, you know? Your… as a grown woman? You know?
MA: Hahaha
DC: Over the years I am sure, in the places you’ve gone and what you’ve seen and what you’ve
experienced
MA: Okay, when I grew up in elementary, it was me and another girl, it’s kinda, ot funny but
interesting story of how it all wrap together. Me and her were the darkest ones in the school and
when we grew up in elementary and middle school, we were always being teased. We never
spoke about it, but we had that communication just with our eyes. We knew, we felt excluded
because our… for me I felt like my own people after I acknowledged that I had my own race or
what not… to say… umm… or what not to say cuz I don’t feel like it’s my own race.
DC: Right
MA: I felt like an outcast and I know she did too. And we were always being made fun of
because of our skin color,,, all of the time… so after Jr. High I really took into music…her, her
name is Sabrina. Sabrina departed her way I departed my way and I went into a music academy.
So I started studying music and I was… it’s still one of my biggest passions, I love music and
umm… that’s when I realized there was all types of people and I felt like my … I honestly felt
like my parents were taking me away … and I was angry at my mom and dad, like why didn’t
you tell me? Like what is this? Explain this too me? But I think because you know my mom and
dad are first generation here in the United States, they too stayed with their own people, they
never talked to Blacks, Whites, Jewish, they never did that they just communicated amongst
themselves because of the language barrier. That’s what I believe
DC: Okay
MA: But umm…you know when I go to Mexico its like… you fell…at least I feel…like oh “Es
Americana” you know? When Im here it’s like “Oh es Mexicana” ans its funny because
everybody tells me like…how do you identify yourself? I’m like “Ni de aqui, ni de alla” that’s
how I say it…because I feel that …that when I’m here, people say your Mexican but but then
they get upset because you don’t eat the salsa that’s stronger, whatever…
DC: So, that’s what research has told me and even the designers I’ve already interviewed, I was
like, “Let me see what they say I’m very curious about them…”
MA: Right
DC: And they go, they all… also believe that it does, at least for them…
MA: Yeah…yeah
DC: So how do you…what do you think about that…what I’m, what I’m asking you, what is,
what is your view on that? You know?
MA: I definitely agree, I think there’s two. There’s two types of things that clothes do or…of
course it’s gunna identify you…mostly if your in your element
DC: Yeah
MA: I go to this one event and I’ve noticed that every time I go, I want people to notice how I
wear and the style that I wear…and its very…you know, last time even someone came up to me
and they said “I love your shirt it’s soo…you know looks so Mexican!” I thought okay, that’s not
what I want to hear but I know what I was trying to portray…you know?
DC: It stood out, it stood out…
MA: Yeah it stood out that’s what he was saying but, every time I go to this event I always you
know, take something of my culture with me because it is that type of event…um so yeah I
definitely agree. You can identify yourself the clothes that way…and there’s also you
know…women that identify themselves through the self confidence of clothes…I think…
DC: Okay
DC: Umm, how did you get started in wanting…I, I’m…you know I don’t want to make
assumptions, but most of us females love clothes
MA: Yeah
DC: But there must have been something that, that was like “I wanna design clothes”…what
made you…what inspired you?
MA: Nobody contact me, I don’t want to study with anyone I’m here to just sew…and um…then
I just started designing and people really liked my clothes and started purchasing… “Can you
make this for me? Can you make that for me? And can you design this and can you design that?”
I’ve always designed I just never…knew how to put it together
DC: Cultures and backgrounds, how would you say that…that If I’m, I’m just gunna call it that
identity, the way you described it, your identity…um…how does that play? How big of a role
does that play in…in your…your designs? You kind of explained on that a little
MA: A lot…yeah a lot
DC: Like you collaborate…
MA: I love it! I think that for me…for example this collection… my collection was to mix Aztec
print with African print. I was like oh we could come together, you know just bring them
together its something different because most of the time it’s just one type of print
MA: Umm… let me um…rewind I know you were asking about identity and stuff. I think one of
the words I do use a lot is Chicana
DC: Okay
MA: Because a lot of people say well “What…what is it? Latina, Hispanic?” Like…well
technically first generation here…I’d guess I’d be Chicana you know? And I feel like that
probably fits me better.
DC: Okay
MA: But when people ask me well…”What is…happening you know?…How come you feel like
you’re not too close with your own people?” Well that’s what happened, umm but integrating my
designs with other, all the time! Or constantly…like I love…there’s an Ethiopian designer out…
I forgot, I can’t think if her name right now. I love her work! I’m constantly looking at her work.
I love looking at…regular Mexican sign and how they integrate you know… the piñata and the
traditional Mexican stuff, I love that stuff I just, I don’t…just close myself to just… “Oh I’m
gunna stick to Mexican,”...however, the only line that I do, do that is the Cinema line which I
started. That’s it, that’s strictly actresses that did a huge part in Mexico, they don’t necessarily
have to be Mexican but they went to Mexico and that’s where they became famous and their
faces are very familiar to us so that’s it. That’s my…my strictly like…I’m sticking to that box
haha
DC: So how do you…I’m trying to use the right…think of the right word…how do you
negotiate when considering what you make and what is out there…how do you negotiate that
consumerism being thrown in our…in our
MA: How do I know…yeah…
DC: Meaning like…
MA: Like if a clients coming to me or pretty much why should I buy from you?
DC: Considering the right one
MA: It’s simple…it’s….yeah its very simple…for me it’s…what I’ve noticed is a lot of women
don’t wanna walk into a the same room and you’re wearing the same dress. A lot of women do
not, they…they’re trying to stay away from that…
DC: Yeah
MA: And the…the cool thing about it is that I’m bringing that…to a community that’s on a
budget…nobody does that…I’m really taking it vintage.
Date of Oral Interview: March 2014
Research Subject Name: Diane Gamboa (DG)
Researcher: Diana Cabral (DC)
DC: What do you want your style to say about you?
DG: It’s such an intuitive thing to me by now, I don’t think about what my style is saying; I’m
not trying to say anything with it. You know; certain places I go and I get dressed up to a certain
point. I just do it because I like it.
DC: I recall from when you went to profesora Yreina’s class you were straight up and that’s
what I need. That’s what I want to hear, straight up information.
DG: Design is a total different medium than fine art.
DG: Even though I deal in fashion per se, I prefer to call it more style. I deal more with style,
which is one of those things, it’s like, some people have style and some people don’t and it’s not
even an economic thing…”
DC: Please describe your typical style.
DG: I love to get dressed up. I do love to do the girly thing and get dressed up. When I go to
one of my openings or somebody’s opening, I just love going all out. You know, for me, like the
40s style, which for me is the ultimate; the suits, the gloves, the hat, and the stockings, the shoes,
I love, love, love. But I wouldn’t say I have a style
DC: Where were you born? Where did you grow up?
DG: Born in Echo Park, basically off the hospital…. and ended up in Boyle Heights.
DC: I’m not surprised you said Boyle Heights. I hear so much about Boyle Heights.
DG: “…a lot of things have been happening in Boyle Heights for a long, long time. It’s almost
like an invisible part of the city, or a neglected part of the city, ignored part of the city. You
know I’m in my mid 50s now and it’s been like a real shit-hole forever. To me it’s almost like
an experimental part of the city
DC: How do you identify yourself?
DG: I am a Chicana, period, regardless of it. That’s who I am. I identify as Chicana. To be
straight up, I consider myself a Los Angeles based visual artist. I’m a visual artist. That’s what I
do. But if you want to start getting more specific; then of course you get into, what’s your race,
what’s your sex, then that’s when the Chicana comes in. But that is not at the forefront of me.
I’m just me. I’m a visual artist first. I make art, that’s what I do. I happen to be Chicana. I am
very comfortable with it. I know who I am and there are the pros and the cons that come with it
DC: What are your thoughts about the term Chicana? That’s always how you identify yourself?
DG: Yeah, it is a political statement. Even to call yourself Chicana you already straight up,
that’s already a political statement. You are making a political stance.
DC: How do you negotiate the demands of fashion and the pressure the industry places on
fashionistas to consume?
DG: I don’t negotiate. What am I going to negotiate? I don’t. There’s no negotiation there.
There’s no room for negotiation because I don’t bother with it
DC: Do you agree that fashion or style helps in the development of our identities?
DG: Yeah, how we dress and how we present ourselves, I definitely feel fashion helps in the
development of identity. Females and males alike.
On the topic of developing her identity and its relationship with fashion:
DG: I was angry also, and I was all fucken pissed off, still working on myself, my identity, and
whatever the heck that is. So for me the punk scene was really hilarious and really fun, you
know. It was really really wild plus it was really raw. It was for a really short amount of time. I
think from like the 70s to about the 80s and then what happened once again, what killed it was
MTV
Date of Oral Interview: March 2014
Research Subject Name: Felicia ‘Fe’ Montes (FE)
Researcher: Diana Cabral (DC)
DC: What is the chipster clothing look?
FE: The wearing of hats. The bringing of different, older vintage clothing and stuff like that.
DC: How did you get started in the fashion industry?
FE: “… a lot of us were also coming from alternative music styles like punk or girl girl punk or
whatever it was, people were coming from different things and then wearing like that Chiapas
top with like jeans and like Doc Martins or something or guaraches (Mexican sandals) or
whatever it was. It was very interesting to see the different people in the Xicana stilo (style)”
So it’s definitely something we started to see, well it was everybody, if you stepped out, a lot of
people were interested in cultural settings.
DC: So, umm, if you could tell me where you were born, and where you grew up. You know.
FE: I was born in El Paso, Texas.
D: Oh my god, so was I.
FE: Until two, when I was two I came over to L.A. Most of our family is from Texas/Chihuahua
area. Still have family in El Paso but a lot of people are on this side of the border already and
they’re in L.A. a lot. So..my parents actually met in L.A. but they like went to Mexico for a
while, went to Juarez and El Paso for a while and then. My brother was born in Juarez and I was
born in El Paso and then they came back to L.A. So I’ve been in L.A. like the majority of my life
since I was two, so…I claim El Paso still and Texano energy but I definitely like L.A. and am
L.A. Umm, I grew up mainly on the East Side like Boyle Heights, east L.A., kind of in this
order actually, Boyle Heights, East L.A., Montebello, Monterey Park, Alhambra, then went to
college and then came back to like Alhambra and then East L.A. and a lot of different places
when I started living on my own, a lot of places on the east side. Umm and right now I live in
Monterey park right by east l.a. college. So…I grew up mainly part of the Chicano movement
cause my parents were involved in the movement in the 60s and 70s and so.. we were always at
cultural events, and fundraisers and marches and that was kind of our family thing. Umm, yeah I
grew up on the east side. Definitely involved in Chicano and Chicano circles, identifying as
Chicana. Pretty much at a young age and then went to college ummm, I took like look a long
route to finally get the B.A. but I went right out of high school to Berkeley then I came back. I
was still doing a lot of movement stuff and I felt like I wasn’t connected to LA. then and I hadn’t
really found the circles yet to do the organizing that, that kind of stuff that I understood what I
was doing back home or people were doing so I came back home. Ummm and then I went to
Cal State L.A., and PCC, and a semester in Mexico and then transferred to UCLA and graduated
from UCLA in a B.A. in world arts and cultures with a minor in Chicana/o Studies. Umm and
then did community work for a good while. I graduated in 99, I think I started the Chicano
Studies master’s in 2001.
DC: I noticed a lot of what you shared with me is very indigenous based. What led you more to
that?
FE: I was also looking, you know, while growing up, to find something. When I was in college I
started doing danza and then was also invited to a sweat ceremony through some of the circles at
UCLA and through some of my friends. I continued that pretty much on and off, now a lot more.
And also I think the Zapatistas, specifically wasn’t always necessarily for us about spirituality
but it was at least about understanding indigenous cultures or honoring who we were, wherever
we came from, whether it was Zacatecas or Chihuahua or wherever but understanding those
cultures. So I think for us or for me, it was connecting back in a different way and then I also
began to practice native ceremonies.
On the topic of vending, supporting other artists and her online store, Urban Xic:
FE: The site is not just our stuff. That’s how we started Urban Xic, I think I started to say that
when I side tracked. We started to make it as revolution to support artists or the mercado
(market) for the movimiento (movement) and so it was more like a tianguis or clearing house of
different people who are doing like movement oriented fashion or fe’shion or stilos (styles) and
hondas (what you are into) and community artivists, which mainly is the term that we use, they
had a space here on the website. We make it accessible.
FE: For us now vending in an actual spot is a lot more difficult. The input and energy and since
we are online and we do pretty good online we are like, we kind of pick and choose it and we
have so much stuff too. We use to do Caracol.
Date of Oral Interview: March 2014
Research Subject Name: Emilia Garcia (EG)
Researcher: Diana Cabral (DC)
DC: Studies show that clothing can actually help support identity development. Do you believe
the clothing you wear has helped you develop your identity?
EG: I remember I went to a Linda Ronstadt concert and she did Canciones de Mis Padre and she
got up there and all her back-up singers were all dressed up in a charro and I thought to myself “I
want one of those”
EG: I always take a rebozo with me…” and added, “I don’t really like scarfs but you see
something somebody knitted or like whatever and those are nice but if it’s cold, I use my rebozo
instead. So I always have something with me that’s part of you know, of that, like a purse,
something like that I bought in Mexico. I have some purses that are bordado (embroidered) or
artistic, not like the regular stuff
DC: Please describe your typical style.
EG: I love it, I mix it up. Like, I’m not always wearing the big skirts and stuff. I like to do it
more modern. I have a few of those skirts you know. But I like to do it more modern, like my
style. Like I’ll wear my huipils with jeans. You know, that’s what I do
DC: How do you identify yourself? What are your thoughts about the term Chicana?
EG: I’m like, you just deprogrammed me for all these years and then you don’t have the accent.
Then you have this white teacher teaching you how to speak Spanish, then I’m like, ‘oh my god’
and then we start speaking pocha or whatever we do. My problem has always been the tense [of
the verb]. I don’t know why I am so…, hard headed about learning about it
DC: When purchasing your clothing, do you consider if the garment was made out of natural
fabrics (organic clothing) and if the process to make the garment was ecologically safe and
supportive of fare labor practices?
EG: I hate the fact that things are made in China. What makes me mad is that I know that these
people are not being paid a decent wage. I participate every month in what we call The Caracol
Marketplace and its all artists, designers, and jewelry people. It’s all handmade; personal
products, beauty products, friends that make soap, a lot of jewelry. There’s silkscreen t-shirts
that people do. Even food, you know and art but everything is handmade.
DC: What do you want your style to say about you?
EG: …it (clothing) makes a statement, this is who I am