Journal of Body Piercing — APP
Piercers in Canada were recently informed by Health Canada that they were not allowed to use products containing gentian violet.1 A recall was put in place due to a link to cancer risk. At least one manufacturer voluntarily discontinued sales of their products and their license was cancelled.
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At the beginning of June, Health Canada warned Canadians of potential cancer risk associated with gentian violet. This was concerning to many professional piercers in Canada and internationally, due to the fact that gentian violet is a product commonly used for marking before a piercing. There has been some debate in the piercing community over whether the gentian violet product recall should affect our industry.
In Issue 89, we’ll have a thorough examination of the studies that triggered the product recall and what that may mean for professional piercers and consumers in general. Thankfully, in the meantime, there are non-gentian violet options available in the form of pressure marks and non-gentian markers. It should be noted that when opting for markers, skin specific pens and surgical markers should be used rather than permanent ink pens and markers.
Matte Erickson
Body Piercing Archives
In a continuing effort to bring a little insight to some of the interesting people within our history, we bring you our next casual interview with, David “Mama” Vidra. The contributions that David has been responsible for are too numerous to list. A piercer, registered nurse and educator, David has been an integral figure in pushing the piercing industry towards legitimacy in the eyes of Federal and medical agencies. Not only was he an early Board Member, instructor, and liaison between the APP and OSHA, he also created Health Educators (www.hlthedu.com), one of the only industry training programs in the world.
Matte Erickson: How did you get the nickname “Mama”?
David Vidra: Mama came from Kevin Tarbell at Splash of Color in East Lansing, Michigan. It also came from all the years I worked with the handicapped. That started when I was 13. I started High Hopes for the handicapped and in the early ‘80s started an organization that cared for AIDS patients until death. North Coast AIDS Home Care, an agency taking care of the patients, closed in early 1990. I also did theater with the deaf/blind and assisted with a deaf choir.
Matte Erickson: How long have you been around piercing? What is your history?
David Vidra: Since I was 21. I got my first piercing at Body Language in Cleveland, Ohio by Linus Herell. So, 38 years total I have been around piercing and involved. As far as my history, I apprenticed and did piercing all while focusing on other parts of my life. I directed outdoor education program for a CYO Camp in Ohio, worked with mentally and physically challenged people for care as well as directing theater with the deaf/blind and what we call normal people, but the whole time I was piercing, getting pierced and doing all the above.
Matte Erickson: Who most influenced you in your early body piercing career?
David Vidra: Influences outside of local people, which was Linus and John Brittian, came mainly from the Gauntlet’s PFIQ. Fakir’s Body Play magazine also was a great influence in regards to the spiritual aspect of piercing, which was also very important to me.
Matte Erickson: Who have been your role models during your involvement in the piercing industry?
David Vidra: Michaela Grey, Jim Ward, the Gauntlet classes (basic and advanced). During my classes there I met both Al D. and Eric Dakota. These were the first people that really affected me personally and professionally. Also, I got the opportunity to speak with Elayne Angel (this was before her involvement with APP) at a FDA conference in New Orleans, which had both been invited to speak at. I always had great respect for her and was fortunate to have gotten to watch her pierce at her studio. All of these people helped shape my career and so many more I haven’t mentioned as well. Shops like Infinite Piercing, Blake’s shop, Note Nomad, but they were the more extreme of our time and would share information freely.
Matte Erickson: What are a few of your favorite Conference memories?
David Vidra: Favorite memories, there are so many this is very hard to keep short. When conferences began, if there were 200 people there, OMG that was huge! We would debate different things from aftercare, things such as preps; betadine is what almost everyone used at the time, and BZK wipes to remove it (ETOH (alcohol) would deactivate it), salt solutions etc. Memories of good debates and agreeing afterward what directions we wanted to see the industry head.
Being around people who love everything you do, sharing information with each other about why we would do what we do. There were schools of thought, Jim Ward’s, Fakir’s, other owners and those who had minimal to no medical education and could not get it. Being a new nurse at the time, about six years or so, I took what we did in medical, but not to the extent we did in hospital. This included documentation, adapting tools (no locking forceps etc.). It was an exciting time!
Doing the opening session with Derek and Shawn on the classes, who the Board was, was such fun. Teaching with Dr. Jack on anatomy and working with him on legislative issues in early ‘90s. Attending the first APHA convention. Michaela getting us that membership expense both to be there, and to get our membership paid for, not from dues, but from our own incomes. Such a success! Talking to all these people who did not really receive us too well at first, but that was the minority.
My fondest memory was teaching bloodborne and studio documentation. Teaching wound care with Dr. Betsy and teaching anatomy with her and Dr. Jack. Discussions at the splash bar with those people who would say can I talk with you, and spending hours answering questions and trying to help every person no matter how long it took.
There are goofy things, but my fondest of all, was teaching and giving everyone the information they needed (no trade secrets), being accepted by others at times (though some never did). When Bruno (Pat Tidwell) gave me a towel with my initials on it, I had made it into the towel club. It felt great and came with respect from some more extreme people which, God, I wanted to be, but could not. So I could live through them keeping their asses safe, and we could come up with new ways to do what they needed to.
Research, God, back when I was on the Board for five years and a consultant (until three years ago). Research costs money. Not just going on the web. Back then, you paid for medical and nursing journals, and for opinions from government and other big agencies. All that money was raised, or paid for, by my shop so we could prove points from minimum standard to higher standards, where appropriate. Sterilization, oh my God, what we did then to now, but no one bitched about money they spent because it was for the greater good of the community.
One last one is the first legislation in Washington; helping to write it get the proof of what we were asking for and it being passed with a ban on ear piercing guns what a rush.
Matte Erickson: What keeps you busy now that you no longer pierce?
David Vidra: All the work I have done for education, from research to getting different certificates within nursing; such as wound care certificates and certified instructor and facilitator, which both added to what I could give, and getting things certified for health inspectors for their continuing education. Setting the base courses, anything with health and safety. Teaching anatomy and wound care with Dr. Jack and the latest with Dr. Betsy and the organizations. Early on we were members of APHA, and some I just do not remember. Working on the NEHA manual (the first one) and I am glad to hear it will be updated finally. Working with OSHA, CDC ,and NIOSH with different projects, all of which really brought me much joy with the illness affecting me the way it does at times, it makes it a bit hard to continue it all so I limit what I can do.
Matte Erickson: If you could pass on one piece of advice, what would it be?
David Vidra: One piece of advice: keep your relationships strong and make time for them over anything else (work, organizations, etc.) When everyone else is gone, only they will be there. The others will not. Just your closest friends and your partner. The rest move on without you and that has been proven. Most do not know my lover, he never wanted to go there with me, but he was always home when I came home and loved me no matter what. So keep them strong. My only regret is not one at all. I did a lot . I know that I was, and still am, a good piercer and educator and do both when feeling well with pride. No matter what others might say, my name still holds weight.
I miss some of what was, and miss it fondly. Remember, we all get replaced, but no one can be who you were to the clients and students you served.
Matte Erickson:Puppies or kittens?
David Vidra: Both right now. We have a boy; his name is Gus. He thinks he is a dog, but he is not. He is the sweetest when he wants to be, and tries to keep my legs calm. He always knows when things are bad and makes it better. I am looking for a small dog to go with Gus and of course, for me.
We hope you enjoyed this little look into the life of David Vidra. To be honest, I am amazed it is as short as it is. David is a great storyteller. If you ever have the chance, please pull him aside and let him tell you some of the stories in a way only he can tell. And, to David, thank you for putting up with all the correspondence in getting this done. You are a gem. If you would like to see anyone in particular interviewed here, feel free to contact us at archive@safepiercing.org.
Kendra Jane: Tether Jewelry had a very strong first show at this year’s expo. Tell us how it came to be and what the line is all about?
Tether Jewelry: Tether is about creating a jewelry brand that is not only innovative and beautiful, but can reach a wide audience. Riding that line between where designs can be enjoyed and embraced by all people. No matter gender/scene/age, jewelry for all. With each piece of jewelry we hope to take you on a journey; our story is just beginning. That is why this season is called Genesis.
Spending 15 years at a very jewelry-centric studio was where I truly fell in love with body jewelry and all it’s diversity. I started asking “why isn’t anyone making this/doing this better?”
It was at that time I was blessed with the job of designing a line for the shop, I got my first taste as a jewelry designer, and began to bring answers to that question. During that time it really inspired me to explore my designing capability further.
It was 3 years ago, at the 2013 Conference that I decided I wanted to finally pull the trigger on starting my very own jewelry line. The following year was tough; I kept running into obstacles and other frustrations. All while continuing to pierce. I finally decided to take a huge leap of faith and step away from piercing last year to give Tether all my energy. Fast forward to now, after an amazing response at the Expo. It feels so good to have overcome those roadblocks and have reassurance that the leap of faith I took was worth it. The future looks very bright and I’m excited to continue in this industry I love so very much as a jewelry designer and manufacturer.
Kendra Jane: How did you come up with the name of your company?
Tether Jewelry: Naming things/projects is the hardest thing for me. My brain can’t seem to commit to one idea. But there was something very natural and easy when “Tether” popped into my head. The name comes from a place of feeling anchored and connected to things. Being a social shapeshifter myself, I like to be fluid and sit in between two social scenes or two places, taking inspiration from different places and surrounding myself with many peer groups. Tether comes from that place too. There is something uniting and comfortable about that flexibility.
Kendra Jane: This year Tether took home not only the Innovator’s Creative Award but also the Best Single Booth Award, what was the inspiration behind the design of your booth?
Tether Jewelry: I wanted to bring the feeling and identity of Tether out and present all my products in a striking yet minimal environment. We wanted to create a visual experience that was uniquely Tether. We arranged our jewelry display in a way that made you feel like you were looking at an alien language, and as our guest, to feel like you’re a space explorer that just stepped into another world.
Kendra Jane: The design of your booth was unique, but everything about your presentation is very well thought out, right down to your packaging. Tell us more about this.
Tether Jewelry: It took over 2 years to come up with a more complete system for the line. Tether isn’t just about the jewelry. It’s a true exploration of those great feelings you get from adornment and fashion. When you open a box and it contains something that when you put into your hands, or put on, it gives you joy. You get a smile, smirk, or goosebumps. I know we all have felt it. This is my compass in my journey as a designer.
Everything has been designed together and iterated many times. Every color we use is deliberate: our displays, the font, our images on social media, all of it.
There is a quote that has always rang true for me from Doug Tompkins who founded a successful outdoor line: “There is no such thing as small details.”
I also say “we” because all of this wouldn’t have happened without the team of artists/designers and dreamers that are part of Tether. And, of course, to our wearers. Tether is about building something bigger than myself and trusting collaborations and making long term, deeper connections to bring forward something truly special. I hope people can feel that.
Kendra Jane: Each one of your pieces has a name and a story, please tell us what some of them are?
Tether Jewelry: The 2017 Collection was named Genesis as it marks the beginning of our journey. Our first experiment to glimpse into a future unknown. It’s inspired by water and crafts of travel; both space and sea. Also comes from a passion for machines, science fiction and architecture. Some of the designs were brilliant accidents.
• Navigator — The very first locket ear weight. The name came from the movie Flight of the Navigator. I adored that movie as a kid. The shape of this design was inspired by the spaceship in the movie and a traditional gold ear weight from the Tamil Nadu region of India. This is my ode to alien spacecrafts that can travel our deep blue seas as well as the vast expanse of space.
• Melange — Inspired by the distinctive work of H.R. Giger, I wanted to create a piece to have depth, and texture, but from more angles. It’s my own take on gold granulation, stacking together long tubular ellipsoids to create patterns.
• Drake Series — The Genesis collection is inspired by ocean and water. One of the most well known civilizations that had their own innovations on the sea were the Vikings. The longships were way ahead of their time. And so this design is an ode to one of their ships. The Drake name comes from the word Draken which means dragon. The Vikings sometimes had a dragon-shaped prow on their longships as a symbol for protection. Out of that design, using the curving lines of a Viking longship keel, manifested the Drake cuff. The Drake hoop was an accident from an early iteration of the cuff that was too large, I immediately thought how a larger clicker weight would be great in earlobes.
Kendra Jane: What are your plans for the next year?
Tether Jewelry: You can expect more designs next year. I am committed to ensure we are delivering the best product to the end customer. Our primary goal for next year is how to be a better wholesale-only design house. All the while enjoying ourselves and trying to create a memorable and lasting experience.
Kendra Jane: Do you have any advice to those small companies that are thinking about making their first appearance on the Expo floor at Conference?
Tether Jewelry: This took a huge leap of faith for me. Plan for the long game, there are no shortcuts. This industry is growing fast and there is a little piece for all of us. Don’t be afraid to partner with someone. We can’t do everything ourselves, especially when doing it well.
Marina Pecorino
Managing Editor of Content & Statistics
At this year’s Exposition, Tawapa won the multiple booth award with their dark unicorn themed display. I had the opportunity to interview Phoebe, owner and designer for Tawapa, about how their processes and ideas have evolved during 20 years of producing jewelry for the industry. Manufacturing and distribution to over 200 countries is a huge job, and it sounds like Tawapa is constantly fine-tuning their processes to meet demand and introduce new designs.
Marina: Tawapa has been producing jewelry for our industry for 20 years. How have the manufacturing and order processes changed in that time?
Tawapa: 20 years is a long time. Everything has changed, and then changed back, and then changed again. The manufacturing process used to be much much simpler. In the beginning we only produced carved jewelry. Ideas were communicated to the carvers via my drawings. I started Tawapa in 1996 working with the carver who was making buttons for my clothing line at the time. I loved him, but the industry grew quickly in the beginning; he began taking on a lot of clients and our quality and security were compromised. So I started the Tawapa carving workshop in about ‘98 or ‘99. Building our own workshop made it possible to hire a team focused only on Tawapa. This meant, better quality, consistency and prices. It also gave steady jobs to a small team who really got to know our product and our vision. These are the guys who still carve all of Tawapa’s organic jewelry. Our relationship has been long and prosperous. It’s been great growing up together.
We are now, clearly, more focused on metals which is a huge shift in manufacturing (and designing). I started the Tawapa metal workshop about 7-8 years ago. This was the next major milestone in our production capabilities. I learned so much in this process and was once again able to provide solid jobs to a strong team who could grow with us. Here we have our master wax carver who works beside me on new designs. She is, incidentally one of the only female wax carvers in Bali. She is highly skilled and can work sometimes up to one month on extremely complicated designs. Her finished waxes go to casting and then come back to the workshop for finishing. Besides our wax carver we have 2 amazing sample makers. These guys make hand made samples that don’t need cast pieces for the design. They are also the ones who finish our “masters” for casting and who consistently help me problem solve; they are our engineers. Their skill surpasses most silversmiths I have met, so their time is precious.
Next we have our production team. These people are piecing every item of jewelry together with their hands, their bench, a torch and some solder. Our team is stellar and coincidentally predominantly female, which is very uncommon in the jewelry business. They come to us with different degrees of skills. It’s been amazing to watch these women excel, deepening their skills while sharing, teaching, and learning from each other. The intent is that everyone who works for us learns greater skills for the future while they become experts working piece by piece on Tawapa jewelry.
Using metal is infinitely inspiring to me. Every day and every year I learn more about the process, while creating new processes and transforming old ones.
Regarding the ordering process, we have gone from producing stock and selling what we have, to primarily taking orders and filling them, to finding a happy medium. Producing quantity and quality to fill orders in a timely fashion is an inherent challenge in this business where everything is handmade in small facilities. Through the combination of in-house stock and taking orders, we are able to hone in on this great conundrum and continue to fill orders better and faster.
Marina: Tawapa is woman-owned and operated. Has Tawapa chosen to always employ only women and why?
Tawapa: This has been a natural evolution of the company. We do not exclude men. We love men 🙂 I think energetically, the environment Jenella and I have created over time is more feminine, and therefore we attract females. I know that in our production studio, since we have balanced the gender scheme, it is a much gentler environment for everyone to work in. Incidentally, this choice was not at my request, it just happened naturally.
Marina: Tawapa offers a huge selection of designs and materials, which must require a lot of space and a wide variety of skills. How is quality control handled within the manufacturing process.
Tawapa: As I mentioned earlier, we have a carving workshop and a metals workshop. We also have started sampling ourselves here in Los Angeles, which helps speed the whole process along.
We have at least 3 stages of QC. The carving workshop quality controls everything they produce, then they deliver to the metal workshop. Here, we have full time QC people dedicated to checking the quality while also checking and testing and double testing everything that is produced in the metal workshop. Next, all of that jewelry lands in our studio in Los Angeles, where we have 1-3 people checking every single piece of jewelry that comes through here…. again. It’s a very important process that takes a lot of time and employs several people.
Marina: Where do you guys find inspiration for new designs and jewelry lines?
Tawapa: I am inspired by everything all the time! It’s limitless. But I like to focus on a few important topics every year or every season.
We did a large collection of geometric inspired jewelry a couple years ago. This year I was inspired by gothic and deco stained glass. I mean, it is infinite, and this inspiration is what drives me.
Marina: Tawapa has released all sorts of new designs within the last year. Which new designs are the Tawapa pirates most excited about this season?
Tawapa: Oh wow… so much! To begin with, we are excited about horn again for the first time in awhile. The simple sophisticated geometric shapes that are a long way from previous “tribal jewelry” are really changing our current outlook on carved jewelry. I wear horn again! Besides that, the bondage eyelets are super innovative and new. (We love all the new eyelets.)
We are thrilled about all of the septum jewelry and push pins. The black nano coating has added a refreshing new look to everything. A few favorite designs would be the Minona, Valkyrie Shield, the Owl, Origami Weights, Unicorn Weights, and Notre Dame (inspired from the window of Notre Dame). We are also excited about the inclusion of stone in so many of our new designs.
Marina: Where does Tawapa find inspiration for the Conference booth displays?
Tawapa: We LOVE creating displays! We spend way too much time, effort and money on it, because we enjoy it so much. This year that unicorn (previously a horse) came to us magically, and we sort of built the display around her, deciding that matte black was this year’s color choice. I’ve also been really inspired by street art lately. I’ve been learning screen printing, so some of that carried over to the overall look of the campaign. Every year is different depending on current inspirations. #currentmood Going all white a couple years ago was a bold move for a dark industry that I think everyone found surprisingly refreshing.
Marina: Does Tawapa have any suggestions about how to handle and display your jewelry in the shop?
Tawapa: Be innovative with your materials. Think outside of traditional “displays” and use unusual items and materials for your displays. Creating multiple levels is really important to us. The key is to create a visually stimulating display that maintains an essence of simplicity so that it does not overwhelm the viewer. It’s a thin line. You need to wow your customers with an amazing display that doesn’t take focus away from the jewelry, but rather, draws them in and makes it easy for them to digest, and want to buy.
Marina: Is there anything else you’d like to share with the Point readership?
Tawapa: We are just really humbled that we are still here after 20 years! It has been an exciting ride. It is awesome to be 20 years in and feeling more inspired than ever. We are so grateful to all of our shops, piercers, friends, and community who have stood by us all of these years. I think that in this industry more than most, there is a very symbiotic relationship between all of us. All of us at Tawapa love and respect the relationship we have within this greater community that goes beyond manufacturing jewelry. It is a relationship that has withstood the test of time… and it feels great! So, thanks, you guys! We love you!
Not trying to be rude, but why should I tip a piercer when piercings cost so much? I feel like the jewelry and equipment don’t cost much and so they should profit from it a lot? Is it necessary because not a lot of people go to get piercings?
That’s a fair question.
First, you do not have to tip your piercer. We do not expect it, but it is appreciated when it does happen.
But you know I’ve got to break down the other part of your question. So, here goes. Continue reading