This Is What Real Life Instagram Vampires Look Like


This week marked 22 years since Buffy the Vampire Slayer first aired on television and the occult classic continues to live on in our hearts and on SKY reruns. From Angel and Darla to Spike and Drusilla we all remember what the vampires of the Buffyverse looked like. Ashy skin, gothy hair, brooding stares and a whole lot of leather. Cut to sharp fangs, yellow contacts and prosthetic t-zone wrinkles whenever they turned full vamp mode. But that was the 90s. What about now? What do the vampires of 2019 look like? And, no, not the fictional kind. What do the real-life, vampire-identifying, Instagram-dwelling individuals look like today? What are their beauty rituals? Are they into wellness? Do they like vampire facials a la Kim K? We talked to four vampires to find out. Meet Darsuss, a 25-year-old federal contractor from Washington DC; Velvet Venom, a 20-year-old tattooist from the San Francisco Bay Area; Lou Graves, an alternative model from Scotland, and Abby Holgerson, a 21-year old artist from Maryland.

Full Interview now live on DAZED, click link below to read in full:

Text @aimeegreen

Image @buffytvs

What does it mean to be a witch in 2018?

From the buck-toothed, backcombed, soul-sucking Sanderson sisters of Hocus Pocus, to the spaghetti strap tank tops and diamante crucifixes of 90’s cult classic Charmed; the green-faced, crooked-nosed Wicked Witch of Ozto the bouncy blonde curls of Netflix’s latest regurgitation: the Chilling Adventures Of Sabrina – witches have been depicted in pop culture for decades. But are these representations accurate? 26-year-old holistic practitioner Grace Gottaredello doesn’t think so. “All of these depictions try to homogenize the perception of witchcraft to something that is centred to white Euro-American women,” says Grace. “But witchcraft is as diverse as we, the witches, are.”

Over the last few centuries, witches have faced many enemies: the church, the patriarchy, the burning stake, and the warped cultural representations that aim to whitewash their culture. And now they face a new one: the beauty industry. From impending Tarot collections being teased on Instagram by beauty giants to pastel-hued Starter Witch Kits, the beauty industry’s commodification of sacred occult practices is really starting to piss witches off, not least because this appropriation is based on pop culture representations of witches instead of real witches themselves. But who are these real witches? And more importantly, what do their practices look like? We spoke to Grace and four other witches – London-based herbalist Caroline RosalieNicolette Clara Iles, alchemist Kkingboo, and Herefordshire-based Malcolm Tearle – to find out more. 

Full Interview now live on DAZED, click link below to read in full:

Text @aimeegreen

Image @nicoletteclara

Social Media Editor for Dazed Beauty's Launch

For the last few months I’ve been working as a freelance Social Media Editor at Dazed Media’s latest online platform — Dazed Beauty (@dazedbeauty x Leading up to it’s September 26 launch I was involved in the organization of content creation (for both images and captions) for Dazed Beauty’s Instagram.

Rachelle Vinberg shows DAZED her skating tips in this #LifeLessons video

#Dazed100 skater and ‘Skate Kitchen’ star Rachelle Vinberg shows us her skating tips in this new #LifeLessons video.

Watch the video here:

Read the article here:

Featuring @rachellevinberg

Filmed @franiese and @aimeegreen

Edited @georgiedaley and @mariannemwx

@LilSisterBertie's Takeover

Ran a two-week Instagram takeover on Lil' Sister Bertie (@lilsisterbertie) — the latest @ramonaforgirls side project, at the request of it’s founder, Freya Bennett. Bertie is online creative and feminist community that will (in the future) offer a range of empowering workshops for young girls.

* All artworks featured on Lil' Sister Bertie are credited appropriately in the Instagram captions.

Growing Pains: Ramona Mixtape

Come to think of it I've always been really into mixtapes. Thinking back to when I still wore my hair in high pigtails with pink sparkly bobbles — I used to burn CD's onto my chunky white Mac laptop, haul my favourite tracks into an iTunes playlist, and then download my “super cool” mix onto my lime green Nano. Eventually, I splurged on a pack of blank CD’s and started making my playlists hard copy. If I had a boyfriend I would definitely have made him a gushy, angsty and “totally” romantic mix with a handmade CD cover of us decked out with heart stickers – because nothing screams eternal love like a collection of 8 Chris Isaac songs.

In November I sent out a call to Ramona's followers asking for some kickass playlists submissions to feature within the mag. In the end, we published Sandy Hsü's Crushed: Songs For When A Crush Absoutloly Obliterates Your Heart, Georgie Zuzek's Babe-list and my very own Growing Pains. Check out the list below detailing the tracks featured. 


Designing Ramona Magazine for Girls Volume 3

In May 2017 I joined the team at Ramona Magazine for Girls ( as a ‘general intern’ where I primarily sourced and interviewed local artists — contributing to Ramona’s online presence. Soon after Freya Bennett, Ramona’s co-founder and director, allowed me the opportunity to further my creative involvement, and I advanced into the role of Ramona’s lead graphic designer for Ramona Magazine Volume Three (released November 2017). Additionally I generated the video work for Ramona's Kickstarter campaign, performed week-long Instagram ‘takeovers’ on @ramonaforgirls, and illustrated for a variety of articles featured in Ramona V3 (as well as it’s cover image). 

Click below to buy Ramona Volume Three for $15 AUD:

Launching VALEN's opening collection, Chérie

Zara Gilbert for VALEN. Evangeline Davis, 2017.

This winter, while crashing at my parents house after graduating uni, I decided to launch my own unisex streetwear label VALEN

The opening collection, Chérie, features linework depicting an alligator, a girl, an axe and a leaky pool – setting VALEN in the scene of suburban rebellion, isolation and misplaced romanticism.

The Chérie longsleeves (that are sewen locally) are designed to be a loose fit, avaiable in one size (traditionally a men's 2XL), and made from 100% Cotton with ribbing. Limited release.

Click here to shop VALEN

Image(s) @madam_evangeline

Talking with artist Evangeline Davis on everything from Trump to the taboo


Aimee: I’ve been watching Vice’s documentary Needles & Pins hosted by Grace Neutral on VICELAND TV recently, and Grace talks about how Tattooing has very much lost its status as a rebellious, outcasting act. Instead, in its place, body alterations such as scarification and tongue slits are gaining underground popularity. 

Photographic Images of period blood, pubic hair, nipples, female masturbation and discharge taken by artists like Arvida Bystrom, Rupi Kaur, Petra Collins, Corrine Day (and also yourself) have popularised such imagery within the artistic community. I wonder, what’s the new ‘scarification’ level on taboo within the photographic community? or are we still only just breaching the acceptability of period pics? 

Evangeline: I think it comes down to how explicit the image is – for example, people react differently and it is seen to be much more taboo to see physical blood and bodily fluids rather than representations of it with fruit or glitter. Imagery is a powerful way to communicate ideas that create discussion around intersectionality, feminism and politics, so the less we shy away from the truth the easier it is to break cultural norms.

Girlhood (with all it’s stickers, bangles, pimples and lumps) has a trendy aesthetic, but one which undoubtedly toys with sexual undertones -say Vladimir Nabokov’s ‘Lolita’ for instance. With Girlhood straddling both the years before, and during, puberty – sex and sexuality is naturally going to be explored both within the girls, and within the images itself. Do you think society has moved past the eras of ‘slut’ shaming girls who expose their skin, their relationships and themselves?

No. Rape culture is very real and victim blaming is immeasurable. Sadly it’s a term expressed by both sexes.

Donald Trump has been elected president by a large portion of the American public. What messages do you wish your work to project in a climate where woman are (once again, as always) seen as pussys to grab (Donald Trump, 2011)?

That we are more than our bodies and that our viewing need not be framed by consumerism, convention or the male gaze!

How has being a female, who is a feminist, affected your career so far? Has your head hit any glass ceilings?*

*The invisible barrier that stops minorities and woman from climbing in the corporate ladder no matter their successes or qualifications.

Fortunately, I have a career that allows me to be my own boss. That being said -from time to time I am talked down to and not taken seriously by the older men handling my film. *Sighs*.

Your Instagram (@madamevangeline) sporadically features a few of them, but ultimately it’s female dominated. Is documenting boys in boyhood next? and if not, why not?

Yes, absolutely! Perhaps not boyhood per se, but I’d like to explore femininity within each gender.

Touchy won ‘NZ Photobook of the Year’ 2016 (congratulations!). What tracks would you recommend the Ramona girls to listen too as they flick through it?

Inspired and Fweaky by Miley Cyrus, Perfect Places by Lorde, Needed Me by Rihanna, Sandcastles by Beyoncé, Mad by Solange (ft. Lil Wayne) and No Scrubs by TLC.

Full Interview now live on Ramona, click link below to read in full:

Text @aimeegreen

Image(s) @madamevangeline

Hollywood's Hotel Babylon ft. Dev Hynes

Hollywood’s Hotel Babylon visually actualises the archive through a desire to act upon (and ultimately critique) child star and underground experimental filmmaker cum writer, Kenneth Anger’s archival text(s) Hollywood Babylon (1975) and Hollywood Babylon II (1984). Calling out the ‘Death Industry’ of Hollywood through shrine-like scenes stitched together digitally and scripted by the 'Terror of Tinseltown' -the suicides of the four twentieth-century starlets Jenny Dolly, Gwili Andre, Peg Entwistle and Lupe Vélez are flaunted for their morbid flare whilst unearthing Hollywood’s, and Kenneth’s, darkest desires.

Featuring a handbag from Miu Miu, shoes from Amélie Pichard with lights from Douglas and Bec.

Special thanks to Dev Hynes (Blood Orange) for permission to use the audio of 'You're Not Good Enough' from the Cupid Deluxe Album. 

Panorama of Hollywood's Hotel Babylon. Aimée Green, 2015.

The blonde-wigged, fake tanned and fake pop idol, Honey Andrews

Within a virtual terrain, (now deactivated) presents presents a digitalised shrine containing a collection of images of the blonde wigged, fake tanned, pop idol Honey Andrews. The webpage, (now deactivated), exists within an alternate reality where the photographer herself adopts a fan-girl alter ego who believes to have overcome the literal and figurative ‘distance’ between the fans and the famous — problematizing the ‘illusion of intimacy’ between the stars, and the stalkers.

Exhibited: 2016. Flirt, {Suite} Gallery, Wellington, New Zealand.

Hollywood Hotline  for  Honey Andrews Forever , Aimée Green (2016).

Hollywood Hotline for Honey Andrews Forever, Aimée Green (2016).

Paparazzi Princess  for  Honey Andrews Forever , Aimée Green (2016).

Paparazzi Princess for Honey Andrews Forever, Aimée Green (2016).

Green Scene  for  Honey Andrews Forever , Aimée Green (2016).

Green Scene for Honey Andrews Forever, Aimée Green (2016).

Karaoke Konfessions  for  Honey Andrews Forever , Aimée Green (2016).

Karaoke Konfessions for Honey Andrews Forever, Aimée Green (2016).

Star of the Nigh t for  Honey Andrews Forever , Aimée Green (2016).

Star of the Night for Honey Andrews Forever, Aimée Green (2016).

Screenshot of the (now deactivated) virtual terrain;

Screenshot of the (now deactivated) virtual terrain;

New Zealand’s ‘fancy’ white trash stars

Corolla was a Wellington-based artist collective consisting of collaborations by myself (Aimée Green), Benjamin Murdoch, Sally Pardoe, Alexandria Banks, Sally Young and Dominique Burton. The multi-media experience that was styled in homage to the South African counter-culture movement Zef, made infamous by the Die Antwoord duo ¥o-landi and Ninja, was translated within a New Zealand context. The exhibition set within The Service Depot explored the tension between the construction of identity with the constrictions of socio-economic classes. October 12 (2016) brought video, performative and photographic works as a dismantled collage to the store – displaying a style of imagery that had been done before... but not yet by the collective. Corolla was New Zealand’s ‘fancy’ white trash stars and recontextualized imagery with a blend of hip-hop, jungle, trap and moombahton beats.

Starring, directed, and filmed by Alexandria Banks and Aimée Green

Sound by Benjamin Murdoch (Heist Beats)

Exhibited: 2016. Corolla, The Service Depot, Wellington, New Zealand.

Virtually Yours – A virtual wet dream

Conceived by the keyboard, the sexscapes of Virtually Yours targets the user.

Posed as a virtual brothel (one that is both dated and dazzling) Virtually Yours flaunts pearl tiles, zebra printed carpet, grab rails, soft-core erotic art and mirrored walls. Prepped for sexual decadence featuring a pink leather massage table, a gynaecological examination chair, a spa (with a complimentary stripper pole), a human cage and an array of kinky sex toys, the scenes are set for the fulfilment of the gamers dirtiest and most erotically perverse fantasies  in a terrain that offers fulfilment without any virtual consequences.

Virtually Yours is a virtual wet dream – but when does the act of fantasising go too far?

Luxury Suite 001 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Luxury Suite 001 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Luxury Suite 002 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Luxury Suite 002 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Luxury Suite 004 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Luxury Suite 004 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Luxury Suite 003 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Luxury Suite 003 from Virtually Yours, Aimée Green (2016). 23.61 x 42 cm.

Land of Girls

"With blades tucked within the waistbands of their Adidas tracksuit pants, with silver hoops latched tightly in their ears – they trade their heart-shaped studs, giggles and grins for slices, shrieks and sirens."

Land of Girls, Aimée Green, 2015. 39.62 x 59.44 cm.

Land of Girls, Aimée Green, 2015. 39.62 x 59.44 cm.

Land of Girls, Aimée Green, 2015. 39.62 x 59.44 cm.

Land of Girls, Aimée Green, 2015. 39.62 x 59.44 cm.