With a career spanning over four decades, from the post-punk Warren Street squat of the late ‘70s to the queer discos of today, Princess Julia is a galvanising force in the scene. Princess Julia has moved seamlessly through every important scene since punk, bringing her signature style of glamour, punk, and cutting-edge fashion to London’s underground club culture. Whether they’re playing rare tracks for an intimate crowd or speaking on the persistence of DIY ethos in a corporatised world, Julia is a bridge between eras, a custodian of alternative history.
Currently working on obscure metal cuts and experimental noise — a testament to her relentless curiosity and her enduring role as the pulse of the underground – Princess Julia continues to pave the way for the London queer underground scene. Her next gig is on Saturday 7th December at Meat Zine’s Dalston Superstore party.
I sit down with Princess Julia to explore the endurance of queer spaces, the transformative power of self-styling, and the cultural significance of a subculture that resists assimilation, evolving on its own terms.
Full look KGL.
You mentioned leaving school young and heading straight to Topshop to create looks. What were your earliest influences in fashion, and what did the act of creating a look mean to you — was it armour, weaponry, a statement, or pure aesthetics?
I left school in 1976 when I 16 years old. I use to bunk off school from the age of 14 and explore fashion shops in the West End of London and Topshop was one of them. I also took an interest in vintage markets, charity and high street shops of the time. I was scouring teen magazines, watching old movies from the ‘30s, ‘40s, ‘50s and ‘60s looking at the styling. Later I gravitated towards niche shops such as Swanky Modes and Seditionaries as I got older and found out more information. It was all very instinctive, perhaps I was seeking something other than wearing a school uniform to start with, it gave me the impetuous to explore my own identity in the long run.
You’ve seen London’s queer scene through many iterations, and club culture itself has changed dramatically since the ‘80s. Do you think the essence of these spaces — their role as sanctuaries for marginalised groups, and spaces for creativity and joy — has remained?
I started my club life in the mid late ‘70s. On a personal level it was pure escapism. A journey about finding myself. Finding like-minded people, making new friends. It was all quite subconscious. Clubbing in those times wasn't promoted as a "sanctuary”, but definitely in some cases whether we knew it or not they were. As friends began setting up their own nights I became more and more involved. I found work in those spaces — coat checking at the Blitz and Taboo. Cashier at the Wag. Then I had the idea to pick up my own vinyl and start to DJ. It was just for fun. I think the notion of creating innovative spaces in today’s clubbing climate has become ever more important and prevalent.
We often talk about the DIY ethos as something tied to a specific era, but how do you see this ethos manifesting in today’s creative landscape? What do you think it still needs to thrive?
Well yes, the DIY sensibility is closely connected to the Punk era of the mid ‘70s and onwards. But it's something that remains a force to people who have the urge to make something out of nothing. I see it coming through in various creative practices, both in real life and online. Once again very instinctual, the idea of picking up a pencil and paper and drawing something is DIY. Or posting an image online you created is DIY. To make an idea thrive you have to have the urge and imagination to express a statement in some sort of capacity. Make a zine, a film, paint a picture, create a look and you are part of DIY culture.
What do you think the future of nightlife looks like, especially as we face increasing gentrification and the commercialisation of subcultural spaces?
Everything is in flux, things come and go and come back round again. On ground zero people are creating subcultural scenes all the time. There has always been the idea of smaller underground scenes going on while some more commercial and bigger venues create different visions. Both are viable, it's your choice where you go and what appeals to you. I personally enjoy all sorts of spaces and occasions.
You’ve been DJing since the early ‘80s. What drew you to music originally, and how has your relationship with DJing evolved over the years?
Well if you love clubbing and socialising music is a big part of that, there’s no doubt about it. In my formative years I was listening to chart music of the late ‘60s, Glam Rock of the early ‘70s and then by the mid ‘70s obsessed with the disco and punk scenes going on around me. Later as the New Romantic scene evolved and electronic dance music became ever more popular I was hooked. My first forays into DJing were more of an experiment. I didn't think of that but I thought I could do it with my meagre vinyl selection of music in the early ‘80s. It wasn't until the mid to late ‘80s that I really thought I could make a go of it. Clubland seemed to be opening up as the rave scene evolved and clubbing became a global phenomenon. By the early ‘90s I became established as a DJ with regular spots and residencies. That continued into the ‘00s to the present day where my love of DJing continues to flourish — I don't think there's ever been a time where I have thought of giving it up.
You’ve been known for your eclectic DJ sets that defy categorisation. When you’re curating a set, what’s your guiding principle?
I really do consider the dance floor and the feel of a night. I became a DJ through my love of clubbing and actually being out there on the dance floor dancing. My main priority is for people to be having the best time ever.
Is there a particular club night or era that was most notable, or magical?
Every time I go out there is something exciting about the evening ahead. You just don't know what might happen. That definitely thrills me. I've been involved in some seminal nights from the Blitz to Taboo, to The Daisy Chain, Kinky Gerlinky. Raves in the 90s, the New York club scene and club scenes across Europe and the UK. Amazing nights and events. The Ghetto in the noughties, omg so many, the Y2K era then Boombox and the whole Shoreditch scene, The George & Dragon, The Joiners [Arms], the great indie sleaze scene and the electro clash scene. In more recent times I have DJed at more seminal nights including the beyond Adonis rave, Riposte, Dalston Superstore and the latest Dalston venue The Divine.
You’ve seen countless fashion trends come and go. What’s your take on the current state of fashion, and how would you describe your sense of personal aesthetics?
Current fashion, well I’m always going forward and looking at new ways of putting things together. It’s always a pleasure to work with new designers, makeup artists and stylists. And I get the opportunity on various editorials shoots. Sometimes I’m cast for my own aesthetic which may tie in with the mood of a shoot or I get the opportunity to be part of the creative team’s vision. I think I found my foundation way back in the New Romantic era of the late ‘70s. My own tastes pivot on that but when I’m working on a shoot I’m keen to see how different aesthetics create something new. I’m very much invested in the emerging designers coming through whilst keeping an eye on more established designers. I’m also very invested in craft and recreated looks that incorporate a sometimes dark and questioning aesthetic into their looks. Things that distort and corrupt shape via texture and technique.
In a world increasingly dominated by fast fashion and disposable culture, do you believe there’s still space for the kind of radical self-expression you’ve championed so powerfully, and how do you navigate this?
There's always been mainstream fast fashion, but in today's climate, the turnover is epic.
Fashion’s seasonal turnaround is sometimes hard to keep up with, but we all love wearing something new for a special occasion. Finding your own style is trial and error. Personally I don't think I'm that radical or outrageous when it comes to my own personal style, I like wearing and supporting emerging designers and also established designers. I enjoy wearing their work. That may not be for everyone, all looks are valid, whether a uniform you wear for school or work or a functional look designed for a purpose.
Fashion’s seasonal turnaround is sometimes hard to keep up with, but we all love wearing something new for a special occasion. Finding your own style is trial and error. Personally I don't think I'm that radical or outrageous when it comes to my own personal style, I like wearing and supporting emerging designers and also established designers. I enjoy wearing their work. That may not be for everyone, all looks are valid, whether a uniform you wear for school or work or a functional look designed for a purpose.
You’ve been part of so many different scenes, from punk to New Romantic to the rave era. How did each of these movements inform your understanding of identity and self-expression?
Things seem to waft into each other like fluid threads of interconnectivity. Scenes I gravitate towards provide a new sense of freedom, different insights and knowledge of the human experience in life and death.
We’re seeing a revival of genres like post-punk and goth — what’s your take on this resurgence, and why do you think these sounds are resonating with younger generations again?
Things take on a new form when they are rediscovered by each new generation. I am excited to see how people regenerate genres from decades gone by and create something new.
Who are your most important influences across music, fashion and culture?
My influences fluctuate, surprisingly something I may have dismissed in the past can suddenly take on a new importance when viewed through a contemporary lens. My foundations lie within my first experiences which remain a grounding aesthetic. Films, historic looks and cultural discoveries. My friends inspire me greatly.
What three tracks would you say best represent you today, and why do these songs resonate with you?
Tom Rasmussen, There’s A Lot To Be Happy About. I’m obsessed with Tom, this is from his current album Live Wire. All the feelings caught in Tom’s soaring and melodic voice against a backdrop of electronica.
Kevin Aviance x Honey Dijon, CUNTY (Extended Mix) it’s a club classic that's been doing the rounds since 1996 our Honey Dijon has revamped it for a new generation. It's never left my DJ sets and being cunty never goes out of fashion.
Midland, NYCDL (feat. Luke Howard) from Midland’s album Fragments of Us an emotional and ambient trip through queer experience with edits of dialogue. A masterpiece.
Kevin Aviance x Honey Dijon, CUNTY (Extended Mix) it’s a club classic that's been doing the rounds since 1996 our Honey Dijon has revamped it for a new generation. It's never left my DJ sets and being cunty never goes out of fashion.
Midland, NYCDL (feat. Luke Howard) from Midland’s album Fragments of Us an emotional and ambient trip through queer experience with edits of dialogue. A masterpiece.
If you had to give one piece of advice to a young person entering the scene today, what would it be?
Be curious, be open minded, question everything.
Full look ASHISH.