![]() Her mom fashioned the pastel pants and top out of a tablecloth left over from Easter church service. There’s a patchwork look that dates back to her teenage years. The pieces themselves diagram the timeline of her life. Though Goode began as an outfit repeater-“I have been and will always be a frugal bitch”-she now seldom re-wears a drag ensemble. “Everything that means something to me, I keep.” “I can't get Pee-wee's Playhouse out of my mind,” she says when thinking about the space. Sheer orange curtains from the window, bags serve as art, and mannequin heads exhibit luscious faux tresses. “I just wanted a place where I could put all of my shit, because I collect a lot of shit and I love my things.” The racks come alive with eccentric shapes and structures reaching off their hangers. Goode’s “drag room” serves as both glam room and archive. “It’s therapeutic.” An entire room in her Los Angeles home services this desire. Today, that has evolved into a love of getting ready. The dolls made Goode fall in love with the process of it all, whether that was turning paper towels into ball gowns or chopping Kaia's hair into an unflattering bob, much to her mother’s dismay. At the same time, her mother was performing a more sophisticated operation, fashioning Goode’s designs into clothing (in this case, with the help of a sewing machine) for Barbie’s more life-like cousins: the American Girl Dolls. Of course, she had to take an active role in Barbie’s ensembles, crafting outfits out of napkins and toilet paper. Throughout childhood, Goode was often found with a Barbie in hand. “She may have been an astronaut, but you better believe her astronaut suit was pink,” Goode reiterates. No matter which of her ubiquitous career endeavors Barbie selected, she was going to do it in style. And it wasn’t just about the glamour of the big hair and painted face. It should come as little surprise that Barbie was her biggest influence. “So I'd be a businessman or a party clown, or a construction worker, or a fencer.” “Every time I would go out in drag, I wanted to be a drag version of a different kind of career,” Goode explains. Her later personas retained that task-specific orientation. ![]() She loved adding elements of camp and glamour to this everyday character. At the onset of her drag evolution, Goode’s first “persona” was that of a 1950s housewife. The ensembles in question have evolved in both design and concept. ![]() Later, as Goode ascended to the hallowed work room of Drag Race, she made a point to specifically wear looks made by her mother, “'Cause girl, you're on Drag Race, you got to have a storyline. In her teenage years, that meant one a week to stretch funds. Geggie has made a majority of the drag looks Goode has worn throughout her career. (The result of which was a yellow raincoat and a painted bag worn for Drag Race’s Bee Mini challenge). Sparked by something seemingly average, like a mural of the Morton’s Salt girl in her hometown of Chicago, the budding drag queen would design an ensemble that her mother, Kristi Geggie, would then bring to life. Goode loves to turn the mundane into capital-F Fashion it’s what garnered a great deal of her initial following. Now glittering with the aforementioned pebbles, the dress does, in fact, look as if it sat beneath a sprinkler all night-in the most fabulous way possible. “And that's just going to be adorable.” Goode is describing a look she wore at a recent drag performance that features a near transparent bustier top (whose fabric she fell in love with on a recent trip to Mood as it disappeared against her skin). “I was like, ‘Oh my God, if I glue all of these all over a dress, it's going to look like I'm a little pixie covered in dew drops,” she muses. “I saw a transparent fish tank pebble that looked like a dew drop,” model and drag artist Gigi Goode recounts.
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