#GIRLBOSS

by Sophia Amoruso

  She’s probably most well known because she was Miles Davis’s ex-wife, but it was her music (she had perhaps the best rhythm section around), her unapologetically sexy attitude, and her outspoken tongue that made me a fan. Performing in lingerie and fishnet stockings, her signature move being a high kick in the air with feet encased in platform shoes, she was the ultimate #GIRLBOSS. She had songs called “Your Mama Wants You Back,” “Don’t Call Her No Tramp,” and “They Say I’m Different.” She wrote her own music and lyrics and produced her own songs, which was almost unheard of for a female musician in the ’70s. As mind-blowing as Betty Davis was, she was just too far ahead of her time to ever meet with mainstream success. I thought I was just picking a name for an eBay store, but it turned out that I was actually infusing the entire brand with not only my spirit, but the spirit of this incredible woman.

  By the time I opened up the shop, vintage had long been a part of my life. I’ve always had a penchant for old things and the stories they tell. My grandfather ran a motel in West Sacramento, and my dad was one of seven kids who grew up maintaining the place. When I was a little kid, we went back to visit, and there was a junk room full of magic—an old Ouija board, ’70s T-shirts with cap sleeves and crazy iron-on graphics, my aunt’s old coin collection. It was just stuff that kids growing up in the ’60s and ’70s left behind, but I found it fascinating.

  As a teenager, I preferred thrifted clothing to new, a preference that totally perplexed my mother. She endured countless trips to the local mall in a futile attempt to dress me, where I’d hold up a $50 top and inform her that it just “wasn’t worth it.” Were there a Nasty Gal at the time, I think I’d have found plenty of stuff for my mom to spend her money on, but the mall was a boring place. The smattering of stores screaming “normal” from their windows just did not cut it for me, and the thought of paying to look like everyone else seemed utterly ridiculous. Finally, we reached a compromise. Although she deemed thrift stores “smelly,” she agreed to wait outside while I shopped. However, this didn’t mean she always approved of my choices. I distinctly remember being humiliated in front of a friend when she demanded that I go back upstairs to change my shirt—not because she thought it was revealing or inappropriate in any way, but because she thought that my brown paisley polyester blouse was just plain ugly.

  Creep in polyester on creep in polyester.

  By the time I was in my twenties, vintage was almost all I wore. In San Francisco my friends and I picked a decade and stuck with it. We listened to old music, drove old cars, and wore old clothes. My decade was the ’70s. I had long rock ’n’ roll hair parted in the middle, with a uniform of my new eBay high-waisted polyester pants, platform shoes, and vintage halters.

  With the new store I took thrifting to a whole new level. On Craigslist I found a theater company that was going out of business and negotiated a great deal for a carload of vintage. I threw some of my own pieces into that lot of wool capes and Gunne Sax dresses, and suddenly I had merchandise. I went to Target and bought some Rubbermaid containers, clothespins, a steamer, and a clothing rack, and got to work on my first round of auctions. I enlisted my mom, forming a primitive assembly line: I’d call out a garment’s measurements, and my mom would write it down on a little scrap of paper and pin it onto the garment.

  My first model was Emily, a gorgeous girl and my friend’s girlfriend at the time. Covered in tattoos, with long hair and adorable bangs, she was an unusual choice—but she was a great one. I shot maybe ten of the items I’d accumulated, then plunked the description, measurements, and other information into eBay and waited out my ten-day auctions, answering the oh-so-exciting questions from my very first customers along the way. Each week I grew faster, smarter, and more aware of what women wanted. And each week my auctions did better and better. If it sold, cool—I’d instantly go find more things like it. If it didn’t, I wouldn’t touch anything like it with a ten-foot pole ever again. Shocking, but cute girls apparently do not want to wear “drug rugs,” the beach-bum sweatshirts that some prefer to call baja hoodies. It was addicting; for an adrenaline freak like me, there was nothing like the instant gratification of watching my auctions go live.

  I scoured Craigslist for estate sales, and then made a map, starting with whichever one sounded like the people who died were the oldest. I would show up at 6:00 A.M. and stand in line with people who were all at least twenty years my senior. When the doors opened, everyone else started putzing around for doilies, while I bolted straight for the closet to unearth vintage coats, mod minidresses, Halston-era disco gowns, and many a Golden Girls tracksuit. I’d hoard, haggle, pay, and leave. Also a regular at the local thrift stores, I waited for the employees to wheel shopping carts of freshly priced merchandise out from the back, and when they took an armload to hang up on the racks . . . pounce! I’d run over and check out what mysteries awaited. Once, I found two Chanel jackets in the same shopping cart. Flip, flip, flip—Chanel jacket—flip, flip, flip—another one! I paid $8 for each of those Chanel jackets. I listed each of them at a $9.99 starting bid and sold them for over $1,500. I didn’t know what a “gross margin” was, but I knew I was on to something.

  In retrospect I was probably the worst customer at the thrift store because not only was I sneaky, but I also haggled. “This sweater has a hole in it,” I’d say after marching up to the counter. “Can I get ten percent off?” Even if it was only a matter of fifty cents, it was worth it to me. Every cent counted.

  At age twenty-two, I returned to the suburbs, a place I had run screaming from just four years earlier. Space was at a premium in San Francisco, so I set up shop in Pleasant Hill, California, an hour away from my friends. I stayed in a pool house with no kitchen—I paid $500 a month and filled the place to the brim with vintage. I worked from my bed, which was covered with clothes and surrounded by packing materials. There was shit on top of shit: boxes balanced on top of a toaster oven on top of a mini-fridge like a game of household-object Jenga.

  Every day, my topknot and I would drive to Starbucks and order a Venti Soy No Water No Foam Chai. Depending on the weather, it was either iced or hot, but there was about a five-year period where I drank at least one of these every single day. For food, I’d throw on a musty sweater with a $4.99 tag stapled to the front of it, forget that that was a weird thing to do, and go to Burger Road, my favorite place in town. I never thought much about the fact that I was spending $100 a month on Starbucks, or that I was missing out on anything by being so far removed from my life in the city. I was addicted to my business, and to watching it grow every day.

  When I wasn’t out sourcing new merchandise, I was at home, adding friends on MySpace. My outfit of choice was born out of my newfound lifestyle, devoid of any necessity to shower, get dressed, or look good. The Sad Bunny, as Gary, my boyfriend at the time called it, was a big, fluffy “mom” bathrobe that hung down to the floor. I sometimes topped it off with a pink towel on my head if I’d gotten the itch to shower that day—so if you’re one of the sixty thousand girls I added as a MySpace friend back then, I’m sorry. Nasty Gal Vintage was run by a workaholic mutant dressed like the Easter Bunny.

  I had friend-adding software, which was totally against MySpace’s policy. I would look up, say, an it girl’s friends and add only girls between certain ages in certain cities. Every ten new friends, I had to enter the CAPTCHA code to prove I was a real person and not a spamming computer. I was actually a little guilty of being both. When I’d exhausted one magazine, musician, brand, or it girl, I’d go on to another. The Sad Bunny and I were in the zone, entering CAPTCHA codes and watching our friend count rise as girls accepted. Soon I had tens of thousands of friends on MySpace, which I used to drive people to the eBay store. I did a MySpace bulletin and blog post for every single auction that went up on Nasty Gal Vintage. I didn’t know it at the time, but what I was doing here included two keys to running a successful business: knowing your customer and knowing how t
o get free marketing.

  I also responded to every single comment that anyone left on my page. It just seemed like the polite thing to do. Many companies were spending millions of dollars trying to nail social media, but I just went with my instincts and treated my customers like they were my friends. Even with no manager watching to give me a gold star, it was important to do my best. Who cares if a tree falls in a forest and no one hears it? The tree still falls. If you believe that what you’re doing will have positive results, it will—even if it’s not immediately obvious. When you hold yourself to the same standard in your work that you do as a friend, girlfriend, student, or otherwise, it pays off.

  Every week, one full day was spent shooting in the driveway, with the garage’s blue door as my backdrop. The night before was spent selecting an interesting mix of vintage, ensuring that no two similar items were listed at the same time. This way, my items weren’t competing against one another, and I was able to maximize the potential of each. The models were cast via MySpace, and I paid them with a post-shoot trip to Burger Road. As I was not only the stylist, but the photographer as well, I developed a special talent for buttoning garments with one hand while holding my camera in the other.

  When paying models with hamburgers didn’t work, I’d get in front of the camera myself.

  I styled the models like real girls who had stepped right into a fashion editorial shoot. With my touch, a plus-size anorak became Comme des Garçons, and ski pants became Balenciaga. Silhouette was always the most important element in my photos. It was critical on eBay, because that was what stood out when potential customers were zooming through thumbnails, giving less than a microsecond’s thought to each item. But the more attention I paid to fashion photography, the more I realized that silhouette is what makes anything successful. If the silhouette is flattering, it doesn’t matter if the person wearing it doesn’t have runway model proportions.

  I remember perusing a vintage store in San Francisco when the girl working there confessed to me that to get outfit inspiration before going out on Fridays, she visited Nasty Gal Vintage. I started to realize that, though I’d never intended to do so, I was providing my customers with a styling service. Because I was styling every piece of clothing I was selling head to toe, from the hair down to the shoes, I was showing girls how to style themselves. And though you’ll rarely hear me advocate giving anything away for free, this realization was one of the most profound and welcome ones I’ve had with the business. I always knew that Nasty Gal Vintage was about more than just selling stuff, but this proved it: What we were really doing was helping girls to look and feel awesome before they left the house.

  The first time I wanted to play stylist, ceding control to another photographer, I made a friend for life in the process. When I came across Paul Trapani’s website, he was already a successful freelance photographer shooting editorials for magazines. I figured it was a long shot, but his number was listed on his website, so I called him up. I was shocked when he answered and had actually heard of Nasty Gal Vintage—at this point, I was just a girl in a room with a few dozen crazed customers, hardly anything I’d expect someone like Paul to have heard of. What was more, he was willing to work for trade, using the shots for his portfolio if I booked the models, found the location, and styled everything to perfection.

  Though I had a devoted eBay following and my auctions were starting to close at higher and higher prices, Nasty Gal Vintage was still a pretty small-beans operation. However, if the offer of a free hamburger wasn’t enough to sway a potential model, the promise of a fun afternoon (and some shots of her looking gorgeous) usually was. I recruited Lisa, a beautiful five-foot-five brunette with doe eyes and pouty lips, to model, and we headed up to Port Costa. Port Costa is a remote little town in the East Bay that if one didn’t know better, could seem like it was solely occupied by Hell’s Angels. There’s a bar called the Warehouse with four hundred beers and a stuffed polar bear, a motel, and that’s about it. The motel was an old converted brothel, each room named after a working girl, like the Bertha Room or the Edna Room, and this was where we shot. The backdrop was a mix of awesome antique floral wallpaper and dumpy sofas from the ’80s, and the light was hard, on-camera flash softened by the hazy sun filtering in through the window. I even made a cameo as a model in a couple of the shots, and we had a total blast.

  Many people assume that working from home is like a vacation, where you get to do what you want when you want. This was not the case for me. The demands of eBay put me on the strictest schedule I’d ever endured. Because my auctions were timed, there were very real consequences for missing deadlines. The prime time for auctions to go live was Sunday evening. If mine went up late, that meant my customers, who were likely waiting to pounce on my latest batch of vintage gems, might end up disappointed, instead giving another seller their business. If I took too long to respond to a customer inquiry, she might get impatient, choosing to bid on something else. Shipping orders out late might result in negative feedback, and if I didn’t steam and prep all the clothes the night before a shoot, there wouldn’t be time to get through everything in one day.

  A photo Paul took of Lisa and me at our first Nasty Gal shoot in Port Costa in 2007.

  After everything was shot, I became a machine. I spent an entire day editing photos. An amateur Photoshop user, I blurred out zits and cropped photos as fast as possible. I devised systems to increase my efficiency whenever and wherever. I uploaded all my photos to an FTP and used a template for my listings. My fingers were a carpal-tunnel whirlwind, typing out primitive HTML in equal form to a twelve-year-old hacker. When I wrote product descriptions, I exalted the details. I included styling tips in the copy, in case someone was considering bidding on a Betty White–type windbreaker but wasn’t quite sure how to pull it off like MIA could. I included all of the details: shoulder-to-shoulder measurements, armpit to armpit, waist, hips, length. . . . I noted every flaw, and was always totally honest about the condition of everything.

  Auction titles on eBay are more of a science than an art. Every auction title started with “VTG,” for vintage, and then the rest was a word-salad mix of search terms and actual descriptions. “Babydoll” and “Peter Pan” were really big in 2007, with “hippie” and “boho” making an appearance now and again, then this eventually evolved into “architectural” and “avant-garde.” To be honest, I’m glad I’ve forgotten most of these words and the taxonomy I used to arrange them. In those days I ate, slept, drank, and dreamt search terms. I’d wake up, the sheets and blankets a sweaty, tangled mess around me, practically shouting “’80s Sequined Cocktail Dress!” into the dark.

  I loved shipping stuff. I got as OCD on the USPS as I did on the Subway BLT. I was a one-girl assembly line. I had a Rubbermaid bin to my right, a Rubbermaid bin to my left, and all of my shipping paraphernalia on my desk.

  The bin to my right had all of the vintage items that had just sold and needed to be shipped out. I’d grab an item and inspect it to make sure it was in good shape. I’d zip zippers, button buttons, and hook hooks, then fold it and slide it into a clear plastic bag that I sealed with a sticker. I’d print out a receipt and a Photoshop-hacked note reading “Thanks for shopping at Nasty Gal Vintage! We hope you love your new stuff as much as we do!”—even though “we” was just me. Then I’d put it in a box and slap a shipping label on. Only I didn’t slap anything—I took a lot of pride in how carefully I affixed those labels. I had to assume that my customer was as particular and as concerned with aesthetics as I was. Anyway, the last thing I wanted was for her to think it was just one girl hacking away in a room by herself. . . .

  By the age of twenty-three, life felt surreal. I remember a typical buying trip to LA, drinking canned beer in a friend’s backyard. At that moment, I was watching my auctions close, totaling $2,500. I was making more in a week than I’d ever had in a month at my hourly jobs. While my mother was writing me long e-mails i
mploring me to return to community college, all I had to do was look at my burgeoning bank balance to think that maybe this time she had it wrong.

  Sometimes there was so much demand for what I was selling that it actually became a pain in the ass. I sold a gauzy, ivory-colored drop-waist dress covered with silver and white beads, which looked like something an Olsen twin would have worn on the red carpet. For months after it sold, I received a barrage of sob stories from brides-to-be, begging and pleading with me to find them another dress identical to it. Sometimes they seemed convinced that I was holding out on them, but little did they know that I was no vintage archivist, but just a girl patiently going through every rack at the thrift store.

  I took every item I sold seriously, obsessing to ensure my customers had a great experience. I took one of the Chanel jackets to the dry cleaner’s while it was up for auction, and they managed to lose one of the rare-ass buttons. That jacket was $1,000 in my pocket, so you better believe I looked in, around, and under every one of their machines to find it. No dice. I called Chanel in Beverly Hills, and the person who picked up told me to send a button to New York, where Chanel would match it from the company’s vintage archive. To do that, I had to cut another button off the jacket. Terrifying! But I did, and sent it off, where Chanel dated it 1988, matched the button, and sent them back. I had a professional sew them back on, and even though the girl who had bought it had to wait an extra week for her purchase, she was beyond stoked when she got it. I breathed a sigh of relief, and probably celebrated with a Starbucks chai.

  You Can’t Sit with Us: The eBay Clique

  I completely dropped out of everything for two years. From the time I woke up until the time I went to sleep, eBay was my entire world. For every category on eBay, there is a seller forum. I wouldn’t necessarily label everyone who sells goods on eBay as an entrepreneur. (Some of the women selling vintage on eBay have been peddling their 1940s aprons for a little too long.) When I came on the scene and started bidding wars over polyester dresses, these purists did nothing but complain. They were disgusted that I called pieces from the 1980s “vintage,” arguing that nothing postdating the 1960s qualified. They also made endless fun of my models: “She’s doing the bulimia pose again!” was a favorite about any photo where the model was slightly bent over, with hands on her waist in that iconic high-fashion pose.