Trendsetter: Meet Lopez La Lopez

Photograph courtesy of Glossdress; costume created by Acadia Denali Yellowstone

How long have you been a burlesque performer?

I started during COVID taking burlesque classes virtually. I’ve always been drawn to burlesque, especially anything rooted in the golden age of glamour. As a vintage collector, it felt like a natural extension of the things I already loved, just brought to life onstage.

What is your favorite accessory to wear during performances?

Feathers. Always feathers. I’m a sucker for a big boa, and I’m known for my feather fan work. They add instant drama and extravagance; it’s my favorite kind of spectacle piece. They demand attention, exaggerate a tease, and are timeless.

You make a lot of your burlesque ensembles yourself. What’s a standout item you’ve made?

A classic showgirl headpiece. It’s wild what a toilet paper roll, hot glue and hope can accomplish. We have incredible makers in our scene, and so many of them have helped me turn costume ideas into reality.

How does your Latina heritage play a role in your performances and how you carry yourself?

Taking up space as a Latine [a gender-neutral alternative to Latina/Latino] performer is something I don’t take lightly. It’s a privilege. Burlesque has been historically whitewashed, often erasing the deep contributions of performers of color who built this art form. When I step on stage, I’m honoring my ancestors and the performers before me who fought to exist in these spaces. Showing up is an act of reclamation and celebration for me. I want newer performers, especially Latine performers, to see that they don’t have to make themselves smaller or palatable to belong. Everything down to my name, Lopez La Lopez, is a statement. I’m asking people to say a Latin name not once, but twice. That repetition matters. It’s a reminder that our presence isn’t accidental or optional.

What do you consider when choosing attire for your next performance?

Costume is storytelling. It has to align with the music, the emotion I want the audience to feel, and the narrative of the act. Just as importantly, it has to function to tease and reveal. Most people design clothes to stay on — I’m designing clothes to come off, seamlessly. The technical elements matter just as much as the aesthetics.

How did you become confident in yourself?

There’s a misconception that performers are just naturally confident. Confidence is something I work at — it’s a muscle, a practice. “Fake it until you make it” is very real. Taking up space is scary, especially when you’ve been taught not to. Showing up anyway is part of the hard work.

What has been your favorite performance so far?

In September 2025, I coproduced (with Dr. Bunni Culazo) a show called “Les Vedettes,” Rhode Island’s first ever all-Latine burlesque show. The act I debuted was about joy as resistance. Everything — from how I use my panel skirt as an ode to Bomba, a traditional Puerto Rican dance, to the way I wave my gloves like a flag — is intentional. It’s a love letter to my heritage, and it brings me so much joy every time I perform it.

Do you have advice for anyone interested in starting burlesque?

Rhody Q, an organization I cofounded with local performer Odette Goode, hosts a monthly open stage that anyone can sign up for, no experience required, and we offer a pay-what-you-can mentorship program. You’ll never feel fully ready, and that’s OK. Do it for yourself and not anyone else.