SIMONE BILES

Interview by Pauline Snyder-Goodwin | Photography by Jhane Hoang | Styling by René Garza | Art Direction by Marc Sifuentes | Hair and Makeup by Tonya Riner

Simone’s success didn’t come easy. Her journey to becoming a decorated Artistic Gymnast contained many challenges and crossroads along the way. But her passion and determination in becoming an elite gymnast prevailed. Following a brief period in a foster home in Columbus, OH, Simone’s grandparents officially adopted her in 2003, in Spring, TX. To Simone’s surprise, she discovered there was a trampoline in the backyard of her grandparent’s house. This was just the beginning of her journey towards becoming one of America’s most decorated gymnast with a total of 19 medals won; 4 gold and 1 bronze at the 2016 Rio Olympics, and 14 World Championship medals.

Women’s gymnastics is a dangerous sport which also has a short career span, with women reaching their gymnastic peak during their high school years. In 2012, Simone sacrificed a traditional high school education, along with the social life that comes with it, by switching to homeschool. This decision was not easy for Simone, but it allowed for more training hours to continue mastering her gymnastic skills. Eventually, Simone would achieve mastery and effortless execution of even the most difficult gymnastics skills. She has an arsenal of amazing tricks she can do, but one of the most jaw-dropping is a tumbling skill she executes on the floor exercise simply called “The Biles”. It earned the namesake because Simone was the first female gymnast to accomplish two back flips followed by a half twist in competition.

Simone released her first book; Courage to Soar: A Body In Motion, A Life In Balance, at the end of last year. It’s a tell-all book where she opens her heart and soul as she takes us on her life’s journey from her early childhood to that rainy night in Rio where she would hold an American flag twice her size at the closing ceremonies. She was the first American female gymnast to be awarded this privilege. Who knew that the tiny girl with big muscles would accomplish such a feat and become an inspiration for little girls the world over.

We had the honor to catch up with Simone to learn more about her, her life’s passion of gymnastics, and her new book. The World Champion Centre, your family’s new gymnastics facility opened May 2016 in Spring, TX. What was the inspiration behind creating this gym? The idea of a gym started when my mom was closing out her former business and decided to start a new business venture. Her vision was to build a gym and have all the equipment that I would need for training since the Olympics was my goal. It has been so great having the facility available to me and I love having that support from my family and The World Champion Centre community.

How does The World Champion Centre differentiate itself from other gymnastic facilities in the Houston area?

I believe The World Champion Centre is different from other facilities in the Houston area because it is multifaceted. We offer gymnastics, Artistic Olympics for boys and girls, Acrobatics-Silk program, Tumbling & Trampoline, the Warriors Program, Recreational and Preschool, Taekwondo and dance.

We also offer schooling for our gymnasts from 3rd grade through high school, and our pro-shop and cafe lend to our goal to satisfy each customer and make them comfortable.

Please tell us about the Academy at WCC.

Our Academy is a wonderful addition to World Champions Centre! We have two teachers that are master’s prepared. They tailor the student’s lesson plan to fit their individual needs and follow NCAA guidelines to ensure easy access to the universities. Students that are currently attending The Academy range from 3rd grade to high school. The Academy is a non-profit school which depends on donations for funding.

How old were you when you took your first gymnastics class? When did you first start competing?

I was six-years-old when I started gymnastics classes and was competing only a year later at the age of 7.

Do you remember doing your first cartwheel? Who taught you?

I remember being three-years-old when my brother taught me how to do my first cartwheel. I was hooked!

What lessons can students learn from gymnastics that they can apply to their everyday life?

Students can learn balance, discipline and organization, determination, mental and physical toughness, respect for their teammates and coaches, dedication to the sport, and most of all forming strong friendships and teamwork. That’s one of the things I love about gymnastics, aside from the flipping, soaring, and jumping, the sport is about teamwork, strength, and organization.

At what moment did you realize you wanted a career in gymnastics?

I fell in love with the sport from day one!

Best advice you can give young girls wanting to become an elite gymnast.

I would tell them to set goals for themselves and to not give up, even on the bad days.

Are you involved in any youth programs in your community?

Yes, I partnered with Mattress Firm Foster Kids, a donation-driven program that has given more than 610,000 items (clothes and school supplies) to foster kids and their families.

Who’s been your life mentor? What’s the best advice they have given you?

My mother has been my life mentor and the best advice she has given me is to “be the best Simone” that I can be. Courage to Soar: A Body in Motion, A Life in Balance, is your first book.

What motivated you to write it? What do you want readers to take away from this book?

I wanted to write my book because it is important to tell my own story. There are many things written about me but my fans should hear my story from me. I hope that my readers will get a little insight into my life and maybe be inspired to work harder in whatever sport they are involved in.

Mary Lou Retton wrote the foreword to your book. Tell us about this collaboration.

I first met Mary Lou at her invitational meet in Houston and I absolutely adore her. Mary Lou is one of the pioneers of Women Gymnastics and she is an amazing and powerful gymnast.

When did you first meet Mary Lou and what was that like?

I was very young when I met Mary Lou, I was about ten-years-old and we did not speak but I was in awe of her and I remembered her telling us to always stay focused and envision the routine before you “go” for it. From that day forward, and while in Rio for the Olympic Games, I think of that advice and it has really helped me as a gymnast.

In your book you talk about a field trip you took with your daycare class on a rainy day. Please tell us about that event.

I was attending Kids R Kids summer camp and it was field trip day. The plan was to go to an oil ranch. It was raining that day so the teachers needed a backup plan and they chose Bannon’s Gymnastix gym because it was close to us. I was excited because this was my first time in a gym. All the equipment was a dream come true. I was showing off all my tricks and copying what I saw the girls in the back doing. I remember this was an amazing field trip because I was sent home with a letter from the gym inviting me to join. At the age of three you were placed in foster care until your grandparents adopted you.

Any advice you would like to give to foster parents?

I knew that we were taken to stay with another family but did not quite understand why because I was young. I later learned that my mother had a substance abuse problem and had difficulty taking care of us. My short time in the foster care system was good and we were blessed to have been taken in by my grandfather and grandmother while my mother received help. My advice to foster parents is to give the child or children a chance and to love them.

Tell us about the nickname you earned in third grade.

My nickname at school was “swoldier” (classmates coined this term from the words ‘swollen’ and ‘soldier’) because I had defined muscles and was very strong. I had more muscles than any of the boys in my class, and I was very self-conscious of my body because of it.

At the 2011 Visa Nationals, you missed making the Junior National Women’s team by one spot. Please share with us this experience and the emotions running through you during this competition.

My goal and my dream was to make the National Women’s team. Missing that opportunity by one spot was devastating, but it made me even more motivated to get back in the gym and work even harder.

In your experience in women’s gymnastics, do you think there’s a significant advantage to having a woman vs. a man as a coach?

I have had both men and women coaches and I am comfortable with both. I believe it is who you are most comfortable with that will give you an advantage and who will push you and encourage you. You need a coach to teach, guide, and understand you.

Aimee Boorman was your coach since the beginning of your gymnastics career. What was the key to this successful relationship?

As a coach, Aimee knew and understood me as a person. She knew what I was capable of doing and knew that I needed a challenge to stay focused. Aimee managed to keep me motivated to push through the numerous repetitions during training.

You haven’t lost an all-around meet since 2013. At the 2016 Summer Olympics in Rio you took four gold medals and a bronze setting an American record for most gold medals in women’s gymnastics at a single game. How do you stay humble?

I am blessed to be consistent with my performances in competitions. My mom makes sure that we pray and go to church routinely and thank God for the body and gift he gave me. Life at home is the same. I am still responsible for doing chores in the house and keeping the same routines once I am at home, which helps me stay grounded.

You chose Samba music for your floor exercise routine at the 2016 Olympics in Rio. What motivated you to make this selection?

My choreographer helped me with selecting my floor music, and because I like upbeat music, it felt like the perfect choice for that routine. We debuted the music at the Pacific Rim Championships in Everett, WA and there was such a great response from the crowd that we decided to keep it for my floor exercise in Rio.

What was it like being a part of the “Final Five” team?

Being a part of the final five was amazing and a dream come true.

Do you have any good luck rituals you do prior to competing?

I do not have any rituals prior to competing, but I do take along my turtles and my St. Sebastian pendant with me because they are my good luck charms!

What’s your favorite thing to do when not doing gymnastics?

When I am not doing gymnastics I love spending time with family and friends and watching Netflix.

Do you have any furry friends at home?

We have 4 German Shepherds: Maggie, Lily, Bella and Atlas.

Who’s on your playlist?

Right now I am listening to a lot of Justin Bieber, The Chainsmokers, Drake, and The Weeknd to name a few.

Your favorite place to go to in the world?

I love visiting Belize because it is where my mother’s family comes from. It is a true connection to family and that is just very special to me.

When you’re not training or competing what’s your favorite food you like to eat?

Oh it would have to be pizza! That is definitely my favorite cheat food.

What would Simone Biles be if she wasn’t an Artistic Gymnast?

If I did not do artistic gymnastics I would probably be a dancer or in track and field. It would have to be something creative and physically involved, but still not a far cry from artistic gymnastics! .

Stylist Assistant: Dustin Bice | Special thanks to Brie Costello, Janey Miller and Ashley Laury | World Champions Centre Gym located at 28865 Birnham Woods Dr, Spring, TX 77386

Courage to Soar: A Body in Motion, A Life in Balance by Simon Biles available at Barnes and Noble, published by Zondervan Press

PIERRE ET GILLES

40 ans, 2016, Model : Pierre et Gilles, Without Frame : 105 Å~ 84 cm, With Frame : 123.5 Å~ 102 cm Galerie Daniel Templon, Paris˝ Pierre et Gilles, Courtesy Galerie Templon, Paris et Bruxelles

Interview by Alvio Mancuso

Intro by Benjamin Price

Pierre and Gilles met in Paris in their 20’s and soon thereafter, they began an artistic collaboration that would influence a whole generation of creatives. Before meeting in 1976, Pierre had established a career as a photographer and Gilles as a painter. Once Gilles took his brush to the first portrait, their union as artists was formed. Pierre and Gilles have worked in unison for forty years, photographing icons such as our cover star Rossy de Palma, Kylie Minogue, Jean Paul Gaultier, Karl Lagerfeld, Madonna, and so many others, all of which have been catalogued in a fabulous new book entitled Pierre et Gilles: 40, published by Flammarion.

Their work explores concepts of identity and how we view celebrity, culture, sexuality, and ourselves. Photographing everyone from icons in popular culture to strangers they found on the streets of Paris; Pierre and Gilles create fantastic dreamscapes and insert their models into the realms which they create. Images are then edited, and through Gilles’ paint and airbrushing, they are manipulated manually for color, light, and anything else the duo seeks to create. Transforming people into mermaids, Hindu goddesses, and monsters, their work questions our perception and blurs the boundary between reality and fantasy, ugly and beautiful, boy and girl, etc. The two brilliant artists had time to sit down with Iris Covet Book and discuss their lives together, their career, their models, and their future.

How did you meet and when did you realize that you were going to have such a fruitful artistic relationship?

Gilles: We met in September 1976, it’s been forty years. We met at a party thrown by the designer Kenzo (Takada) for the opening of his boutique at Place des Victoires.

Pierre: It was love at first sight. It was a good party, we were all drinking and Gilles jumped me! Then we left the party on a scooter and we haven’t left each other’s sides since.

Gilles: Pierre was a photographer, and I knew his photographs and his work. I was painting and making collages and after a few months we started to work together. It came to us very naturally. We were each doing our individual jobs and ended-up helping each other and sharing ideas. One day I got the idea to paint on one of Pierre’s photograph because the colors were not right for our vision, so I started to paint the eyes and the face, and we found something we loved and we worked together from that day forward.

Pierre: After that we never wanted to work separately and we didn’t want to work with anyone else. Only the two of us.

What was your first project together, and do you remember what the experience felt like collaborating with your lover for the first time?

Pierre: Our first project was a series of photographs of our friends inspired by photo booth picture strips because Gilles had a big collection of those from many years ago.

Gilles: I was addicted to these photographs! I was taking them every day and asking all of my friends to be in them. I started a huge collection. We got inspired by these photographs because the colors were really bright. Then we started a series of Polaroids with our friends; they were making faces and having fun, but we thought that the colors were not bright enough, so I painted the colors and retouched the faces and felt we found something important there. We were so happy, and working together was so comforting. We felt that we were lifting each other up. Pierre had his own personality, and I had my own, but we totally felt that we were completing each other since that first project together. Pierre was more into fashion and I was an artist drawn by contemporary art; putting our two personalities together was good for each of us. You have an instantly recognizable aesthetic to your work, how did you develop your distinctive style?

Pierre: To have a style comes naturally, you don’t have to look for it.

Gilles: It came pretty naturally, but when you see the first image that we did together called Les Grimaces, a series of nine portraits on different colored backgrounds, you can already recognize our style. Of course it evolved and was more pop at that time. You need to stay true to yourself, and we did stay true to ourselves. We were inspired by pictures that we would see on the street markets in Morocco; they were de-saturated portraits of celebrities. We also both grew up surrounded by the Pop Art of Andy Warhol, and other artists like him, which inspired us as well. Our style comes from a lot of different elements: image conception, light, the way we paint the photographs: it’s our spirit.

You work in a multi medium platform: photography, painting and even set design and building. Why is it important for you to work this way?

Pierre: We are very crafty, and we love to do everything ourselves from the beginning till the end.

Gilles: Above all else, what we like to put forward is the subject (that we our photographing) because our subject is the inspiration. We started with the photo booth inspired photographs which were mostly portraits; we have always done portraits with the body and the stage as well. However, most of the time we focus on only one person. It can be more, but it is very rare for our usual work. There are icons that we love whom we are drawn to because of their personality. Our models are very different, all with different origins, sexuality, and every body type from very muscular to slim. We love unique people and love to explore the differences.

Pierre: We want to be part of our subject’s world.

Who were your early influences or mentors?

Pierre: We were very inspired by cinema.

Gilles: Pop Art was also something that was very important for the two of us. I have loved Andy Warhol since I was fifteen years old when I discovered his work and his personality. He wasn’t hiding who he really was: his homosexuality, his life, and the people that he surrounded himself with. We were inspired by the movies from James Bidgood like Pink Narcissus. We found in his movies a sensibility that resonated with our own. Your big breakthrough was a shoot you both did for Facade magazine, and it included pictures of Andy Warhol, Iggy Pop, and Mick Jagger.

Vénus marine, 2000, Model : L.titia Casta Without Frame : 122.5 Å~ 91.5 cm, With Frame : 228 Å~ 164 cm The Cultural Foundation EKATERINA, Moscou ˝ Pierre et Gilles

What happened when those photos came out and how did you feel about the publicity?

Pierre: Yes, it was very impressive to meet these people.

Gilles: We started strong with all these personalities; it was an underground magazine for a small audience, a bit like the equivalent of Interview Magazine at that time. Working with these celebrities brought us to the spotlight and that is when it really started for us. First, we were working only for magazines and then we did our first music single cover for Amanda Lear. We were working for press, newspapers, different magazines like Gai Pied and Playboy, fashion show invitations for Thierry Mugler, etc. We were doing a lot of different things and it was a very good training for us.

Much of your work is inspired by celebrity, mythology and religion. What is it about these themes that draws you?

Gilles: That’s true we do work with these themes. We like when people play a role, but a tailored role that will fit their personality. A role that we feel they can play and that will elicit our sensitivity. For instance, when we shot Karl Lagerfeld, we thought of his cat and then we thought about the James Bond movie Spectre and the cat in it, so we sat him in a big chair with his cat. We mix reality and fiction, and we play with different elements that will fit with our model’s personality.

Pierre: We also play with color and try to find the color that fits with the person we are photographing. We have a very close relationship with all the people we work and we had worked with. When we look at our work, it’s like a family album. It’s a mix of celebrities, but also unknown people and friends. We love both worlds!

What are the qualities that you look for in a potential male model for your art? Are their any nuances in masculinity that you are attracted to?

Pierre: It depends a lot on what we want to express at the time of the shoot.

Gilles: We work very rarely with models from agencies, and we like to work with unique personalities. We are mostly drawn by someone’s personality first. We don’t have any definite physical features that we like to work with; we can work with someone very androgynous, very masculine, very slim, very muscular, with unique facial features. We love to express something different and create different emotions.

Do you have recurring muses that you have worked with over the years? If so, what has made your collaboration with them successful?

Gilles: We have recently worked a lot with Zahia. Also, Marie France with whom we worked with when we began until recently. Zuleika (Ponsen) was a muse since the beginning whom we photographed a lot. She starred in our portraits called “La Meduse”, “La Pleureuse”, etc.

Pierre: We worked with Dita Von Teese as well and we actually are currently working again on a new portrait of her. We photographed a lot of boys as well that are not necessarily well-known.

Gilles: We love to work with all these people because they inspire us, they just understand our world and they can play so many roles.

How does it feel to have four decades of celebrated art work under your collective belt with a highly anticipated retrospective book Pierre et Gilles 40 commemorating your careers?

Pierre: We did this book year-by-year instead of doing it by theme. It allowed us to see the evolution of our work through the years.

Gilles: Our style is still here but has evolved. We started with something more Pop and simple “mise en scene”, and then you can see that we evolved to something more complex and developed. The models change through the years. It reminds them of the good memories of working together when going through the book. It’s been a fantastic journey through the forty years. We are so happy to see what we did, but we are not nostalgic, just excited for what is coming next.

What do you think about the reaction audiences have had from your work throughout your forty-year career? Do you see a difference of how U.S. audiences react versus European?

Pierre: We feel that our images can touch people everywhere in the world…

Gilles: …In Japan, Russia, Australia, Europe, America… we don’t feel like there are a lot of borders.

How does it feel to have used your revolutionary subject matter and style to bring a mainstream voice for gay culture?

Pierre: It was pretty natural. We didn’t really have to put it forward, but naturally, as we are a couple and we did not hide it, it came out. Also, the inspirations which we followed with sincerity touched the gay community. We received a lot of letters from gay people who told us that our work helped them to accept themselves and their sexuality.

Gilles: As we said, our work explores the difference between individuals and shows people the beauty in homosexuality, and that is very important to us as well. What was one of your most memorable photo shoots that we will find in your new book?

Pierre: It’s pretty hard for us to choose because every shoot is unique. Every time we meet new people it is a new surprise. As we live in the present, we love the last images that we did. For instance, we just photographed Beatrice Dalle whom we have known and loved for a long time.

Gilles: We recently shot K-Pop celebrities, and we loved that very much as it was new and interesting to us.

You have worked with some of the most iconic artists, designers, performers, etc. including Madonna, Naomi Campbell, Dita Von Teese, Kylie Minogue, Karl Lagerfeld, Mick Jagger, and Iggy Pop; what was your favorite collaborative experience?

Pierre: I loved to photograph Sylvie Vartan as she was my idol when I was a child and as a teenager; I was way more impressed when I met her than when I met Madonna or Kylie Minogue for example (laughs).

Gilles: Though meeting Madonna was also an amazing experience, she was at the Ritz Hotel in Paris and she made someone call us to go meet her, and that same night we went to the Zingaro Circus together with Jean-Paul Gaultier. It was in the 90’s. They are incredible memories. We met Kylie Minogue in Sydney when she came to our exhibition, and then we shot her in Sydney. We have worked with a lot of amazing, unique, and different personalities and it has given us these incredible memories.

Are there any celebrities, designers, or artists that you would like to work with that you haven’t yet?

Gilles: Yes, for sure! There must be people we didn’t work with that we’d like to, but we like surprises so we’ll see. It comes to us pretty randomly depending on people we meet and the occasions. It takes time, but we trust the future.

In a digital age where people can easily manipulate photos via Photoshop, why is it important to you to stay true to a more organic process of airbrushing and acrylic paint that you have perfected?

Gilles: We started retouching pictures way before Photoshop. At that time the pictures were almost never retouched. Even today we stay true to ourselves following the same process. We still retouch everything by hand and we still build our set in studio. The only thing we changed is that we started to shoot digital, but it has not been a long time that we switched maybe two years, and we are happy with the result.

Pierre: We really stay true to ourselves, we stay very artisanal and crafty. We love to build our own sets. Our models are really (physically) displayed in it. We are a very small team and we love to do everything ourselves. We just have an assistant and the both of us. We take care of each step of the process from the set design to the final frame we use for each photograph.

When your careers first began in 1976, did you find it hard to gain acceptance from either realm of art or fashion?

Gilles: There were people that loved our work since the beginning and were very supportive. We waited until 1983 to do our first exhibition due to the fact that before that people and art galleries were not ready to show our work. It happened only in 1983. We started with the smaller formats, and now we exhibit our bigger formats, but the most important thing for us this whole time has been to stay true to ourselves.

In the future, what projects can we expect from you?

Pierre: Just the continuation of our work. A new “novel to follow” (laugh). .

Sainte Mary MacKillop, 1995, Model: Kylie Minogue Without Frame: 85.7 Å~ 71.4 cm, With Frame: 112.7 Å~ 98.5 cm, Collection St.phane Sednaoui, New York ˝ Pierre et Gilles

GIRL ON FILM

Hair by Sabrina Szinay for Kevin Murphy @ The Wall Group, Makeup by Courtney Perkins using Tarte Cosmetics, Manicure by Holly Falcone @ Kate Ryan Inc using Essie, Set Design by Kendyll Legier @ 11th Street Workshop, Production by Catriona Williams @ Art Department, Photo Assistants: James Clark and Hans Olson, Digital Tech: Drew St Ivany, Fashion Assistant: Mike Tyle, Casting by David Chen.

Bracelet over glove by Ana Khouri, Earring by Patrimonio, Necklace by Pluma, Gloves by Patrimonio.

BASE MAKEUP MAC: Face and body C1 Laura Mercier: Secret Camouflage SC2.SC3

EYEBROW ANASTASIA: Blow powder duo (chocolate)

EYE MAKEUP MAC: Eyeshadow X9: burgundy NARS: Dual intensity eyeshadow (pasiphae) MAYBELLINE: Lash Sensational Luscious

CHEEK NARS: Bronzing powder (laguna)

LIP NARS: Pure matte lip stick (volga)

Top and Skirt by Missoni, Silver Bra Top by Zana Bayne, Earrings by Bonheur, Rings by Bonheur.

BASE MAKEUP MAC: Face and body C1 Laura Mercier: Secret Camouflage SC2.SC3

EYE MAKEUP KIKO: Color Fever Shadow Palette 101 MAYBELLINE: Lash Sensational Luscious

CHEEK MAC: Cream color base (RICH CORAL+PREMEDI TATED) MAKEUP FOREVER: Star powder (Fuchsia for highlight)

LIP MAC: lip stick (cross wires)

Necklace by Pluma, Hair piece by The Line.

BASE MAKEUP MAC: face and body C1 Laura Mercier: seclet camouflage SC2.SC3

EYE MAKEUP KIKO: color fever shadow palette101 Elizabeth Arden: eight hour cream MARTHA STEWART: Glitters on eyes MAYBELLINE: lash sensational luscious

CHEEK MAC: powder brush (Breezy+Freeting lomance)

LIP MAC: lip stick (sunny seoul)

Top by Saint Laurent, Gloves by Patrimonio, Earrings by Ana Khouri, Necklace by Pluma

BASE MAKEUP MAC: Face and body C1 Laura Mercier: Secret camouflage SC2.SC3

EYE MAKEUP MAC: eye shadow (antiqued+bronzed cork) MAYBELLINE: Lash Sensational Luscious

CHEEK NARS: Bronzing powder (laguna)

LIP NARS: Pure matte lipstick (volga)

Jacket by House of, Earrings by Patrimonio, Hair barrette by Sylvain le Hen at The Line.

BASE MAKEUP MAC: face and body C1 Laura Mercier: seclet camouflage SC2.SC3

EYE MAKEUP KIKO: color fever shadow palette101 Elizabeth Arden: eight hour cream MARTHA STEWART: Glitters on eyes MAYBELLINE: lash sensational luscious

CHEEK MAC: powder brush (Breezy+Freeting lomance)

LIP MAC: lip stick (sunny seoul)

Top by Saint Laurent, Jacket by Thii, Earrings by Ana Khouri and Gloves by Patrimonio

BASE MAKEUP MAC: Face and body C1 Laura Mercier: Secret camouflage SC2.SC3

EYE MAKEUP MAC: Pro longwear fluid line(black track) MAYBELLINE: Lash Sensational Luscious

CHEEK NARS: Bronzing powder(laguna)

LIP ABSOLUTE NY: Velvet lippie(ALV21+15)

Blazer by Sandro, Bracelet/hand cuff by Pluma, Hat by Patrimonio and Earrings by Bonhuer

BASE MAKEUP MAC: Face and body C1 Laura Mercier: Secret camouflage SC2.SC3

EYE MAKEUP KIKO: Color fever shadow palette101+103 ADDICTION: Eye liner pencil (blackjack) MAYBELLINE: Lash sensational luscious

CHEEK MAC: Blush (modern mandarin) MAKEUP FOREVER: Star powder (white silver) for highlight

LIP NARS: Semi matte lip stick (shanghai express) ABSOLUTE NY: velvet lippie (AVL21)

Blazer and Top by Saint Laurent, Leather Skirt by Coach and Earrings by Rodarte

BASE MAKEUP MAC: Face and body C1 Laura Mercier: Secret Camouflage SC2.SC3

EYE BLOW MAC: Pro longwear fluid line (black track)

EYE MAKEUP MAC: Charomacake (MAGENTA) KIKO: Color fever shadow palette101 MAYBELLINE: Lash Sensational Luscious

CHEEK NARS: Blush (madly) MAKEUP FOREVER:Star powder (blond brown)

LIP NARS: Stain lip stick (sexual healing)

Blazer and Top by Saint Laurent, Leather Skirt by Coach and Earrings by Rodarte

BASE MAKEUP MAC: Face and body C1 Laura Mercier: Secret Camouflage SC2.SC3

EYE BLOW MAC: Pro longwear fluid line (black track)

EYE MAKEUP MAC: Charomacake (MAGENTA) KIKO: Color fever shadow palette101 MAYBELLINE: Lash Sensational Luscious

CHEEK NARS: Blush (madly) MAKEUP FOREVER:Star powder (blond brown)

LIP NARS: Stain lip stick (sexual healing)

Hair by Sabrina Szinay for Kevin Murphy @ The Wall Group | Makeup by Courtney Perkins using Tarte Cosmetics | Manicure by Holly Falcone @ Kate Ryan Inc using Essie | Set Design by Kendyll Legier @ 11th Street Workshop | Production by Catriona Williams @ Art Department | Photo Assistants: James Clark and Hans Olson | Digital Tech: Drew St Ivan | Fashion Assistant: Mike Tyle | Casting by David Chen.

LYNN WYATT

Photography and Interview by Dustin Mansyur | Styling by Marc Sifuentes | Art Direction by Louis Liu

Top by Christian Lacroix, Earrings, Bracelet, Necklace and Ring all by Harry Winston.

Lynn Wyatt has invited us to afternoon tea, an invitation one makes sure they are not late for. Our team has flown in from New York to meet with the juggernaut philanthropist and international socialite to discuss details of her upcoming photoshoot, also to be held at her home in River Oaks. Greeted by her butler, we are whisked through the foyer with it’s elegant curved staircase and ushered into her formal sitting room. Traditional furnishings in buttery yellow and pear greens are juxtaposed with modern and contemporary art which punctuates the room. The two Warhol portraits of Wyatt proudly greet guests as they enter the room, and we are seated in front of the fireplace which wields a colorful painting done by artist, Helen Frankenthaler, hung expressly above the mantle. Just then, we hear the voice, an instantly-recognizable southern drawl with a husky yet benevolent elocution.

As Lynn enters the room, she welcomes us all charmingly with a firm handshake. Smartly dressed in a Chanel pant suit, there is a lightness of being that radiates from the unbelievably spirited octogenarian. A genteel charisma that is not without its depth, her graciousness spills over into everyone she interacts with, no matter how big or small the exchange. Her genuine gratitude is offered to our team as tea is poured and gingersnap cookies are served. As we begin to discuss the details for the photoshoot, there is nothing that is left to chance by Wyatt, whose perceptibility and forethought is sharply on point. Excitement infiltrates the discussion as the topic of wardrobe and jewelry begins, details about every garment she’s worn on the red carpet are intimately shared with pride. After all, she was inducted into Vanity Fair’s Best Dressed Hall of Fame.

She is the woman most Houstonians esteem as their city’s cultural ambassador to the world. For the past five decades, Lynn has raised millions of dollars for charities the world over. In 1982, she was honored by the Government of France to rank of Officier in its prestigious Order of Arts and Letters, for her significant contribution to the enrichment of the French cultural inheritance. A patron of the arts, Lynn has made it her life’s mission to endow the arts in all of its resplendent forms, and her love of fashion has garnered just as much interest as the galas she’s chaired, honored, or attended. Then there is the trope of A-list international friends comprised of royalty, celebrity, and society with which the Texan rose has kept her company: Princess Grace, Nancy Reagan, Liza Minelli, Sarah Ferguson Dutchess of York, Shirley MacClaine, Elton John, Andy Warhol, Karl Lagerfeld, Valentino, and Mick Jagger to name a few. Privy to even the most pomp of parties, brushing shoulders with the world’s elite, Wyatt’s attitude is anything but aristocratic. And while others might require one, no spotlight is necessary for a luminary as brilliant as Lynn.

Proudly, Iris Covet Book shares a conversation with Houston’s hero to offer a glimpse into the radiant world of Lynn Wyatt.

Leather dress by Talbot Runhof | Earrings and Belt by Emanuel Ungaro Couture.

You’re a native Houstonian and you’ve always been proud to act as an ambassador for this very industrial diverse and innovative city. What specific things do you take pride in about Houston?

I take pride in my hometown because of its people. Houston is a very welcoming city and we have a much diversified population which I think is great. And I take pride in the exceptional first class culture and the arts in Houston. The M.F.A.H (Museum of Fine Arts Houston) is exceptional. I love the first-class Houston Grand Opera and our incredible Ballet, as well as the one of a kind, Rothko Chapel and the Menil collection. To me, I think that the arts are the soul of any city.

Your family owned the well-known department store, Sakowitz, for many years. Was your love of fashion innate, or was it something that you learned more about through exposure to it through the family business?

I think just growing up and being around our specialty stores made me cognizant of fashion.

And did your parents ever make you work at the department store when you were growing up or was it something that you chose to do?

I didn’t have to work, no, but I wanted to work.

What did that experience teach you?

Well, when I asked my father, he of course agreed to it. They had a junior miss department and he said he would place me there to begin. So, on the very first day, a girl came in with her mom and I asked if I could assist her. She had brought in several outfits in the dressing room and had asked me to come in. She asked for my opinion. I thought, “Should I tell her the truth? Or just make the sale?” But to me the truth is always the right thing. So, I told her it really didn’t do anything for her style. So, she asked me what she should do instead? So, I said, “Let me go and bring some things. You can try them on because I think this is more your style.” She then became not only my customer, but she brought in all of her friends and told them to ask for Lynn.

So, the customer isn’t always right, but Lynn knows best.

(Laughter) Yes, and you know the truth is what people like! I mean, women like to hear the truth about when something they’re wearing isn’t very flattering.

Then, at what age did you become interested in philanthropy and humanitarian causes? was gratitude or the act of giving back something that you were taught?

You know what, that is something that was taught to me early, early on because my parents were prominent in this city, and they always taught me to give back to the community.

That’s amazing, what an incredible example. What charitable organizations do you support and are involved with?

The arts have always been my passion. I’ve been the Vice President of Houston Grand Opera for thirty-five years and a trustee on the executive committee of the Houston Ballet for over twenty-five years. I’m also a lifetime trustee of the Museum of Fine Arts Houston. I am the Rothko Chapel’s Cultural Adviser and I’m a Special Advisor to Mercury, which is a brilliant orchestra made up of strings that showcases young musicians, but of course to me everybody is young. (Laughter)

(Laughter) So then, what is perhaps the most memorable event that you ever hosted and why?

The most memorable event, was for the Princess Grace Awards Gala. Three months, after Princess Grace of Monaco passed away, I got a phone call from Prince Rainier. He asked me to chair the first inaugural gala, and I sort of gulped. I said, “Oh my goodness.” And he said, “No, she loved you. You were one of her dearest friends.” So, I said I was so flattered and accepted the invitation to chair the event.

Then I decided that instead of having it in New York, which always has so many events going on, sometimes three or four things a night, that I would have a three-day affair, and hold it in Washington D.C. The President, and Mrs. Reagan were present, as well as the entire presidential staff. I also invited all my European friends, some were princes or princesses and dukes and duchesses. Even many years after, I still have people remembering it. So, that’s very flattering for me.

Dress by Tom Ford available at Neiman Marcus | Shoes by Yves Saint Laurent

And you will be chairing the official Super Bowl Galas in Houston, Texas?

I am very proud to be a part of the Super Bowl and chair the official Super Bowl Gala on Wednesday evening before the Super Bowl. You know, it’s a big deal in any city but this is my city. So, I’m very proud to be to be involved with it.

Are you excited about the halftime show with Lady Gaga?

Yes! I met Lady Gaga when we were both attending Elton John’s AIDs Foundation Gala in Windsor. Lady Gaga was the entertainer and she was fabulous. Later that evening after the gala at Elton’s home, Elton said for us to go up and put on our bathrobes. We came downstairs and stayed up talking and laughing until four o’clock. She was just terrific. You know, she’s a great entertainer and she was just fabulous. I’ll be thrilled to see her in Houston if she has the time.

It sounds like you are busy preparing for all the festivities surrounding the Super Bowl. I’m curious how you decide what to wear when you’re hosting a Gala? Do you always purchase something new or never worn before? Or do you revisit some of your archived couture pieces from time to time?

People often ask me this question, and the answer is that it depends on the occasion, because sometimes I change what I’ll wear a lot. So, if I say I haven’t decided yet, that makes me look like I don’t want to tell them. If I do tell them something and then change my mind because my mood changes, it makes me look like I’m a liar. So really, for something like the Museum of Fine Arts Ball that I hosted, I had an Oscar de la Renta gown made-to-measure for me. I was excited about that. But you know, I’ll wear my “golden oldies” as I love to call them.

And do you ever mix pieces like that old and new? Haute couture with ready-to-wear?

Oh, I love to mix them!

I would imagine that’s part of the fun, right?

Yes exactly! That’s what I love about getting dressed. A very famous person who was a very good friend of mine, and also one of the most stylish women in the world, said, “The most fun that I ever have is deciding what I’m going to wear. Sometimes even better than the party I go to.” I don’t know if I agree with that last part, but I love her for saying that.

How would you describe your personal style?

I have been asked to describe my style, and I have a little philosophy that I dress by. My style is class with a little bit of dash, but never trash. (Laughter)

(Laughter) Spot on! I was going through some image galleries of your most memorable looks online. There’s several galleries on the Internet that showcase looks that you’ve worn and I couldn’t help but notice that you gravitate towards a lot of playful pieces too. Like the evening dress with the red lips embellished on it.

Oh right, you know who did that? Yves Saint Laurent!

Necklace by Grazia Fortuna Ward | Dress by Ralph Rucci | Photo by Jhane Hoang

Ah! I was wondering who.

I loved Yves Saint Laurent! And I love Valentino. I also loved Emanuel Ungaro, Hubert de Givenchy, and Chanel! She was the first house that I ever went to purchase haute couture from. When I was early married, my husband went to Paris and took me. I decided I would go in and see about having some pieces made for me. They were very, very, disciplined and they take all of your measurements– I mean everything! I thought they were going to measure the size of my finger nail (laughter). They were so perfect about everything. So, I had a daytime suit that was made-to-measure. And I had this beautiful brocade cocktail dress with matching jacket.

Since then, I also have had evening gowns and other pieces made-to-measure, from other designers who I became very good friends with: Valentino, Givenchy, and Emanuel Ungaro.

Do you ever fret over a haute couture piece before you purchase it or do you have an inherit knowing this piece is right for you?

My dear man, before I ever have it made to measure I agonize over it. Because I would think, and think, and think, “Am I going to spend my money on this? How many times can I wear it? How many times can I mix maybe the skirt with another top?” I mean, I agonize over it. First of all, haute couture is a fascinating experience. One can really turn a garment inside and out. The way it’s made is so perfectly sewn and constructed by hand. I used to attend all of the collections in Paris every year and it was always such a great experience. I must admit that I can still wear my “golden oldies” and I feel like they’re just good friends.

Do you still own all of your haute couture pieces? Are they archived?

You know, I still have my first Chanel suit. But then I gave eighteen haute couture gowns to the auction panel to raise money for the Rothko Chapel(in Houston, Texas).

I’m furious with myself for parting with one of them. Hamish Bowles (International editor-at-large of Vogue) came up to me before the auction, and said, “You know, I’ve got my eye on two LW’s.” I said, “You do?! Well good for your collection, I’m so flattered!” And so, he actually ended up buying four! I was so excited they ended up in his collection.

How did you meet Warhol, and how did your portraits by him come to be? Did you have a sitting with him at his studio?

I met Andy Warhol in New York in the 60’s and we became fast friends. We would always go to lunch or dinner together. Sometimes it was just the two of us and other times he would be with all of his talented and amusing friends. I mean Andy was so ahead of his time. At that time, Fred Hughes was the guy that did work with him in the city, and he asked Andy, “Why are all of your paintings the same exact size?” And Andy’s answer was, “Because I can picture them in a museum one day.” How brilliant was THAT! He would come to my parties at our Villa in the south of France, and he would bring a notebook and take notes about me and the people who were at the parties. I thank all the artists who ever asked to do my portrait, because it’s very flattering, but I would always say no to them. But Andy, he was the one that I asked to do my portraits because he was, and I think people would agree, the John Singer Sergeant of our era.

Ring and earrings by Harry Winston | Sheer Long Sleeve Blouse, Blue Satin Top, Belt and Leather Pants all by Saint Laurent, available at Neiman Marcus

What has given you strength during times of trial in your life?

Personally, I believe that trials and tribulations come into everyone’s life. The way I handle it, I believe in facing them straight on. I know that whatever trial or tribulation it is, it can always be worse. When you think about it that way, it’s like, “Oh, this isn’t so bad.”

What’s been your greatest fear that you’ve confronted and overcome?

I don’t even think of fear. Life is a challenge and I just look at it in the face and go for it.

What does success mean to you?

Whatever I do, I try to do the best job I can. And I’m very happy when it becomes successful.

Have you ever reinvented yourself?

You know I never think of reinventing anything. Especially my life. I believe that we should live life as an adventure, and be grateful for all the gifts one has been given. You know, I’m an adventurer too!

Your family is ancestrally Jewish. In America and globally, 2016 brought to light an alarming rise in xenophobia, transphobia, homophobia and overall feelings of divisiveness. I’m just curious to know what you think it will take for us to unite and celebrate our diversity?

That’s a very good question. You know, my parents taught me that every religion is personal and that at the core, religion teaches us to love and respect all people and religions. So, I’m fortunate that I have a diverse group of friends all over the world and have never encountered any division among them. Be kind and be respectful of others, especially their differences.

You’ve been described by Nicky Haslam to have a “golden aura” and your friend Valentino described you as “a miracle of nature” because of your constant energy and vitality. What’s your secret to maintaining impenetrable positivity and light?

First of all, I’m so flattered by those wonderful, incredible words, by my two dear friends. The truth is, I don’t have a secret. I think that the light comes from within.

Do you think gratitude is an important quality to cultivate in one’s life?

I think gratitude is a very important quality. But I do not think about gratitude as being a quality to cultivate because then one is not truly grateful. It has to come from inside. It has to come naturally. If you have to think about it, then it’s not true gratitude.

Good point. The experience of gratitude must be innate and naturally occurring.Can you describe what “having class” means to you?

If you one thinks one has class, one doesn’t really have it. Because I think it’s the way one lives one’s life. However, I take it as the supreme compliment when some guy yells out, “You’re a classy dame!” (Laughter)

(Laughter) That’s where the “dash” comes in from your style motto! What do you want your personal legacy to say about you?

It’s really quite simple, but I would like them to say, “She lived a lot, laughed a lot, and loved a lot.” .

Ring, Necklace and Earrings all by Harry Winston | Black Top and Pants by Brandon Maxwell | Shoes by Yves Saint Laurent | Throughout this story, Hair using Susan Zindler | Makeup using Dior Beauty, YSL Beauty, Tom Ford Beauty and Chanel Makeup | Fragrance by Hermes

THE PHILANTHROPIST

Lynn spends much of her time giving back to the world by supporting many charities and one of her first loves, the arts. From the Rothko Chapel to the Museum of Fine Arts Houston and the Houston Ballet, Wyatt has spent much time fundraising for fine arts establishments as well as being a frequent guest at galleries, operas, and ballets alike in her hometown Houston, Texas. Along with her love of art, honed from years of spending time with Andy Warhol at his Factory, the famous Helmut Newton, and many other art icons, Lynn loves to be a supportive pillar for the community. Much of her days are spent with different non-profit groups and shelters like the Star of Hope Mission.

MUSEUM OF FINE ARTS HOUSTON

Director Gary Tinterow and Lynn Wyatt discuss life in the halls of the Museum of Fine Arts Houston, an award winning, world-class museum of international fine

arts; Lynn Wyatt is Chairwoman of the Board of the acclaimed museum.

On Lynn: Leather Jacket and Handbag by Louis Vuitton, Leather Skirt by Chanel, Boots by Yve Saint Laurent

ALLEY THEATER

Gregory Boyd, Artistic Director at the Alley Theater and Mrs. Wyatt sit and enjoy their time in the famed space for the arts. The Alley Theatre, one of America’s leading not-for-profit theatres, is a nationally recognized performing arts company, Lynn is an avid supporter, Member at Large, and on the Board of Directors.

On Lynn: Leopard Print Top by Yves Saint Laurent, Vest by Arend Couture, Scarf by Louis Vuitton.

STAR OF HOPE

Lynn reading stories to the children at the Star of Hope Mission. Lynn is a devoted supporter to the Star of Hope Mission, a charity that counsels, houses, and lends a helping hand to the homeless that find shelter at the Mission. President and CEO, Hank Rush, helps provide a safe haven to provide structured programs which focus on spiritual growth, education, employment, life management and recovery from substance abuse.

HOUSTON BALLET

Stanton Welch of the Houston Ballet stands with Mrs. Wyatt as they greet the young dancers of the Houston Ballet. The Houston Ballet is another center of culture andfine art performance that has become near and dear to Member-at-Large, Lynn Wyatt.

On Lynn: Turtleneck, Necklace and Belt

HOUSTON GRAND OPERA

Wyatt and the Artistic and Music Director of the Houston Grand Opera, Patrick Summers, pause mid conversation to enjoy the grand space. The Houston Grand Opera hosts fantastic shows throughout the year, and Mrs. Wyatt sits as Vice Chairman of the Board.

On Lynn: All Clothing by Chanel

ROTHKO CHAPEL
Lynn Wyatt discusses business, pleasure, art, and philanthropy with David Leslie, Executive Director of the Rothko Chapel. The Rothko Chapel is a premiere destination in Houston for the arts as well as for finding a meditative space to collect one’s thoughts.
On Lynn: Necklace by Grazia Fortuna Ward, Dress by Ralph Rucci.

LURID LINDA

Photography by Myles Ashby | Styling by Gabriel Held – All clothing from Gabriel Held Vintage | Model Linda Helena @ IMG Models

This Spread: Prada dress, Voyage Passion sweater, Prada shoes, and Crescendoe gloves

This Spread: Missoni sweater, Diesel shirt, Pucci boots, Miu Miu sunglasses, Interlude lingerie, and Krementz bracelet

Left Image: Prada blouse, Public School cardigan, Vivienne Westwood bloomers, and Christian Lacroix shoes | Right Image: Missoni sweater and Krementz bracelet

Left Image: Prada blouse, Vivienne Westwood bloomers, and Christian Lacroix shoes | Right Image: Blumarine sweater and Betsey Johnson slip dress(worn on top)

Left Image: Prada sunglasses, Dolce&Gabbana turtleneck, Emilio Pucci teddy, Marc Jacobs shoes, Krementz & Carolee bracelets and Trifari earrings

This Spread: Prada shirt, pants and shoes, Crescendoe gloves, and Carolee bracelets

Left Image: Blumarine sweater, Alessandro Dell’Acqua skirt, Giuseppe Zanotti shoes, and Trifari choker | Right Image: Blumarine sweater, Betsey Johnson slip dress (worn on top), and Jimmy Choo wedges

Right Image: Dolce&Gabbana turtleneck, D&G jacket, Krementz & Carolee bracelets and Trifari earrings

Hair by Mischa Gobie | Makeup by Robert Reyes | Manicure by Honey

THINK PINK

Photography by Jason Kim | Fashion Stylist Britt McCamey | Model Peyton Knight IMG Models

Rhinestone square hoop earring by Area, blouse and Skirt by Adam Selman, coat by Miu Miu, shoes by Neith Nyer

Vintage leather coat by What Goes Around Comes Around, asymmetrical collar dress by Christopher Kane

Patent leather coat by LRS

Dress by Neith Nyer

Silver rib top by Carven, lame wrap bra by Area, tulle skirt by Christian Siriano, anklet cuffs by Zana Bayne

Rhinestone hoop earring and fur stole by Area, mohair sweater by Carven, gramm sweater dress by Altuzarra

Fringed jacket by Tim Ryan

Sheer shirt by Bror August, jacket by Claudia Li

Hair by Sabrina Szinay for Kevin Murphy @ The Wall Group | Makeup by Courtney Perkins using Tarte Cosmetics | Manicure by Holly Falcone @ Kate Ryan Inc using Essie| Set Design by Kendyll Legier @ 11th Street Workshop | Production by Catriona Williams @ Art Department | Photo Assistants: James Clark and Hans Olson | Digital Tech: Drew St Ivany, Fashion Assistant: Mike Tyle | Casting by David Chen.

THE WANDERER

Photography by Hadar Pitchon | styling by Marc Anthony George | model Daniël Van Der Deen @ Soul Artist Management

Art direction Louis Liu | Grooming by Michael Fernandez | Editor in Chief Marc Sifuentes | Set Assistant Zack Woods

Vivienne Westwood cardigan, Roberto Cavalli scarf

Roberto Cavalli jacket and jeans, Damir Doma scarf, Versace sandals, Prada bracelets

Thom Browne unitard

Missoni jacket and shorts, Vivienne Westwood tank, Dsquared kilt, Damir Doma scarf, Prada bracelets

Vivienne Westwood sweater, Sacai shirt and shorts

Gucci coat and jacket, Salvatore Ferragamo sweater, Vivienne Westwood pants, Prada bracelets

Versace jacket, pants, and sandals, Michael Kors shirt, Vivienne Westwood knit, Prada socks

Gypsy sport life vest, Versace blazer and sandals, Issey Miyake shirt, Gucci pants, Prada socks

Vivienne Westwood overcoat, Valentino shirt, sweater, and pants

Vivienne Westwood shirt, Balenciaga coat

Prada jacket, shirt, and shorts, Gucci boots

ROSSY DE PALMA

Interview by Miguel Figueroa | Editor Marc Sifuentes | Photography by Sophy Holland | Styling by René Garza | Art Direction by Louis Liu

Hat by Stephen Jones | Cape by Joanna Mastroianni | Choker by Laruicci

Rossy de Palma, born in Palma de Mallorca, was originally a singer and dancer before being discovered by filmmaker Pedro Almodóvar in 1986. He cast her in roles based on her unique appearance which are best described as a Picasso come-to-life. In 1988, Rossy de Palma broke the rules of beauty when she starred in Pedro Almodóvar’s Women on the Verge of a Nervous Breakdown and became a model and muse for designers like Jean-Paul Gaultier and Thierry Mugler. Her status as an iconic fashion face was further cemented with her role in Robert Altman’s 1994 satirical fashion film Prêt-à-Porter. Today, she is a theater actress, charity spokesperson for the Ghanian Charity, OrphanAid Africa, and the face of luxury fashion ad campaigns.

Hat by Tolentino Haute hats | Vintage Thierry Mugler Jacket | Vintage Dress by North Beach Leather | Belt by Saint Laurent | Shoes by Iris Van Herpen | Earrings by Victoria Hayes | Leather Glove by Elena Benarroch

Some of the roles you’ve played in Almodóvar films include talk show host, drug dealer, a daughter trapped in a small town living with a hysterical mother, a snobby woman from Madrid, and now, in Julieta you play a malicious housekeeper who doesn’t know much of the world outside her own. You’ve been one of the most consistent Chica Almodóvar in the director’s filmography. Why do you think he always comes back to you?

Well, not always. Out of 20 movies, I’ve only been in seven. It’s a pleasure to work with him. I mold myself well, and he knows that with me, he can do whatever he wants. I’m devoted to him and that has its advantages because he knows that I’m effective. I’ll give him whatever he wants.

Do you remember the first time you met Pedro Almodóvar ?

Of course. Legend has it that we met in a bar. But, we met during the years of the Movida Madrileña. I had just arrived to the capital from Mallorca with my music group, Peor Imposible and he used to come to our shows. By that time he was already an underground legend. He had just wrapped What Have I Done to Deserve This? and was beginning to work on Matador. He was casting for that film, but I couldn’t make it because I had a concert in Alicante that same day. He was starting to nag me and I decided to play hard to get. I was going to seduce him from afar. He used to come to a bar I was working at, the King Creole and offered me a small role in Law of Desire. He asked me “Would you like to?” and I responded “Yes, yes; I couldn’t make it to the Matador casting” and he replied, “Ok, well, let’s go.”

He was very happy with me. He wanted to portray who I was in Law of Desire. I did my own hair and makeup; I didn’t allow wardrobe to touch my look. I wanted to immortalize who I was aesthetically at that time. I played a TV journalist; but since I was dressed as myself, I didn’t feel like an actress. But, then, when he wrote me the part of Antonio Banderas’ snobby girlfriend in Women on the Verge of a Nervous Breakdown it was much more fun because that was the first time I worked
as an actual actress.

Did you work in any other movies between Law of Desire and Women on the Verge of a Nervous Breakdown?

No. In the beginning of my career I only worked with Pedro because I was also focused on my music project. Later on, I started working in more films, but in Italy. I haven’t really worked much in Spain until recently. In Spain I only worked with Pedro.

Hat by Graham Tyler | Cape and Corset Belt by Joanna Mastroianni | Feather Shrug worn as Skirt by Harrison Morgan | Ring by Eddie Borgo | Boots by Pleaser

Did you want to be an actress when you were a young girl?

I’ve been an actress from an early age because I acted differently around each person. I noticed that you had to become a different person. I was conscious that you needed to have a different psychology for each person in order to unite each of your complexities. I was also aware of the simulacra of things. I’ve always felt more of an artist than an actress. I like to keep various creative channels open. I would say that poetry was my first love. The Dadaist poets opened up this whole new dimension of thinking that made me aware that there was another world out there waiting for me. I recently worked in a performance called Residencia de Amor that deals with that: how art helps you survive and how therapeutic it is.

Think of it as being the ugly ducking and suddenly you leave, and in this new world you are a Disney character. Tapping into that place of my consciousness without knowing that there was another world waiting for me really cheered me up. Then, also, you need to have music, art and all sorts of things that lift you in order to live another kind of reality because real life is tough.

Have you always been connected to your voice within?

Yes. I’ve always been connected to that spirit that we all have inside. In fact, I’m very rational; but everything I do creatively I do it from my unconsciousness. I like to surprise myself and see things as if they were the first time I saw them. When I have to interpret a character, I don’t like to prepare and study for it. I like to come from stillness. I welcome and work with accidents and errors. It enriches your life. You can’t think that you can control everything.

You can’t control anything.

No, you can’t. I don’t believe in that vanity that some artists who think they are creators. No. I believe that everything comes from a collective unconsciousness and when we allow ourselves to be receptive we become vehicles for it but we are not the protagonists. We can’t think, “Oh, I’m going to sit down and write a song.” No. That song came to you from the thousands of influences you have. You are a vehicle for art. I don’t believe in painters who are so self-deprecating. I prefer the humility behind being receptors and we are vehicles for creativity. We’re all artists.

Julieta is a great film. His female characters continue to be his strongest suit.

Yes. Isn’t this music very 90s? (Forever Young plays in the background)

My partner says that time does not exist.

My daughter tells me, “Mom, you’re so lucky to have lived in the 80s!” Yes, she’s right. No one can take those memories from me; but especially to have survived that decade, because so many didn’t
make it. If it wasn’t drugs, it was AIDS and also the road. In those days the roads in Spain were awful; many fellow musicians like Tino Casal died in tragic car accidents. OD’s, AIDS and the road. Madre mía. All pathways. (Both laugh)

Dress by Marna Ro | Bra worn on top by Zana Bayne | Earrings by Victoria Hayes

And how did you make it?

I was very mature in the 80s. I was in my 20s. My adolescence was in my 30s. I was serious in my 20s. All of my friends were getting high and I was everyone’s mother. I protected my friends. I was “homeless” but I had a daily planner. Pedro was always mesmerized by this; “look at her, she’s so organized!”

Maybe it’s because you’re a Virgo.

Yes, I am. Perhaps it’s that. But I had also moved from Mallorca to Madrid. I left behind my teenage brother and he needed me. My mother was hustling through the market in order to save enough money to send me 3000 pesetas [about $20] in a money order each month. It was so little and it was all she could. With that in mind, I knew I wasn’t there to waste time. I had to pave my road and if not, I went back home. I couldn’t distract myself. I was very clear with my intention. I also didn’t like drugs. Only weed. I don’t like drugs that affect my mindset and take me to other realities because the reality that we live in is already rough enough and psychedelic itself to take me somewhere else. I mean, back in the day we tried everything but weed, the relaxing kind. Sativa’s great but I’m more of an Indica girl. I didn’t get hooked to anything because I wanted to work and build. Let’s be realistic there is no money when you are starting out in music; so even when I worked at bars, I was a bad cocktail waitress because I wanted my patrons to stop drinking. They drank, and drank, and drank. I would tell them, “listen buddy, you just had one…” and the bar owners would come and tell me “This is not Alcoholic Anonymous, you’re here to sell drinks. Be cool. Don’t be such a…”

Don’t be so conscious…

“Don’t be such a good girl…” I love playing evil characters but in life I’m such a good person. I’m a softy and I’m very sentimental. You know what I mean? That’s my personality. In theatre I like to play the bad girl because I compensate for being so good in real life.

How do you channel it? Your character in Julieta is so malicious.

You can’t judge a character because if not, you wouldn’t be able to interpret them.

In an interview with Almodóvar, they ask him how can he create such evil characters and he says that he humanizes them. He starts living with the characters; what they eat? What kind of music they like?

Yes. Yes. You have to humanize. I already told you that I like playing with the subconscious. I am so at ease to work with Pedro. First of all, he re-enacts exactly what he wants. You have to be careful not to copy him nor imitate him too much because if not, then you look like you’re imitating Pedro. You have to take it to your turf. But, he will do what he wants you to do. Down to a T. He’s very precise.

He knows what he wants. And then you’re at ease because he’s moving you around and if you slip he will say, “No, no I don’t want you standing there.” He’s also obsessed with the tone of voice. “This word is too low. Higher…; This one went too high, I want it lower…,” “This one went too low, I want it higher.” Or “You’re dropping your voice.” Obsessed. He has an ear that works for him and it’s impressive what he can do with it. I let go. I surrender to him.

Anyone would.

You’d be surprised… Some can’t do it because they don’t have the consciousness to process that Almodóvar is directing them. The important thing is to flow. Absolutely flow. You have to be at ease. Almodóvar is directing you. He will be precise. Really, you just got to play…

We played a lot with this character because the newcomers, Adriana Ugarte (who plays the younger version of Julieta) and Daniel Grao (who plays Xoan, Julieta’s partner) had never worked with him. Before each take, he’d tell me, “Now, don’t tell them anything but when I scream ACTION! You come in expelling and shouting random things like “You don’t have a bathing suit? Well, I have a pair of old bragas that you could use.” They didn’t know what to do. Dumbfounded, they’d ask, “Is this going in?” They didn’t know what was going on! We had so much fun. Even though there was a seriousness in the character, when we were filming we had a lot of fun.”

What’s the thing you like the most about New York?

It’s that thing I was telling you. That the distance between you and yourself is the shortest one. It’s great to know yourself here. No one looks at you. Everybody minds his or her business. There is a connection between you and your inner self that’s very important to know in order to evolve as a person. To get to know yourself and who you are. I almost moved here before I had my kids, moved to Paris and destiny took me somewhere else. But I almost did it with my friend Dorothy who lives here. We almost bought a townhouse. Back then they were so cheap.

Back to Julieta, it is a movie that touches your core.

It leaves an emotional well. It’s hard to swallow. Three or four days after seeing it you’re getting flashbacks. It’s the kind of movie that leaves a scar. Sort of an echo… don’t you think? A few days go by and boom, another flash. I left in a state of shock. I had to drive after seeing it and I was so worried to be on the road; because the film left me a bit loopy. I was distraught.

It makes you think.

The silence. The secrets. All that is dragged down due to miscommunication. But, it’s a movie that you have to let it breathe. Like in the beginning when you see that red creature and you don’t know what it is just to find out that it’s her breathing through the red nightgown. Everything goes in… smoothly. There’s no need to time stamp “three years earlier” or “two days later”. Everything flows. Time just comes in by itself.

Through her hairstyles.

Well, that towel seen is marvelous. Reading that scene in the script was already a gem. I’d think, “what a beautiful transition”. You were excited by reading it. And the ending, which I can’t talk about you’re like “oh my God” A bit shaken. The way he moves the camera. You need to let it breathe…

Everyone somehow, someway sympathizes with Julieta. We’ve all gone through those moments of silence, assuming situations and changing your life in order to carry on.

Or people who never speak again. It’s what Pedro would tell us in order to understand where he was coming from. Try to investigate what makes two people stop loving themselves. They stop communicating. They can’t look at themselves in the same way. They begin
to have secrets. A black hole comes between them.

Veil by Tolentino haute hats | Gold Necklace by Sarina Suriano | Dress by Christian Soriano | Coat by BCalla | Shoes by Christian Louboutin.

They say that it’s because you didn’t give the other what he or she wanted.

Who knows? Each relationship is unique. I think the root (of couples separating) is misunderstandings. It’s a chain of consequences of misunderstandings and people take it personally when some things shouldn’t be a certain way. And then each one starts to victimize themselves and they start a competition of who suffers the most. Right?

And they don’t sit down to think. “Wait a minute. My partner is suffering too.”

Yep. And then you can’t get close. I am dealing with things in personal life where I cannot tolerate to have my arm twisted any longer. It’s now not a question of “I don’t want to be dominated because I was once a super softy that always ended up forgiving everyone and now I am at a moment in my life where I can’t have relationships that fail me. Know what I’m saying? Even if they are family and people who I’ve loved for years I cannot give them that power any longer. It’s like “enough is enough”. Not even God can fail me now. Anything that drives you forward, yes. Everything that, as the French would say”, baton dans la rue, clipping your wings… I don’t want that.

Even if I adore you; I can’t give you that power. Sometimes if you don’t get to that point it’s like you can’t ever go back but it’s not about that. You need to seal things. Let the other know that you need your space. It’s more of a male to female dominance, patriarchal thing. I’m in another moment of my life. I finally learned to love myself. Just recently, really. To really love myself.

Me too.

And now I can’t lose any of this gained momentum. I don’t want anything that fails nor hurts me. And if you have to re-enforce yourself, you do. You put on an emotional corset, tighten that shell and “nobody gonna come in there. No more, darling.” No more. That’s it. It’s a way of loving yourself without stopping to love other people; of course.

Of course. You have to learn to love yourself.

Of course. I think you really have to learn to love yourself before you can really experiment love from others and let yourself be loved. If you don’t love yourself the right way, no one will. I’m sorry. It’s the truth.

And especially in an industry like this one.

I’ve always been an outsider in every industry. I’m free and willing; I’m everywhere but I’m not anchored anywhere. I like that thing of not belonging. I’m not compromised to any political party. I’m an individualist and an anarchist. I cut it. I eat it. I don’t know… a little bit of freedom… Just having to answer to one person; yourself.

I’m going through a very similar process.

You see yourself through what I’ve been going through. How old are you?

Thirty-three.

You’re so young, that’s good! Well, look… it’s better to go through it now than when you’re my age. I’ve taken longer. But the important thing is to make it. I may be 52 but I feel like a young girl.

You need to keep your spirit young.

Absolutely! Curiosity is fresh and although we’ve all suffered and everything; my innocence is still
very fresh.

It’s in your eyes…

…of a child. Yes, yes. I can’t stop being a little girl. When we’re children, that’s when we’re more authentic, when we really get to be our genuine selves. You can’t ever lose that. Ok?

It’s so challenging to live in a world that doesn’t want us to be our true selves.

They want us like cattle; all the same. That’s why you always have to rebel.

How did you start?

I mean, let’s start with my nose… Would you like some? How about a nose and a half! Although, it did help me hide that part of me that was more complex, no one could really see me and they just focused on my aesthetic.

I meant to ask you about that.

Talking about my nose is cliché, but we can talk about it if you like. Beauty is so relative. What is really beautiful is nature; flowers… How can there be evil in the world when we have flowers? A thing as beautiful as flowers.

Hat by Stephen Jones | Coat by Georgine | Peplum belt by Zana Bayne | Ring by Eddie Borgo | Shoes by Christian Louboutin.

Hair by Elsa Canedo using Kerastase Paris/US, Makeup by Fumiaki Nakagawa, manicure by Aki, Stylist Assistant, Photo Assistant: Michael Prezioso, Production by XtheStudio, Special thanks to Jessica Uzzan @ Hook Publicity and Sony Pictures Classics, shot at Splashlight Studios in NYC.

MODERN FLAPPER

Photography by Hadar Pitchon | Styling by Marc Anthony George | Art Direction by Louis Liu | Editor in Chief Marc Sifuentes | Model Zhenya Katava @ Women Management

Hair by Michael Fernandez using Evo hair products | Makeup by Michael Anthony using Kevin Aucoin

Dress by Cushnie et Ochs, Coat by Philipp Plein | (top) Necklace by Missoni | (center) Necklace and rings by Chrishabana | (under) Necklace by Eddie Borgo | Vintage earrings and bracelets: stylist’s studio

Dress by Jil Sander | Fur stole by Polygeorgis Furs | Hat by Graham Tyler | (top) Vintage necklace and rings stylist’s studio | (under) Necklace by Eddie Borgo

Dress by Vivienne Westwood | Fur Stole by Polygeorgis Furs | Vintage earrings | (top) necklace | and bracelet: stylist’s studio | Choker by Creepy Yeha | Tights by Falke | Shoes by Topshop

Dress by Philipp Plein | Necklace by Missoni | Vintage earrings: stylist’s studio

Coat by Versace | Dress and headscarf by Missoni | Choker by Creepy Yeha | Vintage head chain and earrings: stylist’s studio

Coat by Michael Kors | Trench coat, dress and necklace by Valentino | Du-rag and vintage earrings: stylist’s studio | Tights by Falke | Shoes by Topshop

Coat by Roberto Cavalli | Vintage earrings, brooch, and bracelet: stylist’s studio

Coat by Valentino | Dress by Roberto Cavalli | (top) Vintage Choker: Stylist’s studio | Earrings and (under) necklace by Eddie Borgo | Shoes by Topshop

Dress and coat by Burberry | Fur stole by Polygeorgis Furs | Necklace by Chrishabana | Vintage earrings: stylist’s studio

EARTH GUARDIAN: XIUHTEZCATL TONATIUH

Interview & Photography by Dustin Mansyur | Styling by Marc Sifuentes | Art Direction by Louis Liu | Grooming by Anthony Joseph Hernandez

An unassuming leader, not old enough to vote, Xiuhtezcatl Tonatiuh (pronounced Shoe-tez-kaht Ton-ah-tee) is an undeniable force of change for his generation and those to come. Possessing an intrinsic spiritual wisdom stemming from the traditions of his Aztec heritage, Xiuhtezcatl’s love for the earth was instilled in him from early childhood. As one of the twenty youth plaintiffs suing the United States Federal Government in a historical class-action case for its prior knowledge of climate change and failing to take preventative action, Xiuhtezcatl is a voice among many pleading for us to recognize the magnitude of the issue that we’ve created.

At a time when grassroots movements can be nurtured through the use of technology, social media wields the power to cause both disconnection from our realities, and connection amongst those who will create our reality. It is by this means that the future summons the past for collaboration. As youth director of the non-profit, Earth Guardians, Xiuhtezcatl has already spoken three times at the United Nations on environmental policy, a hefty accomplishment for anyone who is leading a movement. He blends his leadership skills with his charismatic musical talent as a hip-hop artist, to amplify his message on all social media platforms and connect with others around the globe who support his cause. Xiuhtezcatl exudes, “The combination of both generations can create a better world for the future where we can balance ways of life that existed in the past, but also taking advantage of technology and creating societies that are less destructive to the planet but can continue to move forward into the future.”

The implication of the issue at hand, however, is that climate change is a violation of human rights. With peak-consumerism climaxing at the environment’s expense, it’s hard to imagine how one might pursue life, liberty and happiness, if in fact the earth cannot even sustain life. Perhaps then it is a surprise that the seeming-naivety of youth is the one sounding the largest alarm. Xiuhtezcatl beckons us, “I think that reconnecting to the sense that we are part of the whole planet and a species of beings that will not exist anymore unless things change–and that means lifestyle change, policy change, people standing up in our courts, streets, communities, electing officials who will speak with our voice.”

Iris Covet Book had a chance to speak with the “Kid Warrior” on set at his photoshoot in New York.

When did your passion for environmental issues begin and at what age did you start organizing/working with Earth Guardians?

My passion for environmentalism began when I was super little. Growing up, I spent all of my time outside in nature: in the forests, in the mountains and rivers. Just immersed in the beauty of the natural world. From there, I began to learn about the problems facing the environment through my mom and through my siblings. We were all engaged in that, and I began using my voice to speak up about it.

We started talking about climate change, environmentalism, creating small local events –then in 2009, I thought, what if we got other young people involved? I had an interest to engage in the friends of my community. I was nine years old when I began Earth Guardians, kind of the third generation of my community. It was just me and a group of my friends who showed up to town hall meetings because they started spraying pesticides on our parks, from there we stopped getting pesticides sprayed in Boulder and then were able to get movement on a global level.

It became so much bigger than just ourselves, because the world saw it as a step forward for young people to use their voices to make a difference in the world regardless of the cause.

In your videos online, you attribute your love for nature to your upbringing and the traditions of your father’s tribe. Can you describe when you first became aware that you had this connectedness to the Earth?

There was never really a defining moment because being born into that culture taught me that being with nature was just a way of life. Since I could walk, I was learning traditional dances. Since I could speak I was learning our languages and our songs. All of that revolved around prayer and ceremony for the elements that give us life. That shaped the deep connection that I have with the natural world, and I am apart of it just by being on the Earth.

In regards to modern society, what attitudes, behaviors, or beliefs do you think people in general are missing in their way of life that contribute to environmental degradation?

I think it’s about convenience. As a teenager, growing up and going to high school I saw that in my peers because it is very easy to go through life and not care about anything. Where we are so disconnected from ourselves, from one another, from the planet from what we eat, there’s such a sense of disconnection that it’s easy for us to fall into apathy.

It’s easy to fall into hopelessness because when we look at crises that face the world, it’s incredibly overwhelming. I see a general disconnection with human beings to problems that matter.

Why do you think climate change is a multi-generational issue? How do you think that we can benefit from multi-generation collaboration?

I think it is pretty plain to see. Past generations created this crisis, and obviously we perpetuate it today, but our parents and the generations of the past are responsible for letting it happen. Those in power are responsible for climate change. As young people, we are going to be inheriting the problem that the past generations created. They had a party on the planet and left it for us to clean up. If you look at it that way, if we want to actually create change in the world to fix a global problem like climate change, it is going to take more than just action from our elected officials, and from older generations.

I feel like older people have a wisdom that we can learn from to make things actionable, and the youth have an incredible amount of ingenuity. We are creators, entrepreneurs, thinkers. We are exploring the world in such a new way because we have lightning fast access to information, media, etc. The combination of both generations can create a better world for the future where we can balance ways of life that existed in the past, but also taking advantage of technology and creating societies that are less destructive to the planet but can continue to move forward into the future.

That brings to mind inventive and visionary solutions like Studio Roosegaarde’s Smog Free Project in China that will turn smog into diamonds by means of a giant “air purifier”. We’re making lots of advancements!

Yeah, I mean you see it every day! Part of what keeps my head above water and keeps me inspired and hopeful is looking at all of the solutions. I see kids all over the world who are improving and creating amazing ideas on how to reduce our impact on the world. Our use of paper, water, etc. We need to focus on long term solutions so we can create a lasting society so that generations in the future have something to inherit.

How has technology and the internet been influential to you as a leadership tool?

Telling my story through the media has been incredibly important to having the world know who I am, what I am doing, the movement I’m trying to spread. As I said, I started this as a kid trying to help my community, and people started to see what I was doing and post things online and share through YouTube and Facebook. I started working with this documentary filmmaker named, Vanessa Black, to make a short documentary called “Kid Warrior” to show my story. That went viral and got millions of people to learn about what I was doing. It went beyond just “Kid Warrior”, but got the attention of the United Nations. Now, I am working with a lot of different media outlets in the fashion industry, Hollywood, the music industry, and using these different avenues to propel the message so everyone has access to find out what we are doing. It’s not just about one person, it’s not just about me, it’s about inspiring leaders all over the world to make change.

You recently addressed both Presidential candidates via YouTube, and even though you’re not old enough to vote, what kind of action do you want to see taken by the next President of the United States?

I feel like as the United States we have an amazing amount of power and influence in the world, and these next couple of decades are going to determine the next several hundred years. That’s not me saying that, that’s scientists all over the world saying that. Based upon the amount of actions we take, carbon that can be sequestered in the oceans and forests and soil – that will determine what our world will look like. As a leader of one of the biggest and most powerful nations in the world, they have an amazing amount of responsibility to address climate change, to put climate recovery tools into place, and to get off of a fossil fuel infrastructure. Fossil fuel is not a sustainable source, it’s cheap and convenient, but it is not sustainable. Unless our leaders take action, there will not be an earth left to pass on. They have to do something for my generation and the generations ahead
to keep the positive momentum going.

Is there a crucial window or time frame that change must happen within?

I just watched Leonardo DiCaprio’s new documentary Before the Floods, and he said that the ice sheet in the Northern Hemisphere will be gone by 2040. The impact that this will have on rising sea levels globally is already evident, we already have island land masses sinking. Climate change is a human rights issue. People are dying, losing their families, etc. It’s really a question of how much time we have as a city, a country–everyone will be affected differently but in extreme ways. We will have food shortages, lack of clean water, national security, all different problems which we will see with more frequency. There’s not really a specific window because unless we take action soon by making drastic changes in the next five decades, things will just continue to get worse and worse. One of the first places that will be affected are island nations, and it will continue to spiral.

You’ve been personally affected by fracking in your town, can you explain what it is and why it is dangerous?

Fracking is a process in which they take millions of gallons of water and mix it with toxic carcinogenic chemical and sand and they shoot it down into the ground at high pressure. We have exploited so many of our shallow oil reserves, so now we have to go deep into the Earth to crack the last of the shale, and it is very difficult to extract because of the way the shale is formed so they have to open up pockets of gas and extract it from there. The impact of shooting millions of gallons of toxic chemicals into the Earth is bleaching. It leaks into water reserves, naturally occurring watersheds, rivers, basins, where we get our water from, basically. We have about 130,000 fracking wells in Colorado which have been drilled over the past few decades.

Out in public spaces? Like that park in your neighborhood?

Yes, public spaces, parks, homes, hospitals, schools. We’ve fought really hard to get bans and moratoriums on fracking in specific municipalities of Colorado and we got a five-year moratorium on fracking in Boulder, but this year it will lift and
we will no longer be safe from its impacts. I know kids in other communities where the people are suffering from different cancers, lung diseases, respiratory problems, nosebleeds, migraines–all of these different problems that are affecting children and families. The people living next to these wells are screwed. We have to take action against these oil and gas companies.

Do you always wear your gas mask when you play basketball?

(laughs) Not always, but when I am in certain areas of Colorado you’ve got to.

What prompted the decision to filethe lawsuit against the United States government, and what was going through your head when you started that journey?

So, I am one of twenty youth plaintives filing against the US Federal Government to keep them accountable for violating our constitutional right to life, liberty, and property because of their lack of action on climate change. I’ve been working on these lawsuits for the last five years, starting with local powers in my state to get statewide action on climate change and those lawsuits are still going on in my state. Now we are in a huge class-action lawsuit against the Federal Government, we are hoping in the next thirty days that we will get a ruling that will allow us to take this case to Supreme Court so we can put the Federal Government on trial for threatening our future. It is incredible to see we have a voice in a legal system where people aren’t represented or heard from. This is not about politics or money, it’s about our future.

What are some of the practical ways that Earth Guardians is making a difference on the issue of climate change and how expansive has the group become?

It’s incredible to see how so many different communities all over the world are taking different actions to make global change. That’s the beautiful thing about Earth Guardians because it is a movement where anyone in any part of the world can sign up and create a community in their homes or schools and begin to make change in small steps—whether that’s through tree planting, or picking up litter, to painting a mural, creating a fashion show out of recycled materials, whatever it is that inspires you. Being a part of Earth Guardians is just being a part of a big global family of people who care and want to make a difference. We have quarterly global events where every young person involved with Earth Guardians has a chance to connect with each other where we can protect our Earth, air, water, and climate. We’ve planted hundreds of thousands of trees, had huge initiatives to clean up our water supplies and educate about water potability. In different countries and different places, we need to work on different things, but it is amazing to see how all of these young people creating small changes individually makes a global impact.

Do you believe that we can unlearn our disconnectedness from the Earth at this point in time?

I think that we all breathe the same air, drink the same water, and we really only have one planet. Culturally we have trained ourselves to be separate from the planet to only view it as an object which we exist on. I truly believe that with the right steps humanity can be trained to fall back in love with the Earth through music, art, culture, nature—these are all aspects of what it means to be human. I think falling back in love with our humanity is what it will take for the human race to understand that we are in danger of going extinct because of our consumption and the destructive relationship we have with the planet.

What are some practical lifestyle changes that people can make to reduce their carbon footprint?

The biggest way is to be more conscious. I think that each and every one of us, regardless of how busy we are, we can all take more steps to be more conscious as consumers—the products we buy and the companies we support—and then looking at the food that we eat. Localizing our diets more and being conscious of what is made locally and organically. Small steps like that are great—change your light bulbs, use less water, take more public transportation, but more than anything be conscious of the fact that every decision you make will impact the world, regardless how small. That means that you have a huge amount of power with how you live your life regardless of age, economic background, where you are from, the color of your skin.

Do you believe it is a principle of us taking collective responsibility that should be our motivation, rather than consumerism and profit?

I think living in this country it is very easy to be blind to the world, because we have everything we want, we are so privileged in this country where it is easy to detach ourselves from the problems that are affecting other parts of the world. I think that reconnecting to the sense that we are part of the whole planet and a species of beings that will not exist anymore unless things change–and that means lifestyle change, policy change, people standing up in our courts, streets, communities, electing officials who will speak with our voice.

How do you think greener living affects the psyche? Does it make you more relaxed, more calm, what are the benefits?

When you do good things for other people or for the environment you feel like you’ve accomplished something and you feel better about yourself. If you look at yourself as a human being with a legacy, then you realize how much power you have. Whether it is being a spokesperson for a movement, or something as simple as just creating art for a cause. I believe that the biggest understanding is that we have so much power to promote change and there is so much hope and opportunity for things to change if we will them to.

How do you see yourself growing and evolving with this work?

People often tell me that I’m an old soul, and you know I am a hip-hop artist and an emcee, and I have a huge passion for art and using this art to reach out to people. We’re working on an album now called Break Through that talks about our experiences over the last two years. I am still growing up, and there’s so much that I am learning every day about life, relationships, being a human being, and life on this earth. I think there is a huge amount I have to learn in order to grow and become the kind of person that I want to be.

Why should we have hope on this issue? What gives you hope?

I think giving up hope turns your back on every single person who has suffered before you, every person who has died. Having hope I think is one of the last things that we have, what gives me hope is seeing people wake up all over the world, and it is slow but it’s happening. Looking at struggles like what is happening at Standing Rock in North Dakota. I was there to play a concert and look at what was going on and to be there to support the protests. I saw families living there and resisting multi-million dollar corporations that are trying to go underneath their river, their land, to transport crude oil.

In the past we have seen incredible injustices to take away the rights of indigenous people, but now these indigenous people are taking back their rights and their land. It’s not about indigenous people it’s about all people. It’s not just about this pipeline, it’s about all pipelines. It’s about the infrastructure that threatens and destroys our ability to live on this planet. This protest is one of the greatest symbols of hope that I have seen in a long time, and it is an example of how when you look at the small things that we often overlook our land, our water, our children, and when we understand that that is what’s at stake then people will stand up to fight.

Look at yourself and your generation to see what it is you want to leave behind and what legacy you want to have. We are not just fighting for the environment and the world, but to protect the things that we love in life so our kids and our grandkids can also have those things.

Stylist Assistant: Benjamin Price | Production by XTheStudio

For more information visit earthguardians.org