EMERGING: RHYS KOSAKOWSKI

Interview by Dustin Mansyur | Photography by Johnny Vicari | Styling by Marc Sifuentes | Grooming by Melisande Page

Since joining the Houston Ballet, Rhys Kosakowski has used a lifetime opportunity to help attract a fresh young audience to the dance arts. We got a chance to see just why the artist has also become a muse to many.

A quick Google search for “Rhys Kosakowski” brings up a plethora of artistic images of the dancer who has developed a strong following across multiple social media platforms. By collaborating with many emerging photographers around the world, Rhys has successfully infused a fashion-forward and youthful approach into his work. Though Rhys may appear boyish, he has been dancing since the age of six and his talent is evidence of years of training and dedication to his art. With an effervescent demeanor and playful charm, it is easy to see why the artist himself has also become a muse to others.

You’ve been dancing almost your entire life, when did you know you wanted to become a dancer?
As soon as my mother put me in a small tap group back in my hometown called “Tap Puppies” when I was six, I was hooked with the idea of movement and performance.

Any favorite places or experiences that have helped shape your career trajectory?
I think definitely performing at the the Switzerland Prix De Lausanne ballet completion in 2013, which is an international ballet competition for pre-professional dancers to compete against each other for a prize/scholarship to a leading school or company anywhere around the world. It also allows the dancers to work with professional ballet directors for exposure and job offers. It was definitely a big part of my dance career.

You’ve been very savvy and successful in using social media to attract a much younger and diverse audience of people to ballet, How important do you view your various social media platforms in regards to feeling artistically fulfilled ?
In this day and age, social media is so big because it helps express so many qualities about a person if you use it right. I love social media because I can show people my art and other versions of dance. It also opens a lot of doors in the dance/photography/arts world, and I love that.

What if any importance, do you attribute to your collaborations with photographers in building your presence on social media?
It has definitely gained me more followers and views. It’s also great to collaborate with these amazing photographers because you meet so many talented people in the process. And meeting more people means more opportunities. I definitely love collaborations and will hopefully continue doing so.

What is the importance of social media in shaping people’s perspective or ideas about ballet today ?
I think it shatters a lot of people’s stereotypes, now I’m no macho man but a lot of other successful male ballet dancers that have Instagram and Facebook are. I think it’s also good to just show a perspective of being yourself and not to let anyone drag you down. I think that’s what I’m kind of trying to express through my social media.

I know that you truly view dancing as your art, and that it brings you great fulfillment and satisfaction, I’m curious to know, How would you describe your artistic approach to ballet?
I always try and put my own twist and individuality on the art I create whether it’s a photo or a new piece of work we are doing at the ballet. It’s interesting if you’re different from everyone else.

Due to the extremely physical nature of ballet, it’s absolutely necessary for you to maintain fitness in order to create your art,how many hours a day do you train typically?
We train and rehearse Tuesday to Saturday 10am – 7pm. And when we have performances we also work Sundays.

Do you have any daily practices that help keep you centered or grounded?
Probably just having some me time, like grabbing a coffee or relaxing in my sun room.

Do you ever find yourself infusing other influences outside of ballet into your work?
Not necessarily but I do find influences from other dancers everyday at work. That’s what’s great about working in a ballet company, you are surrounded by people with the same drive and dream as you.

What inspires you artistically?
I’m not sure really, I think just the fact that I love dancing and that you can always learn more and more. You never are a perfect dancer because there is always room for improvement.

Who is your biggest inspiration in life and why?
The only person I can think of right now is Roberto Bolle. He is doing, and has done all the things I would love to do. And the way he has done it, is everything I would want.

You moved to Houston about 4 years ago [when you joined the company], how did you come to be a part of the Houston Ballet?
It was about a year after I finished a 3 year tour with ‘Billy Elliot the Musical’ in Australia, and my grandma told me there were Houston Ballet auditions. I never thought I would be hired, but I went to try out and ended up getting a scholarship.

Is there anything from back home you can’t live without?
Yes! The beaches from back home in Australia. I wish my mom could bottle that up and send it over but she can’t!

As an artist who has collaborated with many photographers, what does it feel like to slowly amass a large and beautiful collection of images that document your art?
It feels incredible to me, it’s always stuck with me that pictures are a thousand words, and are a memory forever. I will easily forget later on in life a lot of the amazing things that have happened traveling and collaborating with these talented photographers. It’s exciting to know that I have a whole bunch of photographs tucked away or on the internet that aren’t just an image but a lot more.

Any dream collaborations (photographic or otherwise) that you would love to do?
I think my dream would be, to be on the cover of Vogue magazine, and a spread showcasing and telling people of my ballet qualities. That would be life-changing!

Any advice for young people who are interested in a career in the arts?
Just be yourself and be an individual if that’s what you want. Don’t let people tell you it’s wrong to be different. And always keep pushing because there are always rewards for your efforts in the dance world.

GLENN O’BRIEN

Portrait by Marco Scozzaro | Interview by Miguel Figueroa

From being a young understudy who had the opportunity to pick and peek into Andy Warhol’s brain, O’Brien’s career spans over four decades and has spread from cannabis culture in the 70s, to filmmaker and TV host in the 80s, to author of the indispensable style manual, How To Be a Man. We spoke with O’Brien in New York about his new talk show Tea At The Beatrice.

Glenn O’Brien’s new show dubbed “Tea at The Beatrice” (filmed at The Beatrice in NY’s West Village) takes the form of a 20-minute, one-on-one conversation with influential figures in the fashion, art and film industries. O’Brien explains the show as “a more bohemian version of Charlie Rose”.

Could you tell us a little about how Tea At The Beatrice developed and your role in bringing it to M2M (Made 2 Measure) on Apple TV ?

Susan Hootstein of IMG happened to attend the Tokion conference at Cooper Union a few years back when I interviewed William Eggleston and Stephen Shore. It was a particular good talk, lively and funny, and I think that’s what made Susan think of me when the idea of a fashion/art conversation show came up. I loved the idea of Tea At The Beatrice because it’s so simple and focused.

How did you land your first job in NYC working for Andy Warhol?

I was going to Columbia University, to Graduate School of the Arts in Film. My teacher was Andrew Sarris, who was the film editor of the Village Voice and one of the leading film critics at the time. He also taught a criticism course and sometimes he would let students write for the Voice. He thought that I, and Bob Colacello, who was my classmate, were good writers. He let us write about underground films for the Voice.

We did that for a while and Bob and I got a notice that people at Interview, which was Andy Warhol’s magazine, hadn’t found anyone to really run it properly, so they thought, “Well, let’s get some nice clean-cut college kids to do it.” So, they asked me and Bob to work for them. After a few months Bob decided that he wanted to be Andy’s biographer and then I became editor. It was as simple as that. I didn’t finish my graduate studies but it was ok because I was in a good place.

Warhol has been notorious for his appropriations. Paul Morrissey said in an interview that Warhol basically stole all of his ideas. Did you ever share something with him that he took for himself?

No. That was part of Andy’s routine to say “Oh, what should I paint? What should I make movies about?” That was his manner. He wasn’t really serious. The problem was that Paul was really jealous, Andy got the attention because they were Andy Warhol films, not Paul Morrissey films. Even though Paul was the director, people still considered them to be Warhol films. That made Paul kind of bitter, I guess…

What was the biggest lesson that Andy Warhol taught you?

Andy liked to work. I learned that art really was to do work that you really enjoyed. It’s funny because people think that Andy was in it for the money, which he considered a big measure of success. But, really, it was doing what you liked. I learned from Andy to do everything as if it was an artwork, to do things to the highest level that you can.

“David Bowie came to TV Party when we shot it at the club Hurrah. At one point he put on Walter Steding’s hat and disappeared into a bathroom with a girl for about a half hour. Walter was worried about his hat. I’m wearing a Dickies jumpsuit.” – Glenn O’Brien
Photo by Edo Bertoglio

You wrote a book on men’s style, does style dictate your life?

The word style comes from writing. It’s your signature. Someone’s taste comes from a very deep place in their personality. It’s mysterious in a way. You can adopt a fashion, but style is something that comes from inside of you. You’re born with it.

But what happens nowadays with PR machines and stylists telling people what to wear or say?

I think it’s kind of silly to be in a best dressed list if people are getting their clothes for free. A lot of people on best dressed lists have a personal stylist and that’s kind of cheating. If you have style, it’s about what you like, not somebody else.

What are the quintessential items that every man should have in their wardrobe?

It depends on what you like. I like shoes. That’s the first thing I think about, “What shoes am I going to wear today?” White shirts, a gray suit. I like tuxedos although I don’t like to wear them that often.

What about denim and t-shirts?

I don’t like t-shirts, but I wear jeans almost everyday. It’s the workers uniform and I don’t think of myself as a suit guy, because that’s more management. I’m more on the labor side of it. I like a denim shirt, and jeans. All my jeans are the same. I wear APC jeans.

What are some of the typical faux pas that men usually commit with their style?

It’s getting better, but I think American men sometimes don’t know which size they are. It’s maybe less so in NewYork, but a lot of men wear clothes that are too baggy or the pants are too long and the jackets, cuffs are too long. It looks like they are wearing their big brother’s jacket.

Who’s your favorite menswear designer?

Well, my favorite ran out of business. I used to get a lot of things from Adam Kimmel and I was not happy when he retired. I like APC, Thom Browne and Black Fleece button downs. I like Belgian and English shoes. I get my suits from Anderson & Sheppard.

How do you feel about the new wave of gender bending in men’s fashion?

It works for some people. It’s not really relevant to my life. If somebody looks good in it, that’s fine. Being Irish, I like kilts. Whatever makes you feel comfortable. I don’t have any problems with it.

What do you think it’s the best scent for a man?

My favorite is Melograno from Santa Maria Novella and Rocabar from Hermès.

How important is it to lead a curious life?

That’s always been my motivation. My career has always been educational. If I wanted to learn about something, I would write about it.

Patti Smith has said that young creative people should not come to New York because the city is dead. What do you have to say about that?

I remember when Patti Smith said to Debbie Harry, “This city is not big enough for the both of us” and then a year later Patti was living in Detroit and Debbie was still here. So, I guess Debbie won that round. The big difference is that it’s just really expensive now. When I moved here it was really cheap and if you were a painter, a musician or a writer you didn’t need to have a full time job to do what you wanted to, you could work a couple of days a week to get by. That’s really important when you’re starting out. You need your own time. As soon as you start working for someone full time, you’re kind of neglecting your own vision. Do whatever you have to do not to be an employee. And if you have to, assist someone you respect or be an apprentice. A lot of the best artist of my generation started out assisting other people.

What advice would you give to a young creative person moving to New York?

Stick to your own voice. Do what makes you happy. Be yourself as long as possible. People will discourage you from that. But, the only way to be successful is to be yourself.

On the set of TV Party ( 1979) from left , Glenn O’brien, Debbie Harry, Tommy Gear and Chris Stein
Photo by Edo Bertoglio

Portrait by Marco Scozzaro | Interview by Miguel Figueroa

THE TOM FORD TRIO

“If you’re at the Oscars there’s not a man on that red carpet who is not wearing make-up. Most straight actors I know get quite used to it. Even when they go out in real life they grab some sort of bronzer and they throw it on. They dye their eyebrows, they dye their lashes – they know the tricks. But they won’t talk about it because I think that a lot of men confuse wanting to look good as something feminine. Using a bit of cover stick to cover broken capillaries or a spot or a pimple, I’m not trying to look like a woman. There is no shame in wanting to look like the best version of you.” – Tom Ford

Neroli portofino conditioning beard oil/ 1 Oz – $50

The key to a well-kept beard is daily grooming and conditioning. This beard oil conditions, softens and nourishes the beard with a lightweight blend of almond, jojoba and grapeseed oils as well as vitamin E. Available in three iconic Tom Ford private blend scents: oud wood, neroli portofino and tobacco vanille. Follow by combing with Tom Ford beard comb to smooth hair and help disperse oil evenly.

Intensive purifying mud mask/ 3.4 Oz/100 ml – $60

A weekly clay mask treatment is integral to my personal grooming routine. I developed this time-signaling mud mask to counter the dulling and irritating effects of a busy lifestyle on the skin. As the mask turns light gray, it draws out oil, dirt and toxins and diminishes tension lines. When you rinse it off, your skin feels clean, hydrated and conditioned, and you look revitalized and younger.

Skin revitalizing concentrate/ 1.0 Oz/30 ml – $150

When your skin is depleted or dry, adding a multifunctional treatment oil into your regimen before moisturizing is one of the simplest ways to energize and regenerate it. This concentrate contains the highest concentration of the Tom Ford skin calming
and infusing complexes, plus essential oils and other enriching natural ingredients. It deeply hydrates and nourishes the skin, and it conditions it before shaving and soothes it afterwards. Your skin has fewer fine lines and greater resilience against damage.