COMMITTING TO JONATHAN TUCKER

On Left: Coat by Canali, Sweater by Belstaff, On Right: Coat, Sweater, Pants by Missoni

Jewelry by Eli Halili

Photographer: Karl Simone @karl_simone
Stylist: Michael Fusco @mikeystyles
Groomer: Jeff Chastain @mascbyjeffchastain
Stylist Assistant: Merrit Rea @merritt.rea
Special thanks to Gem Saloon

Interview by Matthew Rettenmund

Jonathan Tucker is one of the best parts of all your favorite shows. The actor, who is currently playing devil to the women of Charlie’s Angels as the new film’s villain, is killer-with-a-conscience Frankie on the Matt Damon/Ben Affleck-produced Boston crime drama City on a Hill; was mercurial Low Key on American Gods; and was a highlight of Season 2 of Westworld as intense, self-unaware host Major Craddock, to name a few.

Perhaps most memorably, and in a role that will leave a mark, the Boston native trained like a fiend to play MMA fighter Jay Kulina on Kingdom opposite Nick Jonas — and still has the abs to prove it.

In an exclusive interview with Iris Cover Book, the 37-year-old actor talked about his myriad roles on TV and in film, what he’s carried with him from his youthful pursuit of ballet (#JayKulinaDancesToo) and how he hopes to be remembered.

On Left: Suit and Shirt by Missoni, Loafers by Gucci
On Right: Jacket and Shirt by Rag and Bone, Jeans by Helmut Lang

I’ve seen you in so many things over the last few years, but only recently connected that you were the teenager in The Deep End (2001), the dark, gay-themed story with Tilda Swinton.

That movie changed my whole life! I turned 18 the day I shot the sex scene with Josh Lucas.

It’s interesting how choices can lead us in totally different directions. I wondered how you decided early on in favor of acting over ballet, which you’d studied?

My second-grade teacher had seen an advertisement for a national call for a [1992] movie called Lorenzo’s Oil. I’d really fallen in love with ballet, particularly with being onstage, so I took him up on this offer and I went to the audition. I didn’t end up getting the movie, but I ended up getting on the radar of the local casting director’s office, and they’d call me back for national commercials they were shooting in Boston, and I ended up getting one for Fruit Roll-Ups. The moment I was there on set with the camera and the crew and understanding the process, I was like, ‘This is what I wanna do.”

 I remember coming back with my parents saying, “We need to get an agent — do you guys know what an agent is? I found a woman who I think is very reputable, I think we should have a meeting with her,’ so I certainly steered that ship early on, and I was very lucky to have supportive parents that helped make it happen for me. I was 10 years old.

Though you changed courses, have you retained anything from your ballet training?

I think self-discipline, the ability to listen and take direction, punctuality. As much as one can work on the interior of a character — we’re all spiritual vessels — physicality is a really important part of being a human being. That’s a critical component to the process of creating a character. Being in your body is something ballet dancers understand.

On Left: Trench by Belstaff, Tee by Mitchell Evan, Jeans by Linder, Sneakers by Geox
On Right: Jumpsuit by Kyle, Overcoat by Linder, Sneakers by Geox

Being committed physically is something you did for Kingdom. You can be committed to playing a doctor but you won’t be ready to go into surgery, yet on Kingdom, your training had you ready to walk into the ring and be an MMA fighter.

I was living that life. Actors are always toggling between “truth” and “truthful.” Everybody wants truth in their lives, but sometimes we have to settle for truthful, as an actor. Certain roles afford you the ability to get closer to truth, but it’s an actor’s responsibility to be the voice for at least truthful, as the bare minimum. No one’s gonna buy you as a fighter, if you don’t look like a fighter.

That must’ve been a tremendous commitment.

I like tremendous commitments and setting goals and achieving them, and discipline. I think my wife had a significantly more challenging time with what was required to keep and maintain Jake than I did; your mood is profoundly affected. When you hear about people who are imprisoned, they get out and the first thing they wanna do, they don’t care about revenge, they want to eat. That was very understandable for me at that point.

You’d been acting since you were so young, did you have a special bond with Nick Jonas when you were shooting Kingdom?

He’s a very important friend to me for a lot of reasons. I would say when you have been through the crucible of this profession and the craft, you then realize you’re always in it. It provides a great deal of wisdom that you can’t buy. People who have stood with you, people you thought would who don’t, people you didn’t think would support you when things were tough but who end up being the most supportive, making money, losing money, fame, no fame, successful movies, bomb TV shows — it’s a business that provides these artificial highs and lows until after a certain point in time, you start to realize what’s really important. Those people who have that understanding can spot each other from across a crowded room. I feel that way about Nick, and he’s had even more complicated experiences than I have. Growing up in the business and getting to see it for as many years as we both have is certainly a connection that we both share — and we value.

 

Trench by Belstaff, Jeans by Linder, Sneakers by Geox

 Were there any older actors you’ve worked with who served as role models?

You learn early on there are many classrooms providing an education, not all of them academic, and the teachers are not always society’s notable ones. It’s not just the famous people, it’s the dolly grip sharing how they made a lot of money when they were young, but now their back and knees are gone but they can’t do anything else because they didn’t take a larger perspective on their life.

I wanna have people say, when I die, that I was able to honor different kinds of people and reflect honestly a variety of worlds, or a host of experiences. So, if I could bring that authentic light and shine it in those places or on those people, it’s exciting to me. I don’t see the world in blacks and whites. The more educated I am on certain topics, the less clear they become. What ends up becoming immutable are certain themes in terms of how I want to live my life, rather than unequivocal truths about kinds of people or certain political topics or certain systems. What I’m looking for is truth, and I find that characters that interest me are significantly more complicated than people think they are — sometimes more than even the writer thinks they are — and I’m interested in that sort of dynamic.

You’ve been in the industry long enough to see the push for diversity. Would you agree that Westworld is an example of a show that is diverse, and organically so?

Westworld was diverse before this was a national conversation, or at least a business conversation, and I think it’s a really important point to share because diversity, just throwing around “diversity” as a cultural token does a disservice, rather than trying to address in a meaningful way a system that hasn’t been able to offer the same sort of opportunities to groups of people that it should.

It also comes from the system that [Westworld creators] Lisa Joy and Jonathan Nolan have created and cultivated, which is, “How do we mentor different and unique voices and support and guide them?” versus trying to plug holes for the sake of optics. The business has a lot to offer every culture, every faith, every skin color, every economic background, we’re all storytellers.

Being on Westworld thrust you into the realm of a series where storylines are top-secret. Are you good at keeping secrets?

I like secrets. As an actor, you never want to tell anyone anything about your work. Your experiences are bifurcated between work and employment — you’re oftentimes working more than you’re employed. People say, “What’s going on?” What, are you gonna tell them about all the auditions you went on that you probably won’t get? About the movie that’s coming together that probably won’t come together? So, I’m pretty good about being tight-lipped. I might not even talk about it when it comes out — I’ll let you see it. I’ve sat next to people that have been cut out of movies and they had a great role and we’re at the premiere. [Laughs] It’s like — just keep your mouth shut.

Trench by Belstaff, Jeans by Linder, Sneakers by Geox

Can you keep your mouth open about Charlie’s Angels?

There’s something great about making a movie that’s simply a lot of fun, about three very talented young actresses kicking ass. It doesn’t need to say anything more than that. A great movie stands on its own, so if it happens to be about three young women doing things that we typically expect only three young males to do, I think that sends a greater message than having to explain to everybody what the message is.

 Your character in that seems thrillingly without merit as a human being.

I would say certainly without merit, but not without a clear intention. [Laughs] I think I was cast as the manifestation of violence against women.

How was director Elizabeth Banks, who also acts in the film, to work with?

She’s pretty, pretty outstanding. I’ve known her for quite a few years, so when this opportunity came we jumped on the phone and I said, “I’m gonna send you a text of what I think this character looks like, aesthetically speaking,” and she said, “You’ve gotta be kidding, check your texts,” and she had sent me the same model — different picture, but the same very distinctive model, so we were on the same page from the jump.

On Right: Helmut Lang full look, Boots by Saint Laurent

You’ve been in so many things, I don’t think there is a type that screams “Jonathan Tucker character.” Is there a role you’ve played to which you most relate, that’s closest to you?

I don’t think anyone’s ever asked me that. It’s kind of like: you’re a pitcher, you have a certain kind of pitch you know you’re really good at, and you have a strike box you know you’re guaranteed to get an umpire to call a strike in, and you’re trying to work the corners a whole bunch. You’re always you, but if it’s not a strike, then at least you attempted it.

Being scared to throw in the corners, being scared of being unsuccessful with the choices you’re making as an actor is the death of a good actor. You have to be willing to throw a few balls or have that errant pitch.

Are you an actor who enjoys photo shoots, like the one you did for Iris Covet Book?

You gotta commit to those things. You’re relying on the team so you can walk in there and just jump. You wanna commit to things in your life. If you’re not willing to do that, don’t show up.

AINA

Earrings: Iris Trends @eyeofiris | Dress: One Trieu Yeu @onetrieuyeu

Photographer/Director: Benjo Arwas @ Seen Artists | Styling: Maison Privee | | Model: Aina Faro @ MP Model Management | Hair and Makeup: Nicole Chew @ Art Department | Cinematography: Josh Hammaren

Earrings: Iris Trends @eyeofiris | Dress: One Trieu Yeu @onetrieuyeu

Jewelry: Iris Trends @eyeofiris

Left side: Jewelry: Iris Trends @eyeofiris | Dress: One Trieu Yeu @onetrieuyeu

Right side: Dress: Masaki Matsuka @masakimatsuka

Dress: One Trieu Yeu @onetrieuyeu | Earrings and Necklace: Iris Trends

Dress: Masaki Matsuka @masakimatsuka

Dress: One Trieu Yeu @onetrieuyeu | Earrings and Necklace: Iris Trends

Dress: Masaki Matsuka @masakimatsuka

 

MAC PRESENTS: POWDER KISS CABARET WITH SUSANNE BARTSCH AND ALAN CUMMING

M·A·C POWDER KISS CABARET

A party that united the Fashion industry and New York’s Nightlife Scene in a night not soon to be forgotten!

On April 9th, the spring event season kicked into high gear with the celebration of M·A·C COSMETICS Powder Kiss Lipstick collection. Sony Hall, the former site of the decadent WWII era nightclub Diamond Horseshoe was transported to it’s hedonistic roots with the one night only M·A·C POWDER KISS CABARET MC’d by actor Alan Cumming and New York Nightlife Icon Susanne Bartsch with a dozen decadent performances including Amanda Lepore, Dirty Martini, Joey Arias and Julie Atlas Muz. Over 400 attendees consisting of artists, fashion editors, models, celebrity stylists, and top makeup artists mixed with the crème de la crème of New York nightlife, mirroring M·A·C’s ongoing commitment to celebrating diversity and inclusivity.

As part of the various Pro to Pro Events held internationally throughout the year, last night’s event celebrated M·A·C COSMETICS’ origins as a company that produced product specifically for the professional make up community.

ABOUT POWDER KISS:
Matte, totally reinvented. Delivering a romantic blur of soft-focus color, this weightless moisture-matte lipstick was developed to replicate a backstage technique: blending out edges of matte lipstick for a hazy effect. Its groundbreaking formula contains moisture-coated powder pigments that condition and hydrate lips. The result is the zero-shine look of a matte lipstick with the cushiony, lightweight feel of a balm.

Shop the new line of Powder Kiss lipsticks here!

Performance at MAC Powder Kiss Cabaret Hosted By Susanne Bartsch at Sony Hall on April 9, 2019 in New York. (Photo by Jared Siskin/PMC)

Amanda Lepore attends MAC Powder Kiss Cabaret Hosted By Susanne Bartsch at Sony Hall on April 9, 2019 in New York. (Photo by Jared Siskin/PMC)

Alan Cumming attends MAC Powder Kiss Cabaret Hosted By Susanne Bartsch at Sony Hall on April 9, 2019 in New York. (Photo by Jared Siskin/PMC)

Performance at MAC Powder Kiss Cabaret Hosted By Susanne Bartsch at Sony Hall on April 9, 2019 in New York. (Photo by Jared Siskin/PMC)

Susanne Bartsch and Performers attend MAC Powder Kiss Cabaret Hosted By Susanne Bartsch at Sony Hall on April 9, 2019 in New York. (Photo by Jared Siskin/PMC)

HIROKO KOSHINO: A TOUCH OF BAUHAUS

Please join us on Thursday, November 1st from 6 to 8 PM at WhiteBox in NYC and meet Hiroko Koshino at the opening of her exhibit,  Hiroko Koshino: A Touch of BAUHAUS.

A Touch of BAUHAUS, curated by Kyoko Sato, is part of the WhiteBox Prime SAS (Seminal Artists Series), which honors artists of great repute. Past participants of the WhiteBox Prime SAS include Carolee Schneemann: More Wrong Things, Michael Snow: Snow Alert, Naoto Nagakawa: XXX-1960’s, Vienna Actionists Hermann Nitsch and Günther Brus, Hyman Bloom, Braco Dimitrijevic and Aldo Tambellini to name a few.

Post-World War II Japan found itself in the midst of rapid economic and cultural transformation – one in which growing industries such as technology and fashion shot to the forefront. It was amidst this landscape that a group of young people began rebelling by sporting a preppy, Ivy League look that broke stride with propriety-and time-honored traditions, and celebrated individualism. Known as the “Miyuki Tribe”, with Hiroko Koshino at the helm, talented young fashionistas began reinterpreting traditional Japanese artistic elements through a personalized and radical lens.

Visual artists began to be influenced by various new incoming art notions culled from Abstract Expressionism and Land Art, paralleled by the indigenous and subversive Gutai movement. This fresh shift in artistic perspectives made way for a wave of artistic leaders that included Hiroko Koshino. Building on her belief in the unity of all forms of art-a Bauhaus tenet- the classically trained Koshino used key elements to inform her paintings and sumi-ink masterworks as the basis for her stunning fashion designs, resulting in her recognition as one of the foremost couturiers in Japan.

HIROKO KOSHINO: A Touch of BAUHAUS will, for the first time in New York, reveal how Koshino’s visual artworks inform her high fashion designs. Curated by Kyoko Sato at WhiteBox, the exhibition will include Koshino’s most inventive runway pieces, side-by-side with her signature abstract paintings and sumi-ink works, including-in WhiteBox’s project space-a site-specific eighty-foot-long ink scroll that epitomizes her brilliant combination of art and design as Gesamtkunstwerk, the Bauhaus approach towards a total artwork.

After years of creating riveting artworks inspired by key painters ranging from Jackson Pollock to Gustav Klimt, as well as the Lyrical Abstraction and Tachism movements, Koshino began experimenting with the connection between art and fashion in the serene studio created for her by her colleague, genius architect Tadao Ando, in Ashiya. There she was able to deeply connect with her love for Mother Nature, free from the hustle and bustle demands of Tokyo, while infusing her paintings with a deeply Japanese attitude.

Koshino’s innovative design techniques, based on painting with sumi-ink directly onto the fabric, were the essence of many of her innovative fashion creations. In an essay on Koshino and her works, critic Anthony Haden-Guest writes, “Hiroko’s Sumi-Ink works are wholly beautiful, but not so much so as to overwhelm. They do not exclude, they embrace.”

Early in the history of Japanese art, Nihonga, tradition-based Japanese paintings, used to be exhibited in separate spaces from yōga, or artwork with Western influences. A push for change and a reconciliation of the two energies was beginning to happen. Thus Haden-Guest points out that while Hiroko’s work is “delicate, forceful and remarkably various … it embodies this accommodation, in her fashion, as in her art,” fusing the two styles.

In 1977, Hiroko joined the cutting-edge group “TD6” (Top Designers 6), presenting her fashion collection in Tokyo for the first time. Since, she has been showcasing twice a year. In 1978, she became the first Japanese designer to join Alta Moda in Rome, a sensational show earning her a thirty-page article in the Italian edition of Harper’s Bazaar.

In 1982 Hiroko Koshino created International Inc., leading the “Designer’s Character Brand” boom that turned fashion into a top industry in Japan. Subsequently, she debuted her brand and her signature prêt-à-porter collection at the Paris Fashion Week, to great acclaim.

Koshino considers herself an artist since childhood. She got started drawing characters from Manga and Anime, attending Kabuki plays regularly, influenced as well by the Bunraku national puppet theater of Japan. Six decades later, Koshino unabashedly continues her painting career, having created, by now, well over 1,900 paintings using a wide variety of techniques and inventive, unorthodox paint applications.

Her artwork continues as a wellspring of inspiration flowing right into her fashion design. “I can continue designing because I paint,” Koshino explains. Indeed, her paintings frequently function as brainstorm-drafts for what will later become one of the extraordinary design creations that she refers to as “the architecture of the body”, all along carrying as part of her signature, the elemental Japanese sense of sculptural ‘high volume’ in her couture.

Although her artwork and design are deeply intertwined, Koshino explains there is a definite separation between the two camps. “The process of production in fashion and art is very different,” she says. “When I make art, I can express my spirit directly. It is very personal. When I create fashion, I need to think about what people want, and I need to design what people will buy, so it unequivocally contains a business aspect.”

Kyoko Sato 

Koshino’s works will be showcased at WhiteBox with an opening reception from 6 to 8 p.m. on November 1st. The exhibition runs through December 1st.

“I can continue designing because I paint,” Koshino says. “Both design and art are my creation, and I cannot divide them.” This thought reminds people of Bauhaus-style “total work of art” (Gesamtkunstwerk), which became the title of her New York debut exhibition at the WhiteBox [HIROKO KOSHINO: A TOUCH OF BAUHAUS (329 Broome Street); Curator Kyoko Sato (Nov. 1-Dec. 1, 2018)]

FASHION INSTITUTE OF TECHNOLOGY LECTURE BY HIROKO KOSHINO

Thursday, November 1, 2018 11:00 AM – 12:00 PM
Fashion Institute of Technology
227 W 27th St, New York, NY 10001
Feldman C501

About WhiteBox:
WhiteBox, on its 20th anniversary remains a non-profit art space aiming for total invention catalyzing the tenor of the times. It serves as a platform for contemporary artists to develop and showcase new sitespecific work, and is a laboratory for unique commissions, exhibitions, special events, roundtables, and arts education programs, providing an opportunity to experience an artist’s practice in a meaningful way, socially inspired free from market constraints. WhiteBox artistic vision provides hard to pigeon-hole artists with sustained exposure, creating an ideal environment for more in-depth interaction between sophisticated as well as community-bound New York audiences and artists’ practices. It achieves this by inviting local and international emerging and established artists to respond to its exhibition space with leading-edge interventions, performances, and developing long-term inspired programming that allows them to develop projects and engage with audiences. The artists who exhibited at WhiteBox tend to defy easy categorization.

Special thanks to The Costume Institute, The Metropolitan Museum of Art, New York and Nao Takekoshi.

LOS ANGELES FEMALE FILMMAKERS FESTIVAL

This weekend Passerbuys and Women & Film will present the first annual Female Filmmakers Festival (FFFEST), a 3-day screening and talk series dedicated to celebrating accomplished female filmmakers and empowering women who want to break into the industry.

FFFEST will take place from October 12th through October 14th at the Downtown Independent theater in Los Angeles, California and will foster a community for female filmmakers to share resources, guidance and inspiration.

FFFEST’s diverse program includes feature-length such as the critically-acclaimed SKATE KITCHEN directed by Crystal Moselle, the award-winning MOSSANE directed by the first Sub-Saharan African woman director, Safi Faye  and short films such as the premiere of MAVERICK by Cara Stricker. Between screenings, FFFEST will host exclusive talks featuring some of the top women working in the contemporary film industry such as Sarah Finn (Casting Director, Black Panther), Lake Bell (Director, In A World), Jameela Jamil (Actress, The Good Place) and Natalie Farrey (Head of Vice Film) as they provide answers to the most pertinent questions facing women working in film today.

The primary mission of the Female Filmmakers Festival is to inspire more women to make films by celebrating the women leading the way, and by creating a space where women can share information amongst each other.

FFFEST has also teamed up with women-owned and women-led fashion brand VEDA to create custom merch for the festival where a portion of proceeds from every sale will go to Camp Reel Stories.

“I founded Passerbuys out of a desire to have women share resources and information amongst one another. As a lifelong fan of cinema, it felt natural to transfer such ethos to a film festival. There are a number of great organizations supporting women in film, and I see FFFEST’s role as a space to bring them together and hopefully become a tradition to celebrate and support female filmmakers.” – Clémence Polès, Founder of Passerbuys and Co-Founder of FFFEST “Women & Film was created to celebrate the women directors that have paved the way as well as the trailblazers and contemporary women of cinema. Our goal is to act as both a learning tool and source of inspiration among filmmakers, both accomplished and budding. We want FFFEST to create a sense of community for women in film in the hopes that more stories by and about women get made.” – Natalie Fält, Founder of Women & Film and Co-Founder of FFFEST

“Women are responsible for creating some of the greatest works of film in the history of cinema, yet the mass media has rarely depicted or celebrated women behind the camera. In response to that, we saw FFFEST as an opportunity for our audience to celebrate the women who’ve made strides in film and continue to today, and to inspire budding women filmmakers to join the industry and share their stories.” – Mimi Packer, Co-Founder of FFFEST

“We have stories to tell and we have a different perspective. Women in general tend to be more emotionally connected and in-tune with their surroundings but the demands of life can cause creative complacency. fffest was created to reawaken these hidden narratives and provide a platform to inspire more women to bring their stories to life.” – Dasha Faires, Co-Founder of FFFEST

For more information, please visit https://fffest.org/

CAMP IN FASHION – COSTUME INSTITUTE’S SPRING 2019 EXHIBITION AND MET GALA

(New York, October 9, 2018)—The Metropolitan Museum of Art announced today that The Costume Institute’s Spring 2019 exhibition will be Camp: Notes on Fashion, on view from May 9 through September 8, 2019 (preceded on May 6 by The Costume Institute Benefit). Presented in The Met Fifth Avenue’s Iris and B. Gerald Cantor Exhibition Hall, it will explore the origins of the camp aesthetic and how it has evolved from a place of marginality to become an important influence on mainstream culture. Susan Sontag’s 1964 essay Notes on ‘Camp’ provides the framework for the exhibition, which will examine how fashion designers have used their métier as a vehicle to engage with camp in a myriad of compelling, humorous, and sometimes incongruous ways.

“Camp’s disruptive nature and subversion of modern aesthetic values has often been trivialized, but this exhibition will reveal its profound influence on both high art and popular culture,” said Max Hollein, Director of The Met. “By tracing its evolution and highlighting its defining elements, the show will embody the ironic sensibilities of this audacious style, challenge conventional understandings of beauty and taste, and establish the critical role this important genre has played in the history of art and fashion.”

In celebration of the opening, The Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 6, 2019. The evening’s co-chairs will be Lady Gaga, Alessandro Michele, Harry Styles, Serena Williams, and Anna Wintour. The event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.

“Fashion is the most overt and enduring conduit of the camp aesthetic,” said Andrew Bolton, Wendy Yu Curator in Charge of The Costume Institute. “Effectively illustrating Sontag’s Notes on ‘Camp,’ the exhibition will advance creative and critical dialogue about the ongoing and ever-evolving impact of camp on fashion.”

The exhibition will feature approximately 175 objects, including womenswear and menswear, as well as sculptures, paintings, and drawings dating from the 17th century to the present. The show’s opening section will position Versailles as a “camp Eden” and address the concept of se camper—”to posture boldly”—in the royal courts of Louis XIV and Louis XV. It will then focus on the figure of the dandy as a “camp ideal” and trace camp’s origins to the queer subcultures of Europe and America in the late 19th and early 20th centuries. In her essay, Sontag defined camp as an aesthetic and outlined its primary characteristics. The largest section of the exhibition will be devoted to how these elements-which include irony, humor, parody, pastiche, artifice, theatricality, and exaggeration-are expressed in fashion.

Designers whose works will be featured in the exhibition include Gilbert Adrian, Cristóbal Balenciaga, Thom Browne, Jean-Charles de Castelbajac, John Galliano (for Martin Margiela, House of Dior, and his own label), Jean Paul Gaultier, Rudi Gernreich, Guccio Gucci, Demna Gvasalia (for Balenciaga and his own label), Marc Jacobs (for Louis Vuitton and his own label), Charles James, Stephen Jones, Christian Lacroix, Karl Lagerfeld (for House of Chanel, Chloe, and his own label), Herbert and Beth Levine, Alessandro Michele (for Gucci), Franco Moschino, Thierry Mugler, Norman Norell, Marjan Pejoski, Paul Poiret, Miuccia Prada, Richard Quinn, Christian Francis Roth, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott (for Moschino and his own label), Viktor Horsting and Rolf Snoeren (for Viktor & Rolf), Anna Sui, Philip Treacy, Walter Van Beirendonck, Donatella Versace (for Versace), Gianni Versace, Vivienne Westwood, and Charles Frederick Worth.

The exhibition is organized by Andrew Bolton, Wendy Yu Curator in Charge of The Costume Institute, with Karen Van Godtsenhoven, Associate Curator. Theater scenographer Jan Versweyveld, whose work includes Lazarus with David Bowie as well as Broadway productions of A View from the Bridge and The Crucible, will create the exhibition design with The Met’s Design Department. Select mannequin headpieces will be created by Shay Ashual. Raul Avila will produce the gala décor, which he has done since 2007.

A publication by Andrew Bolton with Fabio Cleto, Karen van Godtsenhoven, and Amanda Garfinkel will accompany the exhibition and include new photography by Johnny Dufort. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press.

The exhibition is made possible by Gucci.

Additional support is provided by Condé Nast.

CELAYA BROTHERS GALLERY

Celaya Brothers Gallery (Mexico City), in collaboration with INEZ SUEN (Brooklyn)  is pleased to announce its first participation in TX Contemporary Art Fair

Celaya Brothers Gallery is presenting a selection of artworks by Agostino Iacurci (Italy), Camila Rodrigo (Peru), Josh Reames (USA), Juan Carlos Coppel (Mexico), and Mathew Zefeldt (USA) at Booth 517 at George R. Brown Convention Center in Houston, Texas October 4-7 with special exhibitions by Houston’s own, Rene Garza (USA).  TX Contemporary will begin with the Opening​ Night​ Preview (Thursday, October 4, 6-10pm) and will open to the public October 5-6 (11am-7pm) and October 7 (12-6pm).

The exhibition pieces discuss the relationship between man and nature by way of still lifes, burning landscapes and eroded mountains. The artists explore -in various disciplines such as photography, sculpture, and painting and in a wide range of styles – how capitalism has driven societies to perceive progress as a (de)construction and to understand humanity as the opposite of nature.

Agostino Iacurci – Through his work with synthetic forms and bright colors, by means of an essential language, Agostino Iacurci is able to manage multiple layers of interpretation. This approach sets his tales on the perennial threshold between innocence and artifice, serenity and catastrophe; on a magnetic tension that is the interpretative key to our very existence. His recurrent themes include self-perception, uncertainty, imagination, and play. His work has a cynical and critical vision of reality —pessimistic at times— setting the stage for drama, and at the same time sublimating it, alleviating it. Iacurci’s work challenges the limits of sinuosity by presenting an image that seems familiar and innocent but is, fundamentally, malicious. And in that uncertainty lays its richness, a half-open door that leads to other interpretations.

●  Agostino Iacurci’s work has been exhibited at the MACRO Museum in Rome, Italy; the Italian Cultural Institute of New York, USA; the Media Library of Orly in France and the Biennial of Urban Art in Moscow, Russia.
●  Has collaborated with Adidas, Urban Outfitters, Penguin Books, La Repubblica, TBWA, Mailchimp, Laterza, Minimum fax, Herman Miller, L’ Unità, Orecchio acerbo, Sugar Music, Edizioni Lapis, , Cielo Tv, Smemoranda, WALLS_Contemporary Public Art, Rat Creatives, Roma 3 University, B5 Production and more.

Camila Rodrigo works with photography, sculpture and installation to reflect on the effects of erosion and wear, focusing on the idea of progress as a (de)construction, a contrast between past and future. Her images examine the passage of time, the transformation of the natural space parallel to the reorganization of society.

●  Finalist in the 2010 Lacoste Elysée Prize
●  Exhibited at the National Museum of Lima, Peru; the Museum Rosphoto in St. Petersburg, 
Russia; the Musée de L’Elysée in Lausanne, Switzerland; and the Palais de l’Árchevéché in Arles, 
France
●  Part of several private collections such as Juan Mulder (Lima, Peru), Eduardo Hoeschield (Lima, 
Peru), Jorge Villacorta (Lima, Peru), Fola (Buenos Aires, Argentina)
●  Published in: 77 Artistas Peruanos Contemporáneos by Mario Testino, YOUTH by: Prestel 
(Random House), Re Generation: tomorrow photographers today (Aperture foundation), and E l Placer es más importante que la Victoria (Tasneem Gallery), among others.

Josh Reames’ paintings use contemporary tools available on the Internet to create surreal patchworks of contemporary signs and symbols that portray the flattening of artistic hierarchies in our postmodern world. Reames employs computer drawing applications and Google images to create assemblages of “modern hieroglyphs.” His work considers abstraction and painting in relation to the Internet and is informed by the strange, new space where a majority of viewership takes place: online through blogs and websites. His conceptual framework functions as a kind of filtration device for cultural byproducts and its attending relativism, flattening signs, text and symbols, cultural objects and icons to the same-level composition, thereby removing their hierarchy.

●  Represented by industry leading galleries.
●  Named one of the 30 Emerging Artists During Frieze Week by Artsy
●  Juror’s pick in the 2011 New American Paintings, Midwest Edition #95
●  Was artist-in-residence at Ox Bow (funded by Joan Mitchell Foundation)
●  Exhibited at the Museo Di Capodimonte in Naples, Italy; Urban Institute of Contemporary Art in 
Michigan; Luis de Jesus Gallery in Los Angeles, The Hole in New York, and Guerrero Gallery in 
San Francisco, among others.
●  Published in Artcritical, Artnews, Artsy, Hyperallergic, New American Paintings, Chicago Tribune, 
Chicago Art Review, among others.

Juan Carlos Coppel 
The burning of tires is a practice carried out by farmers to raise the temperature of the fields and avoid the crops to frost during the winter preserving months of work, one of the main economic activities of the state. This procedure poses an ethical and environmental problem related to the ecological devastation of the agricultural field, even in the context of a rationalized production. The images, taken in a field to the north of Sonora, play ironically with the nineteenth-century painting by pondering, on a romantic mood, a concern of our time.

●  Took specialized courses in photography with Jay Dickman (Pulitzer Award winner) at the National Geographic, in Paris with Manuel Abellán and at the International Center of Photography in New York.
●  Won the Acquisition Prize in Fotoseptiembre and the Acquisition Prize in the XV Bienal de Artes Visuales del Noroeste.
●  Exhibited in the National Center for the Arts CENART (MX), Sonora Museum of Art MUSAS (MX), the Santa Barbara Museum of Art (USA), among others.
●  He was invited to the 4th edition of Salón Acme (MX), the XVII Biennial of Photography in Centro de La Imagen (MX), the VII Biennial of Visual Arts MIRADAS in Tijuana (MX), Guatephoto (GT) and Foto España (SPA).
●  He was member of the 2016-2017 Young Creators Program of the National Fund for Culture and Arts FONCA and the Contemporary Photography Program in North Mexico.
●  He is part of the private collections of the Santa Barbara Museum of Art in California and the Sonora Museum of Art in Mexico.

Mathew Zefeldt – His work uses representational imagery as an element within a larger composition. It’s less about what the repeated image represents necessarily, but rather the interplay and relationships of the parts to the whole, and each other— reflecting the pluralist landscape we find ourselves in today. Zefeldt uses images from our life and culture, to reproduce them in an almost lifeless, systematic way. His interest in the aesthetics of digital collage is addressing the multiple visual languages and bringing them together in one plane, creating an overlay of styles and gestures that echo the fragmented, heterogeneous nature of contemporary reality.
●  One of two national recipients of the Dedalus MFA Fellowship in 2011
●  Exhibited at the Santa Monica Museum of Art, the Contemporary Art Museum of St. Louis, the 
Minneapolis Institute of Arte, the Minnesota Museum of American Art, the Marin Museum of 
Contemporary Art, Circuit 12, Joshua Liner Gallery, and Lisa Cooley among others.
●  Published in LA Times, Art Ltd., New American Paintings, and Art Fuse, among others.

Rene Garza is a New York based Artist that is in residency in Houston, TX where he was raised. Garza has spent over 15 years as a fashion and celebrity stylist traveling the world in a business ruled by visceral aesthetics. Using this time to create a body of work that reflects his long standing love of conceptual art. As an artist in many mediums, Garza notes his inspirations usually comes from travel, minimalism, geometry, dark gothic and romanticism. Garza currently has a public art installation in Houston, Texas called “A Moment” that covers an entire building’s facade and is meant to inspire calmness in our busy lives. “A Moment” follows up the exhibition of a drawing of graphite on paper at The Metropolitan Museum of Art.

ABOUT Celaya Brother Gallery – IG @celayabrothers

Celaya Brothers Gallery (CBG) is a unique space that challenges the creative limits of the participating artists. A contemporary art gallery with a proactive offer that invites international artists to develop unique concepts and defy the parameters of their time.

ABOUT INEZ SUEN  –  IG @inezsuenart

INEZ SUEN is a multi-service international creative company for a changing art market. INEZ SUEN offers a wide range of services such as strategic planning, advising and consulting, and art exhibition production.

ABOUT TX Contemporary

Texas Contemporary, Houston’s leading contemporary and modern art fair, brings top galleries to the area’s discerning collector base. Now going into its seventh edition, Texas Contemporary 2018 will feature 65 exhibitors and an innovative program of special projects and public installations.

THE ORIGIN OF LOVE: THE SONGS AND STORIES OF HEDWIG – INTERVIEW WITH COSTUME DESIGNER ERIK BERGRIN

Photographs of Hedwig by Mick Rock | Talent: John Cameron Mitchell | Interview by Benjamin Price | Costume Design by Erik Bergin @ The Industry MGMT | Video by Brian Lynch and Pier 59 Studios | Production by Liz Vap/FeralCat Productions | Wig and Makeup by Mike Potter using MAC Cosmetics @ Ray Brown | Costume Assistant Lauren Hoffman | Makeup Assistant Andrew D’Angelo 

John Cameron Mitchell rose in the world of cult-entertainment after directing, writing, and starring in the award-winning film Hedwig and the Angry Inch (2001). His Broadway production of Hedwig garnered him a 2014 Tony Award for Best Revival of Musical and a Special Tony Award for his return to the role in 2015. His seriously impressive depth of work includes the improv-based film Shortbus (2006), and 2010’s Rabbit Hole starring Nicole Kidman which scored an Academy Award nomination for her role. He executive produced Jonathan Caouette’s Tarnation (2004) and has played recurring roles in HBO’s Girls, Martin Scorsese’s HBO series Vinyl, The Good Fight and current season of Mozart in the Jungle. Mitchell has also been busy behind the camera directing and co-writing the film adaptation of Neil Gaiman’s punk-era How to Talk to Girls at Parties starring Elle Fanning and Nicole Kidman.

“At last! My journey to Oz, long-deferred by silly obstacles like unemployment and air fare, is a reality! I shall strap on a Cubist corsette and chromium wig, regale you with haphazard stories from 55 years of fake rock stardom and wail your favorite Hedwig songs like some kind of wonder woman within. Please prepare for my eminent arrival”, Mitchell said.

Producer David M Hawkins said, “John Cameron Mitchell is one of the great artists of our generation – a multi-award winning writer, actor and director. I first saw him on Broadway as Dickon in ‘The Secret Garden’ in the early 90’s and next in his Tony winning rock star turn in ‘Hedwig and the Angry Inch’. Since producing Hedwig in Australia in 2006 I have become good friends with John, our connection means the world to me. We have talked since 2008 about a concert tour to Australia and at last the stars have aligned. We intend to bring a decent hit of the Greenwich Village vibe to Oz. I am so very excited to share  this incredible artist with my country. You are in the best hands for one hell of a ride meeting the original Hedwig, and the man behind her!”

We had the chance to interview the artist behind the transformational costumes, Erik Bergrin, and discuss Hedwig, lucid dreaming, and finding inspiration as a bored teen at Blockbuster.

Photo by Eva Mueller at the artist’s studio

What was your inspiration behind the costumes for the tour?

John came to me and said he was thinking about a costume that had this cubist, geometric, Trompe-l’œil, black and white thing happening that wasn’t Hedwig but Meta-Hedwig. As in, it has some reference to Hedwig in the costume and there should be panels that are removed during the show to become more boy in the end. He mentioned there was not going to be a built set, but that the costume should act somehow like a set–which was the sentence that made me convulse with excitement. I love doing huge wearable things, which I think is one of the reasons he came to me.

Initially I made tons of drawings of huge pieces on wheels that would drag behind him. All of these outfits packed with tricks such as a gigantic overcoat that would slowly come apart and piece by piece be thrown onto a giant magnet board behind him to reveal a story on the inside. Or this huge mirrored contraption that would come out backstage and be placed around John, and he would spin in a circle and the drawings on the costume would come to life in an animation reflected through the mirrors of the contraption. But I had to edit it down after every meeting and not let my imagination get carried away. I knew he was going to the Sydney Opera House, so I thought it would be fun to play with multiple overlapping triangle shapes. Basically my inspiration was working in these parameters, but still making it my own.

How did you get involved with the project?

I met John years ago as an extra on one of his films, “Shortbus.” We stayed in touch and I guess he thought of me after seeing the pictures from my latest art exhibition, Shadowwork. It is a series of 9 large figurative fiber sculptures, each about 7 feet tall. I have a background in costuming and I work as a costume tailor for Broadway shows, so I think it was the combination of my large costume work and the fact that I know how to create for the stage. I was working on the costumes at the same time as preparing for Shaddowwork. At a meeting with John, I met Mike Potter who did the wigs, hair, and makeup for Hedwig since the very beginning and we became very close. He was helping me with both shows and I was helping him with sewing the wigs. We worked closely, bouncing ideas off each other, so the wig and costume were from the same world. It made the whole process such a blast!

How did the idea of the gender binary and Hedwig’s transformation from female fantasy to undressed man come about?

I always felt that the film is more about finding yourself and less about gender or another person that can define you.

And speaking of Mike Potter who has been with the show since the beginning, the film and original show, I will quote him as a more qualified source…, “It’s like she gradually sheds her armor. Her costume and hair are almost a defense mechanism. But she comes to realize she doesn’t need any of the things that she think she needs. i.e. all her artifice, in order to be whole. She’s only whole when she’s stripped bare. It’s like being reborn.”

How does the idea of Hedwig’s iconic character come into the costume construction?

Hedwig was always famous for her brilliant handmade-style clothes and is now busting out on an international stage. Enjoying the spoils of her riches, she is debuting a next-level, more mature, steel-hued Meta-Hedwig look. Shining like the brightest star. The tour is called The Origin of Love, and when the show opens John comes out singing the titular song. The sleeves open up to reveal the faces from the origin of love animation, and when closed the front of the sleeves form Hedwig’s tattoo. Mike Potter’s wig and makeup are classic Hedwig, but aged to show her impending mortality, as he says in the show.

When you began your artistic career making costumes for the clubs in NYC while in school, did you ever think it would become a career in fine art/ performance?

I don’t think so? But I’m not sure because I never really had any goals. Which I know is unusual to say, but I never really did anything with a goal in the end. I started sewing when I started making costumes. Eventually, I put a book together of the things I made and got hired at a costume shop my friend was working in. Then I hopped to other shops and spent a long time working with really brilliant tailors. Every day I used to leave feeling terrible because I was working with super talented and experienced people and I wasn’t able to do anything properly. That kind of experience really humbles you when trying to learn. It taught me to put severe focus into everything, because I never wanted to have that feeling of a broken spirit when I left the shop. I soon realized that the fear of not wanting to feel like that caused a snowball effect that grew until it was impossible to do anything right. As soon as the tiny seed of fear was planted, I kept at it and at some point something shifted, and I can’t at all tell you when, but things seem to work like that with me.

Some of Erik’s early sketches of Hedwig’s transforming costume

Can you elaborate on how your background/education in psychology influenced your work on Hedwig?

I would say everything in my life up until I made this costume are causes and conditions for the way I designed it. All of the experiences in my past have subtle effects on how I design, so its difficult to distinguish how each particular experience directly influences me. I can, however, tell you that my psychology education brought me to my study of eastern philosophy and meditation, and lucid dreaming. One instance where lucid dreaming directly influenced the costume happened a couple of weeks into the project..

I was hitting a block when I was sketching. When I get stuck sometimes I’ll turn to my dream practice for advice. I do several exercises during the day that help me become aware of the fact I am dreaming when I am asleep. When you’re in a dream you’re in a subtle part of your subconscious, so there are all of these practices you can do to explore the darkness or shadows you have lurking in there. I was in the middle of a dream that had my best friend in it, who I have a deep and long history with, and I became lucid and turned to him to ask for help.

I turned to my friend and said, ”What should I do with my project?,” In a quick and desperate manner, because I wanted the answer before I woke up. Every time I leaned in close to ask him this question, his face morphed into wolf features. He wasn’t answering so I asked again, “WHAT SHOULD I DO WITH MY PROJECT?” The wolf morph happened again, and again he didn’t answer, so I asked a third time and this time we fell together off of a balcony to the ground floor. We were looking at each other and he said to me,”This is all I ever wanted. For you to be nice to me…” I completely froze and remained still for a minute, just staring, and it generated this incredibly raw feeling of tenderness. I immediately had my heart broken open. I woke up after a minute or so and even when recalling this now I get choked-up. It left me in a sensitive and vulnerable state. I woke up a minute later and the strong feeling was still there. I knew what I had to do was stop working from a mass of thoughts and references and just hold this feeling to guide my mind to make the decisions. I made some drawings from this place of vulnerability and it all came together that day. I trust any design that comes from that place. I had so many moments like that when I was making, “Shaddowwork.” These experiences have taught me my creativity is best accessed from a place of vulnerability and tenderness.

What was it like working with John Cameron Mitchell?

Magical. He’s the perfect mixture of professionalism and fun. He is super sharp, always coming up with new puns. Working with someone who can bring a costume to life so magically is so valuable. I had my idea of what the costume would look like on him, and then he would try it on and animate it in a whole new way. You just have to surrender to the magic because it’s so much greater than anything you could have come up with in your head. It forces you to detach yourself from your original ideas. Something like that can only come from someone who has the magic.

When did you first watch Hedwig and the Angry Inch (the movie or the Broadway adaptation) and what did you feel from that experience?

I think I was 18 on a really boring vacation in Florida with family, and I rented it from Blockbuster video. VHS. My sister fell asleep and I watched it alone, and I couldn’t stop thinking about it the next day. I don’t think I fully understood all of it, but was so mesmerized by the way it looked and sounded, that I watched it a couple of times in the 2 days. The songs stayed with me. I got the soundtrack and the more I listened to the soundtrack the more I wanted to watch the film, and the more I watched the film the more I wanted to listen to it.

What was it like working with the legendary rock ‘n’ roll photographer Mick Rock?

It feels like you’re working with a legend. Reading about his background and everyone he’s been on tour with and the iconic shots he has photographed, it’s all in him as soon as he walks in the room. He had amazing stories; I could listen to them all day.

What was the inspiration behind the photoshoot and video?

The goal was to really capture this next interpretation of Hedwig in an amazing way. This is a whole new direction for the character, which was truly born for The stage. Mick Rock, who already shot one of the penultimate Hedwig photos as well as so many other iconic rock photographs, was the perfect photographer to capture it.

As an artist and costume designer, what is your goal with each piece? What do you want the viewer to take away from your work’s message?

I definitely made Shadowwork as a way to get something out of me. I know there are ways to merge the dream state and the conscious state. I’ve read a lot of about it and have experienced glimpses where the lines were almost blurred. It’s like lucid dreaming. When you become lucid in the dream state you can call out to different shadows in your subconscious. Shadowwork was one of my ways of doing this in the waking state. Building this series of my own mental hell in order to get it out and confront it. So one of the larger goals is to merge the dream state and the waking state.

For this costume, I think I just wanted to live up to the legacy of Hedwig and make the fans excited and proud.

What can we expect next from you? Are you going to collaborate further with John Cameron Mitchell on any other projects? Or Mick Rock?

I am currently doing a book called WORDS AND PICTURES  about my Shaddowwork series consisting of stories, drawings, and photos… and about John and Mick: I HOPE SO!!!!!!!!

SOCIAL WORK – THE NYC FASHION BRAND FUSING EASTERN REVOLUTION AND WESTERN REBELLION

The SS19 presentation of Social Work, the brainchild of Qi Wang and Chenghui Zhang, was presented this past June on the sewing room floor of a factory in the New York City garment district. The Spring/Summer collection was modeled on the actual workers of the factory as well as traditional models, blurring the lines between manufacturer and consumer, proletariat and bourgeoisie. 

 Both Wang and Zhang met at Parsons, where they graduated in 2017 from the fashion design program, after interning for such brands as Ralph Lauren and 3.1 Phillip Lim. During their time at Parsons, Zhang was awarded the Hugo Boss Scholarship and went on to be featured in the likes of Vogue Italia & High Snobiety

 Much of Social Work’s designs involve the inventive manipulation of textiles and silhouettes. In their S/S 19 collection, their inspiration comes from 60s youth-oriented counterculture in the western world and the concurrent Great Cultural Revolution that happened in China, and the distinct contrast of sociopolitical changes presented by these two sides. 

 In the Western world, new cultures, lifestyles, and anti-authoritarian movements were booming. The influence of government was undermined. While in China, the whole country was enveloped by the political terrorism pursuing the “true communist ideology.” Many of the silhouettes in this collection combine the western 60s mod styles with Chinese workwear uniforms, and designed for both genders, incorporating slogans from George Orwell’s 1984.

The resulting collection is a mash-up of the muted tones and unique prints of 1960’s home decor and the symbolic bright red and austere, traditional clothing of the working communist. The Social Work lookbook images offer a clear artistic representation of the tension between rebel and revolutionary.

Photography by Chris Shoonover and Jonathan Schoonover | Makeup by Agnes Shen | Hair by Akira Nagano

WEB EXCLUSIVE – DESAMPA: NIGHTSKIN

Undercover Double Breasted Raincoat, DESAMPA’S Mask

Photography: Hans Eric Olson | Stylist: Michael Louis Umesiobi  | Talent: DESAMPA
Interview: Sarah Conboy | Creative Direction/Production/Grooming using EVO Hair Products and Lab Series for Men by: Mike Fernandez

DESAMPA isn’t an artist that’s afraid to get controversial. In fact, his work seems to beg for controversy. In our conversation with the Brazilian-native, the number of taboo subjects we touch on is numerous. But it’s not just with us: these subjects come through in all his work as a musician, whether lyrically or in his various music videos and art projects. From sexuality to immigration to the constraints of the music industry, nothing is off-limits. Rather than shy away from it, DESAMPA talks about these things with a refreshing honesty and passion, finding inspiration in these taboo realms.

Self-described as an artist for a “dystopian future filled with hope,” DESAMPA tackles the issues most personal to himself, and in the end, produces a product that everyone can somehow relate to. It’s his emotional depth and harrowing voice that draws the listener in, and his smart aesthetic that keeps them guessing and interested. DESAMPA is an enigmatic figure, always disguised by elaborate masks; an intriguing, partially-hidden identity. But despite this, DESAMPA wears his heart on his sleeve—speaking to the love and loss, trials and tribulations that all humans experience.

Here DESAMPA talks to Iris Covet Book about being an immigrant in Trump’s America, gathering inspiration from fetish play, and why he wants to be this generation’s Björk.

KYE “Rave Me” sleeveless tea, LUAR Origami belt, Reebok by Pyer Moss Vector Track Pants, Adidas shin guards, Nike Air VaporMax Flyknit 2, Mask by DESAMPA

 Grapa Wrap Vest – Sigilo, Mask by DESAMPA

To start, can you share your background?

I’m Brazilian. Born in São Paulo, 1991. I moved to New York two and a half years ago. I decided to move here right after a residency program. I don’t know if you’re familiar with the Red Bull Music Academy. It’s this amazing residency program that they do every two years in a different city, and they bring out 60 musicians from around the world. It’s really competitive, and I was selected in 2015 to go to Paris. So that really changed everything for me, musically. I got more contacts and networking and I was like, “It’s finally time to move to New York.” Because it’s been my dream since I was a teenager, due to my influences in architecture and artists, musicians, films. After Paris in 2016, I was like, “Okay, I’m leaving São Paulo. There’s no scene here for me.” I was trying to create one, and it didn’t pick up. So I just moved [to New York].

How did you get into music? Is it something you always have wanted to do from an early age? Did you take music lessons, et cetera?

Yeah, I started taking piano lessons when I was seven. I was also classically trained at one point. I had the option to pursue classical music, but I was too confined. I thought, “I don’t see myself in this. Maybe I don’t want to be perfect; I just want to be honest,” and that’s when I left classical music to the side. Not that you can’t be honest with classical music, but it’s just that what I was doing, my compositions…they weren’t looked at as good, from the classical perspective. I’m like, “Well, they’re good for me and they’re honest, so I’m just gonna do my own thing.” That’s when I started using the computer to produce music, instead of the piano. I started making beats and electronic music. So I jumped towards that part, and also tried to incorporate the classical music aspect into my compositions. But yeah, it was always music. I don’t know how to do anything else; I suck at everything else. So it’s just music. I don’t even know if I’m good at it—it’s just the only thing that I know how to do.

Your music seems to defy categorization—how would you describe it yourself?

I just usually say it’s “futuristic soul” music. Because when I say I’m an electronic musician, people go listen to my music and they’re like, “Yeah, this is not electronic music.” I’m like, “Okay, so…soul?” and then they’re like, “Yeah, this is not soul.” So I’m like, “Okay. Futuristic soul.” Meet in-between. I tend to use soul music on top of the electronic beats, so I would say “futuristic soul.” It sounds cheesy…

Where do you draw inspiration from?

I usually tend to just look to the future, you know? Try to create the sound of what people are going to be listening to in the future. Like what Björk was doing 10 years ago—people are doing it now. I kind of drink from her fountain. I want to do something that people will be doing 10 years from now. So Björk is a really big influence for me, artistically. Sonically also, but artistically. [She has] a consistent career, and that’s what I want to have. It’s not based on hype, it’s just based on consistently good work and good music. That’s what I’m about.

Undercover Double Breasted Raincoat, DESAMPA’S Mask

Reebok x Pyer Moss Printed Turtleneck, Craig Green X Bjorn Borg Padded Trousers, Face Harness by Stian Louw

What about Brazilian heritage—how has it influenced your work? Specifically, how did growing up in São Paulo influence your work?

We have a lot of national holidays, [and] they have specific music for them. Like we have specific music for Carnival. They’re kind of like jingles, you would say, but they’re not promoting any product. They seem like a jingle; a small track. It’s like Samba and Bossa Nova. So yeah, I grew up every year being inserted in this scenario, of Brazilian holidays and Brazilian holiday music. That led me to Bossa Nova. Dug deeper, and found the voice of Elis Regina. She was like the biggest singer in Brazil in the ’60s. I got obsessed with her voice. I’m like, “How come we don’t talk about her? How is she not being talked about everyday?” Because what she did was so…nobody was doing that back then, in Brazil. She really inspired me. I said, “I want to do something that nobody’s doing here in São Paulo.” I grew up Brazilian, and  [I’m influenced by Brazil], not even [just] with music, but art and food and architecture as well…we wear our emotions on our skin, so I tend to do that with my music. It’s very raw. I don’t know if you’ve been to or read anything about São Paulo, but it’s such a raw city. It’s violent and beautiful and concrete and ugly. It’s everything at the same time. Graffiti tags everywhere. I’m tending to bring more of that aggression from São Paulo into my own music. I think that’s really important. Because in New York, compared to Brazil, everything’s safe and well-kept. It’s polished; [the United States] is a polished country. Brazil is definitely not a polished country. It’s how it comes…dirty and clean…contradictions all around. That really inspires me, and the architecture there inspires me. We have this…he’s the national treasure: his name is Oscar Niemeyer. He’s brilliant. He did some buildings that are oval and very round, curvy buildings. He really inspires my music as well.

So, you describe yourself as a multimedia artist—what does this mean to you?

I use that term just so I’m not stuck inside one box, you know? When I try in the future to do something [like] I don’t know, maybe fashion, I want people to take me seriously. Or anything else. Architecture. If I want to design a building, I have to study for that. But eventually, if I’m interested in that, and I accomplish that, I don’t want people to be like, “Ugh. That singer designed this building.” But at the same time, right now, I’m experimenting with different materials to create masks and molds of my face. I’m really obsessed with face masks and heads and torsos. So I’m experimenting with that…and currently I’m doing some faces with ice; I’m studying ice and how it sticks to the face. I did a mold, and I’m trying to create a lot of replicas of my face and eyes. Also, I do a lot of videos. I have so many videos that I shot in Brazil this past year, that haven’t been released yet. I direct. I’m not doing all these things by myself, by any means. I have always had friends and other creative people helping me out with all this stuff. So I have plenty of videos that I directed and came up with the storyboard and the mood and everything. Also some videos don’t even have music. I’m itching myself to put music, because that’s what I know how to do. But at the same time, I’m like, “No, maybe this should be a silent film” or something. So I’m exercising that. I don’t need to put my music out everywhere; it can be silent as well sometimes.

You explore themes of sexuality and politics in your work, to name a few. Do you think it’s important as an artist to spread a larger or public message, or are these just personal to you?

Both. They’re really personal to me. In any of my tracks, I’m not talking about things that I haven’t experienced, or that I’m not close to. Everything that I’m talking about like immigration and sexuality and being dumped and loving unconditionally, all of that is close to me. I’m facing that right now. Immigration—what is [it like] being a Latino guy from Brazil in New York, in this country ruled by Trump? It’s something [in which] I have no option. I live it 24/7. Because in Brazil I’m “white,” and then I leave there and come here, and I’m “Latino.” But at the same time, in some Latino communities, Brazilians are not considered Latinos. Where do I belong even? If Brazilians are not considered Latinos, but they are considered Latinos to white people, and in Brazil I’m white…I fluctuate between things. So I’m trying to find the light in all that, in the difficulties. The track  I am referring to has not been released yet, it’s going to be on my EP that I’m hopefully releasing by the end of this year. It’s just taking so long because of labels and life…

Speaking of labels—you’ve self-released music. What is your reasoning behind this? Do you think the music industry is restrictive in your artistic process in any way?

It is pretty restrictive. From what I’ve learned, labels are not signing albums anymore unless you’re a bigger artist. They don’t want to risk it. It’s a risk for them to sign a full album––nine tracks. It’s a lot of tracks to be mastered; it’s more promotion and more singles and videos and all that. There’s no money in the music industry anymore, so they’re signing smaller EPs, and if that works out, then maybe a second EP and if that works out, maybe an album. So nothing’s certain anymore in the industry. That passes onto the musicians, because they’re like, “Shit. Should I maybe just format my music for how people are consuming music nowadays?” Because people just listen to singles and [watch] music videos. People just want to see visuals with music, and singles. So that affects me, because my biggest dream is to tell a story in an album, in a 10-track album. A lot of people are like, “Don’t do that. Because you’re gonna end up self-releasing it again, and nobody’s gonna hear it.” So I have to work around the walls of the music industry, that’s for sure. It’s kind of limiting, at some points. Even if I’m an independent musician. But I also want to have a career in music, so I need to think of those things when I’m finalizing my project. Whether it’s an EP, an album, a single—I gotta have in mind the way people are consuming music nowadays.

LUAR Brooklyn Jacket, Willy Chavarria track pant, Mask Slick It Up

KYE “Rave Me” sleeveless tea, LUAR Origami belt, Reebok by Pyer Moss Vector Track Pants, Adidas shin guards, Nike Air VaporMax Flyknit 2, Mask by DESAMPA

You are working on a new album, correct? You posted on Facebook about losing most of your work for it. Can you tell me the story about losing your external hard drive?

I had 50% of my album done, or something…70%…I forget the percentage. But I had a large amount of my album. I started four years ago, and I had a lot of music that I was gonna put in it. Then I went to Brazil, and I just lost it. It was taken from me. I don’t know what happened. I put “Lost” signs on the streets and tried to find it at all costs and I learned my lesson. Because now I save all my projects in like seven different places, you know? I’m not losing this shit again. It broke my heart; it broke my trust in myself. Four years of work that I had done, and I’ll never find those tracks again. I don’t even know where to begin to make them again. I just don’t know. So I gave up on trying to find them, and I’m focusing on creating new material. That really forced me to make more stuff, and it’s more current. Because when I started writing it, I wasn’t an immigrant yet. So I had a different take. Now I have more to talk about, more life experience. More ugly, sad shit happened to me, and I have this anger to write about. So it helped in a sense. That EP came for me…I was like, “I don’t know if I’m gonna do an album again, so I’m just gonna start writing music and then I’ll figure it out.” I finish all my songs at Red Bull Studios in Chelsea, New York. They’re really great. I have an engineer there, and I have some people that are really interested in me and want to help. So they’re organizing, and giving me a bunch of dates on the schedule for me to finish this project. They were like, “I really think you should do an EP, because all these tracks that you have are really strong. They could be pushed into a successful EP.” So that’s what I’m doing right now. I’m finishing that. I’m not losing that for anything. Like I said, I saved it in seven different places. I plan on releasing it by the end of this year, with two videos as well. Both were shot in São Paulo.

Your new logo is being released in conjunction with your upcoming single “Still Here.” Can you explain the inspiration behind it?

Are you familiar with the website CAM4? It’s a website that people go to strip their clothes, but they get paid for it; they get tips. People are like, “I’ll pay you $25 and you take your clothes off ” You know? People testing out sex toys or fucking. It’s voyeuristic. It fascinates me, but it also scares me to think that relationships are turning virtual. It’s satisfying for them, just to watch another person around the world being naked or jerking off or fucking. That’s enough; they don’t want to meet people in person. It’s a combination of scary and fascinating. So my music video for “Still Here” is a play on that. It’s me in different rooms, with different fetish masks and fetish outfits. It doesn’t go directly with what I’m talking about in the song. It’s more of visual thing that I created and then decided to put the music, and bring the two of them together. In the song, “Still Here,” I’m talking about this Tinder date—the only one that I had. It was kind of successful, but then the person just vanished. In this short amount of time you give a lot of your secrets to this stranger, and the stranger just vanishes with all of your secrets. They’re expecting you to be hurt or something. I’m just saying that, “I’m still here.” Even though everything was taken from me, the fucked up things that happened, I’m still existing and still here. Also, at one point, it turns into me criticizing myself. Like, “How do I allow myself to continuously be in these shitty positions?”

You talked a little about this earlier—you often employ masks in your work. What’s the meaning behind them, and why are they so important to you?

So I never really liked showing my face, anywhere. This whole Kardashian era, [where] you have to put your face on everything all the time, doing everything possible—showering, brushing your teeth, eating, going down a slide, riding a bike—it’s too much. I’m not like that. My life is very private; I don’t share. So that mask is something that I can utilize to be creative, and create a new face for myself. That’s something I’m really interested in. At the same time, I can protect my identity. I was a kid that was obsessed with superheroes, so you can kind of see how that led into protecting my identity. That’s mainly it: I’m gonna hide my face everywhere. But also, my sci-fi obsession with different materials. Like plastic and silicone and fake robotic lenses. You know Alien, the movies? I really love that type of stuff. It’s something I can play with, “Oh, I’m gonna create this mask now. Oh, I’m gonna use this to illustrate my changed mood.” I can play with it, and it’s art that I’m producing. It’s art itself—my second face, second skin.

LUAR Brooklyn Jacket, Mask Slick It Up

Reebok x Pyer Moss Printed Turtleneck, Craig Green X Bjorn Borg Padded Trousers, Face Harness by Stian Louw

Do you create all of them yourself?

For the most part. Back in the day, when I started, no. I had someone doing them for me. I designed them, but someone else actually made them. I didn’t even touch them before they were made. But nowadays, I’m doing it myself with my boyfriend. We do it together. We find the material; we trick them out; we paint over it and put the straps. Right now, my inspirations are really the fetish masks. I’m not a fetish-y person; I don’t have a lot of fetishes. But the imagery of BDSM, the aesthetic of it, is really interesting to me. They’re made from really beautiful materials and employ symmetry. Deprive you of air, deprive you of vision. It’s really interesting. I’m leaning towards that,studying and experimenting with those materials… plastic and leather and metal, but I always have people helping me out. I really don’t like doing art by myself. I think it’s a time to bring people together—different backgrounds, different visions. Because otherwise it’s just 2-D. I want 3-D, 4-D. I want more dimensions than just my own.

As an artist, what has been one of your career highlights so far?

I think definitely the highlight was the Red Bull Music Academy (RBMA) in 2015, in Paris. Because a lot of musicians that do what I do—electronic and the more contemporary musicians—it’s their dream to go to this thing. It helps you out a lot, and you get to meet people. I got to meet Laurie Anderson. Sheila E., Prince’s drummer. The amount of people that they put you in contact with in the lectures and the studio space and the other musicians that they select; it’s such a good exchange, and they don’t ask for anything back. I got to play an amazing show in Paris and expand my fanbase and spread my music through Europe. That’s definitely a highlight. Then after that, I played SXSW the following year. But the highlight was definitely RBMA.

Are there any other artists that you are loving right now? Ones who inspire your work, or you admire?

There’s so many. Let’s see. The first that comes to mind: I’m really obsessed with Smerz. They’re from Oslo, and it’s this really cool, experimental House. It’s like ABRA, but more experimental, and very European. I really like serpentwithfeet. I think he’s insanely talented. I’ve never seen anyone that can sing like him. Kind of nerve-wracking to hear someone that good. Oneohtrix Point Never definitely. He’s an amazing producer. He also works closely with Red Bull, which hits close to heart. His music is really, really boundary-breaking. He’s worked with ANOHNI; he’s worked with FKA Twigs, and a bunch of female artists that I’m really into right now. ANOHNI is a really amazing artist that I get inspired by. Björk, Kelela…I don’t know. Every time people ask me that question I don’t know what to do. They shift.

What can we expect from you in the future? You’re going to be releasing music at the end of the year, but what else? What is your ultimate goal as an artist?

In the future, you can expect my EP. In the nearest future. I’m just gonna talk about the nearest future, because if I go on with my future, I’m just gonna be here all day because I have so many plans. But nearest future, an EP and music videos. A bunch of visuals—shoots, and hopefully an installation that I’m working on, with face casting and molds. What else? More collaborations. This next EP that I’m releasing, I’m not gonna have collaborations with different musicians, in the sense of “Oh, I’m getting a singer to sing with me on this.” I’m having collaborations in production, but not on the forefront. So I want to do more of that, and keep producing more and more. I really want to write a soundtrack for something, either a dance piece or a movie. I really like soundtracking things. I always have a soundtrack for things in my head, and I really want to get this out, and put it into a movie or dance piece or something.

Undercover Double Breasted Raincoat, DESAMPA’S Mask

Listen here:

Support Your Local Immigrants – DESAMPA

Ventre– DESAMPA

Red Bull Radio Alumni Mix– DESAMPA

 

 Photo Retoucher: Amanda Sperry