CINDY CRAWFORD

Photography by Gilles Bensimon
 

Growing up in a Midwestern farming town 30 miles from Chicago, she arrived in New York as an aspiring teenage model armed with her looks, ambition, and good business sense. For the past 17 years she’s enjoyed a happy home life with hotel and restaurant entrepreneur husband Rande Gerber and their two children. Along the way, she learned important life lessons that she is now sharing in her new book – BECOMING – that serves as a highly spirited life manual that is part autobiography, part coffee-table book. It offers an inside account of the events that marked her rise as a global cultural icon fabled for her cosmetics and clothing campaigns as well as countless magazine covers and photo spreads (not to mention her Pepsi ads). She hosted MTV’s House of Style, built a personal business empire, and devoted herself to raising her son, Presley, 16, and Kaia, 14, both aspiring models. “This book is my way of reflecting on the experiences that have informed my thinking and sharing some of the wisdom and life lessons I’ve learned along the way,” Crawford says, “It’s not an autobiography or tell-all book–I wouldn’t have many dark secrets to reveal, anyway–it’s really about my personal journey and becoming my adult self.”

Crawford, who turned 50 in February, offers plenty of insight and anecdotes in the magnificent volume published by Rizzoli, including several of the iconic photos that were part of her trademark natural beauty. She not only discusses her work with some of the fashion industry’s legendary photographers–Herb Ritts, Richard Avedon, Irving Penn, Steven Meisel, Helmut Newton–but also the era of the supermodel and how she became a highly successful businesswoman with multiple pursuits including fitness videos, swimsuit calendars, and beauty lines. In person, Crawford is still fabulously beautiful (she remains a size 2) and looks at least ten years younger. She and her husband Rande are best friends with George Clooney and his wife Amal, and have taken several vacations together. Interestingly, when asked about her marriage to Gerber, Cindy confessed that she thought he was almost too good to be real at the beginning, “In my younger years, I was attracted to the more intense kind of relationships that are very draining. When I was first with Rande, I thought he was so solid, but then I wondered, ‘Wait, where’s all the drama? Maybe this isn’t good. Maybe this isn’t real!’ …But a husband is the guy who is solid, and you know you want to have children with him and you know he’s going to be there.”

Cindy, your image is that of one of the world’s most iconically beautiful women. How did you see yourself when you were starting out as a model?

The truth is that I have never seen myself as beautiful. At the beginning of my career I felt very uncomfortable and no one in the business went out of their way to say nice things to me. I had such a bad self-image that it took over a decade to really feel good about myself and self-confident enough to the point where I could smile on command in front of the camera. Still, when I look into the mirror I see a face full of imperfections–I never see myself as having perfect features, not at all.

Was learning to embrace your mole part of what helped you advance your career?

I was very self-conscious about my mole while I was growing up. And as a girl I wanted remove it because I was embarrassed by it and I was constantly getting teased about it. Of course, that was the thing that set me apart and later what gave me my distinctive look as a model. It’s what people still associated with me the most. But when it came to getting that recognition as a model it was only thanks to some great photographers like Herb Ritts and others who took so many iconic photos and presented me in a very extraordinary way. That’s when I started to feel beautiful.

Photography by Arthur Elgort

How do you account for your spectacular evolution as one of the original group of supermodels?

I was lucky to arrive at a time when the fashion world was looking for a new image of women and a different look from the typical image of blonde and blue-eyed models. Christy [Turlington], Naomi [Campbell], Linda [Evangelista] and me all looked very different and we each had a distinctive look that represented different ways of defining or representing beauty.

You took a chance moving to New York while you were still studying in university. What was that time like?

Our culture still judges people on appearances and women are especially subject to that. When I left college to pursue modeling, I saw right away that people assumed I was stupid and that was always a hard thing to handle. It makes you very self-conscious, but eventually I was able to overcome that and put those negative assumptions andattitudes in better perspective. It was really saying more about the people making those judgements than it was about me.

Was it culture shock arriving in New York?

I was very naive at the beginning. Coming from the midwest, New York was a whole other world. I had to get used to living at a much faster pace where people are always busy and rushing somewhere and you can feel like you’re an outsider. It was much more sophisticated than I was prepared for and it took me a long time before I really felt comfortable being in the company of famous or very accomplished people.

Why did you write BECOMING and what do you hope people will learn?

I wanted to collect some life stories from my past and explore some key moments that might be helpful to the next generation and help inspire young people to pursue their dreams. I’m a great believer in fairy tales and making your dreams become reality.  Half the battle in life is just believing in yourself and not giving up even when things don’t work out at the beginning. You never know which moment or event is going to help you succeed but if you work hard and have faith in yourself the chances are that good things are going to happen to you.

Photography by Helmut Newton

What was your look, if you really had to define it?

My look was more accessible and relatable. In terms of labels, I was what you would call the sexy, all- American girl who lived next door. I had a more athletic body type which gave me an edge and photographers and magazines were looking for that. It was perfect timing.

What’s the most important lesson you can offer women when it comes to looking good and being fit?

Nothing is better than working out on a regular basis. I still work out three times a week and I eat a very healthy diet. I can’t eat the way I used to and even in my twenties I saw that I had to change my eating habits. I rarely drink wine anymore because it makes my face puffy.

Apart from your fashion shoots, what were some of the other keys to your success?

The Pepsi commercial was very big. It gained massive recognition with a male audience that was very different from the kind of attention you get from fashion magazines which are targeted towards women.

How did you come to develop the workout videos?

Jane Fonda’s exercise videos were the thing that inspired me. She started it all but I wanted to move away from aerobics and develop a more intensive, grittier workout like what I was doing on an almost daily basis with my trainer Radu. I wanted to come up with an exercise video for people of my generation who were looking to tone and strengthen their bodies.

What do you teach your daughter about image and how a young woman should deal with the pressures that come with that?

The most important thing is to have a healthy self-image and healthy relationship with your own body. I try to teach that to my daughter Kaia and not have her worrying about her looks. I want her to eat properly and not feel self- conscious and thinking about diet and her weight. You have to be comfortable in your own skin and embrace everything that is distinctive and special about you. As women, we need to understand that we are all different and unique.

 Photography by Herb Ritts

BECOMING, by Cindy Crawford, Available at Rizzoli New York. Cover photo by Arthur Elgort 

Interview by Fred Allen / The Interview People

MICK ROCK

Photo copyright Mick Rock 1973, 2016

Mick Rock is a British photographer best known for his iconic shots of rock and roll legends such as Queen, David Bowie, Syd Barrett, Lou Reed, Iggy Pop and The Stooges, Geordie, The Sex Pistols, The Ramones, Joan Jett, Talking Heads, Roxy Music, Crossfade, Thin Lizzy, Mötley Crüe, and Blondie. Often referred to as “The Man Who Shot the Seventies”, most of the memorable images of David Bowie as Ziggy Stardust were shot by Rock, in his capacity as Bowie’s official photographer.

Do you remember the defining moment when you decided photography would be your career?

There wasn’t really a defining moment. And I certainly wasn’t thinking about a “career”. It kind of took over. But probably the Syd Barrett (the man who started Pink Floyd) “Madcap” sessions were what drew me deeper into the life of the camera. That’s when I first truly sampled the “alchemical moment”. And of course he was a beautiful subject! I felt like I was channeling something special and it focused my desire for more of these moments.

Who influenced your musical taste when you were young?

There was no direct personal influences. Nobody in my family or immediate circle had any musical inclination; just listening to the radio. Radio was “king” in the 50’s. Most people in the UK didn’t even have record players!

Madonna 1980
Photo copyright Mick Rock 1973, 2016

What was your first introduction to rock music?

I remember liking Buddy Holly and The Everly Brothers and Eddie Cochran. When a record player finally showed
up in my house, the first record I got my parents to buy me was a Buddy Holly album.

What was your first camera? What is your camera of choice now?

My very first camera that I bought second hand from a friend of mine was a beatup black Pentax. That’s the camera I shot the Syd Barrett photos with. But soon after, I traded it in for a 2nd hand Nikormatt. I used that for all my early Bowie, Iggy and Lou Reed photos. I bought my first (again, 2nd hand, I couldn’t afford new cameras) Hasselblad CM to shoot the Bowie “Saxophone” session in the autumn of 1973. All of my photos until the late nineties were shot on those two cameras. I currently use a Canon 5D Mark III.

What advice would you give to aspiring photographers?

Follow your obsessions. Shoot what really excites you. But the main thing is to shoot, shoot, shoot. It’s the shooting that will sharpen your eye. Unlike when I started out when you had to pay for the film and processing and printing, you can shoot all you want. It’s a beautiful digital age. And you can communicate your photos to the world.

What is one of your most memorable shoots of your career?

That’s a tough one. There have been so many crazy, memorable ones! Of course, there’s a lot to be said for the Queen II album cover session, which they duplicated for their “Bohemian Rhapsody” video. I shot a lot of film that day in both color and black and white. It was very tricky getting the lighting to render the “hooded eyes” look that I wanted.

Photo copyright Mick Rock 1973, 2016

When and where did you first meet David Bowie?

Early March 1972. I was writing occasional music features for music and men’s magazines, for which I also supplied the photos. I had been given a copy of “Hunky Dory” which I played time and again. I barely knew who Bowie was and was not familiar with his music, but this album blew me away. So, I went to Birmingham Town Hall to meet him and shoot him and check him out in performance.  That was a revelation. After that I wanted to shoot and watch him all the time, and did consistently for the next 20 months.

How did the idea for your new book The Rise of David Bowie come about and why did you choose to release these unpublished images now?

It wasn’t my idea! I had already done a beautiful high end co-signed limited edition book with David in 2002 called Moonage Daydream, published by Genesis Publications. When Moonage Daydream sold out there was later a commercial version. Both sold out very quickly and hadn’t been in print for some while.

I was approached by one of Taschen Books’ top editors, Reuel Golden. When I told him that we’d already done Moonage Daydream, he said that Taschen didn’t care. He knew all about Moonage Daydream and that it had long been sold out. They wanted to do their own version, which would be completely different and he had heard that I had lots of never-before-seen photos.

How did you work with Bowie to select the images that went into the new book?

David’s main concern was that it should include lots of the previously unseen images. He trusted my judgement on the editing, as he always did. As far as Ziggy is concerned, I was very tuned in to his vibe. That hadn’t changed over the past 40 years. So I selected all the photos with minor input from Taschen. They came up with a beautiful design and layout, along with the decision to have a lenticular cover which rotated five images. They made a terrific presentation and we sent it to David for his approval. Which he gave very quickly. Then we both signed the signature pages.

If you could do a photoshoot today with anyone living or dead who would it be?

Of the moderns, I’d love to shoot Bruno Mars. What a great talent. I love his collaboration with Mark Ronson “Uptown Funk”. A superb singer, performer and songwriter and wonderfully photogenic. He’s one for the ages and will undoubtedly have a monster career. I also love the fact that he started out as the youngest ever Elvis impersonator!

Debbie Harry, 1978
Photo copyright Mick Rock 1973, 2016

Mick Rock will star in a soon to be released documentary produced by Vice Films.

SHOT! the Psycho-Spiritual Mantra of Rock, directed by Barnaby Clay. In a documentary as rock-n-roll as its subject, Mick Rock guides us through his psychedelic, shambolic first-hand experiences as the visual record-keeper of these myths and legends.

“I’m still in awe of the power of the camera and its magical reflections. In many ways I love it more than ever.”

Photography by Mick Rock | Interview by Marc Sifuentes

RHYS

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.

Photography by Johnny Vicari | Styling by Marc Sifuentes | Interview by Dustin Mansyur

GLENN O’BRIEN

IRIS01_FINAL_LAYOUT_GLENNPortrait 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