DIGITAL COVER: TANNER REESE
Top, Short and Pant by Prada
A diverse glimpse into the worlds and personalities of fashion, beauty, culture, philanthropy, and art.
Top, Short and Pant by Prada
Suit by Escada, Gloves by Dior, Choker by Christian Lacroix,
Courtesy of Gabriel Held Vintage
Photographed and Interviewed by: Dustin Mansyur @dmansyur
Talent: Jacqueline Novak @jacnov
Stylist: Gabriel Held @gabriel_held_vintage
Lighting Tech: Johnny Vicari @johnnyvicari
Hair: Isaac Davidson @isaacdavidsonhair @Industry Mgmt.
Make-up: Nina Soriano @ninasorianomakeup
Production Assistance: Genaro Ordonez @genaroordonez
Special Thanks to Cherry Lane Theater for providing location
Going up from going down, Jacqueline Novak’s sold-out one woman show is extending its West Village run. With her prolix and personal storytelling style, Novak’s Get On Your Knees is sure to please.
Jacqueline Novak is on the floor. Stretched out languid and feline in a vintage black and white color block three-piece suit, knees bent and feet mid-air kicking back and forth like an 80’s teen flick fantasy. In lieu of a landline phone she cradles the microphone, a fitting prop for her to divulge all of her juiciest momentos to. After flexing about her floorwork in hair and makeup, the Get On Your Knees comedian is happy to oblige for our shoot. Today she’s giving us a montage of her realest moments of recent: the backstage nerves before her entrance, the tenuous question, “Can she do it”, to finally owning the stage with her one-woman show. Glammed up is a good look for Novak, who’s giving us nods of comedic “it girl” with appearances on Seth Meyers and Jimmy Fallon and sparkly reviews from the New York Times and Rolling Stone. Sold-out and extending are also good looks–with its initial stellar off-broadway sell-out run at Cherry Lane Theater, the one-woman show Get On Your Knees presented by Natasha Lyonne and executive produced by Mike Birbiglia will remain in the West Village, continuing its run at the larger Lucille Lortel Theatre through the fall.
Exploring the etymology of a blowjob, Knees takes us on a meandering discursive journey filled with Novak’s hilariously self-reflective personal anecdotes, hyperbolic metaphor peppered with sage wisdom weaving a story of sexual coming-of-age. Poetically examining all the feminine qualities of the penis was an entertaining concept for me to embrace as a gay man, and coupled with Novak’s articulate script-flipping on long-held stereotypes of masculinity was nuanced, comedically refreshing if not insightful. Profoundly-layered and self-aware, Novak’s delivery comes across at times like an unadulterated soliloquy of the voice inside her head conducting a many-angled dissection of the conundrum of catalogued oral sex experiences, preconceived ideas and expectations pushed upon her since youth, a storytelling technique that drives you to lean in. With Get On Your Knees, Novak proves comedically there’s no question of “if” or “can”–she’s done it and she’ll do it again.
IRIS Covet Book caught up with Jacqueline in her dressing room just before her final show at Cherry Lane Theater. [read more below]
Suit by Escada, Gloves by Dior, Choker by Christian Lacroix, Boots by Jeffrey Campbell,
Courtesy of Gabriel Held Vintage
DM: I had a really great time on our shoot yesterday. I’m so happy you trusted the team to push you off into a campy kind of character which is a departure from your show. Gabriel is such a genius with styling and character reference. Did you have fun?
JN: Oh my god yes, I had the time of my life!
DM: We were in love with this Bette Midler kind of “Big Business” fashion reference for the styling with lots of prints and costume jewelry.
JN: I loved it!
DM: You took our photo direction so well – I love how you put your spin on the idea. What’s that like when you’re asked to play a kind of character like that for a shoot?
JN: I think I played my cards right by basically keeping it incredibly simple for my show wardrobe, right? Part of the thrill of the shoot was the departure from that. It’s a really exciting time right now with my show going up and going well, and as I said yesterday at the shoot, I felt like I was playing out an 80’s fantasy–like a montage in a movie for my big break. There were lights flashing and I’m in those kind of looks representing these moments–so it was really fun.
DM: When you were growing up, who were your comedy icons?
JN: Probably people in specific roles. Steve Martin in…Roxanne. Thenardier in Les Mis. Chris Elliot in Get a Life. In high school, Parker Posey in Christopher Guest stuff and of course, House of Yes. Chris Rock.
DM: In your stand-up, you mention writing poetry. I was just curious how you began your career writing…was it always satirical comedy or was that something that came later?
JN: I started writing poetry and short stories in high school. Then in college, I started doing dramatic writing, play writing. Then, personal essays. Around the time that I was doing improv in college. Stand up allowed me to be both a writer and a performer.
DM: So, it was more of a natural transition because it combined all the things that you were exploring at the time…
JN: Well there is no natural transition to stand up. It’s always an uncomfortable, awkward and outrageous leap. Unless, it’s 1902 and you sort of find yourself talking in a saloon night after night with an ever growing crowd. Otherwise, it’s showing up to open mics which isn’t natural. But for me, looking back, sure, it’s natural. It was the intersection between comedy, performance and different parts of what I was interested in.
DM: Your show has been a huge success, you sold out and you have moved to a new theater and extending it. When did you start to realize that your show was becoming somewhat of a phenomenon?
JN: I’m still in shock! Even when you articulate it that way, I’m like oh my God! Is it true? Well, it’s very absorbing doing the show and there’s no time to think. I moved to LA and I put it up for a few nights and got a great response which was exciting because it felt like “these people don’t know me and they enjoyed it.” In terms of the NY run, in previews we were selling well which the producers said was a positive sign. I keep waiting for the rug to be pulled out from under me. Then with great reviews, the run kept selling…until we sold it out! I’m truly still processing it. This is one of the cases where my brain works for me – my ADD hyper-focus brain keeps me weirdly in the present with it.
Jacket by Christian Lacroix, Jewelry vintage,
Courtesy of Gabriel Held Vintage
DM: The producer Natasha Lyonne has been complimentary. She said that she thinks of you as “a great new philosopher with a fully existential show.” In your words, how would you describe your show and where did your inspiration come from for the material?
JN: It’s a show about blow jobs, but really it’s a show about ideas. I love how that sounds so I keep saying it. But it’s kind of a show about thinking, and one’s evolving thoughts around a particular subject. Yes, it traces a narrative but it’s a narrative of ideas – here’s what I thought at 12 about the blowjob, then at 16, then at 20, etc, with a few key moments shaping the whole thing.
DM: You share a lot of vulnerable and personal anecdotes. Does it feel liberating to just lay it all out there in this format?
JN: I’ve always been pretty comfortable with that kind of personal divulging, so that aspect didn’t feel new. The liberating part was letting more of me into the show – not just what I think of as ‘suitable for stand-up.’
DM: I love how you poke on the anxiety of walking from the door of the stage onto the stage. When you began doing stand-up, what were you most nervous about that no longer phases you?
JN: When I started, I was very scared of the embarrassment of having people perceive me attempting to be funny, but I also found it embarrassing to try to act like you had not just said the punchline that you wanted to [say]. It was embarrassing to cover up a joke that I had just said by rushing into more speaking to make it seem like the audience’s lack of laughter was not a problem. I wanted to skip the landing of every joke, so to speak, but then that requires kind of admitting that you think what you just said is funny and just pausing for laughter, it’s kind of the inherit thing of being a comedian. I think Mitch Hedberg had a joke that said something like, “I pre-approved all these jokes as funny.” That expressed what’s most embarrassing to me in comedy. The self-appointment. Inherent in standing up there, you have informed people that you believe you deserve to be up there, to make them laugh, and that you think you’re capable of doing so. Seems like something only an asshole would think.
DM: What’s the last thing that you say to yourself in your head before you walk onto stage, or what’s the last thought that goes through your mind?
JN: At the beginning of the show, Madonna’s ”Like a Prayer” is playing. I feel the physical nerves before going on stage. I try to experience gratitude for what’s happening…in a juicy way not in a moralistic way. I remind myself that feeling this kind of fear is exactly the fear I wanted to be in a position to feel. So take note and appreciate it, bitch.
Jacket by Moschino, Necklace by Chanel, Bodysuit by Bill Blass, Pants by Agnes B., Shoes by Fluevog,
Courtesy of Gabriel Held Vintage
DM: What do you like most about performing for a live audience, and in particular, the audience for this show?
JN: It’s nice how few distractions there are generally in theater versus a comedy club. I remember Mike Birbiglia, in a conversation before the run, when I was running the show on the road in clubs. He likened performing in a comedy club to driving a car on a bumpy road and that performing in a proper theater is like driving that car on a racetrack. Everything is tuned up and ready to go. It’s a more ideal circumstance to present your ideas.”
DM: One of the brilliant things that I loved about your show is that feminization of the penis and how you personified it with the stereotypical qualities that are assigned to women like it being over-sensitive or hysterical in nature. How did you come to the realization that the penis has feminine qualities?
JN: I had noted that the vulva is compared to a flower, but I never found that image suitable. I then liken a penis to a flower instead, and from there the feminine imagery expanded. It’s hard to say though, it all kind of develops simultaneously.
DM: When we were at the show, there was this older gentleman behind us that was goading his wife to leave when you started to unpack the idea and she kept telling him to calm down and to let it play out. I was just curious…have you encountered anything of this among the attendees who didn’t know the nature of the show?
JN: I feel like for the most part people have been pretty well behaved in the first couple rows, which is where I could see. Do you remember specifically what I was saying?
DM: I think it’s when you used the floral kind of reference.
JN: No! That’s hysterical!
DM: Yeah, you had just started to unpack it. You hadn’t gone too far into it and I thought [about the couple] are you serious right now? This is a comedy show so chill out!
JN: That’s wild! It hasn’t been too bad. Occasionally, I’ll see someone’s face in the front row and they start opening the program and look in it. I’m like, if you’re not enjoying the show, there is nothing in there that can help you. It’s just bios. I have a sense of some of my audience – like the people that come are comedy fans in general and then there’s the audience that just comes because it’s an off-Broadway show in NY. I particularly enjoy mixing the high and lowbrow, so to speak. I honestly get some pleasure of that mix.
DM: You take us on a journey of your experiences giving a blowjob, beginning with your initial insecurities surrounding it, overcoming those insecurities, and feeling as though you mastered it. I couldn’t help but feel like it was a metaphor for something a little more subliminal. I guess, without trying to get too Freudian about it, what is the blowjob implying to you and what do you hope that your audience takes away from the show or the material?
JN: The blow job was something I was worried about, wanted to do well, had my own ideas about, and found this in conflict with the world’s. One thing I would like for people to have more understanding or empathy about is the idea of a teenage girl giving a blowjob is a pretty limited idea that is reduced to a stereotype, so it’s trying to complicate that image a little bit for people. It bothered me at the time when adults knew that you gave a blowjob they would think you were not a good girl. And in that way, a big part of the story is the blowjob could represent my changing perceptions around it, what it meant in different points in my adolescence. Then the question is – do you live your life by what other people think things mean or what you think things mean. Ultimately, the message, I guess, if I may be so vulgar, is that in this life you can cultivate your own narrative about yourself, even if it’s not bulletproof, even if it’s tenuous, even if all the proof is not there.
DM: In your book How to Weep in Public, you discuss your experience with depression. How did comedy help you make sense with the experience of it?
JN: I don’t think it really did. I think comedy, like anything, is just made harder to do when you are depressed.
DM: Was it therapeutic in any way to write and explore this darker form of humor?
JN: In order to write that book, I had to be in a better place than I was when I conceptualized it. I like to be clear about that. I feel like writing a book is NOT a therapeutic experience, and getting feedback and working on it is incredibly difficult. Writing is hell. Just happens to be my favorite kind. I’d love to be able to say it was therapeutic but that ain’t it.
DM: So much of the work of a comedian and a writer is observing life experiences and dynamics and then finding the humor or meaning in them. Do you feel like you have a heightened ability for empathy as a comedian and a writer?
JN: I wouldn’t want to say I have heightened ability over someone else. I suppose I’m a little looser with my thinking than non-comedians. I am willing to draw inappropriate comparisons. Comedians are never upset by that. Comedians are usually willing to go on thought experiments.
DM: You’ve written for popular TV series, such as “Broad City.” If you had a chance to create your own scripted series and star, what kind of storyline and character would you create?
JN: I’m actually too vain to properly do an autobiographical show. I’d want my character to always be right and lovable. Ha! I’d rather not tell a story about a comedian, I know that. I’d rather go far and wide, away!
DM: I am excited that your show has been extended. I’m just curious – after the show concludes, do you have any other projects that you are willing to share?
JN: Nah. Gotta keep it all secret, while it’s still in the cauldron. Can’t open that oven door. And other analogies.
DM: Besides overcoming the insecurity of a blowjob, what’s the thing in your life and career that you overcame that you’re most proud of?
JN: Let’s see … doing stand-up at all. I’ve been doing stand-up for a long time, and the original leap, it seems, was the scariest part. I’m most proud of the initial leap and I’m most proud of sticking with it. I’m proud of myself for being continually consistent and I’m in a position where I’m really getting to do it at a level that I want to do it.
DM: I feel that’s relatable for anyone working in a creative industry. I watched an interview you did a few years back and I think you said, ‘some of us are just scratching and crawling at relevance behind the scenes trying to make it’ and I was like, ‘I totally get that’. I completely agree with you.
JN: The long-term part isn’t flashy, but it certainly is important. And it can pay off. Even if it seems like it won’t. And I don’t think anyone regrets effort.
Dress by Casadei, Shoes by Christian Lacroix,
Courtesy of Gabriel Held Vintage
Suit by Viktor & Rolf, Shoes by Dolce & Gabbana
Photographer: Fernando Gómez @fernandogomezphoto
Stylist: Roma Lansky @rljewel
Make-up: Rosa Matilla @rosamatilla for DIOR makeup
Hair: Rosa Matilla @rosamatilla for Mön ICON Team
Model: Anastasiia Matviienko @anastasiiamatviienko Women Management Milan
Jacket and Vest by Ester Abner, Necklace by Chanel
Jacket by Ester Abner
Shirt and Skirt by Ira Kryuchkova, Vest by Saint Laurent, Shoes by Dolce & Gabbana, Earrings by Christian Lacroix
Shirt and Skirt by Ira Kryuchkova, Vest by Saint Laurent
Trench by Loewe, Boots by Guess
Dress by Alexander McQueen, Earrings by RL Jewel
Dress by Berta
Dress by Malina Fashion, Jewelry by RL Jewel
(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.
Jacket by Tom Ford
Photography by Greg Swales
Styling and Interview by Marc Sifuentes
Taking over the legendary Sin City strip, making history as the first Latino to headline a Las Vegas residency, and jumping headlong into the world of acting, Ricky Martin shows he is one of the most intriguing and impactful entertainers of our time.
Father, husband, singer, dancer, and actor. Ricky Martin is constantly juggling his many roles with seemingly effortless ease. Currently a resident on the Vegas strip at the Park Theater at Monte Carlo for his solo show, Martin is also eager to further pursue his acting career, release a new album, create a new world tour, and continue helping the people of Puerto Rico and the victims of human trafficking. Filled with love, down-to-earth spirituality, and an effervescent charm, Ricky Martin has proven himself to be an everlasting icon of pop culture.
In an exclusive interview with Iris Covet Book Editor-in-Chief Marc Sifuentes, the Puerto Rican star gets personal about his daily life with his husband and twins, life in the limelight, and his continuous efforts to make the world a better place.
Hi Ricky! I wanted to thank you for doing this interview and for being so fun and easy-going on the day of the shoot.
Well, thank you! You and your team were amazing and had such a beautiful energy in the studio.
Thank you! So, I want to start with asking about your second “back by popular demand” Vegas residency at the Park Theater, what is the key to producing such a successful and in-demand show?
I give credit to the people that I work with: the producers, directors, all of the people behind the scenes, the musicians, and the dancers. It really takes a village, and I wouldn’t be able to do this show without an amazing group of people behind me. I’m happy to have these talented producers and directors who can translate my vision and make it magic! To be the first Latino male to have a residency in Vegas is a big responsibility. What I love about this show is having the opportunity to perform every night in front of a very international crowd. Just to be on stage and see all of these faces from all over the world really motivates and inspires me. What I want to do is break boundaries and unite cultures. To see the crowd disconnect from their everyday problems in life and leave the theater with a smile is a very beautiful thing. I wish we could do this show for many more years.
Will you be taking this show on the road at the end of it’s Vegas run?
Well since I have an exclusivity contract I won’t be able to take this particular show on the road or perform it outside of the Park Theater. But I will hopefully be on the road touring a new show next year through Latin America and the United States. The idea is to take a new show all over the world, hopefully by next year.
I was watching clips of the show and it just looks amazing, you seem larger than life and so confident. Do you ever feel insecure? And if you do, what do you tell yourself to get out of that headspace?
I am very insecure. I am insecure when I write music, when I perform, when I act…but what gets me through are my years of experience. I am human and I go through a lot of highs and lows before I go on stage. If you see the show, for the first song I’m coming down from a 300-foot drop! I may look super confident, but I’m not! (laughs) I suffer from vertigo and it can be very difficult to focus, but it is part of confronting my demons and breaking that trauma that triggers my vertigo. By the time the music starts, I just have to forget everything and jump into storytelling mode.
Well it’s been getting really great reviews! Would you consider extending your residency for a third round?
Oh, I would love that! And funny you should ask because that’s exactly what we are in discussions about at the moment, and if we do, I will need to create a whole new show for the international audience.
jacket and t-shirt by Philipp Plein, jeans by Tom Ford, rings by John Hardy
t-shirt by Philipp Plein, jeans by Tom Ford, ring by John Hardy
shirt by Ferragamo, jeans by Tom Ford
You recently teased your fans with a new single, “Fiebre”, when can we expect a new full length album?
I am thinking hopefully by the beginning of next year, but right now we have been pretty focused on the Vegas show and American Crime Story, which we were shooting for eight months. Today, the record company no longer needs the record out at a very specific time so the artists have more freedom, and if a song is ready then I can just release it. Obviously numbers are important in this industry, but it gives us an idea of what the audience likes or dislikes, and I have never felt more relaxed doing music.
Since you mentioned American Crime Story, how did you become involved and what made you say yes to the story?
A few years ago I had the opportunity to work with Ryan Murphy on an episode of Glee. We’ve kept in touch and he invited me to dinner to tell me that he thinks he has a role for me. Once I read the script I immediately said yes because it was personal. I knew I wanted to be a part of telling Versace’s story. I wanted to remind the viewers the injustice behind what happened. Because it’s not how Gianni Versace died, but how we allowed it to happen. What angers me most is that Cunanan was on the FBI’s Most Wanted List, living on Miami Beach which is a very small community, but the FBI turned the other way because he was a gay man killing gay men. There is no denying to me that this was really an issue of homophobia. I think we did a great job covering that aspect of the story.
I read that Ryan Murphy wants to give you your own show, any word on that project?
Well he told me about it and then made it public, and I got really excited! We haven’t spoken in detail about it because he is transitioning from one network to another and he told me that he will be busy until June, but I’m not in a rush. (laughs) I would love to do something behind the scenes as well. But no, we haven’t talked about it yet.
You brought up the issue of homophobia and it made me think of your new music video. “Fiebre” and of course American Crime Story both show you openly embracing your sexuality. After being forced into the closet for so long, how does it feel for you to finally be able to express being gay through your music videos and now your acting roles?
Amazing! If I could go back and come out in the late ‘90s or early 2000’s then I would, because it felt amazing to come out. When I talk to people who are struggling with their identity, I tell them that it may be bumpy for awhile but in the long run the love that I received from my friends, family, from social media…it was spectacular. I know this is not the case for everyone but at the end of the day it is about dignity and self love.
You recently received a Trailblazer award from The LGBT Community Center in NYC, what did receiving that award mean to you?
Well like receiving any award, it is a big responsibility, but at the end of the day I am proud because it lets me talk about where I have been, who I am, and what I did to finally understand my real essence. In my case, I get to share my story. I meet so many people in the streets or on social media who tell me, “Ricky, thank you so much because I know what you went through and I can better understand my gay father, gay uncle, gay brother, lesbian aunt…” and I think it is a beautiful thing and it is important.
I wanted to talk about your husband, artist Jwan Yosef, a bit. You met on Instagram and I was reading you instant messaged for six months before meeting—
Yes! And nothing sexy! It was very romantic. We talked a lot just about our problems and lives. I never even heard his voice until six months later when I went to visit him in London, where he was based. I said to myself, “This is it. I just met the man who I am going to marry.” Two years later we were married. He is a great man, he loves my kids, and we have so many things in common.
He is a conceptual painter and I have mad respect and admiration for what he does. When I see him and his creative process… it is so sexy. I just love when he locks himself in his studio and starts creating. I become a fly on the wall, watching him paint and create works of art. I am in love, man, I am so in love.
jacket by DSquared2, ring by John Hardy
shirt, pants, and sneakers by Dior Homme, rings by John Hardy
shirt, pants, and shoes by Louis Vuitton, rings by John Hardy
You’ve mentioned in the past that you want more children, what do you love about being a father and what is the most challenging part of raising twins?
Yes, I want more; I’m just getting started! If it was my decision I would have six more, but Jwan says let’s take it one step at a time. (laughs) With kids, and I’m sure every parent out there will say this, but everything is new every day and being a single father with twins was extremely challenging, especially in the first year. No one is sleeping, and it’s two against one. Now that they’re older it’s still two against one, but they are amazing kids and the bonding time over the first year was so important. I took a sabbatical, and I did not accept any help. I wanted to do it all, change every diaper, bathe them everyday, and the relationship I have with my kids… there’s just so much love. They are almost 10 years old and this is when dads stop being cool and they start making fun of you! I’m really happy because I’m not there yet with them (laughs).
I’m sure your spirituality plays a big part in your parenting too, what helped you to discover your spirituality?
When we talk about spirituality we go back in time. Religion has nothing to do with spirituality, but I would say that growing up Catholic, even being an altar boy, was too much for me. I kept searching and looking for other philosophies and dogmas to ascribe to. There was a moment where I was obsessed with India and going about four times a year because they call it the Cradle of Spirituality.Then my kids became my religion. It doesn’t matter how late I go to bed, I religiously wake up at 7:00 a.m. everyday to have breakfast with them, and that bonding experience with the three of us is the only way I want to start my day. But once a Catholic, always a Catholic. To this day I sometimes look to God when the boys ask me questions because they ask some really hard questions, and I just want to give them the right answer.
I want to talk about Puerto Rico, from your experience can you give us an update on how the country is doing currently? I know that you were and still are very involved in fundraising after hurricane Maria.
Oh man, well 43% of the island still has no power, and if you go up to the more rural mountain areas, even now nine month later, people still have no power, no running water, and are bathing in the river and using candlelight. It is really frustrating and I wish the federal government would have done more. You have to wonder, if this were any other city in the continental US, would we ever hear that nine months later people have no power? No, I don’t think that would happen. But we have to do our part, and Puerto Ricans have experienced a great level of compassion, empathy, and care from volunteers, and the country has become creative and adapted. This too shall pass, but it will take a long time to go back to normal.
Another cause that is close to your heart is bringing awareness to human trafficking, can you explain where this compassion comes from and tell us more about the Ricky Martin Foundation?
With natural disasters like hurricanes for example, the community becomes more vulnerable and human traffickers take advantage. Traffickers come to the island and see all of these people who have lost everything and need money to buy things, and these kids end up selling their bodies or getting forced into pornography.
jacket by Valentino, shirt by COS
sweater by COS, pants by Dior Homme, rings by John Hardy
How did it first come to your attention?
More than a decade ago a friend of mine was building an orphanage in India, and this was when I was looking for any excuse to go to India. I flew to Calcutta, and he took me to the slums and said, “Come on, let’s rescue girls!” I had no idea what this meant, but when I got to the slums he started to point out girls like, “You see those three? They could be forced into prostitution.” and I’m standing there like, “What?! What do you mean? That girl must be five and her sister must be eight and her older sister must be eleven” and he says, “Yes, Rick. This is human trafficking. These girls live on the streets and they need money to help their family and they get paid for selling their bodies.” I was so astounded and went back home and started to educate myself on the subject. I went to Congress and told them we needed to bring more awareness to this global $150 billion industry. The victims are sex slaves.
Did you know there are more slaves today then back in the slave trade of the 18th century? Today, as soon as you open your computer you could easily fall victim to a criminal persuading you into the world of prostitution.
It’s encouraging to hear you are using your platform to educate others of these injustices.
It’s not easy. Ten years ago I wanted to stop. I said I couldn’t do it anymore because we couldn’t keep up. We were working so hard but I felt like I didn’t see any change. My mentor looked at me and said, “Ricky, you’ve got to stop being so arrogant. Who do you think you are? Do you think you will change the world? You’re not Superman! How about focusing on saving one life? And one life can become two.” We went back and built a holistic center in Puerto Rico in an area affected by trafficking, and right now we have 132 children coming to the center. We are educating them about human trafficking and opening their eyes to the predators. It’s a lifetime commitment. We are not going to save everyone, but we will save one person at a time.
What else can we expect from you this year?
I’m getting more prepared as an actor, meeting with great writers, producers, and directors and I think there are some great opportunities on the table. I am so lucky to be at a place where I can pick and choose the projects that speak to me. Aside from still making my music, I really want to jump into acting more and playing amazing roles that can have a positive impact on society. My acting career is very personal to me right now; I am obsessed and don’t want to stop!
coat and shirt by Prada, pants by COS, sneakers by Dior Homme, ring by John Hardy
Hair by Joey Nieves @ Grey Matter LA using Hanz de Fuko, Makeup by Maital Sabban @ MS Management, BTS Video by Lavoisier Clemente, Photo Assistant Amanda Yanez, Art Direction by Louis Liu, Editor-in-Chief Marc Sifuentes, Production by Benjamin Price
Photography by Rosamagda Taverna | Fashion Editor & Stylist Stesy | Makeup and Hair by Adelina Popa | Model Sophia @Mp Management
Scarf by Emilio Pucci | Earrings by Iosselliani
Scarf by Mario Dice | Earrings by Dior | Brooch by Rosantica | Shirt by Dondup
Scarf by Gucci | Bra by La Perla | Earrings by Iosselliani
Scarf by Hermes | Earrings and necklaces by Iosselliani
Scarf by Fendi | Glasses by Micheal Kors
Photography by Eric White | Styling by Donte McGuine |Model Cordell Broadus | Production by Sahtia Rivers at the Jeffries Group | Grooming by Marcelo Gutierrez
Coat by ICOSAE at ODD92, Sweater and Shirt by Faith Connexion, Pants by Calvin Klein, Shoes and hat by Dior Homme
Cordell Broadus, son of Hip-Hop legend Snoop Dogg and a former football star, has made his entrance onto the global fashion stage. Collaborating with Joyrich, walking the Philipp Plein show, and being tapped to star in the MCM campaign – Cordell Broadus is a name on the rise. Blessed with dashingly good looks and a charming smile, not to mention star-studded genetics, it is no wonder that he has taken the fashion sphere by storm. Cordell Broadus took us on a trip through Brooklyn while donning some of the men’s wear season’s best. Take a step into the world of Cordell Broadus in this Iris Covet Book exclusive.
How does your experience in the fashion world differ from what your life was like as an athlete?
Everything is different – it’s different in every way… In football it’s all about the team, traveling, and a group mindset. Fashion is more individual and it’s about expressing yourself.
What has been the most exciting development in the fashion world? (ex. Diversity, gender fluidity, etc.)
ME! I’m an exciting development in the fashion world [laughs]. I really feel like I am because I was only considered a football player, people associated me with the football or the music industry. Now, my identity has changed and the way people see me has changed. I’ve lost over 25 pounds and dyed my hair red! That’s development.
How would you describe your personal style?
Funky. I like outfits that remind me of different eras. I love the ‘70s and the ‘80s. The collection I’ve created with Joyrich is very loud and colorful, like the ‘80s.
Who are your biggest sartorial influences?
James Brown. Self-explanatory.
You’ve recently been chosen to star in MCM’s campaign, how did you feel when you were chosen and what does the MCM brand mean to you?
It was kind of crazy when I heard they wanted me for the campaign. The campaign images are so cold – that shit was fire. Growing up, MCM was big in LA. Now I’m working with them in my new career path, so it’s deeper than just a picture.
Tell us about your runway experience with Philipp Plein.
Man, that shit was so lit! I walk out on the runway and Future is performing, all my homies are in the crowd making noise. I felt like a rockstar. Then when I turn around my grandfather, Poppa Snoop, is walking out. It was a grandfather-grandson moment that I’ll never forget. I really want to thank Philipp Plein for making all that possible and for having la familia involved.
Who is your dream collaboration and why?
Willow Smith. I love that she shows how vulnerable she is through her work.
Which do you prefer, New York or LA? Why?
Where do you see yourself ten years from now?
I’ve always been fascinated with real estate and the life of Conrad Hilton. I’d love to own a hotel. Cordell Broadus: real estate mogul, ya dig?
What problems do you see in the fashion industry and how do you think the “New Generation”, a tribe you dubbed on Twitter, can help address these issues?
I’m a positive person, I try not to see negativity, but the fashion industry can improve on it’s diversity on every level; I mean representing different genders, sexual orientation, race… everything. Inclusivity is everything to me. I’m all about the New Generation and giving young people a voice and a creative platform. I remember my first day of 5th grade at a new school… I didn’t know who to sit with at lunch. I had no friends. I didn’t know anybody, so I just followed these two kids the whole way so it didn’t look like I was by myself! [Laughs]. Every time they’d turn to look back at me – I’d feel so awkward! [Laughs] I don’t ever want anybody to feel like that. Everyone needs a seat at the table. I feel like that’s what the New Generation is going to bring to all platforms, not just to fashion.
When designing for Joyrich, where do you look for inspiration? What inspires you now?
I look for people who shaped the culture. My dad truly influenced hip-hop and I wanted to start with something inspired by hip-hop culture first. I’m excited for the Joyrich collab that will drop in January.
What are your thoughts about the recent outcry for equality and addressing abuse allegations both in Hollywood and in fashion?
I think #TimesUp. I’m inspired by and proud of the women and individuals who speak out in every industry, not just ones in the spotlight. I really want to support them and all women. I’m all about empowerment. Let’s make this a revolution.
Who is your biggest hero?
Muhammed Ali. I related to his decision to not go to the Vietnam War. He threw out all of his titles because overall none of that stuff meant anything to him. People thought I was crazy for quitting football my freshmen year, even though I had so much potential and probably would end up making it to the NFL. I thought it was more important to follow my heart and what I believe in. Muhammed Ali did the same – he shaped our culture and broke boundaries. He’s my hero. He was at my last high school football game, he watched me score two touchdowns in the National Championship, that’s all I needed. Now we’re finna walk these runways, take these pictures, and shoot these movies. Ya dig?
Coat by WalterVan Beirendonck, Hat by Beton Cire
Coat by WalterVan Beirendonck, Pants by ICOSAE at ODD92, Shoes Nike x Off White, Hat by Beton Cire
Coat by Faith Connexion, Pants by Calvin Klein, Shoes by Nike x Off White
Coat by Faith Connexion, Pants by Calvin Klein, Shoes by Nike x Off White
Jacket and Pants by Linder, Shirt by Calvin Klein, Shoes by Dior Homme
Coat by Faith Connexion, Pants by Calvin Klein, Shoes by Nike x Off White
Top by Y/Project at ODDBK92
Special thanks to Patrick Meijer and Kendall Werts @ The Jeffries Group
Costume Institute Benefit on May 7 with Co-Chairs Amal Clooney, Rihanna, Donatella Versace, and Anna Wintour, and Honorary Chairs Christine and Stephen A. Schwarzman
(New York, November 8, 2017)—The Metropolitan Museum of Art announced today that The Costume Institute’s spring 2018 exhibition will be Heavenly Bodies: Fashion and the Catholic Imagination, on view from May 10 through October 8, 2018 (preceded on May 7 by The Costume Institute Benefit). Presented at The Met Fifth Avenue in both the medieval galleries and the Anna Wintour Costume Center, the show will also occupy The Met Cloisters, creating a trio of distinct gallery locations. The thematic exhibition will feature a dialogue between fashion and masterworks of religious art in The Met collection to examine fashion’s ongoing engagement with the devotional practices and traditions of Catholicism. A group of papal robes and accessories from the Vatican will travel to the United States to serve as the cornerstone of the exhibition, highlighting the enduring influence of liturgical vestments on designers.
“The Catholic imagination is rooted in and sustained by artistic practice, and fashion’s embrace of sacred images, objects, and customs continues the ever-evolving relationship between art and religion,” said Daniel H. Weiss, President and CEO of The Met. “The Museum’s collection of religious art, in combination with the architecture of the medieval galleries and The Cloisters, provides the perfect context for these remarkable fashions.”
In celebration of the opening, the Museum’s Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 7, 2018. The evening’s co-chairs will be Amal Clooney, Rihanna, Donatella Versace, and Anna Wintour. Christine and Stephen A. Schwarzman will serve as Honorary Chairs. The event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.
“Fashion and religion have long been intertwined, mutually inspiring and informing one another,” said Andrew Bolton, Curator in Charge of The Costume Institute. “Although this relationship has been complex and sometimes contested, it has produced some of the most inventive and innovative creations in the history of fashion.”
The exhibition will feature approximately 50 ecclesiastical masterworks from the Sistine Chapel sacristy, many of which have never been seen outside the Vatican. These will be on view in the Anna Wintour Costume Center galleries and will include papal vestments and accessories, such as rings and tiaras, from the 18th to the early 21st century, encompassing more than 15 papacies. The last time the Vatican sent a loan of this magnitude to The Met was in 1983, for The Vatican Collections exhibition, which is the Museum’s third most-visited show.
In addition, approximately 150 ensembles, primarily womenswear, from the early 20th century to the present will be shown in the medieval galleries and The Met Cloisters alongside religious art from The Met collection, providing an interpretative context for fashion’s engagement with Catholicism. The presentation situates these designs within the broader context of religious artistic production to analyze their connection to the historiography of material Christianity and their contribution to the perceptual construction of the Catholic imagination.
Designers in the exhibition will include Azzedine Alaïa, Cristobal Balenciaga, Geoffrey Beene, Marc Bohan (for House of Dior), Thom Browne, Roberto Capucci, Callot Soeurs, Jean Charles de Castelbajac, Gabrielle “Coco” Chanel, Maria Grazia Chiuri (for House of Dior), Domenico Dolce & Stefano Gabbana (for Dolce & Gabbana), John Galliano (for House of Dior), Jean Paul Gaultier, Givenchy, Craig Green, Madame Grès (Alix Barton), Rei Kawakubo (for Comme des Garçons), Christian Lacroix, Karl Lagerfeld (for House of Chanel), Jeanne Lanvin, Shaun Leane, Claire McCardell, Laura and Kate Mulleavy (for Rodarte), Thierry Mugler, Norman Norell, Guo Pei, Maria Grazia Chiuri and Pierpaolo Piccioli (for Valentino), Pierpaolo Piccioli (for Valentino), Elsa Schiaparelli, Raf Simons (for his own label and House of Dior), Riccardo Tisci (for Givenchy), Jun Takahashi (for Undercover), Isabel Toledo, Philip Treacy, Donatella Versace (for Versace), Gianni Versace, Valentina, A.F. Vandevorst, Madeleine Vionnet, and Vivienne Westwood.
The exhibition—a collaboration between The Costume Institute and the Department of Medieval Art and The Cloisters—is organized by Andrew Bolton, Curator in Charge of The Costume Institute, working together with colleagues in The Met’s Medieval department: C. Griffith Mann, Michel David-Weill Curator in Charge of the Department of Medieval Art and The Cloisters; Barbara Drake Boehm, Paul and Jill Ruddock Senior Curator for The Met Cloisters; Helen C. Evans, Mary and Michael Jaharis Curator of Byzantine Art; and Melanie Holcomb, Curator.
Diller Scofidio + Renfro (DS+R), the interdisciplinary architecture and design firm, will create the exhibition design with The Met’s Design Department. Raul Avila will produce the gala décor, which he has done since 2007.
A publication by Andrew Bolton will accompany the exhibition and will include texts by authors David Morgan and David Tracy in addition to new photography by Katerina Jebb. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press.
A special feature on the Museum’s website, www.metmuseum.org/HeavenlyBodies, provides further information about the exhibition.
The exhibition is made possible by Christine and Stephen A. Schwarzman, and Versace. Additional support is provided by Condé Nast.