Tag: fashion

DAO-YI CHOW AND MAXWELL OSBORNE OF PUBLIC SCHOOL NYC

Born and bred purveyors of New York cool, Public School are surpassing their own successes by delivering their signature synergy of street and substance to their women’s collections.

Photography by Bon Duke | Styling by Kate Carnegie | Featuring Models Ana Christina @ New York Models, Sahara Lin @ Elite Models, Jordan Legessa @ Heroes | Interview by Alan Bindler
All Clothing by Public School NYC

Luxury Streetwear. To an outsider, it can seem an oxymoron of sorts. The history of streetwear is long and storied, the specifics of which are hotly debated in the comments sections of 21st century cultural hubs like Complex and Hypebeast. Born out of surf and skate culture of the late 1970s and infused with urban wear aesthetics of the 1990s, luxury streetwear combines these influences with the timeless quality and craftsmanship one would expect from European maisons. Founded in 2008 and relaunched in 2012, Public School has been evolving the genre to great accolades for nearly a decade, defining what is cool and coveted by a rising generation of luxury consumers. Originally a men’s label, designers Dao-Yi Chow and Maxwell Osborne launched their women’s line in Fall 2014, marking a seamless transition for the go-to brand of born-and-bred New York cool. 2017 is a benchmark year for Public School, with the volume of their women’s business about to surpass the men’s. Here, Iris Covet Book chats with the duo about designing for women, why luxury streetwear is so relevant now, and the new definition of luxury.

I understand that this year the women’s business is surpassing the men’s business. Do you think that’s going to affect how you show the brand in the future and the overall brand story?

Maxwell Osborne: I think in the longer term, for us, yeah, women’s business is growing and it has turned into a bigger business than our men’s business, which we kind of knew would happen going into it, and I think we just change with the times and really figure out what’s best with us in terms of how you show and release products. And I think that’s also just a sign of where we are in general in the marketplace and how women and men shop, and how our retailers buy the products. So it’s not surprising that our women’s business is bigger than our men’s business. I think we’ll always be known as a menswear brand first and foremost, but it’s actually also refreshing to have the women’s business grow at the pace it’s been growing.

Can you speak a little bit more about this and your vision for who your female customer is?

MO: Actually, it’s evolving. Our women’s business is still so new, so we’re still learning more information about our Public School Girl. We’re finding out now it’s actually Public School Women as well. They blend, and now we’re learning that Public School is not just a girl line, it’s also a woman’s line, maybe even more so than we thought. So we’re continually learning about our own brand through the people that wear it and buy it. Right now our lines have been blurred in terms of who the girl is. It’s really just this girl who’s transformed into a woman. It’s great to watch.

That’s exciting. It’s almost as if your customer is growing with you.

MO: Yeah, basically. They’re maturing with us, for sure. Do you have any specific muses? MO: I think we have a lot of different ideas of who this woman is – there’s not just one specific girl, but it’s the girl on the go, the girl who lives in a metropolitan city, who knows what’s up and goes from work to drinks, or work to dinner to an art gallery to a party and never really has to change. She’s comfortable in her own skin. Obviously all very cliché, but that’s exactly who we design for in terms of being a New Yorker or being in Tokyo or another big city. Just a girl that’s on the move and very comfortable in what she does. She’s not just one girl. It’s the girl of many faces.

What are some things you find yourself thinking about when you’re designing for women that you didn’t think about when you were designing exclusively for men?

MO: The idea of ease and femininity is something that we never really thought about for men. We’ve kind of softened that up because a lot of women just want to be feminine. And it’s like, what’s the reason you’re buying a Public School women’s dress? We’re not floral and ruffles all the time. We’re different than that. So what’s our take on that? I think that’s the challenge we always have. A good challenge in designing for women, for our customers, is what’s that line of femininity which also makes it very Public School. So we’re always challenging ourselves and figuring out that piece.

In today’s market, department stores, even luxury ones, are full of sale racks. When you go to an industry trade show, it’s a sea of booths for small labels that no one may ever hear of; It can be kind of easy to get discouraged from a designer’s perspective. Do you ever feel that? That there’s just so much out there, and how do you find that voice?

MO: Yeah, we do feel like that. To be a designer and also be conscious of what’s going on, and knowing that nobody really needs to produce another piece of clothing in this world because we have enough to survive. But at the same time you can’t say that because it’s what you do and it’s what you love. It’s refreshing when you see a brand that has a clear voice and understanding of who they are, as opposed to a bunch of brands that are just doing the same thing and fighting for the same thing. I think that gets a little frustrating. Not discouraging, but more frustrating. As an artist, you want to see other people get excited and inspired. It’s exciting when you see a brand that has its own voice, its own creativity, and its own lane.

Public School is a luxury brand, influenced by a streetwear aesthetic. Some would call that ironic, as there are certain socioeconomic factors that come into play there. Also, when a brand is streetwear influenced, there’s a certain authenticity and exclusivity that contributes to the price point, as well as the quality. How do you balance that, and do you have any thoughts on the irony of having to appeal to a “cool” consumer, but also a consumer that can spend a certain amount of money on products of this quality?

MO: The quality and fabrication help dictate those prices, so showing a baseball cap, but in a different fabric, automatically takes it to a designer price because you used designer fabric. We’ve always tried to blend what we love, like the streets and the highs and the lows — for sure. That’s what we always want to do. We just try to blend those pieces in and own our lane. It’s not just street, it’s not just high fashion or designer. It’s just a mosh pit of it all, all in one. And look at the market place – I’m trying to think of any street brands that are like, really street, but offer high-end pricing without the quality matching. Usually it’s just inspired by the street but still very much luxury. You can say that for Vetements, especially; these ideas of street pieces but done in a not-so-street way. It’s not just a basic French terry, there’s always more elements to it, so it makes sense to me, it warrants that. I don’t think of it as streetwear at luxury pricing for no reason. There is a reason for it.

Dao-Yi Chow: There’s perceived value and there’s inherent value. From a streetwear standpoint, I think brands that have been able to take the perceived value, and take the product up to a luxury price point, I think that’s been the magic or allure of what those brands do. But what we do, it’s inherent value; from the fabrications, from where we’re making the clothes, from the trim that we’re developing… there’s tangible reasons why the things cost what they do. I think that there’s a distinction between those two. You have brands or designers who are able to charge more money for goods and position it from a luxury standpoint based on a perceived value, and whether the actual clothes do or do not merit the price points – it’s not my place to say. For the most part, we try to price everything based on what they cost us.

Luxury and designer clothing used to be reserved for a certain segment of the population, and obviously from an economic standpoint it still is, but this explosion, for lack of a better word, of luxury streetwear, what is that telling us about society? How is that a reflection of the changing face of the luxury consumer?

DC: I think it’s sort of a breakdown of barriers, judgement, and people – streetwear is streetwear because it’s what’s happening now. That’s what streetwear has been – what is happening on the street right now. How do we address it, and how do we take that messaging culturally and turn that into something you wear on your body? And so I think that there’s a breakdown of what people think is important now. What used to be important is no longer important, and so in a lot of ways the barriers are down and people can just sort of be who they are and not feel like they have to pretend.

So there’s not a specific mold for the luxury consumer anymore?

DC: Yeah, I think that’s also from a consumer standpoint, that people are not like, “oh, it’s from this European house and it costs $2,000 and that means that it’s luxury.” Luxury has opened up. The definition of what luxury is has broadened.

There’s a lot of conversation now in fashion press with regards to sustainability and technology. Beyond recycled textiles, what’s the future of fashion as you guys see it with regards to these topics? How do you see the industry evolving, and how are you addressing it in your own work?

DC: The fashion industry in general needs to figure out how to affect its carbon imprint on the world. We were actually in Copenhagen at a summit on fashion sustainability. So for us, it needs to start with being responsible, and not just being responsible in the things we do and create but being responsible for what we imagine, think about, and ideate. Nothing is being created without the thought or the intent, so the intent needs to come from a sustainable place, and we try to work with as few factories as possible. We try to have visibility and clarity on where the products that we’re using are coming from, but ultimately we are not 100% guaranteed. We’re also in a business that makes things we really don’t need. That’s tough to say as a designer, as a person who has a career in fashion. What we do is not very sustainable at all. I think we’re trying to think about it more and affect it in ways where we’re looking at the life cycles of garments that we create and the materials they come from. In a couple of upcoming collaborations, that is sort of the main idea and the main rallying point that we’re trying to get behind. So I think in general, our thought process needs to be sustainable, the ideas need to be sustainable, and then subsequently what we produce and create off of those ideas will be more sustainable. But, at the same time, I wouldn’t say that we are torch bearers.

Speaking of collaborations, you’ve collaborated with a wide array of brands including Tumi, J. Crew, Oliver Peoples, Fitbit, Jordan – could you explain how collaborations really work and why you’re so drawn to doing them?

MO: You know, collaborations are obviously the meeting point in the middle of the two brands. Each brand shares in the other’s aesthetic, but for us when we do these collaborations we’re really just working with the best in what they do that actually fit our lifestyle outside of what we do. So, to work with Tumi, it’s easy because we travel so much, designing luggage was easy for us. It’s like, what do we want from our luggage? And we obviously pick and choose which ones are best for us and the brand. We grew up wearing Jordans. We travel all the time. I wear glasses all the time. So it comes from a true place. It’s not like we’re pulling them out of a hat just to do them. It’s actually coming from things that we’re going to use, and that’s how we design it. It’s how we’re going to use it. We’re not doing it for anybody else, really.

You have a collaboration with Moët that’s coming out also. Can you tell me a little bit more about that.

MO: We’re going to be drinking a lot. (laughs) I guess that’s a start, right? There’s the reason for that one.

DC: Moët is sort of a culmination of this idea of celebration for us, having moments to be able to celebrate and share with other people. And that process actually was really cool because we were able to travel out to Epernay where the wine and the champagne are made. And how the Maison treats it as such an artform. It was eye-opening to see that entire process and see how important that process is to the brand. That was one of the perks of being able to collab with a brand like Moët, which has hundreds and hundreds of years of experience and history.

You’ve been outspoken with regards to your support of Black Lives Matter, and your Fall runway show included caps printed with the slogan “Make America New York.” How important are political movements to fashion, both as an industry and also in direct relation to the clothes that we wear? And does one sort of inform the other?

MO: What’s going on in the current climate of the world is very much where we draw inspiration from. What’s going on right now is what we’re thinking about when designing those collections. We are aware of whatever is going on in the world, in our culture and that’s what we try to put on the runway. So, if it’s about politics then it’s about politics. Black Lives Matter, for me, was the moment when I was just really frustrated. I definitely could have been way more outspoken. It’s cool to have a voice and for it to be listened to for a second. For the runway when we did “Make America New York”– what’s great about New York is that it’s a city that is a melting pot and you can’t hide that fact.

You have a call to action that you label WNL, which has multiple meanings; Where New York Lives, We Need Leaders… Can you explain a little bit more about this?

MO: WNL just sort of started out as an internal mantra, and when we say call to action it’s not really a call to action to anyone else other than ourselves. Originally, it was just highlighting and focusing on friends of ours who we felt were leaders in their particular industry, from a creative standpoint. It’s slowly morphed into more than just a platform where, especially now in this climate, we can express and demonstrate whatever our feelings of activism are and align with other groups and organizations who feel similarly. It’s not meant to be a preachy thing at all and hopefully it doesn’t come off that way. But it’s a reminder to ourselves that we need to do something bigger than clothes or making money. I think it’s a helpful reminder for us to be able to focus on our career, while simultaneously focusing on helping each other or helping people who don’t have as much, or helping people to give a voice to those who might not have one.

And is there any specific charity or philanthropic initiative that you guys are currently working on or actively working on with Public School, as far as that’s concerned?

DC: We work with several organizations. There’s an organization that I’m a board member of that’s called Apex for Youth. It’s the largest Asian American mentoring program here in the states that provides mentorship and college preparation for children of all ethnicities, but focused on Asian Americans that live below the poverty line. We also work with the National Center for Learning Disabilities, and we are planning to partner with the ACLU. We donated the proceeds from the sales of our runway show hats to the ACLU. We’re trying to stay active.

   For more information about Public School, please visit PublicSchoolNYC.com – Makeup/Grooming by Laura Stiassni using Sisley @The Wall Group, Hair by Lizzie Arneson @ BRIDGE using Oribe. Art Direction by Louis Liu, Editor Marc Sifuentes, Photographer’s 1st Assistant Mariah Postlethwaite, 2nd Assistant Tom McKiver, Photo Intern Jeremy Hall, BTS DP/Digital Manager Casey Showalter, Senior Digital Tech Nick Korompilas, Production by XTheStudio. Special Thanks to Pier59 Studios.

YOLANDA HADID

Shedding celebrity skin in a compelling new memoir, Yolanda Hadid reveals her metamorphosis from television personality into a champion for Lyme disease survivors everywhere.


Photography by Karl Simone | Styling by Inge Fontayne @ Art Department | Interview by Dustin Mansyur
Chain Metal top by Paco Rabanne, black tuxedo blazer by Lanvin, Earrings by Martin Katz

Transformation is an effective modality when heralding life’s challenges with grace, and Yolanda Hadid is no stranger to change. Throughout the course of her life, Hadid has weathered tumultuous tempests with a hearty and positive outlook, “You have to pull up the bootstraps,” as she says. Few could survive the invasive stress of a camera following them while trying to heal from a debilitating disease, balancing duties as mother and wife, all while dealing with reality-tv Real Housewives of Beverly Hills castmate drama; but Hadid managed to do all of this with class, wit, style, and humor. Over the years, fans have been captivated by Yolanda’s candor and can-do attitude, who regularly takes to instagram and twitter to share positive kernels like: Focus on your goal. Don’t look in any direction but ahead. Or Character isn’t what you have, it’s who you are.

For Yolanda that has meant being the most authentic version of herself, grounded in her truth, and unashamed in the face of those who questioned or stigmatized her illness. Her new tell-all memoir, Believe Me: My Battle with the Invisible Disability of Lyme Disease explores Hadid’s journey down the rabbit hole for a proper diagnostic and 7-year long battle to remission. Hadid has many assets, but her strongest is her ability to evolve, attesting to the truth that suffering doesn’t have to be without reason. The memoir explores her personal evolution and spiritual journey to a higher conscious understanding of her life’s fullest purpose. With a highly-anticipated new series, Model Moms [working title] with Lifetime also in the works, Yolanda makes a return to television and has been busy with the show both on and off-screen.

Capitalizing on pop culture’s fixation as the mother of Supermodels Gigi and Bella Hadid, Yolanda will share her expertise and advice with aspiring model-and-momager duos. The show features weekly prizes and a chance at a coveted modeling contract with IMG Models. Adding executive producer to her accomplishments is a proverbial cherry on top for model mom Hadid, as she makes a full swing into a healthy, joyous comeback.

Too classy to gloat, Hadid’s proud smile simply shines all the way from the top. Success really is the best medicine. Here IRIS Covet Book shares a conversation with Yolanda Hadid.

Georgine black leather dress with safety pin detail, Giuseppe Zanotti black satin sandals.

Many people recognize and know you from the popular Bravo series The Real Housewives of Beverly Hills, but you are actually a modeling industry veteran, with over three decades of experience. How old were you when you were discovered and did your world change quickly thereafter?

I was discovered in Holland by a Dutch agent when I was 16 years old and shortly thereafter by Eileen Ford, which opened many other doors internationally as I started working in London, Paris, and Milan. What made you want to break into the modeling industry and stick with it? I always dreamed of being a professional horseback rider, but never of a career as a model, so it kind of fell in my lap by coincidence. The traveling and financial independence that came with the job made me see the possibilities of my dreams. This is what really motivated me to be disciplined and stick with it for as long as I did.

How and when in your career did you decide to make the transition from modeling into other entrepreneurial interests and opportunities?

I’ve always been very driven and have had an entrepreneurial mindset since I was 12 years old. When I had Gigi at 30, I continued to model for another year. Once I gave birth to Bella, it became impossible to travel, so I started to learn about interior design and worked with my ex-husband on his real estate projects. Once I became a single parent, I remained busy with many different projects, but have always esteemed being a mother as my number one priority.

You helped launch your children’s successful careers in the fashion industry, sharing with them your expertise and experience. Now you’ll be bringing that same expertise to a wider audience on your new show with Lifetime. Can you share details about the premise of the show and how the project came about?

This project came at a very unexpected yet perfect time of my life. I knew that I wanted to move to NYC in the fall of 2017 when my son, Anwar, was going to attend college here. When this opportunity came along, I was completely emerged in writing my book. I was focused on sharing my story while still trying to heal from [what had been] a six-year journey. Energetically, this new opportunity felt right and caught my attention. I guess the best things do come along when you least expect it! I really did not plan on returning to television, unless it meant that I could do a project that was meaningful and inspiring. When I went in to meet Mioshi Hill [VP of Non-Fiction Programming ] and her team at Lifetime, I loved their concept for the show. I was pleasantly surprised that [Mioshi and I] were magically on the same page, and I am hoping the show will reflect that. The show will follow a panel of mother-daughter duos who will live in New York City for two months. The intent of the show is to nurture and prepare them mentally, physically, and emotionally while we explore a journey into the fashion industry and its possibilities. I also hope that the show will be educational and inspiring for all moms and daughters who value the importance of family and their journey together.

What has been the most exciting part of your role as an executive producer?

The most exciting part has been working with a great team from Hudson Media. They were willing to go the extra mile to try to make a meaningful show. I am very passionate about this project, and it’s the best feeling to finally be back at work, doing something I really love.

I imagine you have had more creative input and control with this new project?

Yes, it’s been great to not only be part of creating the scenes in front of the camera, but also to be a part of the editing process off-camera. Would you ever consider doing a masterclass online or in some kind of digital forum that would focus on the same topics as your training program on the show? I am open to anything that will unfold from this experience. I love to work hard and be busy!

What advice would you give to any young person who is trying to break into modeling or the fashion industry?

I believe that it is very important for any young person to have realistic expectations about what it takes to become a fashion model. But, if you are tall, photogenic, willing to work hard, and unique in your own way, then I think it’s worth giving it a shot. I want to shift topics a little and talk about your new book Believe Me. This is your first book. What was the writing process like for you? The writing process was a very cathartic experience for me because it gave me the opportunity to put everything that had happened all in a row, process it, and let it go. I am very grateful that I was given the opportunity to share my story, in order to educate and bring awareness to an epidemic that is much worse than people can imagine. Lyme disease has been growing in the shadows worldwide.

Did you go anywhere to find peace and silence to gather your thoughts while working on the book?

I started the process when I was on a trip to Tahiti. Being in silence so that I could hear my inner voice was really important for me. At that time I created the foundation and road map for the book by using chronological pictures from my iPhoto album.

Did you find the experience to be a source of healing?

I think writing is a great way to process things and, for me, very much a completion of that chapter in my life. I thank God everyday for being alive and being able to share my story. Do you think you will write more books in the future? I would love to continue to write, especially now. My brain fog is finally starting to lift after seven years of living with compromised brain function.

Why do you think you ignored the earliest symptoms you were experiencing?

I ignored the earliest symptoms because I’m a tough cookie. I thought that I could push through my symptoms, especially because prior to my diagnosis, doctors had told me that there was nothing wrong with me.

Black Sweater by Helmut Lang, Black Panty by Victoria’s Secret Ankle-Strap Sandals by Gianvito Rossi

In what ways did your health journey and contracting Lyme disease force you to shift the focus on your own well-being?

I really did not have a choice. I was forced to shut down and retract into my cocoon while uncovering the mystery of chronic Lyme disease. You have chosen not to be a victim of circumstance, but rather a champion for a cause.

Why do you find it so important to use your platform as a tool to shed light on Lyme Disease and its devastating effects?

I truly believe that I got this disease in order to raise awareness and lift the stigma around Lyme disease. Once I understood the higher purpose of my journey, it became clear to me that this was the reason my platform was given to me. There is nothing I would rather do than find a cure affordable for all. This is my dream and will be my life mission until the job is done.

Which modality do you find more effective for those who are living day to day with a family member who suffers from a chronic disease / illness: Sympathy or empathy?

Empathy by far, I don’t think anyone suffering from a chronic disease is looking for sympathy. When you are severely debilitated and in the battle 24/7, a kind word of encouragement from a loved one or friend means a lot.

You make an interesting point in your book when Dr. Klinghardt says to you that the health protocols and regimens are only a portion of your journey to recovery, but also “that working on one’s emotional health is 50 percent of the healing pie”. Throughout the course of your health journey, what experiences have you had that have demonstrated to you the connection among mind, body, and spirit?

After being sick for so many years and living like an isolationist due to Lyme Disease, you lose the ability to really express yourself. When Klinghardt told me that, I was already 5 years into my journey; it just resonated with me. I knew I had to start digging really deep and let go of everything that could potentially hold me from fully healing.

What practices have helped you find balance and peace within this trichotomy?

Through stillness and meditation, I learned to clear my energy field from anything that is not pure. The recovery is long and I still work through stuff everyday but so does everyone else, life just isn’t perfect for anyone.

Suffering often provides us with an opportunity to learn, grow, and evolve. In your book, you share much wisdom that has resulted through your journey. What has been your greatest take away or lesson that you have learned by living with Lymes disease?

During this humbling experience, it became very clear to me that pain is inevitable for anyone, but that suffering is a choice. Practicing a positive attitude and gratitude is very important no matter how shitty your day is. When I started to evolve to my higher self, the road seemed very lonely, but I see now that I needed to shed every energy that no longer matched the frequency of my destiny.

In what ways would you say you have evolved internally / spiritually through the experience?

I really had to get to the essence of who I am in order to survive. So I started to pray more and began allowing my inner voice and intuition to lead me through every step of my recovery. It truly was a humbling experience that made me a much more patient, compassionate and stronger human. It lead me to live in my higher consciousness.

Does living with chronic illness force you to live in the present moment as opposed to being overly preoccupied with the future or past?

The past is gone, and I can’t control the future. You never know how many great hours or days you might have, so you learn to live in the moment and enjoy every minute of it.

You describe many situations when you met other Lyme disease patients who lost their homes, jobs, families, friends, and overall quality of life because of this silent disease. How did these stories shared by and experiences with these patients affect you?

The stories deeply affected me, and still do, as I connect with fans who are suffering everyday. The injustice of it all gave me the fire to fight for everyone and be a voice for those who can’t be heard.

Do you think that affordable healthcare, not only for Lyme disease patients, but all those suffering from a chronic illness, is a human right? If so, why?

Nobody in this world deserves to suffer the way Lyme disease patients do, and it is about time they get the acknowledgement that they deserve. Initially, you were misdiagnosed with chronic fatigue syndrome and depression, as well as prescribed medication for adult ADHD.

Yes, I feel that doctors in today’s world are very quick to write prescription to treat symptoms rather than finding the root cause of the symptoms. Is Lyme disease an illness that is well researched within the medical community?

It’s hard to understand the stigma and debates around Lyme disease considering the fact that it has been around for over 4 decades. I know there are many institutions working hard on finding a cure and proper diagnostics. I just pray it happens soon enough, as millions of people of all ages suffer deeply from this invisible, debilitating disease worldwide.

In what ways did you experience that the modern-day healthcare system in the US is failing its patients?

The health care system is failing the Lyme disease patients that do not recover after 28 days of antibiotics, as any care after that time has to be paid out of pocket. Believe me, it costs an astronomical amount of money to get well.

Black Mesh Top and black leather pencil skirt by Georgine, Black sandals by Gianvito Rossi

What value would you say homeopathic or alternative forms of treatment play in one’s journey to recovery?

We need to get back to Mother Earth, I believe we have a much better chance to heal from chronic Lyme disease holistically than with any of the pharmaceuticals that I have personally tried at this time. There is no magic pill to cure Lyme. Chronic illness, especially Lyme disease, can have devastating effects on a family unit and a marriage. You share very personal details about your marriage and how it was affected by your illness. I shared a few of the details and tried to do it without any judgment, but this is a real life story. What happened to me is something that happens to many of us. I learned that in today’s world, everything is fast and replaceable. Being a caretaker is very difficult, and I have much respect for those who support their partners through situations like mine. But, on the other hand, isn’t that what marriage should be about? Through the good times and the bad times?

What advice would you give to others suffering in a similar situation?

Show gratitude to those who are there to support you, but know that you are in this journey alone. So pull up your boot straps, and fight like it’s your full-time job – 24/7, slow and steady, one day at a time! There is light at the end of the tunnel, and you can all get there, but it takes hard work and dedication.

How have you managed to maintain hope / strength even in the face of the emotional trials that have been a part of your health journey?

My children are my guiding light and my reason for wanting to live and fight through the darkest days of my life.

Thus far, what has been your greatest victory in your battle against Lyme disease?

My greatest victory is being back on my feet, in remission and being able to give back and help others get through this nightmare.

Besides your new book and show, what other projects do you currently have in the works?

My dream is to eventually open a healing center and apply all that I have learned in this journey. But for now, I am very much enjoying just living life, working on expanding my brand, and making up for the seven years I’ve lost!

The fashion industry’s opinion of what is beautiful is in a constant state of change. Today, after all you have experienced, how would you define beauty?

Fashion to me is a personal expression of taste, feelings and choices. But, for me, beauty is your inner authenticity, the connection to Mother Earth, and standing strong in your roots while enduring the storms of life gracefully. The Housewives series is famous for its personalities’ bylines at the beginning of each show, and each season, you write a new byline for yourself.

Today, after all that you have overcome, and accomplished, what would your byline be?

You can’t beat a woman that never gives up.

Is there any message you would like to share with those who ever doubted you?

I send love and forgiveness to all those that ever doubted my journey, and I pray that none of them or their loved ones will ever be affected by Lyme disease or have to suffer the way I did. To be unafraid of the judgment of others is the greatest freedom you can have, and that’s really the bottom line of what I took away from the whole judgment situation I experienced. I will continue to work hard in silence and let the success of my recovery make the noise. ‡

   Black Sweater by Helmut Lang, Black Panty by Victoria’s Secret

Hair by Seiji @ The Wall Group, MakeUp by Dominique Samuel using Giorgio Armani cosmetics, Art Direction by Louis Liu, Editor Marc Sifuentes, Stylist’s Assistant Jenny Hargrove, Production by XTheStudio Special Thanks to Sean Gomes, Special Thanks to Milk Studios NYC, Special Thanks to Marc Johnston.

IRIS MAN – CHEYENNE JACKSON

Cheyenne Jackson is a master of his own destiny. From sleepy Spokane, Washington, to the lights of Broadway, and now in the luxe hills of Hollywood, Jackson has scaled the ladder of success to become a leading man on stage and in film.


Photography by Karl Simone | Grooming by Lacy Boughton | Interview by Benjamin Price
Sweater by Gucci and Coat by Firetrap

Cheyenne Jackson is a Grammy-nominated singer, actor, and songwriter who, as a musician, dancer, artist, writer, husband and father of twins, is the definition of a “Renaissance Man”. Cheyenne has starred in a litany of noteworthy television shows, theatre productions, and films including the American Horror Story series, the critically acclaimed The Most Happy Fella in New York City, and David West Read’s play The Performers opposite Henry Winkler, Ari Graynor, and Alicia Silverstone. His performance in Steven Soderbergh’s award-winning Behind The Candelabra, with Michael Douglas and Matt Damon, was multi-layered and added a new dimension to his on-screen acting reel. Whether it is singing and dancing onstage, or marrying Lady Gaga in a demonic hotel in American Horror Story: Hotel, Mr. Jackson brings new life to each character he plays.

Cheyenne will soon be on our television screens once again as one of Ryan Murphy’s elaborately crafted characters on American Horror Story: Cult, a new comedy series entitled American Woman, and he continues to work on his own writing, music, and an upcoming project in animated voiceovers.

In addition to all his artistic accolades, Jackson is fully immersed in several charities focusing on a variety of social issues. Cheyenne is a strong advocate for LGBT rights, marriage equality, animal welfare, and HIV/AIDS research. He is an international ambassador for The Foundation for AIDS Research (amfAR) and serves as the national ambassador and spokesperson for The Hetrick-Martin Institute and the Harvey Milk High School. Jackson also actively supports “The Trevor Project” and the Gay Lesbian and Straight Education Network. Cheyenne Jackson sat down with IRIS Covet Book to discuss his journey as a small town boy on Broadway, our current political discourse, and dressing up as Wonder Woman.

How did your professional path as an actor take you from regional theatre in Seattle to the Broadway stage?

I had never had the guts to make the move to NYC up until 9/11 happened… and I didn’t want to waste any more time in my life. I was 27 years old at the time, which is considered late to be “starting”, I knew it was now or never. I decided to head to New York City because it is the home of Broadway. I was determined, I was prepared, and I was lucky. My first broadway audition was for Thoroughly Modern Millie and I booked it. I was on Broadway after six weeks of being in NYC. I was in the ensemble, was understudy to the two male leads, and it was heaven!

How did you make the jump from the theatre stage to television?

Tina Fey came and saw me in a production of DAMN YANKEES at the New York City Center when I was starring alongside Sean Hayes and Jane Krakowski, and she asked to meet me afterward. She said she liked my “big midwestern face” and my comedic timing, and I joined the cast of 30 Rock a few months later. It was the most amazing four years of comedy and television training. Baptism by friendly fire, as it were.

How young were you when you knew you wanted to be performing? Were there any signs as a child that you would be in the entertainment world?

As young as I can remember. I sang from the time I was 2 years old, and I knew music would be a big theme in my life. By the time I was 7 years old I was making my own Wonder Woman bracelets and tiaras out of cardboard, so there were signs that entertainment was in my future.

What is your favorite movie/musical and why?

It has to be Mary Poppins because it’s perfect and it reminds me of being a little kid when everything was safe and worry-free.

When your agent offers you a script or an audition, how do you decide which roles work for you?

For me, it is definitely a gut feeling that I need. If I find myself reading the material out loud rather than in my head, that’s usually a good sign. Then there is the logistics. I’m a new dad of twins so now I tend to pick things that will hopefully not take me away from them for too long. I took 6 months off to be a stay-at-home dad, and it was the best decision I’ve ever made.

You’ve had your time on the television screen, the stage, and the big screen, but is there a “dream role” that you would like to play?

I don’t think it’s been written yet. I’d love my own half hour dramedy series. Something that is topical, irreverent and funny. Like Veep on HBO.

Do you ever think of getting into the world of producing or directing?

I do sometimes. I love the whole process of film and television. I could definitely see myself pursuing something behind the camera at some point.

Speaking of behind the camera, how did you find yourself working with writer and producer Ryan Murphy on the American Horror Story series?

We met after he saw me in Xanadu on Broadway and he hired me for the second season of GLEE. We’ve worked together ever since. His mind is such a mystery to me, and I’m so thankful for him.

Can you tell us about your role in American Horror Story? What can we expect?

All I can tell you is my character’s name is Dr. Rudy Vincent and that I’m having a lot of fun this season. I’m sworn to secrecy, even in press, to give specifics, but I will say it was great fun to play a doctor. I learned a lot. It’s my third year on the show and it’s my favorite season so far.

Is there a dream actor that you would like to work with in your lifetime?

I’d love to have the opportunity to work on a project with Julia Louis-Dreyfus, Nicole Kidman, or Robert Downey Jr.

What has been one of your favorite collaborations in your career?

I have a few so far. It was great working on Behind the Candelabra with Michael Douglas, 30 Rock alongside Alec Baldwin, a pilot called The Onion News Network with Jeffrey Tambor, and an episode I had with Gwyneth Paltrow on GLEE. These are just a few of the highlights.

When not on set or rehearsing for a role, how do you like to spend your time?

With my kids and my husband in a big dog pile in our TV room. I love traveling and I love to be outside. My mom lives in Laguna so we spend time with her.

Last year you became a father of two, how have they changed your outlook on life? Is it what you expected?

I always knew I was going to be a father. It’s the only thing I’ve ever been certain of. When it finally happened it’s as if my life began when they were born. Cliché? Maybe. True? Absolutely. It’s just so profound. My work is still important to me but my perspective has changed…the urge to provide for my family is stronger than ever, but the insignificant stuff I used to sweat in my career means so much less now that I know what’s really important.

You met your husband during at an AA meeting you both were attending, how did you two help each other cope with addiction during this period?

We were both newly sober and definitely at turning points in our lives. We found each other when we needed each other the most. In life, we just have to help each other get through this life together. He’s a magnificent person.

What advice would you give someone struggling with alcohol addiction?

Reach out and get help. There is no shame in asking for help; in fact, asking for help and admitting you need help actually takes more bravery than anything else.

What began your involvement with amfAR and Hetrick-Martin institute? Can you tell us about that work and why these charities are close to your heart?

I became personally affected by the disease when a friend of mine was diagnosed with HIV. I felt a desire to get more involved and help in any way I could. I contacted amfAR and asked how I could help. The Hetrick-Martin Institute came to me and asked me to come tour their facility and meet with their team. I went on the tour and loved the work they were doing, and I’ve supported them ever since.

You are involved with over a dozen charities focusing on social issues which include LGBT rights, marriage equality, animal welfare, and HIV/AIDS research, why do you find it so important to give back in this way?

Because I know how lucky I am to have what I have and live where I live. Giving back gets me out of my head and helps me focus on something other than what’s going on with me. I need to be of service in order to feel good about myself; it’s as simple as that.

Given the current state of the world in politics, environmental concerns, social change, etc. what advice would you give to anyone who want to get involved in giving back to their communities?

If you want more peace of mind, more relaxation, more harmony in your head, you should do some charity work. Being of service is the best way to get out of your own way and get some much needed perspective in this crazy world.

With the rhetoric coming from the White House that trans people should not serve in the military and legislature that will allow discrimination based on sexual orientation, are you worried that the LGBTQ community is in serious jeopardy?

How could one not be when under this abhorrent man that is our president? But I have faith in our community, and what I do know is that all this has lit a fire in many people who were previously fairly politically dormant. People are more awake than ever.

As a member of the media, and of the gay community, what do you think is your responsibility to the country when Hollywood and the LGBTQ world are under fire?

The best defense is to live out louder than ever. I am an open honest person and I live it out loud. I’m a gay father and I’ve been out of the closet for 23 years. I have no secrets and I treat people the way I want to be treated, and that’s what Jason and I are teaching our children. Live through example. Be open. Be interested in others.

What is next for you and your career? More music? More film? Maybe something completely different?

American Horror Story: Cult airs September 5th. American Woman airs early next year on Paramount TV. I’d love to continue to work on great television shows and continue to tell stories. I would also love to make more music. I am going to start writing again; I have a lot more to say now. I will always be open to making movies. Currently, I am getting into voiceover work now as well. I’m shooting my first animated pilot next month and have had the opportunity to work with some of the best animated voiceover artists in the country. It turns out I have all these voices in me. Who knew?

What advice would you give to a young actor/singer who is trying to make it in Hollywood or on Broadway today?

Be open. Do your homework. Be kind. Get a thick skin. Don’t google yourself. Don’t be an asshole. Work on your mix. Get it strong and consistent. (Singers will know what I’m talking about!)


Full Look by Calvin Klein

WILL COTTON EXHIBITION – MARY BOONE GALLERY


INSTALLATION : Mary Boone Gallery, New York.  September 2017.

On Thursday 7 September 2017, Mary Boone Gallery opened at its Fifth Avenue location an exhibition of new paintings by Will Cotton. The attractive elsewhere promised in the child’s board game Candy Land continues to serve Will Cotton as a metaphor for adult desire, temptation, and indulgence.


WILL COTTON
“Cocoa Queen”
85” by 54” (215 cm by 137 cm)
oil/linen
2016
COPYRIGHT: WILL COTTON.
COURTESY: MARY BOONE GALLERY, NEW YORK.
(MBG#11949)

The paintings in the current exhibition meld this imaginary world with reality, as Cotton has invited his studio models to participate in a collective fantasy by selecting their own costumes from among a number that he has created. These dresses are constructed from contemporary commercial packaging materials for cacao beans, candy, donuts, and sugar. The alluring bright colors and bold graphics of these familiar brands are as captivating and comforting as the frosting crowns and lollipop trimmings are implausible and exotic.

WILL COTTON
“Departure”
75” by 50” (190 cm by 127 cm)
oil/linen
2017
COPYRIGHT: WILL COTTON.
COURTESY: MARY BOONE GALLERY, NEW YORK.
(MBG#12053)

In the most recent painting “Departure”, Cotton alludes to an impending shift in the place his figures occupy. This model turns away from the viewer, one raised arm shielding her eyes from the glare of sun and cool blue water. Her outfit, made of cane sugar bags, blends in color and pattern with the deck on which she sits. She gazes toward an idling seaplane, the peppermint-striped letters of the carrier name mostly obscured but presumably Candyland Airways. The painting is an orchestration of layers of red and white, and the only thing edible is the model’s crown. A bag is packed, a plane awaits – perhaps the model is really reaching for her crown, ready to relinquish it and leave behind her realm where sweetness is the most prized attribute.

WILL COTTON
“Hostess”
65” by 46” (165 cm by 116 cm)
oil/linen
2016
COPYRIGHT: WILL COTTON.
COURTESY: MARY BOONE GALLERY, NEW YORK.
(MBG#11929)

The exhibition, at 745 Fifth Avenue, is on view through 28 October 2017. For further information, please contact Ron Warren at the Gallery, or visit  www.maryboonegallery.com.

WILL COTTON
“Joyous”
80” by 50” (203 cm by 127 cm)
oil/linen
2017
COPYRIGHT: WILL COTTON.
COURTESY: MARY BOONE GALLERY, NEW YORK.
(MBG#12052)

WEB EXCLUSIVE – IT’S A BEAUTIFUL DAY IN THE NEIGHBORHOOD!

Photography by Tiffany Nicholson | Styling by Jennifer Park | Hair by Rubi Jones | Makeup by Kim Weber
Model Roza Figueira @ Elite

Fur Vest by Georgine, Sweater by Champion, Skirt by Off White, Leather Choker by Materia Prima NY

Top and Pants by Henrik Vibskov 

Shirt by Vfiles, Dress by Amur, Necklace by COS 

Dress by Amur, Hat by Kangol, Sunglasses by Pawaka, Bag by Marc Jacobs, Shoes by Tibi  

Sunglasses by Henrik Vibskov x Gentle Monster, Dress by Allina Liu

Blouse by Amur, Coat by Allina Liu, Pants by Marc Jacobs, Leather Choker by Materia Prima NY, High Top by Vans

Hoodie by Sandro, Pants by Amur , Fur by Georgine

Dress by Carven, Jacket and Earrings by Victoria Hayes

 

MARC JACOBS AND RUPAUL HOST DRAG BALL BENEFIT FOR PLANNED PARENTHOOD

NEW YORK, NY – September 8 – Last night at Marc Jacobs Beauty & RuPaul’s DragCon Present: Fashion Does Drag Ball, RuPaul and Marc Jacobs welcomed guests to their benefit for Planned Parenthood at McKittrick Hotel. The event also celebrated New York Fashion Week, along with the inaugural RuPaul’s DragCon NYC, taking place this weekend at the Jacob K. Javits Center.

https://www.instagram.com/p/BYw1rkrHv9b/?taken-by=themarcjacobs

RuPaul served as DJ, playing sickening music, encouraging guests to lip sync for their lives and sashay on the dance floor.

“Dancing to the beat of a different drummer is what DragCon is all about, and last night we danced, danced, danced!” -RuPaul

Additional photos are also included of guests including Michelle Visage, New York Housewife Luann de Lesseps, Paulina Porizkova, Nina Agdal, Derek Blasberg, and numerous contestants from RuPaul’s Drag Race including Detox, Raja, Miss Fame, Milk, Bebe Zahara Benet, Violet Chachki, among others.

Marc Jacobs Beauty & RuPaul’s DragCon Present: Fashion Does Drag Ball was sponsored by World of Wonder, Marc Jacobs Beauty and VH1.

https://www.instagram.com/p/BYyGhukA3EN/?taken-by=missfamenyc

After three successful years in Los Angeles, the inaugural RuPaul’s DragCon NYC takes place Sept. 9-10 at the Jacob K. Javits Center.

Presented by RuPaul and World of Wonder Productions, RuPaul’s DragCon is the world’s largest annual celebration of drag culture. The two-day convention welcomes fans of all ages and backgrounds to unite and celebrate the world of drag in a friendly and accessible environment.

For more information on RuPaul’s DragCon NYC and a full list of exhibitors, programming and merchandise, please visit: RuPaulsDragCon.com. Buy tickets here.

The Atelier with Alina Cho: PROENZA SCHOULER

The next Atelier with Alina Cho will feature designers Jack McCollough and Lazaro Hernandez of Proenza Schouler, on Thursday, October 12, at 7:00 p.m. at The Metropolitan Museum of Art. American design talent standouts, Jack and Lazaro rocked the fashion boat in July with their journey across the Atlantic to show their Spring/Summer 2018 ready-to-wear collection during the Fall/Winter 2017 haute couture shows in Paris. Pioneers of style and craft since they launched their brand 15 years ago, the fathers of the 10-year-old perennial “It Bag” known as PS1, will chat with journalist Alina Cho about why they showed in Paris, how they manage their personal and professional relationship, and what inspires their collections.

Now in its fourth season, The Atelier with Alina Cho has featured fashion visionaries such as Alber Elbaz, Diane von Furstenberg, Michael Kors, Olivier Rousteing, Donatella Versace, Alexander Wang, and Anna Wintour in conversations that explore the intersection of fashion and art along with a range of personal topics.

This series is made possible by the Doris & Stanley Tananbaum Foundation in memory of Doris Tananbaum. Proenza Schouler is a New York-based womenswear and accessories brand founded in 2002 by designers Jack McCollough and Lazaro Hernandez while they were students at Parsons School of Design. Known for drawing inspiration from contemporary art and youth culture, Proenza Schouler has played an important role in reinvigorating American fashion. Named after the designers’ mothers, using their maiden names, Proenza Schouler won the inaugural CFDA Vogue Fashion Fund Award and has won five CFDA awards including Womenswear Designer of the Year and Accessory Designer of the Year. The brand has six freestanding stores, the first of which opened in New York City in 2012, and is sold in more than 350 stores worldwide.

Alina Cho is currently Editor-at-Large at Ballantine Bantam Dell, responsible for acquiring and co-editing books in the fashion and lifestyle categories. She was previously National Correspondent at CNN and host of Fashion: Backstage Pass.

Tickets start at $40. Premium seating is available.
For tickets and information, visit www.metmuseum.org/tickets or call 212-570-3949. 
Tickets are also available at the Great Hall Box Office, which is open Monday–Saturday, 11 a.m. –3:30 p.m.
Tickets include Museum admission on the day of the event.
Prices are subject to change.  

SOFIA BOUTELLA – BY ELLEN VON UNWERTH

Positioned to take the main stage with two summer flicks set to be box office smashes, playing opposite Tom Cruise in The Mummy and alongside Charlize Theron in Atomic Blonde, Sofia Boutella is ready for her close-up.


Photography by Ellen Von Unwerth | Styling by Deborah Afshani | Art Direction by Louis Liu | Editor Marc Sifuentes | Interview by Dustin Mansyur | Dress by J GERARD

Sofia Boutella is about to blow out the candle on a chocolate lava cake served up graciously by the pastry team at Chateau Marmont. Glasses of champagne are lined up across a low wooden table, ready to serve. Swarthy and saturnine, Boutella sweeps her dark locks to one side and leans over the cake, pausing momentarily as she closes her eyes to make a wish, before extinguishing the flame with a flash of her infectious smile. “Bravo!” everyone cheers while Sofia flits a bashful round of thanks. The celebration is actually impromptu during a lunch break, and Sofia is on-set for a photoshoot with Ellen Von Unwerth at the famed West Hollywood hotel. Birthday or no birthday, embodying a femme fatale for a crème-de-la-femme celebrity photographer is all in a day’s work for Boutella, who’s poised to unleash her prowess with two movies in this summer’s highly-anticipated release of Alex Kurtzman’s latest installment of The Mummy and David Leitch’s spy thriller, Atomic Blonde. Maintaining her coquettish sensuality while kicking ass is a razor wire that Boutella jetes upon with ease, even if it involves otherworldly makeup or taking a punch on set.

Hailing from Algiers, the ingénue actress is actually a multi-faceted artist who began her career as an internationally-acclaimed dancer, enrolling in classical dance education at the age of 5. Later, when her family moved to France, Sofia continued dancing, adding rhythmic gymnastics to her education, and joining the French national team by the age of 18. In 2006, with her dance troupe The Vagabond Crew, Boutella went on to win the World Championship Hip Hop Battle, making her an undeniable force in the world of dance.  With several smaller film and commercial appearances already under her belt, she made a breakout appearance in a series of iconic Nike campaigns choreographed by legendary choreographer and creative director, Jamie King. Quickly garnering the interest of several high-profile musicians, Boutella found herself dancing for Madonna, Michael Jackson, Rihanna, Usher and many others. Breaking out on the big screen,  her most recent film appearances include Justin Lin’s Star Trek Beyond co-starring Zoe Saldana, Chris Pine, and Zachary Quinto and Matthew Vaughn’s Kingsman: The Secret Service, alongside Colin Firth and Samuel L. Jackson.

Here IRIS Covet Book shares a conversation with the blockbuster beauty about lesbian love scenes and mystic monsters with heart.

 

Feather Coat by Vanessa Seward, Bra, Panty and Garter Belt by Maison Close, Black Stockings by FALKE, Shoes by Christian Louboutin, Choker, Earrings and Bracelet by Eddie Borgo

You worked with Ellen Von Unwerth at Chateau Marmont for this cover shoot. How did it go? What was it like working with her?
Oh my God, it was amazing! I loved working with her! I think she’s fantastic! I loved her ability to get things out of me. I’ve never shot with her before, but after working with her I felt like I understood how she’s able to get this energy in the photos. Her style really allows people’s personality to shine through in the images. She let me be myself while still giving me interesting, creative direction. It was really cool.

What did you enjoy most about working with her? Was there a specific look or shot that you loved?
I just had a lot of fun because it was going to be my birthday the day after. I was having lunch and ordered some French fries because I hadn’t had them in so long! I came on set still eating, so she started to shoot me while I was having fun with the fries. We had another moment where we were shooting at Bar Marmont and I was dancing on the bar. While we were there, they were using the kitchen for their pastry department and one of the chefs started talking to me. He asked me, ‘Do you want anything?’ I said, ‘Yeah why not. You have chocolate cake?’ So he brought me a chocolate lava cake and I started to eat it for another photo, it was so delicious! There was another moment where we went upstairs on the balcony. I told them to not freak out because I’m very agile and I don’t have issues with heights, so I sat on the ledge of the balcony. Hopefully we got some great images from that. However the photos turn out, they’re going to be so truthful because I was having such a great time!

I’m so excited to see what you created together. I knew that was going to be a dream pairing. All glamour aside, as a child did you see yourself ever acting in movies? Or what did you want to do when you were younger?
When I was a kid I wanted to be two things. I always said I want to raise dolphins. I wanted to work with dolphins because I was obsessed with the show Flipper when I was a kid. Then, somebody in my family got me into this game that was like “Doctors Without Borders.” So I wanted to be a doctor without borders.

Latex Bodysuit by Dead Lotus Couture, Shoes by Marc Jacobs

That is such a different path than what you’re on right now, but I’m sure your fans are thankful that you choose a career in entertainment. You have two summer movies that are projected to be blockbusters, The Mummy & Atomic Blonde. You have the title role in The Mummy opposite of Tom Cruise. How did you get chosen to play this character?
I was finishing the movie Star Trek and I got this script sent over. I met up with [the director] Alex Kurtzman, and he offered it to me. At first, I said no because the part scared me and having just done Star Trek, I was concerned about having to go under an extensive makeup process. I didn’t want to be a monster walking around scaring people, that wasn’t for me. But I gave it more thought, and was very attracted to the character because she had a relevant and interesting background.

What were some of those things that intrigued you about her character?
I think that she had an intriguing backstory. This is the first time there has been a female mummy. My character is a princess from ancient Egypt, the daughter of a Pharaoh and she’s promised to become Pharaoh herself because she was the only child. After her mother dies, her father meets a woman who bears another child which turns out to be a son. The promise of the kingdom and becoming Pharaoh is taken from my character and given to the son, because he is a male heir which leaves my character heartbroken and scorned. She later becomes ruthless when she comes back in modern day seeking what she was promised to begin with.

So then what was the process like working with the director, Alex Kurtzman to reimagine this character and breathe new life into it?
It was lovely to work with Alex! I wanted to care about my character and have her be heard and understood. We developed the backstory so that the audience understands her better and can have some sort of compassion for her. I think a character becomes more interesting when you understand why they do what they do in the movie.

So that she’s not just a monster, but that she has a heart and you can sympathize with her emotions.
Exactly and that was very important to me.

 

Dress by Lanvin, Black Goat Hair Jacket by Adrienne Landau, Shoes by Christian Louboutin, Bracelet by Eddie Borgo, Choker by YVY, and Sofia’s Own Earrings

 

Did you have to do anything special in order to prepare for this role or get yourself into the character?
Well, you know, the makeup process was something that helped me get into character. It would take about 6 hours to do. Of course, it was painful because they’re long hours, but I wouldn’t have had it any other way. Once I’d have my makeup done, people looked at me different, and I felt physically different. I also researched about ancient Egypt and Egyptian Mythology. Understanding the body language was important because I wanted her to walk around not like a monster, but as a queen since that’s who she was.  She carries herself as royalty, never moving faster than anybody. I also explored playing with the voice and speaking slower to bring in that element of power.

Did you get to have any input on the costume or the look of the character?
Yes, they really let me share my thoughts and we were able to collaborate on much of the character’s look together.

So you star opposite of Tom Cruise, who is a very seasoned actor. What was it like working with him and did he share with you any advice or words of wisdom that you might take to heart as an actor?
Being on set with him was like being at school, in a good way. I learned so much from him; he’s such a dedicated actor who loves the craft. You see him on set figuring out how to make a movie work. I learned a lot about cameras, lenses, and camera angles when I was with him. He examines those aspects and really understands how to tell stories with camera movement, and it’s something that I will definitely use and pay close attention to.

Dress and Rosary Necklace by Dolce & Gabbana, choker necklace by Jillian Dempsey Black Patent Heels by Christian Louboutin, and Sofia’s Own Necklace.

Amazing! You recently were awarded the “Female Star of Tomorrow” from CinemaCon for your role in Atomic Blonde opposite of Charlize Theron. When were you first presented with the role of Delphine and can you tell us a little bit about your character in this movie?
She is a French spy who is stationed in Berlin, just before the fall of the wall. She’s on the younger side and she’s a bit naïve, but she’s good at her job while still exploring her identity. She’s taking in the dynamic and intensity of Berlin at that time, and learning from it. She’s sweet but also a very cool, edgy kind of girl who is a less-experienced spy than Charlize’s character. When they meet, my character is supposed to do her job and carry out her mission, but at the same time there is also this romance happening between our characters.

I went to a press screening and you two have a steamy love scene in the movie.  What discussions did you have with Charlize to prepare for that scene?
I was nervous, I’ve never done a scene like that and this scene was with a girl, which didn’t make much difference to be honest. We both felt the scene shouldn’t feel forced.  But, you know, Charlize made me feel comfortable and very much at ease. At the end of the day, I was very comfortable with my body and my femininity and I don’t feel like I shied away from it. She’s super fun and such a great actress so that made it easy.

 

Dress by J GERARD and Shoes by Giuseppe Zanotti

It was very refreshing to see the openness of a same-sex relationship in this kind of scene being explored in a major motion picture. I was curious do you think that there’s a stigma in Hollywood which doesn’t allow women in cinema to portray and assert their sexuality in the same manner that their male counterparts are allowed to?
Yes, I believe that’s true. It’s much more often seen in European movies if it happens. I think we do need more movies with powerful, strong women. Charlize’s character teaches us that women can be equally strong and powerful. When I saw the movie, I called her and was like, “You were kicking ass in that film!” I’m starting to observe that sexual empowerment being explored more in films. I think that it’s still rare, but it’s good that it’s shown in this film. We need more of it. We need to normalize all these things, until you look at it and it doesn’t make any difference if it was a man or a woman. I think people want to see more of that and not shy away from it. There’s nothing wrong with that, and I think nowadays we need to focus on the opportunity to push that envelope.

I agree with you and also hope that will be the case someday. You have a background as a professional dancer. You’ve been in so many music videos and concerts. You’ve worked with Madonna, Rihanna and Michael Jackson, among many others. I’m curious how you were able to transition from dancing to acting in major motion pictures and what’s the journey been like?
I began dancing when I was five, so almost my entire life. I started acting when I was 17 and went to an audition randomly. I joined a friend of mine who was going to the audition, and I ended up booking the part instead.  I loved acting and enjoyed working on that first project, so I thought I really wanted to explore that more. After doing that film, I wanted to learn about it, so I took classes. I did a few small projects in Paris between the ages of 17 and 19. Meanwhile, I was still dancing and I thought that I should keep dancing because I didn’t feel like I had given it an honorable go. I thought, ‘I’m just going to focus on that one thing that I’ve been doing almost all my life.’ So I did, and I’m happy that I did because I’ve been a part of amazing projects for which I’m very proud.

When I moved to LA, I thought that I wouldn’t mind taking acting classes again in my spare time. My teacher was Marcy Mendoza. She was like the “ballet of acting” in terms of what I learned and I loved my year in the theater. I studied plays like Chekhov and Ibsen and it was very classical sort of material. After that I booked a movie about a year and a half after called Street Dance 2. I thought it was a great opportunity and was drawn to the character because she was a dancer. I thought that I could learn something from the part, but then I wondered, “Am I hiding?” I loved acting so much, but I felt like I was hiding behind the fact that I was a dancer.  Then I questioned myself for about 2 ½ years if I should stop dancing, because, at the time, I didn’t feel like stopping just yet. I woke up one morning and I remember feeling like I was genuinely done. That day, I watched Madonna’s halftime performance at the Superbowl, and I remember feeling like I was ready to stop dancing. So, I stopped dancing and I didn’t work for 3 years after that.

Left: Chain Top by Natalie Fedner, Skirt by Versus Versace, Leather Jacket (worn inside out) by GUCCI, Lipstick by Chanel
Right: Top by Phillip Plein, Shorts by Sonia Rykiel, Shoes by Marc Jacobs, Choker by Eddie Borgo.

 

 What did that feel like during those 3 years?
It was tough, you know. I never thought that I would give up. I never thought for one second about that because I never had a backup option…I felt like [acting] is all I want to do.  It was hard, but I never doubted myself because I knew my choice truly came from my heart. It seemed like an innate decision and luckily in my life I’ve never had to think, “Oh what am I going to do when I can’t dance anymore?” I never wanted to become a choreographer. I just drifted into acting, not for fame or for money, but because I truly loved it so much.

And do you think the discipline that you learned during your time as a dancer is that that you carried over with you into acting?
Yes, absolutely. That discipline is required as a dancer and it’s something that I will carry with me in life. There is a similarity in my approach with dancing and acting. When developing a character, you have to find a rhythm of how they walk and their body language. My experience as a dancer has made me more in tune with my body, and understanding the expression of movement.

During her Confessions tour, you worked with Madonna who is known for being a perfectionist. Were there any lessons or habits that you picked up on while you were working with her or did she ever offer you any advice that you took to heart?
She gave me advice all the time. (laughter) It was all very, very useful. She’s a strong woman who works really hard. You understand why she is where she is now. Her dedication and compassion is really inspiring and she has a heart of gold. When I met her, I was really a tomboy. She came to me and asked me if I wore heels and I said no. So she handed me a pair of heels and said, “There’s a beginning for everything.” She really encouraged me to own my femininity. I loved that she was able to see beyond how I was presenting myself. She challenged me and those were some of my best years working with her.

On your Instagram account I saw that you had a photo of yourself at the Women’s March in London and so I was curious why you found it important to be a part of this historic event and support it?
I think we live in crazy times. I think our children and grandchildren will look at us and say, “What the fuck did you do?” But, to be honest, I’ve decided to look at it as the glass being half full. What is happening now is very important and significant, and we can choose to be empowered by these trials when people get together and unite. Originally I was planning on going to the march in Washington, but I ended up having to go to London that day. As soon as I landed that morning in London, I went straight to the march—I didn’t even call my friends. When I arrived, all my friends were already there so we all got together. Cellular reception was going mad because it was so packed, but we did manage to find each other and ended up having a great time being together and supporting that cause.

I went to the march here in New York which drew crowds around 400,000 so it was grid locked in some places. The crowd was so thick trying to get through. What were the emotions that you were feeling that day? What was your experience like?
I thought it was quite empowering. As a woman, I feel like there’s a level of consideration that is being given to women now that is far more profound than before.  But, there’s still an imbalance between how men and women are treated. It’s still a man’s world. I think that the Women’s March was necessary even if the socio-political circumstances differ from country to country. Things like this are essential and will need to keep happening until things change.

 

Top by Dead Lotus Couture, Skirt by Zana Bayne, Underwear by Morgan Lane, Shoes by Giuseppe Zanotti, Silver Cuff by Eddie Borgo, and Gold Cuff by Jennifer Fisher

Hair by Renato @ The Wall Group Using Moroccan Oil, Makeup by Kate Lee @ Starworks Group, Manicure by Bettina Goldstein @ The Wall Group Using Karma Organics, Video by Heather Sommerfield, Photographer’s 1st Assistant Timothy R. Mahoney, 2nd Assistant Matthew Tyler Ray, Digital Tech Dale Gold, Stylist Assistant Kirsten Alvarez, Production by XTheStudio, Shot on location at Chateau Marmont Hotel. Special Thanks to Matt Haberman, Bryna Rifkin, Annie Butterfield, and Celena Madlansacay at ID PR.

LOGAN BROWNING

Logan Browning’s intelligence, humor, and passion for both social activism and performance have culminated into a new controversial Netflix series entitled Dear White People.

Photography by Raul Romo, Styling by Rafael Linares @ Art Department, Creative Direction by Louis Liu, Editor Marc Sifuentes, Interview by Pauline Snyder-Goodwin | Coat by Victoria Hayes

Success has been no stranger to Logan Browning in both her personal and professional life. Browning started at an early age to pursue her career in film and TV all the while reigning as homecoming queen and honor student in her hometown of Atlanta, GA. With a starring role as Sasha in Bratz: The Movie, Playing Brianna in Tyler Perry’s Meet The Browns, and as Jelena on VH1’s Hit The Floor just to name a few of her successes, it’s no wonder this multi-tasker will star in the lead role as Samantha White in Netflix’s original series, Dear White People which debuts April 28, 2017. Browning plays Sam, a biracial film major at a fictional Ivy League University where she hosts a radio show called Dear White People. The show becomes popular amongst black students on campus, and leads to discussions on racially charged topics that students typically avoided. In the trailer she addresses her radio listeners; “Dear white people, here’s a list of acceptable Halloween costumes,” classical music and images of elite white people serve as a backdrop. She proceeds by listing a series of ubiquitous costumes white people could dress up in: “Pirate, slutty nurse, any of our first 43 presidents. Top of the list of unacceptable costumes: Me.” Images of people wearing blackface pans across the screen against a crescendo of the classical music piece.

The 10-episode, satirical comedy is an adaptation of director, Justin Simien’s 2014 successful independent film of the same name. Simien has also written and directed the episodes and has found his new series in the fire of controversy sparked by the trailer release. The trailer has fueled some viewers into boycotting the streaming media giant or cancelling their accounts altogether, generating a lot of attention and awareness to the show. Much of the discussion has been superficial, based on the title, alone. But viewers will soon have actual content, in the form of episodes, to discuss.

Browning, under the direction of Simien, endeavors to deliver an insightful and entertaining series while offering a perspective and a criticism on one aspect of race and class tension in our society. With a combination of clever, progressive, and thought-provoking writing and a cast of comedic, young starlets, this Netflix original series is sure to ignite discussions among audiences across America.

IRIS Covet Book recently caught up with Logan Browning in her adopted home of Los Angeles to learn more about the young starlet and her involvement in the original Netflix series.

Top and Pants by Raisa & Vanessa, Shoes by Giuseppe Zanotti, Sunglasses by Sama Eyewear

When did you first know you wanted to become an actress? How did you initially get started in the industry?

I can remember my aunt telling me about a time I was riding in the backseat having a full-on conversation with myself as multiple people with different accents. That was possibly an early sign of a disorder, but more than that, it was apparent that I really loved becoming different characters. I loved doing it for myself, but I also performed for my family all the time. I started in the industry the way any how-to book would tell you: move to LA, get an agent, and go on auditions. All this came after I was a part of a competition called IMTA. At the same time, my parents were trying to figure out how to support two households while living in Georgia while I was chasing my dream as a 14-year-old in LA with my godfather and later on with my older brother as my guardian.

Tell us how you got involved with Netflix’s Dear White People.

I hate to disappoint readers with such a simple answer, but I just auditioned like everybody else. Sam felt natural to me, and I believe that and my commitment to her voice, are part of what awarded me the role. I also came fully dressed in my version of the character and even styled my hair into an exquisite pompadour. I wanted “Sam”, so I confidently walked in as “her”.

How did you prepare for your role as Samantha White? Do you find that you relate to her in any way?

I went around telling white people to stop appropriating my culture. Just kidding! I read. A lot. I read the original screenplay of the film. I read letters written by Dr. King. And I read books Justin mentioned during his press tour for the film. I also went to a radio station to shadow a DJ and learned how to work the boards.

You attended Vanderbilt University in Nashville. Any parallels to the campus setting in Dear White People?

Well speaking of setting, I give major props to the set designer of Dear White People. To date, it is the most gorgeous set I have ever been on. They basically built an Ivy League school in a warehouse. The halls were connected for continuous shots. There was velvet and leather and ornate wallpaper, chandeliers and columns. I was mesmerized. It reminded me of the day I visited Vanderbilt with my dad before deciding to go there. I remember how beautiful the campus was. There is a sense of community that Vanderbilt and Winchester have in common, but I think the self-zoning of groups and ethnicities is represented on most campuses.

What’s been memorable about working with director Justin Simien in the Dear White People series?

Learning from him! His mind is beautiful. His humor is sharp. He’s very Zen. He’s an interesting person to watch because he seems to always be thinking. I mostly appreciate his encouragement. As an actress, I still have a lot of growing to do. His notes to trust my instincts, and not to worry about things not happening the way they are written on the page if I’m honest, were such confidence boosters. Those stuck with me throughout filming and will continue to live with me as I work. His approach gave me a sense of calm which is necessary when I’m really excited about a scene and begin to overthink it. Working with Justin has made me a better actress and a more in-tune human.

Dress by Helo Rocha, Bangles by Djula J

Any personal life experiences that helped shape your role as Samantha White?

I’m a fighter. I’m a little lady. But I’ve always been the friend/daughter/sister whose intent is to protect the nest. Through my experiences with confrontation and debate, I’ve learned yelling may scare people but it doesn’t guarantee that anyone will hear you. That is a part of Samantha’s journey. She has a natural kick ass personality, but she’s also a very emotional and sensitive gal who can move mountains. When I play her, I sometimes feel like I’m living part of my life all over again.

Given our current political climate in the U.S., how do you think viewers will receive Dear White People?  What would you like them to take away from the series?

With the state of our nation and even global political turmoil, it’s undeniable that when we ingest any form of art our radars are up for offensiveness, conspiracy, corruption, and the like. Of course, a title like “Dear White People” is going to conjure up a lot of curiosity, and I proudly stand behind the show as something that transcends both intentionally and coincidentally. Specifically speaking, no one on our production could have known that Dear White People would be airing in a Trump presidency; we wrapped filming on Election Day. I’m sure when it came time for editing, the voice of the show became even more specific with cuts and choices because all eyes will be on this show wondering what it’s all about. Time and art play important roles with each other. Dear White People was written in a Bush Presidency, released as a film in an Obama Presidency, and will air as a show in a Trump Presidency. The temperature and tone is constantly changing with time, but the reason this title prevails is that there are deep rooted systemic issues that we will always battle as a country. At the end of the day, it’s 10 episodes of a 30-minute show. I want people to walk away having enjoyed the characters, the humor, the truth, the opinions, and feel open about discussing the themes of the series.

On VH1’s Hit the Floor, you played a team captain for a NBA cheerleading team called the Los Angeles Devil Girls. Dancing was a key part in this role. How did you train for this?

As soon as we wrapped the pilot episode I enrolled at The Edge Performing Arts Center and took Ballet, Jazz, and Jazz Funk classes every day. In a very limited amount of time, I needed to garner technique, flexibility, and confidence. Technique came from the classes I took, and ballet was the core of that learning process. My flexibility came from a lot of hot yoga and stretching every second of every day. Confidence was something I gained as I became more comfortable with myself. I was playing catch-up with women who have been dancing since they were 3 years old. I had to understand that I was hired to play the captain of this fictional dance team because they saw something special in me as an actress that they didn’t see in any other actress or dancer. I learned to own my sex appeal and strength as a woman. A lot of my confidence came from the support of the women around me. The dancers helped me pick up choreography quickly, taught me the tricks of the trade, and encouraged me to believe that I was truly a dancer.

What’s it like playing a satirical comedy role vs. a drama one?

The biggest difference for me, is playing up the humor. In a drama, I try to make the humor very organic, but with a satire, the goal is to get the audience’s mouth open with laughter so they can digest the message you’re feeding them.

What are your all-time favorite movies?

That would be such a long list. The Silence of the Lambs is the first thing that comes to mind. My dad loved that movie so I love that movie. I obsessed over the silently lethal Anthony Hopkins, and he became one of my favorite actors to study. I love Miss Congeniality and The Blind Side because watching Sandra Bullock is a treat. She is a truly transformational actress.

What would be your dream role to play in a film or tv series?

During our photo shoot, we were on location by a cool sign that read “Sade”. If there was ever a biopic about her life I would do everything possible to be considered for that role. She is so naturally intriguing. I would love to tell her story and transform into her for a film. To play any living or once living person’s story would be a dream. The responsibility of portraying a real person is a challenge I’m up for.

Shirt by Dodo Bar Or, Vest by Shahista Lalani, Jeans by Thomas Wylde, Shoes by Giuseppe Zanotti

How do you keep yourself energized during long hours of filming?

You are liable to find me curled in my cast chair taking a powernap! Number 27 on my list of being a small human is: “fits in most places”. I also stretch. Sometimes you just need to wiggle your joints and lengthen your muscles to get the oxygen flowing through your body and into your brain. Stretching also refocuses me and makes me aware of my body and emotional state. Drinking water is one of my magic weapons. Coffee never gives me the lasting energy that nourishing my body with water does in the long run.

What’s your go-to work out to stay fit?

A boxing class will always whip my ass into shape. It’s high-cardio, endurance, focus, balance, agility, and strength training. I also do a lot of yoga. I never feel like my muscles are super-cut after, but I do know I’m building a strong core and inner strength that will support all my other athletic activities and my general well-being.

Who are your favorite musicians? Who are you currently listening to?

A few of my favorites are: Ben Howard, Thelonious Monk, Lecrae, Billie Holiday, Stevie Wonder, Tracy Chapman, Sade, George Stanford, Kendrick Lamar, and Frank Sinatra. I’m going to stop myself because now I’m just listing my entire Spotify library. I’m currently listening to the Big Little Lies soundtrack, and also Thundercat because my big brother told me to and he knows good music.

Last concert you went to?   

I saw my friend’s band perform at SXSW; LoMoon. They’re amazing—hop on early. An actual concert I went to see was The Brian Culbertson Funk Tour in Newport Beach with my mom in October.  

What charities in your community are you involved with?

I’m passionate about working with young people and people displaced from their homes. The outreach I do is mostly geared towards those two groups. One of my favorite outreach programs is called Young Story Tellers. It is a program that selects 5th graders to be paired with a writing mentor. They write a play, and after a few weeks actors show up to do cold reading performances of their plays. It is the most fun because kid’s imaginations are marvelous! I’ve been a sheep, a witch, a superhero, you name it! It’s also a great experience as an actor because we audition for these kids and have the responsibility of bringing their wildest imaginations to life by performing their play for the entire school after only a few hours with the material. We get creative and use whatever we have with us as props. It’s one of my favorite things to participate in because these kids learn early that they are important, talented and supported. I’m also very active with the Black Lives Matter movement. I attend meetings, marches, rallies, and stay knowledgeable so that I can help share important information via my platform.

What advice would you give aspiring actors wanting to pursue a career in television or film? What hurdles do they need to overcome?

Go to college. Finish school. Get involved in your theater. Read. Hang around and play with children. Their imaginations are without borders. The more childlike you can become with your truth and creativity, the less limited you will be as an actor. Knowing yourself is important. You must spend time alone and go deep into your past. You need to discover who you were before life came at you. Who God made you to be before ideas shifted you. Kids can know themselves quite simply because their experiences are limited. We are made up of our life’s journey. The longer we exist the more we must navigate to find our true selves. We are who the world sees us as, tries to mold us into, how our parents showed their love or didn’t, our failures, accomplishments, produced art, expressed and unexpressed ideas, our conscious minds and our instincts. We are the molded-clay, masterpieces, of God.

Coat by Styland, Top and Belt by Zana Bayne, Underwear by Agent Provocateur, Earrings by Victoria Hayes, Boots by Christian Dior

 

Hair by Dritan Vushaj @Forward Artists using Sachajuan, Makeup by Nancy Cialdella using Anastasia Beverly Hills, Laura Mercier, and Giorgio Armani Beauty, Manicure by Stephanie Stone @Nailing Hollywood using Chanel, Video by Heather Sommerfield, Production by XTheStudio. Special Thanks to Mike Liotta @True Public Relations and The Dream Factory LA Studio. Special thanks to Blowpro.