SCREEN TEST: TREVOR SIGNORINO
Shirt by Givenchy
Jewelry by Eli Halili
Interview by Matthew Rettenmund
Jonathan Tucker is one of the best parts of all your favorite shows. The actor, who is currently playing devil to the women of Charlie’s Angels as the new film’s villain, is killer-with-a-conscience Frankie on the Matt Damon/Ben Affleck-produced Boston crime drama City on a Hill; was mercurial Low Key on American Gods; and was a highlight of Season 2 of Westworld as intense, self-unaware host Major Craddock, to name a few.
Perhaps most memorably, and in a role that will leave a mark, the Boston native trained like a fiend to play MMA fighter Jay Kulina on Kingdom opposite Nick Jonas — and still has the abs to prove it.
In an exclusive interview with Iris Cover Book, the 37-year-old actor talked about his myriad roles on TV and in film, what he’s carried with him from his youthful pursuit of ballet (#JayKulinaDancesToo) and how he hopes to be remembered.
I’ve seen you in so many things over the last few years, but only recently connected that you were the teenager in The Deep End (2001), the dark, gay-themed story with Tilda Swinton.
That movie changed my whole life! I turned 18 the day I shot the sex scene with Josh Lucas.
It’s interesting how choices can lead us in totally different directions. I wondered how you decided early on in favor of acting over ballet, which you’d studied?
My second-grade teacher had seen an advertisement for a national call for a  movie called Lorenzo’s Oil. I’d really fallen in love with ballet, particularly with being onstage, so I took him up on this offer and I went to the audition. I didn’t end up getting the movie, but I ended up getting on the radar of the local casting director’s office, and they’d call me back for national commercials they were shooting in Boston, and I ended up getting one for Fruit Roll-Ups. The moment I was there on set with the camera and the crew and understanding the process, I was like, ‘This is what I wanna do.”
I remember coming back with my parents saying, “We need to get an agent — do you guys know what an agent is? I found a woman who I think is very reputable, I think we should have a meeting with her,’ so I certainly steered that ship early on, and I was very lucky to have supportive parents that helped make it happen for me. I was 10 years old.
Though you changed courses, have you retained anything from your ballet training?
I think self-discipline, the ability to listen and take direction, punctuality. As much as one can work on the interior of a character — we’re all spiritual vessels — physicality is a really important part of being a human being. That’s a critical component to the process of creating a character. Being in your body is something ballet dancers understand.
Being committed physically is something you did for Kingdom. You can be committed to playing a doctor but you won’t be ready to go into surgery, yet on Kingdom, your training had you ready to walk into the ring and be an MMA fighter.
I was living that life. Actors are always toggling between “truth” and “truthful.” Everybody wants truth in their lives, but sometimes we have to settle for truthful, as an actor. Certain roles afford you the ability to get closer to truth, but it’s an actor’s responsibility to be the voice for at least truthful, as the bare minimum. No one’s gonna buy you as a fighter, if you don’t look like a fighter.
That must’ve been a tremendous commitment.
I like tremendous commitments and setting goals and achieving them, and discipline. I think my wife had a significantly more challenging time with what was required to keep and maintain Jake than I did; your mood is profoundly affected. When you hear about people who are imprisoned, they get out and the first thing they wanna do, they don’t care about revenge, they want to eat. That was very understandable for me at that point.
You’d been acting since you were so young, did you have a special bond with Nick Jonas when you were shooting Kingdom?
He’s a very important friend to me for a lot of reasons. I would say when you have been through the crucible of this profession and the craft, you then realize you’re always in it. It provides a great deal of wisdom that you can’t buy. People who have stood with you, people you thought would who don’t, people you didn’t think would support you when things were tough but who end up being the most supportive, making money, losing money, fame, no fame, successful movies, bomb TV shows — it’s a business that provides these artificial highs and lows until after a certain point in time, you start to realize what’s really important. Those people who have that understanding can spot each other from across a crowded room. I feel that way about Nick, and he’s had even more complicated experiences than I have. Growing up in the business and getting to see it for as many years as we both have is certainly a connection that we both share — and we value.
Were there any older actors you’ve worked with who served as role models?
You learn early on there are many classrooms providing an education, not all of them academic, and the teachers are not always society’s notable ones. It’s not just the famous people, it’s the dolly grip sharing how they made a lot of money when they were young, but now their back and knees are gone but they can’t do anything else because they didn’t take a larger perspective on their life.
I wanna have people say, when I die, that I was able to honor different kinds of people and reflect honestly a variety of worlds, or a host of experiences. So, if I could bring that authentic light and shine it in those places or on those people, it’s exciting to me. I don’t see the world in blacks and whites. The more educated I am on certain topics, the less clear they become. What ends up becoming immutable are certain themes in terms of how I want to live my life, rather than unequivocal truths about kinds of people or certain political topics or certain systems. What I’m looking for is truth, and I find that characters that interest me are significantly more complicated than people think they are — sometimes more than even the writer thinks they are — and I’m interested in that sort of dynamic.
You’ve been in the industry long enough to see the push for diversity. Would you agree that Westworld is an example of a show that is diverse, and organically so?
Westworld was diverse before this was a national conversation, or at least a business conversation, and I think it’s a really important point to share because diversity, just throwing around “diversity” as a cultural token does a disservice, rather than trying to address in a meaningful way a system that hasn’t been able to offer the same sort of opportunities to groups of people that it should.
It also comes from the system that [Westworld creators] Lisa Joy and Jonathan Nolan have created and cultivated, which is, “How do we mentor different and unique voices and support and guide them?” versus trying to plug holes for the sake of optics. The business has a lot to offer every culture, every faith, every skin color, every economic background, we’re all storytellers.
Being on Westworld thrust you into the realm of a series where storylines are top-secret. Are you good at keeping secrets?
I like secrets. As an actor, you never want to tell anyone anything about your work. Your experiences are bifurcated between work and employment — you’re oftentimes working more than you’re employed. People say, “What’s going on?” What, are you gonna tell them about all the auditions you went on that you probably won’t get? About the movie that’s coming together that probably won’t come together? So, I’m pretty good about being tight-lipped. I might not even talk about it when it comes out — I’ll let you see it. I’ve sat next to people that have been cut out of movies and they had a great role and we’re at the premiere. [Laughs] It’s like — just keep your mouth shut.
Can you keep your mouth open about Charlie’s Angels?
There’s something great about making a movie that’s simply a lot of fun, about three very talented young actresses kicking ass. It doesn’t need to say anything more than that. A great movie stands on its own, so if it happens to be about three young women doing things that we typically expect only three young males to do, I think that sends a greater message than having to explain to everybody what the message is.
Your character in that seems thrillingly without merit as a human being.
I would say certainly without merit, but not without a clear intention. [Laughs] I think I was cast as the manifestation of violence against women.
How was director Elizabeth Banks, who also acts in the film, to work with?
She’s pretty, pretty outstanding. I’ve known her for quite a few years, so when this opportunity came we jumped on the phone and I said, “I’m gonna send you a text of what I think this character looks like, aesthetically speaking,” and she said, “You’ve gotta be kidding, check your texts,” and she had sent me the same model — different picture, but the same very distinctive model, so we were on the same page from the jump.
You’ve been in so many things, I don’t think there is a type that screams “Jonathan Tucker character.” Is there a role you’ve played to which you most relate, that’s closest to you?
I don’t think anyone’s ever asked me that. It’s kind of like: you’re a pitcher, you have a certain kind of pitch you know you’re really good at, and you have a strike box you know you’re guaranteed to get an umpire to call a strike in, and you’re trying to work the corners a whole bunch. You’re always you, but if it’s not a strike, then at least you attempted it.
Being scared to throw in the corners, being scared of being unsuccessful with the choices you’re making as an actor is the death of a good actor. You have to be willing to throw a few balls or have that errant pitch.
Are you an actor who enjoys photo shoots, like the one you did for Iris Covet Book?
You gotta commit to those things. You’re relying on the team so you can walk in there and just jump. You wanna commit to things in your life. If you’re not willing to do that, don’t show up.
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 by Ester Abner
Dress by Berta
(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.
By: Sarah Conboy
From Left to Right: Bella Hadid, Kim Kardashian, and Kendall Jenner
On Monday, May 7th, the Metropolitan Museum of Art in New York City hosted its annual gala in conjunction with the Anna Wintour Costume Center. Sponsored by Versace, Christine and Stephen A. Schwarzman, and Condé Nast, the exhibition’s theme is “Heavenly Bodies: Fashion and the Catholic Imagination.” The show traces fashion’s connection to Catholicism, including pieces from designers such as Azzedine Alaïa, Cristóbal Balenciaga, Dolce & Gabbana, Jean Paul Gaultier, Christian LaCroix, and more. As a special addition, the show presents a number of garments and accessories loaned from the Vatican’s collection at the Sistine Chapel sacristy.
Spanning not only the Costume Center, but the Byzantine and medieval galleries at The Met 5th Avenue and The Met Cloisters uptown, “Heavenly Bodies” was organized by Andrew Bolton, Curator in Charge of The Costume Institute. This year’s co-chairs included Rihanna (who dressed for the Gala in a papal-inspired look by Maison Margiela), Amal Clooney (dressed in a Richard Quinn, recent recipient of the Queen Elizabeth II Award for British Design), Donatella Versace (dressed in a beaded Atelier Versace number), and of course, Anna Wintour (dressed in a glittering Chanel Haute Couture gown).
Rihanna in custom Maison Martin Margiela
Frances McDormand in Valentino Haute Couture
Guests included a number of A-List celebrities and public figures. Kate Moss attended for the first time since 2009, showcasing her supermodel figure in a short, black Saint Laurent by Anthony Vaccarello dress. Other models making a cameo at the Gala were the likes of Kendall Jenner, the Hadid sisters, Ashley Graham, and Joan Smalls. Virgins to The Met Gala—pun intended—included debuts from Cardi B (guest of Moschino’s Jeremy Scott), and SZA. Other musicians at the Gala were man-of-the-moment Donald Glover, Solange Knowles, Nicki Minaj, and Katy Perry. A number of award-winning actors came, from George Clooney (supporting wife and co-chair Amal) to Blake Lively, Frances McDormand, and Chadwick Boseman amongst many more. On the designer front, the Olsen twins, of The Row, attended, as well as Off-White’s Virgil Abloh, and Gucci’s Alessandro Michele, accompanied by muses Jared Leto and Lana Del Rey. Couples Hailey Baldwin and Shawn Mendes, and Elon Musk and Grimes, made their first public appearances at the event.
Once inside, guests were treated to a seated dinner, and a preview of the exhibition before it officially opens to the public. As we imagined, the night closed with an on-theme performance by Madonna, who aptly sang “Like a Prayer” and “Hallelujah.” A number of after-parties were thrown to continue the festivities, most notably a post-Gala party hosted by Donatella Versace at the Mark Hotel.
“Heavenly Bodies: Fashion and the Catholic Imagination” officially opens at the Metropolitan Museum of Art on May 10th, and will run through October 8th.
Madonna in custom Jean Paul Gaultier
Lana Del Rey in custom Gucci
Jennifer Lopez in custom Balmain accompanied by Alex Rodriguez
From Edward Steichen’s early black and white gelatin prints of fashion models in the 1900’s to the digitally enhanced fantasies of today’s social media age, the fashion image remains a seductive subject of the gaze, same as it ever was.
Photographer: Alex Black
Fashion Stylist: Brit Cato
Models: Vitalina Burton w/ Muse Models, Emily Grace w/ Elite Models, Skyler Hawkins w/ Anti MGT, David Chiang w/ Major Models
Hair: Mike Fernandez using EVO Hair Products
Make-up: Juan Jaar using Mac Cosmetics
Producer: Associate Editor, Ben Price
On Emily: Satin Black Puffed Blouse by Namilia
On David: Multicolored sequined blouse by Saint Laurent by Anthony Vaccarello
On Emily: Black dress by Roberto Cavalli, Long black sheer skirt by Mimi Prober, Grey & White Pinstripe cape by Thom Browne, Black Colonial Platforms by Thom Browne, Pony Hair handbag by Brother Vellies, Silver Rings by Shiny Squirrel
On Skyler: Navy Blue knit hat by Leila Jinnah
On Vitalina: Black & Silver embellished Chain Dress by The Blonds
Fashion Assistant: Kristen Wiltshire, Fashion Intern: Jeffrey Chempere, Makeup Assistant: Chloe Grae
With the store originating from the tropics of South Beach and having expanded to Houston, Costa Mesa, and Bal Harbour—it was only natural for The Webster to house their new location in the heart of New York City’s, Soho. Laure Heriard Dubreuil, founder of the luxury retailer, has mirrored the same opulent brand formula with a new ingredient—Webster Home. The six story building will handle pieces by Italian artist Gaetano Pesce, Pierre Frey fabrics that are exclusive to The Webster, and Nada Debs brass candy colored pebble table. Throughout the renovation of their new location The Webster befriended Maxi Cohen, photographer, video artist, and neighbor whose piece is now featured on the third floor.
The store is thoughtfully filled with French 50’s sconce lights and wall papers from the 20’s and 30’s and does the historical 1878, 12,000-square-foot building proud. Turn of the century light wells guide you onto a vintage loading dock entrance, and step out into a room that’s a fusion of new and retrograded pieces mirroring the original Webster store, which was redeveloped with the help and design of Christopher Osvai.
Filling the six floored location are thirty male designers and 68 women designers, including but not limited to Isa Arfen, Julien David, and jewelry by Anita Ko, The Webster combines high end clothing interwoven amongst art deco and one of a kind installations. Sculptures such as Aaron Young’s “Below the Underdog, 2010” is set amongst thoughtfully chosen menswear on the fourth floor.
For more information about the founder, Laure Heriard Dubreuil, check out her Iris Woman feature!
All photos by Andrew Rowat courtesy of Karla Otto Public Relations
The Webster, located at 29 Greene Street, opened to the public Monday, November 6, 2017
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Photography by Ricky Michaels | Styling by Liz Rundeaken | Market Editor Benjamin Price | Models – Derek Drummond @Wilhelmina Models, Apple Drysdale, Cheeky Ma, Jacopo Olmo @Heroes Models, Reid Rohling @Fusion Models, Keltie Straith @Elite Models, Jun Sung @Fusion Models, Sam Swan @State Mgmt, Xiara Waller @Fusion Models
From Left to Right: Jacopo Olmo Instagram@theinsaneballer17, Jacket by Gucci, Tee by Nike, Necklace by Louis Vuitton, Shoes by Adidas and all other jewelry model’s own. Keltie Straith Instagram@keltiestraith, Top and Skirt by Opening Ceremony, Puffer Scarf and Leggings by Pinko. Apple Drysdale Instagram@killedthemfortheurl, Puffer by Pinko, Sculpted Bodysuit by Calvin Klein Underwear, Pants by Vintage Fox Racing motorcross pants. Xiara Waller Instagram@xiarawaller, Bodysuit and Pants by Ben Taverniti Unravel Project, Glasses by Vintage, Gloves by Carolina Amato. Derek Drummond Instagram@poster.boy, Sweater and shorts by Gucci, Wrap by Everlast, Earring by Laruicci. Cheeky Ma Instagram@cheekymaa, Top and Pants by Versus Versace, All jewelry model’s own. Sam Swan Instagram@swan_sam, Jacket by Colin Locascio, Pants by Calvin Klein Jeans High Rise Extreme Wide Leg Denim Jeans. Jun Sung Instagram@ kim_ junsung_ , Sweater by No.21, Trousers and Shoes by Versus Versace
In the streets of Brooklyn, the new wave of youth is now running the fashion game. Luxury brands such as Gucci, Balenciaga, Saint Laurent, and Versace are now looking to the styling that’s happening live – on social media and on the streets. Millennial fashion is all about individuality, juxtaposition of colors, ironic semiotics, and flipping fashion on its head. From Demna Gvasalia’s high-end/low-end mashup at Balenciaga to Alessandro Michele’s new, extraterrestrial fashions at Gucci, the new era of couture runs the gambit. When designer sweatpants and hoodies are paired with stilettos and Hermès watches, it becomes clear that the previously banal is now the pinnacle of luxury. Ateliers throughout New York, London, Milan, and Paris are taking note from the young social media stars and influencers more than ever before; a new “youthquake” on the rise.
left to right: on Jun Sung Top and Sweatshirt by Versus Versace, Chaps Shorts by Marcelo Burlon, on Reid Rohling Top by Colin Locascio and Pants by Marcelo Burlon, on Derek Drummond Sweatshirt by COS, Pants by Marcelo Burlon Neck Wrap by Everlast, on Jacopo Olmo Top by Nike Pants by COS, Necklace by Louis Vuitton.
left to right: on Sam Swan Dress by Lacoste, on Derek Drummond Tracksuit by Olivia Anthony, Neckwrap by Everlast, Rings by Lariucci, on Xiara Waller Full Look by Public School, on Jun Sung Jacket by Lacoste, T-Shirt by Bernhard Wilhelm
Reid Rohling Instagram @reedrolling All clothing by Gucci, Hat by Atari, all jewelry model’s own.
From Left to Right: On Kiara: Sweatshirt and Trousers by Sportmax, and Sneakers by Adidas; On Keltie: Jacket by Sportmax, Leggings by Pinko, and Shoes by Nike; On Cheeky: Top and Pants by Namilia, Bra and Underwear by Calvin Klein Underwear, and Shoes by Nike; On Sam: Sweatshirt by Public School, Skirt by Pinko, and Shoes by Nike; On Apple: Top and Shorts by Namilia, Socks by Adidas and Shoes by Y-3.
on Cheeky Ma Coat and Dickie by Alexander Wang, Pants by Olivia Anthony.
Makeup by Yuui using M.A.C., Hair by Mike Fernandez using EVO hair products and Glossier on skin, Art direction by Kayla Kern, Stylist’s assistants Alycen Case, Caroline Montgomery and Madeline Shownkeen. Assistant Market Editor Sol Thompson. Retouching for Ricky Michaels’ images by Grzegorz Skoneczny / COLOR WORKZ