Tag: talent

AINA

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

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

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

Jewelry: Iris Trends @eyeofiris

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

Right side: Dress: Masaki Matsuka @masakimatsuka

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

Dress: Masaki Matsuka @masakimatsuka

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

Dress: Masaki Matsuka @masakimatsuka

 

BOUND – MAJORLILKWEEN – EXCLUSIVE MUSIC VIDEO RELEASE

https://youtu.be/zOpROJyDECE

Director: Alexandra Elizabeth (@alexelizabethljadov) | Director of Photography: Samuel Levine (@sammy.august) | VHS: Silver (@silvernyc) | Producer: Julia Banas (@banasjulia) | Art Direction: Julia Banas & Alexandra Elizabeth | Editor: Alexandra Elizabeth & Andy Lincoln (@andyestonia) | Music: Majorlilkween (@majorlilkween) ft. Hadar Adora | Stylist: Liz Rundbaken (@iseelizrund) | Stylist Assistant: Drew Harris (@kingdrewharris) | Make Up: Ayaka Nihei using MAC Cosmetics, @ayaka_nihei | Hair: Takuya Yamaguchi (@tak8133)

Cast: Alexandra Elizabeth (@alexelizabethljadov), Alana Terumi (@meru_turao), Bridget Hearst (@bridgethearst), Danusia G (@beingsilver), Teresa J (@teresacarollynn)

Top, Hat, Skirt, and Shoes: Gucci | Gloves and Socks: Vex | Ring : Laruicci 

Photographer: Enmi Yang (@__enmi) | Stylist: Liz Rundbaken (@iseelizrund) | Stylist Assistant: Drew Harris (@kingdrewharris) | Make Up: Ayaka Nihei using MAC Cosmetics, @ayaka_nihei | Hair: Takuya Yamaguchi (@tak8133)

Models: Alexandra Elizabeth (@alexelizabethljadov), Alana Terumi (@meru_turao), Bridget Hearst (@bridgethearst), Danusia G (@beingsilver), Teresa J (@teresacarollynn)

Jacket and Skirt: MSGM | Top: Alon Livné |Boots: Daniel Silverstain | Top necklace (choker): Laruicci | Bottom Necklace: Stylist’s own

Jacket and Skirt: MSGM | Top: Alon Livné | Boots: Daniel Silverstain | Top necklace (choker): Laruicci | Bottom Necklace: Stylist’s own

Dress: MSGM | Belt: Arthur Arbesser | Gloves: Alon Livné | Top and Socks: Vex | Shoes: Gucci

Sunglasses: Bonnie Clyde | Earrings: Laruicci  |Top: Vex

Suit: Claudia Li | Earrings: Laruicci | Top: Vex | Shoes: HAVVA

Suit: MSGM | Leggings: Versus Versace | Necklace: Laruicci | Bodysuit: This Is a Love Song | Shoes: HAVVA

Bridget–Sunglasses: Westward Leaning | Turtleneck: Arthur Arbesser | Suit: Vintage YSL | Gloves: Alon Livné

Danusia–Hat and Top: Vex | Suit: Topshop | Earrings: Laruicci

Teresa – Jacket, Bralette, and Pants: Milly | Top: Alon Livné | Sunglasses: (no label) Slim Cat EyeRetro Women’s Sunglasses

Danusia – Hat and Bra: Vex | Suit: Topshop | Earrings: Laruicci

Terumi – Suit: Roberto Cavalli | Shirt: Vex | Earrings: Valen & Jette

Bridget – Suit: Topshop | Necklace: Laruicci | Top: Vex | Sunglasses: Bonnie Clyde “Layer Cake”

Terumi – Suit: MSGM | Necklace: Laruicci | Bodysuit: This Is a Love Song

Teresa – Jacket: MSGM | Top: Alon Livné | Skirt: MSGM | Top necklace (choker): Laruicci | Bottom Necklace: Stylist’s own

Teresa – Jacket, Bralette, and Pants: Milly | Top: Alon Livné | Sunglasses: (no label) Slim Cat EyeRetro Women’s Sunglasses

Danusia – Hat and Bra: Vex | Suit: Topshop | Earrings: Laruicci

Terumi – Suit: Roberto Cavalli | Shirt: Vex | Earrings: Valen & Jette

Bridget – Suit: Topshop | Necklace: Laruicci | Top: Vex | Sunglasses: Bonnie Clyde “Layer Cake”

STEPHAN JAMES

Full Look by Z Zegna

With a Golden Globe nomination for Homecoming under his belt and rounds of praise for his work in If Beale Street Could Talk, actor Stephan James is a storytelling force to be reckoned with.

Photographer: Karl Simone | Fashion Editor & Stylist: Marc Sifuentes | Interviewer: Stacy-Ann Ellis | Creative Director: Louis Liu | Groomer: Tara Lauren for Epiphany Artist Group using Kiehl’s | Features Editor & Producer: Ben Price | Photo Assistant: Ned Witrogen

Full Look by Z Zegna

Stephan James is well aware of the power of his eyes. For the better part of If Beale Street Could Talk’s two-hour run time, his gaze as Alfonso “Fonny” Hunt from James Baldwin’s 1974 novel of the same name, is plastered across the full length of the cinema screen. As his deep, pleading eyes focus maddeningly on his fiancée, Tish Rivers (played by KiKi Layne), or well up from behind prison walls, they wring out raw emotions from the audience scene by scene.

We’ve seen these penetrating eyes before in films like Selma and Race, and in the FOX TV series, Shots Fired. “Some actors, they use their eyes to carry a lot of emotion, I think that’s part of what I do,” James says over an early morning phone call, humbly attributing his affecting stare to the skills he’s honed as an actor. “It’s the subtleties sometimes.”

James’ grasp on director Barry Jenkins’ vision and intention for the Baldwin adaptation is clear, as is the importance of his role in delivering it. The first time the Toronto, Canada native read the novel, or any Baldwin literature for that matter, was after he’d read and fallen in love with Jenkins’ screenplay. However, the gravity of Baldwin’s words (and the necessity to be a proper vessel for them) were not lost on him.

“I was really blown away by the language of Baldwin,” he says, even describing his verbiage as Shakespearean. “Just how descriptive and vivid he was, the way he described love, the way he described tragedy in the same breath. The poetry in which he went about doing it. And then again those themes, the fact that this man wrote this book in 1974 and it just felt so relevant.”

Jenkins’ Beale Street follows the newly engaged black Harlem couple as they navigate major life hurdles occurring at the same time. (Shortly after Fonny is falsely ID’d and imprisoned for the rape of a Puerto Rican woman, Tish finds out she is pregnant with his son.) As the story weaves in and out of the befores, durings and afters of Fonny’s grim predicament, Jenkins explores topics such as community, vulnerability, restraint and sacrifice. However, one particular theme is paramount: bonafide black love. “This film is showing what the power of black love is able to help us get through,” he says.

IRIS Covet Book caught up with Stephan James to dig into his future as a leading man, the threads that bind him with his character, Fonny, and the way If Beale Street Could Talk challenged society’s narrow expectations of black men.

Full Look by Z Zegna

Full Look by The Saltings NYC, Shoes by Bally

Once If Beale Street Could Talk wrapped, what was your experience watching the finished film for the first time?

The first thing that struck me about the film was it felt very much like a Barry Jenkins film. It felt like a movie about faces more so than places, and I think that it’s pretty striking when you have these characters talking directly to camera, cutting out the middleman. And Barry Jenkins, by the way, would never tell us when he’s doing those shots. He would never plan them. He would feel it out as a scene was going along and say, “Okay, well now I’m going to put it directly in your face, so let’s go.” It’s a great tool to cut out the space between the audience and the characters and just have a direct line of conversation.

When pursuing the role, what part of yourself did you see in Fonny reading from the page?

First and foremost, Fonny is an artist. He’s an artist much like I’m an artist. Outside of acting I also like to paint, and Fonny is a sculptor. He’s deeply, deeply sentimental and artistic and he loves a lot, so I found some similarities with just his artistry. And then maybe a couple of months before hearing about this film, I had become infatuated with the Kalief Browder story. It was striking because as soon as I read this screenplay, I thought of Kalief immediately. I thought that their stories were so similar, almost unfortunately similar. The fact that Baldwin wrote these words in 1974 and they had so much resonance in 2017 when I was reading this script and when I was reading this novel. It was just something inside of me that told me, wow, Fonny is Kalief’s story. Fonny is an opportunity to give a voice to young men like Kalief and so many other young men across the country who are going through the same sort of ordeal. So I feel like I kind of made the connection really quickly. And ultimately it just felt important. It felt important to embody somebody like Fonny. Although he is a fictional character, and all these characters are fictional characters, they’re representative of very real people.

It was refreshing to see a black man being just an artist—not sketchy, not a hustler—on screen. What does that communicate about the scope of the black man?

This film challenges a lot of ideologies in terms of what it means to be a black man, what black love means and the idea of what black families mean. Seeing Fonny as this deeply sentimental artist—he’s a sculptor, he takes something that is seemingly nothing and it’s a labor of love for him—I think that it’s important for the psyche of black men, young black men, watching this film. Often, especially in state of mind and art in general, I feel like there’s a very limited perspective when it comes to the portrayal of black men and what black masculinity looks like. Especially when it comes to these men who have been criminalized. We never get to see them as artists, sculptors, lovers, fathers, husbands. I think that this film is revolutionary in that way.

You look at some of the scenes—particularly the scene between Daniel and Fonny. To have these two young black men who have been criminalized be able to sit down at the table and open up to one another, be completely vulnerable with each other and share their deepest darkest secrets with each other, their fears, the things that keep them up [at night]. What a special thing that is, just for the psychology of these young men watching this film. The fact that they get to see that we can be like this, we can lean on our brothers like this… If it’s only one person, then we can use our brothers in this way and love in this way. I just think it’s a powerful, powerful message that’s being said.

Did you find yourself at any point angry just thinking about the helplessness conveyed in Fonny’s story?

Yeah… I mean the thing is this. Baldwin says, “to be a black person in America is to be in a constant state of rage,” but on a bigger scale, I think that the biggest theme in this book and in this movie in general is love. And in particular, it’s black love. It’s this idea that for hundreds of years the black community in general has been born into a world where the chips are stacked against them. Where we have an unjust system, a system that’s supposed to be a place to protect us but is seemingly failing to protect a group of people time and time and time again. I think that this film is showing what the power of black love is able to help us get through.

I think that despite these tumultuous circumstances thet Tish and Fonny find themselves in, the darkest times, it’s this love. It’s this unbroken, undying love in the face of adversity that has kept them going. That’s the only reason why at the end of the film, despite the circumstances, Fonny is still in prison, but it’s this love that’s helping to raise their child, this five-year-old boy now. That’s the only thing that’s kept them going. That’s the bigger message. So of course you get angry, and it’d be impossible not to get angry. It’s sort of the world that we live in, but I think Baldwin’s making a statement on the power of black love.

Full Look by Roberto Cavalli

Jacket and Shirt by Helmut Lang, Pants by Burberry

The nuance of that love really presents itself at the grocery store. After Fonny defended Tish from a creep in the store, Tish had to protect Fonny from a racist police officer who threatened to arrest him and called him “boy” in the same breath. Tish didn’t think twice when she spoke up to Officer Bell and said, “He is not a boy.” There’s so much energy packed into the scene where Fonny defends Tish, then she turns around and defends his manhood from a racist police officer. There’s tension between you and the officer, the restraint you have to exercise, and Tish’s fearlessness overcoming her physical fear.

I definitely saw that. I saw the restraint that many young men have to learn at a very young age and black men have to learn at a very young age, in terms of how to deal with police. It’s something we’re sort of instructed to [do] as young men. There’s definitely a lot of energy between Tish and Officer Bell, the idea that a black woman can be strong and stand behind her partner in this way. I saw a level of frustration, too, maybe between Tish and Fonny. Almost like, I don’t need you to protect me, and I should be the one protecting you. It’s ironic that I was protecting you and now you have to protect me. It’s interesting how the shift in the scene happens so quickly.

It seems to also speak to the power of the black woman in general. In the film, we see Tish, her mother, Sharon, and her sister, Ernestine—even Fonny’s mother, Mrs. Hunt, has a powerful (albeit negative) presence. Do you feel like there’s something to intentionally be said about women with this film?

In general, our ideologies have been challenged in this film. What it means to be a strong black woman. The fact that it wasn’t Frank who went to Puerto Rico to find Fonny’s accuser, it was Sharon. She hopped up on the plane and she went to find the accuser to see if she could plead for Fonny’s innocence and for his freedom. I think there’s something to be said for the family dynamic and how there’s a balance of power. Especially if you look at Tish’s family, how sometimes it’s Frank that’s out working and trying to make sure that everything’s good before the baby comes out. Sharon’s version of working is, I’m gonna hop on a plane and go to Puerto Rico. It’s just the balance of sharing those duties of the responsibilities. It’s Tish showing the strength of a black woman. She’s working all the way up until the last minute that this baby’s supposed to come into the world. There’s a lot of commentary in terms of what it means to be a strong black woman. This whole novel, this whole story, is told from the perspective of a strong black woman. It’s told from Tish’s eyes, and I think that Tish really grows into herself in this film. You see her grow up pretty quickly and step into that womanly, motherly type of role.

Jacket by Alexander McQueen, Shirt by Roberto Cavalli

Jacket by Alexander McQueen, Shirt by Roberto Cavalli

Jacket by Alexander McQueen, Shirt by Roberto Cavalli

Do you think that you would be able to maintain that sense of togetherness—in terms of love, sanity, optimism—if you were in Fonny’s legal situation? Especially if there was not a guarantee of freedom in sight.

I really couldn’t say, man, I really couldn’t say. I’ve never been to prison. I have no clue what that’s like. Those walls are meant to break people—physically, mentally, spiritually, all the above. So I can’t say. I really, really, can’t say. I’m thankful I’ve seen examples now in cinema of Fonny who was able to sustain himself through all this, but I’ve also seen examples of Kalief Browder who even after two years after his release from prison committed suicide. So there’s no telling what a thing like that puts you through.

That plays out with Fonny and Daniel’s conversation. Fonny tried to console him about his post-prison emotions and his acclimation to the world, and Daniel stressed that he just didn’t understand.

Absolutely, and like I said, these walls are meant to break these men, so after they come out, they’re still dealing with all of this trauma. This PTSD, if you will. So the conversation is not only about why they’re in there—obviously wrongfully, of course—but what to do to them and with them after they come out? How do we treat them? Especially when we know that we’ve wronged them. The system has wronged them. Is there a system in place now to help them get their lives back together and to regain humanity? What do we do with these young men who have been wrongfully imprisoned and are now having to deal with the trauma and the acclimation back into civilian life in general?

After both this performance and your role in Homecoming, the world is paying attention. How does it feel to see that growth and recognition?

We don’t make art from a place where we want a bunch of awards and stuff like that. I appreciate the recognition, that the people are seeing the work, and ultimately if that sort of recognition means that more people will see the work, you know, because it’s being regarded and respected as such, then that’s what I want. If [Golden Globe] nominations mean more people get to see Beale Street and more people get to see Homecoming, then I’m all for it.

Were there any key professional takeaways from working with Barry Jenkins for Beale Street and Julia Roberts for Homecoming?

There’s just so much. I’m so grateful for Barry Jenkins, who’s probably one of the great humanists that we have in this business. One of the incredible storytellers who’s always pushing the envelope, I believe, in cinema. I’m grateful to be able to tell stories with a man like that. Probably one of the most patient directors I’ve ever worked with who just allows moments to breathe and live. And then Homecoming, obviously I’m in a position where I’m sitting across from one of the biggest actresses in the history of acting. I’m able to pick up gems from her on a daily basis about etiquette, how you go about your work day, and how you do your homework. I wouldn’t say it’s one particular thing, but getting to spend months with these people with my favorite filmmakers and to be able to pick up the nuances in their work, it’s really an invaluable experience, altogether.

You’ve tackled stories of black love, injustice, tragedy, etc. Are there any stories or characters you’d like to explore next?

I don’t know, I wanna be in a comedy. I wanna be James Bond, I wanna do a Mission Impossible. I wanna be Batman. I don’t see any limits in terms of what I wanna do. I just see a whole world of… I mean I really feel like I’m scratching the surface, honestly. I want to do everything.

Jacket and Shirt by Bally

Jacket and Shirt by Bally

JOEY KING

Dress by Zhivago

Photography by Greg Swales | Styling by Lisa Jarvis | Creative Direction by Louis Liu | Hair by Dimitri Giannetos | Makeup by Jamie Greenberg | Interview by Benjamin Price

Equipped with a dazzling personality, expressive eyes, charming sense of humor, and a girl-next-door smile, it is no wonder that 19 year-old Joey King has found herself to be one of the most promising young actors in Hollywood today. In what stands to be her most emotionally challenging role to date, Joey King has transformed herself into the abused victim-turned-convicted-killer Gypsy Rose Blanchard for Hulu’s new series The Act. Gypsy Rose lived in an environment of abuse, manipulation, dependence, and exploitation at the hands of her mother Dee Dee Blanchard, played by the Academy Award winning actress Patricia Arquette, which Joey King portrays in a shockingly sincere and earnest performance in this disturbing, re-telling of true events.

Joey King’s career and devoted fan following surged after her performance in Netflix’s The Kissing Booth, which was one of the streaming service’s most watched and re-watched films – landing the cast a sequel to be released sometime in 2020. Now, in her new role for Hulu’s latest series The Act, King proves her acting can range from cute, romantic comedy ingenue to psychologically disturbing and multi-dimensional true-crime dramatic starlet.

Taking a break from filming her upcoming productions, Joey King takes the stage as Iris Covet Book’s spring cover. The teenage actress sat down with Iris Covet Book to discuss The Act, the importance of badass women and minorities in Hollywood, and why she would love to direct the next Girl,Interrupted.

 

Dress by Zhivago

Hi Joey!

Hi, how are you?

I’m doing well, thank you – Ok, so let’s jump into this! Can you tell us about your start as an actress at 4 years old? Did you think as a kid that you would be starring in major film and television projects today?

No, definitely not! But it’s interesting because when I started acting, my very first job was actually a LIFE cereal commercial. I thought this was what I was always going to do and had no doubt about that, but I never imagined I would be where I am today. It’s just been an insane journey and opportunity to be where I am, and to meet the people I have met along the way. I have been so incredibly lucky.

That’s a good point. Making the right connections is important in any career – especially as a young actress in the industry I imagine it can be hard to trust everyone.

Exactly! With all of the things that have happened in the past few years with the Times Up Movement and Me Too, I think it’s so exciting to see what new things are happening and how people can feel more safe in the industry. I’ve been in this business for a pretty long time and I feel like I have been pretty lucky to have avoided most of that. I mean of course I have experienced it every now and then, but I know what it looks like, I know how to stay clear, and I haven’t seen a really really dark side as much as other people have. And I feel very lucky for that.

And starting out young would definitely teach you what to avoid later on as you grow and mature by meeting more experienced actors who can show you the lay of the land. And speaking of the Times Up Movement and what’s going on in America at-large, but specifically in Hollywood, what changes have you seen personally in the industry?

I see a lot of inclusiveness and I think it’s beautiful. I just think it’s fucking awesome that more African American people and more Asian people get to tell their stories on-screen more often now, and that’s a new thing to see. I’m really happy that I get to see more of that. It’s great that I am not just being cast to be the daughter anymore, or the little best friend role, and seeing the change in available roles for young women like me is really exciting. I love it so much and I hope we get to continue on this path because things are really starting to change for the better!

It seems to be a really exciting time to be an actor or actress right now. It brings to mind Reese Witherspoon’s production company that works with female-led and female-centric stories, and I wonder if you have any interest in going into writing or producing something like that?

I do! I’m always amazed by writers and directors and how you can come up with a story in your mind and translate it onto paper. I’d love to learn more about the writing process and to direct one day. I feel like now that I am a bit older I have such an interest with what goes on behind the scenes, like I love to hear the Director of Photography talk about the shots, the order of the scenes, and all of those things. I am actually paying attention, and it’s so cool to see how much work and thought goes into making a film or TV show. It’s the coolest thing in the world! I am amazed every day with what they do.

It’s such an exciting time to be listening and aware of all of the different stories out there, especially with social media. You have nearly 9 million Instagram followers and have the ability to tell your story to all those people around the world. How do you feel as an actress and role model to have access to all of your fans directly?

It’s so cool! I get to hear from people every day who look up to me, and I am lucky to have them. My fans are so so sweet, and I am excited that I get to have such direct contact with them. I mean, they are the reason that I am where I am, you know? The Kissing Booth couldn’t have the success that it had without them and some fans watched it over and over again and because of that it became Netflix’s #1 movie in 2018!

 

Dress by Murmur

Dress by Stella McCartney, Jacket by Roberto Cavalli

Paris Hilton said in The American Meme documentary that she loves her fans because she can feel so alone on the road, and doing press, and she feels like her fans are like her family.

Absolutely! I totally agree with that, and I love that she said that. It’s true, like now I am filming in Georgia and working every day, but when I have free time it’s nice to hear from my fans and feel their support through social media.

Yeah absolutely! To pivot the conversation a bit, I really want to hear more about your upcoming role as Gypsy Rose Blanchard on Hulu’s The Act.

Yes! I’ve actually really never been able to transform myself like this before and this is the first time where I can become a different person – a real person! She is alive and in prison as we speak, and the experience has just been incredible! Playing Gypsy was weird…I want to do right by her and I want people to understand her situation, and why she did what she did. Not that what she did was right, but I also don’t think that she deserved to be completely blasted for her thought process. And working with Patricia Arquette is just genuinely the greatest experience of my life.

Were you able to meet Gypsy to prepare for the role or during the process? Does she know about it?

I know that she knows about that show, but I wasn’t able to contact her. I would have loved to get to know more about her as a person, but all I can do is research her story and try to do the best I can and do right by her.

When the story of Gypsy Rose and Dee Dee came out three years ago were you aware of it? Did you watch the HBO documentary?

When I got the call to come in and read for Gypsy I had heard of the story, but I didn’t know a lot and hadn’t seen the documentary. I watched it before the audition and was like, “Are you freaking kidding me??” I went into the audition and was so nervous, but I am so happy that I got to portray her story.

Was there a lot of added pressure playing somebody real? Many actors and actresses have said it can be a bigger challenge.

It is a challenge, and I want people to understand and think about this, and I have conflicting emotions myself over Gypsy. She was raised by a master manipulator and so she kind of became one herself. I understand why a lot of people have a hard time sympathizing with her but I also think this show will hopefully open people’s eyes and show how messed up the conditions really were. It’s a lot of pressure playing a real person, one who is literally just sitting in prison right now, but at the same time I feel really good about it. I hope that I am doing right by her and if she sees it one day she will be like, “Thank God they portrayed me that way!” The series is partially fictional, it is a TV show, but a lot of the shit we are putting in there is true as hell!  

This is one of those stories, like you were saying earlier, that needs to be told. And it’s a story that people can see multiple sides of this very famous, national news story retold in a different way.

Absolutely and there are parts of the show where you will start to feel bad for DeeDee or maybe not like Gypsy very much. The show goes over several years of their life, and you can’t help but go through a lot of emotions while watching it.

It’s real life and there are multiple dimensions and you won’t always like it. I think that’s what is so amazing for actors today because it seems like there are so many dimensional roles for women.

It’s amazing how many female directors we have on the show! It is so awesome getting to work with these super smart women. I have a lot of “firsts” on this show, and these amazing male and female directors made me feel safe to try new, uncomfortable, and weird things.

 

Blouse by Queenie Cao, Pants by Marc Jacobs

Dress and Shoes by Versace

How was the experience as an actress immersing yourself into such a dark space?

It really feels like being born again into this world. I’ve never been able to experience this before, and I am so lucky to have Patricia Arquette by my side every day because she was so supportive, she is so talented, and just a super kind person. And I know being her shooting partner that there are no judgments ever, and I feel like it is honestly so important who you work with because you are in such a vulnerable place as an actor. If you feel judged or feel that the other person is not there for you 100%, then it’s really freaking hard to do your job. She has just been the best partner, and I am so grateful for her, and I am so excited to have everyone see her work on the show. She’s mind-blowing–I mean it’s fucking Patricia Arquette!

Yeah that’s such an amazing opportunity! Have you had any moments while working with her where she has shown you a new layer of the craft?

Definitely! Patricia has definitely shown me a new way of looking at acting. She has such great advice, personally and professionally. She’s just so amazing and I have learned so much from her in the past three months that we have worked together.

That’s fantastic, you are so lucky to have that opportunity.

I know, I can’t believe it! Like every day I’m like, “Oh my god, I get to work again!”

(laughing) That’s great! Are there any other projects that you can hint at in pre-production?

Yes! But…I can’t tell you about any of them. (laughs) I am going to be in Georgia for awhile, and I cannot wait to start doing more press for The Act’s premiere.

What advice would you give another young actress? What would you warn them about?

I would absolutely warn them of people trying to use them or people being friends for the wrong reason, and when you find someone who is there for the right reasons then you have to be sure to hold onto them. Whether it’s a friend, a relationship, a peer, or a mentor, just make sure to hold onto the good people and steer clear of the bullshit! (laughs)

I think that’s good advice for everybody!

I think so too! And it’s so hard to find the right people, but you know I am so lucky to have my family. Not everyone has a strong and supportive family, and if you don’t then you need to surround yourself with really great people and create your own family. It’s going to be hard and it will take awhile, you’re going to cry a few times, but in the end it’ll be worth it!

I love that, that’s good advice! Following-up on our discussion of #TimesUp, minority roles, and the great projects coming out, especially in today’s political climate, is there any movie that you would want to re-tell from your perspective or some story that you would love to produce or direct one day?

Oh my god! That’s such a good question… I don’t know…if I would want to retell a story and direct it myself…the movie I really am thinking about is Girl, Interrupted. I don’t know why that is the first thing that came to mind, but I would love to direct the shit out of that.

Oh my god! Please do that! That’s one of my favorite movies of all time, but I would definitely be very critical of it because it’s just such a fantastic movie.

I would expect nothing but honesty from you! (both laugh) I love that movie so much and I am so happy you love it too. If I were to ever direct something, then that is the first movie to come to mind. I honestly would be open to anything. I have a lot more to learn about this business and a lot more to experience, so I couldn’t tell you exactly what my directorial debut would be just yet!

Well even if it is not Girl, Interrupted, then I think that theme that we have been discussing of women’s stories is so important and telling female-centric, multi-dimensional stories like that would be a great path for you.

I agree with you, that shit’s awesome!

 

Dress by Murmur

Special Thanks to Hammer and Spear in Los Angeles and Larissa Saenz at i-D Public Relations

HARI NEF X HILTON DRESDEN EXCLUSIVE

Actress, model, and bona-fide trendsetter Hari Nef has made her feature film debut this week, in the electrifying social media horror movie ‘Assassination Nation.’ She stars as Becks, one of four high school girls caught up in a violent frenzy of small-town hysteria after a mass leak of private cell phone data. Hilton Dresden sat down with her to chat about the nuanced role, her dream collaborators, and how she’s carving her own path in Hollywood.

Interview by Hilton Dresden

THE MANY FACES OF DOMINIQUE FISHBACK

Jacket by Carolina Sarria

Photography by Dustin Mansyur | Styling by Julia Morris @theindustrymgmt| Interview by Benjamin Price | Hair by Monae Everett | Makeup by Daniel Avilan using MAC Cosmetics @theindustrymgmt

Talent: Dominique Fishback

Dominique is a theatrical chameleon. Whether playing a prostitute in 1970’s New York on HBO’s The Deuce, or a high school girl in a violent and disenfranchised neighborhood in the upcoming The Hate U Give, or playing in a series of sketch comedies in HBO’s midnight show Random Acts of Flyness–Fishback effortlessly glides between personas. Born and raised in Brooklyn, NY, Fishback started her artistic path in her local elementary school. Dominique has propelled herself both onto the silver screen and onto one of the most globally recognized cable networks as an inspirational young voice.

The Hate U Give, Random Acts of Flyness, Night Comes On, and much of Dominique’s personal writing and performances celebrate diversity and critique the constructed barriers between us. The writer, actress, and artist clearly has a wide breadth of talents, but what is truly spectacular is her ability to apply these to helping shed light on systemic problems in our society. Watching Dominique perform is a true joy, as you are immersed into the world of the characters she embodies and witness a complex array of emotion enfold on screen. Here, with Iris Covet Book, Dominique dives deep into the many layers of social discourse in her work, her roots as a child drama queen, and her plans to change Hollywood.

 

Jacket and Skirt by Victoria Hayes

We recently attended a screening of The Hate U Give and your performance felt so natural that it made me wonder how you first got into acting. Were you always a natural?

When I was 10 years old my mom said I was so dramatic and should give acting a try! She really believed that I could do it which was awesome! I had been writing little poems and I wanted to perform anyway. My mom tells stories of when I was 5 years old and pretending that I was the Wicked Witch of the West saying, “I’m melting! I’m melting!” When I was 10 I auditioned to be part of a children’s theater organization called Ta-Da! I auditioned three times but never got accepted…but 10 year-old Dom didn’t let it stop her, she just kept going! We got pulled into one or two scams after that, but when I was 15, I got into a company that requires you to write and perform your own material which I think helped make me into the artist that I am today.

But you know there is so much rejection and hate out there with actors, especially on social media. Everyone has an opinion or something to say about your performance, your look, or a mistake you make. It’s hard; you need a tough skin.

Speaking of exposure, social media, and having a tough skin–do you think your exposure in The Deuce and The Hate U Give has changed  your day to day life or are you still that girl from Brooklyn?

I’m definitely still that girl from Brooklyn!  Sometimes I bump into people from my childhood who say I still look the same and are surprised to see I’m still down-to-earth, but I think I am really a chameleon personally and professionally. But because of The Deuce I have had some people come up to me on the street, as well as my episode on (HBO’s) Random Acts of Flyness. I have been receiving such a great reception.

It seems like you are cast in roles that exist in chaotic and disadvantaged environments – playing a sex worker in The Deuce in 1970’s New York, convicted felon in Night Comes On, and a young girl in a rough, drug-filled neighborhood in The Hate U Give. What attracts you to these roles and what would you say is the common thread with the characters you like to play?

The characters really find me, and they refuse to let me go! For Night Comes On I was introduced to the character and the story after playing Darlene on The Deuce and I didn’t want to be typecast into tough characters all of the time because I am fun and silly…but I took the weekend and read the script considering what my agent was saying, and I just really felt like I had the experiences and authenticity to really go after this character! But I love to play dress up and dance and perform too, which I think really shows another side of me, like the photoshoot we did for this. When I was a kid I would watch I Love Lucy, and Lucille Ball was a big inspiration for me and I would stay up and watch her until 1:00 am every day! I would love to do a show like that, whether I write it myself or not.

Dress by Kelsey Randall, Gloves by Livne NYC, Earrings by Laruicci

Bralette, Pants, and Clear Jacket all by Livne NYC

It sounds like you really are a chameleon and are interested in so many genres! So back to The Hate U Give and the messages and layers that it has within it such as racism, police brutality, Black Lives Matter, etc. — how did that layer of commentary affect your performance?

Well, actually, I have a one-woman show that I wrote and have performed for the past 5 years called Subverted where I play 22 different characters, and it’s about the destruction of black identity in America. The show has a slavery-era side and a modern-day-era side, and both comment on issues like police brutality, education deficits, lack of healthy food in areas like East New York, Brooklyn where I grew up. So I was already very aware of these issues and the injustices that African Americans experience, and that I experienced, in my neighborhood or when I was working at the local movie theater just praying and hoping to be on the screen. When I was at Pace University I was often the only African American person in my classes. I remember in one of my classes this caucasian boy said that African American males in low-income communities would not be stopped by the police at random if they “dressed normally.” I was infuriated, choking on my words, debating with him, and I realized that no one around me could understand my point of view, so instead of getting mad and yelling and cursing I decided to use this as an opportunity to start my one-woman show, educate people, and have them watch and relate to a character who they normally wouldn’t. Just like the few scenes of Khalil in The Hate U Give change the way you see the representation of him later on through the movie. I graduated from my high school as valedictorian in Brownsville, BK, but when I got to Pace I was admitted as below average in a curriculum for students who needed more academic attention. Then I looked around and realized that these schools only prepare you for colleges at the same level…but we need to overcome this adversity and talk about this issue on a bigger scale.

I think The Hate U Give really achieved that and personally it took me from laughing to crying to anger…What are the main points that you want people to take away from the movie?

I would want them to take away the moments where they felt sad for Kahlil, where they laughed with him and saw his eyes twinkle at the beginning of the film, and when another (police brutality) event like this happens in America they can care about that victim in the same way. I really believe that art changes people’s minds and hearts the most and gives power to our feelings. Being able to see it, not just hear a name or see a mugshot, is so powerful.

Jacket and Pants by LEHHO, Gloves by Livne NYC

Jacket and Skirt by Victoria Hayes

As a woman of color, how do you feel about the changing castings and views of POC and women in Hollywood?

I definitely believe that it has changed over the years, and as a younger person I can sometimes only see the injustice because that’s all I know, but when you ask people who came before and hear their stories then you can really see how far we’ve come. I have been honored to have my first feature film on demand and online called Night Comes On, starring myself and this 10 year old African American girl named Tatum Marilyn Hall, and it is great to be able to watch African American girls not have to be super funny or sexy in a film, but that wasn’t possible a few years ago. It was still hard, and the director would tell us about how difficult it was to get funding with the subject matter, and as a female director, but we are fighting the fight and are very hopeful.

I am very excited to see Night Comes On, and hopefully it just means we will see even more diverse story-telling in the future. What would you want to change or add to the world of film and television if you owned a studio?

I would want to tell more stories about African Americans and people of color and celebrate diversity from the casting to the writers’ room. I don’t want to have the question of “What was it like working with a female director?” Like why does that matter if you are a woman or a person of color? I really don’t know though, and I am just researching, writing, and taking it day-by-day. I just finished writing my feature film that takes place in 1968 which is about a male Black Panther who falls in love with a girl who isn’t a part of that culture and over the course of the film they learn more about each other, and I think that is an important story to tell.

I hope we can see that soon! What can you tell us about upcoming roles or screenplays that you are working on?

The Deuce is coming back September 9, and then The Hate U Give comes out so of course I am very excited for both of those opportunities! I am very excited about my role in Random Acts of Flyness on HBO, and it’s just a really fun way to show different sides of myself as an actress. I am excited about the projects I am writing and being seen as a writer for theater, films, and graphic novels. I am excited to start my own production company one day and have longevity in the industry as a CEO.

Jacket by Victoria Hayes

WEB EXCLUSIVE – LEX SCOTT DAVIS

Leather Jacket by All Saints, Bra by For Love and Lemons, Vintage Leather Pants

Talent: Lex Scott Davis | Photographer: Raul Romo | Stylist: Mimi Le | Hair Stylist: Malaika Frazier | Makeup Artist: Rob Scheppy @ The Only Agency

Lex Scott Davis started off as a dancer but soon diverged onto the road towards acting in commercials and television and eventually starring in one of this summers blockbuster hits. After landing the role of Toni Braxton in the television-movie Toni Braxton: Unbreak My Heart, the snowball started rolling and Davis’ career has taken off. Now starring as the lead heroine in The First Purge, Lex Scott Davis is a no-nonsense force on-screen, and her performances in The First Purge and SuperFly have proved that Davis is here to stay.

In this exclusive interview with Iris Covet Book, we learned more about her role in the latest installment of the Purge thriller franchise and how the film and her character resonated with her personal story.

Where are you from originally?

I’m originally from Baltimore, Maryland, then made the move to Philly, then New York, and now Los Angeles. The move to New York was challenging in the beginning,  especially when you don’t have family there. New York wasn’t necessarily the safest place either. Living in Bed-Stuy, Brooklyn and commuting to work in the city everyday was a culture shock, but also a great growing experience.

When did you first know that you wanted to go into acting?

I went to Drexel University in Philadelphia and majored in dance and physical therapy. I started to grow out of it; I didn’t see the longevity of becoming a dancer. So in my third year in the program I decided to leave and move to NYC where I started acting classes at the New York Film Academy.

Was there a certain incident that confirmed in your mind you needed to pursue acting?

When I begin to realize that dancing had a cap to it. I think after a certain age you either become a teacher or a choreographer and I knew that wasn’t what I wanted for myself.  I understood from a very young age that I loved performing, so for me it was like ‘what can I do that will allow me to perform for people the rest of my life?’ and the answer was acting. You never run out of opportunities as an actor. They will always need some 80-year-old black lady to come in and play someone’s grandma, you know what I mean? (Laughing). 

How do you compare the differences between living and working in New York versus Los Angeles?

Well, they were two totally different experiences for me. NY was really about school and learning the craft of acting and when I moved to LA it was all about auditions and hustling for the jobs. When I first moved to LA I realized I wasn’t really as prepared as I would like to have been. I knew I couldn’t just dive straight into grabbing a professional acting job. I definitely had to work my way up with commercials and stage plays until I eventually found my way into the audition for the Toni Braxton biopic which was the first real opportunity within my first year of living in LA.

Dress by Stella McCartney

Leather Jacket by All Saints

How was it to work alongside Toni Braxton on the production of her biopic?

When I booked the movie my manager called to tell me I had to be on a plane to meet her in Vegas the next day.  I attended her show that night and she pulled me up on stage. That was our first time ever meeting. She was very involved in all the pre-production, table reads, and made herself available to us if we ever had any questions. She would do whatever it took for us to get to know her. I choose to be more of an observer and watched her every move, even when she didn’t know she was being watched (laughs). I wanted to see how she interacted with people and the little nuances that she does.  I think I learned more about her that way.

Tell us about your latest film The First Purge. What should fans know going in?

Well I think each Purge is a stand alone story, so you don’t have to see the previous movies to understand this one. And this is the prequel, so it’s setting you up for the previous ones. It’s not a horror slasher film like some would assume, it’s actually way more evolved. The film is more of an action thriller and has a refreshing storyline where we get to see young black people being the hero’s of their community. It’s really fun to watch and I don’t want to give too much away but it’s very exciting. Oh, and the music is DOPE.  

Tell us a how you prepared for your role in The First Purge?

This role was so hard, and I fought very hard to get it. I went in to audition at least four times in a pretty rigorous process. In terms of preparation–I felt I could really relate to the script because of how I grew up, the people I grew up with, and the circumstances these characters lived with that were very relatable to me.  I’m from Baltimore and was raised around the circumstances of lower income neighborhoods.

So you felt a strong connection to your character?

It’s a relatable story. Nia’s story isn’t exactly my story or how I grew up but it’s definitely a story that I know and it is close to me. I think it’s relatable to any woman in this scenario.  Nia is taking care of her brother and her household. She’s working multiple jobs to make sure her family is supported and is a strong voice for her community. I know a lot of women who are that person. Women who are trying to make things work despite their circumstances, who push for resistance against the political matters at hand that are up against them.

Bikini Top by All Saints, Pants by Stella McCartney, Heels by Jimmy Choo

Jacket by Stella McCartney, Bra by Thistle and Spire, Pants by COS

We get to see a small glimpse of you as an action hero in The First Purge. Do you see yourself playing more parts like this?

Yes, definitely. I remember one of my earlier experiences that made me want to be an actor was when my mother took me to see Tomb Raider when I was young. Seeing Angelina Jolie in a kick ass role made me say, “Oh my god, I want to do that!” She was so beautiful and so physical and strong, and that was something I could relate to at the time because I had the dance background. To see her on the same playing field as men, and showing that dominance and strength, was amazing to me.

Is there a favorite movie that you would love to star in if there were ever a remake?

I would love to be in a role similar to Charlize Theron’s character in Monster.  To be someone that is so put-together but then stripped down from all of that and completely raw. Seeing a different component of her level of acting and the layers and complexity of the role is to bring truth to the story. It’s equally as beautiful as when she’s all done up and doing her J’adore commercial. It was just a brilliant film. My mother showed me that film years ago. (Laughs)

What advice would you give to aspiring actors?

Even while Toni Braxton happened for me within my first year, a lot of people didn’t see the other side when I was working at a salon. I worked for a massage therapy office, I was driving a Lyft–there were so many things going on. It certainly wasn’t easy. Yes, I acknowledge it was quicker than some to obtain, but it certainly wasn’t handed to me. There was a lot of hard work in between.

Nothing is by coincidence, and I’m a firm believer that if you truly love and are persistent in the thing you know you can do, then keep on doing it. What people don’t always see is that on a day-to-day basis actors are handed a handful of auditions a week and it only takes one of those for something to happen. My advice would be to keep being persistent and to not be defeated by the ‘no’s’. Remember those ‘no’s’ are leading up to that ‘yes’, and it’s not by coincidence. Maybe the role that passed on you allows you to find a role thats going to catapult you into that big break. Everything happens for a reason.

Bra Top by All Saints

WEB EXCLUSIVE – RED HOOK VIBEOLOGY

Dress: Kelsey Randall, Shoe: Acne, Fanny pack: Manokhi

Photographer:  Kimber Capriotti @KimberCapriotti
Model:  Barbra Lee Grant @barbraleegrant @newyorkmodels
Casting:  Chad Thompson @communa_k
Stylist:  Molly Haring @Mollyruthharing_styling
Makeup/Hair:  Sarah Bednar @Sarahbednarmakeup
Digital Tech: Evan Lubinger
Photo Assist:  Jillian Bresin

Dress: Kelsey Randall, Shirt Layer: Han Wen, Shoe: Acne, Fanny pack: Manokhi

Top: Han Wen, Pant: Victoria Hayes, Belt: Jivomir Domoustchiev, Shoes: Marco De Vincenzo, Sunglasses: Han Wen, Bag: MM6 Maison Margiela

Dress: Kelsey Randall, Turtleneck: Han Wen, Shoe: Dorateymur, Head piece: Miu Miu

Dress & Skirt: Han Wen, Trench Coat: Han Wen, Shoes: Han Wen, Sunglasses: Oakley

Top: Kelsey Randall, Jacket: Victoria Hayes, Pant: Marques Almeida, Shoe: Dorateymur, Hat: Marni

WEB EXCLUSIVE – DESAMPA: NIGHTSKIN

Undercover Double Breasted Raincoat, DESAMPA’S Mask

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

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

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

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

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

 Grapa Wrap Vest – Sigilo, Mask by DESAMPA

To start, can you share your background?

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

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

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

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

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

Where do you draw inspiration from?

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

Undercover Double Breasted Raincoat, DESAMPA’S Mask

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LUAR Brooklyn Jacket, Mask Slick It Up

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

Do you create all of them yourself?

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

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

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

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

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

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

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

Undercover Double Breasted Raincoat, DESAMPA’S Mask

Listen here:

Support Your Local Immigrants – DESAMPA

Ventre– DESAMPA

Red Bull Radio Alumni Mix– DESAMPA

 

 Photo Retoucher: Amanda Sperry  

EXCLUSIVE: ERIKA JAYNE


Photography by Alexandra Gavillet | Styling by Rafael Linares @ Art Department | Interview by Cecily Strong

From dancing on gin-soaked stages in the dive bars of West Hollywood, navigating the many dramas of the Real Housewives of Beverly Hills, to being immortally satirized on Saturday Night Live, the reality star, pop culture icon, and now New York Times best-selling author is taking the world by storm.

Erika Jayne is embracing opportunities with open arms, switching at the drop of a hat between author, international performer, “housewife,” and the icon we didn’t even know we needed. The Real Housewives franchises are filled with meme-worthy moments, unforgettable quotes, and exciting drama, but few women from the reality series have become household names to the degree of Erika Girardi, AKA Erika Jayne. In an exclusive interview between Erika and Saturday Night Live’s Cecily Strong, who parodied Jayne on the legendary sketch show and cemented Erika’s status as a cultural touchstone, the two women discuss ageism in the entertainment industry, creating a public persona, and her new Simon & Schuster bestselling book, Pretty Mess.

Jacket by Tom Ford, Earrings by House of Emmanuele

Earrings by House of Emmanuele

Hello! How are you Erika?

Hi Cecily, I am so good—it’s so nice to talk to you.

You too, what a treat! I am such a fan! A real fan, not just an Instagram fan. I am so excited. I’ve been bragging to everyone at SNL about getting to do this interview! So, starting with your new book, how did the idea to publish a memoir take off?

I was approached to do the book and said yes because these days I am just saying yes to everything. Obviously, you see a little bit of it on TV, but sharing 45 minutes of screen time with five other women is difficult. Writing a memoir is a way to give the audience a more in-depth peek into my life.

How open are you in this book and are you nervous about revealing too much?

There’s always the version of the truth which you can never tell or else all of your friends and family will never talk to you again (laughs), and then there is the book that I wrote, and then there is the book that got published – which went through two legal processes. Hopefully it works out well and people like it.

(laughs) What was the most challenging part writing the book?

Well, my mother and I were discussing how my father left when I was nine months old, and then she remarried and divorced again. I feel like I had blocked out that part of my childhood. I went back with her trying to piece it all back together. I was looking at it through 46 year-old eyes and thinking it was basically ten years of bullshit!

Do you think that your childhood experiences are the reason that you have this amazing life and personality and are so fabulous and youthful—or in other words, do you think that you’re basking in the things you didn’t have in your childhood?

I feel like I’m eternally 16. I had a nice car, a hot boyfriend, good grades, was performing all the time, and I looked cute. I don’t know if that’s because of my childhood, but I definitely know that all of that has an effect on you growing up.

Well, I understand feeling like you’re eternally a teenager because I feel like I’m 16 even though I’m like… 34, but have you confronted ageism in your industry? Is it something you even think about? I know I don’t think about it much.

Good, and I’m glad you don’t, and the only time I do is when someone tells me, “Oh, aren’t you a little too old to be doing this?” and I’m like, “No, actually I’m not.” I think that it’s important to keep doing it and keep pushing and dreaming because that’s an old way of thinking that is falling by the wayside as women continue to improve and show how powerful we are. You know, when you’re in your 40’s you’re not dead, you’re not done! I feel the most powerful now. I didn’t feel powerful in my 20’s, I was a ding-dong!

I couldn’t wait to turn 30 because I thought, “Finally, people will take me seriously!” And I can’t imagine someone saying to you that you’re too old, that’s insane to me. I’d be like, “Just watch me perform!”

Thank you! Could you imagine telling a man that? Could you imagine telling a man, “Sir, don’t you think you’re a little too old to be running the company?” It’s not fair for us to get a tap on the shoulder like, “Sit down honey, you’ve had enough fun, you’ve had your day, people don’t find you attractive, you can’t sell anything, and your time is up” No! I’m not going to do that.

Good, me neither. We’re taking a vow! What do you hope that people take away from your book and your personal story?

First off, I want people to laugh and have fun. It’s an easy read and a fun read, and if one person walks away inspired to go to dance class again or back to college or just see that, through this human story, we are all the same. My experience is just this way, but it’s the same bullshit for everybody, so don’t quit. You never know what the future holds.

So let’s talk about your persona Erika Jayne, how she was born and how you found her within yourself?

I was about 35 years old, had been married to Tom for six or seven years, and had been exclusively living his lifestyle. I was going to every event and socializing with a whole new set of very educated, super interesting people. I am glad I did it because it was an invaluable education, but it wasn’t me. I was wealthy and living in a bubble where I would shop, go to the gym, and then go to dinners, but what the fuck was I really doing with myself? I longed to go out, create again, and have my own identity.

I just don’t think that Tom expected the book deal, concerts, or this interview in my future. I don’t think anybody did! I started to create on my own, it was something that I loved, and here we are today. And thank God he has been so supportive. I have learned so much, and I am really grateful because without him I wouldn’t be here at all.

That’s so great, and good for you two! You’re a great example for couples. So, when did you get your big break and what was the beginning of your career as Erika Jayne like?

Well, if you take the Erika Jayne Project, it was very small potatoes. It started at my kitchen table and it was just something that I wanted to do. I created the persona with a friend of mine from high school. He took me to a producer friend of his and we made the Pretty Mess album, and I started to perform because that’s what I really love to do. It was the typical beginning. A few people in some terrible dump, no one paying attention, and just begging to get on stage. I thought to myself, “I don’t have to fucking do this, I’m rich! What the fuck am I doing?” (Cecily laughs) I hate to break it down and sound so rude, but there are a lot of naysayers and rejection. I kept putting one foot in front of the other and building it, and slowly but surely people started to pay more attention and come to my shows. The biggest break into pop culture was definitely being cast in the Real Housewives because it took Erika Jayne out of the clubs and into people’s homes, and she even became a parody on Saturday Night Live! (laughs) But I think the most interesting thing was seeing young women, like high school and college-aged girls tell me how much they love my music and style, and I’m like, “Wow, really? I’m old enough to be your mom.” That acknowledgement makes it all worth it.

 

Jacket by Vitor Zerbinato, Dress by Nookie, Boots by Christian Louboutin, Earrings and Ring by Glynneth B.

Jacket by Vitor Zerbinato

Most of my circle of friends are gay men, and so I’m curious when did your relationship with the gay community start?

Children’s theater! (laughs)

Oh my God! Same for me! I was raised in a theater in Chicago by a group of gay men.

That was where I started! And then I went to a performing arts high school where everyone in dance and theater was gay, even our instructors were gay. They were always a part of my life. These are my people and that’s that.

Right, it’s so true, and it’s so funny that I had a very similar experience. When my parents split up I felt that the gay men of my Chicago theater were raising me while my family was a mess.

And I think that’s a wonderful thing to have and I can’t imagine life without gay people in it. They are my closest confidants.

Now what about drag culture? Has drag had an influence on your life and career?

I mean, just take one look at me! What do you think? (laughs) Of course! I love drag because you get to transform into a superhuman. It’s a true art form that is not for the faint of heart. Your costumes, hair, makeup, the whole look, and your style of drag too! There are so many different styles.

What style would you be?

Hooker drag! I want to be hooker drag (both laugh). Are you kidding? Basically that’s what I already am so why not? Keep it going!

So let’s talk Housewives of Beverly Hills! Obviously I am a huge fan, but how has being on the show changed your life? Cameras catching you crying, drunk…I drink a lot, so I could never do reality TV.

I don’t really like crying on camera because you are embarrassed worldwide, and that sucks. But without that exposure I wouldn’t be talking to Cecily Strong and I wouldn’t have a book out today! See what I’m saying? You have to roll with the punches and make the best of it. At the end of the day, it is reality television and I try to be as authentic as I can and have a good time doing it!

As I say in my book, it’s like professional wrestling. There are heroes, villains, costumes, pyrotechnics, but at the end of the day the injuries are real! It’s like we are participating in this absurd narrative, but these are still my feelings and sometimes they get really hurt.

People are awful! Celebrity in general, people feel like they have some sort of ownership over you, and because you get to do your job they get to hurl insults at you. It seems even worse for people in reality TV because it is your name and your life.

Thank god I am 46 and not 26! I have lived a full life, have a successful marriage, had an unsuccessful marriage, I have an adult child, I can pay the bills. Forget it, if I were a kid and did not know who I was, I may not have made it and I would have been crazy-town. Honestly, I consider myself pretty fucking normal.

I think about that all the time. Like I was crazy enough at 22—

Right! I didn’t need anyone telling me I sucked and was awful and should kill myself. You can imagine how the younger ones feel.

I will say that my favorite piece of advice I’ve ever gotten, and I don’t mean to name drop, but it was from Jim Carey at a host dinner for SNL and he told me “Don’t ever let anyone tell you the narrative of your career.”

He’s right, and thank you for sharing that. I’ll split when I’m ready and I’ll do what I need to do. That’s very well said.

Well, thank you Jim Carey! So, what’s next for you? What do you see in the future?

I am on my way to a book signing in New Jersey which is right across the street from a terrible go-go place I used to go-go in when I was younger.

Wow.

I know, it’s really interesting, Cecily. I’m continuing to create, and there’s going to be more music and more shows, and who knows what’s coming, but I feel like it’s going to be really good.

 

Jacket by The Blonds, Bangles, Cuffs, Earrings and Hat by Glynneth B.

Jumpsuit by Any Old Iron, Shoes by Christian Louboutin

Dress by Gucci

Makeup by Etienne Ortega @ The Only Agency using NARS and KKW Beauty, Hair by Castillo @ Tack Artist Group using Sexy Hair styling products & T3 styling tools, Art Direction Louis Liu, Editor-in-Chief Marc Sifuentes, Photo Assistant Mallory, DP Vanessa Konn, Gaffer Zachary Burnett, Production Assistant Benjamin Price, Produced by XTheStudio.com, Special Thanks to Jack Ketsoyan, Laia and Mikey Minden