ESSENCE.com January, 2010

By Alexandra Phanor-Faury

While there may be an endless supply of pretty faces decked out, with the help of stylists, in head-to-toe au courant, designer pieces making the red carpet and party rounds, to catch our eye here at ESSENCE.com, one must approach fashion with a truly individualistic approach, have savvy personal style, be adept at interpreting trends to make them her own, have an understanding of what looks good on her frame and, by all means, she must possess impeccable taste.

Finding someone like that these days can be rather difficult in a sea of style copycats, so you can imagine our giddy, school girl excitement when we discovered Shala Monroque…

The stunning social jet-setter, art enthusiast and editor-at-large of “Pop” Magazine possesses a high-level of sophistication and elegance with a dose of eccentricity that is rarely seen and sorely missed in today’s fashion landscape. Monroque first piqued our interest at the Paris Fashion Week S/S 2010. And how could we miss her? Among a sea of severe black and leather ensembles, there was Monroque front row at every show in a riot of eye-popping hues, prints, textures and statement necklaces textures. We love her willingness to stray from the pact with confidence. It’s no wonder this editrix made Vogue’s top ten best dressed list. Comments reach a fever pitch on The Sartorialist street-style blog every time her photograph is featured. There’s no doubt in our minds that Monroque is surely on her way to taking the fashion world by storm–both as an editor and as a style icon.

The now-famous spotting of Monroque outside the Miu Miu S/S 2010 show in head-to-toe Prada has come to define Monroque’s style pedigree. This is the image that got bloggers and fashion insiders professing their love for Monroque’s coveted style and touting her as fashion week’s breakout star. The pencil, flower printed, yellow Prada skirt paired with a simple brown leather belt and elaborate, tribal-tinged bejeweled Prada heels from F/W 08, beaded statement necklace and her signature chic turban says polished, urban sophisticate.

Nevertheless, we love that she opted for a simple, cloth tote instead of a designer handbag to complete her stellar look. It’s those small, offbeat details that add layers to Monroque’s phenomenal looks and proves she’s not into taking fashion too seriously. And though we would love to own her enviable wardrobe, it’s her shinning confidence  that has all of us paying close attention.

Read more: http://www.essence.com/fashion_beauty/independent_spirit/it_girl_shala_monroque.php#ixzz155AnCoiN

By Alexandra Phanor-Faury

It’s been more than 20 years since Lenny Kravitz wrote and produced his classic debut, ‘Let Love Rule’, which introduced the world to a dreaded hippie whose sound melded an array of musical influences from classic rock to funk. Today the Brooklyn born rocker – sans dreads – continues to thrive and surprise us with his multifaceted talent – and expressions.

If you think a day in the life of Lenny Kravitz entails all night parties and supermodels, think again. In fact, you’re more prone to find the Brooklyn-born rocker taking it easy with his family than living the ubiquitous rocker lifestyle he once indulged in. Today Kravitz shares his time between the high life in Paris and a humble farm in the Bahamas. With 10 albums under his belt and his first acting gig in the critically acclaimed Lee Daniels’s film, Precious, it’s safe to say retirement isn’t in the cards for Mr. Kravitz any time soon.

What are the ups and downs of being Lenny Kravitz?

I mean the ups are great; first of all I get to make music. That supports my life and my family. Doing what I love and being able to support myself and my people with that, and enjoy it, is amazing. But it’s very difficult to forge a relationship… Meaning a romantic relationship. I move around so much that my life is kind of nuts.

Why do you think there is such a big focus on being famous?

Our culture is all about that. It’s crazy how all of our TV shows now are reality and fame. It’s kind of scary that we are so into celebrity and in most cases celebrating people that don’t necessarily have any particular talent, right?

How has it affected your life being famous?

I think early on I wasn’t ready for it, although I grew up with a mother who was famous and my child’s mother was famous. I left home when I was 15 and I was very much a gypsy and a hippie, so when the fame thing began to happen by virtue of just being successful, I had to learn to close down. I had to learn to not be so open because I was like ‘Come one come all. Let’s have fun, let’s hang out.’ I was that kind of person and people started to take advantage and see what they could get. I had to curb my natural vibe. That was hard.

How conscious are you about your image as an artist?

I think it’s something that’s inside of you. I don’t really think about it. Sometimes I’m very covered up and a little dirty as I am right now. Sometimes I’m more glamorous. It all depends on how I feel. Right now, I’m feeling kind of regular.

What do you like the most about being ‘on stage’?

I feel at home. I would never…Turn my back on a friend. 10 years from now I’ll be…Still rockin’ I’m a big fan of …Miles Davis

Links: vsmagazinelive.com

By Alexandra Phanor

After 10 years away from New York, haute couture designer Christian Lacroix celebrated his return to the Big Apple by hosting a private dinner, followed by the unveiling of his much-anticipated first store in the city, across from the Four Seasons Hotel. “It’s always like home here,” said Lacroix, who made his U.S. retail debut back in 2006 in Las Vegas. “Yesterday was the first time I saw the store. I’m very proud. I love it, love it.”

The 1,741-square-foot boutique’s onyx walls, mirrored bricks, contemporary red chandelier, red carpet, pink roses and carnations, and racks of Mr. Lacroix’s signature vibrant-hued gowns lent a kaleidoscopic air to the milieu. “I always passed by the store and couldn’t wait to see inside. It’s gorgeous,” gushed model Hana Soukupova, sipping Champagne in the back room of the store.

On hand to welcome back the designer was a bevy of fashion insiders, including photographer Gilles Bensimon and the Washington Post’s Robin Givhan. Lipstick Jungle star Kim Raver revealed as she made her way through the crowd that Lacroix had gifted her with some beautiful pieces. “He is an extraordinary designer,” said the actress, who wore a long, black, strapless number. “How can you say no?”

Links: HarpersBazaar.com

By Alexandra Phanor-Faury

Shoe maestro Brian Atwood’s come-hither skyscraper heels in elaborate skins and blinding jewels are always the stars of the show. Nevertheless, at last night’s fete at the OpenHouse Gallery for the designer’s exclusive new book — Role Play Rene, featuring his candy-hued Spring 09 collection — his killer heels played their first supporting role. A seductive, barely clothed Rene Russo modeling the footwear line was the main attraction. You couldn’t help but be fixated on Russo’s tight bod (If only we could all look this good at 55), and it’s just how Atwood and famed celeb/ fashion photographer Tony Duran wanted it. “Tony and I love Rene. We wanted to make her look very sexy; hence the title of the book. The shoes are all about the attitude that she gives off in these photos,” says Atwood.

Published personally by Atwood, the 1000 copies of his homage to the veteran Hollywood starlet were given out to the invite-only guests. Dying to see a wet Russo in risqué poses involving younger naked male models, hair pulling, blindfolds, and of course sexy shoes? Check out those photos, and you won’t be disappointed. You’re welcome.

Links: Blackbookmag.com

By Alexandra Phanor-Faury

Not too long ago, fashion editors regarded fashion blogs, with their real people and street style, as the hobby of a handful of overzealous, amateur fans. Today the fashion blogosphere’s littered with individuals sharing their passion for style, from their own daily outfits to photographing other well-dressed pedestrians. And the perks that come to the web’s fortunate shinning talents are impressive: front-row seats at fashion shows, free samples, modeling contracts, design, styling, and photography contracts with established retailers, book deals, and editorial work. Fashion bloggers, once outsiders to the insular world of fashion, are now carving a spot for themselves among the fashion media and reaping the benefits of exposure. But what are they giving up?

All this attention from the fashion mainstream is blurring the line between independent, accessible fashion bloggers and the rest of the industry gatekeepers. The whole allure with fashion blogging is the fact that it’s an alternative to the fashion media. While not all bloggers are rubbing shoulders with those in the industry, when designers are dressing you for their shows and giving you a front-row seat or department stores are sending you packages, a regular gal you are definitely not. Street-style photographers have turned their lens from nameless faces on the street with great style to fashion insiders with access to designers most could only dream of. The dynamics of the conversation in fashion blogs has changed with the reader left now as the only outsider—just like in glossy magazines. And what’s so indie about that?

“If a blogger is interested in fashion and ultimately wants to pursue a career in the industry, that sort of absorption should be commended, and considered a success of the medium,” says Zana Bayne, who runs the cheeky and popular Garbagedress.com and designs leather accessories. The 21-year-old Bayne is an old-school fashion blogger who at the age of 12 was writing her fashion thoughts on LiveJournal fashion communities before personal blogging became a la mode. “A blog has the unique power of functioning as a portfolio of personality, taste, and ability—some have realized this and are smart and strategic with their blogging intentions.”

Unlike some other forms of blogging, fashion blogging in the last couple of years has proven to have a possibly disproportionate effect on the industry it covers—not to mention becoming a profitable new media business for some. Gone are the days of the anonymous blogger. A fashion blogger today must be fluent in networking, self-promotion, and be ready to put in a considerable amount of work into a blog in order to stand out from the crowd.

Work-at-home designer and Keiko Groves, who blogs about fashion at Keiko Lynn, says having to adhere to the independent label associated with blogging is ridiculous. “I imagine most fashion bloggers blog about fashion because they love it. So how is it selling out to accept an invitation into a world you once thought was completely impenetrable?”

Some bloggers, like Lulu Chang, aren’t so easily wooed. “I think it’s hard for anyone to avoid the allure of the fashion industry. It’s a personal choice—I love fashion, but I prefer to stay away from the industry.” Back in March 2008 Chang launched her blog, Lulu and Your Mom, to offer readers a fresh perspective on fashion. She never envisioned how popular it would become. “Bloggers have definitely reached a whole new level of influence. It can be overwhelming. I think the problem with a lot of new bloggers is that they are too motivated by free stuff and fame. At the end of the day, you should blog because it makes you happy.”

Considering the rate at which loyal readership of fashion blogs is steadily growing, a mention on top blogs for designers is becoming a serious component of their marketing approach. It’s cheap and fast PR. Needless to say, designers shower bloggers with free samples and invites to events in hopes of receiving an enthusiastic shout out—not unlike the relationship they share with the print fashion media.

“I think those who are disappointed by advertisement and endorsements need to shut their computers and start living their own lives,” says Bayne. “The internet is the most public and widely accessed domain for self-expression. To imply all bloggers must be inherently indie while broadcasting themselves online is rather contradictory.” Just take a look at the history of every other medium such as TV, film, and radio and see how ad revenue ultimately always affects content.

Anina, who runs 360FashionNetwork and Anina.net, believes transparency in fashion blogging is very important for credibility of the bloggers. “Fashion bloggers are mistakenly carrying over old media techniques into new media space. Where traditional media cloaks their advertising into editorials, bloggers are supposed to disclose when they are being paid to promote a product.” Such a disclaimer is a rarity on fashion blogs. It’s hard to believe a blogger who is offered a trip to Paris to attend a show would have anything remotely negative to say about the designer’s collection.

For star fashion blogger and fashion critic Susie Lau of Style Bubble fame, accepting gifts from designers after she raved about them on her blog is not the issue. “Whether I got it for free or not is besides the point if the thing itself is absolute crap and in no way reflects my personal taste,” she says. “For me things get offered as a way of thanking me for a post that I did which is usually a pleasant surprise as opposed to something I expect.” Lau is currently working as a commissioning editor at Dazed Digital.

Not everyone shares Lau’s views on the ethics of swag. Chang knows first-hand how this delicate new relationship between bloggers and the fashion world can go awry. “I know for a fact that certain bloggers will try to use their blog as leverage in exchange for free stuff … sometimes approaching a designer or label first.” Chang would rather not name names, but she said the trend is widespread. She’s turned down her share of sponsors and celebrity coverage. “A lot of publicists try to get me to interview celebrities. The whole point of blogging is that it’s supposed to empower the everyday person. Who cares what celebrities think?”

While more access and ads on their pages doesn’t necessarily always translate to bloggers not keeping it real with readers, it does raise relevant questions about the unbiased nature of the content in a medium celebrated for its autonomous opinions.

Links: Blackbookmag.com

By Alexandra Phanor-Faury

Why can we not stop watching Rachel Weisz? Sure, her breathtaking beauty is easy on the eyes, but it’s the vulnerable, often broken characters she so effortlessly inhabits that keep us glued to the screen. Weisz has never chosen the easy golden-paved path that so many Hollywood starlets follow to fame and fortune. Instead, Weisz keeps us constantly guessing with roles as varied as Tennessee William’s Blanche DuBois and as Jackie Onassis in the upcoming biopic being directed by her husband, Darren Aronofsky.

“Choosing a role is like choosing a friend,” explains Oscar winning actress Rachel Weisz. “Why would one do something boring when they can pick something more interesting? What does it mean to really be a human being? I’m interested in that. You don’t want to be friends with someone who is just one thing. We are drawn to complexities.”

Weisz has been adept at choosing a multitude of complicated women to be “friends” with on screen, from the thrill seeking librarian in the action-packed Mummy films to The Constant Gardener’s murder victim Tessa Quayle, who is unraveled slowly in heartbreaking flashbacks and which won Weisz the Oscar for Best Supporting actress. Inhabiting other people’s personalities has always been an integral part of Rachel Weisz’ DNA. Since she was a little girl, growing up as the daughter of a Hungarian father and an Austrian mother in North London, the lure of adopting someone else’s life has been alluring and intoxicating. Weisz’s wild imagination and empathetic nature has allowed her to shape and breathe life into some of film’s most compelling, versatile characters.

Playing against expectations, Weisz has successfully steered her way through blockbuster films, indies, and awe-inspiring stage performances. Weisz, who at 40 still has the wide eyed, innocent face of a young ingénue, has spent her entire career searching for interesting characters to become, so it’s no surprise that she thrives best when surrounded by captivating personalities, whether at fashion events or at a bar in her East Village, NY neighborhood where she lives with husband, Darren Aronofsky, the director of The Wrestler, and their four-yearold son, Henry. Unlike most Hollywood stars, Weisz chooses New York over Los Angeles. “I find Hollywood really toxic,” she once said.

Like the actor herself, New York is raw, uninhibited and buzzing with energy. While porcelain white skin, Brooke Shields’ thick eyebrows and a Betty Paige dark mane command attention and earned her modeling gigs for Revlon and Burberry, Weisz’s inner-life is what keeps us mesmerized with her. Her emotive hazel eyes have told thetales of countless, complicated characters from a grieving mom to a prostitute to an activist and Egyptologist. “Probably one of the greatest portraits of a woman is Blanche DuBois [from Tennessee William’s Street Car Named Desire],” Weisz declares, beforeexpanding on the statement. “She was incredibly sex driven, impossible, cruel and so many things. I like finding what’s wrong with someone.” Weisz’s portrayal of Blanche on the London stage won her the 2010 Laurence Olivier award for Best Actress.

“I miss her terribly,” she sighs, as if talking about a long lost best friend. Luckily for Weisz, the challenging parts keep pouring in. Perhaps one of the most high profile and daunting roles of her career will be playing Jackie Kennedy in Jackie, a movie to be directed by Aronofsky. She won’t be the first actor to tackle Jackie O (Jeanne Tripplehorn portrayed her last year in the award winning Grey Gardens TV movie), but the former first lady is an iconic American heroine who people see as the closest thing the United States had to royalty. “I’vealways admired her from afar,” Weisz admits, realizing the weight of the role and the scrutiny people will place on her performance. “I think it’s a very respectful story and a beautiful portrait of a brave woman.” In the upcoming The Whistleblower she plays Kathryn Bolkovac, a peacekeeper in post-war Bosnia who outed the U.N. for covering up a sex scandal.

“I’m not like that in real life. I’m very passionate about my work, but I’m not willing to risk my life for it,” she admits in her British accent. “That fascinates me. What makes a person give up their life for something they believe in? I’ll say anything you like to stay alive. My nature and my job is to tell stories and dream.”

Although like a true actor’s actor, Weisz only ventures to Los Angeles for work, don’t expect to hear her whine and moan about the public’s insidious fascination with celebrity culture. She is not one to give the now ubiquitous monologue on the trappings of Hollywood stardom. “I’m proud of the work I’ve done in Hollywood as I am equally proud of independent films. I don’t have snobbery about it. I love getting dressed up for the red carpet to promote a movie. That’s just the reality of the business, and I’m not above reality.” And Weisz dresses up well, favoring dresses by her close friend, designer Narciso Rodriguez, who dressed her when she won her Oscar and accompanied her and her husband to the Vanity Fair party afterwards to celebrate. It’s that complex, yin/yang, yet down-to-earth essence that endears Weisz to us.

Despite being beautiful, smart, talented and witty, Weisz never appears out of reach – she finds the human thread that connects audiences to every part she plays. While she may take the craft of acting seriously, she isn’t beyond poking fun at her charmed life. “It’s such an absurd thing to be doing,” she confesses of the life of a movie star. “Getting dressed and pretending to be someone else.” And as long as Weisz keeps putting on the clothes and getting in and under the skin of interesting characters, we will always be watching.

Link: Vsmagazinelive.com

By Alexandra Phanor-Faury

Atmos
This minimalist Japanese sneaker boutique houses an extensive collection of kicks ($50–$400)—including Adidas, Puma and Atmos’s exclusive collaborations with Nike and New Balance—all of which are displayed in backlit mahogany cubbies. The sneakerhead haven also dabbles in streetwear like T-shirts, jackets and jeans from Stüssy, Black Scale and Atmos’s own signature line. Accessories such as G-Shock watches and Amongst Friends baseball caps will keep you looking fresh from head to toe. TONY deal: MentionTONY to receive 10 percent off everything except Air Jordans and Air Max 2009 sneakers through Wednesday 21. 203 W 125th St at Adam Clayton Powell Jr. Blvd (Seventh Ave) (212-666-2242, atmosny.typepad.com)

Carol’s Daughter
This natural hair- and skin-care line has gone from a neighborhood secret to one of the leading natural beauty companies in the country, with celebs like Brad Pitt lusting after its products. With its soothing white brick walls and divine mélange of fragrances both sweet and subtle, the flagship store in Harlem is an aromatic oasis. Indulge your senses and pick up the brand’s signature handmade soap ($2) in the popular almond-cookie scent, the Ecstasy Shea Souffle moisturizing lotion ($13–$30)and the yummy SweetHoneyDip ChocolateBrownSugah scrub ($34). If time permits, treat yourself to a Rose Petal Ritual mani and pedi ($53) at the in-store Backroom Spa, which focuses solely on hands and feet. 24 W 125th St between Fifth Ave and Malcolm X Blvd (Lenox Ave) (212-828-6757,carolsdaughter.com)

Goliath
This 1,200-square-foot former barroom is now Harlem’s hottest sneaker emporium; it’s consistently packed with shoe collectors getting their fix of sought-after limited edition and rare kicks, such as the Android Homme ($220), which are displayed alongside standard model Nikes and Reeboks on the shelves. Browse the assortment of colorful T-shirts, jackets and hoodies by streetwear lines like Primitive, 10Deep and Flip the Bird to complete your look. TONY deal: Mention TONY to receive 15 percent off everything through Wednesday 21. 175 E 105th St between Lexington and Third Aves (212-360-7683,goliathny.com)

Hue-Man Bookstore and Cafe
This veritable Harlem landmark is by far the largest and most famous indie bookstore in the country, focusing on African-American narratives and authors. Brimming with more than 24,000 non-fiction and fiction titles, Hue-Man is perfect for bibliophiles looking to spend a few hours perusing the latest best-sellers while enjoying a cup of coffee at the bookstore’s Café One. At 4,500 square feet, this cavernous space is meticulously organized by specific categories (New York Harlem History, Street Fiction, Diaspora Studies) that make locating what you need a cinch. Still can’t find what you’re looking for? The engaging and knowledgeable staff are always there to guide you. 2319 Frederick Douglass Blvd (Eighth Ave) between 124th and 125th Sts (212-665-7400,huemanbookstore.com)

N Harlem New York
When N Harlem opened its doors in 2006, it was a pioneer for other upscale boutiques that subsequently sprouted in the area. Since then, the shop has outfitted locals and those outside the 10026 zip code in ready-to-wear pieces ($15–$300) from such designers as Joe’s Jeans, Nicole Miller, Byron Lars, Generra and the store’s own private label, N, which specializes in soft cotton T-shirts. In addition to stocking more established designers, the boutique peddles top-shelf local and independent talent alongside N’s line of soy-based candles and lotions. TONY deal: Mention TONY to receive 15 percent off items under $200 and 20 percent off items over $200 through Wednesday 21. 171 Malcolm X Blvd (Lenox Ave) between 118th and 119th Sts (212-961-9100, nharlemnewyork.com)

Nicholas
Hardly your run-of-the-mill Bob Marley–T-shirt shop, this spacious and well-organized reggae store distinguishes itself by stocking everything you need to live the true Rasta-monsta lifestyle. Find sterling silver jewelry ($15–$190), books on Rastafarianism and holistic health, flavored rolling paper, and stylish bohemian wares and accessories (like trendy military shirt-dresses and straw fedoras, $15–$45), all catering to those who pledge allegiance to the red, gold and green. 5 E 125th St between Fifth and Madison Aves • 2035 Fifth Ave between 125th and 126th Sts (212-289-3628, nicholasreggae.com)

Pollen Nation Events
At this gallery-like home decor boutique, it’s difficult to determine what’s for sale and what’s part of the store’s furnishings. That’s because everything—save for owners Kelly and Collin Abraham’s adorable son, Myles, sometimes seen napping on the couch—is good for the taking. Scoop up drool-worthy mirrored-glass mosaic vases ($55–$200), photographer Keith Sherwood’s stunning snapshots from the New York Botanical Garden’s Orchid Show ($40–$300) or a bouquet of fresh-cut flowers—Beyoncé and Jay-Z hired Pollen Nation to style the buds at their wedding, so you know the arrangements are top-notch. 11 E 125th St between Fifth and Madison Aves (212-860-2022, pollennation.net)

Scent of Nature
This intimate shop stocks a bevy of perfume notes with which to create your own signature scent ($15–$140). Friendly owner and fragrance guru Ibrahim Diallo will walk you through the process, but those short on time can choose from the generous selection of premade blends that includes the licorice-inflected Rainbow ($45) and the citrusy Scents of Harlem ($45), a perfect summer cologne. The store also carries Diallo’s own line of natural makeup ($22–$150), which he can customize to any complexion. TONY deal: MentionTONY for 15 percent off everything in the shop through Wednesday 21. 321 Lenox Ave at 126th St (212-222-2773, scentofnatures.com)

The Store at Studio Museum in Harlem
This airy gift shop draws museumgoers and savvy shoppers alike with its endless array of captivating books, postcards, catalogues and prints, all devoted to African-American, African and Caribbean art. Even nonacademic types can score with arty bed linens ($44–$60) and Sandy Baker’s semiprecious jewelry ($32–$90). Though the stock rotates according to the current exhibition, you can always find BLACK IS BEAUTIFUL T-shirts ($25) and mugs ($10), which were introduced by director and chief curator Thelma Golden and inspired by the 1960s Black Power movement. TONY deal: Mention TONY for 10 percent off everything in the shop through Wednesday 21. 144 W 125th St between Adam Clayton Powell Jr. Blvd (Seventh Ave) and Malcolm X Blvd (Lenox Ave) (212-864-4500,studiomuseum.org/store)

Swing Concept Shop
Don’t let the racks of pricey Rick Owens and Ann Demeulemeester threads fool you: Swing doesn’t cater just to those with large bank accounts. Prepare to drop anywhere from $6 for a statue of Hindu deity Ganesh to $2,000 for antique furniture imported from London; you can hit mid-range price points, too, with Sphatika bath and body products, and ready-to-wear clothing and home decor from all corners of the world. This inviting boutique is designed to feel like the fictional home of owner and world traveler Helena Greene—which will become even more apparent when you sit down in the communal area to enjoy a complimentary cup of French tea. Mention TONY to receive 20 percent off everything in the shop through Wednesday 21; bring your receipt to nearby MoJo Harlem restaurant for a free glass of white wine. 1960 Adam Clayton Powell Jr. Blvd (Seventh Ave) at 118th St (212-222-5802, swing-nyc.com)

Links: TimeOutNewYork.com

By Alexandra Phanor-Faury

After picking up practically every award for her supporting role in “Precious: Based on the Novel ‘Push’ by Sapphire,” it was a safe bet that Mo’Nique would win the Oscar. She is the fifth Black actress to win an Academy Award. Nevertheless, there are many of us who consider Mo’Nique’s Oscar win to be just another “negative” role earning recognition. In fact, many ESSENCE.com readers have gone as far as expressing shame and disgust. Some have even flat out refused to ever watch Lee Daniel’s Oscar-nominated film. This isn’t the first time an Oscar win has incited Black audiences to vocalize their deep dissatisfaction and discomfort with the Black characters and narratives Hollywood deems award-worthy. Remember Denzel Washington winning the best actor award for “Training Day” or Halle Berry winning the best actress for “Monster’s Ball”? Those wins were equally marred with controversy over the images portrayed. The hesitation to celebrate these wins and roles stem from enduring decades of grossly stereotypical roles that demean us, written by both White and Black filmmakers. Playing victims, victimizers or sidekicks have long been the M.O. in Hollywood where there’s a dearth of substantial roles for Black actors. The politically correct bar for Black Hollywood has been set very high, and rightfully so. If we don’t take control of our image and demand complex stories about Black life, then who will? But has our insatiable hunger to see ourselves in upstanding roles on the big screen clouded our perception and reinforced the notion that what’s really important is how White people view us as opposed to allowing ourselves the right to break free of these insecurities and highlight the diverse stories in our community–”good” or “bad”?

The story of a poor, illiterate, pregnant teen growing up in Harlem who is raped by her father, bears him one child and has another on the way, and is verbally and sexually abused by a monster of a mother has all the components to rile up those of us looking for “positive” images. Throw in that the girl is H.I.V. positive, obese and dark-skinned and that’s enough to have middle class Blacks across the country fuming. This is the exact welfare-mom-pregnant-teen image they’ve been working decades to dispel. Precious’ story is as terrifying to us as it is to Whites. While a brief synopsis of the movie and its characters may come off as a laundry list of racist clichs, a deeper look into the film, as in the book, reveals a more complex story about humanity in the face of the most deplorable conditions. This is due in part to the fine acting of both actresses. If there were more Huxtable stories being told about Black life, perhaps there wouldn’t be so much controversy over “Precious.” Nevertheless, what I find the most disturbing about the vitriol being thrown at this film and Mo’Nique’s award-winning performance is how everyone has ignored the real message here and that is the rampant abuse some young Black girls endure everyday across the country. Sexual abuse and incest in the Black community are topics that are rarely discussed on a profound level–as racism often is–but avoiding the topic certainly doesn’t make the issue go away. While the subject has been glossed over in movies like “The Color Purple” and “Antwone Fisher,” this movie bravely delves deep into this sensitive subject matter.

Film, at its best, has the ability to lend a voice to those who have none, so what does it mean when we refuse to acknowledge, as unsavory as it is, that Precious and Mary Jones do exist and that their story has every right to be told? Condemning this film sends more of a dangerous message than the film or Mo’Nique and her doo-rag ever will. It says, among other things, to Black victims of abuse and incest that they should feel ashamed and hide, for the sake of Black people as a whole. Keep that stuff behind closed doors. To add salt to the wound many of us are touting “The Blind Side” as a better, more optimistic film than “Precious.” You have to be kidding me! So, these are the only “positive” choices we’re left with? Either we’re making history as Black leaders fighting against oppression, playing cops or we’re helpless, lost souls whose one note stories are told through the eyes of White protagonists. Of course, the White lead actor always finds redemption on their journey to saving us. I find movies like “Blind Side,” “Finding Forester” and “Dangerous Minds” to be more infuriating and racially patronizing than anything I saw in “Precious.” Mary Jones wasn’t just a villain, she was a woman who had also been a victim only to turn around and victimize her own child. All through the movie, our disgust and horror at Mary Jones builds up until that stomach-wrenching scene in which she stepped from behind that ruthless faade and reveals that she is vulnerable, sick and damaged.

Mo’Nique’s tour-de-force performance in that lone scene is what deservingly won her that Oscar. Mo’Nique managed to draw both sympathy and disgust from viewers. In that moment, you reluctantly feel the pain of this horrid woman. It left me feeling a bit nauseous and wishing I could press pause. Is that not what fine acting should be about? In Tony Morrison’s latest edition of “Sula” (in the foreword), she makes a very real point that I believe speaks not only to her’s but to many other Black artists’ experiences. Essentially, she asks how can she, as a Black woman artist, not simply be regarded for her message but also for the aesthetics of her work. It’s unfortunate that those offended by the message in the movie can’t let themselves experience the aesthetics of, by far, the most visceral performance of all those nominated this year. The root of the “Precious” debate really lies in the fact that Hollywood has long been stuck in their one-dimensional idea of Black life. I think it’s fair to say that those of us who argue that “Precious” is a horror show that needs to be ignored are doing their share in pushing that destructive notion of only one Black experience forward.

Links: Essence.com

Shattering Hollywood taboos is nothing new for Drew Barrymore. After 29 years in the business, she continues to challenge the industry’s standards and herself; this time by stepping behind the camera to direct her first feature film starring Academy Award nominee Ellen Page. Set against the backdrop of the unorthodox, bad-ass world of all female roller derby, ‘Whip It!’ is a journey of self-discovery and female empowerment. For Drew, Ellen and co-stars Juliette Lewis and Zoe Bell, girl power is as much a theme in the film as a personal manifesto.

It’s been eight months since production wrapped on Whip It!, but you could never have guessed it watching Drew, Ellen, Juliette and Zoe boogie their way around a smooth rink for the Vs. photo shoot. While the ladies’ skating moves today are way tamer than the stunts they pulled off in the movie, they still manage to ooze that ‘don’t mess with me’ demeanor that permeates their performances on the big screen. Sure, some flashy skate moves can make a bad-ass out of most, but what really sets these women apart in Hollywood is their unfailing dedication to staying true to themselves and their art. Just take a look at their body of work. Ellen rose to the ranks of Oscar-nominated actress with her turn in Juno. Juliette, since her Oscar nod in 1992 for Cape Fear, has gone on to play some eclectic women and start a rock band. Zoe went from kicking ass as a stunt double to acting in Quentin Tarantino’s Death Proof. And Drew, well, she’s conquered the industry as an actress, producer, and now director – and she’s only getting started.

Strong at Heart

Is roller derby the new wave of feminism?

Drew [nodding yes]: I love capable and strong women. In roller derby all these women who have different occupations during the day go out on the skating rink at night, adopt these alter egos, put on cool costumes and kick the shit out of each other. I love that duality.

Ellen: I remember going to my first derby game with you (Drew) and being like wtf! I was blown away, and I couldn’t believe I was witnessing this. I was so excited to know that I was going to train to do that. It definitely takes more than just a belief in women’s lib to stay alive out in the rink.

Zoe [shrieks]: Yeah, roller derby girls are some bad bitches; they made me look tame. When I was shooting Grindhouse with Quentin (Tarantino), he had become tight with all the derby girls in Austin, so we’d hang out with them. They are so encouraging too. Like if you nail somebody really good, they’re like ‘Fuck you that was good’!

Ellen: I did think at first that I wasn’t going to be able to pull it off. I was very lucky ‘cause when I first put my skates on they felt like sneakers. I didn’t have that bad of an adjustment period.

Drew: You’re so athletic, Ellen. You know, she is better than most of the real derby girls, and she did all her own stunts. My feet were so screwed up the first couple of weeks. They were totally cramped over. I was getting physical therapy ’cause I literally couldn’t walk on them. It’s insane the horror stories we heard. You’d meet a girl and she’d tell you she has an iron rod in her neck ’cause she broke her collar bone. Oh shit.

Juliette: I don’t know about you guys but I lied [laughs].

Ohh, do tell…

Juliette: The studio was wondering if I could skate. I was like, ‘I skate every weekend. I love skating!’ It had been years since I’d put skates on. Roller derby reminds me of skateboarding culture a lot. There’s no age, race or background you have to meet to be a roller derby girl ‘cause once you’re on the track you’re all super heroes together.

Zoe: I didn’t know that! That’s really funny. Lucky you didn’t kill yourself out there.

Boxed In

The inclusive, feminist world of roller derby is the polar opposite of Hollywood where there continues to be a dearth of complex lead roles for women…

Drew: A lot of the roles that were heroes to me growing up were both men and women. I’ve always been in this sort of androgynous state of mind. Women should not worry, but just go for films they find exciting and not make it about a dollar sign. I’ve made films as a producer like a Donnie Darko that made like two dollars at the box office, and I’m as proud of that as I am about the Charlie’s Angels movies which grossed like a billion dollars. What matters is getting to tell great stories. I think it is advantageous when women get a venue where they get to do action, comedy…

Ellen [cuts in]: …and be sexy! I think it’s ridiculous to say that films with women leads are not profitable ‘cause there’s plenty of films with men that are deplorable and make money. They don’t say, ‘Oh, it’s because Will Ferrell’s the lead.’

Juliette: Ellen’s character’s strong story is exciting to have now especially for young women, but it’s a really about a broader discussion of the challenge between art and commerce. All the studios want to do is repeat a formula and they sort a disregard the talent that was involved to make that.

Ellen: Yeah, it’s too bad that it’s kind of rarity to see films with complex female characters. People say [her soft voice rises an octave or two], ‘Wow, you always like playing cool, edgy girls.’ No, I just want to play well-rounded roles. That’s just how I operate. It’s great to be around women who feel the same way.

Unconventional seems to be a bad word in Hollywood…?

Juliette: I’m very unconventional and I like it that way! I find that’s my strength and beauty to be as true to myself as I can. I mean, I started a rock & roll band at 30. For me I’m an artist first, so I’m always focused on connecting to emotions and surrendering to the moment, connecting with people and telling stories.

Zoe: There have been times where I’ve felt the pressure to conform. I’d like to think I’ve never felt it and I’m just prone to being able to avoid it. Most of the fans are fascinated that I am a different type of woman in Hollywood. I’m strong and I love it. (To Juliette) Pretend to not hear what I’m talking about. I find inspiration in the way she manages herself in relation to her career in this strange industry, and it allows me to make decisions that sit right for me as opposed to doing something I feel like I should do.

Juliette: When I was 19, I felt that pressure, so I rebelled against. Part of it was wearing cornrows to the Oscars. I don’t know, I thought it was so fun. I never wanted to be remembered for my cheek bones or legs. If people are talking about that, then maybe I’m not doing my work very well.

Support System

You all seem to have genuinely developed a great affection for one another while shooting Whip It!

Drew: I really believe in that kind of sisterhood where we’ve got each other’s back. We don’t compete with each other.

Ellen: The bond that was created between us was absolute magic. I now have so many amazing new people in my life. This is one of the only experiences where I shot a film and I’ve left being like ‘Oh my god this family will semi-stay together’.

Drew: During casting, they’d talk about actresses and say ‘she’s great, but difficult to work with’. I would tell them that I don’t even want to meet her. I don’t want one bad apple in this bunch. I love the art of casting. I think it’s very important to have people that are diverse but there is coalescence where you believe they would be on the same planet. I like Juliette, and I wanted her to play Iron Maven. I just thought her and Ellen having a rivalry would be the coolest things to watch. Zoe is the ultimate fearless, strong woman.

Drew, was Ellen your first choice to play Bliss?

Drew: She was the only person I ever talked to, and I would not have done it without her. Thank God she wanted to do it.

Ellen [blushing]: It’s kinda crazy to hear her say this…

Drew: I had seen all of your movies and I thought ‘she’s everything I want this character to embody: She’s funny, tough, smart and questions everything’. Your acting abilities are so immeasurable, and I think there are people who come along and are exciting in the moment while some are just timeless. She’s the beating red heart that takes you through the story. She’s on the right path and I knew that way before Juno.

Ellen: I grew up watching you and loving your movies. I am inspired by you for all the reasons one should. Your strength, intelligence, kindness, warmth and the constant positive energy you exude. I’m like, how in God’s name do you do that all the time? It’s all so surreal and I’m so grateful to be in this movie. It all happened before Juno, so it was before that whole hoopla. It’s so nice to know that you saw something in me, I guess. I’m incredibly grateful.

Drew: I’m just in awe at the inherent mental stability and lack of ego in her. She is a fucking smart ass chick.

Ellen, how do you stay grounded?

Ellen: I would never in million years think that I’m special because I’m an actor. If anything, it can make me more self-deprecating and not like that’s healthy either but I’m so grateful for everything that has happened. But at the same time I don’t attach my existence to it. There are other things that I love and other priorities that I have. That gives me the ability to be grounded ’cause I don’t view success as getting an Oscar nomination. Not that it wasn’t unbelievable, but that’s not all that is important.

Tour de Force

Drew, your turn behind the camera wasn’t an easy gig to land…

Drew: No, I was only a producer at first and then I kept fighting for it at the studio. We did not really see eye-to-eye with the first studio. We were meeting with directors and I just fought so hard for this movie. I was wondering why was I so passionate about it? The best type of stories a filmmaker can do is tell the truth. The theme in Whip It! of a mother and daughter trying to gain understanding with each other is deeply personal for me. I had like that moment in Clueless when Alicia Silverstone is at the fountain and she’s like, ‘Wait a minute! I love Josh.’ I was in a parking lot going bowling and I had light bulb moment: ‘Oh my God! I want to direct this movie!’ It just hit me like a ton of bricks. I went into the studio the next day to fight for it. It was amazing to be accepted in that role.

Ellen: You’re a tough, unbelievably assured director who is also open to collaborations. You knew exactly what you wanted and I could completely trust you.

It’s one thing to have a vision but it’s an entirely different animal trying to bring it to life with an army of people.

Drew: Doing Grey Gardens and directing were the scariest things I’ve done in my life. I did not know if I was capable to reach those challenges. It’s been exhausting but it’s been so fucking awesome too. I think the best thing you can do, when you take something on that’s new and intimidating, is to be ultra-prepared. For Whip It! I storyboarded the entire film for three months with J. Todd Anderson. I would always show up to work early. I worked through lunch and I stayed afterwards. I always had an answer and that was vital to me.

How is it working with a director who also acts? Does that dynamic create a unique dialogue absent with other directors?

Ellen: Drew directs in a way that is so connected to the material and she is so emotionally available. You feel that sense of commitment, trust and you’re able to fall into it. I don’t know who else could have done this. Of course there were days where we had disagreements but that would make us connect even more. It absolutely blew the expectations through the ceiling.

Juliette: I was so knocked out when I first met Drew ‘cause she knew her shit. She was more prepared than a lot of first time directors I’ve worked with. She really, really impressed me.

Zoe: I’m still new at this and learning. You would have never thought this was her first time directing. She was so professional and had it together. There wasn’t anything she couldn’t help you with or you couldn’t talk to her about it. She was good about making everyone on set feel part of this big production.

Drew: You can’t ever believe you are the only pioneer in your field. If you kid yourself and think there’s not a fucking army behind you making it happen then you’ve lost all perspective. It really does take a village. For people to have any faith in you, you can’t be indecisive or unprepared because then you’re totally screwed. I never would be that person for the people who were amazing enough to come on board and rock the show.

Photo credit: Ellen von Unwerth

Links: Vs Magazine | PDF Download | Drew Barrymore

By Alexandra Phanor-Faury

Valerie Frankel, former editor of now-defunct Condé Nast title Mademoiselle, just released a book about the pressure to stay slim in the world of magazine publishing. In Thin Is the New Happy, Frankel writes she snorted “hillocks of cocaine” to help fit into a size 8 — sometimes at the workplace — and that she did “more blow in my first two years at Mademoiselle than in college, when I lived with a coke dealer.” She adds human resources told new hires to “represent the magazine in [their] personal appearance,” and the office motto of sorts was “get thin or die trying.”

To live up to those standards, “Self-starvation was a competitive sport. At staff lunches, the girl who ate the least won,” Frankel writes. “During downtime, we’d sit in our offices smoking cigarette after cigarette (to quell hunger) and talking about who ate what, the calorie counts of our lunches, the latest dieting trends, who on the staff looked heavy.”

She adds pretty much everyone in the office exhibited disordered eating; one girl carried a scale to weigh everything she ate, and another ate only a bunch of green grapes and six jelly beans a day. Well, those sound like miserable working conditions! Perhaps it’s no wonder the magazine folded if the staff was too busy dieting to work. Or, you know, high.

Photo: Courtesy of St. Martin’s Press

Links: New York Magazine’s Fashion Blog | PDF Download