Lindy Flowers is a fashion model who has graced several magazine covers, been featured in countless editorials, is a runway model for Chanel, Donna Karan, Bill Blass, Oscar Del La Renta, Carolina Herrera, and Giorgio Armani, just to name a few. She has done umpteen runway shows for every designer imaginable.  She has been steadily working for almost ten years in an industry whose average lifespan is only 3-5 years.  And now Lindy is Agenda Magazine‘s spokesmodel.

Hello, Lindy, and welcome to the Agenda Magazine Family.  Would you mind sharing with our readers how long you have been modeling?

My first experience in modeling started back in high school when the most popular girl in school, Jessica, was taking a class at one of the local modeling schools, and I decided I wanted to be cool and popular like her.  So when she asked me to take the modeling class with her, I decided to do [the six week] class, and it gave me a taste of the modeling world.  I never thought that I could continue modeling and that it would be a career for me until one summer after my first year of college.  The boss’s son at a company where I worked asked me to shoot with his photographer friend.  I just thought he was trying to hit on me.  But his friend came through, and we had the photo shoot.  I got some free photos out of it, and he took the photos to an agency. . .and it started from there.

What are some of the things you’ve actually done as a model?

Modeling is awesome. It’s been an experience to learn about different cultures, about different people, a variety of different things. I have had the opportunity to travel overseas to places like South Africa, Thailand, Korea, Japan, Taiwan, as well as the European markets, too: Paris, Vienna, Spain.  These are opportunities I never would have gotten in my everyday life.

Aside from being well-traveled, you’re quite the package.

I like to think so (she laughs). At least I sell that to the agents and the clients in the industry.

What’s your favorite kind of modeling?

I like the variety that modeling has to offer, but I’d have to say ultimately that print work is fun.  It’s creating a finished product that I like to see.

Are there any perks to modeling?  Have any designers ever given you one of their designs?

Let’s talk about the print work. What are some of the magazines you shot for?

Pregnancy Magazine was my most recent magazine.  I was pregnant with my second child, and that was really fun, just to know that I could continue modeling while I was pregnant, and to do something as wonderful as a pregnancy magazine cover.  Other magazines range from Cosmo to local magazines.  I shot South African magazines.  Each country has a different set of magazines like the Vogues and the Bizarres. I have yet to do aVogue.  If anybody out there from Vogue would like to shoot me, hey, I’m all yours.

Is there anything particularly difficult about modeling, or does it all come naturally to you

At a time when most people would quit, I was told my nose is too big, or I’m too skinny, or too fat, etc. The negative aspect is the most difficult part.  And the emotional part—to be able to take the criticism. The part of being able to be who you are when most people are telling you that you’re this way or you’re that way. And that’s probably the most difficult part of it.

You have a baby, and you don’t look like you’ve had a baby at all.  What is your secret to staying in shape?  You look amazing!

Thank you.  I have been very blessed genetically, because with this being my second baby, I was not quite as lucky.  So the first time in my life I learned how to use a treadmill. It’s a funny story.  As I was standing there trying to use the treadmill, pushing the buttons [with no results], I was hollering to the guy, my treadmill’s broken.  Well, it just started up.  I didn’t realize there was a countdown.  So I’m still learning how to work out and stay in shape.  I did play sports growing up, but hadn’t done such a structured routine.  I do yoga and a lot of walking, especially with the kids, just to get out and help clear my head.  It keeps me in shape.

Do you eat healthy food or do you just eat what you want?

Again, after having the baby. . .and I have met a lot of friends that have small children and are really into healthy food. . .and I’ve always been a fast food junkie, I’m finding that I’m not so much a fast food junkie anymore, and I think that that helps with my complexion, my overall feeling. It’s nice to have a strong core immune system and healthy food balance. So I have definitely stepped up. That’s not to say that I’m not going to swing through drive-through every now and then, but I definitely eat a lot healthier; and I am more conscious of it.

Well, you do have beautiful skin.  Let’s talk about some of your runway work.

The show that I was the most excited to book was the Guess show. They had their big anniversary show and they brought all the designers in from Italy.  My entire agency had gone on the casting, and two of us got called back, and I ended up booking the show.  They used girls from all over the world.  The sexiness combined with fashion. . .it was a spectacular night.  It was a spectacular show.  I was really sick that night.  My dream. . .I landed this show.  I was so excited. And before I landed on the runway, I was as sick as can be, but I ended up seeing the video from the show and it ended up turning out really nice.  That was probably my most exciting runway show that I have done.

How has having children impacted your modeling career?

As a mom with two children, [and they are also becoming involved in the industry as well], I actually get more excited when they book a job than when I book a job. I’m not the stage mom, but I get so excited for them. Even if it’s just a shot in Parents Magazine, I’m bragging about that. It’s so fun to watch them cruise through the industry, too. And to be able to know what I know and be able to shield them from things.

Highest High

My highest high was being treated so well on a job that I did forWomen’s Value Magazine. It’s a South African magazine.  I was here in Los Angeles, and they really wanted me for the shoot.  They paid to have me come out.  So I flew out there [to South Africa] and we stayed in the best of the best resorts.  I felt like a super model.  The photos were beautiful, and I made the cover of that magazine as well.  That was such a high for me to see that cover, to be treated so well, and to feel so special.

Lowest Low

My lowest low was after spending a month in Aspen Greece, pounding the pavement and going on audition after audition and not booking a single job and thinking, “What am I doing?” I had no money. I was the only model sitting in my apartment while everyone else was out on their bookings, and at this point the agency wasn’t giving me any castings because I wasn’t getting response.  I thought, “Why did I think I could do this?” That was the lowest point. I overcame that of course by going home and regrouping and being amongst friends and family, and people that loved me and pushing through and trying again. It was a very humbling experience, because until that point, I had been working every market–they loved me, I had jobs, and it was extremely humbling. . .and I really needed that.

So what’s next for Lindy Flowers?

Well, Agendamag (she laughs). I’m really kind of moving forward and really enjoying the hosting, speaking out and talking with people, and sharing experiences. So I think I’m moving in that direction. I’ll continue to do the modeling. I love it.  It’s my heart’s desire.  I love each new booking that I get, and each new client that I meet.

By Kaylene Peoples

The Many Facets of Coco Johnsen – Her Next Stop, Designing!

Coco Johnsen has graced the pages of countless magazines as a model, including Essence, Glamour, and Vibe.  As an actress and former Lee Strasburg student, she was featured in the television shows The Parkersand Judging Amy, just to name a few.  There has been some controversy surrounding the former model/actress regarding her affiliation with Playboy, but she has dispelled any untruths in her blog.  After all, hobnobbing with celebrities like Anna Nicole Smith and Coolio, as well as constantly being sought after by paparazzi, do tend to make people exaggerate.  Oh yeah, and she’s also writing a book.  But I digress.  The reason for this article has nothing to do with gossip columns or what someone may or may not have engaged in years past.  My sole purpose of writing this article is to celebrate a person who has overcome adversity and has always landed on her feet.  If I didn’t know better, I’d think Coco Johnsen has nine lives.

How do you explain being raised in an orphanage, spending her formative years in foster care, and dealing with the harsh realities of the deep South filled with provincial attitudes and racial intolerance?  In most cases, you can’t.  But Coco Johnsen has proven repeatedly that she is the exception to the rules.

I interviewed a stylist a couple of years ago named Ty-Ron Mayes, who turned me on to a new designer named Coco Johnsen, who was launching her collection at LA Fashion week back in October 2007.  Her spring 2008 collection was a big hit—again, no big surprise there.  Everything this woman does is stellar.  She not only has a successful clothing line, but she also designs shoes, and has an accessory line that includes high end sunglasses, belts, etc.  Even her ad campaigns look like they have multi-million dollar budgets.  So who is this mysterious chameleon?  And what does she have to offer the fashion industry?  A lot.

How did you get started as a fashion designer?

I decided that I wanted to go back to school.  I had been a flight attendant for Delta Airlines for 13 years.  I realized I was getting older. I was traveling a lot.  So I got to see a lot of the world.  I was moonlighting with my modeling career for 20 years.  So I just wanted a little bit more, and I always was interested in design.  I attended the Fashion Institute of Design, and it opened up a whole new world.  I found an investor that was interested in helping, and it evolved from there.  And here I am today.

Did being a model influence your decision to become a fashion designer?

Oh, definitely!  Just traveling around the world and being in London and Paris, and especially for me, Milan, had a great influence on me when I was there.  I didn’t have a very good modeling career there.  I was too short.  I remember going to a couple of the big agencies and being told, “Unfortunately, black models don’t work here.”  And I told them I had friends in New York that were models and they did quite well.  They responded, “Yeah, because they’re 5’11.  We use them for shows.”  So I was a little discouraged.  I remember gettingback on the plane and going back to New York really disappointed that they weren’t able to see that I could do lingerie or swimwear.  And at that time in New York, there weren’t that many markets as there are now for swimwear models.  There were lots of markets for hair products that were in the black market, or a limited amount of swimsuits.  It was mostly work for video.  So I just took what I had seen as far as gowns, and the beautiful dresses that I saw when I was there in the shops.  I just used that and kept that in my mind to influence me for the future.  I just kept traveling around and doing what I could do to see myself in the future past modeling.  And that’s what led me to where I am now.

Tell me about whom you design for.

The Coco Johnsen woman is very feminine.  She is an individual, yet she can go with the trend. . .but yet powerful.  It’s really for a forward thinking type of woman who’s thinking, “I have this blouse now, and I want to be able to wear this next season.”  What jacket can I make that’s going to accentuate what she has?

What are some of your fabrics that you use?

We use silk, silk dupiani, the finest cottons, and jersey.  And in our fall collection we have wool.  So we’re really thinking about giving you something that you can retain for a long time.  And it’s a work of art.  My last collection was very focused on the French renaissance period.  A lot of our tops (tops with high collars), I made them so that if you had a jacket, it would accentuate what you were going to wear.  Even if you were in the office during the day, you could take your jacket off at night to go meet up with someone at a cocktail party.  So these are the kinds of things that I’m thinking about.  I believe a lot of that influence comes from me living in New York City, and packing a lot of stuff with me, when I’m walking around the city and being able to pull my jacket out if I need to.  Or put it on or take it off for an event.

Is Coco Johnsen couture?

Oh yes, definitely couture.  Our tops range from $150 for our ready to wear. Our gowns range anywhere from $500 to $2,000 to $5,000.  We have a dress that’s $12,000.  And our clothes are manufactured in Brazil.  The workmanship and artisans there need to be recognized.  That’s the difference between a garment that you could buy at Macy’s, compared to something you can buy at Coco Johnsen’s.  Not many people will be walking around in that garment.  You know when you come to us, you’re going to have a top or pant that not many people will be able to have.  That’s one of the reasons that we’re in that niche of luxury line.

How did you decide to become a couturier?

I always loved the couture pieces.  Some of my favorite designers are Vivienne Westwood., Jean Paul Gaultier, and Chanel.  When you’re living in New York City, you aspire to wear those clothes.  Especially for me, having grown up in the South, it was my dream to be able to wear one of those tops or dresses. I thought, “Wouldn’t it be neat to be able to design in that way?  Use the same types of fabrics and be able to [enable just about] anyone to purchase that, and not be so far above what you can afford?”  That’s why we’re sort of falling in between the other designers in our price points.  We’re trying to wholesale a little bit under what you might find from Chanel, Monique L’Huillier, or Kevan Hall.  And those designers do inspire me.

What’s a typical day for Coco Johnsen?

I’m working on both lines now.  We started out with our couture collection Coco Johnsen, and then we added the ready to wear line Coco Johnsen Ready toWear.  And then we added sandals with Swarovsky crystals.  Every day could be a different project.  Because of the time restraints with Brazil, it could take up to 6 to 10 weeks to get a garment back to us.  So we are looking every day for new ways to make our products better, and to keep our price points as low as we can, but still make a profit.

Do you do your own pattern making and sketching, or do you have someone that does it for you?

A little bit of both.  Later on today, I’ll have a sketch artist come in and I will dictate what I’d like to see.  Maybe change the sleeve or make the skirt length this season below the knee.  Maybe sit with her for a couple of hours and flesh out what we want to have on the page, and she’ll go back and work on that on her computer.  Then, she’ll come back to me.  It can go through 2 or 3 revisions.  I also sketch as well, but because I am the CEO of this company, I have so many responsibilities.  I can’t sketch out every line as I would like to.  And I don’t do patterns. (Laughs) Some people don’t do windows.  I don’t do patterns!  I can tell you exactly what I want to see or what kind of cuts I would like.  The lines are very clean.  For my last collection they were a little broader.  And for every season I’m thinking about what I’d like to see.  As a woman, I do take my own taste into consideration.  I am not going to produce something or put something out that’s not going to flatter a woman’s physique.  And I do take different sizes into consideration.  Not only am I designing for a size 0 to a 2 to a 4 to a 6 and 8, but in seasons to come, we will be looking to design for our full-figured ladies size 12, 14, 16, and 18.  We don’t want to leave them out.

Highest High

Our first fashion week at Mercedes Benz Fashion Week last season for our spring collection.  I was exhausted, but it was a definite high to see what we had designed go down the runway.  And the applause for the clothes—they really appreciate that we did something you could wear every day.  Sometimes, myself included, I will only design stuff for editorial use.  And sometimes it can be confusing to the consumer, if they’re looking us up to see what our collection was for that season.  They think, “I can’t’ wear that.” I really wanted our first collection to reflect that we are thinking about what you’re going to wear every day, a special occasion.  We did a 64-piece collection.  Something in there should be right for you.  No matter what size you wear.  You’d be able to find something in the collection that would accentuate your wardrobe.

That’s a big showing for a first-time showing, too.  That was very ambitious.

It’s always scary a little bit, because you don’t have anyone to really bounce that idea off of.  The collections move so fast.  I don’t think the public realizes that once a designer puts a collection out, they only have 3 months before they have to show their next collection.  And that’s a lot of work.  Some new designers will show a big collection like we did with 64 pieces and then they’ll skip the next season and then show you a next spring or fall.  We’re actually putting out another fall.  We’re limiting the collection in order to do it right, and to get the pieces forward that we believe are the strongest pieces for that collection.  But it is a challenge every season.  So I would say my lowest low would be realizing that we’re not able to do all of the things and produce all of the pieces that we initially designed. We may design 120 pieces, but the public may only see 64 of those pieces.  And sometimes that’s a bit of a letdown.  As designers, we have this vision of what we want to see and the pieces all interconnect.  But there may be pieces missing from the collection that are either too expensive to reproduce, or because of the lack of availability, it becomes one-of-a-kind.

Did you experience any obstacles when trying to start your business?

How much time do you have!  There are so many obstacles to overcome that I decided to write a book about it.  My book is calledFrivolous and it’s about the industry coming from a model’s point of view.  All these things that were happening to me like ordering fabric from a factory and you find out after you’ve made the garment, the factory is out of business, or the fabric’s not available.  So you just learn as you’re moving and progressing into this business that there are certain obstacles that you cannot avoid.  Because the fashion business is a frivolous business, finding funding is a challenge.  Let’s say you put into a shop a garment that’s taken you 3 months to make, it’s a trendy garment.  It’s gone.  Next season it’s out.  That fabric might not be in any more.  So I try to design around that and not to make my pieces go out.  You learn through designing and a lot of obstacles like spending a lot of money for fabric and then discovering that you can’t use it.  These are things that you can only learn from being in the business.  And the books that I’ve read [on the subject] don’t really touch on that.  Or say for example, the back end part of it of having co-designers that you work with.  Sometimes it doesn’t work out.  Sometimes they want to have their name above yours even though they’re not funding the company.  So these are the types of things that happen when you start a small business like I have.  And then I would like people to understand and to know before they get into this business that when you’re designing it’s not just about the designs.  It’s about the business side of being in the business.  If you’re going to be a designer, you have to learn accounting, payroll, taxation, incorporation.  I want to put it into a language that everyday people will understand.

That leads to my next question.  What advice would you give to an upcoming designer?

Learn all different variables of design, not just the pretty pictures—not just wanting to be in the magazine.  It would be good to find a way to your dream and it may not always be the most conventional way.  It may not always be the most popular way.  And don’t let people discourage you from it, like I did as a model.  I’m really only 5’7, but I said I was 5’8 on my comp card.  Whatever your dream is, you have to find a way to make that happen for you.  You have to love what you’re doing.  I would encourage especially women that want to be in this business, to understand the business-side before you jump in.

Where do you see Coco Johnsen 5 years from now?

I see the label growing and hopefully being something that I can be proud of.  Eventually being all over the world and being known for the quality that we produce.  I don’t mind if we don’t produce or sell as much volume as you might find in a Macy’s or Bloomindale’s.  As long as the quality is there and the fit is true to what I am designing for, I’ll be happy with that.

Any last words?

Again, back to starting your business, I’d like to say enjoy your life and appreciate every day, and appreciate your clothes.

To learn more about Coco Johnsen’s designs, visitwww.cocojohnsenboutique.com.

By Kaylene Peoples

Apollonia Kotero – What Has She Done Lately?

I am not sure how many of you remember the actress/singer Apollonia Kotero.  She starred in the oscar-winning movie Purple Rain back in 1984, and had a hit single “Sex Shooter” from her group Apollonia 6.  She has appeared in television shows, including Night Rider, Chips, Falcon Crest, and Fantasy Island.  She was in the films Back to Back, Black Magic Woman, and Ministry of Vengeance, just to name a few.  Her duet with Prince, “Take Me with You,” on the Purple Rain soundtrack ended up becoming her biggest hit to date.  But what has Patricia Apollonia Kotero done lately?

Last season I was seated next to her at fashion designer Joseph Domingo’s runway show at Fashion Week and was introduced to the beautifully, well-preserved Apollonia.  Having seen Purple Rain—I own the sound track—I was very much aware of who Apollonia was.  As we chatted before the show, she expressed her like for Joseph Domingo’s designs, as well as mentioning a few other designers she liked.  I thought it would be a great idea to shoot her for Agenda Magazine.  She agreed, and we had an informal interview, where I learned so much more about this very talented and impassioned woman.

Apollonia, would you mind sharing with our readers what you are up to these days?

I am excited to be attending AFI Woman’s Workshop for directing.  Maya Angelou, my idol, has taken the class.  I was in AFI in the early 90s.  I went through a divorce and lost my focus.  So I fell out of school back then.

You have a production company now?

Yes, it’s called Kotero Entertainment.  It’s a multi-media production company.  I have several lawyers, an agent, and we represent everything from art directors to directors to actors, actresses. . .and I have a little girl who is only 12 and sings like Billie Holiday.  We develop scripts.

What led you to develop the company?

There are so many talented people out there without guidance.  And I just know what it was like when I was growing up, and how difficult it was for me being a woman/minority.  Many times you don’t know anybody and you’re not related to anybody and it’s really tough.  It started off as a mentorship, and it became a full fledged company.

Was it a difficult thing to start?

Not really, I put my mind to it.  I always believe in what Shakespeare said, “The company makes the feast,” with the right group of people.  You have to be selective, trust the right people, trust [in] their ingenuity, talent, and their integrity.

You had mentioned earlier there have been a lot of things printed. . .some were true some weren’t.  Then you mentioned about some of the struggles as a Latina coming up in this industry.  I would love to hear a little bit about that, and how you overcame it.

It’s something that I think is pretty universal, being Latina, being first generation.  It also goes with the African-American actress—the ghetto gangster, the Latina maid, housekeeper, prostitute.  Those are the difficult things I think we all face in this industry.  Having to drive from the South Bay to auditions in my car that was falling apart. . .I was driving 5 days a week for casting and auditions; [and I heard things like] well. . .  “They went for the all-American girl,” or “You’re not tall enough, or “You don’t really look Latin.”  It was really tough, but I was never discouraged.  I have the fear of God in me.  And my family [encouraged me].  You realize that you’re not the only one going through that, especially for me in the early 80s.  Now you have a plethora of different versatile actors from all over the world.  There are more Latin shows like Ugly Betty, produced by Salma Hayek, who I adore.  It goes on.  But it’s taken so many years.  When I was cast in the film with Prince, it was just a mysterious woman.  I don’t think I’ve really played a Latina.  Out of all the parts I played in TV and film, the only time I got to play Latin with a Latin accent was just a few years ago on Air America with Lorenzo Llamas.

So you’re saying the face of the industry has changed a lot since the early 80s when you had first gotten involved.

Absolutely.  You look at people before that, I don’t remember anybody Latin when I was auditioning before except Ricardo Maltaban and Eric Estrada.  I can’t remember someone I looked up to other than the old school stars like Dolores Del Río, Rachel Welch, Freddie Prinz, and Desi Arnaz.  But there was nobody out there [who] I [could emulate].  They were older women, not the young hot Latina.

Going back to AFI, is the reason you decided to become a director?which is a huge thing?to maybe help steer Latin-based movies to open the doors for some other actors?

For me, when you start looking at an actor in another extension, the writer becomes the director, the actor becomes the writer/director.  It’s always in the same industry.  It’s all interconnected.  There’s a real chemistry when you write a script.  And then you see so many actors/writers who’ve become directors. . . for me, there are only 7 percent of women directing.  When you look from Julie Taymor to Penny Marshall, there are just a few.  One of the first Latin female directors back in the 40s was Ida Lupino.  It took Selma Heyak 10 years to get that movie [ Frida ] shot.  She never let go of Frida Kahlo.  She was ambitious, and she’d run you over if you didn’t listen.

As far as directing, I’d like to direct all varieties, whether it’s a music video or a comedy piece.  It doesn’t have to be a Latino-type story.  I was born in Southern California.  I live in Hawaii, and I surf (she laughs).  So it could be about anything as long as I have a passion for the words on the paper.

Tell me about the jewelry line you’re designing.

I am designing a line of Jewelry with Steven Zale, geared toward ladies of elegance.  If you can’t afford to go to Harry Winston, I can provide a great piece of jewelry, which is just as beautiful and just as well-made a design.   I’ll have a rings and little pink diamonds that are affordable—jewelry couture.  I think you can really tell a lot about a lady by the jewelry that she wears, or doesn’t wear.

What are the price points on some of the pieces?

We really haven’t discussed it, but I want to make sure that it’s something that is affordable.  We could do a variety of different pieces at different prices.

This is fine jewelry, then?

Yes.  It’s real.

Is there anything else you’d like to add?

I am also [involved with] a movie called the ” Winged Man,” I am helping them as a supporter.  [As a supporter I mean that] I’m doing whatever I can to help them out, and I have donated to their cause.  It’s a 15-minute short, directed by Marya Mazor, written by Jose´ Rivera; and Anna Ortiz from Ugly Betty is in it.

Apollonia Kotero is heavily involved in Project Angel Food LA, Nosotros, Women in Film, Los Angeles Mission, LULAC, The Violence Intervention Program Los Angeles, and The Wall of Las Memorias.  To learn more about Apollonia, visit her websitewww.myspace.com/apolloniakotero.

By Kaylene Peoples