Category: Interviews

Justin Chon—Climbing the Hollywood Ladder One Role at a Time

Justin Chon—Climbing the Hollywood Ladder One Role at a Time

Justin Chon has been acting for six years and has already appeared in countless television shows. He got his first part in television after acting for only two years. He played Tony in the Nickelodeon series “Just Jordan” for two years and appeared in 14 episodes. He also appeared in several other television shows including “The O.C.,” “Wendy Wu: Homecoming Warrior,” and the horror film Hack. Justin Chon opens August 22, in a starring role with Harrison Ford, Sean Penn, Ray Liotta, and Ashley Judd in the Weinstein Company/MGM film, Crossing Over.  The film, reminiscent of Crash or Babble, has six intersecting story lines, one of which Justin carries.  Chon can also be seen in the upcoming films Balls Out: The Gary Houseman Story with Sean William Scott and Twilight with Kristen Stewart, based on Stephanie Meyer’s book Twilight, coming out this year.

How did you get started acting?

My dad was an actor in South Korea. When I was young, I used to watch his black and white films. I’ve always been interested in acting and entertainment and stuff, but it wasn’t until I had to decide what I was going to do as a profession that I decided to try out acting. I took a few acting classes and decided that it’s something I really enjoyed, so I started to pursue it.

Do you think that the fact that your father was a well-known actor helped you?

Yeah, and what’s really helped is how my parents raised me. It was an extremely artistic household. My mom was a pianist. So she had me playing a bunch of different instruments since I was really young. I played the piano, violin, and the guitar. I was in the high school marching band. We’d watch movies my dad would enjoy and we’d talk about them. And my mom put me in art classes. So we were always [immersed] in the arts. I think that’s really helped me in terms of my acting career. But I didn’t take any acting classes until I got older.

You’re in quite a few movies coming out.

Yeah, I’m in this movie called Twilight, based on the Stephanie Meyer book called Twilight. I play a character called Eric Yorkie, and he’s just this sort of a geeky chess type guy and sort of really over-eager, overachiever. Another movie coming out is with Sean William Scott, and that’s called Balls Out: The Gary Houseman Story, and it’s more of a comedy. I play this guy named Joe Chang, and I’m on the tennis team. They call me the scrapper from the Far East. And I have a movie coming out in August called Crossing Over, starring Sean Penn, Harrison Ford, Ray Liotta, and Ashley Judd, that deals with immigration. There are a lot of different scenarios played out in the movie. There are green card issues, deportation, naturalization. It’s going to be interesting.

Would you say you’ve ever had any challenging roles?

Crossing Over is the most challenging it’s gotten. I have an accent, and I play a character that’s sort of like me, but not really. I’m dealing with material that’s somewhat familiar, but not. It’s a huge mixture of things that made it kind of difficult.

How long did it take you to shoot the movie?

My shooting schedule was about 2-3 weeks. There are a bunch of different story lines.

A lot of people try their hand at acting. They really pursue it really hard, but never quite make it. But you have in what seems like a short period of time. Would you like to share some of the things that you did to help you get past some of the barriers that other people can’t seem to get past?

The thing that I’ve done that has helped my career as well as helped me to excel has been to work really hard. It is just a lot of hard work. Especially being ethnic and a minority, I feel that I just have to try harder than everybody else to compete, also, continue to train. I don’t stop training. I’m always working on material whether I’m shooting or not. You have to have real tenacity and not care what people think. I think people worry [too much] about what people think. And you shouldn’t because it’s your career and it’s your life. And you should take control of your own situation. A lot of people play the blame game. But I try not to think about outside factors and just concentrate on what I’m doing to make it the best I can. And I feel like that’s gotten me to be better than a lot of other people.

Has your father helped you any, like with your style?

He doesn’t really tell me anything like techniques. He just tells me just to make it real, make it natural. Don’t act. Make it like it’s really happening. And that’s a pretty general note, but it’s a hard thing to do. He’s always saying, you got to make it real, just don’t fake anything.

So your family’s been very supportive.

At first they were a little skeptical because until a few years ago you didn’t see that many Asians on film except martial arts people. They were skeptical that it would be hard to make a living doing it. But once I started booking jobs, they started having a little bit more faith for the whole career aspect of it.

So being a young, good-looking, well-known actor, do you have any problem with young ladies throwing themselves at you?

Not really. I don’t think I’m that smooth. If there’s a really cute girl, or hot girl, I get really shy. I really clam up. I don’t know in that department if it’s really helped me.

So what would a young lady have to do to win your heart?

I think just be upfront, truthful, and real. Down to earth and up for anything. Like let’s go hiking at midnight and drive up to San Bernardino.

So you like somebody who’s adventurous.

Recently I just went to Alaska with no plans. It would be nice to find someone who is adventurous as I am.

Highest High:

The specific breakthroughs I got in terms of acting. When I first started, it was really hard for me to express emotions and to just be really open about things. I always had this dumb smile on my face all the time. The highest high was when I was able to let that go. I was in an acting class and they gave us an exercise and I was able to just let it go. Everything just started coming out. Not forcefully, just naturally. I felt like I was doing what I was supposed to be doing.

Lowest Low:

There have been a lot of lows. Certain parts I had to do. There were a few parts that I wasn’t into that I had to do. There’s a lot of compromising your artistic values for your career. Sometimes you just have to do that. And there’s no shame in it. If no one knows who you are, you’re not going to get hired for bigger things.

Now that you’ve been around for a while, do you feel like you’re compromising a lot less?

No. I don’t think it ever ends. I think there are always bigger and better things out there. There are always people telling you to do something opposite what your heart tells you to do. I don’t think that goes away. But you compromise, unless you want to starve.

Because of the whole Indie filmmaking thing now, a lot of actors create their own scripts and even go out and make their own movies. Do you have any aspirations to do that?

I definitely do. I bought a really nice HD camera, a Panasonic HVX. I got this adapter for 35 mm lenses, got rails and everything. And I’m learning Final Cut Pro. If I have to do things,just to do them, at the end of the day I can do something for myself. I’ll get my friends and do something that’s artistic.

What kinds of roles would be the perfect role for you as an actor?

I really just like simple, kitchen-sink drama. I like movies that have strong relationships. It doesn’t have to be complicated crime thrillers. I like basic stuff that touches on the human condition—why we are the way we are. When it’s for me, I love to explore those kinds of things because it really gets somewhat introspective. You’ve got to look at yourself, too, and why you do things and try to make logic out of your life.

Let’s take, for example, someone like Bai Ling. She’s huge in China. Do you feel like you have a bigger following in South Korea than you have here?

I think right now I have no following in South Korea. I think that because most of the movies I’ve done have not come out yet. I’m relatively an unknown. Nobody knows who I am. There are a few things that might go through that might involve me with South Korean actors. If that were to happen, then, yes, I think it could grow. But I’m American. I grew up in Orange County. Whether that happens or not, that’s just fate, I guess. But I’m not pushing for it.

Where do you see yourself in five years?

I don’t know because if you would have asked me that question five years ago, I would not say that I’d be here.

Where would you like to see yourself?

I would like to see myself really doing projects that I enjoy, love, and believe in, working with fellow actors that are amazing and working with directors that have clear-cut visions and I am excited about their work. That’s all I ask for.

What would be your dream film that you could star in?

Nick Cassavetes and some Indie movie with no form or structure, or a David Lynch film where you’re just going for the ride and you can’t plan anything. Because a lot of movies are so predictable, with those two directors you would have no idea [what’s going to happen] when you show up on set. Every day would be like, okay, what are we doing?

Do you have an all-time favorite movie?

Yes, directed by Clint Eastwood, A Perfect World. Kevin Costner starred in it. I watched it in fifth grade, and I think it was the first movie that I got emotional—I cried. It was at summer camp in Big Bear—just the fact that a movie can touch you when you’re young. It just made a huge impact on me. It’s a testament to his directing.

To learn more about Justin and his upcoming films, visit his website at www.Justinchon.com.

Interviewed by Kaylene Peoples

Adrianne Curry – Top Model, Television Personality—Next Stop . . . Author!

Adrianne Curry – Top Model, Television Personality—Next Stop . . . Author!

Adrianne Curry was the first winner of “America’s Next Top Model.” After one year she went on to star in the television reality show “The Surreal Life,” where she met her husband, former Brady Bunch cast member Peter Brady. Their union spun off to the highest rated VH-1 show “My Fair Brady.” Adrianne appeared on such television sitcoms as ABC‘s “Hot Properties” and UPN’s “Half and Half,” among others. She has taken on the big screen as well, in films such as Worlds Apartand Fallen Angels. Her modeling career has extended to include campaigns and runway shows for Famous Stars and Straps, Beverly Hills Choppers, Jaime by Jaime Presley, Cuffz by Linz, and Ed Hardy, to name a few. Adrianne has landed pictorials in Marie Claire, Sync, and Maxim, where she also made the prestigious “Maxim Hot 100” list of the world’s most beautiful women. She’s even writing a book.

I visited Adrianne at her South Bay home, where she and her husband were still in the process of decorating. Her two cats hung around, occasionally scrapping as we chatted about her career. Adrianne shared with me very candidly what she’s been up to since “Top Model.”

I followed “America’s Next Top Model (ANTM)” so I kind of know how you got your start. Why don’t you enlighten our readers on what you’ve been doing since you won.

Since I won in 2003, I’ve been keeping pretty busy with reality television . . . and some modeling here and there.

What was it like to win ANTM?

Winning “Top Model” for me was absolutely life-changing. I don’t know how to describe it. I had a life that was kind of almost living in hopelessness to having hope in my life. It took a while to get things going [after my win]. I got shipped off to Europe and traveled the world. I got put with an agency, [which] wasn’t a fan of the show [and I was] in a two-year deal, so I had to fight through that. [As a result I went on “The Surreal Life”] and started my television career. I met my husband Christopher Knight on that show. But that’s okay because at least I didn’t meet my husband on one of those loser dating shows. I’d walk in and say, “You’re going to make your decision now! Either you’re gonna come after me or I’m leaving, ‘cause I am not going to be your whore. Sorry Guy.” She laughs.

“The Surreal Life” branched off to three seasons so far of “My Fair Brady.” We’re one of VH1’s highest rated shows. Did celebrity paranormal project. I did a cameo in a few shows. I was on “Dirt” with Courtney Cox, “Hot Properties,” which used to be on ABC. Right now I am in the middle of writing a book and really close to closing a show deal to start producing and creating my own shows.

Tell me about your book.

It’s basically about the story of my life. I had a really troubled youth, huge drug and self-esteem problems. I was into self-mutilation. I’m really opening the floodgates, and I’m hoping that I’ll be able to help other people that are going through the same thing. I feel confident in writing it because even though it’s a dark story, it has an amazing ending. So it will uplift at the end. But it’s taken a toll on me. You get into really heavy stuff. There are things I hadn’t really talked about with my friends. I just recently called them up to tell them I was writing a book [and what it was about] and there was just this stunned silence. After the silence the normal response was, “Yeah, now that you say that, I could see that was probably happening with you. I didn’t even think it through. But now that I’m older, it makes sense.”

One year I went to school as Marilyn Manson, and I cut myself all up just like he used to. And everyone thought [my costume looked so real] and they jabbed me in these cuts and I would react “ough!” It was crazy. Who does that? Me. (Laughs). So I’m writing a book about it.

If you’re doing it, so are other people.

I know. Self-mutilation is a big problem. The problem is it feeds you temporary relief. It’s really strange. When you’re feeling a lot of pain inside, you cut yourself. It’s like punishing yourself to feel better, and it’s not a good thing. It can come in all forms—people who verbally beat themselves up to people who physically beat themselves up.

You’re going to help a lot of young people. As one of the top bloggers on Myspace, you already have an audience for this book.

Out of a million blogs on Myspace, I’m always in the top 5, and they do a million blogs a day. I think my book will appeal to more than just my fans. If anyone wants to just look into the life of a child raised from abuse—though mine didn’t come from my family, thank God—I’ll be able to show what parents can look for in their kids. They’ll know their kids are [messed] up and that they need to help them. And I think that’s good.

Is your family very supportive of what you’re doing now?

My family is very supportive of anything I decide to do. A lot of them are very religious and they don’t always agree with what I’m doing, but they always support me. And I would say that’s probably one of the most important things. So I would say that I am blessed that I have a family that most people would envy. But I always get [in trouble] all the time for things I say in the press [especially with my grandma].

Tell me about your husband.

My husband, Christopher Knight, was in “The Brady Bunch.” He played Peter Brady. We’ve been married two years. I never liked “The Brady Bunch.” Thought they were kind of lame. So I married one. That’s what’s funny about it.

Do you have any aspirations to get on the big screen at all?

I don’t have any aspirations to become an actor. If someone wants a cameo where I can be myself . . . fine. I’ve carved a niche of being a personality. If there’s a fun movie like Scary Movie, sure! Am I the next Angelina Jolie? Hell no! My realistic dreams and aspirations are to get more behind the lens so that I can be in front or behind. And once the front dies, I will have all the experience of being behind. I’ve been a co-executive producer and producer. I really want to learn those ropes. I think that’s a more realistic expectation than acting alongside Bruce Willis. I love being myself. Why would I want to sit there for months on end pretending to be somebody else?

Highest High

Not the day that I got my first Playboy cover,because that was pretty big, but the day I got my second Playboycover, because this was a magazine that Cindy Crawford had posed in, that huge stars have posed in. And to be in that magazine before, God forbid anything happens to Hugh Hefner, I was a part of that. And no matter what happens to me in my life, I’m going to have that and say, “I was a part of that.” I’ll be 90 years old saying, “Your grandma was smoking back in the day! Come look at these pictures, yeah!”—Especially since they came out so artistic. I was looking to accentuate the modelesque features. My second spread was all European-looking with rich French interiors and just wearing long flowingrobes and lush shoes and materials. Everything was designer, and that’s what I was going for when I saw it. It was so Vogue. To work with Stephen Wayda was absolutely amazing. He totally got my vision of who I was and what I needed to portray. I wanted a story, which I got with each shoot. It was awesome.

What about the second Playboy shoot?

The second shoot was very Helmut Newtonesque, very Stanley Kubrick Eyes Wide Shut. It was just lush and rich, voyeuristic and grand. It’s probably the best work that I’ve ever done.

What’s the most interesting shoot that you’ve done besidesPlayboy?

The most interesting shoot that I’ve done was for Merit Diamond and their Sirena collection. And we filmed underwater. For an entire night I had an oxygen tank and a regulator at the bottom of the pool with weights on my calves. I couldn’t see anything. I was under there for so long, I came up at the end of the night and I just puked all over the outside of this pool because my equilibrium was off. We had divers there instructing us what was good and what was not good for me, and they got really mad because at the end of the commercial they wanted me swimming from the bottom of the pool and bursting out of the pool. Well, the first you know about diving is you can’t do that. You have to slowly come up, equalize, I didn’t do that and that’s what got me so sick. I kept bursting out [over and over again]—I’m a mermaid . . . I puked everywhere, and everyone was so grossed out. I’m in the pool and everyone’s in wetsuits, and I asked them what did they do when they had to go to the bathroom? They all smiled [devilishly] and I was like [gross], my mouth has to be open under water! That was the craziest shoot I ever did. It was really elaborate and everything was so strange, but we did have a great time. That was in Florida about three years ago.

You still do a lot of modeling now?

I haven’t been signed to an agency in a very long time. I only take the modeling that comes to me. I loved modeling from Travis Barker’s line, Stars and Straps, because it was so edgy and rocker.

So you really have just moved 100% into television?

Absolutely! First of all I’m 25 years old. That’s way too old for this industry. Most models last until they’re 21 and they’re thrown away. But I’m going to do things in this industry from being who I am. As I was flipping through Fredericks of Hollywood, I thought I would like to do this. They have really cleaned up their image. They’re very Victoria Secret. I like it, but they’re edgier. They’re me. I have Frederick’s everything. I said, “Maybe I should call them.” Realistically, I’m not pin-thin anymore. I can’t do the runways in New York anymore. I tortured myself to walk the ones that I did. I hadn’t eaten in like three weeks, and I’m walking down the runway all gaunt, dying, and that’s just not for me. And it’s so great to be able to go on television, make money from that and [instead] let modeling be something that’s fun. But I’m probably going to sign with another agency soon. I like Ford. I just had a bad experience with my last one because they were angry with “Top Model” so they took it out on me. And that was ugly.

Lowest Low:

I was in Cape Town, South Africa [and got treated so badly there. They actually told me they wanted to stick it to “Top Model”] and I was stuck in this two-year contract. I ran out of money and they wouldn’t even get any of my money wired to me. I had to ask my mother, who couldn’t afford it, could I have some money. I wrote Tyra Banks, and I had asked for her advice before. She was my angel when I won “Top Model.” I saw her as a deity that saved my life and I really respected her. I loved her and I thought that she was my friend. But then the realization that it was all just TV hit me when the advice wasn’t forthcoming. I got so frustrated and angry, I wrote her hate mail. I just felt so down. My career was over. I had no money. I thought, she’s not even going to help me or even give me any advice, so I wrote . . . an angry letter. Then I went home and didn’t know what I was going to do until I heard about that show “The Surreal Life.” I saw how it had resurrected other careers. It had been one year since I won “Top Model” and I was already old news. No one cared about me. And I decided to go on the show, and things changed. But that was the lowest of the lows for me. Because I really thought it was over. In fact I had packed up, moved back home to Joliet, Illinois, and was living there for four months before I got the gig for “The Surreal Life.” I had at least traveled the world, but it took all my money.

What advice would you give to those trying to pursue their dream?

Always have a backup plan. My plan when this is all over is to go to college. Don’t let this industry destroy you, because it eats souls for a living, especially the modeling world. I remember I was running up and down subway stairs to get to castings, and I had really built up my thighs. I didn’t mean to. It just happens. They told me, “Oh my God, look how fat your thighs have gotten.” I said, “Get over here. Touch it. It’s like a rock! That’s not fat.” All they could say was I needed to lose it. So I asked them if they were going to buy me a car with a chauffeur. Otherwise, it’s not going anywhere. They’re very harsh. And you have to be a really strong person.

Visit the following websites to learn more about Adrianne Curry:www.adriannemcurry.com and www.myspace.com/adricurry.

Interviewed by Kaylene Peoples

watch the video

Devon Ball of Saigewear – Designing Active Wear for Women of Size

Devon Ball of Saigewear – Designing Active Wear for Women of Size

The clothes I was given to wear throughout my modeling career were not attractive or appealing, and if I ever had the opportunity to make a difference for women of size I would.

—Devon Ball—

Devon Ball is the founder and designer of Saigewear.  She founded the company over 3 years ago.  Having been a plus-size model herself, she was dissatisfied with the clothes she was provided to shoot in.  There was also a limited amount of clothes available for women who wore the plus sizes.  Out of that frustration, her clothing line was born.

In an industry that caters to smaller sized women, Devon Ball has pioneered a line of active and leisure wear that is not only flattering but promotes healthy body image and positive attitudes.  Ball purports that a lot of full-figured women don’t go to the gym because there is such a minimal selection of workout clothes available, that they just don’t feel comfortable working out in.  She herself realized that the only time she felt comfortable during her fitness regimen was while she was wearing men’s sweats.  Dispelling the myth that the average woman wears a size 5, Saigewear brings fashion to a starved and neglected population of women who deserve to look and feel good about themselves.  I met Devon at the shop in LA that manufactures her t-shirts and was given a glimpse of what this entrepreneur did to get her line out into the world.

All of us who are not a size 00 are grateful to you.

Thank you. I know how frustrating it can be when you’re trying to find something that’s flattering, feel confident in, or have clothes that you just want to go to the gym in. It’s really frustrating when you can’t find appealing workout clothes. Also, on the weekends you want to wear a sweat suit or travel on an airplane, and you can’t find really cute gear.

This is casual wear?

It’s casual, leisure, and fitness. This clothing line can be used for the gym, or just for going shopping or to a concert.

Designers have their own techniques of gauging sizes from different models.  How did you determine the sizes for your line?

When I first started Saigewear, I went downtown to different designers, and [I looked for] manufacturers that would distribute really nice fitness wear.  Those clothes [I discovered] were not true to size.  That led me on a very frustrating path trying to find manufacturers that could cater to that need.  That’s what led me to the [realization that I would have to design these clothes myself].  That is what led me to Joanna Le, and I found Judy at Nancy LA because of that very issue.  I needed someone that was actually going to give me some clothes that were going to be true to size, because I wanted women of size to be able to fit into these clothes.  So, I met with Joanna, gave her my vision, and she came back with exactly what I wanted.  We actually sized these sweat suits a size or two up. We used suits that were extra large and made them a 1X or 2X, making that the new large.  We added length, too, because a lot of women who are ‘of size’ are taller.  So we’re not only catering to larger sizes, but taller sizes, too.

But it’s not just plus size is it?

When I would go to festivals, or I am out selling clothes, or doing fashion shows, I decided to cater to everyone, and now the sizes will range from medium to 4X.

Now what is a medium?

A medium is a 7/8 and we’ll take it to 4X, which is a larger size. If we have to go to 5X, I will, because I want to make sure that I am catering to everyone.

So you have the background of a model and a fit model, too.  So you know when things don’t fit.

I am a former Ashley Stewart model. In fact, they were one of the [companies] that gave me my start.  [As a plus size model,] I got knocked out of so many jobs because the things that they gave us to model just weren’t flattering.  So imagine being in front of a camera and you’ve got on these clothes that are tight in the arms, loose in the stomach and they hang over on the neck.  What do you do?  You can’t radiate your true inner beauty.  You’re not confident and you don’t feel at all that you can portray what they want you to.  I got knocked out of a lot of jobs because of that.

The most incredible thing I notice when I am having photo shoots for Saigewear is I don’t care who puts on those clothes, their figures are flattered, they look good, they feel confident, and it’s radiated throughout the pictures.  So if you look on the Internet at the magazine pictures that we have [on our website], my models are happy, and they look good.

What are some of the biggest areas you have to focus on when it comes to women’s bodies?

I think the biggest areas are the middle section, the hips, the rear end, the height, and the length.  And depending on if they’re top-heavy, it could be their arms are an issue.  I am trying to make things that are going to flow with your body.

What are your fabrics?

Right now I’m using cotton, lycra, and there is polyester involved. I don’t know exactly what I am going to pick next, but these materials seem to work very well.

Do your collections come out twice a year?

Well, right now they are coming out twice a year, but as Saigewear grows, I will be adding things in periodically.  I am having so much fun, I am starting to see different designs that I can bring into fruition. As I grow, so will Sagewear.

Where can we buy Saigewear?

Right now, it’s primarily Internet.  However, I am in the process of meeting with buyers. I’m looking at Sears, Macy’s, Lane Bryant, and Ashley Stewart.

Highest High

By just being a former [plus size] model, my passion has always been there. Before, I was always a size 4 to 6.  Once I became plus size, my ‘high’ became greater than me.  It’s almost like I have been instructed to create this [line] to help women want to get in shape, feel good about themselves, and to look good while doing it.

You’re going to help a lot of women’s self-esteem.

That’s exactly what I want to do. Saigewear actually started as a day spa.  This started back in 2003.  Getting $200,000 at that point wasn’t conducive to SBA’s thoughts at the time. They didn’t believe in it; so I kept downsizing, and I pulled out the boutique part, because Saige will eventually be a spa where people enter and regroup, refocus, get the inspiration they need to go out there and be all that they need to be in the world. So this is the very ground level of Saige.

Lowest Low

I was listening to Russell Simmons Do You!, and was just blown away because I think everybody that starts a business venture goes through what he described—I completely ran out of finances.  I put tons of money into [my business], and then I had to go through what worked and didn’t work. Had I known what I know now, I’d be so much farther along.  But with tenacity and hanging in there, the most incredible things have shown up to get me to the next point.  So when I’m at my lowest low, I may get down for a minute, but I am not out!

What advice would you give to other entrepreneurs starting a business?

Really hone in on what it is you’re trying to do and make sure that it’s your passion, because if it’s not your passion, you will not stick with it.  This is my passion.  And the only reason why I can stick through the fire and the brimstone of it all is because it is my passion.  Surround yourself with people that are positive—that are going to help you to continue to see your dream, and people who are going to help you get to the next level.  Stay away from a lot of negative energy, because that will only bring you down and help your vision to dissipate.  When you’re doing something so great, you need to have very tight arms around you, because it’s not easy.  Also, choose something that is going to help other people.  I think that if there’s something you’re doing great, you can’t help but get it to other people.  Try to surround yourself with people that have the knowledge.  People that can understand your vision and can put you in touch with people that can help get you to the next level.  Pretty much, just do all your homework, whether it is getting books from the library or finding someone who is already in the profession that you want to get into.  School is never too much.  They offer classes all the time on ways to help you get the skills you need.  Most of all, pray!

Saigewear was featured in LA Focus, Save the Date, and Senior Life. To learn more about Devon Ball and Saigewear, visitwww.saigewear.com.

By Kaylene Peoples

Rachel Pally – Designing for All Shapes and Sizes

Rachel Pally – Designing for All Shapes and Sizes

Oprah’s Favorite Things show, which aired Last November 2007, only reinforced what I already knew about Rachel Pally’s designs.  They’re fantastic, figure-flattering, and very universal.  Pally’s Swing Turtleneck and Sailor Pants proved to be a big hit on the top-rated talk show. Rachel Pally’s designs have been featured in countless magazines, and have become favorites among celebrities. Pally launched her collection back in 2004 at Los Angeles Fashion Week, and that collection has gained the momentum of a snowball rolling downhill ever since.  She has discovered the formula which makes every woman look and feel feminine, no matter what her size.

I remember that first collection. It was my very first time at Fashion Week, and I have to be honest, I expected stick figures in ‘unwearable’ garments to be walking down Rachel Pally’s catwalk. But to my delight, I saw clothes that even I could wear. Her collection was a women’s contemporary line, which utilized draping made from jersey to create sensual and beautiful tops, pants, dresses, and skirts.  Ever since that day, I have been a die-hard fan of Rachel Pally’s designs. Imagine my sheer delight when I discovered that she had also come out with a plus-size line. In keeping with this season’s theme, RealWomen-Real Fashion, I thought an interview with the designer herself would be an added bonus to this issue.

I’ve seen your work for quite a few seasons, and of course, I am a woman with curves. So your line really does appeal to me.  How do you get inspired?


I get inspired by looking at women and seeing the way women put themselves together.  I watch movies and read magazines, but I am definitely inspired by a variety of women.

When did you get started?

I started my business after college. I graduated in 2002 from Berkley, and I made a set of samples, carried them around, and found a new PR firm that was just starting and was able to take me on for next to nothing.

Has your family been very supportive of your designing?

My family has been very supportive.  Nobody’s actually involved with the business, but just in having an incredible support system.  Everybody’s very proud of me, and everybody tries to play their part for sure.

What caught my eye about your clothes, in particular, is that they are very figure-flattering for women of all figure-types.  What made you decide to design for that particular type of body as opposed to…?

The tiny contemporary shopper?

Exactly.

I make sure that in every season I have something for everybody.  In fact, I [not too long ago] launched a plus-size line that is exclusive to Nordstrom.  So saying that I was able to dress everybody in the contemporary market [isn’t true].  In fact, I was not able to dress everybody.  So, I added the second division in order to make sure that I can dress a larger woman as well as 0-12.  To me that’s super important.  I feel there are a lot of lines out there that don’t cater to everybody and there are plenty of women out there who would love to find great fashions to make them look fantastic.

Have there been any challenges in creating designs for plus size?

No, and for the most part we used designs that were selling in the other departments—in the contemporary departments.  Instead of having to design specific clothes for a larger woman, why can’t a larger woman just wear the same clothes, but in her own size?  So, we’ve definitely made some changes with the patterns and changed the way things were fitting. But for the most part I don’t feel like there’s any reason why that customer has to have something totally different, as opposed to being able to go to Nordstrom and finding the same piece in the Savvy Departmentas they find in the Encore Department, which I think is definitely the way that I’d like to take that kind of division.  That option doesn’t exist for a plus-size woman.

I really think it’s great. Like for instance with the Dove Campaign…

…And Tyra Banks having this whole backlash for those [unflattering] photographs, I think it is.  We have to be realistic about what women look like, and how there’s no reason why women can’t find gorgeous clothes to wear that make them look great.  There’s no reason a size 12 or size 16 or size 24 woman can’t look fantastic in her clothes.  It’s nice to give that option to people.  There isn’t another option. It doesn’t really exist in the market.

In creating your designs, was there any one particular body type that you felt was more challenging?

It’s definitely harder to fit the plus-size groups because women carry their weight in such different ways. But no, I work with jersey.  It’s stretchy and you kind of make do. And not every piece is going to look good on everybody.  But everybody in my office tries every piece on when we go through our sample fittings.  We all have very different bodies, so it’s very important that everything looks at least good on everybody.  It may not necessarily be the individual pieces we may want to purchase for ourselves, but it’s important to see that it works.  Since I work with such a forgiving fabric, which cut the wrong way is not forgiving, but the way that we do it it’s so forgiving that dressing some women over other women is not so [difficult].

So jersey is your main choice of fabric then?

Yes. We’ve done other fabrications, including a cashmere line, accented pieces with satin, we did a fur holiday group, and there will be some changes.  We will continue to add new elements, but for the most part it’s just jersey.

How well is the plus line that you launched with Nordstrom doing?

So far we’ve done very well. It’s selling online at Nordstrom.com. We’ve gotten a great amount of feedback.  But it’s going to take a little while because it’s a brand new idea for that market.  It’s not just another cute line that is available in thecontemporary market.  It’s something totally unexpected and different for a woman who is accustomed to having to wear those polyester printed moo moos.  So it may take a little while for it to catch on, but so far the feedback has been so glowing.

What are your price points?

The price points are about $150 for tops and about $250 for dresses. And it might be a little higher than that because it’s a little pricier than our regular contemporary line.

Highest High

My highest high was seeing a photograph of Sarah Jessica Parker in the Caftan dress.  And seeing a picture of Jessica Simpson in the Gaucho pants—and they took off everywhere.  I was just in Thailand, and my pants are still knocked off and hanging up on all those kiosks all over Bangkok.  You can still find my Rachel Pally pants everywhere.  That’s insane to be able to see that and say to myself, “Nobody around here knows, but I made those pants!  I started that!” And now years later, you can find them all over the world.  That’s definitely a high.

That’s a huge high!

Lowest Low

(Laughs) My lowest low was getting myself through reports today at Macy’s on the East Coast!  It’s business, and there are times when there are lows. But it’s never been anything that you can’t recover from, luckily for me, at this point of my career. I just keep making it happen.  I can’t get discouraged and you just keep pushing it through.  The lows are very fleeting.  The highs are very exciting.

As a successful fashion designer, what advice would you offer to someone who’s up and coming and trying to also achieve the same success?

I always feel like I give the same advice.  If you are interested in becoming a designer and having your own business, go to college.  No need to start and stop with design school.  There are a lot of things you can learn along the way, but you have to have your brain trained to solve problems, act fast, and think quickly.  That to me has been my biggest asset.  I did go to school and I did work really hard and I trained my brain to be fast.  I think that that has really helped me more than a design class.  There are amazing designers who came out of design school, but for me and the path that I took, my education was the most important thing.

What was your major in college?

I did city planning, cultural geography, and dance.  And I did very random things to have ended up in this industry.  But at the same time, thinking is thinking.

Do you think that because of the complex major that you had, this is why you’re able to think outside of the box and dress for all types of women as opposed to your standard?

Having a dance background is the reason that I can dress for all types of women.  I understand the body and I understand the way people move and I understand where things should fall and how things should drape—all based on costumes and based on movement.  I’m sure some of it has to do with the diversity in my interests over the years.  But I look at my collection and I think, “Wow, I was so clearly a dancer.”  There are things in my wardrobe that look like things that I had to wear as costumes, and things that I would have loved to have worn, instead of other things.  I feel like that’s where the roots are for sure.

What’s next for Rachel Pally?

I am just trying to continue to evolve and keep the line exciting.  There’s a lot of competition in the jersey market.  It’s nice to continue to offer exciting prints or exciting trims or different types of belts, accessories, and to make sure that we stay a step ahead of our game so that we can keep it fresh and keep our buyers excited. hel Pally, visit her website at www.rachelpally.com, and to purchase items from Rachel Pally’s plus-size line, visit Nordstrom’s stores or Nordstrom online.

By Kaylene Peoples

Lindy Flowers – Turning Modeling into a Longtime Career

Lindy Flowers – Turning Modeling into a Longtime Career

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?

Yes, in fact that is one of the perks of modeling.  I had met Donna Karan.  I had done her fashion show in Beverly Hills, and after the show, four of the models [I was one of the four] stayed behind for the press.  We shot pictures standing next to Donna Karan in her creations while the press was shooting her.  At the end of it, she gave us the boots that we wore in the show.  I had never seen models change so fast. . .and we have to change fast in the shows. . .but we changed so fast so that she wouldn’t change her mind.  She gave us those beautiful boots that I still have to this day and will cherish because it’s one of my favorite things I have ever gotten.  

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!

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.coco johnsen spring 2008 garments

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.  coco johnsen shoesWe 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.

Coco Johnsen Ready to Wear - Soring 08 Collection

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?

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

Elina Katsioula-Beall of DeWitt Designer Kitchens – Making the World Better One Kitchen at a Time

Elina Katsioula-Beall of DeWitt Designer Kitchens – Making the World Better One Kitchen at a Time

Elina Katsioula-Beall is the head of DeWitt Designer Kitchens in Studio City.  Elina is a native of Athens, Greece, and has lived in Los Angeles for over twenty years.  She is a multi-talented design professional with over 20 years of experience in design.  Awarded a Master’s Degree from Yale in Set Design, she launched a career in TV, film, theater and live shows, receiving numerous theatrical awards and three Emmy nominations.  She was the Art Director for the Academy Awards three times, and she has worked with countless celebrities.  Katsioula-Beall won awards as a kitchen and bathroom professional.  She recently won awards for two of her designs at the National Kitchen & Bath Association Design Contest, and an additional two as a co-designer with DeWitt.

Elina Katsioula-Beall is a certified kitchen designer and brings her classical Greek heritage and her set design experience to kitchen design.  Elina received a Bachelor’s Degree in Art and Painting from the Athens Polytechnic Institute.  And in the same way she designs spaces for characters of theatrical plays and films.

What made you decide that you wanted to get into design?

I have been in art all my life.  I was drawing since I was two years old.  I picked up a pencil and never let it go down again.  At that point, being a native of Greece, I was very inspired by the antiquities there.  I had a parallel career as an art director in television and film and also did some stage shows and several variety shows.  I was the art director for the Oscars on three different occasions, also Kennedy Center Honors, American Music Awards, and theme designs stemming from Saudi Arabian Royal weddings to stage shows for Richard Wirick.

How long have you been actually designing kitchens?

I have been working by my husband DeWitt’s side for the past 19 years, along with my art direction career, but I have been designing kitchens exclusively only for the past 5 years in this showroom.

I saw some of your kitchens on covers of some major design magazines.  They are beautiful, diverse…and they look extremely functional.  Can you tell me what sets you apart from other kitchen designers?

We are trying to address the client’s personality.  We go beyond custom.   You’re not only designing for their style (entertainment style, cooking style, and shopping style), but beyond that you’re also designing their space.  Our space is something that projects our mental space. And we have to get into our client’s personality in order to understand exactly what they want, who they are, and design for who they are in the same way I have designed for characters in a film, for television or theater.  So when you see a set, you know exactly that this set can be only part of the life of that character in the same way the kitchen that I design should reflect my client’s individuality.

Along those same lines, if that kitchen reflects who they are, as well as being designed to endure time, it becomes a classic.  A trend is something that is great today, but then it is gone tomorrow.  The great challenge for designers today is to design something classic which means [creating something that is] enduringly beautiful.  Twenty years from now it still speaks of its time, but doesn’t look outdated.

Let me give you a scenario.  My husband likes to cook, but we’re both really busy people.  I don’t have time to cook; I live on the microwave.  The only time we really use our kitchen is when we are entertaining, and I have very discerning taste.  What would you say to me to make me want to hire you as my kitchen designer?

The very first thing that I would like you to do is pull some pages out of magazines that have something that speaks to you.  It can be images, kitchens…something very inspirational.  And that’s an image that we both start with.  Then, I will ask you everything about your lifestyle, both you and your husband, either jointly or separately, like what is your height; are you left or right-handed; your habits around the kitchen; shopping style;entertainment style; cooking style; how many members in your family;   what would you prefer to have; and what are your storage needs?  You will start to see how many aspects there are in the kitchen, and how many things you have to look at once I design.  I have to make the space absolutely functional for you.  Form should follow function.  It’s the soul of an axiom.  We have to break down your needs and address all of your wishes.  At the end of my survey, we have your wish list.

If you tell me you have to see the stars in your kitchen, then I need to know that.  I once had a request to have copperware in the kitchen so when the sun sets, it will reflect on the copperware.  It can be anything you want.  It can address all your emotional or practical needs.  But that’s how I would design a kitchen for you.

That’s a whole other way of thinking.  It’s very different from an IKEA or Home Depot kitchen, because with them there’s a template.

We don’t do quickie-cutter kitchens.  There is something to be said about mass-production that addresses all needs; but as an artist, I would like to go beyond that and transcend the ordinary.  I really want to tap into the extraordinary, and the only way I can do that is to connect with my client on a very intimate level in your mind and in your head so I know exactly what your wish is.  And this is going to translate through my filter and become creatively your space.  So when your friends and family come and see your kitchen for the first time, they will say, “You can only be in this kitchen.  I cannot imagine you anywhere else!”  And that is my biggest reward.

I don’t realize what goes into certain things, and this is very insightful.  Obviously, having worked in film and television, doing custom, themed designs, and just the extent of your artistic ability…that’s obviously what makes you who you are as a designer today.

Absolutely!  You have to take all those design forms and filter them through your creativity, and find the object that really makes you feel that you serve the community, mankind, or fellow human beings.  I used to chuckle that I would love to make the world better one kitchen at a time.

Have you ever had a client that you just could not satisfy?

Yes.  There are those clients.  It starts with the individual.  I believe an unhappy person will never be a happy client.  I had a client once who asked, “Will my friends turn green with envy?”  She was doing the kitchen for her friends, not herself.  There are people you cannot satisfy no matter what, but the client is always right?   At some point I’ll find the one place where they will be happy?

Have there been any obstacles in doing kitchen design?

I think for a true creator there should be no obstacles.

Highest High

When we photographed the last bunch of kitchens, I saw them come to light with very good photography.  And I saw the beauty in the detail.  They were on magazine covers.  Eventually we won awards.  We won 5 national awards in 2007 for excellence in kitchen and bath design.  It was good to have the work rewarded, and it was great to work with individuals who said we gave them a kitchen they didn’t even know they wanted.  And that felt good.

Lowest Low

When the client doesn’t understand the type of work we do.  They put us at the same level as the local custom cabinetmakers because they do not know what goes into designing a kitchen well.  They think it’s a bunch of cabinetry and appliances, you throw in a stove top, and it’s done.  It’s not.  It’s an organic functional place.

Recently I introduced Gestalt design.  It’s a little bit like a melody, where it transcends the combination of materials. It’s not just cabinetry, countertops, and appliances.  It’s an entire wholesome, organic thing.  The sum total becomes its own entity.  It aims to become the expression of the client’s mental space, because the space of the kitchen that I will create will shape in turn the client.  This is my design philosophy.

To learn more about DeWitt Designer Kitchens, visit their website atwww.dewittdesignerkitchens.com.

Interviewed by Kaylene Peoples

The Ebb and Flow of Lauren Wood – A Multifaceted and Multi-talented Creator of Beautiful Music

The Ebb and Flow of Lauren Wood – A Multifaceted and Multi-talented Creator of Beautiful Music

Lauren Wood is a world-renowned songwriter, recording artist, musician, producer, and voice-over artist.  She is best known for her hit song “Fallen,” which was featured in the movie/soundtrack Pretty Woman, and sold over 17 million copies.  She is also known for her top 3 hit duet with Michael McDonald, “Please Don’t Leave,” released through Warner Brothers Records. She wrote and had songs recorded by Gladys Knight, Phillip Bailey, Cher, Johnny Mathis, Rita Coolidge, Warren Hill, Leo Sayer, Billy Preston, just to name a few.  Lauren’s songs have been played in Police Academy, “Days of Our Lives,” and “That’s Life.”  And yes, that was Lauren’s voice you heard singing the lead on the television show “Just Shoot Me.”  She has also recorded voice-over and music for animations, including Rugrats,The Tigger Movie, and Little Mermaid II, among others.

“What will strike you most about Wood’s music is her sultry, sexy voice, but if you get past that, you will find subtly crafted tunes of immense sophistication and insight.” – John Schoenberg, The Album Network –

I visited Lauren in her home in Laurel Canyon.  It mirrored the talented, somewhat quirky, off-beat artist.  Her house was colorful and took me back to the fifties and sixties as soon as I entered. There was a vintage mannequin in one corner of the living room, vinyl album jackets neatly placed in a rack against a wall, musicalinstruments posing as decoration, and a vintage egg-shaped chair sitting right smack in the middle of the living room.  I was greeted by one of Bad Art Records’ staff members, and served a special coffee brew before our interview commenced.  It was obvious that Lauren is as meticulous and passionate about her surroundings as she is about her music.

“I have a little kid’s attitude.  I am very playful andI live in a house that looks like Peewee’s playhouse.  I’ve never had a real job.  I guess you could say I am the true Indie artist.”


How did you get involved in music?

I noticed that as much as I loved art, I never enjoyed actually doing the art. I feel like my house is all art, but I’m happiest when the art is all done and I can live in the art.

What’s your background?

When I was a little kid, music affected me on the deepest level.  I was mesmerized by George Gershwin.  My parents used to play show tunes all the time, and I was in love with Richard Rogers and his work with Rogers and Hammerstein.

Did you always know you could sing?

I have found a style and it’s something that has evolved for years.  I’ve had to work really hard [at singing].  There are some people who can wake up in the morning and sing really great, but I have to work at it.

Tell me about some of your successes.

I have been making records since 1968.  I was in a band called Rebecca and the Sunnybrook Farmers, and then the band dwindled down into the three of us and we became Chunky, Novi, and Ernie. We signed with Warner Brothers Records because we wanted to have a hit record, and because at the time, all my favorite artists were on that label.  I [later] got the song “Fallen” on the Pretty Womansoundtrack, which changed my life.  Bless Richard and Julia for their tremendous charisma.

How long have you been independent?

My first Indie record was called Lauren Wood 1999.  It has “Fallen” on it too, as well as the Pretty Woman mix, and now my newest record is called Love, Death and Customer Service.

What is your process for writing a song?

I can’t go into a room and say, “I’m going to write from 10:00 a.m. to noon today.”  I just have to wait for the muse to hit me.  I just start to feel this little energy bubbling underneath.  A lot of times I’ll be noodling on the keyboard and I’ll play a wrong chord and I’ll think that’s weird and beautiful.  What’s the next weird and beautiful chord I can play next to that?  What’s the prettiest melody I can write after that?  I love to write melodies that aren’t in the chord.  A lot of times I’ll write my lyrics while I am driving in the car.

So it’s a natural process for you.

Yes, and I can’t force it.

Have you had any obstacles in your career?

Back when I first started, before I hit the “ageism” thing in pop music, I was hitting the “woman” thing.  I used to have problems with people if they did not let me be free.  Back then it wasn’t a given like it is today that women could be a producer.  That used to be a problem.  The producers that let me have more input, I’d do good work.  I’m known mostly for my ballads, and my music has to ebb and flow.

You mentioned that it took a year to master your new recordLove, Death and Customer Service ?

I worked on it for 5 years.  We’d mix for a week, go back and remix.  I finally created this lovely album.  When you master, in order to make it louder, it goes through this compressor and it pulled the air and vibrato out of my vocal and it took out the soft lilt out of it too, bringing it all up; and it sounded like a big dead fish.   Before, when I mastered, it only took a day.  This time it took a year.  I mastered each song and each section separately, and we experimented over and over again, and it literally took about a year.

Highest High

Other than when I get emails from people who write “Fallen” has gotten them through an illness, I had 2 experiences while touring in Malaysia.  I had caught a cold and was very sick in Malaysia.  I started to lose my voice and I was performing at one of the clubs there.  Well, I walked into the building with my band, and the people at the club threw a spotlight on me.   And everybody asked me to sing “Fallen.”  The band started to play, and people were all standing on the tables and mouthing the words to “Fallen.” This was on the other side of the earth, and this little song that just came through me had affected all these people.  The other thing that was so fun in Malaysia was that we put in my contract that I could kiss a baby elephant. So they closed the zoo and let me have a private tour.  I got to hold a baby orangutan, and I got to kiss a baby elephant.  My music brought me to these animals around the world.  I was taught at an early age by my father to love and respect animals, so it was deeply ingrained in me by the time I went to Malaysia.  It meant a lot.

Lowest Low

I’m trying to get my record on radio.  Back when I started doing music, you could hear Tony Bennett, Elvis Presley, The Beatles, Frank Sinatra, The Doors, Joni Mitchell…on the same radio station.  But these days, corporations have taken over the airwaves.  The stations are so overly analyzed and formatted that it’s killing radio. It’s not artistic like it used to be.  I have a really hard time trying to get my stuff on the radio because I am not a person who easily fits into any one format.  I love hybrid music, so it’s really hard.  Record companies used to be so artistic.  But now record companies are so formatted.   Everybody wants to recreate the next clone of somebody that’s already happened before.  In the past, you got signed because nobody else sounded like you.

What about Internet radio?

This record is on radio, but it’s not easy.

What’s been your process trying to get it on?

I make calls myself.  When I was on Warner Brothers, they asked me to call the radio programmers and thank them for playing my records, and I did.   So I [already] know a lot of radio programmers.

What advice would you give an Indie artist who is trying to make it in this business?

Be yourself.  Be an artist.  Be the best you can be.  Work really hard.  Don’t have an attitude.  Be humble.  Life is tough enough to have to deal with people who are not nice.

To learn more about Lauren Wood, visit her website atwww.laurenwood.com.

Interviewed by Kaylene Peoples

Odalys Nanin of MACHA Theatre Company – Building Social, Cultural, and Artistic Bridges

Odalys Nanin of MACHA Theatre Company – Building Social, Cultural, and Artistic Bridges

Odalys Nanin is the founder and producing artistic director of MACHA Theatre and Films.  She has appeared in soap operas, series, T.V. commercials, and at least 30 theatre productions in New York and Los Angeles.  Nanin has a stellar reputation for writing, directing, and producing theatre in Los Angeles.  She has also received three Drama-Logue Theatre Awards for direction, performance, and production of Vargas Llosa’s “La Chunga.” “Skin of Honey” is the fifth play she has written, and she produced it in 2007.  Her other plays are “Love-Struck” (1997), “Garbo’s Cuban Lover” (2001), “The Nun and the Countess” (2003), and “Beyond Love” (2005).

Tell me about MACHA Theatre Company and how you acquired it.

MACHA Theatre is a landmark which used to be a dealership for Mercedes Benz.  It was renovated for theater, and for 32-35 years Shakespeare plays were produced there.  Inside the theatre is a mini version of the Globe Playhouse in London. The owner recently passed away, and destiny called me somehow.  I had just done a play here two years ago that had been very successful.  And twenty years ago I did a play for the owner.  I played Jessica in The Merchant of Venice.  I [discovered] that he [the owner] had passed away, and it was up for rent, and I went for it.

You are also an actress?

Yes, I’m a writer; I direct, produce, and I perform.  [Last] September we did “Skin of Honey”.   I did my first political play.  [It was] a love story set in 1961 [about] two lovers torn apart during the invasion in Cuba.  This was my sixth play.  I wrote it and co-directed it with Alejandra Flores .  I love to write Romantic comedies, but that was the first time that I tackled a [political issue].  I threw the love story in it.

I created a gallery wall, a screening room called Garbo’s Screening room for anyone who wants to come in and do a documentary or a short.

Do you rent the theatre outside of your own productions?

When I am not producing my plays, I rent it to other productions coming in.  I pick all the work.  I want it to be very good and cutting edge and have a message.

How long do the plays run?

A play runs 6-8 weeks, Thursdays through Sundays.

So you’ve written six plays?

I wrote six plays.  They will be produced by Bi-lingual Press in Arizona next year as a textbook.  I have been producing theatre since 1992.  I did a few plays in North Hollywood, including “Garbo’s Cuban Lover,” which also won an award, and it was rated as one of the best 10 plays by the Advocate Magazine.  I eventually adapted it to the screen.  Eventually it will become a movie.

What goes into producing a play?

First you have to have an idea.  I have to be driven by that idea.  It comes to me and I can’t stop thinking about it, so I have to write about it.  It usually takes me about two weeks to a month to write about it.  Then, you do a stage reading of it, rewrite and set it for production for the following year, cast it, and rehearse it.

As a producer are you required to know everybody’s job, too?

Yes, I have to know about the lights and sound, and I create and pick the songs that go into the play.  I cast the play…about sixty percent of it is casting it correctly.  What’s interesting about the plays is I started “Skin of Honey in 1996”.  Last year we were talking about teenagers and Cuba, and I remembered the scene I had written in 1991.  The play almost tells you when it should be written.  So never throw out anything that you write.

Do you feel that having been an actress has also helped you as a producer?

Oh, absolutely!  The reason I became a writer/director/producer is because I was an actress.  You know as an actress you go out on auditions and sometimes you audition for parts that you’re not very attracted to.  It got to a point that I really wanted to implement my talent into the right roles…and so by writing them, you actually create the roles you want to play.  And that’s what I did.  You have to put your craft into something that you really love.

Highest High

I have to mention that I also do short films.  My first one was based on a story that my father told me a long time ago.  He made me a promise before coming out to the United States.  He said that I was going to have my own little car to drive on the streets.  I had forgotten about that.  Twenty years go by, and I write a short film about it.  It’s my first short film.  I had no budget, but I got 25 people to volunteer for a three-day shoot: Friday, Saturday, and Sunday.  The first shoot was at a park, and we had to be there at 7:30 in the morning…and I was driving up the road hoping they were there.  They were all there–just volunteers who were there because they liked the story.  The day I finished the story, it was in the can.  I had those reels…and I was driving in my car…and all of a sudden I started to hysterically cry and hysterically laugh.  It was the highest height that I could’ve reached–that I had accomplished that.

What was the film called?

It was called “Only One Suitcase”.  Just the thrill of these people showing up and working really hard to make it all happen was great.

Lowest Low

Not having enough money is a low.  I like my productions to have high production qualities.  With the play “Beyond Love”, I didn’t have enough money for the set.  It was bare bones.  It looked fine, but I knew I wasn’t doing it the way that I wanted.  I know it’s not a big deal for people coming to the theater, but when you put so much into it and you know it could be better, but you don’t have the means…that’s a real low.

Is there anything you’d like to add to create more theatre patrons?

Create more women writers.  I am trying to put together a workshop for teenagers that can not only write as an ensemble, but perform the piece and showcase it, exposing the young up-and-coming actresses to the theater.  I think exposing as many youngsters to this world would make a big difference in their grown-up years.

What does MACHA stand for?

MACHA means moheres (women) advancing culture, history, and art.  We were formed in 2000 because we did not have a place or a way to express ourselves and have a voice.  It is a group of women who are committed to bringing about plays about women that people don’t really know about.

To learn more about MACHA Theatre Company, visit the website atwww.machatheatre.org.

Interviewed by Kaylene Peoples