I would wear entirely one color: tutus, furry pants. It was totally outrageous. My family was deeply embarrassed to be seen with me.
In China, because Chinese is a tonal language, it can be kind of hard to follow people's emotional tracks. There was one moment where a woman I was interviewing just sort of burst into tears, and I can usually sort of tell when things are coming on, and in that moment, it was very unexpected.
I have always been very into pagan hairstyles. If I were alive a long time ago, I would probably have been burned at the stake.
I wrote a play that I directed and I was in, and I paid for the sets and the costumes and to put it up in a theater all through modeling. It really afforded me a lot of creative control in my life.
The Congo is so fun. The ideal body type coveted by women in the Congo is this extremely curvaceous body. They're going through a number of extreme measures to get that kind of body form, and one of them is by using bouillon cubes.
I think, in a lot of ways, we underestimate how much clothing plays a part in achieving our identities and in how we want the world to deal with us.
I have a 'Mailer-Breslin and the 51st State' poster, and a neon-pink sign of Raoul's in SoHo, one of my favorite restaurants.
High fashion has become representative of stability in unstable places; that allows you to have a voice in the world stage.
Everybody gets dressed every day, and whatever you decide to get dressed in that morning is communicating something.
I think why I was attracted to making something with Vice is that level of intimacy that you get as the viewer, getting to see some of that production element where we don't exactly know what we're doing, where we're going, or even if it's a good idea.