Amazing Grace

GRACE

The Fanzine Entirely Devoted to the Wonderous Grace Jones Created by Mia Stevens

A Note to the Reader

This project came to me during a time in my life where I had hit rock bottom.

Feeling alone and out of touch with the rhythm of normal life, I became acutely self-conscious and hyper aware of others’ opinions of me – those of which were probably completely non-existent to begin with.

I initially chose Grace Jones as the subject of this zine as I’d always been mesmerised by her angular features and androgynous sense of style. However, as I immersed myself further into the project, I quickly developed an overwhelming admiration for Grace’s ability to honour her authentic self.

Grace proudly possessed all the traits I had been wishing for – strong, receptive and unafraid to voice her opinion, to take risks, or to be herself, regardless of the opinions of others. As the research stacked up, my love for her grew, and I became inspired to apply Grace’s unapologetic approach to my life.

This zine is a labour of love, specially devoted to the lonely, the insecure, the out of place and just about anyone in between that may be feeling a little lost - I hope you can reap the same benefits that I have been lucky to, by simply flicking through these pages.

Yours Sincerely Mia

Steve Wide and the Making of ‘Grace Jones A to Z’

Grace Jones 1977 ‘Portfolio’ Album Cover Designed by Richard Burnstein

What’s so special about her? Steve Wide discusses the timeless appeal of Grace Jones, and the making of his 2018 book ‘Grace Jones A to Z’.

Steve Wide’s ‘Grace Jones A to Z: The Life of an Icon’ explores the colourful carreer of Grace Jones, and perfectly exemplifies why her influence still permeates through the spectrum of today’s music, fashion and wider popular culture. The highly visual fact-file with illustrations by Babeth Lafon was released in October 2018, following the release of Jones’ and director Sophie Fienne’s documentary ‘Bloodlight & Bami’ months before. As a highly visual book that you can easily dip in and out of, Jones seems the perfect subject – colourful, stylish, stand alone and almost exaggerated.

“This book is a part of a series that seeks to present a vibrant and visual view of some of the twentieth centuries standout icons – particularly ones who push various political, social and sexual agendas… Grace is the perfect

Grace Jones at Studio 54 in 1981 Photographed by Adrian Boot

fit for this brief.” Says Wide.

With a carreer spanning almost 50 years, through fashion, music and film, Jones possesses a certain timelessness, and is widely celebrated today for her originality. She’s an innovator, not a copier. She set the trends and she did it by being herself - unique, flamboyant, creative, perplexing, uncompromising, oddball. Jones celebrated the misfit and exemplified how art and individuality could be life affirming. A transformative performer, Jones kickstarted her early carreer modelling in New York and Paris, and was a muse for established artists and designers including Andy Warhol, Antonio Lopez, Azzedine Alaïa, Claude Montana, Giorgio Armani, Kenzo, Karl Lagerfeld and Yves Saint Laurent. Hard-hitting hedonist, and frequent visitor of Studio 54, Jones made

her inevitable debut into music with her 1977 LP ‘Portfolio’. Songs like ‘I Need a Man’ and ‘La Vie en Rose’ became synonymous with the disco era and helped to propel Jones into a career in music that would see her experiment more and more. If her carreer in music and fashion weren’t enough, Jones took iconic roles in a variety of films – most famously in A View To Kill (1985) and Vamp (1986). With regular creative partner Jean-Paul Goude, Jones has been the centerpiece of some of the most startling and influential stage sets, photographs and album covers of the 1980s.

Perhaps above all of the appealing traits Jones possesses, is her refusal to be anyone but herself. “She won’t change for anyone.” Says Wide, “She is defiant, individual, creative and the ultimate party animal. Even in her seventies she

Grace Jones 1982 ‘Living My Life’ Album Cover Photographed by Jean-Paul Goude

Grace Jones Pictured Flat Top Grace Jones ‘Islandwith Life’Signature Album Cover and Suited Blazer Goude Photographed

by Jean-Paul Photographed by Adrian Boot

is still tipping back the Crystal champagne and eating copious amounts of oysters”. Jones has a habit of commanding center stage wherever she goes, whether it be slapping talk show host Russel Harty in the face, attempting to bust into errant boyfriend Dolph Lundgren’s hotel room carrying a gun, the provocative lyrics to ‘Pull Up To The Bumper,’ when she called out Lady Gaga, Madonna, Rhianna and more for ‘being like her,’ or when she called her 2018 Memoirs ‘I’ll Never Write My Memoirs’. The sharp, witty and inherently funny Jones is an icon who proudly celebrates her whole identity through every creative endeavor.

Jones is widely celebrated for her experimental style, frequently referencing art movements such as Dadaism in some of her most iconic fashion imagery and stage designs. Created by artists like Marcel Duchamp and Hans Arp, Dadaism ridiculed the meaninglessness of the modern world. Her shaven flat top hair style paired with a structural Armani suit,

Grace Jones Iconic ‘White Face’ Cover For ‘The Face’ Magazine, January 1986 Photographed by Jean-Paul Goude

Grace Jones Pictured in Azzedine Alaia Dress with Signature Cowl Photographed by Adrian Boot

mimicked Dada imagery and soon became her signature look. This image was the ultimate androgynous statement; a visual that empowered women with its strength, while simultaneously remaining feminine and sexy.

When asked his favourite Jones fashion moment, Wide responded “For me to it has to be the [January 1986] cover of The Face where she went ‘white face.’”. This subversion of the ‘black face’ tradition was the perfect way for Jones to show her disdain for anyone who didn’t understand why blacking up was offensive. Jones was the subject of thousands of iconic fashion moments; her most famous including her iconic Studio 54 performance costumes, her 1985 ‘Island Life’ album cover – exemplifying how the body can be the ultimate fashion ac-

cessory – collaborations with artist Keith Haring, her signature cowl blended into a sumptuous, figure-hugging Azzedine Alaïa gown and her countless collaborations with milliner Philip Treacy.

Jones’ ability to evolve with the times through music, fashion and film is what lays the foundations to her universal and timeless appeal.

At the same time, her willingness to deviate from the norm and experiment within the forms of the time undeniably contributed to her success. Jones is enigmatic in the way she experimented with the boundaries of her time whilst always looking towards the future. ‘You don’t get to stay famous for long unless you’re always switching,’ Andy Warhol wrote in his diary. ‘Grace Jones is an example of this.’

She Said

WHAT?

DON’T TURN YOUR BACK ON ME ANYMORE!

The Russel Harty Show 1981

Leading up to the 71st Birthday of Grace Jones, we’ve collated 6 iconic moments where she spoke her mind about gender, fashion and identity – all the while remaining true to her authentic self.

Grace Jones 1981 ‘Nightclubbing’ Album Cover Photographed by Jean-Paul Goude

Grace Jones’ timeless appeal lies in her fearless and uncompromising approach, which stretches broadly across her music, style and attitude.

Outspoken and whip-smart, unafraid to ruffle feathers, break down barriers or be perceived as a mouthy maverick, Jones possesses a rare and admirable authenticity that translates powerfully through all of her creative endeavors. Her song lyrics, iconic fashion imagery, and appearances in film and television have helped established her as not only an icon of female and black empowerment, but a spokeswoman for the experimental, the dispossessed, the LGBTI community and just about anyone who doesn’t slot jig-saw-like into the conservative agenda.

Escaping a harsh, repressively religious upbringing, Jones became a reactionary: glam-

arty g Russel H 81 in p p la S es 19 Grace Jon el Harty Show in s s u on The R

orously kicking against society’s norms and constraints; and speaking loudly about power, beauty, gender, artistic expression and sexuality. Despite her profound impact, Jones speaks openly in her 2018 book, ‘I’ll Never Write My Memoirs’ about the early challenges in her career “I had to be a bitch to maintain any kind of authority. Well, if I were a man, I wouldn’t have been considered a bitch. If I were a man, I would simply have been in charge, however aggressive or demanding I was.” Although Jones has never openly aligned herself as a feminist, she believes in the power of the individual, and the strength that comes in embracing ones’ identity, irrespective of imperfections or flaws. In a 2018 interview with The Daily Beast, Jones concluded “If you give up your power, you have no one to blame but yourself”.

Jones is celebrated for successfully rejecting the cookie-cutter mould of the powerless, and fragile woman, that speaks only when spoken to. Through collaborations with artist JeanPaul Goude, the duo created some of her most recognisable and gender-subversive images including her iconic 1981 ‘Nightclubbing’ album cover, featuring Jones’ fiercely angular flattop and Armani Jacket. Her ‘One Man Show’ performance in 1982 is another example of her commanding talent and individualism. Still controversial, Goude’s 1983 book ‘Jungle Fever’ courts sexual and racial stereotypes featuring hyper-stylised and manipulated imagery. These photographs however, still possess an undeniable sense of power; she justified the controversy in true ‘Jones’ fashion in her 2018 memoirs by describing herself as an “original beast,

Grace Jones Pictured in ‘DO NOT FEED THE ANIMAL’ In 1983 Book ‘Jungle Fever’ Written and Photographed by Jean-Paul Goude

Grace Jones 1985 ‘Island Life’ Album Cover Photographed by Jean-Paul Goude

only possibly from this planet, a voracious cenataur emerging from an unknown abyss and confronting people’s fears” – the very least we would expect from the iconic visionary.

In our contemporary social space where individuality has been progressively encouraged and celebrated, Jones’ unapologetic reverence to her beliefs speaks volumes. Her strong moral compass carves her out as a role model, who is never afraid to fight against the hand of adversity, irrespective of gender, race or sexuality. As we celebrate Grace Jones’ 71st birthday on the 19th May, we’ve collated 6 powerful moments where Jones has voiced whatever the hell she pleases about her iconic style and her broader approach to life – whether it be slapping ignorant talk show host Russel Harty for turning his back on her on live television, or schooling Angela Puchetti at Vogue Italia on fashion and style. Why does she speak so freely? Simply because she can darling, and so should you.

I feel feminine when I feel feminine, I feel masculine when I feel masculine.

I am a role switcher.

Dazed & Confused 2015

Blues & Soul 1978

Melody Maker 1990

BORN TO F

UCK

I should ge t a t-shirt saying tha t.

Vogue Italia 2010

I’m not fashion, I’m style.

I’ll Never Write My Memoirs 2018

I am my own sugar daddy...

If I want a diamond necklace I can go buy myself a diamond necklace.

I’ll Never Write My Memoirs 2018

I’m not a freak but I am different.

If people think I’m weird, that’s ok.

It’s better than being ignored

Fragmenting jewel tones of flickering light, or standing boldly in hues of magenta or crimson; Grace Jones’ headgear has become a staple, holding together some of her most iconic fashion looks.

Cheekbones, protruding under a deep velvet complexion and sculpted almost artificially. A tilted head glows against a shadowy backdrop; threads of silver pummel from a lit cigarette clenched between a tight smile. The face of this being is otherworldly – gender and race are both irrelevant, and all I can draw my attention to apart from those arresting beady eyes is a perfectly spherical bowler hat, perched neatly over the shaven head. Thousands of iridescent Swarovski crystals drench its contours and curvatures with a mesmerising irides-

Grace Jones Pictured in Philip Treacy ‘Disco Bowler Hat for ‘V’ Magazine, March 2009, Photographed by Jean-Paul Goude

Crazy Hat Lady

cence. This image of Grace Jones sporting her iconic ‘Disco Bowler’ hat is the first that relentlessly springs to mind whenever I think of her thousands of iconic moments in fashion.

Grace Jones has become synonymous with experimental style, with grandeous, conceptual headgear a staple in her repertoire of famous looks. Jones has not only made the hat an integral part of her wardrobe, but in collaboration with artists such as Philip Treacy, has pushed the limitations traditional millinery to create pieces that can be considered works of art.

Grace Jones Pictured in Philip Treacy Hat for ‘Flaunt’ Magazine, April 1999

Jones attributes her natural fondness of hats to her upbringing in Spanish Town, Jamaica under the Pentecostal Church, which stressed the importance of wearing hats to services and celebrations. “We weren’t even allowed to go into church without a hat...” said Jones while interviewed at the 2010 Royal Ascot. “So we feel naked without a hat. Thank God for that!”.

Jones has widely spoken about her strictly religious upbringing, recounting in her 2018 ‘I’ll Never Write My Memoirs’; ‘It was very British, very proper. Hymns. No dancing. Very quiet.

Very fundamental.’ Along with the mandatory hat, church-wear had many limitations, prohibiting jewellery, nail polish, open-backed shoes and skirts above the knee. “Trousers were forbidden because male apparel on a fe-

male was not godly”, Grace tells the Telegraph in 2008. Despite the strict sartorial rules, Grace remembers her mother – a seamstress, who was always very glamorous at church; “She made up those Vogue, Givenchy and Yves St Laurent patterns they used to sell. It was Church couture, darling!”. The evolution of Jones’ bold and experimental style was a pendulum; swinging and subverting as a reaction against her religious, disciplinarian upbringing. Whether draped in sculptural stage wear that references the intellectual avant-garde of the Ballets Russes and Dadaism, or powerfully subversive in leather, sporting a whip and a piercing stare, Jones’ adventurous approach is no exception when it comes to headwear.

Grace Jones Pictured in Philip Treacy Hat for ‘Flaunt’ Magazine, April 1999

Jones’ famous angular flat top haircut features in some of her most famous imagery – including her 1981 ‘Nightclubbing’ album cover – and has become a standalone staple in itself. The draped cowl is another of her signature looks. Rendered in an array of colours, swathed over the flattop and paired with a broad-shouldered cropped leather jacket and thick opaque sunglasses, or worked into an Azzedine Alia gown, the cowl has delivered some of Grace’s most memorable fashion moments. But of course, the cowl is only the beginning when it comes to famous headgear.

Grace can rock an outrageous hat like no one else, so it’s no surprise she and Irish milliner Philip Treacy were drawn to each other.

Treacy has created some of her most iconic

head sculptures, including a towering red lotus hat complete with stamen like tendril, pieces that look part nun’s hood-part warrior’s helm, a sunburst of feather arrows and the Swarovski crystal-encrusted bowler hat that looks as though it’s morphing into a disco-ball.

Jones’ aspirational style is often subject to imitation by many contemporary artists. Speaking to Bevy Smith during a radio interview on SiriusXM in 2015, Jones spoke against Treacy for recycling her looks with Lady Gaga, “I know Philip needed to make some money, but you know what, can you just wait until I finish my tour before you repeat what we are working on?”. Regardless of her imitators, Jones continually proves that her timeless style is one of a kind – And no one can do it better than Grace Jones herself.

The Dynamic Duo ‘Art should be something that liberates your soul, provokes the imagination and encourages people to go further’ – in celebration of what would have been Keith Haring’s 61st birthday, we look back on some of Haring and Jones’ most iconic moments.

Keith Haring Painting Grace Jones on set of 1986 Film Vamp, Photographed by Douglas Kirkland

Grace Jones in Dress Painted by Keith Haring on set of 1986 music video, ‘I’m Not Perfect (But I’m Perfect for You) Photographed by Robert Mapplethorpe

Last Saturday 4th May, would have marked pop artist Keith Haring’s 61st birthday. As two of the most innovative artists of the 20th century, it makes sense that at some point Grace Jones and Haring would collaborate. Andy Warhol introduced them, and as hedonists, they met frequently afterwards at nightclubs.

Jones was a gay icon and defender of individuality; Haring was an outspoken gay artist. For Haring, Jones’ body was the perfect canvas. Their famous 1984 18-hour marathon art session took place in photographer Robert Mapplethorpe’s studio. Haring and Jones continued to collaborate, working together on her live show at the much-loved gay club Paradise

Garage, on her look from the 1986 film Vamp, and for the 1986 music video ‘I’m Not Perfect (But I’m Perfect for You)’. In the film clip, Haring is pictured sped up, painting his designs on a 60-foot circle, before the eventual reveal of Jones on a podium wearing the towering black and white skirt, adorned in Haring’s signature markings. Both artists were integral counterculture icons of the 1980s; compelled to speak for their generation about racism, homophobia, drug addiction, AIDS awareness and to celebrate the importance of individuality and the unconventional. Together, the duo created some of the most iconic imagery of their careers.