Pirelli 2013 calendar by Steve Mc Curry presented in Rio
Rio de Janeiro, 27 November 2012 – The 2013 Pirelli Calendar was presented today in Rio de Janeiro at the “Pier Mauá”, warehouses at the old port of the “Cidade Maravilhosa”.
The creator of the 40th edition of ‘The Cal™’’ is Steve McCurry, one of the world’s most renowned photographers, who recounts the recent social and economic transformation of Brazil. His work celebrates the beauty and colors that represent the soul of this magical South American country, which takes center stage in the Pirelli Calendar for the third time, following Patrick Demarchelier’s 2005 edition and Terry Richardson’s in 2010.
In the two weeks it took to shoot the Calendar on the streets and in the favelas of Rio, McCurry made one of his fascinating journeys of discovery, capturing stories, experiences and traits of people and faraway lands. The 2013 Pirelli Calendar tells its tales through faces drawn in graffiti and ordinary people, as well as through this year’s models whose common thread is a powerful commitment to foundations, humanitarian projects and non-governmental organizations.
“I tried to portray Brazil, its landscape, its economy and its culture, along with the human element” said McCurry. “This was the story I wanted to tell through my lens. For me photography is an important expressive means to tell large and small stories of daily life.” In the background, Rio is bustling with life, with its historic quarters like Lapa and Santa Teresa, its favelas, its bars and nightclubs, its markets, dance centers and gyms, its schools and bus stops.
The city appears at its most authentic, very different from the usual stereotypes. “I walked a lot through the streets, looking at all these moments of daily life and taking lots and lots of pictures,” said McCurry. “I look for the moment of passage, when the image reveals a bit of tension.”
McCurry, armed with his years of experience as a traveler and guided by innate curiosity, entered into the spirit of Rio and opened himself to its people, offering up faces and moods. The Calendar alternates portraits of models and actresses with pictures of ordinary people: a young boxer working out, a fruit seller at the market, samba dancers, capoeira masters practicing their art, a woman jogging, an art teacher, a tourist at a museum, a secretary looking out a window, lovers walking together at sunset.
These scenes of ordinary and not so ordinary life recount the evolution of a nation that is changing without losing its true nature and the traits that make it unique. “I would say I am a street photographer doing ‘found situations.’ You can photograph nudes anywhere. But these models are clothed, and each of them has her own charity. They are purposeful and idealistic people. So I wanted to photograph them in a special place, and Rio was perfect for this,” McCurry adds.
There are 34 colorful images in the 2013 Pirelli Calendar, bound together in a calendar-book: 23 portraits of actresses and models, nine images depicting bits and pieces of daily life, and two pictures entirely composed of graffiti and murals. These are an evocation of popular artistic expression that attracted McCurry’s attention with their ability to reflect the social aspects he was interpreting, and became the background in many photographs.
The Calendar features 11 models, actresses and singers: Brazilians Isabeli Fontana (who appeared in Bruce Weber’s 2003 Pirelli Calendar, in Patrick Demarchelier’s 2005 edition, in Peter Beard’s of 2009, in Karl Lagerfeld’s of 2011 and in Mario Sorrenti’s of 2012) and Adriana Lima (also in Patrick Demarchelier’s 2005 edition), actress Sonia Braga and singer Marisa Monte; Italian-egyptian actress Elisa Sednaoui, Czech model Petra Nemcova, Tunisian model Hanaa Ben Abdesslem, Ethiopian model Liya Kebede, and American models Karlie Kloss, Kyleigh Kuhn and Summer Rayne Oakes.
Introduction From Pirelli Calendar 2013
Being selected to shoot the 2013 Pirelli Calendar was a great honour, the beauty of Rio made it the perfect backdrop. Known for its soul, energy and remarkable socio-economic transformation, Brazil is a country which has taken her place among the fastest growing and most vibrant countries on earth.
Rio’s varied landscapes of ocean, mountains and jungle, combined with a dynamic urban culture, made it a wonderful location to shoot the people whose faces you will see in these pages.
Rio’s people are every bit as amazing as the spectacular landscapes; I was inspired by their hospitality, warmth and generosity.
I wanted to photograph a mix of everyday people combined with a very special group of women known not only for their talent and beauty, but also for their charitable work and contributions to their communities.
I also enjoyed photographing wall art all over the world, the spirit of Rio came alive through the images and words on the walls. Wall art, popularly known as graffiti, comes from an ancient tradition going back Millennia. The collection in this calendar is my personal tribute to the people who live in one of the most exciting cities I have had the privilege to photograph.
The Pirelli Calendar By Paul Theroux
The greatest visual magic is not otherworldly, witchy weirdness but rather an illumination of the everyday, when familiar things look marvelous. Streets and city walls and skies, in a startling derangement, begin to take on the irrationality of a dream. Because you recognize certain objects – the dog, the chair, the window – the other elements are more startling: what is that blaze of light, and what is that woman doing in the doorway? Tantalizing and suggestive, bleeding with color, the vision is given force through the visible presence of a power figure – in the case of these photographs, the beautiful woman, who dominates like a tropical priestess.
In this epiphany of unexpectedness and delight, such beauty always beckons. It is impossible to see the Steve McCurry photographs of Rio and its people and not wish to be there. The magic of Rio, the city of high contrast, is something palpable, an uplifting luminosity that is rare in most cities. But in Rio it is a part of its identity, its daily life, something joyous, as well as, at times, evoking a sort of melancholy. Intense color can inspire joy, or terror, or desire, even pathos or a mood almost of holiness.
The Rio depicted here suggests the history of Brazil, a country transformed – colonized, plundered, and repopulated until it exploded with European and African intensities as well as all its indigenous feathered shrieks. The photos show a homegrown culture of impulses and improvisations – syncretic, an anthropologist might say, a fusion of cultures, a people taking possession of different rituals or beliefs and making them their own. That too is magical.
The music and dance and even the graffiti adds to the transformation; the human touch in the painted walls, the casual dress, is the Cariocas’ assertion of their own lives and their neighborhoods, turning their walls into murals, and even their bodies into art objects, as body builders and dancers.
The capoeira – shown here as vigorous tumbling – is distinctly Brazilian and centuries old, combining movement and music that is both an aesthetic and a system of combat, like magic in action: a martial art, sometimes improvisational and artful. And the graffiti is not (as in some cities) vandalism, but an enhancement, mural or maquillage on a wall, a street, a doorway, a house-front.
These images show a newly imagined world, epitomized by the shot from the heights of Rio, looking like the face of our planet in creation, the seas receding in pools of pinkish light from the distant mountains to reveal a city being born, lights winking from the coast, mountains reflecting tall buildings, a city where people seem happiest outdoors, on the street, in alcoves and markets, on the rooftops.
Here are images of abundance – plenty of everything, food, fruit, color, music; an abundance of light, too, but sometimes wayward and revealing light. The young girl at the market stall, anxiously clutching her head, stands before an impressive pile of multicolored peppers.
She is alone, but so are many of the other people in the city, especially the solitary air of the woman walking away, along the Arcos de Lapa aqueduct, with a teasing suggestion of “follow me.” She is a telling shadow; there is as much life in these shadows as in naked light. And each image in this sequence is vitalized by a telling detail, whether it is a retreating cat, a skinny dog, or a shadow; the anxious eyes, or the gesture of human awkwardness that we easily recognize and can relate to. Physicality pervades the images; the human element is powerful. These are people of flesh and blood – real people in a real place, exuding a joyous confidence. In the simplest, a woman’s pregnancy is revealed in a stark and serene shot.
For the most complex, consider the photo of the model in the doorway, the Brazilian flag daubed on the wall, the woman at the window looking away, a partial mural of a sorrowing child, a real tree, a wet street.
Interview with Steve McCurry By Paul Theroux
PT: WHAT WAS YOUR IMPRESSION OF RIO – THINGS YOU LOVED, THINGS YOU WANTED TO EMPHASIZE?
SM: I had been to Rio twice before, during Carnival – it was fun, lots of dancing, very sensuous, and hot. On another occasion I was on that hill overlooking Rio that you see in the calendar and just by chance found that again, with the capoeira. The first time I was in Rio it seemed to me mythic, with mountains, beaches, and incredible light. It is one of the world’s greatest cityscapes. Nothing comes remotely close to Rio.
There’s one particular neighborhood called Lapa, a very funky location, with people hanging out at night, lots of seedy hotels, and graffiti, and it’s adjacent to the Santa Teresa neighborhood with its old tramlines. This interested me more than the beaches and Copacabana, I found the smaller neighborhoods more visually interesting.
VISUALLY INTERESTING IN WHAT WAY?
The quality of light, the moodiness, the mystery – these were more accentuated at night. I have always gravitated towards dark, moody lighting situations. I rarely photograph in bright light or during the day. I like shadowy, muted situations where there’s subtle contrast in the color palette, and where there’s light from shops and houses and streetlights.
WASN’T IT STRANGE FOR YOU, WORKING WITH MODELS?
Some of the women were models, but this is about their charities, and so I wasn’t photographing them naked. It’s not about their bodies. Or their sexuality. You can do sexy shots anywhere, including the lobby of a hotel. For what I was trying to do I needed setting, background, a sense of atmosphere. I was creating a scene – a foreground, a background, a sense of place.
What is it about Rio that makes it Rio? The graffiti, the bars, the bodegas, the incredible light, the shape of the aqueduct, the neighborhood, the shadowy sexy girl walking up the aqueduct. There’s a lot of street life, bars spill into the street. I liked that.
ALSO THE TIME OF DAY?
Yes. Take that shot of the model sitting in the doorway, with the graffiti of the Brazilian flag, and the woman at the window. It’s a whole scene. When I saw that flag I thought it would be fun to play with the colors of the flag – green and yellow, the dominant colors, that color scheme emerges. It was raining heavily that whole night, and that gave a wonderful sheen to the street. I started at about 8 at night and I shot for about four hours, because we needed tarps for the rain. I had the model for the whole day but I wanted to shoot at night rather than during the day. She’s a top model but she’s sitting in a narrow doorway, with families and kids brushing up against her wearing wet raincoats, and she’s probably thinking “What did I get myself into?” Because I was across the street shooting, fifty feet away, she couldn’t see me. I had a tarp over me, and there were all these people coming and going. I just loved it, especially that woman hanging out of the window.
HOW IS IT DIFFERENT – PHOTOGRAPHING PEOPLE WHO ARE ACTUALLY POSING FOR YOU?
My hope and expectation was to photograph these models as real people. They’re professional models, they pose, they can’t help themselves. They start to do their moves. In fashion they need to show their clothes off in the best possible way, so what they’re doing is giving themselves a particular look, hands behind the head, to dramatize the clothes. But I was trying to photograph them as real people without all the razzmatazz. That was one thought. On the other hand, that’s what they do – they’re performers. I thought: Let them do it, they’re beautiful, playful, they know how to look, a lot of it was my photographing them doing their thing, but trying to dial it back – the moves, the drama, the posing – to make it more real.
As a street photographer – photographing people you want to get a range of emotions.
IS THAT HOW YOU DESCRIBE YOURSELF, ‘ A STREET PHOTOGRAPHER’?
Yes, I would say I am a street photographer doing “found situations” and the most interesting way to work is to walk down the street, capturing life as it unfolds, by chance.
WHAT CHALLENGES DID YOU FACE IN RIO?
They said there was a security thing, but we were in a big crew. We were in a favella for two days and had no problems. Three of the favellas I went into were safe to the point where we had no security, no guns – we were free. I felt safe. I wanted to shoot in a favella, like a slum in India, damp, crowded, dark, people on the street, hanging out – that’s what I loved.
WHAT ABOUT THE CROWDS?
That’s happened my whole life. If you stop in India a crowd gathers, but it doesn’t faze me at all. Working on the street in all that chaos doesn’t affect me. It kind of like being in a storm – but in a cocoon in a storm. One thing that is always a challenge is that you’re working against time – you start to shoot and it all has to happen in a two-hour period. It’s the world of hair and make up and location, and a model that might have to catch a plane. So it all has to come together rather quickly.
But it has to be your vision. You have to be true to your own inner voice. It’s all intuitive, all done by instinct, and if you lose your way, you’re lost. You’re walking around a village or a city, and the adventure is: Do you go left or right? But you follow your nose. You’re exploring. You want to do it on your own terms and in your own way. Some of those streets are a dead end, but eventually you find something, the happy accident and you find your best situations.
I WAS MOVED BY THE IMAGE OF THE GIRL AT THE STALL SELLING PEPPERS
She was a girl I happened upon, not a model. I shoot a lot of pictures. I look for an in-between moment, where there’s a sense of tension in the picture. When people are kind of at rest. If they’re moving I want to get a sense of movement in a picture. So it’s not static. I want to capture how people move, or how they position themselves, the infinite variations of that. I want something natural and real and authentic, as much as possible. I shot maybe fifty of that one girl.
YOU’RE WELL KNOWN FOR WALKING INTO AFGHANISTAN IN 1979. WHAT IMPELLED YOU TO TAKE THAT VERY DANGEROUS TRIP?
It seemed an important thing to do, an adventure, a great opportunity to witness life in a remote part of the Hindu Kush. I was also looking at the Kalash people near Chitral, about two days north of Peshawar in a remote valley. They were not Muslim, but sort of pagans you might say and I spent some time with them. They were way in the hills. They’re probably still there, hanging on by the skin of their teeth. Probably not more than a few thousand of them now.
I was in Afghanistan a month on the first trip. Then went back in August, and made more pictures. This was in Kunar in Nuristan – everywhere we went we walked. People were dressed in much more traditional way than now, and for weapons they had old Enfield rifles.
WHAT WAS YOUR BIG BREAKTHROUGH AS A PHOTOGRAPHER?
It was in 1980 when those Afghanistan pictures started being published in Geo, Stern, and Paris Match. The pictures of Afghans fighting against their own government. I had a big spread in American Photographer of Afghan portraits. The New York Times picked up some of them, and used them prominently, on the front page. That was cool. The pictures were months old, but they were historic.
Biography Steve McCurry By Paul Theroux
“I would say I am a street photographer doing ‘found situations,’” McCurry says, describing himself. That one shot is a triumph of captured observation, a whole narrative of solitude, reflective figures in a vibrant cityscape “You can photograph nudes anywhere,” Steve McCurry says. “But these models are clothed, and each of them has her own charity. They’re purposeful and idealistic. So I wanted to show them in a particular place. That’s why Rio was perfect.”
Steve McCurry has been traveling and taking photographs for almost forty years. I have known him for thirty of them. Steve is a great photographer because he is a resourceful traveler and a humble person, and the hardest working creative person I know. He is always watchful, absolutely hawkeyed for the way things are, for finding the humanity in every picture.
One of these pictures, of Sharbat Gula the green-eyed Afghan teenager he shot in a refugee camp in 1984 has been called one the most widely recognized photographic images ever. Being Steve, he tracked the woman down 17 years later and photographed her again.
He was a traveler before he was a photographer, and he has always been a risk-taker. As a 22 year old, looking for subjects, he hitchhiked from his home in the US and traveled through Mexico and Central America, as far as Panama (“I bought some lenses there”). Before he was thirty he had traveled through Yugoslavia and Bulgaria, and alone down the Nile, into Uganda and Kenya; he lived a vagabond life in India for two years in the late 1970s, and visited Nepal and Thailand. And he sneaked into Afghanistan, disguised as an Afghan peasant. He was still in his Twenties.
Famously, early in 1979, during a period of civil war, he grew a beard, dressed in native garb, a shalwar kameez, and followed a group of five Afghans from Chitral in the rugged Northwest Frontier Province in Pakistan to the Kunar Valley in Afghanistan, photographing burned out villages and bombings and atrocities. He walked the whole way, on mountain paths, living on berries, sleeping in huts. Ten months later, when the Soviets invaded Afghanistan, his were the first photographs to be published in Europe and America, of defiant Afghan mujahedin.
After another visit to Afghanistan, and assignments in Beirut, Baluchistan, and the Cambodian border, he acquired the reputation as a war photographer. “But that wasn’t what a wanted. I wanted to be a freelance, going wherever I wanted to go.”
He got his wish – in his travels, in India, South America, Japan and Africa he has dedicated himself to his art, looking for the light; many of his pictures are historic, and he has incidentally chronicled in his photographs the habits and routines and costumes of a vanished world.
“I am proud of the locations and the settings and the light in this project,” Steve McCurry says of the Rio shoot for the Pirelli calendar. “The mission is in finding light, the right time of day, the right place, and then trying to make it all work. Light is everything.”
PIRELLI IN BRAZIL
Brazil is a country of crucial importance for Pirelli’s growth strategy, where it has operated since 1929. Brazil is the biggest car and industrial vehicle market in South America and one of the biggest in the world and not surprisingly it is host to the world’s major producers of cars, motorcycles and industrial vehicles.
At present, Pirelli has 22 tyre plants in the world. Of these, seven are in South America and are used for the production of tyres for cars, industrial vehicles, motorcycles, agricultural machinery and construction machinery. Five of these are in Brazil (Feira de Santana in the north, Santo André, Sumaré and Campinas in the state of San Paolo, Gravataì in the south), one is in Venezuela, near Caracas, and one in Argentina, near Buenos Aires. Pirelli’s South American headquarters are in the city of San Paolo.
The technological and industrial heart of Pirelli in South America – an area that contributes a third (34%) of the group’s total sales, over 5.6 billion euro in 2011 – is the Brazilian plant of Santo André, which became a part of the group 83 years ago and is dedicated to the production of industrial and agricultural vehicles. Today the Santo André hub is enhanced by the Sumaré test track, which covers 200,000 square metres and has become a point of reference for tyre tests for all segments (car, motorcycle, SUV, agricultural and industrial etc.). In total, Pirelli has about 11,000 employees in Brazil and about 14,000 in total in South America.
Over time, the group’s industrial and commercial presence and importance has constantly grown, so much so that today is the absolute leader in Brazil and South America. A position of absolute leadership both in the original equipment channel and all the key replacement markets, in particular Brazil, where Pirelli has a distribution network with over 550 exclusive points of sale.
In 2012, for the fourth consecutive year, Pirelli won the award for greatest brand recognition among Brazilian males from daily newspaper Folha de São Paulo and for the tenth consecutive year as the best known brand in the tyre sector. And it is in Brazil, as well, that Pirelli’s Premium strategy is registering its greatest growth, in line with the growth of the high-end vehicle market, which underscores the Country’s recent socio-economic evolution. In South America in the first nine months of the year, revenues grew 7% compared with the same period in 2011, while revenues in the Premium segment almost doubled.
Social and cultural activities
In line with the group’s philosophy, in all parts of the world, to work, interact and integrate with local communities, Pirelli in Brazil promotes numerous cultural, social welfare, education, healthcare and sports initiatives. For over 20 years, Pirelli has promoted the “Coleção Pirelli- MASP” photographic exhibition at the San Paolo Museum of Art. This gathers images from Brazil’s most important contemporary photographers and in total represents a collection of about 1,100 photographs.
In the cultural arena, Pirelli supports a range of activities including theatrical productions and music concerts, as well as the Festival of Italian Cinema in the city of San Paolo. In the social field, Pirelli in cooperation with central and local government authorities operates in a variety of sectors. In particular, the group supports projects for the recovery and re-integration on hundreds of children and adolescents in difficulty from across the country and programmes of education, professional training and civic education.
In Brazil, Pirelli research is committed to sustainable development, in line with the Group’s Green Performance goals. In particular, Pirelli supports Brazil’s national recycling programme for used tyres.
As well as sponsoring motorsports, often in the role of sole supplier (a total of 13 championships including Formula3, rally and the Brazilian Gt3), Pirelli has also sponsored the Palmeiras football team, one of the country’s main clubs, four times Brazilian champion and once South American champion. Up to the 1980s, Pirelli was also active in sports with the ClubeAtlético Pirelli which achieved many successes at the national and international levels in volley ball, boxing, judo and cycling.
As a thirteen year-old girl, Kyleigh Khun travelled with her mother to Afghanistan, where she saw at first hand the destruction and misery caused by war. Shortly after that first journey, Kyleigh created the “ Penny Campaign”, a project that encouraged fellow Bay Area high schoolers to collect pennies to support her mother’s mission, Roots of Peace. Since then both Kyleigh and her activist family have worked tirelessly to build schools, playgrounds, and soccer fields in a devastated Afghanistan. She graduated from uC Berkeley with a degree in Peace and Conflict Studies, and has successfully combined her education with her work. Since becoming a model, Kyleigh has frequently used the fashion industry as a platform for her philanthropic causes. She is currently working with Afghan women widowed by war to secure a level of independence through artisan projects.
These projects have resulted in collaborations with several American designers from which products are sold to provide funds for their education and livelihood. A fine art book detailing her family foundations work in Afghanistan is currently being published for release in December 2012.
Brazilian beauty Sonia Braga is a tireless advocate of childrens’ rights, especially their rights to a proper education. “Too often, we, in the first world, look at education as separate from basic necessities like having enough to eat and having a decent place to sleep.” She was a cofounder in 1997 of The national hispanic Foundation for the Arts (nhFA), along with Jimmy Smits, Merel Julia, Esai Morales and Washington, D.C. attorney Felix Sanchez. nhFA’s mission is to promote latinos both in front of and behind the camera. nhFA provides industry workshops and a scholarship programme to graduate students seeking careers in the entertainment and telecommunications industries, at several prestigious American universities, including New York university, Columbia university, Harvard and Yale.
Isabeli was born to a poor family in the Brazilian city of Curitiba, so she has a special place in her heart for those less fortunate than herself, having witnessed poverty at first hand. After she became successful, Isabeli made generous financial contributions for many years to a local orphanage in Florianopolis. Now the mother of two sons, she is more passionate than ever about children in need.
Isabeli is currently the Brazilian Ambassador for www.1love.org, an organization that works in collaboration with Save the Children. Most recently the 1love organization was engaged in a mission to provide musical instruments to students in disadvantaged schools. Last year she also donated her time and money to the inaugural AMFAR inspirational gala in Sao Paulo, where she helped raise almost $750,000 for the foundation’s AiDS research programme.
Elisa Sednaoui is a multi-faceted humanitarian as well as a supermodel. Her recent documentary, codirected with Martina Gili, entitled ‘ Kullu Tamam (everything is good)’, tells the stories of ordinary people in a small village in Southern Egypt, who share the sudden discovery of ‘freedom of expression,’ triggered by the fall of the oppressive Mubarak government. The film makers wanted to show Egypt from a different perspective, through the simple lives of people in a more rural area.
For Sednaoui, “Egyptians and their way of looking at life has touched my heart and deeply influenced me, so there was a desire to share that.” Elisa is extremely proud of the Egyptian people and the strength and determination they’ve shown. “They really made a revolution,” she says, but she understands also that democracy without corruption is something the people have to build from scratch. “And one year later they are doing that. They’re basically saying, “We’re not letting go until we get what we want.”
Rio native Marisa Monte is a Brazilian singer, songwriter, and producer with a career spanning twenty-five years. She is a true carioca, promoting Brazilian music and culture and some of its makers who may have otherwise been overlooked. Monte produced the albums Tudo Azul (2000) and Argemiro Patrocínio (2002), both projects of the Velha guarda da Portela, a group of samba veterans from one of the most traditional samba schools in Rio de Janeiro. In 2008, she co-produced the film o Mistério do Samba (The Mystery of Samba), inspired by the history of this fascinating musical genre. Monte is also involved in many social projects in Brazil, serving as the godmother of Portela Filhos da Águia (the youth group of the Portela samba school), and participating in Rio com entileza (Rio with Kindness), and the eu Sou da Paz (i’m for Peace) campaigns.
Czech model, author, and philanthropist Petra nemcova established the happy hearts Fund in 2006, two years after miraculously surviving the 2004 Indian ocean Tsunami, which killed almost 280,000 people. Having witnessed this incredible devastation up close, Petra was moved to create hhF when she returned to indonesia, and realised there was a gap in the disaster recovery programme that her organization could help to fill. HhF’s main aim is to help heal and restore hope in the lives of children who have suffered in natural disasters, by the rapid rebuilding of schools and homes. HhF has already provided invaluable assistance in 14 countries and is currently at work in six others.
As of September 2012 the foundation has built 67 schools, restoring a sense of community to the lives of more than forty thousand children.
Hanaa Ben Abdesslem
Tunisian-born Hanaa is a tireless advocate for the improvement of public health facilities and social services in Tunisia. She is currently the spokesperson for esmâani, a non-profit organization, forged in the wild optimism of the Arab Spring. esmâani’s main focus is to help with the social needs of the less fortunate members of Tunisian society. As well as arranging art shows and concerts, esmâani trains teams of volunteers who regularly visit health facilities and hospitals, offering support, warmth, friendship and financial support to the sick and needy. Hanaa participates in all these activities as often as her work schedule allows. She also donates toys, entertainment equipment and has helped to refurbish play areas in several hospitals.
Summer Rayne Oakes
Summer Rayne Oakes has calibrated her career to perfectly combine her values with her work. A graduate of Cornell university with degrees in environmental Science and entomology, she is the author of a bestselling style guide, Style, naturally and co-founder of Source4Style, a B2B marketplace that connects designers directly to sustainable material suppliers around the globe. She has developed environmentally favorable collections for various brands, including, MoDo eco eyewear, Aveeno, and Portico home. Oakes is editor-at-large for Above Magazine and recently wrote and produced her first film – an environmental art short called extinction. A true ‘eco-optimist’, her environmental activism has been widely acknowledged and honored by Vanity Fair, CnBC, outside magazine and many others.
Karlie’s father is a doctor, and she grew up surrounded by the world of medicine and healing, which gave her a clear understanding of both the blessings and the hardships that life can bring. Deeply affected by the catastrophic haitian earthquake of 2010, Karlie, along with her friend Petra Nemcova, became involved with designer Donna Karan’s “Tents Today homes Tomorrow”, an initiative of “The happy hearts Foundation” . She generously gave her time, name, and cachet to the relief efforts. Karlie is acknowledged by her peers as someone destined to make a difference, to put more into the world than she takes out. She plans to become involved with pediatric causes, focusing in particular on the children of families ravaged by drugs. After Karlie’s return from a recent Vogue shoot in China, Anna Wintour remarked in her editor’s letter, “if Karlie ever decided to change her ambitions from medicine, she would make a great Ambassador.”
Adriana is currently working with Bill Clinton’s global initiative programme in Haiti. Adriana visited Haiti with the Clinton initiative, whose aim is to help support and develop the local Haitian economy. In Haiti she met first hand with business leaders and saw the enormous social and economic problems facing them. Adriana, who recently gave birth to her second child, was deeply touched by a programme to expand the maternity programme at the Catholic hospital of Port Au Prince – making it a place where mothers and infants with complications can receive the kind of medical attention that until now has been absent from this long-suffering country. In the near future Adriana will use her supermodel status to promote a social media campaign on Facebook that is expected to raise enough money to cover construction costs of the new maternity ward.
Liya Kebede is a supermodel, actress, designer and philanthropist. She is the Founder of the Liya Kebede Foundation, an Advisory Board member for the Mother’s Day every Day campaign and a former goodwill Ambassador for the World health organization’s maternal and child health programme. Her namesake foundation is committed to ensuring that every woman, without exception, has access to lifesaving care. Kebede’s programme works to educate policy makers and support programmes that save lives, in partnership with governments, alternative organizations, and affected communities. The focus is on the strategic coordination and deployment of all possible resources, from skilled doctors and midwives, to ambulances, clean sheets and basic medical tools. Says Liya, “We are dedicated to saving the next generation of mothers.”