2023 Greats Issue: A Master Class in Curiosity, Composure, and Defiance
In the upcoming issue of T, slated for release on October 22nd, we celebrate four extraordinary talents who have made their mark in music, film, art, and fashion. Their careers serve as a prime example of curiosity, composure, and defiance. When I read the profiles in our annual Greats issue, one thing always stands out: many of our subjects express how their paths once seemed unclear. Yet, they managed to not only transform their respective artistic fields but also influence culture at large. Some, like Queen Latifah, knew from an early age that they were meant to create groundbreaking work. They were destined to have an impact on the world, and it was only a matter of time before they were noticed.
Clockwise from top left: Henry Taylor: Photographed by D’Angelo Lovell Williams. Miuccia Prada: Photographed by Collier Schorr. Annette Bening: Photographed by Katy Grannan. Styled by Delphine Danhier. Hair by Rob Talty. Makeup by Sara Tagaloa. Queen Latifah: Photographed by Rahim Fortune. Styled by Ian Bradley. Hair by Iasia Merriweather. Makeup by Raisa Flowers.
However, I believe this level of conviction is the exception rather than the rule. When looking at our Greats honorees throughout the years, it becomes clear that many of them had meandering paths and experienced a tumultuous journey. Artists like Henry Taylor, who painted in obscurity while working as a nurse, only achieved creative or critical success later in life. Fashion designer Miuccia Prada had to navigate the gap between her political convictions and her commercial and artistic talent. Annette Bening’s long, diverse, and unpredictable career seems to be a result of her curiosity that led her to unexpected places.
For those of us pursuing artistic lives of our own, these honorees serve as a great source of inspiration, particularly when it comes to defiance. All artists become experts in defying conventions and making something new. They possess a special kind of self-possession that enables them to rebel against societal expectations and create art that challenges the status quo. In addition, we can learn from Queen Latifah’s composure, Henry Taylor’s determination, Annette Bening’s instincts, and Miuccia Prada’s ambivalence. Most importantly, we can find comfort in the reminder that art is rarely effortless, regardless of age or career stage. A life in the arts will always be riddled with doubt, no matter how it may appear on the outside. Not everyone can create something that changes the way we perceive the world, but everyone starts with something humble.
— HANYA YANAGIHARA
Read more about the making of the issue.
DANA OWENS was only 15 when she and her friends started venturing from Newark, N.J. to the Latin Quarter, a bustling nightclub in Midtown Manhattan. After finishing her shift at Burger King, she would change into her Swatch tracksuit and take the commuter train under the Hudson River and the subway up to Times Square. She vividly remembers the excitement of entering the club, with its tight quarters filled with wild energy. On stage, legendary M.C.s like Melle Mel and Big Daddy Kane performed, artists she had previously only seen through posters or album covers. Rap videos were still a rarity in 1985. This was where culture was being created in real-time.
Under the stage lights, D.J.s would test out new records on the crowd before they hit the airwaves. Owens absorbed the moves and music, later bringing them back to her high school in Irvington, New Jersey. At this influential hub, she learned from the best and used her quick studying skills. As a teenager, Owens drew inspiration from the Black Arts Movement writer Nikki Giovanni, delved into science fiction novels by Octavia E. Butler, and even played basketball, winning two state championships. She grew up surrounded by diverse musical genres such as house music, show tunes, reggae, jazz, and gospel. But it was at the Latin Quarter, the crucible of a new sound, that she found something entirely different. It was a place where M.C.s delivered the most captivating praise songs, often about their own skill and talent, accompanied by soul samples and raw, innovative effects. The stage saw performances from trailblazing female acts like Salt-N-Pepa and D.J. Jazzy Joyce, who embraced a similar style of dress. But one of the most captivating performers was MC Lyte, a young virtuoso from Brooklyn. Owens vividly recalls thinking, “If Lyte can do it…”
The world of hip-hop was fueled by confident, competitive young artists who watched each other excel and believed that they, too, could achieve greatness. It was a world of rap battles, dance-offs, and even fights. However, amidst the chaos, the music was unlike anything else. Owens fondly reminisces about the unforgettable experience of being in the midst of it all. She acknowledges, with a smile, that she wasn’t supposed to be at the Latin Quarter in the first place.
These illicit adventures have come to define Queen Latifah’s professional life, as has her refusal to be confined to any one genre or role. During our conversation on a July afternoon, we sit in a dimly lit room at the Hit Factory in NoHo, New York City. Latifah wants me to fully grasp the complexity of the scene she describes: a vibrant, creative atmosphere that was also strictly forbidden. This same 360-degree perspective is necessary to understand Latifah herself. While she is lauded for her groundbreaking achievements in hip-hop, such as becoming the first solo female rapper with a gold album and receiving a Kennedy Center Honor, her career extends far beyond the realm of rap. Latifah, now 53 years old, has released two jazz albums, hosted talk shows, and appeared in over 60 films. She even created her own cosmetics line, catered towards women of color, after becoming one of CoverGirl’s first full-figured Black models. In her role on the CBS spy thriller “The Equalizer,” she became one of the first Black female leads on an hourlong network drama.
To achieve a career like hers as a 5-foot-10 Black woman from New Jersey requires an unwavering sense of self-belief. However, her power moves and confidence have also been nurtured by tight-knit groups of collaborators, what we might call her “posses.” This concept of rap kinship was first introduced in her 1989 single “Princess of the Posse” but has since evolved into various projects that represent different phases of her cultural influence. Older hip-hop fans still revere her Black feminist anthems like “Ladies First” (1989) recorded with British rapper Monie Love, as well as her Grammy-winning track “U.N.I.T.Y.” (1993), which boldly challenges gender norms. Younger fans may recognize her from the sitcom “Living Single,” which showcased four Black girlfriends in Brooklyn from 1993 to 1998. Latifah’s portrayal of a lesbian bank robber in F. Gary Gray’s film “Set It Off” (1996) solidified her status as an icon of the genre. In 2017, she co-starred in the comedy “Girls Trip,” which made history as the first movie with a Black woman screenwriter to surpass $100 million in box office revenue.
Today, Latifah’s universal appeal may obscure the true force of her impact. Nevertheless, she has strategically merged different aspects of her career, paving the way for endless possibilities.
Queen Latifah, photographed in New York City on June 27, 2023, wears a Valentino gown (worn as a coat), $8,500, similar styles, (212) 772-6969; Norma Kamali vest, $145, normakamali.com; 16Arlington pants, $780, matchesfashion.com; David Yurman earrings, $795, davidyurman.com; and David Webb necklace, price on request, davidwebb.com. Photograph by Rahim Fortune. Styled by Ian Bradley.
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