“I poked the bear”: “Invisible Beauty” traces how this activist changed the face of modeling

“Invisible Beauty,” codirected by Bethann Hardison and Frédéric Tcheng, is a marvelous profile of Hardison, the model, agent and activist, who blazed a trail for models of color. Dubbed “The Godmother of Fashion,” Hardison not only worked tirelessly to get non-white models on runways and in magazines, but she also formed a coalition to ensure representation, visibility and accountability in an industry that has a racism problem. Scenes of her mobilizing colleagues to pay attention to the issues of discrimination shows not only her power but also how she commands respect.

Hardison also talks, poignantly in the film, about growing up as a latchkey kid, which helped her developed a sense of independence. She has an eye for talent, helping Iman, Naomi Campbell, Tyson Beckford and so many others achieve success. Hardison also prompted her son, Kadeem, to take acting classes; he had a breakout role playing Dwayne Wayne on “A Different World,” and talks about his complicated relationship with his inspirational mother.

The archival footage and fashion shoots seen throughout the film are fabulous, but it is the formidable Hardison herself who is the real draw here. “Invisible Beauty” shows her mentoring, raising consciousness and speaking out for diversity with both dignity and authority. But she also shows her vulnerable side, which is why the film engenders such an emotional response.

Hardison and Tcheng spoke with Salon about their new documentary.

What prompted you to collaborate on this documentary?

Frédéric Tcheng: Bethann and I met in 2014 when we collaborated on a short film, so we knew each other. I was very taken with her personality. She was working on a film that was different — it was following three models — but it went dormant. We talked about collaborating on a feature. I was interested in doing something different than my other films [“Dior and I,” “Halston”]. I saw Bethann as someone captivating that I could trust, and someone I looked up to, and could learn from. I could make something different with her. The collaboration was about giving Bethann a voice and being as close as possible to her telling her story. 

Bethann lived such a full life; how did you decide what to include for a two-hour film?

Tcheng: Bethann was wise, and she would remind me the film was not about her life but her story. I understood what she meant. We chose to tell a particular story. Her [forthcoming] book will reveal much more, but the film is taking the audience by the hand and guiding them through how this woman changed her industry and stepped up and started a conversation in the fashion world about diversity. It was an interesting tension when we were shooting. We weaved those two elements in the film, with our editor, to find the right balance. 

Bethann Hardison: It came down to editing. I didn’t think I had any archival footage. I had an assistant digitizing whatever archives I had. But when we decided to do the film, we had a lot — much more than we expected. And my relations with Issey Miyake, Calvin Klein and Stephen Burrows, they could get more. Things were shot, and no one knew what we were going to get. I was not around for the other interviews. I had to let the people talking to [Fred] tell their story. I was willing to talk about anything. I enjoyed talking about my life. 

Tcheng: We had great editors. Each one worked on a specific aspect of story. That was the challenge. We have archival, testimonials, verité footage of Bethann today, and you have to make it work as one story. It was different from my previous films, which were archival or just verité. 

Bethann Hardison with the 1991 Black Girls Coalition in “Invisible Beauty”, a Magnolia Pictures release. (Photo courtesy of Magnolia Pictures/Oliviero Toscano)

Bethann, you are a model businesswoman who speaks truth to power. Can you talk about your approach to fomenting change?

Hardison: People are into how calm I am, and how I did things with grace. I believed in my industry and had well-known designers supporting me. I trusted their brain when I speak that they hear me. When I had to write letters, that was huge. I had to believe in my heart that they didn’t know they were falling in a rabbit hole. I poked the bear. I knew the bear, and that’s who I counted on, the bear. If I showed it to them intellectually, they would think that is not who I am. My father always told me that I am very diplomatic.

Bethann, you created incredible change in the industry, holding it accountable for racism. Do you think things are improving? 

Hardison: Yes, I think it has improved a great deal on the model industry side. The industry has changed, but they still have to find diversity behind the scenes as well. I see a lot of editors and writers people come forward after the Black Lives Matter movement. But, visibly, we see it has really changed in commercial world, too. 

You have an incredible “eye” as one says about artists. Can you talk about your vision, and how do you see things and say, “It is good, or can I make it better?” You also knew what models had a look and were appropriate for a campaign.

Hardison: The only [model] I had to represent was Tyson [Beckford]. Before him, there were all these kids I was crazy about. Steven Meisel [the photographer] told me I had a great eye. I didn’t want to have a model agency or be in business on my own. I realized from hearing from other people and how specific I was about the type of kids I took. I had to compete with white counterparts, and I wanted to have Black and Asian and Latin kids, because nobody else did. As a Black businesswoman, I know I wouldn’t “be a Woody Allen movie,” [all white] as I used to say. The people I choose were always such good-looking kids. That’s the model industry. Then you get to the fashion industry, and you have to sell what you have. 

Tcheng: Bethann’s eye extends to filmmaking, her homes, the way she dresses, choosing the font for the film. She guided me with choosing the music and not going for the obvious choices. She had a very demanding eye. 

Frédéric, you have now directed four films about people working in the fashion world. What is the appeal of this industry and how has your immersion in this world shaped your outlook? 

Tcheng: I’m not a fashion person. This is not a fashion film; it is fashion related, but it goes beyond fashion. I try to make films that don’t speak only to the fashion world. It’s about the human story, and when you find one like Bethann’s, everyone can relate to it. Audiences respond to her life and philosophy, and how you can lead your life in an interesting, unconventional way. She always said she had no ambition, or no plan, and it’s true. It’s about grabbing opportunities when they are in front of you and being present for them. 

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Bethann talks about telling her story through the people she knows. What can you each say about the other now that you are completing your collaboration?

Hardison: What a kind spirit Frédéric is, and how he takes care of me. You don’t know until you work with someone, but I must have known. He’s talented. We had a rule if we disagreed, whoever wins the argument gets to do what they want to do.

Tcheng: I learned how to make a bed from Bethann. [Laughs] That was very valuable. I learned so much wisdom. She is Libra and has the power to understand the other guy. Don’t assume that the other person thinks this way or wants to do this. That’s a superpower, you remain open to the other person and not coming in with preconceptions.

“Invisible Beauty” opens Sept.15 in New York City and expands to Los Angeles and additional markets Sept. 22.