I get braids all the time. You can't tell me I'm acting black because I braid my hair. That makes no sense whatsoever.

I grew up figure skating, and in figure skating there is only a handful of black people at the time figure skating with me.

A lot of times when people cast me, they want this big, deep black voice... And I tend to recycle them with different roles from time to time.

Guys just don't care. We don't take the time to plan behind each other's back. We just say, If you don't like me, screw you'. If a guy doesn't like you, you know because you have a black eye.

I remember the first time that my Nana introduced me to Eartha Kitt. Seeing a fierce Black woman on screen being unapologetically confident - just her essence that she had was so captivating.

I have the strangest time to get cast in anything. 'Ghost' was the same thing. Six months I had to wait for them to decide they had seen everybody possible. Why not? What limits me? I'm black? Oh, am I black?

I didn't like my hair and makeup one time on a photo shoot, and my publicist told me, 'You should just be happy with it - they haven't had a black girl on the cover since forever.' She's no longer my publicist.

The 'Room 93' EP was just kind of picking apart the sense of voyeurism and the sense of isolation and turning it into, essentially, a little black book and reflecting on - at that time - 19 years of me forming relationships with people.

I'm an athlete and I'm black, and a lot of black athletes go broke. I do not want to become a statistic, so maybe I overcompensate. But I'm paranoid. Oprah told me a long time ago, 'You sign every check. Never let anyone sign any checks.'

I've designed since I was 12. The first was when I skated to Carmen, in red and gold and black. I wanted so many frills at that time. It had a lot going on for a little person like me. And I picked out fabrics that didn't stretch. Very uncomfortable.

'The New Black Yoga' originally was born from a film that I had made prior called 'Black Yoga.' And I was living in Berlin at the time, dealing with a lot of anxiety and stress around the project that I was working on, which is not an abnormal thing for me.

I think that the first book that made me think that I could try to be a writer - or that made me aware that a young black woman from the South could write about the South - was Alice Walker's 'The Color Purple,' which I read for the first time when I was in junior high.

At Marshall Field in Chicago, I had them take a big bed into the menswear department, one with black sheets. I'd get in bed wearing a nightcap, and my fans would get in bed with me, one at a time, and I'd sign their memorabilia. And then I'd give them a free pint of Ben & Jerry's.

The coach put me in goal, and back then, we were playing on bone-hard ground: red ash; we even trained on black ash, which was worse. That's not easy for a goalkeeper. My mother was always taking out her sewing kit for the countless holes in my training pants. For a long time, I had to buy my own gear.

I just wear black and gray all the time. If you Google Image me, you'll just see a bunch of black and gray. It's simple. If I like a shirt, I'll buy six or eight of them, wear them back-to-back, and just wait for somebody to say something. 'That's the same shirt you wore yesterday.' 'Yeah, but this one is fresh.'

Everyone that knows me already know that I rarely stray from my black jeans, black T-shirt and a black jacket - tailored or leather. I like to have a uniform and one that's versatile. I'm a very hands-on Creative Director, and I need to feel comfortable and be able to move between both casual and more formal attire at the same time.

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