Arts & Entertainment
A non-binary Cuban artist is born again in Spain
Nonardo Perea suffered persecution in his homeland
Nonardo Perea lives in Michel’s body. He uses it at will to be vulgar, angelic or diabolical, male or female. Nonardo can be whatever he wants. Michel, shy and withdrawn, hides behinds that alter ego that lends him his face and hands to show the world his claims as an artist.
Nonardo is an invention that comes to life in photographs, video art, performances, stories, installations, journalistic articles, ceramics, and whatever other format is possible, since Nonardo long ago lost any limits. His mind lost that ability as he reinvented himself as an empirical artist, as no one ever gave him the opportunity to attend art school.
He has been greatly misunderstood, mainly because his pieces overflowed with eroticism and Cuba is still too prudish to appreciate his queer art and his other works the regime has labeled as “politically incorrect.” Michel and Nonardo were discriminated against by society and the dictatorship that governs the country and represses anyone who does not agree with its dogmas.
Nonardo nevertheless overcame those barriers and began creating, without anyone’s guidance. He was first a writer and received some tools once he graduated from the Onelio Jorge Cardoso Literary Training Center in Havana. He won several competitions, such as the 2017 Franz Kafka Prize for his work “Los amores ejemplares” and the 2012 Félix Pita Rodríguez Prize for the novel “Donde el diablo puso la mano.”
In the visual arts, where he is usually very restless, he won the third prize for photography at the GendErotica Festival for “La casa por la ventana 2014” with his Vulgarmente Clásica project. He participated in the Bienal 00, organized by independent artists, with his “En la cama con Nonardo” project and presented Vulgarmente Clásica at Madrid’s La Neomudéjar Museum in 2019.
Nonardo belongs to the San Isidro Movement, a group of independent artists and intellectuals who fight for a democratic Cuba. That battle has also been fought through his art and in pursuit of LGBTQ rights, such as marriage and adoption rights for same-sex couples, and an end to gender violence that remains a problem on the island.
Due to his work and political activism for a truly democratic Cuba, Nonardo suffered police harassment and Cuban state security agents threatened him with jail. Fearing for his life, he took refuge in Spain, a country where he feels he has been reform and from which he speaks with the Washington Blade.
WASHINGTON BLADE: Those who follow your art on social networks and off of them know you as Nonardo, but few know that your real name is Michel. How and why was Nonardo Perea born?
NONARDO PEREA: I remember starting my writing career and I needed another name that was not so common. I did a big search and I didn’t like any of them. I wanted a unique name if possible. One afternoon I was sitting in the living room of my house with my father and I told him about the need for a name. It was he who proposed Nonardo. At first it sounded a bit ugly to me, but then with Perea it seemed a little better. It had strength. I liked it because it began with “no”, denial, and was followed by “nardo”, flower, that is, Nonardo had a lot to do with me. Since then I started using it for all of my work, both literary and audiovisual.
BLADE: How does your artistic training take into account that you are an empirical creator?
PEREA: My artistic creation from the beginning was always very complicated, taking into account that I had to abandon my studies at an early age for inclusion reasons, so I have no academic training; then add to that that I am a very obvious gay. At one point in my teens I was seen as a person who was too feminine. The fact of looking like a woman was a problem when trying to fit in a macho and homophobic society. Where I first tried to break through was in writing. I started by attending literary workshops, where I won several contests quite quickly. I was never exempt from criticism and rejection of the themes that my narrations addressed, which almost always focused on LGBTQ issues and dirty realism. Many times I felt that being the way I am made many uncomfortable. But despite the rejections and bad times that I lived in various periods of my life, I continued doing narrative, and I also began to write articles about social issues for the Havana Times digital newspaper. Then, over time, I had the opportunity to apply to a video journalism workshop in Prague organized by the People in Need organization, and thanks to a woman I love very much, Clara González, who saw some potential in me, I was accepted to participate in the course, in which I learned some video editing, and received help with equipment that helped me to start doing audiovisual work with better quality. All my creative works have been done empirically, and above all I am an artist who works based on improvisation.
BLADE: You have ventured into artistic genres as different as writing, journalism and acting. How do you define yourself as an artist and why?
PEREA: I am a person who cannot be inactive. I spend every day of my life thinking about doing something new. Sometimes I have so many things on my mind, and the fact that I can’t do everything I want to do makes me feel a bit frustrated. I have no words to define myself, I can only say that in some way my creative processes have helped me to cope with the life that I had to live, everything I have done and do has served as a way of escape from reality and everyday life, I could no longer live without creating.
BLADE: In a recent interview you precisely declared that your art was a process of liberating yourself. What exactly do you free yourself from when you create?
PEREA: I free myself from the day-to-day, the everyday, my fears and censorship.
BLADE: In most of your visual works you work with your own image. Why?
PEREA: I use myself as an artistic object because in Cuba I lived in solitude for a long time. I somehow isolated myself and created a space of comfort in my home, a place where I felt more free. The confinement somehow helped me to stay away from society that did not tire of making me feel bad about my obvious homosexual condition in much of my youth. My literary proposals and art in general, on the other hand, were not taken into account. I always perceived that most people underestimated me, and proposing someone to collaborate with me on erotic photographs without receiving anything in return was complicated, and still is. I have control over my body. If I want to undress in a photo or in a video, even if I feel sorry, I strip myself of complexes and do it. If I want to take a photograph that is too vulgar, I also do it. I do not have to request permission from anyone to do so. I don’t put up barriers. I take a risk, then I think that they say what they want. I understand that I am doing a job where I express my personal and social problems, as a human being.
BLADE: You identify yourself as an androgynous person. How many difficulties has that brought you considering that you have lived most of your life and developed your work in Cuba, a country where macho and homophobic ideals still predominate?
PEREA: I consider myself a non-binary androgynous person, because I do not identify with any sex. I can feel at ease as a girl as well as a boy. I have no problem with male or female pronouns. I do not like to victimize myself, but I can tell you that the road has been very difficult, and it has been not only for me, but for many other gays and lesbians who have chosen not to hide their sexual identity in their lives and have had to fight against the world. Being who I am in Cuba has not helped me much in terms of being able to be recognized for my work, but being who I am has helped me to strengthen myself and to understand that I do not need the approval of any institution to continue creating. I am a Cuban artist and like it or not, a large part of my work was created in Cuba.
BLADE: Many Cuban artists prefer to separate their creations from politics and even refuse to give their true judgment on the situation on the island. However, your work has a high dose of activism against the dictatorship and in defense of LGBTQ rights. What consequences, professional and personal, has being an artist labeled by the Cuban regime as “counterrevolutionary” brought you?
PEREA: The main consequence is that I had to go into exile; leave the country where I was born, abandon my mother and family, my friends, my dogs and a lifetime. But I think it had to be that way. There was no other way than to say goodbye, because under no circumstances was I going to allow my creative processes to stop, and above all I was going to continue doing my activism. I know that perhaps I was not going to be able to withstand so much pressure from state security agents, who wanted me to collaborate with them to expose my colleagues from the San Isidro Movement. If I returned to Cuba right now, I don’t know what my life would have been like from that moment on. If being a counterrevolutionary means saying what I think, and being in favor of oppressed minorities, and being against a dictatorship that has left Cuba and its people in a nameless misery for 61 years, then I am a counterrevolutionary and with great honor. I have nothing for which to thank that country, where I was always seen as a freak, and what little I got was thanks to my effort and dedication, because while in Cuba I received criticism and obstacles for everything, for this reason they are collecting what they sowed with me, they do not expect roses from me.
BLADE: In Cuba, to be accepted as part of the official LGBTQ movement you have to share the ideology of the dictatorship, the same one that put equal marriage to a popular vote and represses independent activists. In your opinion, what are the dangers of “politicizing” the struggle of the Cuban gay movement?
PEREA: The danger is in seeing how it becomes politicized. While in Cuba, I never stopped going to the marches staged by CENESEX (the National Center for Sexual Education) and I will not forget how Mariela Castro (CENESEX’s director and the daughter of former Cuban President Raúl Castro) herself politicized those mini-carnival marches with slogans in favor of the five spies imprisoned in the Empire (a reference to the U.S.), and with cries of “socialism yes and homophobia no.” I do not remember seeing any gay or lesbian carrying a sign demanding equal marriage, or demanding freedoms, or a law against gender violence. It is really pathetic considering that the system itself is the number one cause of the persistence of homophobia and constant abuse of people from the community, mainly transgender people, in Cuba, a country where your rights are constantly violated, either because of race or sexual orientation. Those marches were politicized by CENESEX itself in favor of a supposed socialism, which has never worked and will never work because that is a hybrid between communism and underdeveloped capitalism, and we all know that it is nothing other than a dictatorship, and of the crudest in history because it has managed to last for 61 years. If Mariela Castro and all her loyal followers politicize the march for their benefit, I don’t see why the community cannot independently arm its own fight in favor of the most basic rights of the LGBTQ community in Cuba.
BLADE: In what way has the forced exile that you have faced in Spain changed your work?
PEREA: Right now I continue to do what I want to do, regardless of being in Spain. I still feel that I am in Cuba. My vision as an artist has not changed much. I’ve only been here a year and seven months, although I believe that wherever I am, in some way my work will be linked to that of the island because I have not yet cut that umbilical cord that links me to the place where I was born and took my first steps. It is true that one acquires other mechanisms of creation and invoicing in the work while abroad, but at the moment I do not think that the focus of my work has changed much because of being in another country. Of course, here in Europe there are other problems that I may be able to take advantage of, but be that as it may, they will be appreciated from the perspective of an exiled Latin American artist.
BLADE: On a personal level, what has it been like to be a gay immigrant in Europe?
PEREA: I am very grateful for Spain, mainly for Madrid, which is the place where I have lived since I arrived in 2019. At the moment, I have not felt discriminated against because of my sexual orientation or because I am a foreigner. I have received emotional and legal support from the NGO Rescate, which welcomed me and where I have received the care that I never had in my own country. With all the social and political problems that may exist, it is in this country where I have somehow been able to know what true freedom is.
BLADE: What can we expect from Nonardo Perea in the near future?
PEREA: I am in another difficult moment in my life right now, because I cannot find a job, and I do not receive any money for my artistic work, so what I do is for the love of art and because I cannot stop building my own world. The COVID situation has managed to make things more difficult, not only for me but for everyone, but taking into account that I am an exile and that I have been here for a short time, it is very complicated. Even so, I eventually continue to make video art for the Vulgarmente Clásica audiovisual project, which I have been doing for several years. And more recently I started with a new project, “Maricón Tropical: Living in Madrid”, this one is a bit more comprehensive not to call it ambitious because I insert various artistic manifestations: Performance, audiovisual, literature, drawing and photography, and it is focused on my new life as an exile in Madrid, everything seen from a self-referential point of view, as are almost all my proposals.
BLADE: If you had to create a work that describes your life right now, what would it be like?
PEREA: I consider that my life, my true life, has started now, what it was before was not. For the purposes I was born on March 19, 2019, when I set foot in Spain. All the past is left behind. I want to imagine that the past was a bad dream. My “Maricón Tropical: Living in Madrid” project is a work that somehow reflects that past, which is unfortunately impossible to forget and it is also good that people know what that other life was like, but I focus more on the present, my current problems as a person who faces a new life as an adult who feels like a newborn. I can only tell you that my life’s work is in progress.
Arts & Entertainment
78th annual Emmy Awards recapped
What the show lacked in queer representation, it made up for in queer coding
Entertainment has been bittersweet for queer people. We’ve lost Dolly Parton, Bob Mackie, and Tim Curry. We’ve seen a 41 percent drop in queer characters on television due to TV cancellations. So you likely weren’t expecting the Emmys to be a particularly queer affair. And yet, there were some delicious moments that were queer-coded, and many of our favorites were honored.
Mariska Hargitay, who has played our favorite quasi-butch “SVU” detective for 27 years, hosted the festivities. She took home two Creative Arts Emmys for directing the documentary “My Mom Jayne: A Film by Mariska Hargitay,” which also took home an award. She started the ceremony with a parody of “I Love Rock-n-Roll” which featured appearances by Jean Smart, Jennifer Coolidge, and gay Emmy winner Jeff Hiller. There were also weird product placement ads for Marriott and United. #recessionindicators
As for LGBTQ representation, Rhea Seehorn won for playing lesbian character Carol Sturka in “Pluribus.” Alan Cumming took home another Emmy as well for “The Traitors,” beating out RuPaul and “RuPaul’s Drag Race.” “Drag Race” did take home an Emmy for Outstanding Hairstyling For A Variety, Nonfiction, or Reality Program.
“DTF: St Louis” which followed an infidelity that ended in a muder subplot and featured a unique polyamorous threesome was an Emmy darling and earned Emmys for Linda Cardellini and David Harbour.
There were some historical moments: Matthew Rhys took home two Emmys for Best Lead Actor in an Anthology and Best Lead Actor in a Comedy, making him the first actor to win for two of the main categories in one night. Rob Reiner, who received a posthumous Emmy for his role in “The Bear,” beat out 2025 darling Connor Storrie. This broke the record for the longest span between acting Emmy wins at 48 years, which was previously set by his father, comedian Carl Reiner.
To honor Parton, Sally Field (who took home an Emmy) gave a stirring introduction, with Reba McEntire singing a tribute. Macaulay Culkin, Annie Murphy, and Dan Levy paid tribute to Catherine O’Hara, with Culkin pulling heartstrings calling her “mama.”
There was a 50th reunion for “Charlie’s Angels” with Jaclyn Smith, Kate Jackson, and Cheryl Ladd presenting Outstanding Drama Series. They took a moment to shout out and honor Farrah Fawcett. Sarah Michelle Gellar and David Borenaz had their own reunion, giving out the award for Outstanding Lead Actor and alluded to the sad loss of Nicholas Brendan, Anthony Stewart Head, and Michelle Trachtenberg, who all passed within the last two years. Gellar was also able to make a quick crack about her now-cancelled “Buffy” reboot.
The ceremony was also very on it and was quick to add Mackie, who passed earlier this week, to their In Memoriam segment.
Here’s the full list of winners as well as notable Creative Arts Emmy recipients.
Lead Actress in a Limited or Anthology Series or Movie: Sally Field, “Remarkably Bright Creatures“
Lead Actor in a Limited or Anthology Series or Movie: Matthew Rhys, “The Beast in Me“
Supporting Actress in a Limited or Anthology Series or Movie: Linda Cardellini, “DTF St. Louis“
Supporting Actor in a Limited or Anthology Series or Movie: David Harbour, “DTF St. Louis“
Directing for a Limited or Anthology Series or Movie: Steven Conrad, “DTF St. Louis“
Limited or Anthology Series: ‘DTF St. Louis’
Lead Actor in a Comedy Series: Matthew Rhys, “Widow’s Bay“
Lead Actress in a Comedy Series: Jean Smart, “Hacks“
Supporting Actor in a Comedy Series: Stephen Root, “Widow’s Bay”
Supporting Actress in a Comedy Series: Kate O’Flynn, “Widow’s Bay“
Guest Actor in a Comedy Series: Rob Reiner, “The Bear“
Guest Actress in a Comedy Series: Betty Gilpin, “Widow’s Bay“
Directing for a Comedy Series: Hiro Murai, “Widow’s Bay“
Writing for a Comedy Series: Katie Dippold, “Widow’s Bay“
Comedy Series: “Widow’s Bay“
Lead Actress in a Drama Series: Rhea Seehorn, “Pluribus“
Lead Actor in a Drama Series: Noah Wyle, “The Pitt“
Supporting Actress in a Drama Series: Allison Janney, “The Diplomat“
Supporting Actor in a Drama Series: Tom Pelphrey, “Task“
Guest Actor in a Drama Series: Ernest Harden Jr., “The Pitt“
Guest Actress in a Drama Series: Shailene Woodley, “Paradise“
Writing for a Drama Series” Vince Gilligan, “Pluribus“
Directing for a Drama Series” Saul Metzstein, “Slow Horses“
Drama Series: “The Pitt”
Structured Reality Program: “Antiques Roadshow”
Unstructured Reality Program: “Love on the Spectrum“
Host for a Reality or Reality Competition Program: Alan Cumming, “The Traitors“
Directing for a Reality Program: Ben Archard, “The Traitors“
Reality Competition Program: “The Traitors“
Writing for a Variety Series: “The Late Show with Stephen Colbert“
Directing for a Variety Series: Yvonne De Mare, “The Late Show with Stephen Colbert“
Variety Series: “The Late Show with Stephen Colbert“
Variety Special (Live): “The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny“
Variety Special (Prerecorded): “The Muppet Show“
Directing for a Variety Special: Hamish Hamilton, “The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny“
Short Form Comedy, Drama or Variety Series: “Colbert Before Air“
Short Form Nonfiction or Reality Series: “Inside The Pitt“
Performer in a Short Form Comedy or Drama Series: Desi Lydic, “The Daily Show: Desi Lydic Foxsplains“
Directing for a Documentary/Nonfiction Program: Mariska Hargitay, “My Mom Jayne: A Film By Mariska Hargitay“
Documentary or Nonfiction Special: “My Mom Jayne: A Film by Mariska Hargitay“
a&e features
Acclaimed Chef Patrick O’Connell’s memoir reveals the arc of a life well lived
Overcoming obstacles to serve everyone from Jerry Falwell to Queen Elizabeth
Renowned three-Michelin-star Chef Patrick O’Connell says food and wine hold a unique ability to bring people together. Indeed, he has served everyone from right-wing zealot Jerry Falwell to Britain’s Queen Elizabeth during his decades at the beloved Inn at Little Washington in rural Virginia.
O’Connell’s compelling new memoir, “Main, Middle & Gay” is out Sept. 15 from Celadon Books and offers a deeply personal account of how he transformed his love of food and affinity for the finer things into an iconic inn and restaurant that draws diners from around the world nearly 50 years after it opened in 1978.
O’Connell is launching the book with an event on Sept. 18 at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema. He met Andrés just after Andrés began to work in D.C. and was “on fire with ideas.”
“We sat next to each other at Charlie Trotter’s restaurant and the meal went on for hours and we had a natural rapport,” O’Connell told the Blade in a recent interview. “The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”
O’Connell said he’s excited to hold the event at Lisner.
“I studied theater at Catholic University and transferred to GWU so it’s a coming home party and Lisner has been there since I was a kid and it was always like D.C.’s Carnegie Hall. It feels like going home to my old stomping grounds.”
O’Connell hopes to bring the book to life visually at the event and he has produced a short film that will be screened.
The book traces the self-taught O’Connell’s remarkable journey from rural paperboy and short-order cook to proprietor of one of the world’s most celebrated restaurants and Relais & Châteaux hotels. Along the way we learn about the many challenges he faced — from distrustful and homophobic local residents in Washington, Va., to an expensive, public “divorce” from his longtime romantic and business partner, Reinhardt Lynch.
“It parallels the evolution of American cuisine over 50 years,” he said. “It’s a rare perspective to be in the trenches for that long.”
O’Connell writes candidly about his relationship with Lynch. The two opened the restaurant together — O’Connell running the kitchen and Lynch handling the business. But O’Connell’s accolades and growing notoriety led to jealousy that triggered a protracted falling out and dissolution of both their personal relationship and business partnership. Lynch, as recalled by O’Connell, attempted to secretly sell his 50 percent of the business but ultimately agreed to sell his stake back to O’Connell for a reported $17.5 million. “The Washington Post ran with it as a salacious celebrity divorce story and included all the financial details,” he writes.
After taking full control of the Inn just as the recession of 2008 hit, O’Connell writes of the scrutiny of guests who assumed Lynch’s absence would lead to a slip in quality. “The place couldn’t be just as good as ever. It would have to be better.”
What happened next proved a royal opportunity as Queen Elizabeth visited Virginia to commemorate the 400th anniversary of the founding of the state and O’Connell was asked to cater a reception. This chapter is filled with juicy details and behind-the-scenes anecdotes about the pressures of cooking for the Queen. The subsequent media attention proved lucrative for the Inn and photos of the Queen’s visit still hang in the Inn.
There are references to O’Connell’s sexual orientation throughout the book and he doesn’t shy from addressing his long relationship with Lynch or the resistance the couple encountered when they settled in sleepy Washington, Va.
“I didn’t realize that I was walking into a prejudiced hornet’s nest that I wasn’t fully prepared for and there was a great deal of hostility in part because they didn’t understand anything about what we were attempting to do here so everything about us and our desire to run a fine restaurant was foreign to them,” O’Connell told the Blade. “The irony of a place opening in the center of town of 150 people and at that time the word ‘gay’ wasn’t used here. It was as if they didn’t have space in their consciousness for such a thing. We were regarded as counter culture people.
“The restaurant became a success almost overnight and the locals couldn’t understand what the buzz was about,” O’Connell continued. “They thought food is food and why would anyone drive 60 miles out here for food. They became resentful of the ‘outsiders’ who came. Two outsiders were opening a restaurant and drawing other outsiders out here to a place where there weren’t many jobs. There was resentment on many levels by some — not all. They thought it would go away.”
But O’Connell said he never made his sexuality the focus of his work. Rather, he wanted to use food to bring people of all backgrounds together.
“I never made a point or attempted to make that a central focus on my work,” he said. “I felt that I had found my spot in the universe where I belonged, I loved living here, it was a sanctuary.”
O’Connell’s insistence that everyone is welcome has sometimes created tension and negative press, as when President Trump presented him with a National Humanities Medal that brought criticism from some progressives.
“We see a fascinating clientele here; we don’t judge and we’re not political,” he said. “When people come they are entitled to our hospitality.”
One of those people was televangelist and notorious homophobe Jerry Falwell, who made a reservation at the Inn years ago. O’Connell’s instruction to the staff was to treat Falwell like any other guest.
“We have an image of someone who maybe we would think would be hostile or judgmental and they often surprise us,” O’Connell said. “We held our breath and here’s Falwell working the tables and saying this is the best meal I’ve ever had, aren’t these two guys great and we thought he’s doing PR for us and he’s supposed to be the devil.”
O’Connell said he sees that dynamic play out night after night at the Inn. One of the most conservative national Republican figures, he said, is a regular and Vice President JD Vance dined at the Inn recently. Focusing on the food and hospitality for all constitutes O’Connell’s brand of activism.
“Food does bring people together,” he said. “And you’re doing your part in erasing preconceived judgements.”
He said he and his team did more to advance understanding and acceptance by focusing on hospitality than if “we were out marching.”
As evidence, he said, there are more and more gay couples moving to the area and the town’s mayor, Joe Whited, is gay.
“We’re the biggest employer in the county and largest taxpayer,” he added. “The Inn pays the town almost $1 million per year and property values are getting to be like Palm Beach. And that wasn’t a goal it was a byproduct of doing something as well as it could be done.”
But the book isn’t hagiography. O’Connell revisits traumatic events, like childhood bullies who attacked him for wearing a Little Red Riding Hood costume for Halloween and a sexual assault he endured as a young teenager aboard a bus.
“I don’t know why I couldn’t call out for help or try to make the man stop,” O’Connell writes of the incident. “I didn’t want to call attention to the situation and felt completely implicated. Once it began there was no stopping it.”
Interestingly, O’Connell told the Blade that one of the things he learned in writing the book is how little he’s changed since childhood.
“People tend to lock away a lot of childhood memories for good reason and in a book you’re reliving them and bringing them to life,” he said. “And my revelation is that I don’t think I’ve changed much since I was six and I think most people’s identity is pretty developed in their very early years and their personality is clear. What amused me most is I’m doing the same things now that I did in miniature as a five and six year old.”
As for popular TV shows about the restaurant business, O’Connell says he doesn’t watch them.
“It’s fake,” he said. “There are much more colorful characters and it’s much more exciting in real life. Nobody seems capable of capturing that. So maybe this [book] will have the effect of doing that and showing what it takes.”
O’Connell said the books and stories he most enjoys reading are those that start in childhood and carry through until late in life. He has certainly delivered that in “Main, Middle & Gay,” a moving, fearless memoir filled with the unexpected and natural drama that revisits a uniquely American life.
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Celebrity News
Fashion icon Bob Mackie dead at 87
Designing legend to all the divas, gone but not forgotten
To those still reeling from the loss of Dolly Parton and Tim Curry, we have another queer icon to add to the In Memoriam of 2026: Bob Mackie. A designer known for being extra, before that was even a thing, has left us with a legacy of looks and an indelible mark on fashion.
The news broke on his Instagram account Monday, Sept. 14, with the message:
“It is with a heavy heart that we share the news that Mr. Bob Mackie passed away today. He lived his 87 years to the fullest, fulfilling his dream of being a fashion and costume designer, which is all he ever wanted to do. His genius and extraordinary designs will live on forever, continuing to bring beauty into this world.” According to People magazine, he passed away in Palm Springs, Calif., due to pneumonia.
At 87, Mackie was the definitive designer for divas. Mackie has literally dressed them all, including Diana Ross, Whitney Houston, Barbra Streisand, Dolly Parton, Tina Turner, Bette Midler, Bernadette Peters, and even RuPaul. He’s dressed film and television icons like Raquel Welch, Lynda Carter, Goldie Hawn, and Jennifer Lopez. It’s not just female divas; he’s also done many of Elton John’s famous costumes as well as David Bowie’s.
His first major mark was drawing the first design of Marilyn Monroe’s famous “Happy Birthday, Mr. President” dress. Next, he was an assistant to costume designer Ray Aghayan on “The Judy Garland Show.” The two would carry on a professional and romantic partnership for 50 years until Aghayan’s passing in 2011.
Mackie then went on to do all of the costumes for “The Carol Burnett Show,” creating an estimated 17,000 costumes for her show’s 11-year run. This gave him much critical acclaim and notoriety, making him a permanent fixture in the variety show market.
He became a frequent collaborator of Cher, having made her famous midriff-revealing Oscar gown, her “If I Could Turn Back Time” costume, and being her designer for her various television shows, including “The Sonny and Cher Show.” He even designed costumes for her Farewell Tour. The two are synonymous with him having lent his artistic sensibilities to give her a distinct look. Cher even said in 2024, “He helped me create a different me.”
Mackie has left his mark on fashion with a distinct style of glamorous, over-the-top looks. He received the monikers the “Sultan of Sequins,” the “Rajah of Rhinestones,” and the “Guru of Glitter” for challenging the line between costume and fashion with lots of fringe, flash, and over-the-top eye-catching elements. He’s managed to retain a presence not just in entertainment but in the fashion industry for decades. Most recently, one of his outfits was a major plot point for the final season of “Hacks.”
Mackie has received his share of awards and acknowledgments. In addition to dressing many people for the Oscars, he received three nominations, including dressing Diana Ross for “Lady Sings the Blues.” He won a Tony Award for “The Cher Show.” He won nine Emmy Awards and received 30 nominations for his prolific television work.
Luckily, Mackie’s life was celebrated before his passing, receiving various Lifetime achievement awards including the Geoffrey Beene CFDA Lifetime Achievement Award, being honored by the Television Hall of Fame, and receiving “RuPaul’s Drag Race”‘s Giving Us Life-time Achievement Award. He was the first guest judge on the popular series.
It’s clear that not only was Mackie talented, he was magical. He gave a bit of stardust to countless celebrities, luminaries, and public figures with looks that not only defied expectations but managed to be truly spectacular. He’s part of the glitz we think of when we think of Hollywood, and while often elaborate costumes, the shrewd fashion sense and elegance cannot be denied. Mackie will be missed, but his work lives on in the countless pieces still in circulation and forever captured on film and in media.
Advocate, Out parent company adds Trump supporter to board, prompting outrage
78th annual Emmy Awards recapped
Indonesia’s top Muslim clerical body proposes criminalizing LGBTQ people, advocacy
Hands Off the Arts to form ‘human chain’ around Kennedy Center
LGBTQ issues, attacks on Democrats dominate unusual RNC midterm convention
Multi-billion-dollar 9/11 Victim Compensation Fund to continue until 2090
Calendar: September 11-17
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Comings & Goings
