Новият блясък: Гуила Клара Кесус – когато красотата среща човечността

The New Glamour: Guila Clara Kessous - When Beauty Rhymes with Humanity

Exclusive interview by Ada Iliopoulou 

What does glamour truly mean today? Is it just about creating beauty, or is it about shaping a better world for everyone? Well, it's both. And if there's one woman who truly embodies the powerful fusion of elegance and purpose, of aesthetics and ethics, it's Guila Clara Kessous.

A UNESCO Artist for Peace & Peace Ambassador, Guila Clara Kessous has dedicated her life to using art as a tool for healing, empowerment, and social change. From helping violence and abuse survivors through art therapy to inspiring renowned luxury brands like Printemps, Valentino, and Cartier, as well as guiding leaders through executive coaching, she has shown that artistic creativity is not just about passive beauty—it's a powerful force for social change. Her commitment to art and human dignity even led her to share the stage with rock legend Billy Idol, performing "Eyes Without a Face" before 500 diplomats at the United Nations in Geneva.

Her extraordinary work hasn't gone unnoticed. At the next edition of the Cannes Film Festival, Herflix and Forbes will honor her with the 'Woman of the Year 2025' Award—recognizing her groundbreaking influence in the artistic, humanitarian, and executive coaching realms.

On April 23rd, at UNESCO's headquarters in Paris, she will lead the third edition of the World Art Day International Forum, which she founded and directs, under the theme "Art & Human Dignity – Human Rights and Healing Arts for a Culture of Peace." The event will bring together artists from around the world to explore the profound role of art in fostering global peace, human rights, and well-being.

At a time when many artists are merging creativity with activism, Kessous stands at the forefront of the "artivist" movement—proving that art isn't just about creating beauty, but also about healing wounds, elevating voices, and rebuilding communities. This free forum will emphasize the transformative power of the arts in bridging cultures, breaking barriers, and strengthening social cohesion. It will also be broadcast live on www.worldartdayforum.com

As we celebrate World Art Day, Glamour is thrilled to invite you to meet covergirl Guila Clara Kessous, a woman who doesn't just create beauty—she uses it to change the world.

1. You started your career in art as an actress. How have you managed to transition into fields such as diplomacy and business?

After graduating from the French Conservatory of Performing Arts with a Gold Medal in Theatre, I realized that the skills I had gained went far beyond the stage. Acting taught me the importance of self-confidence, clear communication, and building harmonious relationships with others. I understood that these abilities could be valuable in many areas of society, encouraging me to take a more proactive role rather than passively waiting for a director to cast me. I was passionate about creating beauty and helping others through this knowledge, which shaped my career path. Whether performing texts on human rights as an actress, directing plays with humanitarian themes, using art therapy to support trauma victims, coaching executives on emotional intelligence, or working as a diplomat fostering harmonious relationships among ambassadors and dignitaries, performing arts remain at the heart of everything I do. It continues to be a versatile tool that enriches every aspect of my career as a humanitarian activist or as a business executive coach.

2. In your work to protect human rights, you use drama therapy to help women and children who have experienced abuse. How does this process help them build resilience?

Drama therapy is a way to use theatre to help victims express their emotions. Through theatre games and plays, individuals undergo a cathartic process, echoing Aristotle's concept of "purge," where suffering is released from the body. This artistic approach allows imagination to transform pain into expression, giving victims a voice.

For example, I collaborated with Tatiana Mukanire Bandalire, the leader of the national movement for survivors of sexual violence in the Democratic Republic of Congo. Together, we used her personal story in the play Beyond My Tears as a tool for art therapy. One profound passage, "Letter to My Executioner," stood out. In it, she addressed her rapist, expressing that although she would never forget the trauma, she refused to let him steal her hatred. This reflects the transformative power of imagination and creativity in healing.

When working with Rohingya refugees in Cox's Bazar, Bangladesh—one of the largest refugee camps in the world—I saw how theatre helped individuals dream of another life. By embodying characters, they could momentarily escape their reality and envision hope. I often use the character of Antigone, who symbolizes anger and revolt, to help participants channel their grief. Speaking through a fictional character offers a sense of security, allowing them to express deep emotions safely.

Resilience is built through this process of externalization and imagination. By transforming pain into performance, drama therapy helps individuals reclaim their dignity and begin the journey toward healing.

3. How is art linked to diplomacy in your career?

Theatre serves as the foundation of my entire career. I am honored to hold the title of UNESCO Artist for Peace, a prestigious recognition as part of the Goodwill Ambassadors UNESCO Division. This journey began with my PhD mentor, Elie Wiesel, Nobel Peace Prize laureate, with whom I collaborated on connecting art therapy with genocide survivors. Elie Wiesel, a Shoah survivor and remarkable professor, also served as a special advisor to governments, using diplomacy to warn leaders about the risks of war and the importance of protecting civil populations. As a theatre artist, I was deeply inspired by how he bravely addressed Presidents on critical issues and how attentively they listened.

Fascinated by diplomacy, I pursued a certificate in negotiation at Harvard University under the guidance of renowned Professor William Ury, co-creator of the Win/Win Negotiation model. My approach of negotiation emphasized the dramatic elements of communication, including non-verbal cues and posture. As I mentioned previously, I have a dual career: I serve as a humanitarian through art therapy and as an executive coach, using theatre arts to enhance the leadership and relationship skills of executives, both in the private and public sectors. I am honored to be a member of the prestigious Coach50, a group that brings together the fifty most influential coaches worldwide.

During my time coaching the Emirati Ambassadress, I was reminded of Elie Wiesel's courage. I expressed my belief that it was unfair for only men to participate in high-level negotiations. I suggested creating the Abraham's Wives Accords to address the feminine perspective in diplomacy. She encouraged me to pursue this idea, offering her support from the Emirati side. This initiative led to the creation of the "Sarah and Hajar Accords," signed by women from Bahrain, Morocco, Israel, and the Emirates on April 23, 2023.

Following the events of October 7th in the Middle East, I took the initiative to establish the International Accords for Women in Diplomacy. This agreement was signed by influential women, including the First Lady of Iceland and the First Lady of Bosnia, alongside key women leaders. Additionally, the African Accords for Women in Diplomacy were set to be signed by the Presidents of Ethiopia and Tanzania. Diplomacy, much like performing art, is an art of negotiation, communication, and active listening.

4. What is your opinion on cultural diplomacy?

Cultural diplomacy holds immense power due to its ability to influence global public opinion—be it among individuals, communities, or nations. This concept aligns with the opening lines of UNESCO's Constitution, emphasizing the root of conflict: "Since wars begin in the minds of women and men, it is in the minds of women and men that the defenses of peace must be constructed."

I firmly believe that cultural diplomacy deserves greater recognition. Explorers, travelers, traders, teachers, and artists serve as living examples of "informal ambassadors" or early "cultural diplomats." Anyone who interacts with diverse cultures, whether in the present or past, fosters cultural exchange across fields such as art, sports, literature, music, science, business, and economics.

This idea is tied to what I call "diplomatic entrepreneurship," a concept that reflects how civil society can influence politics through entrepreneurial ideas. A notable example is sports diplomacy: the ping-pong exchanges between the United States and China in the 1970s played a pivotal role in renewing Sino-American relations. This cultural engagement paved the way for U.S. President Richard Nixon's historic visit to China in 1972—an event once deemed politically unimaginable.

Cultural diplomacy has evolved into a dynamic and innovative field of research, increasingly recognized as a vital soft power in international relations.

5. In recent years, a troubling phenomenon known as cancel culture has emerged, aiming to level everything. This movement has targeted iconic artworks such as the Joconda, led to the burning of Dali's museum, the destruction of books, and attempts to abolish Shakespeare. What are your thoughts on this?

I am deeply disturbed by this trend. It is baffling how these masterpieces are not appreciated within the context of their creation and the societal values of their time. As Heinrich Heine famously stated, "Where they burn books, they will, in the end, burn human beings too." The destruction of cultural treasures undermines historical testimony and pretends that the past never existed. However, we cannot simply erase the past. Just as a tree cannot thrive without roots, severing those roots threatens to obliterate the entire forest of our humanity.

6. Ruth Benedict once stated that the fundamental differences distinguishing human societies and individuals are not biological but cultural. Do youagree?

Ruth Benedict was a pioneer in modern social anthropology. In 1935, her quote highlighted cultural relativism as a value system, implying that one's values are not inherently superior to another's. This concept is central to coexistence. If I believe my culture is superior to yours, I may not only feel entitled to that belief but might also attempt to impose it on you, perceiving it as the ultimate good. Benedict's perspective emphasizes culture as "personality writ large." A person is not defined solely by biological laws but by societal norms and shared beliefs. As behaviors and morals vary across cultures, the notion of moral superiority becomes untenable. This realization should, ideally, diminish the willingness to engage in conflict.

7. Is it true that during the COVID-19 pandemic, governments suddenly classified art and artists as non-essential?

Regrettably, this is true. During the pandemic, governments failed to recognize how art could support society through the hardships of quarantine. In France, for example, theaters, cinemas, and museums were closed and deemed secondary compared to supermarkets. Yet, humans need more than physical sustenance; they crave intellectual and emotional nourishment. Art and culture provide that nourishment. By labeling these spaces as "non-essential," it implied that humans were reduced to biological entities needing only food to survive. This contradicts Ruth Benedict's idea that culture is vital to the human experience. During that period, television series surged in popularity, offering a cultural escape, but a broader array of artistic experiences could have provided greater solace. Humanity needed beauty more than ever during those challenging times.

8. For me, art knows no borders as it unites people and nations, supporting society and fostering innovation. What does real art mean to you?

To me, real art embodies beauty and togetherness. However, it doesn't need to be aesthetically perfect. A portrait doesn't have to be symmetrically accurate to reflect reality. True art communicates with humanity; it holds up a mirror, allowing us to understand the human condition through the voice of an artist crying out to us. It serves as a warning, a reflection, or a celebration of life. Real art is deeply emotional—I have often found myself moved to tears by a painting, a piece of music, or the act of dancing. Art has a unique ability to immerse us in a creative "flow," as described by Mihaly Csikszentmihalyi, where we experience an optimal psychological state with no awareness of time or place. This sense of absorption is what makes art therapeutic; in art therapy, patients become creators, expressing themselves symbolically. The pride derived from participating in the creative process and the temporary escape from life's troubles through this flow is what defines real art.

9. On April 23rd, you are organizing the forum "Art & Human Dignity: Human Rights and Healing Arts for a Culture of Peace." This event coincides with World Art Day, a date chosen to honor Leonardo da Vinci's birthday. He symbolizes world peace, freedom of expression, tolerance, brotherhood, multiculturalism, and the importance of art in various fields. The forum aims to explore how the arts promote global peace, human rights, health, and well-being. Could you tell us more about it?

My primary goal was to highlight the connection between art and human dignity and to make this link accessible to as many people as possible. I wanted to show that one does not need to be an artist to use art for a better life. Each year, I have the privilege of hosting extraordinary artists such as JR, a renowned art designer deeply engaged in social causes; the prestigious Chinese pianist Lang Lang, who promotes peace through piano art to the youth via his foundation; or UNESCO Goodwill Ambassador Jean Michel Jarre, who blends music with digital art. More than a hundred participants—including artists, social workers, activists, medical experts, scholars, and philosophers—already contributed to this international forum, emphasizing the essential role art plays in society. This is why I continuously advocate for a partnership between UNESCO and the World Health Organization to officially recognize the therapeutic power of art. The event will feature three roundtables interspersed with artistic performances showcasing various art forms. The first roundtable focuses on how art aids in healing, presenting the work of art therapists in hospitals and Canada's innovative initiative of medical art prescriptions. This approach allows doctors to prescribe art sessions or museum visits for patients suffering from depression as a complement to traditional medication. The second roundtable is dedicated to 'artivism,' combining art with activism and highlighting artists working in conflict zones for example. The final roundtable explores art and peace education. My goal is to demonstrate how accessible art is to everyone and how it can profoundly enhance our daily lives.

10. In what ways can culture become an instrument of peace and understanding?

Culture, particularly art, serves as a powerful instrument of peace and understanding because it is rooted intuitively within us from early childhood. Lullabies sung by mothers create our first musical memories; colorful drawings in school help us explore shapes and geometry; traditional dances at family celebrations foster a sense of movement and connection. We first experience the world through our senses and emotions, engaging in the artistic experience of being alive before we develop into cerebral beings. Reconnecting with our artistic selves eliminates differences, returning us to a childlike state free from stereotypes, where we share a universal language. This common language, created through culture and art, holds peace and understanding at its core.

11. How has the rise of technology and the internet impacted the art world?

Technology and the internet have fostered a more interactive relationship with art. But what is art? At its core, art is a creative expression that combines imagination and action. Every form of art relies on a medium—whether it's a canvas for painting, an instrument for music, or the body for dance. When technology becomes the medium, the creative possibilities expand exponentially. One prime example is digital art, which uses technology as both a tool for creation and a platform for innovation. This includes computer-generated art, generative art, robotic art, kinetic art, net art, as well as post-internet, virtual reality, and augmented reality art. During the World Art Day International Forum, I had the privilege of hosting Pierre Fautrel, co-leader of the Paris-based art collective "Obvious," which seeks to demonstrate that artificial intelligence can also be creative. Their AI-generated artworks were tested by art buyers and critics at the first-ever auction of an AI-created portrait, which was held by Christie's in New York. One of the key works auctioned was the portrait Edmond de Belamy, created by AI at Obvious and signed with a mathematical equation in 2018 that was sold $432,000...

12. One of your special guests will pay tribute to the renowned dancer Loie Fuller, who will open the World Art Day celebration on April 23rd at UNESCO. Could you tell us more about this?

I wanted to honor the 130th anniversary of Loie Fuller's groundbreaking dance-pantomime Salomé Moderne, which she performed in Paris in 1895, wearing her iconic veil-like costume. Fuller, an American dancer, was a pioneer in modern dance and a trailblazer in theatrical lighting techniques. Her visit to the Paris Exposition Universelle in 1889, where she was captivated by the Palais d'Électricité and the illuminated fountains of the Champs de Mars, deeply influenced her future work with light in dance. Fuller experimented with a long skirt in her performances, choreographing its movements and exploring how it reflected light. She became known as the "Fée Électricité." By 1892, she had established herself as a leading revolutionary in the arts, regularly performing at the Folies Bergère in Paris with pieces like Fire Dance. She embodied the Art Nouveau movement, often associated with symbolism, as her works beautifully integrated ideas and symbols. Fuller's innovative contributions gained the admiration and friendship of many influential figures, including the painter Toulouse-Lautrec, the Lumière brothers, poet Stéphane Mallarmé, and scientist Marie Curie. In my view, her art, which combines both pictorial and dance elements, is so remarkable that it deserves to be recognized as part of UNESCO's intangible cultural heritage.

13. Can you discuss the relationship between art and philosophy?

The word "philosophy" comes from the Greek term for "the love of wisdom." Art, in turn, offers a unique way of transcending rational wisdom, providing a more emotional and sensory approach to exploring life. To me, art is a philosophical tool for understanding life, offering a way to reflect on our place in the world. Take, for example, René Magritte's famous surrealist painting Ceci n'est pas une pipe. The image depicts a pipe, but it isn't a real pipe; it's simply an artistic representation. This invites us to realize that what we see is a subjective interpretation from a specific human perspective, far removed from objective reality. The symbolic nature of art carries philosophical weight, encouraging us to ponder the relativity of perception and the distinction between reality and truth.

14. Many designers have created outfits for you advocating for peace. One of your favorite piece be Valentino's peace dress. You also became the muse for a Parisian fashion show at famous luxurious store Printemps, celebrating women's rights and peace during Paris Fashion Week, right before the Femina Vox International Forum that you directed at UNESCO for Women's Rights Day. Can you tell us about this experience?

When I had the opportunity to meet Jean Marc Bellaiche, CEO of Printemps, and Emmanuel Suissa, Chief Partnership Officer at Printemps, they introduced me to Augustine Figeac, a prominent actress from the Comédie-Française, who co-founded the store with Jules Jaluzot. Figeac, who lived during the same time as Loie Fuller, likely knew her. Figeacembodied femininity and chose the name "Printemps" (meaning "Spring") to represent a revolutionary vision of a women's fashion and luxury store in the 19th century. Printemps, originally created by a woman, is deeply connected to women's rights, as it was designed to offer a different kind of shopping experience. The "Parole Paris" team reached out to collaborate with Printemps on a photoshoot symbolizing peace for women, featuring a live dove on set. It aligned perfectly with the values I champion through the Femina VoxInternational Forum uniting on UNESCO stage women coming from Afghanistan, Syria, Iran, Africa, China, France, ..... This Printemps collaboration led to me becoming a muse on the runway during Paris Fashion Week's celebration of International Women's Rights Day. The show took place on Printemps' iconic 7th floor, known as 'the 7th Heaven.' For me, the art of fashion holds profound significance as it reflects the philosophy of the society which we live in.

15. What is the relationship between art and activism in the 21st century?

"Artivism" refers to the fusion of art and activism, where artists use their craft as a tool for social change. At the World Art Day International Forum, I had the privilege of hosting Patrice Taraoré, known as Huma, a rapper and co-founder of "Balai Citoyen." This movement has successfully engaged political spaces in Senegal and Burkina Faso through rap, motivating younger generations to vote with their powerful song "Y en a marre." Last year, we were also joined by Sophie Rosenzweig, who shared her remarkable work with child soldiers through her collective, "Voices Without Borders." In the 21st century, art plays a crucial role in healing, social cohesion, and fostering a culture of peace.

16. You also had the opportunity to collaborate with Billy Idol for a performance at the United Nations in Geneva, focusing on peace before 500 diplomats for International Day of Consciousness. How was this experience, and why Billy Idol?

Each year for International Day of Consciousness, I honor an artist by inviting him or her to perform at the United Nations Palace in Geneva. Last year, I invited singer Yael Deckelbaum, who created the song "Prayer of the Mother" in tribute to the women's organizations uniting Israeli and Palestinian mothers for peace. I performed a duet with her, singing in Arabic, reflecting my Moroccan roots. This year, I chose to honor the legendary Billy Idol. Not only is he an iconic figure in rock 'n' roll, but he also possesses a deep awareness of the world around him. In his memoir, he speaks about the inner conflict between opposing sides of his character, revealing the complexity of truth through art. His honesty as an artist was one of the reasons I wanted him to join me. This year's focus was on the ongoing violence in the Democratic Republic of Congo, and we were joined by Nobel Peace Prize laureate Dr. Mukwege to discuss the situation. Our duet aimed to offer diplomats a new way of understanding global conflicts. We performed Billy's classic song "Eyes Without a Face," inspired by a French novel. I chose this song to honor the victims of war—those who are maimed, disfigured, or lost—and to send a powerful message to stop the violence. As a Peace Ambassador, the song serves as an anthem for non-violence.

17. Do you see the possibility of a Renaissance in society after all the darkness we've faced?

Yes, I have hope. When I see individuals—artists, social workers, and those who tirelessly fight to stop violence and unite people against all odds—it fills me with hope. I deeply respect the victims of conflict, those who didn't choose their circumstances but were born into situations of hatred and violence. We must stand up for them and for future generations. We can create beauty through the love we have for humanity. It's the art of loving one another that will ultimately save us.