BIPOC BIPOC BIPOC FUTURISM FUTURISM FUTURISM D U E M O D A D U E M O D A D U E M O D A INTERNATIONAL INTERNATIONAL INTERNATIONAL ADAMA DIAGNE | SARAH PREDICA | ADIL NAZAROV | AMELIA NI | REIAH JAFFER | NAJEC DE MARTÍNEZ | SELINA MA
CREDITS
DUEMODA INTERNATIONAL
EDITOR IN CHEIF
DEREN TEKCE
CELESTE YUN
DIGITAL MAGAZINE DIRECTOR
BRANDON DE MARTÍNEZ-MIJANGOS ANDREWS
PUBLIC RELATIONS DIRECTOR
DA QI ZHOU
FASHION DIRECTOR EDITOR
KAELYN MCNARLAND
FINANCE DIRECTOR
TAYLOR JONES
SELINA MA
PRESIDENT INTERN
KHYARA ROBLE
AURORA BRENDTKE
STYLISTS
DA QI ZHOU
KHYARA ROBLE
SELINA MA
ANIKA KASHYAP
MAKE UP ARTISTS
ALLEGRA JONES
KHYARA ROBLE
ANIKA KASHYAP
MODELS
ADAMA DIAGNE
ADIL NAZAROV
AMELIA NI
REIAH JAFFER
SARAH PREDICA
NAJEC DE MARTÍNEZ
SELINA MA
PHOTOGRAPHER
RILEY NIEBOER
@2DUEMODA INSTAGRAM 2
B I P O C F U T U R I S M IN THIS ISSUE PHASE I: THE EGG LETTER FROM THE EDITOR 4 BIPOC FUTURISM 6 PHASE III: THE TRANSITION PHASE IV: METAMORPHASIS PHASE V: POWER AND INFLUENCE PHASE VI: CREATING CULTURE 3 WHAT ABOUT ME? 10 CULTURE AND CLASH: BEYOND THE OPRESSION MODEL Q & A INTERNATIONAL ART 18 22 12
LETTER FROM THE EDITOR IN CHIEF
PARA TODAS,
FOR OUR FIRST EDITION WE HAVE SELECTED “BIPOC FUTURISM” AS THE VOCAL THEME OF THIS MONTHS ISSUE. IN THIS EDITION, WE REFLECT AND PONDER ON A FUTURE OF EQUALITY FOR ALL MARGINALIZED GROUPS, ONE WHERE PEACE AND LOVE IS A COMMON GOAL OF ALL HUMANS WE ALSO WANTED TO PORTRAY A FUTURE WITH BIPOC COMMUNITIES IN THE FRONT SEAT “F*CK YOUR RACIAL EXPECTATIONS,” IS A MESSAGE THAT ECHOES THROUGHOUT THIS MAGAZINE, MEANING THAT BIPOC COMMUNITIES ARE NOT SETTLING WITH THE BARE MINIMUM OF BEING ACCEPTED BUT RESPECTED AND EXISTING WITHOUT EXPLAINING THEMSELVES. WE WANTED TO SHOWCASE THAT WE TOO CAN BE FRONTRUNNERS IN OUR OWN FIELDS AND NOT PIGEON-HOLED BY EXISTING STEREOTYPES OR MISCONCEPTIONS. IN THESE PAGES, GONE ARE THE SOCIAL EXPECTATIONS ABOUT GENDER, RACE OR ANY OTHER SOCIETAL EXPECTATIONS AND GOES BEYONG OUR OPRESSION: F*CK UR RACIAL EXPECTATIONS IS PRECISELY WHY WE CHOSE SUCH WORDING.
IN LINE WITH THE THEME OF BIPOC FUTURISM, WE INVITED MODELS FROM VASTLY DIFFERENT RACIAL AND ETHNIC BACKGROUNDS TO COME TOGETHER ON THEIR TAKE OF WHERE THEIR PLACE WILL BE IN A FUTURISTIC SOCIETY THIS IS AS IN DUEMODA INTERNATIONAL, WE OPERATE WITH THE GOAL OF INCLUSIVITY: WE WANT TO REMOVE THE BARRIERS PLACED BETWEEN CULTURE, STERYOTYPE AND FASHION BY INCORPORATING DIFFERENT CULTURAL ELEMENTS INTO OUR PHOTOSHOOTS THIS MAGAZINE IS CREATED AND PRODUCED BY BIPOC, FOR BIPOC AND OTHER MARGINALIZED COMMUNITIES. WE ALWAYS WANT TO MAKE SURE THAT TOKENIZATION DOES NOT HAPPEN AND THAT IS ACHIEVED THROUGH A DIVERSE STAFF, NOT JUST MODELS, BUT ALSO IN THE EBOARD.
IN FUTURE EDITIONS, WE STRIVE TO INCORPORATE MORE CULTURAL ELEMENTS AND ENGAGE WITH MULTIPLE DIFFERENT THEMES AND TOPICS. WE ALSO PROMISE TO UPLIFT THE VOICES OF MARGINALIZED COMMUNITIES SUCH AS PEOPLE OF IMMIGRANT BACKGROUNDS, NEURODIVERGENT INDIVIDUALS AND OTHERS WHO FOR HUNDREDS UPON THOUSANDS OF YEARS HAVE BEEN SILENCED SINCE THIS PUBLICATION, OUR TEAM HAS ALSO EXPANDED TO INCLUDE MULTIPLE TALENTED INDIVIDUALS AND WE LOOK FORWARD TO WHAT WE CAN CREATE TOGETHER DUEMODA INTERNATIONAL IS A FASHION ORGANIZATION AND COMPANY THAT STRIVES ON EXCELLENCE AND INNOVATION. WE ARE NOT JUST OUR OPRESSIONS OR NEEDING OF A SAVIOR COMPLEX. WE ARE ALWAYS EXCITED TO SHARE OUR ACHIEVEMENTS WITH YOU AND WE HOPE YOU LOOK FORWARD TO A FUTURE WITH US. WE ARE THE INNOVATORS, WE ARE THE INSTITUTIONS AND WE ARE THE ONES CREATING THE CULTURE OF THE FUTURE.
MIL GRACIAS, DUEMODA INTERNATIONAL FASHION MAGAZINE.
B I P O C F U T U R I S M
DUEMODA INTERNATIONAL 5
WHAT’S NEXT?
F*CK UR RACIAL EXPECTATIONS
“WHERE ARE YOU REALLY FROM? WHY THE F*CK DON’T YOU SPEAK ENGLISH? I CAN’T UNDERSTAND UR ACCENT. WHY DO YOU LOOK LIKE THAT? WHY SHOULD WE CARE ABOUT RACIAL RELATIONS? WHY DON’T YOU ACT NORMAL? WHY DO YOU HAVE AN ACCENT? WHY DO YOU HAVE HIGH EXPECTATIONS FOR US? ”
DUEMODA INTERNATIONAL 6
OUR STORY
USING BLURRED IMAGERY AND DARKENED COLORS WE WANT TO CONVEY THE MEANING OF WHAT THESE NEGATIVE PORTRAYALS CAN TRULY GIVE US; POWER AND INFLUENCE. INSTEAD OF FOCUSING ON THE NEGATIVE ASPECTS, LET'S FOCUS ON WHAT WE CAN DO TO SHOW THEM HOW WE TRULY THRIVE IN A SOCIETY THAT EXPECTS BIPOC INDIVIDUALS TO ABIDE BY RACIAL EXPECTATIONS IN THIS EXHIBITION,
WE WANT TO SHOWCASE WHAT A WORLD WOULD LOOK LIKE WHERE BIPOC INDIVIDUALS TAKE CONTROL OF THEIR CULTURAL AUTONOMY IN A SOCIETY WHERE BIPOC FOLKS ARE PITTED AGAINST ONE ANOTHER FOR THE SAKE OF WHITE PEOPLE’S COMFORT. WE ARE MORE THAN JUST BIPOC FOLKS, WE ARE THE INNOVATORS OF THE FUTURE, WE ARE THE EDUCATIONAL SYSTEMS, WE ARE THE SUCCESSORS TO OUR ANCESTORS AND MOST IMPORTANTLY WE ARE THE FUTURE OF FASHION AND INFLUENCE.
B I P O C F U T U R I S M DUEMODA INTERNATIONAL
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BIPOC FUTIURISM
LOOKING INTO THE FUTURE
“THE CONCEPT AND “THE CONCEPT AND PROPS FOR THIS SPECIFIC PROPS FOR THIS SPECIFIC SHOOT WAS INSPIRED BY NO OTHER THAN A SHOOT WAS INSPIRED BY NO OTHER THAN A SINGLE MIRROR AND THE PEOPLE LOOKING SINGLE MIRROR AND THE PEOPLE LOOKING AT THEMSELVES IN THE REFLECTION WITH AT THEMSELVES IN THE REFLECTION WITH THE MIRAGE AND TENSION BETWEEN THE MIRAGE AND TENSION BETWEEN THE SELF AND THE UNKNOWN, WE WANTED TO SELF AND THE UNKNOWN, WE WANTED TO DEPICT THE MODELS AS IF THEY DISCOVERED DEPICT MODELS AS IF THEY DISCOVERED THAT THEY WERE JUST MORE THAN BIPOC THAT THEY WERE JUST MORE THAN BIPOC FOLKS OR THEIR CULTURE, THEY ARE THE FOLKS OR THEIR CULTURE, THEY ARE SUCCESORS AND INNOVATORS OF FASHION SUCCESORS AND INNOVATORS OF FASHION
WITH THE DEPICTION OF CULTURAL REFRENCES WITH THE DEPICTION OF CULTURAL REFRENCES SUCH AS ONES OWN CULTURAL FASHION PIECE SUCH AS ONES CULTURAL FASHION PIECE AND THE MIRROR, THE MIRROR ILLUSTRATES THE AND THE MIRROR, THE MIRROR ILLUSTRATES THE TRANSITION FROM BEING ASHAMED OF COMING TRANSITION FROM ASHAMED OF COMING FROM A DIFFERENT CULTURE BUT EMBRACING FROM A DIFFERENT CULTURE BUT EMBRACING ONES IDENTITY THROUGH CONFIDENTLY ONES IDENTITY CONFIDENTLY LOOKING IN THE MIRROR WHO IS TO SAY THAT LOOKING IN THE MIRROR WHO IS TO SAY THAT THERE ARE MORE THAN JUST ONE’S REFLECTION THERE ARE MORE THAN JUST ONE’S REFLECTION IN THE MIRROR? MAYBE THEY ARE MORE THAN IN THE MIRROR? MAYBE THEY ARE MORE THAN JUST THEIR FASHION AND CULTURE? THEY ARE JUST THEIR FASHION AND CULTURE? THEY ARE THE POWER AND INFLUENCE OF TOMORROW.” THE POWER AND INFLUENCE OF TOMORROW ”
B I P O C F U T U R I S M DUEMODA INTERNATIONAL
D I R E C T O R : B R A N D O N D E M A R T Í N E Z S T Y L I S T S : A N I K A K A S H Y A P M A K E U P : K H Y A R A R O B L E , A L L E G R A J O N E S P H O T O G R A P H E R : R I L E Y N E I R B E O U R M O D E L S : R E I A H J A F F E R , A D A M A D I A G N E -BRANDON DE MARTÍNEZ -BRANDON DE MARTÍNEZ 8
BIPOC FUTIURISM
DIRECTOR: BRANDON DE MARTÍNEZ
STYLISTS: ANIKA KASHYAP
MAKEUP: KHYARA ROBLE, ALLEGRA JONES
PHOTOGRAPHER: RILEY NEIRBEOUR
MODELS: ADAMA DIAGNE
DUEMODA INTERNATIONAL
P O W E R A N D I N F L U E N C E
9
WHAT ABOUT ME?
DIRECTOR: BRANDON DE MARTÍNEZ
STYLISTS: ANIKA KASHYAP
MAKEUP: KHYARA ROBLE, ALLEGRA JONES
PHOTOGRAPHER: RILEY NEIRBEOUR
MODELS: SELINA MA, ADIL NAZAROV
10 B I P O C F U T U R I S M DUEMODA INTERNATIONAL
@ 2 D U E M O D A
DIRECTOR: BRANDON DE MARTÍNEZ
STYLISTS: ANIKA KASHYAP
MAKEUP: KHYARA ROBLE, ALLEGRA JONES
PHOTOGRAPHER: RILEY NEIRBEOUR
MODELS: SARAH KABALA, ADAMA DIAGNE
DUEMODA INTERNATIONAL 4
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CULTURE & CLASH
“IN THE AMERICAN CONTEXT AND INTERNATIONAL FIGURES, WE TEND TO FIND A JUXTAPOSITION BETWEEN CULTURE AND IDENTITY. WHEN IT COMES TO BIPOC FOLKS, THERE IS A TRIBULATION AND TRIAL LYING BENEATH THEIR SHAME AND NEED TO EXPLAIN WHO THEY ARE.”
THE CONTRAST OF COLORS AND THE SWITCHING OF BACKGROUNDS ABOVE EXEMPLIFIES THE UNDERLYING CHAMELEON-LIKE NATURE BIPOC FOLKS HAVE TO UNDERGO TO FIT INTO EUROCENTRIC STANDARDS ACROSS THE GLOBE. THANKFULLY, THIS PIECE OF ART ILLUSTRATES BEYOND THE OPPRESSION OF THEIR SURROUNDINGS: THEIR EXCELLENCE AND POWER.”
DIRECTOR: BRANDON DE MARTÍNEZ
STYLISTS: ANIKA KASHYAP
MAKEUP: KHYARA ROBLE, ALLEGRA JONES
PHOTOGRAPHER: RILEY NEIRBEOUR
MODELS: ADAMA DIAGNE | SARAH PREDICA |
ADIL NAZAROV | AMELIA NI | REIAH JAFFER | NAJEC DE MARTÍNEZ | SELINA MA
B I P O C F U T U R I S M DUEMODA
D U E M O D A I N T E R N A T I O N A L -DUEMODAINTERNATIONAL 12
INTERNATIONAL
DIRECTOR: BRANDON DE MARTÍNEZ
STYLISTS: ANIKA KASHYAP
MAKEUP: KHYARA ROBLE, ALLEGRA JONES
PHOTOGRAPHER: RILEY NIEBOER
MODELS: SELINA MA, NAJEC DE MARTÍNEZ,
DUEMODA INTERNATIONAL 13
NI B I P O C F U T U R I S M CULTURE + CLASH
AMELIA
DIRECTOR: BRANDON DE MARTÍNEZ
STYLISTS: ANIKA KASHYAP
MAKEUP: KHYARA ROBLE, ALLEGRA JONES
PHOTOGRAPHER: RILEY NIEBOER
MODELS: SARAH PREDICA, REIAH JAFFER, ADIL
NAZAROV, ADAME DIAGNE
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+ CLASH B I P O C F U T U R I S M
CULTURE
CULTURE AND CLASH
DIRECTOR, BRANDON DE MARTÍNEZ
STYLISTS, ANIKA KASHYAP
MAKEUP ARTIST, KHYARA ROBLE AND ALLEGRA JONES
PHOTOGRAPHER, RILEY NIEBOER
MODELS, NAJEC DE MARTÍNEZ AND AMELIA NI
15 B I P O C F U T U R I S M
DUEMODA INTERNATIONAL
DUEMODA INTERNATIONAL
DIRECTOR, BRANDON DE MARTÍNEZ STYLISTS, ANIKA KASHYAP, DA QI ZHOU MAKEUP ARTISTS, KHYARA ROBLE AND ALLEGRA JONES PHOTOGRAPHER, RILEY NIEBOER MODELS, SELINA MA, ADAMA DIAGNE AND REIAH JIAFFER
B I P O C F U T U R I S M
DIRECTOR, BRANDON DE MARTÍNEZ STYLISTS, ANIKA KASHYAP, DA QI ZHOU
MAKEUP ARTIST, KHYARA ROBLE AND ALLEGRA JONES
PHOTOGRAPHER, RILEY NIEBEOUR
MODELS, ADAMA DIAGNE AND REIAH JIAFFER
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DUEMODA INTERNATIONAL
ADAMA DIAGNE ADAMA DIAGNE
Q: WHY DID YOU WANT TO JOIN DUEMODA AND WHAT MADE YOU CHOOSE YOUR STYLE OF CLOTHING FOR THIS ISSUES SHOOT?
A: “I WANTED TO JOIN BECAUSE I SAW IT AS AN OPPORTUNITY TO OPENLY LOOK MORE INTO MY CULTURE. AS SOMEONE FROM SENEGAL, I WORE THIS TRADITIONAL KAFTAN FROM SENEGAL THAT REPRESENTS MY CULTURE. WHEN I FIRST MOVED TO THE UNITED STATES, I WAS SCARED TO CONFRONT THAT REALITY THAT I MIGHT BE PERCEIVED DIFFERENTLY. I LATER STARTED DRESSING MORE WESTERN AS A LOT OF THE FASHION ORGS ON CAMPUS LEANED MORE TOWARDS A MORE WESTERN STYLE APPROACH. ALTHOUGH I LOVE WESTERN FASHION AND HAVE NO PROBLEM DRESSING IN BLACK AND WHITE, I SAW DUEMODA AS A CHANCE TO FINALLY BE SEEN FULLY AS NOT ONLY AN INTERNATIONAL STUDENT BUT AS A BIPOC INDIVIDUAL ATTEMPTING TO CREATE SPACE FOR MYSELF IN AN INSTITUTION THAT OFTENTIMES DISREGARDS MY EXISTENCE.”
Q: HOW DO YOU FEEL ABOUT THE SHIFT IN FASHION FROM BEING SEEN AS HELPLESS OR “OPRESSED”AS BIPOC TO CREATING OUR OWN SPACES AND SURPASSING THAT LEVEL OF NOT NEEDING A SAVIOR FROM WHITE PEOPLE?
A: “HONESTLY, I FEEL THAT FASHION HAS ALWAYS BEEN EUROCENTRIC DOMINATED FOR CENTURIES. ONLY RECENTLY HAS MAGAZINE SUCH AS VOGUE OR ELLE INCLUDED BIPOC FOLKS IN THE FRONT COVER OF THEIR MAGAZINES BUT THERE IS STILL THAT LACK OF REPRESENTATION NEEDED: BEING ABLE TO BE SEEN FULLY BEYOND THE TROPES OF BEING THE "HELP" OR NEEDING A WHITE SAVIOR TO ELEVATE YOUR CAREER. OFTEN TIMES IT FEELS THAT FASHION HAS REGRESSED FROM BEING INCLUSIVE AND ONLY USING US AS DIVERSITY TOKENS TO CLAIM THAT THEY ARE INCLUSIVE. WHEN I AM IN FASHION DOING A PHOTOSHOOT, INTERVIEW OR WHATEVER THE CREATIVE PROCESS MIGHT BE, I WANT TO SHOW PEOPLE THAT I AM NOT SOME PIECE IN THEIR DIVERSITY QUOTA. I AM AND WILL EXSIST UNAPOLOGETICALLY AS A BIPOC PERSON AND MOST IMPORTANTLY SHOW MY OWN EXCELLENCE NOT JUST AS A CREATIVE BUT AS AN INDIVIDUAL WITH ASPIRATIONS AND DREAMS. I WANT TO STICK TO MY OWN CULTURAL ROOTS WHILE BEING IN THE SAME ROOM AS OTHER FOLKS WHO MIGHT PERCEIVE MY CONFIDENCE FOR MY CULTURE AS A THREAT. THAT’S WHY I JOINED DUEMODA IN THE FIRST PLACE, BECAUSE IT OFFERED SOMETHING THAT MOST OTHER FASHION ORGANIZATION ON CAMPUS MAY NOT PRIORITIZE ENOUGH: THE CHANCE TO EXSIST AND BE A VICTOR OF MY OWN STORY. I DESERVE TO BE SEEN IN THE ART SCENE, FOR MY EXCELLENCE, TALENTS BUT OVERALL NOT BEING SEEN AS THE OPPRESSED BUT RATHER THE INNOVATOR OF MY OWN FUTURE. I DON'T LET EXTERNAL INFLUENCES DICTATE HOW I SUCCEED IN THIS EUROCENTRIC WORLD. I AM THE FUTURE OF CULTURE AND FASHION.”
M O D E L Q & A
DUEMODA INTERNATIONAL
REIAH JAFFER REIAH JAFFER
Q: WHY DID YOU WANT TO JOIN DUEMODA INTERNATIONAL?
A: BIPOC FUTURISM TO ME MEANS MORE DIVERSE SPACES FOR BIPOC CREATIVES IN THE FUTURE. I WANTED TO JOIN DUEMODA BECAUSE IT OFFERED AN ARRAY OF DIVERSE OPPORTUNITIES NOT JUST BECAUSE I AM A WOMAN OF COLOR BUT BECAUSE I BRING THAT TALENT AND FIERCENESS TO THE FASHION WORLD. I WANTED TO JOIN MORE DIVERSE ENVIRONMENTS AND SINCE I HEARD DUEMODA RECRUITING BIPOC INDIVIDUALS TO THE FOREFRONT, I SAID TO MYSELF WHY NOT? HONESTLY, DUEMODA IS DOING WHAT MOST FASHION ORGANIZATIONS ARE NOT DOING: LOOKING TO THE FUTURE OF FASHION AND CREATING SPACES FOR BIPOC FOLKS IN THE ART WORLD. AS THE CURRENT PRESIDENT INTERN AND MAGAZINE DIRECOTR INTERN, I NOT ONLY FEEL SEEN AN D HEARD BUT EMPOWERED. THAT’S WHY I LOVE DUEMODA BECAUSE IT STANDS FOR MORE THAN JUST BEING THE OPPRESSED OR THE “NEEDY” AND RATHER SHIFT IT TOWARDS MORE OF OUR SUCCESSES AND WHO WE ARE AS INDIVIDUALS. WE JUST HAPPEN TO BE BIPOC FOLKS IN FASHION AND TO ME THAT IS POWERFUL AND RESILIENT.
Q: HOW DO YOU FEEL ABOUT THE SHIFT IN FASHION FROM BEING SEEN AS HELPLESS OR “OPRESSED”AS BIPOC TO CREATING OUR OWN SPACES AND SURPASSING THAT LEVEL OF NOT NEEDING A SAVIOR FROM WHITE PEOPLE?
A: I DO FEEL THAT NO CHANGE WILL EVER COME FROM HELPLESSNESS OR PINNING YOURSELF AS SOMEONE WHO CAN’T ACHIEVE POWER AND INFLUENCE. OF COURSE, WE CAN’T DISREGARD THE SYSTEMATIC RACISM AND POWERS IN PLACE TO OPPRESS BIPOC, WOMEN, NEURODIVERGENT AND OTHER MARGINALIZED GROUPS AND I DO FULLY ACKNOWLEDGE THAT THIS DOES IMPEDE A LOT OF FOLKS FROM ACHIEVING GREATNESS, BUT USING THOSE DECADES OF OPPRESSION AND NOT FEELING SEEN AND TURNING IT INTO POWER AND PROWESS IS WHAT WILL GET US OUT FROM THE GUTTER. I FEEL THAT CHANNELING THOSE ANGRY ENERGIES INTO ART AND FASHION REALLY MAKES A POWERFUL IMPACT ON WHO WE ARE AS INDIVIDUALS. I WANT TO BE MORE THAN JUST THIS OR THAT, I WANT TO BE EMPOWERED TO TAKE MY OWN STANCES AND MY OWN INDIVIDUALITY WITHOUT BEING STEREOTYPED BECAUSE OF MY GENDER, SEXUALITY OR RACE. TAKING A MORE EMPOWERED STANCE WILL DEFINITELY HELP THE FUTURE OF BIPOC FASHION. I AM WHO I AM AND I WILL NOT APOLOGIZE FOR IT. FOR THOSE WHO ARE OFFENDED OR BOTHERED BY MY EXISTENCE, ALL I CAN SAY IS: DEAL WITH IT. I AM NOT GOING ANYWHERE.
M O D E L Q + A
DUEMODA INTERNATIONAL
THE UNDERGROUND ART WORLD
THROUGH MY EYES
ART ALWAYS STARTS FROM SOMEWHERE, INCLUDING THE PLACES AROUND US. IT’S IMPORTANT TO HIGHLIGHT UP AND COMING ARTISTS AND GIVE THEM ACHANCETOCREATECULTUREANDOPENSPACES
AS A CHILD, I WAS IMMERSED IN MY CULTURE, SPANISH BEING MY FIRST LANGUAGE. HOWEVER, AS I GREW OLDER, I FINALLY HIT THAT AGE FOR THE AMERICAN EDUCATION SYSTEM TO SWEEP ME OFF MY FEET. I SLOWLY STOPPED SPEAKING SPANISH AND STOPPED MENTIONING MY CULTURE. IT WAS PAINFUL BUT I’VE NOW BEEN ABLE TO SLOWLY BRING MYSELF BACK INTO THE CULTURE I BELONG AND LOVE SO DEARLY. USING THE COLORS OF ANGER, PASSION, HOPE AND LONELINESS- I ATTEMPTED TO DEPICT THE IDEA OF REACHING OUT AS AN AMERICAN-BORN PERSON OF COLORDESPERATELY TRYING TO CONNECT BACK TO OUR CULTURE AND ROOTS FOR THAT SENSE OF ACCEPTANCE AND BELONGING WHO SHARE THIS LIFE (CREATION OF ADAM AND EVE REFERENCE.) WITH A VARIETY OF DIFFERENT PEOPLE WITH THEIR OWN STORIES, CULTURES AND IDEAS. SOMETIMES IT TAKES THAT EXTRA PUSH OF LONGING TO REACH OUT TO- AS WELL AS LIFT UP, ONE ANOTHER.
-ISABELLA CORTES
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-ISABELLA CORTES I N T E R N A T I O N A L A R T I S T S
DUEMODA INTERNATIONAL
NO TOQUESDO NOT TOUCH
“I WAS SUPER EXCITED TO BE ABLE TO START MAKING LARGER SCALED PIECES DUE TO THE STAMPS STUDIOS' SUPPORT. SOMETHING I HAD BEEN AND STILL AM STRUGGLING WITH IS COMING TO ACCEPT/REALIZE THAT EXPERIENCES I HAVE GONE THROUGH ACTUALLY HAPPENED. THEY'RE NOT FICTIONAL STORIES MADE UP IN MY HEAD, OR FOGGY MEMORIES THAT COULD'VE BEEN THOUGHT WRONG, THEY ARE TRUE MEMORIES THAT HAPPENED AND SHOULD BE RECOGNIZED.”
ISABELLA CORTES
ISABELLA CORTES
INTERNATIONAL i n t e r n a t i o n a l a r t i s t s
DUEMODA
NO TOQUES, DO NOT TOUCH
“The human body can be looked at in many different ways. But women’s bodies in particular are
“The human body can be looked at in many different ways. But women’s bodies in particular are seemingly more objectified and not to mention sexualized within society. I wanted to make a piece seemingly more objectified and not to mention sexualized within society. I wanted to make a piece that represented the anger and frustration that came with those experiences and how they’ve that represented the anger and frustration that came with those experiences and how they’ve followed, if not haunted, my life up until now. these events may have happened for years as a followed, if not haunted, my life up until now. these events may have happened for years as a child, but they will never truly leave me. And that’s ok as long as I can bring some sort of voice child, but they will never truly leave me. And that’s ok as long as I can bring some sort of voice and/or comfort to those with similar experiences. And to those who do understand firsthand- and/or comfort to those with similar experiences. And to those who do understand firsthandremember, it’s not your fault, you are not ‘dirty’ nor ‘tainted, but most of all you are a survivor. remember, it’s not your fault, you are not ‘dirty’ nor ‘tainted, but most of all you are a survivor. Continue to stay strong, you have so much more better experiences waiting for you. Continue to stay strong, you have so much more better experiences waiting for you.
It’s important for us to acknowledge that objectification and sexualization of women's bodies are It’s important for us to acknowledge that objectification and sexualization of women's bodies are not acceptable. This kind of behavior is harmful and can have long-lasting effects on a person's not acceptable. This kind of behavior is harmful and can have long-lasting effects on a person's life. It takes a lot of courage to share personal experiences with the world in order to help others life. It takes a lot of courage to share personal experiences with the world in order to help others who have gone through similar situations. We need to support and uplift those who have survived who have gone through similar situations. We need to support and uplift those who have survived these traumas. It's crucial to remember that these experiences are not the fault of the survivor these traumas. It's crucial to remember that these experiences are not the fault of the survivor and they should not feel ashamed or guilty. It's important to seek help and healing if needed and and they should not feel ashamed or guilty. It's important to seek help and healing if needed and to remember that there is always hope for a better future. Let's work together to create a society to remember that there is always hope for a better future. Let's work together to create a society where women are respected and valued for who they are as individuals. where women are respected and valued for who they are as individuals.
As a society, we need to do better at educating ourselves and others about the harmful effects of As a society, we need to do better at educating ourselves and others about the harmful effects of objectification and sexualization. We need to hold ourselves and others accountable for our objectification and sexualization. We need to hold ourselves and others accountable for our actions and words. It's time to change the narrative and start treating women as human beings, actions and words. It's time to change the narrative and start treating women as human beings, not objects. We can start by listening to and believing survivors, and working towards creating a not objects. We can start by listening to and believing survivors, and working towards creating a world where everyone feels safe and respected. We can also educate ourselves on consent and world where everyone feels safe and respected. We can also educate ourselves on consent and healthy relationships, and teach our children to do the same. By doing so, we can create a future healthy relationships, and teach our children to do the same. By doing so, we can create a future where everyone can live free from the fear of objectification and sexualization. where everyone can live free from the fear of objectification and sexualization.
It's also important for women to prioritize their own well-being and self-care. Experiencing It's also important for women to prioritize their own well-being and self-care. Experiencing objectification and sexualization can have a profound impact on mental health, and it's crucial to objectification and sexualization can have a profound impact on mental health, and it's crucial to seek professional help if needed. It's also important to surround oneself with supportive friends seek professional help if needed. It's also important to surround oneself with supportive friends and family who will uplift and validate one's experiences. We need to empower women to speak and family who will uplift and validate one's experiences. We need to empower women to speak up and be heard, and to create a safe space for them to do so. up and be heard, and to create a safe space for them to do so.
Let's work towards a world where women are not defined by their physical appearance, but by Let's work towards a world where women are not defined by their physical appearance, but by their talents, passions, and contributions to society. We are more than our bodies, and we deserve their talents, passions, and contributions to society. We are more than our bodies, and we deserve to be treated with respect and dignity. By standing up against objectification and sexualization, to be treated with respect and dignity. By standing up against objectification and sexualization, we can create a society that is inclusive and equitable for all.” we can create a society that is inclusive and equitable for all.” -ISABELLA CORTES
DUEMODA INTERNATIONAL I N T E R N A T I O N A L
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2023 ACRYLIC