DUEMODA INTERNATIONAL ISSUE II

CRED

BEHIND THE SCENES

EDITOR IN CHIEFS

Celeste Yun Zhou, Bryce Kilburn

CREATIVE DIRECTOR

FINANCE DIRECTORS

Brandon De Martínez

Taylor Jones, Selina Ma

PUBLIC RELATIONS DIRECTOR

VISION DIRECTOR

Kaelyn Mcnarland

Da Qi Zhou

VIDEOGRAPHER EDITOR

PHOTOGRAPHERS

Kaelin Park

Anisha Chopra, Kaelin Park

GRAPHIC DESIGN EDITOR

Bailey Hwang, Sara DenBleyker

PRODUCTION DIRECTOR Will Glasser

EVENT PLANNING DIRECTOR Yuxi Xie

STYLISTS

CELESTE ZHOU YUN

TAYLOR JONES

YUXI XIE

AURORA BRENDTKE

MODELS

ALLEGRA JONES

KYRA HUDSON

LAVANYA GOYAL

SAVINI GAMHEWAGE

SELINA MA

VIANEY CARDIEL

JUDY HUANG

CRISTINA BENN

MUA

KHYARA ROBLE

REIAH JAFFER

YUXI XIE

OFFICE OF THE President

DUEMODA

INTERNATIONAL

4242-4242

DUEMODA PUBLICATIONS INC

CALLE ROMA CONDESA, LA CDAD DE MÉXICO, CDMX APRIL 19, 2024

HOLA,

MAKING THIS MAGAZINE HAS BEEN THE MOST LIFE CHANGING ASPECT OF MY YEARS AT THE UNIVERSITY OF MICHIGAN. AS A TRANSFER STUDENT, I WAS NOT SURE WHAT I WANTED TO PURSUE HERE. FROM FRENCH TO AEROSPACE, I FINALLY FOUND MY PASSION: RADICAL FASION. GIVEN EVERYTHING THAT HAS BEEN GOING ON GLOBALLY WITH POLITICS AND CULTURE WITHIN FASHION, I FELT THAT THE FASHION INDUSTRY ACROSS THE NATION HAS NOT BEEN DOING ENOUGH TO UPLIFT UNHEARD VOICES. TO BE A VISIONARY MEANS TO LEAD RADICALLY AND WITH THE HEART. TO LEAD WITH THE HEART MEANS TO BE MISUNDERSTOOD. TO BE A TRAILBLAZER MEANS TO SET THE TRENDS OF THE FUTURE.

AT DUEMODA INTERNATIONAL, WE DON’T FOLLOW TRENDS, WE CREATE THEM. AS WE END THE FIRST YEAR AT THE UNIVERSITY OF MICHIGAN, I EXPECT DUEMODA TO BECOME LIGHT YEARS AHEAD OF ALL THE OTHER FASHION MAGAZINES ACROSS THE NATION AND ACROSS THE WORLD WHEN IT COMES TO UPLIFTING MARGINALIZED VOICES. WE DON’T JUST TALK ABOUT FASHION CONCEPTS OR PHOTOSHOOTS, BUT CREATE RADICAL CHANGE THROUGH FASHION AND BECOME THE TRAILBLAZERS OF TOMORROW.

CON AMOR, BRANDON DE MARTÍNEZ.

BRANDON DE MARTÍNEZ, FOUNDER + PRESIDENT NATIONAL PALACE, P.ZA DE LA CONSTITUCIÓN S/N, CENTRO HISTÓRICO DE LA CDAD. DE MÉXICO, CENTRO, CUAUHTÉMOC, 06066 CIUDAD DE MÉXICO, CDMX, MEXICO

LETTER FROM THE EDITOR IN CHIEF’s

IN JUDEO-CHRISTIAN TRADITION, THE SERPENT PLAYS A PROMINENT ROLE IN THE EXPULSION OF ADAM AND EVE. IT WHISPERED WORDS OF SEDUCTION UNTIL GOD’S PURE CREATIONS BROKE THE ONE RULE HE SET AND GAINED THE KNOWLEDGE OF GOOD AND EVIL.

WESTERN COLONIZATION HELPED PROLIFERATE THESE IDEALS, AS CONQUERING NOT ONLY INVOLVES TAKING LAND BUT ALSO CHANGING THE WAY PEOPLE THINK. AS SUCH, BEAUTIFUL INDIGENOUS INTERPRETATIONS OF THE SNAKE WERE ALMOST STUNTED IN THEIR GROWTH AS WESTERN CULTURE AND IDEATION DOMINATED THE UNKNOWING MASSES.

BUT GOING AS FAR BACK AS 475 BC, THE SNAKE HAS BEEN A SYMBOL OF FERTILITY, REGENERATION AND STRENGTH ACROSS ASIA, EUROPE, THE MIDDLE EAST AS WELL AS AFRICA. IN CHINESE MYTHOLOGY, NUWA THE MOTHER GODDESS AND THE CREATOR OF MANKIND POSSESSED THE TAIL OF A SNAKE. SHE WAS KNOWN FOR HER KINDNESS AND STRENGTH, DOING ALL SHE COULD TO SUPPORT MANKIND’S GROWTH. IN THE HINDU RELIGION, SHESHA IS THE SNAKE GOD THAT HOLDS THE WORLD UP AS ITS RIGHTEOUS PROTECTOR. IN CELTIC MYTHOLOGY, THE SNAKE REPRESENTS REBIRTH. IT WAS THE SIGN OF A CHANGE, PERHAPS SELFAWAKENING OR THE RENEWAL OF ONESELF.

IN DUEMODA’S SECOND INSTALLMENT, WE BRING YOU DECOLONIZATION AND DECONSTRUCTION. JUST LIKE THE MEANING OF THE SNAKE, WE WANT TO REINTRODUCE THE BEAUTY OF THESE FORGOTTEN FIGURES TO THOSE IN DIASPORA IN THE WEST. IN THE BROADER SENSE, WE REJECT THE WEST’S REBRANDING OF THE SNAKE, AND IN DOING SO REJECT REBRANDING OF INDIGENOUS CULTURES AND THE DOMINATION OF ONE SUPREME ABOVE ALL ELSE.

IN DELIBERATING HOW WE WOULD BEST PORTRAY OUR EXCITING IDEAS, WE DECIDED TO HAVE SIX OF THE MODELS SHARE WITH US HOW THE SNAKE PLAYED A PART IN THEIR IDENTITY, BE IT FROM A CULTURAL OR RELIGIOUS STANDPOINT. IN REVEWING THEIR RESPONSES WE FOUND TWO KEY THEMES IN WHICH THE SNAKE MATERIALIZED:

POWER AND REBIRTH.

-CELESTE YUN ZHOU AND BRYCE KILBURN

FOR CENTURIES, BREAKING INTO THE FASHION REALM HAS BEEN FOUND TO BE DIFFICULT AND NEARLY IMPOSSIBLE TO ACHIEVE. FOR THOSE WHO HAVE HISTORICALLY HAD A MARGINALIZED BACKGROUND, IT HAS NOT BEEN SO EASY. FROM NAOMI CAMPBELL IN THE 90'S FOR BRITISH VOGUE TO LAVERNE COX, A TRANS SUPERMODEL OF TODAY, THESE SUCCESSFUL CREATIVES HAD TO WORK FROM THE BONES TO ACHIEVE HALF OF WHAT THEIR COUNTERPARTS HAVE ACHIEVED. IN THIS ISSUE OF INTERVIEWS, WE HAVE INVITED MULTIPLE PEOPLE OF MULTIPLE BACKGROUNDS TO SPEAK ON THEIR OWN EXPERIENCES BEING BIPOC CREATIVES, QUEER ARTISTS, DISABLED ACTIVISTS AND OTHER MARGINALIZED IDENTITIES.

THE GOAL OF THIS SECTION IS NOT ONLY TO HIGHLIGHT THE STRUGGLES THAT THESE CREATIVES HAVE FACED WITHIN THE FASHION REALM, BUT TO ALSO HIGHLIGHT THEIR ACHIEVEMENTS THAT STRAY AWAY FROM THE TYPICAL ROLE OF “OPPRESSION” AND “BEING THE HELP.” IT IS MEANT TO HIGHLIGHT THEIR SUCCESSES AND ACHIEVEMENTS WITHIN THE FASHION INDUSTRY. HERE AT DUEMODA INTERNATIONAL, WE NOT ONLY CREATE LONG LASTING ART AND FASHION FOR PEOPLE TO ENJOY, BUT WE CREATE MEANINGFUL MESSAGES THAT CONVEY MUCH MORE THAN JUST A STORY. WE CREATE INCLUSIVITY, IMPACT, CHANGE AND MOST IMPORTANTLY THE TRAILBLAZERS OF TOMORROW WE ARE THE FUTURE OF FASHION, WE ARE THE INSTITUTIONS AND EDUCATION,

WE ARE THE CREATORS OF CULTURE & FASHION

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN PARK

MODEL, CRISTINA BENN

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN

PARK MODEL, SAVINI GAMHEWAGE + SELINA MA

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN

PARK MODEL, CRISTINA BENN

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

P O W E R

SELINA MA

“I was inspired by the dual symbolism of snakes - often seen negatively but also representing rebirth and healing in Chinese tradition. I wanted to capture the power of transformation and healing after facing darkness.

This theme reminded me of embracing inner strength, similar to a trend where embracing your inner villain was celebrated for its power. I chose a sharp, dark makeup look and a simple yet intense outfit to convey this resilience.

Staring into the snake's eyes symbolized facing fears and emerging stronger. It's about empowerment through transformation and healing.”

KYRA HUDSON

“I selected the attire focusing on business attire and the “office siren” look. These clothes resemble power and confidence. My clothes allowed me to enhance my sense of style to feel empowered in my body while wearing clothes I’m comfortable in. Adding the snake added to the feeling of empowerment. As a more reserved person, the snake made me feel like an alternate “dark version” of myself who radiates power. This opportunity allowed me to explore an additional persona of mine that screams assurance and strength. I felt represented as a powerful and successful black woman with my clothing style. I picked an attire that enables a sophisticated allure. In my cultural background snakes are often looked down upon, but this shoot brought out some of their positive qualities of taking the power of snakes to use for good not evil.”

SAVINI GAMHEWAGE

“As a Sri Lankan woman, snakes are traditionally seen as evil or undesirable in my culture. However, ever since childhood I’ve always been fascinated by the beauty of snakes, specifically the intricate patterns on their scales. Despite what society tells her, the snake graciously struts her scales.

I find this reflects why I chose the rather eccentric clothing pieces I wore for this shoot; I’ve always taken a liking to “weird”, yet chic imagery in fashion (for example, Sandy Liang and Heaven by Marc Jacobs)

I’ve noticed that South Asians are very underrepresented in high fashion, and I’ve seen very few people who share the same ethnicity who dare to indulge in “weird” fashion. Therefore, I’ve always been afraid to express myself through clothing in public. Yet, when I was holding the snake, I felt empowered. No matter what society thinks, I’ll never be afraid to show my scales.

RE

BIRTH

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN PARK

MODEL, ALLEGRA JONES

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN PARK

MODEL, ALLEGRA JONES

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN PARK

MODEL, LAVANYA GOYAL + VIANEY CARDIEL

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN PARK

MODEL, LAVANYA GOYAL + VIANEY CARDIEL

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN PARK

MODEL, LAVANYA GOYAL

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

CREATIVE DIRECTOR, BRANDON DE MARTÍNEZ

VIDEOGRAPHER, KAELIN PARK

PHOTOGRAPHER, ANISHA CHOPRA & KAELIN PARK

MODEL, LAVANYA GOYAL

STYLISTS, TAYLOR JONES

MUA, REIAH JAFFER & KHYARA ROBLE

REBORN HOW HAVE YOU BEEN THROUGHFASHION? DUEMODA

When you look at the

see?

IS IS NEW LIFE BEING SPAT OUT FROM ITS MOUTH? THE SNAKE EATING ITSELF? OR what do you

The snake that devours itself was first depicted in Ancient Egyptian hieroglyphs, symbolizing the unification of two mighty Gods, Ra and Osiris They represent the beginning and end of time, a symbol of death and rebirth in a closed circulatory system

R E B I R T H

WHY DID YOU CHOOSE YOUR OUTFIT?

LAVANYA GOYAL

MODEL INTERVIEW

“I selected the clothes I did to give off a more elegant look. They represent a part of me and my style that I do not often get to express in daily life which made wearing the outfit much more fun and enjoyable. I felt as if I were a new person and empowered in my sense of fashion.

Taking pictures with the snakes was definitely a different experience. I thought that posing with the snakes and with other people contrasted the lightness of my styling, but aligned with the image of a "dark or twisted" person of elegance that we sometimes see in TV shows or movies.

I felt as though I was stepping into the shoes of someone else which felt really fun for the photoshoot. I also liked how we matched the snakes with many different aesthetics, indicating that darkness or power comes in many different forms.”

ALLEGRA JONES

MODEL INTERVIEW

“I was really going for something that made me look like I could fit into a snake's habitat. Rather than creating contrast, I wanted to become the snake. And with my head wraps and jewelry I wanted to give a flair of regality, reminiscent of Ancient Egyptian royalty.

I felt beautiful and the snake reminded me of change and duality. I actually changed outfits to symbolize a snake shedding its skin and past. As a black trans woman, my upbringing was hard and I felt stifled in an environment where there was so much hate and lack of understanding, but I decided to fiercely love myself and leave behind all the negativity like a shed skin.”

WHAT IS HOME? CAN HOME BE DEFINED BY THE COUNTRY YOU WERE BORN IN? THE NATIONALITY YOU REPRESENT? THE PEOPLE YOU ARE AROUND? IN THIS EXHIBIT, WE WILL BE ILLUSTRATING THE BOUNDARIES BETWEEN THE UNKNOWN AND WHAT IS REFERED TO AS “HOME.” OFTENTIMES, MARGINALIZED INDIVIDUALS SPEND SIGNIFICANT AMOUNTS OF TIME PONDERING THEIR OPPRESSIVE EXISTENCE THAT IS ALWAYS POLITICIZED. IT IS TRUE THE SYSTEMATIC OPPRESSIONS ARE IN PLACE. WE DECIDED TO CURATE AN EXHIBIT THAT SHOWCASES GOING FROM OPPRESSION, TO EXCELLENCE AND POWER. HOW DO WE RECLAIM THAT POWER? IT IS UP TO THE INDIVIDUAL AND THEIR OWN STATE OF MIND TO DECIDE.

WILL

“ “

WHAT IT MEANS TO BE PALESTINIAN IN A UNIVERSITY THAT PUTS MY IDENTITY UP FOR DEBATE

F*GGOT MARICÓN X

HOLA,

TODOS LOS DÍAS PIENSO EN LO MISMO: EN CÓMO ME VISTO.

¿SI ME VISTO MUY MASCULINO?

¿SI ME VISTO FEMENINO?

¿SI ME VEO MUY MEXICANO O MUY ITALIANO?

¿O SI LA GENTE SE DA CUENTA DE MI AUTISMO, DE QUE FUNCIONO DIFERENTE QUE LOS DEMÁS, QUE SOY DIRECTO Y FUERTE CON MIS EMOCIONES?

ALGUNAS VECES ME PREGUNTO, ¿CÓMO SERÍA MI VIDA SI NO FUERA NI MARICÓN NI JOTO?

PERO CADA VEZ, RECUERDO A MIS ANCESTROS MEXICANOS, QUE HAN SUFRIDO POR SIGLOS EN MANOS DE LOS CONQUISTADORES.

MIS ANCESTROS LGBTQ+ QUE HAN PASADO POR EPIDEMIAS DE SIDA O PELIGROS DE SEGURIDAD.

PERO ME DOY CUENTA DE QUE NO IMPORTA LO QUE LA GENTE PIENSE NI PERCIBA DE MÍ. CADA VEZ QUE SALGO AL MUNDO,

ME ARMO Y LUCHO CON LAS ESCENAS, CON LAS PERSONAS Y CON LAS INSTITUCIONES.

LAS INSTITUCIONES QUE NO ME DAN NADA, QUE NO ME EMPODERAN, QUE NO ME DAN RAZÓN PARA VIVIR.

¡PERO SÍ HAY RAZÓN PARA VIVIR! Y SABES QUÉ, ESTOY EMPODERADO DE SER YO MISMO. ESTOY EMPODERADO DE SER GAY, DE SER LATINO, DE SER AUTISTA, DE LA HOMOSEXUALIDAD

¿SOY AUTISTA Y QUÉ? ¿SOY MEXICANO Y QUÉ?

SOY UN MARICÓN Y QUÉ?”

HELLO,

EVERY DAY I THINK ABOUT THE SAME THOUGHT, HOW I DRESS

IF I DRESSED MASCULINE ENOUGH

IF I DRESSED FEMININE ENOUGH

IF I LOOK MEXICAN ENOUGH or IF I LOOK ITALIAN ENOUGH OR IF PEOPLE SEE MY AUTISM OR MY DISABILITY

CAN THEY TELL IM AUTISTIC FROM MY DEAD EYES?

THAT I AM STRONG AND SENSITIVE WITH MY EMOTIONS?

SOMETIMES I WONDER: WHAT WOULD MY LIFE BE LIKE IF I WASN’T A F*GGOT?

BUT EVERY TIME I BEGIN TO WONDER, I REMEMBER MY MEXICAN ANCESTORS.

MY MEXICAN ANCESTORS WHO HAVE SUFFERED FOR CENTURIES AT THE HANDS OF EUROPEAN COLONIZERS

MY LGBTQ+ PREDECESSORS WHO PERSEVERED THROUGH THE AIDS EPIDEMIC IN THE 1980’S, WHEN THE UNITED STATES GOVERNMENT LEFT MY QUEER ANCESTORS TO DIE

I REMEMBER THOSE WITH AUTISM WHO CAME BEFORE ME

AND IN THE END, I REALIZE THAT IT DOESN’T MATTER WHAT PEOPLE THINK OR HOW THEY PERCEIVE ME EVERY TIME I GO OUT INTO THE WORLD, I PUT ON MY ARMOR HOPING I DON’T GET MURDERED

HOPING THE DAY WON’T BE MY LAST EVERYTIME I GO OUT INTO THE WORLD AND HOPE I AM NOT MISUNDERSTOOD

I THINK OF THE PEOPLE AND THE INSTITUTIONS, THE INSTITUTIONS THAT GIVE ME NOTHING THAT DON’T WANT TO SEE ME EMPOWERED

BUT,

I LIVE IN SPITE OF ALL THOSE WHO DON’T WANT TO ACCEPT ME, I LIVE FOR MY SISTERS, MY MOTHER, MY FATHER, MY QUEER FAMILY FOR MY MEXICAN ANCESTORS, MY NEURODIVERGENT COMMUNITY

I AM EMPOWERED TO BE GAY, TO BE LATINO, TO BE AUTISTIC AND GUESS WHAT? I NO LONGER GIVE A F*CK WHAT YOU THINK I’M AUTISTIC, SO WHAT? I’M MEXICAN, SO WHAT?

I AM QUEER, SO WHAT?

I’M A F*GGOT. ¿Y QUÉ?

ISAAC COENCA

ART BY

POWERAND INFLUENCE

“As artist and people who are creative, it's through our creativity and our practices that we find agency, and we find a place for souls within these large institutions and long standing industries. When we’re able to enact control through our creativity or through our perspectives, I think that kind of allows us to see that we have power, and that we are powerful and have impact in these industries. I think as someone who has a lot of identities, and a lot of those are marginalized identities, being an artist, just felt like something I was already doing, and something that allowed me to enjoy my life and existing, and I think my passion for my work is just my passion for my life and for my artist friends and their work in their lives.”

“Como artistas e pessoas criativas, é através da nossa criatividade e das nossas práticas que encontramos agência e um lugar para as nossas almas dentro destas grandes instituições e indústrias de longa data. Quando conseguimos exercer controlo através da nossa criatividade ou das nossas perspetivas, penso que isso nos permite ver que temos poder, que somos poderosos e que temos um impacto nestas indústrias. Acho que como alguém que tem muitas identidades, e muitas delas são identidades marginalizadas, ser artista parecia algo que eu já estava fazendo, e algo que me permitiu aproveitar minha vida e existir, e acho que minha paixão porque meu trabalho é apenas minha paixão pela minha vida e pelos meus amigos artistas e pelo trabalho deles em suas vidas.”

C BEING A

BLACK EXCELLENCE

Being a BIPOC creative involves navigating the intersection of carving out space in a selfcreated environment while continuously evolving one’s craft. In their sophomore year, they delved into the fashion realm by joining Creative Wants Change (CWC), an organization dedicated to providing Black youth with opportunities in fashion. CWC instilled the confidence needed to pursue a career in fashion, despite initially feeling excluded from the space. Through mentorship and skill development, they honed their craftsmanship and fashion forecasting abilities. Transitioning from a predominantly BIPOC community to a predominantly white institution was challenging, particularly when she felt their creative potential was hindered in a professional setting that didn’t resonate with them. To address this, they actively sought out BIPOC creatives, increased involvement in inclusive spaces like Trotter, and created opportunities to showcase diverse talent. Embracing storytelling and social impact, they aim to highlight Black joy at the university, hoping to express appreciation for the community they’ve found. Taylor eagerly anticipates the transformative journey ahead, ready to embrace new artistic endeavors at Michigan.

TAYLOR STEVENS

ANISHA CHOPRA

“WHAT IT FEELS TO BE EMPOWERED IN A FIELD DOMINATED BY PEOPLE WHO DO NOT LOOK LIKE ME”

HOW DOES BEING A

CREATIVE EMPOWERS

YOU TO BE STRONGER

AND STRONGER

AND MULTIFACETED IN AN INDUSTRY THAT ISN’T AS WELCOMING TO PEOPLE FROM DIFFERENT BACKGROUNDS?

There are people in this world who feel uncomfortable by my mere existence. There are people who do not want me to

have a voice or any mark left on this world we live in. This fuels me to create every day. From photography to writing, speech, dance, painting, to literally anything. Creating for me is the equivalent of living and breathing, existing alone is a form of resistance. The more I create and put out into this world the more I resist the systems that want to put me and my fellow creatives down.

When I put my lived experiences and beliefs into a work of art that makes people think and stare, it gives me a euphoric feeling. Engaging in artivism (art activism) has been my tool of expression and quantifying what happens in the terrifying world we live in. It also opens a door for deeper dialogue and collaboration. The systems in place

are not going to change overnight and the goal of my art is not to do that but to instead create opportunities for dialogue to broaden peoples’ worldviews. It has become such a release for me and has allowed me to realize that I am not alone. People are stronger together. We need each other to survive. Collaboration is the backbone of any industry but it has to be meaningful and inclusive. I continue to create and engage in this discourse with other creatives to not only be in inclusive environments for myself

but to also build those spaces for generations to come. This drive is what makes me strong. I refuse to lose the ongoing battle against prejudice. You can call me stubborn, opinionated, or tell me “I’m doing too much” and I’d have to agree. Striving to create in a world not built for everybody is a beautiful, difficult, strenuous, and empowering process that I will continue to share unapologetically. Creating is just something I have to do.

DUEMODA