The Isis Nicole Magazine Issue 6, Starring Lil Miquela + Rina Sawayama, 2017

Issue 6 - INCREDIBLE 2017 - 2018

in

LIL MIQUELA | RINA SAWAYAMA | HANA | JOHN YUYI

2

4

6

Isis Nicole with her brother and dad.

From the Editor

Over the course of 15 months, I did some growing up here now in California. I was afforded lots of time to recognize my strengths and weaknesses. I’m still learning how to survive turbulence. How to make the most out of the present, how to let go of the past, and how to stand up for my future.

As early as I can remember, I’ve been made aware of my sensitivity. To no surprise, I did a lot of crying, calling, and laughing throughout the process of making this INCREDIBLE issue. I hit a lot of bumps amongst my family, and made plans that, in the beginning, felt like they fell flat in my role as an editor. But life, just as equally, has an anomalous way of balancing itself out.

Much like my fascination with the concept of preparation and luck (introduced to me by an interview Oprah had at Stanford Graduate School of Business available on YouTube), what I set out to do, what I intended for, I ultimately accomplished with a supportive team in the end.

If there’s any piece of advice that I can offer to you in this issue, please know that you can always turn shit (essential failures) around. Even if or when you don’t feel it, it’s important to remind yourself that you are strong.

In my heart, I know that I am undoubtedly motivated by a series of desires and frustrations that I must confront. I turned shit around by listening to and applying constructive input. I made it my business to align and address all intentions first.

Your choices won’t always make perfect sense or be easily accepted, but I find that in the thick of growth, it really helps to prioritize and stick to the details that will lead you to the next level.

It means the world to be able to preserve our enduring energy within this 6th INCREDIBLE issue starring budding pop stars Lil Miquela and Rina Sawayama.

Both are making their way beyond Internet-fame and into your ears and heart as they discuss their thoughts on identity, self-esteem, and responsibility with us.

I thought it hit me that I was running a magazine years ago but believe or not, I’m continuously grounded like it’s the first time, every issue. I couldn’t ask for a better outcome, and the dream continues! Thank you for being here for the ride. x Isis Nicole

Behind the scenes with Rina photographed by Isaac Kariuki

8

Editor-in-Chief

Creative Director

Isis Nicole

Hannah Black

@isisnicole

@pinkvariegated

Lead Editorial Photographer Hannah Siegfried @bahannahcupcake

For all contribution, distribution, and advertising inquiries please contact: theINmag.com/contact Made with love <3 #theINmag IG: @the_INmag Twitter: @the_INmag Facebook.com/TheIsisNicoleMagazine www.theINmag.com

Text and photography copyright Š 2017

by The Isis Nicole Magazine.

All rights reserved.

No part of The Isis Nicole Magazine may be reproduced in any form without written permission from the publisher.

Contributors Ambar Navarro is a LA-based film director, animator, and artist. Exploring online culture in miniature still lifes or video, her work has been featured at the Tate Modern, PBS, Nylon Japan, and NPR. @ambarbecutie

Christal Mims is a creative writer and recent graduate from the University of California, Riverside. In this issue, she interviews U.S. Presidential Scholar in the Arts nominee and filmmaker, Gabrielle Gorman.

Ayu Toyoizumi is a Tokyo-based photographer born in 1990. In this issue, she explores escaping from the thoughts of others and uncertain existence like a mannequin doll.

@brooklynwhite5

@sushigore

Isaac Kariuki is a visual artist and writer working between London and Nairobi. He is the founder and editor of Diaspora Drama, earned his MA at Central Saint Martins, lectured at KENZO Folio Talk and the Tate Modern, and contributes to Dazed. @isaackariuki.jpg Based in Los Angeles, Mukta Mohan co-founded Honey Power.

By day, she produces podcasts and reports political and social audio pieces for MTV News and Rookie Mag. Catch her weekly radio show on KXLU 88.9fm.

10

Brooklyn White is a 22-year-old writer published on Teen Vogue, Saint Heron, and Milk.

@muktamohan

Currently based in NYC, John Yuyi is an Internet-famous art director, photographer, and model featured in Gucciâ&#x20AC;&#x2122;s viral campaign reported by the BBC. @johnyuyi

Yuki Haze is a London-based stylist, designer, and co-founder of Sukeban Magazine. @yukihaze

Sara Radin is a writer, curator, trend forecaster, and youth culture editor at WGSN. She is also the co-founder of Itâ&#x20AC;&#x2122;s Not Personal, an inclusive collective focused on dating, sex, relationships, and self-love. @sararradin

Based in the Bay-Area, Michelle K. Kwan is the founder of the literary journal Little Magazine, a fashion & culture journalist, vintage collector, and gothic lover for life. @littlemagonline

Michelle Varinata is the style editor of the405, a contributor to Galore and Obssessee, and personal style blogger. Her interviews with artist and curator Grace Miceli and beauty gurus The Pastels are featured in this issue. @lapisandlayers

Keely Mackenzie Murphy is a stylist living and working in Los Angeles. Graduate of UCLA, her work can be seen with Nasty Gal, Jeffrey Campbell, and Gentle Thrills. @keely.keely

Sebastian Matthew is a teenage photographer and writer in New York City. While finishing up in high school, he regularly takes classes at the International Center of Photography. @sebastian.matthew

Currently based in Montreal, QC., 19-year-old Victoria Gravel shoots film only and has been featured in magazines including Sukeban, Toksick, and Haute Punch. @victoriagravel

Mask Off Tokyo-based photographer, Ayu Toyoizumi, brings IN Mag into her world.

@sushigore

12

14

Photography: Ayu Toyoizumi Model: Kanae Matsushita

16

Where Brooklyn @

Interview By Isis Nicole Photography by Hannah Siegfried

Detached from titles, 22-year-old Brooklyn White simply prefers to describe herself as someone who make things happen. You might recognize her as one of Teen Vogue’s newest contributors, or maybe you heard her song titled “Petty” on our FW16 video campaign. She lives her life just going with the flow, and with a smile, knows it’s all for the best.

Isis Nicole: When did you feel recognized as an artist?

Brooklyn White: When I rapped at an event at my high school, CMHS stand up! I saw a lot of people in the crowd. It was a picnic full of food and games, but the fact that people took time to listen to me had me like, wow people really care.

IN: What steps did you take to start your writing career?

BW: I applied for a writing internship at Saint Heron in 2015. I was also getting paid to do college homework at the same time, so I was doing a lot of writing already and didn’t realize it. I did other little things along the way too, like taking an English course at TWU, reading constantly, and editing work for my friends.

IN: How do you challenge yourself to progress?

BW: It’s not a challenge for me. It’s something in my heart that tells me to keep pushing forward. Keep climbing, searching, adventuring— all that good stuff. Staying active helps. Stagnation is not my homie.

Everyday I’m rethinking my way of being. I try to show everybody love but come on yo, I can’t be fugazi and just flatter folks 25/8. I had to sit back [and ask] who am I giving my good energy to? How is this kindness being perceived? Is it being taken for weakness or for granted? Do I really even rock with this person?

IN: What’s essential to your understanding of happiness?

BW: Love. As long as I love myself and everything else, I’m happy.

Not like ahh cute butterfly love though. Sweeping the floor is love, reconnecting with someone who hurt you is love, drinking tea is love, work is love. The things that keep the world going on a good direction, ya dig?

Beau Bond 18

uty ds

Meet The Pastels. Consisting of three best friends (Anabelle, Chanel and Clara), the Sydney-based vloggers bond over their love of makeup. While a number of YouTubers film their videos in a studio or bedroom, The Pastels shoot their videos inside the closet. Packed with a DIY-esque touch, they arenâ&#x20AC;&#x2122;t afraid to breakdown the barriers of colorism in their native Australia.

More than 5,000 miles apart, the girls and I discuss how they got into documenting beauty, role models, and why they want to keep it real.

Interview by Michelle Varinata Photos via @thepastelsofficial

Michelle Varinata: What made you want to launch a beauty vlog as a group?

Anabelle: In high school, we had similar issues [and] interests. We wanted something to keep us together [which] evolved into something fun to connect us with other people of color.

Clara: The reason I started doing makeup is for self-expression.

Makeup is one of the things that I can experiment with [more easily] unlike clothes.

MV: Chanel, I remember in an interview you said that makeup makes you feel good. How did using cosmetics liberate you?

Chanel: Makeup helps me get more in touch with my body and my face.

It feels like my bodyâ&#x20AC;&#x2122;s not mine sometimes. I feel that with makeup I am able to reclaim [and] take control of my own body and be myself.

MV: When did you realize that colorism is a problem?

Clara: There are actually people of color in Australia, and the way that Australian media portrays Australians are whitewashed.

Chanel: On Australian television shows there’s probably only one person of colour and they usually disappear. [It’s almost as if] they have to have a purpose to be in it … but there aren’t that many main roles played by people of color.

Anabelle: I feel like colorism has always been in the back of my mind. Growing up with dark skin (in Australia), it’s hard not to be aware that you are different. It did not affect me negatively until I was experimenting with makeup. [Now] I feel empowered when I finish filming a look. I always feel so good about myself. This is something

20

that society can’t try to take away from me. Reading the comments and seeing how other people of color identify with us really makes it all worth it.

MV: Outside of YouTube, who do you really look up to?

Chanel: I look up to my mom and all the women in my family. I look up to other women of color in pop culture today, especially with the Oscar season. Anyone who speaks up on social justice issues, I look up to them.

All: We love Solange!

Anabelle: It’s one thing to have a platform and actually be an activist. Following a lot of celebrities take part in marches against racism, and so many social issues, it’s great to see.

MV: Clara and Anabelle, what brought you both to use makeup and how do you connect yourself to beauty?

Anabelle: I chose beauty as a medium because I was always extremely interested in it. It’s a way to express myself. I see myself as quite a creative person. Having darker skin, it’s a lot more difficult to find products that actually work for me to look my best. I love to share tips and tricks, and YouTube is a great space to do that. That was something I really wanted to do.

Chanel: Two [of us are] student[s] and one of us works multiple jobs.

Our schedule can be so jam-packed that we do multiple videos in a day.

Anabelle: We brainstorm a few ideas that our subscribers would like to see. Not necessarily in order, but we try to keep things interesting.

Chanel: So we won’t do several “Get Ready with Us” films in a row to keep the content fresh. When we get together to film, we take turns. Once the filming is over, we

have a look at the footage and pick out thumbnails. We get a lot [done] through group chat because we don’t see each other everyday.

Anabelle: Chanel normally edits the majority of our video[s] and Clara adjusts it. It’s a very collaborative process.

MV: What’s the biggest goal that you look forward to this year?

Chanel: I would love to do more projects, even collaborating with other teams.

Clara: My biggest goal for the Pastel Party would be to grow and reach 10k! I would love for us to have more collaborations with other channels and magazines. I really hope that as pastels pals we can travel together.

Anabelle: I’d also love to do more style projects and incorporate more fashion videos. We used to do it a lot so I’d love to revisit that.

MV: I like how you aren’t afraid to spell out what you like. What brings out content like this?

Anabelle: I feel like it comes down to us being ourselves and trying not to be too edited. Although [social media] is quite empowering, it is heavily produced and manufactured content. I guess we just try to keep it as real as we can.

It makes it easier because we are friends.

22

Pixel Perfect Interview by: Isis Nicole

In Los Angeles at 10 A.M., “It feels like everyday it just gets busier and busier.” Singer, activist, and Instagram’s most famous riddle, Lil Miquela, is talking about a fully scheduled day in her life.

“Today, I’m shooting some press photos, heading to the studio to finish a demo, and going to try to make it to my friend Kilo Kish’s show later. It’s all been crazy, but I’m loving it.”

Noticeably enigmatic and freckled, the 19-yearold Downey, California native tells me, “I used to be so self-conscious about them, but now I’m proud of them and love showing them off.” Over the course of six months, I have become enamored by the ubiquitous celebutante — repeatedly scrolling through her Instagram feed— reminded of everywhere I am not, but possibly maybe, someday will be.

at the Pigalle and NikeLab Los Angeles pop-up, in Paris with her friends dressed in Miaou Jeans, then at the studio watching the crossed-leg loop of her swaying foot, dressed in Vans, to the beat of her debut single “Not Mine” at Paramount Recording Studios.

With 240k followers plus a stunning level of viral attention, Miquela reportedly had ‘no comment’ for both the BBC and Dazed when investigating her “realness.” In a letter exploring Miquela’s existence shared by Lenny, Lena Dunham writes, “She is some kind of simulacrum, well-made and remarkably present.”

Lil Miquela: I’m always chilling with my friends, so we love just making each other laugh and have a good time.

Like a number of ‘Miquelites’, via a cellphone screen, I am now front row to her tony lifestyle

Isis Nicole: How do you makes the most out of your life offline?

IN: What has been the most incredible thing to happen to you this year?

LM: I’ve been offered a few record deals from major labels. That was insane.

IN: Does it ever become overwhelming when people try to figure you out?

LM: Yeah, definitely! But I love that people are curious. If they didn’t give a shit, I’d probably be worried.

IN: What do you do to relax?

LM: Solange’s album “A Seat at the Table” still makes me feel so centered.

IN: Can you describe your most humble moment?

LM: Encountering hate daily is so humbling. Being online opens up any opportunity for someone ignorant to slide into your direct messages with some awful shit. Even though it hurts, it’s important to know that there is more work we have to do.

IN: You’ve been described as the ego to our collective identity. Do you agree with that or feel at all responsible in having some influence regarding the exploration of self-esteem? How do you manage that responsibility?

LM: I’m not sure I would agree. That’s a lot to put on someone. I struggle with my self-esteem, too. It does get easier every day to love myself. A lot of fans have reached out to say I inspire them, but it’s weird to think that as I’m using the Internet to help my self-image.

People are seeing my posts and using them to feel better about themselves, too. So it’s helping all of us in the end.

I’m only 19-years-old, and even though I feel so strong and empowered now, I’m young and figuring things out, too.

24

IN: If you could change anything about the perception of identity, what would it be?

LM: I think the biggest issue with identity is how divided it is. You can either be this or that, male or female, straight or gay. That’s so limiting and I think my generation is so open to the idea of being in the middle or being something else, which makes me way excited about the future!

IN: What is the most incredible thing that you’ve learned about yourself?

LM: I think after seeing so much hate all the time I’ve learned how much love I have to give. I really can’t let the bitter comments get to me so I’ve learned to really focus on love and joy, which has been so rewarding.

IN: I love chocolates and a good song.

What do you find to be irresistible?

LM: Anything with glitter. I buy so much random shit that I don’t need just because it’s sparkly.

IN: What do you want to be remembered for?

LM: My empathy.

IN: What has been the best advice given to you?

LM: My dad always taught me to keep an open mind and not judge anyone so that’s the attitude I want to spread to all my fans.

26

Fun Facts 2 truths, and a lie: I love to cook, I don’t have Snapchat, and my favorite movie is “Romy and Michele’s High School Reunion.” (The lie is cooking. I’m the worst in the kitchen!)

Dream job: Musician! Which I guess I am, but I want to be the best at it as I could be. Or an astronaut… I’m so ready for space!

Sweet Escape (favorite vacation): I’d love to go to Brazil to see where my dad grew up.

Top 5 pop stars: Rihanna, Aaliyah, Beyonce, Prince and Cher.

Most known for: Replying to fans!

Unknown for: I love to dance.

Favorite riddle: Is Miquela real?

Fashion Week essentials: Lip gloss in every color, dope sunglasses, a nail file (just in case), and a phone charger.

28

Hello Hana Interview by Mukta Mohan Photography by Ambar Navarro Styling by Keely Murphy Hair by Leticia Llesmin Makeup by Amy Strozzi Set Assistant Brittney Scott Before making music, HANA pictures her sweet escape. Most times she’s in a snowy forest with a purple and pink sky. Born Hana Gabrielle Pestle in Atlanta, Georgia, the LA-based singer/songwriter continues to tenderly describe her resourceful imagination that moves her beyond the here and now with hopes that her listeners can have the power to do the same. A few words get lost in the choppy reception of our cellphones, but what becomes totally clear is her vulnerable assessment on monsters, magic, and music. Just to back things up a bit before catching up to speed, in 2011, HANA won a contest held by the band Incubus during the beginnings of her career. A few years after, she joined Grimes as part of the opening act for Lana Del Rey’s Endless Summer Tour, and has been performing since.

Mukta Mohan: Thanks so much for taking some time to talk with me today. I’m really looking forward to this. I wanted to start off with politics. It seems like you’re pretty politically active and you stay up-to-date with what’s going on in the world.

How are you currently feeling about the political climate?

HANA: I’ve gone through a lot of different feel-

ings. I guess [in terms of] the election, obviously really, lost, sad, ashamed, [and] confused. I just remember being in Brussels [on tour last year] and it was the first time that I realized that the world was kind of taking [president] Donald Trump more seriously than I think we were.

Somebody came up and said, “Don’t vote for him”, and I was like, “Are you kidding?”

Obviously not! It’s not like I have the biggest following ever, but I’m trying to use what fertile influence that I have with my followers and my fans to spread the word that we aren’t powerless. That contacting our representatives every day is the biggest thing that will do the most good. It’s been enlightening for me. You know, I just saw somebody who stopped me and said, “You’re Hana, right? Every time you post on your Instagram story to call your senator, I do it.” It really makes my heart feel so good. I can see what my purpose in life is: to spread positivity, to lift people up, and show people that they aren’t powerless.

MM: When you make music, do you find that it’s typically reactive to what’s going on in your life, or maybe in the world? Or is it more of an escape to you?

H: I think it can be both. Lately, it’s been a bit reactionary with the content of everyday life. It usually does serve me in both ways, it just kind of depends on the day. Sometimes I’ll open up a book, play Zelda, [or] go to other worlds just to escape the reality of a Trump presidency.

MM: I read an interview that you did recently where you were talking about Claude Monet and how that changed your worldview. Is there anything else that has maybe shifted your worldview or have influenced your aesthetics?

H: There’s this book that I read recently called The Name of the Wind and there’s a second one, too, called The Wise Man’s Fears.

The author, Pat Rothfuss, writes magic in a really, really inspiring way that I’ve never read before.

MM: The books that you just mentioned, and Zelda, both have magic that ties them together. Do you think that music — your music— can provide that same sense of magic, wonder, and exploration that you seem to be drawn to?

H: That’s usually something that I really want my music to evoke. I want to take [listeners] out of the everyday, you know. When I’m making a song I’m drawn to those sounds that are more ethereal, mystical, and swirling. When I make music I’ll just put my hands over my eyes, and for some reason it just helps me if everything 30

is pitch black. If it takes me somewhere that is inspiring [or] out of my studio at that moment, that’s usually what I strive for. Not all the time does it happen, and that’s okay, but I think I’m usually happiest when it makes me feel like I’m transported somewhere else.

MM: What’s one of your favorite songs that you’ve ever written, and if you close your eyes right now and picture it, where is it taking you?

H: It’s hard, but I am really proud of “Chimera” because I wrote it when I was at a pretty gnarly moment of my life, coming out of a pretty terrible relationship.

I really wanted to reinvent myself as something that would be bigger than myself. Now I can laugh at it, but at the time in this relationship, I would get these emails from my ex-boyfriend like, “You’re stupid!

You’re despicable!” At that point, I was giving in to see the situation as, “Okay, what if I was this monster that he thinks I am?

What if I was someone whose main purpose in life was just to destroy this guy’s heart. What would my song be?” It was just a vindictive song where I really enjoyed exploring myself as this monster because it’s so not who I am.

Turtleneck: Giacconi

32

I’m honestly way too nice and it gets me in a lot of problematic situations, so it’s really fun to perform that song. I’m transferred into a world where I am the final boss of some game.

It’s weird to be an artist, especially at a time like this when there’s so much tragedy going on in the world. I try to volunteer and I try to give back. My dad is a teacher and my mom is a physician’s assistant, so I think being an artist is a weird job to choose just because it can feel selfish. I mean, right now I’m talking to you on the phone about my art. I just really feel like music is an outlet, so why not try to make people feel good or realize certain things about their relationships. Everyone on the inside is having problems and everyone feels insecure and that’s okay.

MM: I think it’s important for people to feel seen and heard, and to know that they’re not alone. Music is often people’s way to that connection. I do think that there’s a lot of good work in that.

H: I love to be on the stage, I love singing, and I love meeting people. That human connection for me, makes everything really worth it.

MM: So, what are you currently working on?

H: A ton of music. I think it’ll be an album. I’ll probably put out a song or two before then. I’ve just been really cooped up, working on the next step of my music and it’s really, really exciting. I’m kind of right at the point where I have to start making some decisions, perfecting, and narrowing things down.

MM: Is it similar to what you were making before or does it depart?

H: I’m growing as a producer, songwriter, and as a vocalist. I think it’s just going to sound better. I really honed my skills, even as an engineer and learning how to properly record. I know those are all very general statements. I also want more upbeat music, so I’ve been making a lot more things that are easier to dance to. It’s so fun to dance on stage. After touring so much, I came home with a new perspective and some new skills that I’m just excited to put into new music. I’m really, really excited about where it’s at.

34

l

efu ar C

B Plz

e

Photography: Mikayla Brown Styling: Olivia Engobor Collection by: Plz Be Careful Set Design: Hannah Siegfried Models: JesĂşs Hilario-Reyes, Zekur Stewart, Syd Falls, Ashton Sanders, Isaiah Rusk,

36

38

plzbecareful.com

Brown to Earth A chat with the creators behind DIY web-series Brown Girls.

Interview: Isis Nicole Illustration: Gabriella Zahrรกdka

40

Where there’s a will, two made a way. This year, director Samantha Bailey and writer Fatimah Asghar premiered Brown Girls, a viral coming-of-age web series which follows Leila (Nabila Hossain), a queer South Asian-American writer and Patricia (Sonia Denis), a sex-positive BlackAmerican musician, based in Chicago.

A few months before announcing their development deal with HBO, the fulltime creatives hopped on a call with IN to discuss making room for failure, success, and their needs within the arts.

Isis Nicole: What’s the most incredible thing to have happened to you this year?

Samantha Bailey: In terms of work and stuff, the premiere of Brown Girls was incredible for me. Just how many showed up in Chicago and around the world, I don’t think that I had any idea that [there] would be so much interest outside of our community in Chicago.

Knowing that we premiered around the world is incredible, and amazing, and I don’t really know what to do with that.

Fatimah Asghar: It was pretty exciting to feel the love around the project.

I never really expected it to be on this level. That feeling is really great.

IN: What’s a casual day in your life like post success?

SB: [Laughs] I literally painted all of my apartment yesterday, and [now] I’m laying on the couch. I feel like everyday

is different. Fati and I, we text each other everyday. Everyday there’s a different email, some cool write up, or something that continues to be exciting.

My day-to-day hasn’t fully changed. I’m still working on like the social media aspect of Brown Girls and all that stuff.

FA: I tend to just travel a lot. It depends on where I am or I’m not. That has kind of been my life for a long time because I travel a lot for poetry. It’s just kind of constantly being on the road. I feel like really lucky.

IN: Where do you go or what do you do to relax?

SB: I’m still figuring that out. I’m in LA right now so that’s kind of a change. I think what I do to relax is make a cup of tea and sit on my porch. Taking time out of my day to myself before answering emails, that’s like my way of relaxing.

IN: Sam, what inspired your move from Chicago to LA? SB: Chicago is still very much like an artistic home for me. I fly back pretty often in terms of doing work out there.

I kind of made the decision at the end last year that things would be changing and I wanted to make space in my life for that. As much as I love Chicago and I’m from Chicago, it kind of sometimes is a distraction for me because there’s so much going on. I’m so quick to jump on something and collaborate. All [of] that’s great, but I feel like I needed a little bit of focus and me time.

IN: How do you make the most of your time?

FA: I think it’s really interesting. Even with Brown Girls, we shot it in nine days with no rehearsal time and met the day we started shooting. There’s kind of this way that we’ve always been operating under this pressurized time. Sam and I, we live in different cities, so when we get together we’ll get one day. I think it’s part of the way that I’ve known how to make art, and how Sam has known how to make art for a long time. It’s just knowing that [to] make the most of the time that you do have and then also having the most fun.

To be like, cool okay we’ve worked really hard and now we’re going to go out together and have fun, or take this moment to take care of each other and make sure that we both feel there for each other. I think that there’s kind of a way that we’ve got accustom to that.

SB: Surrounding ourselves [with] really talented people that ride for us, we’re able to use that time. No one’s wasting that time while we’re working because everyone is so invested. As much as it is about us putting our head down and doing the work, trying to get these parts of the ground, a big part of that is utilizing our artistic community. That helps us savor those moments.

IN: What are your greatest needs within the arts today?

SB: I just want to expand the narrative and the people that can tell those [stories].

My need is for access to either funds or opportunities for these people to have a platform. I think it’s still something that’s actually being attacked from our actual government, and I want that to [change] on a wider scale in the future.

42

FA: I agree with Sam. I also need people to take risks. To try things, and to be okay with it (in the art world). I think it was cool, the fact that we did Brown Girls in a way that felt really good and important. To be able to have this cast of all people of color, [showing] these kind of things that are not in mainstream media. Taking that risk to show a South Asian Muslim girl who likes drinks, and is queer, because people live that life. To be able to try to show this thing people don’t want to see. I honestly feel like you have to give young people the ability to take a risk and fail. It’s so important to have that space.

I think sometimes in art communities there’s a lot of pressure to do everything perfectly, or [to] succeed. That kind of pressure can stifle art because you’re not listening to yourself. [Lastly] I think there needs to be a little bit more forgiveness in artistic spaces, too, which is interesting.

[Imagine] the ability to experiment and play to change the stakes of judgment.

Photography: Andre Gray Interview: Brooklyn White

Da r iu s Mo ren o

Parsons graduate Darius Moreno is a New York-based visual artist who is changing the game with his technicolor portraits. You may be familiar with his vivid artwork for DMVraised rapper and star Goldlink, who chose Moreno to create the art for his At What Cost debut studio album. I was given the

That’s when I knew I had to start making money selling art. I made a Big Cartel selling prints and [soon] I was making enough money to survive. It’s different now though. Now that I’ve graduated, I’m looking for a day job in the art field.

BW: How do you feel about your most recent work?

DM: I feel great about it. My most recent work is with Goldlink and I’m happy that a Brooklyn to discuss his day job, rapper took the time to pick out an artist. accomplishments, and happiness.

Even if he [hadn’t chosen] me, just the fact that he was interested in an artist and pays Brooklyn White: Describe yourself in one word. attention to artists on the Internet is important.

Darius Moreno: Obsessive. If I’m interested in something, I’ll study it to the max. I’ll look BW: It says a lot about him as a person at it [and] draw it everyday. because he could’ve easily been like, “Let’s do a photo shoot” and that would’ve BW: I appreciate your honesty. You could’ve been the album art. been like, “Oh, I’m adventurous!” [Laughs] Like bruh shut up, this isn’t Tinder. Are you DM: Exactly. I think he definitely took a risk happy? and that’s great. It made me more confident in myself, in my art, and made me realize DM: Yeah, I’m happy. I’m happy in certain how valuable it is to people. ways. I’m happy with my art. I’m blessed to have talent and be where I am at my age.

BW: Do you feel like your art is about you or the world?

BW: What are you trying to accomplish with your art?

DM: At first I used to think my art was only about me, then I started sharing it with the DM: I’m already accomplishing what I want world and I was like, “Hmm, I guess it does to do with art by creating it. [But] I want to have a lot to do with how people are feeling, establish a [vibe]. I want people to look at what people are thinking about, or how my art, get nostalgic, and just have great people may have been affected by this memories of Black culture. movie.”

BW: Do you have a day job or is art your day BW: What do you think the general creative’s job? role in society is? opportunity to sit down with Moreno in

DM: Art is my day job. I had a day job at [a clothing store], I worked there for a year and some change in the housing department.

One day I just quit. [Laughs] The security was always late, people were always tryna steal stuff, and I was like, “I’m not that guy.”

44

DM: To bring hope to people who don’t have enough belief in themselves. Creatives are mostly for people who don’t know their voice.

Body Language 46

48

@johnyuyi

Amazing Grace

Grace Miceli, Alex Wallbaum & Aleia Murawski Photographed at Soft Center by Jill Rahn Interview by Michelle Varinata

50

Grace Miceli isn’t afraid to make waves. Known as Art Baby Girl, the New Yorkbased illustrator and curator has built a cult following around her cutesy camp drawings noted on Tumblr’s radar, and even seen as the cover art of Mac Miller and Ariana Grande’s “My Favorite Part.” Whether it be a box of Frosted Flakes, a Furby or a lamb, Miceli’s drawings easily make you exhale “Aww!”, all while underneath the Crayola-esque colors and ‘90s-esque cartoon graphics, there is an awareness of the humorous and the political. Miceli and I discuss what’s it like to manage her roles between commerce and fine art.

Michelle Varinata: Who inspired you to start drawing?

Grace Miceli: In school I had to take an Intro Drawing class even though my major was Film and Video. I was really bad. I couldn’t figure out perspective or how to make anything look even remotely realistic.

Because of that, my work was really funny and entertaining so I embraced that, and continued to explore illustration.

MV: So many artists go through phases, but at times, they stick to what they started with.

What is the one subject you’ve always wanted to depict, but have never gotten the chance to do it previously?

GM: I’ve never had a reason to not draw anything I wanted to. Anytime I’ve had an idea or a subject I’ve wanted to draw, I’ve just done it.

MV: You have a very distinct style. You often rotate between outlines, no outlines, and the color feels washed out. How did you develop this?

MV: You mention that you decided to release all your work online as opposed to the galleries in Chelsea. What advantages were you able to experience by going virtual?

GM: I started drawing with Crayola markers on printer paper because that was all I could afford. I think it works really well with my subject matter, so I’ve stuck with it. As I’ve been drawing for years now, my style has evolved and I experiment. I’ve learned what I like. I’ve moved on from not outlining to outlining most of my drawings.

GM: [Yet] again, this wasn’t something I was able to choose. As a young artist in NYC, there weren’t opportunities for me to showcase my work. I just had to do it myself.

Online spaces are definitely more accessible to the general public than physical galleries.

MV: I remember that you curated a show called “I Play No Games” at the HOLYRAD Studios, where you featured other NYCbased artists like Shana Sadeghi-Ray and Signe Pierce. What was the inspiration behind this show?

GM: I was asked by BOOM to curate the exhibition and I wanted it to be as inclusive and interactive as possible. I think being an artist makes me a better curator and vice versa. They are practices that inform each other.

When I curate I get to work with other artists who mostly are my friends. [It’s] a really fun way for me to collaborate because my drawing process involves a lot of time alone in my studio.

er more important issues, it’s my responsibility to use my platform to amplify those voices and experiences.

MV: These days, artists like yourself often rotate between fine art and commerce. For example, Nike had you customize their merchandise from clothes to shoes. As someone who does both, do you feel that there is a pressure to separate yourself from the two?

GM: Yeah, I think lots of people pass judgement upon artists who work commercially but that doesn’t make much sense to me. Unless you have someone else financially supporting you, it’s basically impossible to make a living off just selling your art without gallery representation (which most emerging MV: Your work tends to touch between artists are not offered) or another day playful yet socially conscious. Which issue stands out to you the most and why do you job, especially in a city like New York.

With every commercial project I’ve done, connect to it? it has been a very respectful collaboration with the client. They’re hiring me GM: I’m learning that the only issues I because of how I draw. I haven’t found can discuss through my work are the ones I’ve experienced myself and for oth- myself forced to compromise yet.

52

54

Angel of Mine

Interview by Isis Nicole Photography by Hannah Siegfried Kimani, founder of Angel Sport, an online apparel shop and ode to pop culture from the ‘90s through early 2000s, discusses her love for Kimora Lee Simmons and the importance of Instagram in her business.

Isis Nicole: What made you decide to start your own online business?

Kimani: Before Angel Sport, I worked on a line called PSM in 2012 with my best friend, Ava. We were obsessed with thigh highs and decided to make our own. They were in goofy galaxy and holographic prints [which] was cool in 2012. They literally went up to your vagina so high you could wear them as pants. We wanted to reach a bunch of girls from different cities [and] felt our world was too small in D.C. and New York. That’s how I decided to go into e-commerce.

We were selling those ridiculous thigh highs all over the place, LA, London, Australia, and a bunch of other places I’ve never been! The fact that you could reach so many people all over in such a short amount of time really lit my fire, and I was hooked.

IN: Who’s your number one favorite CEO whose leadership excites you?

K: Kimora Lee Simmons is absolutely the G.O.A.T. I would beg my mom to take me with her when she drove to NYC so I could buy all the Baby Phat I could find.

Simmons was the first to merge hood girl culture and high fashion. Soon after Baby Phat got big, all these other similar women’s clothing lines came

about [including] Eve’s Fetish, and Jennifer Lopez’s Sweetface. A lot of people don’t know Baby Phat was just promotional tees that were given to models, and wasn’t making any money until Kimora got a hold of it.

IN: How has social media played into your marketing strategy?

K: I would be absolutely nowhere without Instagram. If I have a new idea, I post photos of samples just to see [customers] reaction. If they love it, I put it out, they buy it, they send me photos. A lot of my customers have purchased something because they saw a friend with it.

Sending freebies out to people with large followings helps too. Nitty Scott, MC just wore Angel Sport on Nylon. I have no idea how she fucking found me, but it was probably through another influencer’s page.

IN: What goes into creating Angel Sport?

K: The most important thing I’ve learned in designing and selling is to go with your gut. Anytime you’re unsure about something, even if [it’s] small, don’t do it. I make sure that I’m obsessed with whatever I’m making. If I love it, my customers will, too. I know my audience and I stick with that. I sketch my ideas, then I source all the fabric. I create my hat and undergarments designs [then] send them on their way to my printing people.

I’m very hands on in photoshoots. That’s a Kimora tip. It’s a lot of hard work, stepping up, and [a] big chunk of your paycheck. Trust yourself and make sure you have your hands in everything!

56

Honey Youâ&#x20AC;&#x2122;re My Lucky Star

58

Photography: Victoria Gravel Creative Directoion: Hanna Che Models: Kenya Saint-Lot and Jade de Bruto Makeup: Marie-Brenda Barthélémy Styling: Valérie Laflamme Hair Styling: Tamara Chevalier

The Girl You Want to Watch

60

Typically tranquil and composed, the Hackney Pearl cafe in East London is pounding with construction noise, barking dogs and numerous calamities for one late June morning with Rina Sawayama. The opening verse to this chorus was my voice recorder malfunctioning the night before and Rina offering her phone as an alternative.“Do you want me to do it just in case?,” the Japanese singer asked while remaining calm in the situation, as if already a couple steps ahead.

Refining this cool for the last couple years Sawayama, now 26-year-old, is one of the most promising indie R&B artists coming out of the U.K, alongside Mabel, Raye and Jorja Smith. What distinguishes Sawayama is her experimentation: the glistening retro production coupled with her startlingly raw and flexibly alto voice, together interact in her ecosystem of lyrics covered in love, personal fulfillment and anxiety in the digital age.

But right now, she could not be more at ease, cracking wise at a passing semi-truck: “It’s so rough … okay there we go.” Her presence cloaked in white draping sportswear, her hair a dramatic burnt orange, her face close-up dewy and blemish free - supports her serene yet experimental nature.

“I think I’ve been quite analytical of how I feel in public and how I feel in social situations,” she tells me as a Jack Russell leaves its owner at another table to sniff her out. It becomes apparent that she’s attracted attention in the

cafe. “I always turn to my phone, and I think a lot of people do. How does that make you feel and what does that do to you? Is it escapism or [is] it home?”

Born in Japan, where the birthrate is relatively low - solitude was a habitual and gratifying state for her. “I think one thing that is quite common with only children is that they love being alone,” she says. “I love it. I need it to recharge myself. My mom said because, ‘You’re such an only child, you eat so slow.’

That’s an only child thing because no one’s rushing you.”

It’s with this only-child momentum that Sawayama managed to create a sparse and compelling discography in three short years.

Starting singing after moving to the U.K with her mother, Sawayama released a trilogy of singles exploring isolation in all its arrangements. ‘Tunnel Vision’ is bruised like a peach, a carrousel ride of a Toni Braxton hymn confined in the struggle of IRL and URL desires.

“I know you’re sad and lonely / But I got one hundred tabs open,” she moans.

The music video has Sawayama compulsively checking her phone in between clusters of depression naps. It was shot

by Swedish artist Arvida Byström, a close friend and personal hero of Sawayama.

The two met on a photo shoot (they both successfully venture in modelling on the side). Byström’s work often examines cultural perceptions of femininity and online visibility, so it’s no surprise the two instantly clicked. “She’s very, very passionate but also non-judgmental,” Sawayama tells me about Byström. “I always message her if I have any sort of feminist question. She’s like the oracle.”

Over emails, Byström described her relationship with Sawayama. “She is super bright and always fun to discuss anything from creative stuff to politics and is the kind of person that you want to have a cute sleepover with.” And with that in mind, the video for ‘Tunnel Vision’ was conceptualised with a makeshift bed in Byström’s flat that also served as her studio. “We had been hanging out quite some time talking a lot about the Internet and our twofold relationship with it,” Byström said. “She is the kind of person that is extremely kindhearted, interested and just give[s] out very sweet and understanding vibes. I don’t know I just love Rina!”

The second single ‘Where U Are’ released in 2016 has Sawayama leaping off that bed and into a coordinated introspective concert in a guitar driven rework of the Michael Jackson single ‘I Wanna Be Where You Are’. In its original package, the T-Boy Ross written single has Jackson wailing for a relationship that might never happen.

To Sawayama, the relationship is more Man In The Mirror: “I was spending so much time looking and trying to be this 62

person that I wanted to be and I was feeling so much anxiety,” she explains.

“The gap was like why the hell was I not there yet? And that was a spiral of anxiety. Where I am right now and then where you are - as in future me - and were I could be. I think a lot of us look at people on Instagram and think, ‘Oh my god. How do they get there?’ They seem so far away. But if you scroll down my Instagram, I’ve deleted a lot of things.”

Sawayama has over twenty-seven thousand followers on Instagram largely aggregated from her music and modeling career but also her deeply honest presence. “I sometimes get comments like, ‘I want to look like you,’” she says, now playing with the friendly pooch.

“And I know that when I was younger, I thought that about people who were in the public sphere. But that’s not what I want to inspire in people. I really want to connect - especially with Asian people living in the west. Even though there can be people who are talking about things, who are in the public sphere, I find that it’s so much more effective when they look like you.”

One of Sawayama’s most active posts is a photo she took of a casting sheet that was taped to the wall in a studio where Sawayama was modeling for a global campaign. The sheet, with the header ‘Asian Additions’, had below images of Sawayama and Singaporean model Meghna Lall (misspelled as Meghana Lall). Sawayama told her followers, “I felt like I was there just ticking a diversity box, and that I wasn’t as worthy as the other models. Their ethnicities weren’t noted on the same sheet. I know this sort of conversation goes on behind closed doors but to publicly display this was devastating.”

Only in recent memory has representation and misrepresentation of East Asian women seeped into mainstream conversations. Sawayama recalls one of the most controversial and complex moments of this; Ariana Miyamoto, the half Japanese and African-American model who was crowned Miss Universe Japan in 2015 and recipient of overwhelming antiblack and colourist backlash because of her win.

Top & Pants: Serotonin Vintage

"I just want to connect with people.

That's the irony I guess."

64

Glasses: Roberto Cavalli Slip Dress: Ezah Ikuy

Pearl Jacket: Serotonin Vintage 66

“In Asia, the identity is so strong about being Asian,” Sawayama explains. “But I grew up reading Japanese magazines that did favour mixed-race girls, but it’s complicated because mixed-race girls in Japan (think about mixed-race white and mixed-race Black) get bullied and tormented for not being Asian enough.

There’s this complete separation of celebrities, a lot of them being mixedrace, and the beauty standard of it being informed by mixed-race models.”

In several ways, this contradiction is informed by Western beauty standards, however Sawayama rejects confining her criticism in this way. “I can say all these things about western beauty standards and Japanese beauty standards, and critique it from this western angle, but is that fair? Is that actually in itself a sort of racially insensitive thing to do - to just paint Japan with this brush of judging them from the western? If women, are struggling with themselves because of this beauty standard, if there’s a struggle there, then it needs to be addressed and it’s very difficult.”

At this point, it’s important to note that Sawayama is not apprehensive when answering complicated questions. Only pausing briefly - 0.5 seconds - before imparting her thoughts in exceeding politeness.

Sawayama tells me she thinks about these things, the emotional and psychological burden East Asian women face, constantly. From a young age, she was acutely aware of her depression. “I was 13-years-old, I think because my parents separated. My mom was a single mom in the grunt. She didn’t really speak good English, didn’t have any time to help me out with homework. You know, like little

things. I didn’t really get diagnosed until I was 17-years-old. But it kind of manifested in different ways. I was self-harming, had eating disorder, and then I got full blown depression when I was 19-years-old.”

After seeking proper treatment that got her in a better place, Sawayama enrolled in Cambridge University studying politics, psychology and sociology. “I felt tricked!,” she says. “They invited me to an open day [where] they just showed you all the ethnic people in uni. But then when I got in I was like, ‘shit there’s literally only white people here.’”

On the final single from the trilogy ‘Cyber Stockholm Syndrome,’ Sawayama unveils her arsenal of life experiences.

The title, brazenly references her obsession with the relationship between technology and the human mind. The opening line (girl in the corner / stirring her soda) imparts not just her collegiate circumstances but saluting the East Asian women across the world in her position. Sonically, the single pulls in the ‘90s Japanese music she grew up listening to like Utada Kikaru and Crystal Kay; the chorus explodes into a saccharine melodic-trampoline ride with the memorable line ‘Came here on my own/party on my phone’ for the loners on the dance floor.

“You’ve got to be honest,” Sawayama says, leaning closer to the two microphones on the table. “Being like, yeah I’ve been through that. I’ve got Asian parents. I get exactly how it feels. I just want to connect with people. That’s the irony I guess.”

68 Red Suit: SOS Steve Smith

Photography & Interview: Isaac Kariuki Makeup: Famida Pathan using Murad, Laura Mercier, Nars & Coverfx Set Design: Katherine Burke Set Assistant: Ema Kasper Styling: Yuki Haze Nails: Chi Chi

70

Night Moves

72

Photography:Jenny Marie Hviding Schjerven Model: Rumi Baumann

74

76

She Who Rises

Photography by Sebastian Matthew Interview by Isis Nicole

world!

It’s kinda like eczema, but more complex. It didn’t happen until randomly when I was 18-years-old.

It’s a little hard to functionsometimes being a girl, feeling pretty, or even doing makeup. But it actually pushed me even more so to perform.

Isis Nicole: How did you get into making music?

IN: How do you challenge yourself to progress?

Saturn, Alexander: I was raised around music and I grew up in church. I would sing in the choir, and my dad plays the drums. My mom always told me I couldn’t sing (which sucked), so when I got older I was hesitant to do it. Eventually, my love for music attracted me to people haphazardly who also are musically inclined, and my boyfriend pushed me to start. [This year] so far, I was asked to headline my own show! I’ve been part of many shows, I’ve even traveled for some, but I’ve never had a show that was essentially my own. I’m super excited and anxious to perform some new stuff.

SA: I always force myself to write at my job when I have down time.

I know that a 9 to 5 isn’t my overall goal, so I make sure to never lose sight of my vision by working towards it no matter how difficult.

Just after sunset in Manhattan arrives a platinum blonde Saturn, Alexander. She’s a 23-year-old recording artist from the south side of Jersey who wants to take over the

IN: What’s the greatest adversity you had to overcome?

SA: I would definitely say my psoriasis. It’s pretty much stress that’s written all over my face.

IN: What’s essential to creating your own path?

SA: To me it’s simple. Figure out who you are, and be that person. I think the concept of knowing who you are is very much overlooked. I think we don’t (and need to) focus on knowing exactly who we are, what makes us tick, why it makes us tick, our triggers, and how we handle sorrow. Once we do that, we can project with clarity. You have to know who you are first.

78

Saturdania

Photography: Jacob Hengesbaugh Makeup: Amelia Gillis Model: Ivy Haralson Jewelry: Vidakush

80

You Go, Gore

82

Years before her career as a freelance writer, 23-year-old Sydney Gore wrote stories on her friend’s computer growing up. Now, unhurried from the comfort of her sofa after a busy night at a Fendi x Boiler Room NYFW party, Gore reflects on the state of media, and the simple things that bring her peace.

Interview: Isis Nicole Photography: Hannah Siegfried

Isis Nicole: Thanks for welcoming us into your home.

Can you give us a quick intro to who you are and what you do?

Sydney Gore: I grew up in Cherry Hill, New Jersey and I’m a Taurus. From a young age, I’ve always really loved writing. I would go to play dates at my friend’s house and as soon as I got bored, I would just find a computer and write my own stories.

The parents thought that I was anti-social then realized, when they saw this Word document, that I was just like this little creative genius. My parents were actually really cool [and] respected my creativity. For a long time I always thought that I would do literary stuff and write books. I kind of fell into magazines and journalism by accident.

When I was in high school I did the paper there, bouncing around from section to section. I started getting into doing album reviews and I remember my first ever was James Blake. I remember thinking it sounded like an alien screeching but I was like, obviously this must be good, somehow. I was really, really, really into Indie-Rock and Alternative stuff in high school and being so close to Philly, I’d always go to shows there with my friends and be in the mosh-pit.

IN: And at this time did you ever blog?

SG: Good question about the blog. In high school I started a Tumblr. It was more like my personal thing. I would [post] rants, reviews, and photography on the side. It wasn’t anything that I was trying to get people to follow, but I knew I needed

to express it. [In college] I went to one [journalism] pitch meeting and after that, I couldn’t stop coming. I worked my way up to different editorial positions. I was a freshman and my first real interview ended up being [with] Jonah Hill, Channing Tatum and Ice Cube for 21 Jump Street. It showed me that I can actually make a career out of this.

IN: What’s the most incredible thing to have happened to you this year or last?

Sydney Gore: I would say getting to run my Black History Month series on Nylon.com. Last year I did it really last minute. I wasn’t expecting it to take off, but I was still really passionate about it [and] it ended up being a huge success. This year, I had a lot more time to plan [plus] more people on my team to collaborate with it. I think that it has been doing really well so far and continue[s] to receive very positive feedback. I would say that’s something I’m probably the most proud of that I’ve done in my work life. In my personal life, I’ve also gained really amazing contacts and started to develop really amazing friendships with people I’ve featured

in the series that are also in the industry, so it’s just really cool all around.

IN: That’s pretty cool. Is this something that will continue beyond February?

SG: Yeah, so my goal with this type of content is to make sure that we’re doing that all year around, 365 days a year. For me, I’ve always kind of seen it as more of a challenge for myself and for my team to show that if we actually put in a little extra effort, we could be featuring more people of colour or people of different sexual orientations. Just like representing everybody. I think it’s a really good motivator for everyone.

Even last year, because of how well Black Girl Power did [on Nylon.com], some of my co-workers were like, “Can you do something like that for LGBTQ moms?” It’s definitely, I think, showing everyone that it’s possible to be doing this all the time.

IN: Were you responsible for advertising in high school or in college at the paper?

SG: Our faculty dealt with that. Then with the college newspaper, I believe they had a different department

84

who dealt with more of that stuff.

IN: I asked because … well I want to know, did you have any kind of entrepreneurial experience that led you to work on anything independently that you want to put out into the world?

SG: For sure. I would say at a young age I sort of got, not the entrepreneur drive, but some experience. I was a girl scout. I was always the top cookie seller, and it was really hard to do. I feel like with that experience, I’ve always been very driven to get things done. If I’m going to sell something and promote it, I’m going to be 100% invested. Part of me for a really long time has always wanted to start something on my own and collaborate with a small team, I just don’t know what I would want it to be, yet. Definitely with what I’ve seen in media right now, I want to at some point do something on my own.

IN: Where is media right now?

SG: It’s definitely an interesting time. I feel like everyone is super focused on digital right now which both good and bad. I per-

sonally have always loved magazines. I think with everyone saying print is dead, I don’t think that’s true. I think it’s just a matter of what sections and areas these companies are investing in. Like the fact that Nylon right now is relaunching Nylon Guys (they’re going to have two publications going at the same time), I think shows the value in continuing to, you know, invest in publishing. I feel like a lot of places are reevaluating their target market, the type of content they’re projecting, and who they are trying to reach, especially women’s fashion magazines. Just with the way that they are talking, their language, and representations. With feminism.

I have personally been taking more notice in how people are promoting and advertising feminism, and the difference between when it’s authentic and when you can just kind of tell that they’re just trying to get on board.

IN: Do you ever feel like you’re working within the boundaries of what media projects onto women in the industry or do you just do your own thing, like how you want to be presented to the world?

SG: I get what you mean. I feel like a lot of the time there tends to be this, how do I say it? I don’t want to offend anyone, but the vibe that it’s white feminist agenda.

As a woman of colour, that’s something that always really frustrates me. It’s great being at Nylon because we have such a diverse team and we’re always pushing for intersectional feminism. I can’t really speak to the print aspect [of media] since I’m solely on the digital team. I think with the position that I have now, because I’ve never been comfortable speaking on behalf of someone else, I don’t like speaking on an issue when I’m not fully informed about it, or when that’s not my experience. I don’t like preaching to people about things, so my whole thing has always been if this is a topic that we’re going to discuss, we need to be putting the people who are affected by it on the platform. We need to have them speaking out on the issue. When I see something, I’ll try to go in my circles or I’ll tweet something or put a status about x,y, and z issue. If we were going to do a piece about black Muslims in America, I’m not just going to write some summary and invent some tweets. I’m going to find the people who are actually black Muslims and share their perspective. I think the same thing with issues like feminism and all of that, even with how the Women’s March was being covered. I kept seeing articles about how it was so divided, how people were losing the bigger picture. Women’s rights has to do with all of the marginalized groups getting their rights taken away by this administration. Me and my friends were saying that we need to find ways to be productive [in ways] that work for us. I’m all for protesting but at the same time, I don’t always feel like I’m present. What am I doing after the protest? So many people get rallied

86

about showing up for this stuff but they’re not donating, they’re not showing up. It’s mostly like they’ve done their deed of activism for the day and took their Instagram picture, and then keep it moving. My friends and I are trying to find ways that we can continue to make a difference and mobilize. Starting locally. Maybe providing a wellness space for people of colour to congregate.

IN: With everything said, where do you go for peace?

SG: Right before I got my promotion I was feeling really mentally burnt out. I wanted to start being more mindful if you will. Getting toxic energy out of my life and not stressing out about things that aren’t important. In all of the chaos that’s going on, the one thing you have control of is you. This a small thing, but I changed my desk chair into a fit chair. It’s like a bouncy ball with wheels on it, and it improves my posture. I need to get back into yoga. I find it helpful to surround myself with like-minded people and not necessarily have to engage in debates. I [use] face masks and take baths. Baths have been my bread and butter. That’s probably the best thing that happened to me this year. Taking advantage of my bathtub. It’s incredible!

Growing Up Goth

90s-tweenage-memories by vintage collector and fashion journalist, Michelle Kwan.

Interview by Isis Nicole

88

On being a tween / teen in the 90s: Michelle Kwan: There were no cell phones and the Internet didn’t exist, yet. If you wanted to check out a cool store on Haight Street, or go to a concert, you would call your friends on the landline and go to that place not knowing much about it beforehand. Everything was basically still word-of-mouth back then. I think it left more wonder to be had in the world.

On the most magical 90s moment: MK: It was the summer of 1992, right before my freshman year in high school. I was 13-years-old [at] the first night club I had ever been to called the Twilight Zone. It was housed in the foyer of a then, defunct art-deco movie theater in my hometown, Alameda, CA. It was an all-ages goth club, so they didn’t serve alcohol, but you’d find kids in the parking lot, or on the roof, getting lit before they went in. If it was your first time there, they would take you to this little booth on the side of the club and issue you a pink membership card. [Laughs] I think I gave them my middle school ID card. I still remember how nervous I was. The music was loud and I could feel my heart pounding in my chest. I was wearing black and white striped tights with Doc Martens boots, and a red velvet scrunchie in my blue black hair.

Smoke filled the air as you walked in thanks to a fog machine creating a thick haze indistinguishable from all the cigarette smoke. You could still smoke inside public places back then, and everyone smoked in 1992. Goth kids, punk kids, kids from different cities, poor kids, rich

kids, gay kids, straight kids, kids in studs, boys in skirts, skaters—all the freaks essentially—were all just hanging out having a good time.

If you weren’t dancing, and for girls and boys alike, you were in the women’s lounge people watching or making friends. If you wanted to canoodle, they had these incredible balconies overlooking the dance floor. The balconies are still there in what is now the beautifully restored Alameda multiplex theater, but I doubt any canoodling is going on up there now. It all felt very glamorous—and—deviant. It was great fun.

On favorite pastimes growing up: MK: I was obsessed with collaging.

I’d collage my school binders, birthday cards for friends, and entire walls in my bedroom with images I found in magazines that I thought were interesting. I was especially fond of the nude Calvin Klein ads shot by Bruce Weber in the late 80s early 90s, and was always thrilled to find any edit on Thierry Mugler. Back then, I really wasn’t clear on who the designers or the photographers were, but I certainly had a dark aesthetic, which interestingly enough, really hasn’t changed that much.

It seemed every “alternative” girl in the 90s had a subscription to Jane Pratt’s Sassy magazine, through which I became aware of “street style”. I had an older cousin who used to give me her copies of Details magazine (before it became a men’s title), which is how I became interested in the New York club scene. Issues of Vogue, Elle, and Cosmopolitan could always be found in the house, too.

On favorite fragrances during youth: MK: Oooooooh, for me it was Christian Dior’s Poison, Calvin Klein’s Escape, Elizabeth Arden’s Sunflowers, and Gap’s Grass. Looking back however, I think men’s scents may have had an even stronger impact on my adolescent psyche. Dior’s Fahrenheit, Guy Laroche’s Drakkar Noir, and Calvin Klein’s Eternity for Men are all trips down memory lane—some good, some bad, but all bright as day.

On parents support of creative expression: MK: [Laughs] I don’t think my parents had a choice! As far back as I can remember, my mom, who worked fulltime, always made costumes and prom dresses for me and my little sister (who was a raver). She would take us to the fabric store to find a pattern that would work for our ideas, and then help us pick out fabrics. I loved the process so much that it inspired me to study fashion design in college, where I learned to drape, sew, and make patterns.

My Auntie Dianne was also a strong fashion influence as she would take me on weekly thrifting excursions with her, which is where my love of vintage comes from. Some of my favorite pieces came from these shopping trips with her to the Salvation Army or Goodwill back in the mid-1990s. Good vintage was in abundance back then, and most things were under $5.00!

On daydreaming: MK: I always wanted to be involved with fashion or magazines in some capacity. I do work for several major national magazines on the advertising side.

Being part of M.I.S.S. in the mid-2000s was great fun and provided valuable 90

exposure and experience in regards to the blogosphere. I’m currently the editor-in-chief of Littlemagonline.com, an art and culture blog. For the past few months I’ve been working on a new business venture, which is TBA. On principles from youth that stick today as an adult: MK: Question authority. It’s sounds so cliché, however I think it’s especially relevant to our world’s predicament right now, seeing that our president is a racist and sexist meglomaniac, who is essentially only looking out for his own business interests. I think this applies on a smaller scale as well—that we need to question the authorities that rule our everyday lives, as there is a good possibility that what’s best for your employer, mayor, principal, lover, etc. may not be what’s best for you—so it is your own responsibility to manage your life in way that reflects your true ideals (I’m a people pleaser, so this is one of my biggest challenges), which will ultimately determine your happiness.

On change: MK: I’ll be the first to admit that adapting to change is not strongest suit, but just like death and taxes, it’s inevitable. I suppose for myself, I think it’s important to be knowledgeable and adept with the latest technologies, i.e., learn relevant software for your industry, make sure you’re proficient with the latest apps and devices —all of which will help streamline your life.

However, I feel that once you’ve made these types of concessions, you should do something kind for the world to show your gratitude for the conveniences technology has afforded you, as karma and change are one.

92

the g la mo ro us life

94

Pants: Miaou

Photography: Hannah Siegfried Styling & Makeup: Hannah Black Berets by: Glazed NYC Model: Fulani Thrasher

Photography: Sideara St. Claire Earrings: Shop NIN3 Interview: Christal Mims

96

All About Action

Brimming with optimism and confidence is filmmaker Gabrielle Gorman. Having just turned 19-years-old, the young creative has been nominated to be a U.S. Presidential Scholar in the Arts, the highest honor for young artists in the nation. Gorman also had the opportunity to shadow director Jann Turner on the hit television show, “How to Get Away with Murder”, and shares her plans for breaking social barriers, and curating a more accepting world through film.

Christal Mims: Tell me a little bit about yourself?

Gabrielle Gorman: When I was younger, I always got these little cameras for Christmas. I had this Hannah Montana camera, I had a flip camera, and I’d always make little stop-motions with my dolls. Then, in 9th grade, I started writing a lot of poetry and decided over that summer to make a film out of this poem I wrote called, “Blossom.” It was a reflection of what I was going through.

I felt like I was growing so much and starting to accept myself. I had so much fun [with] the whole process and editing it. The video is terrible if you look at it now! But I fell in love with it and I took my first film class the next year.

CM: “How to Get Away with Murder” is arguably one of the best television shows currently on air. What was it like being on the set of one of your favorite television shows?

GG: It was crazy! I got to be on the set for two weeks and I met all the cast

members. Everyone was just so inviting.

My favorite was Aja Naomi King. She’s my idol and she just came up to me and we had the best conversation for like 20 minutes. She was so sweet. I liked how I could walk up to anyone on the set and be like, “So, what do you do?” and they would just explain to me how they got into it. The whole experience was really educational and just amazing. Being on that lot and watching how much work goes into each scene – it was the time of my life.

CM: The U.S. Presidential Scholar in the Arts is the highest honor awarded to young artists in the nation. What was your reaction when you discovered that you were nominated?

GG: I was nominated through a program called Young Arts and I was a national winner for that. I went to the program in Miami and LA. It was a huge honor on its own. When I first applied to Young Arts, I thought I would just be at least a regional finalist, so going from that to being nominated to be U.S. Presidential Scholar was completely unexpected.

CM: What are you inspired by?

GG: In terms of the content that I use in my films, I’m inspired by the news. One of my films, “Dear America” which is, like, my favorite piece of work that I’ve made, was inspired after finding out that Michael Brown was killed. I had so many emotions. I just got my computer and started writing and then from that I made it into the film. I ended up using my own voiceover and talking from the heart. It was originally supposed to be about police brutality and as I was making the piece, I started thinking about how I felt impacted by racism and my

focusing on them apart from race. Putting black people or people of color, people of different communities, in roles where it’s not made specifically for their specific identity. I feel like we need those, too.

CM: What would you say your experience has been as a young, black woman in the film industry?

GG: I think my experience has been a little bit different so far. I think when people see me they say, “Look at this young woman” and they can connect with that. Like Jann Turner and other people who have given me a lot of amazing opportunities. They understand how hard it was for them to get where they are because they’re a woman or a woman of color and they want to help me because of that. It’s created a great sisterhood.

CM: Does it ever get overwhelming? struggle with accepting who I was when I was younger. I think that really resonated with a lot of people. As for what inspires me in terms of imagery, I get it from a lot of music videos and magazines. It could be a catalogue or an editorial magazine. If I see a photo that I really feel a connection to, that can inspire a whole piece.

CM: What are your thoughts on black stories in the media?

GG: This year, with the Oscars, there were a lot more movies about the black experience. I love that these movies are exploring a lot of intersectionality, whether it be being black and in the LGBTQ+ community or being a black woman. I hope that we continue to explore that avenue but also make films that are just about, you know, someone’s going through a tough breakup and they happen to be black. Just 98

GG: I’m never satisfied. If anything, I get overwhelmed if I feel underwhelmed. I need to always be doing something. If I’m not working on a film I feel like, “What is my life right now?” I feel like I’m going through a mid-life crisis. I always like to stay busy.

CM: What would you say is one of your favorite movies?

GG: Honestly, my favorite film is “The Grinch” because when I was younger, me and my sister went to a school that was mostly white. Everyone came from upper class families and we felt very left out and alienated. I saw a lot of those themes in “The Grinch.” It was a way for me to understand what I was feeling and what I was experiencing before I even knew what terms like “alienation,” “discrimination,” “racism,” even meant. I love children’s movies that can educate kids on social constructs

and social issues in a way that is easy for them to understand.

CM: For me, I’ll watch “High School Musical” almost every month and I know it’s bad but I can’t stop watching it.

GG: I definitely have my guilty pleasures.

One is “National Treasures: Book of Secrets.” I’m obsessed with that movie.

It’s very patriotic and they quote a lot of presidents, they talk about the values that we should be upholding, but we’re not upholding. It’s really funny, too. Also, “This is the End.” I don’t even know how many times I’ve seen that.

CM: What is it like working with a crew and actors?

GG: With my actors, I like to do as much as I can to get them in to the mental space that I want them to be in. I was taught that you never tell them, “You’re supposed to be feeling sad” or “You’re supposed to be feeling angry.” I try to say, “Remember you’re going through this” or “Remember this happened yesterday.” I did a film about post-slavery black concentration camps, which a lot of people don’t know about. I had a lot of dancers and I had them doing a lot of movement. I would tell them, “Remember your kids are starving. Remember you’re being forced to work. Remember this is happening to your wife.”

CM: How did the film, “I Am a Woman Who” come about?

GG: The people at I Am a Woman Who reached out to me about co-directing and editing and I ended up being in the piece.

We had about two days of dozens of girls writing down who they are. I said, “I am a black woman, I treat every day like a fashion show, I like to day dream,” things like that. Then, they painted it on a huge

poster and I stood in front of it and read it out loud. We got to show it at a TEDx event in Santa Monica and I also got to help film that event.

CM: The theme of the next IN Mag issue is Incredible and it’s inspired by what goes into preparation and work as well as how luck plays into certain outcomes. How much do you feel luck plays a part in what ends up happening with your films and how much of it is preparation and hard work?

GG: You have to be prepared. I mean, I’ve had a couple of times where I found out about something the day before the deadline, applied, and it ended up pulling through. But, especially from my position, I don’t really think luck plays into it. I know a lot of people who are able to get farther because their parents are more connected or something like that and it just means that I have to work harder. I’m willing to do that. It means that I’m committed and passionate. I would say that it’s definitely more hard work than luck.

CM: What’s your next step?

GG: Right now, I’m working on a piece just to celebrate as many different types of people that I can. With the election I felt like I wanted to do something inspired by that. I met with a bunch of people and got shots of them, asked them what they hope to see in the future and how they feel young people can help shift the path that our world is going on. I’m just trying to gather a bunch of perspectives. I’m also really happy because my film “Dear America” is going to be in a PBS special on race. I’ve also been working on having it in a French textbook and there’s going to be an online part that people can go onto. It’s been my dream to educate people with my films so for it to be actually a part of a curriculum is all I can ask for.

100

Express Yourself

Photography: Cherry Model: Bernadeta Majauskaite

102

Photography, Makeup, Styling: Laura Ciriaco Model: Shelly Isabel

104

moremulher.com

Interview by Isis Nicole Photography by Hannah Siegfried

To Be Real

106

With a radiant smile, Brooklyn-based musician and multidisciplinary artist, XHOSA, shares her needs for the future along with thoughts on what makes her feel real.

Isis Nicole: What’s the most incredible thing that happened to you this year?

XHOSA: The release party for my latest single “Let Me Go” was a huge moment for me. After dropping out of college, that moment was the closest I’ve felt to a graduation. I had friends and family celebrating all the hard work I had put into my career so far. Getting featured on Vogue.com [a] few days later was also really affirming.

IN: What makes you feel real?

X: Being present and aware. Feeling real is all about melting into the moment and exiting it feeling freer and more imaginative. I like to carry a journal everywhere I go. Free writing helps me understand my thoughts better, and it calms me down if I ever feel overwhelmed. I also love going on my rooftop or to get fresh air.

IN: Are there any values that you consider fundamental for the future?

X: Forgiveness is a major component missing in our cultural dialogue. It is easy to place blame on others and ourselves.

Without forgiveness, we allow resentment and negativity to thrive. We should accept that we are going to make mistakes that garner hurt and disappointment. If forgiveness were more prominent in our communication, I think we’d see less people in denial or beating themselves up.

Welcome to The Void

108

Korea-based recording artist, Xin Seha takes us into 7F, the Void, an atmospheric synth-funk EP that explores distance, sorrow, and growth.

This interview has been translated from Korean to English.

Photography by N’Ouir Interview by Isis Nicole

Isis Nicole: How did you feel after you completed 7F, the Void?

Xin Seha: I felt like finally, I did it. 7F, the Void had not been finished for a long time. After Timeline, which is the first single of this project, it took me a year longer to build the other tracks. The saddest thing in my life occurred during that period, but as a result, it made me complete this project.

It was meaningful that I recorded my sorrow.

IN: What else can we expect from this project?

XS: I focused on trying to express distance that happens over time and the unfamiliarity with which we come face-to-face with. At the same time, I tried to achieve taking a step back from the peculiarities of the genre that I delved into in 7F, the Void. [It’s] a balance.

IN: What do you consider to be the most interesting experience about being a musician in Korea today?

XS: Nowadays, the culture, including music of the east side (referred to as Asia in the U.S.), is getting more and more attention. It seems like the barriers of the east and the west collapsed through local area network.

I think it’s important how these are mixed, and we can see [where] the results [of tradition] are derived. The traditional Korean emotions that I grew up with, and theeducational policies, politics, and social phenomena, have very [immense] roots for me. Korea has its own character [known as] Hangul which is something that can only be expressed by its people. It’s a great power to embrace, whether I like it or not. [We have] a interesting story that cannot be done by anyone.

I value it very much [and] will always make an effort to find answers within my music.

110

Interview by Joan Summers & Zaiba Jabbar A conversation between directors Zaiba

Women who can.

Women who do.

Jabbar (behind ABRA’s “CRYBABY” music

112

video, and founder of Hervisions) and Joan Summers (creator of SISTERHOOD featuring Rashida Reneé and Lotus Lopez.)

Zaiba Jabbar: I'm excited! Please tell me a bit about yourself?

Joan Summers: I'm a filmmaker born, raised, and working in San Francisco. I was accepted into a theatre arts program after high school as an actress [then] after a semester, dropped out and went to film school! I'd been given the opportunity to write and produce an original 2 act play and discovered, through that experience, that my interest in the arts lied outside being just an actress.

I wanted to have it all! I skipped my film theory lectures to make experimental documentaries with friends, instead. And for my senior thesis, wrote, directed, and starred in my debut SISTERHOOD, a docu-narrative hybrid about a year in the life of me and all my friends. Tell me about the first time you picked up a camera? What did you make? What were your inspirations?

Zaiba Jabbar: I actually wasn’t much of a fan of school. My grades were good but my dad had died just before I started secondary school and I fell truant quite a bit. Leaving school was a revelation and perhaps, gave me the freedom to explore my world in a visual way. I decided to try a graphic design course and really thrived on the creative outlet it gave me. From there, I made it to Central Saint Martins to do my BA in graphic design. Because the course was so broad, it was here that I had my first taste of experimenting with moving image. I didn’t pick up the camera per se. My first understanding of moving image was actually using a rostrum camera. I made weird little stop-motion animations with a character called Mr. Pill-head, and other odd experimental films. I really fell in love with the combination of sounds and visuals. One of my first inspirations was the film La Jette by Chris Marker (the inspiration for Terry Gilliam’s 12 Monkey’s) thinking back now. It was this combination of stills and graphic compositions merged with sci-fi themes that are still prevalent to inspiring my work today. I love your sense of colour and aesthetic. Who inspires or influences your work?

Top to bottom: Stills from Cry Baby & SISTERHOOD

Joan Summers: John Waters, whose devotion to the beauty of ‘bad taste’ is what initially shaped much of my early work. I also have binders of fashion magazine cutouts that I’ve curated since at least middle school!

‘90s Versace editorials and early Tom Ford for Gucci ad campaigns still inspire many of my shot designs and color palettes if I’m being honest! Who are some of the women that inspire your work?

Zaiba Jabbar: Cheesy but defo my mum’s drive and optimism. So many of my peers and close friends. Artists like Lucy Hardcastle and Sam Cannon, my good friends Kate Bones [who] makes amaze gifs and Diana Chire of SheZine.

Artist/director Margot Bowman, Nikola Vasakova from GIF, and women who build their own path. I find women in tech, emerging artists and inspiration on Instagram truly fascinating. It’s what led to me launching and founding Hervisions, a showcase which celebrates short form moving image made by female creators.

[What are] your needs within the arts?

JS: As a visible and vocal trans woman, it is always important for me to hire and surround myself with other trans women. I firmly believe that the conversation around visibility in the entertainment industry needs to expand beyond just who we see onscreen!

I also find that gatekeepers within our industry are reluctant to not just cast trans women, but hire and mentor us as well. The need for trans women who have access to these spaces has never been greater, and I hope that in the next few years, those of us establishing ourselves remember to look back and pull more girls through.

ZJ: I found being a director you need to have a holistic approach to life as rewards are far and few between. What would you say motivates your journey?

JS: My mind and body are both tools that need constant upkeep and care. Exercise and lots of weed are definitely my secret to staying sane in this industry!

114

ZJ: What were some of your challenges and successes this year?

JS: I’d like to start with the dual theatre and online premiere of SISTERHOOD. After having worked on bringing the short to life for over a year, the response (and size of our audience) moved me beyond tears. The countless messages I received from trans girls around the world continue to inspire me and the entire experience has felt surreal. My drive bolstered to finish writing the feature I’ve been working on. On the flip side though, my greatest challenge this year was definitely myself. As I’ve been vocal online about struggling with depression and an eating disorder, I’m not afraid to say that both of those things almost K.O.ed me completely in 2017. Oddly enough though, it was the state of this world and our country that brought me back from the brink. I realized that I had to get healthy, continue fighting, and making art that is challenging and (I hope) inspiring. It wasn’t my time to go, and it won’t be for a long time! I refuse to leave this world while there’s still trans girls growing up afraid, alone, and surrounded by prejudice and violence. Fighting back those demons was the biggest challenge of my adult life, but it taught me so much about who I am, and the art I want to continue making.

ZJ: How would you advise young directors wanting to turn their stories in to films?

JS: It may sound corny, but the only person who can tell your story is you! And to the young women looking to get into film directing, remember, men have been telling their stories for a million years. Don’t look back!

Don’t get trapped in the cycle of telling other peoples stories when yours still hasn’t been told yet! This is 2017! Anyone can pick up their iPhone and create something that will be seen and shared by millions! What projects are you currently working on?

ZJ: I’m actually writing my first short. Well … simultaneously writing a few actually.

I’m super stoked about this new chapter as a director. My background is mainly in commercials and music videos. It’s challenging but rewarding for me to pull together the ways that I visually problem solve to produce something new. I have a collaboration with two friends that I’m hoping to shoot in September. I’m also planning another Hervisions event, and have an exciting collaboration with another female focused collective, which I would love to share more a little further down the line. [What are your] upcoming projects?

JS: I’m working on my first feature film! I can’t give away too many details yet, but it’s tentatively titled 7 Lovers, and will once again star myself! Beyond that, I have a few smaller projects lined up, like a podcast I’ll hopefully premiere within the next few months Did you always want to be a film director?

ZJ: No not at all. I never really even understood it was real career until I was at CSM. I’d fallen into graphic design and that led me to discover film. My first break came with my directing debut for Lulu Kennedy’s Fashion East scheme for the designer called David David (who also came from a fine art background having previously worked with Tracy Emin.) I was part of a vibrant young creative scene in London where your next collaboration could be put in motion on the dance floor. I experimented making fashion films for London based designers when the fashion film genre was just emerging. It was here that I won a Vogue Italia and A Shaded View on Fashion Film (ASVOFF) competition for the designer William Richard Green. Since then, I’ve never looked back.

JS: You’ve worked with so many incredible artists, brands, and creatives. After which gig did you feel the biggest sense of accomplishment?

ZJ: Thank you for your kind words. There’s been a lot of blood, sweat, and tears. My reel has been a real personal journey. And that’s such a tough question. I would have to say the

one take video I did with Tiny was an awesome sense of achievement because until you’ve nailed it, you never know it’s going to work. It was also such an honour to work with Trace Lysette from Amazon’s Transparent series. That felt pretty special, she’s such a babe!

JS: Your aesthetic [has an] impact. Where do you find yourself looking for visual inspirations?

ZJ: Contemporary culture, [i.e.] the Internet!

Music is a big inspiration, where I live, and I’m also big fan of surreal artist Jean Paul Goude , directors Michel Gondry and Pedro Almodovar.

David Lachapelle is a bit of a hero. His fusion of colour and mad concepts that amplify personality in front the camera is so inspiring. Robert Lepage’s fusion of performance married with projections is lush. Dance is also a massive inspiration. I adore Busby Berkley, Pina Bausch, and Ryan Heffington.

JS: If you could work with anyone on your next project, who would it be?

ZJ: I’m kinda in love with the ‘famous on Instagram’ artists. I love @uglyworldwide. It would be great to make a futuristic short with her. I just think the androgynous beauty she carries off with her cartoon aesthetic inspired by online culture is dope. I’m also obsessed with Greta Gerwig. Her physical comedy is great and I’d love to make something that merges comedy fashion and choreography, like the Kenzo film Spike Jonze made!

116

mod el behavior

Interview by Isis Nicole Photography by Hannah Siegfried On a snowy afternoon in Midtown, Hannah Black, Hannah Siegfried, and I had just finished our $4 mimosaâ&#x20AC;&#x2122;s at the YOTEL. Shortly after, singer/ songwriter Anajah Hamilton would take the elevator up to the fourth floor to meet us for an improvised shoot during a New York Fashion Week winter storm.

118

There’s something magical aboutww working on our magazine in the city that never sleeps. Perhaps it was the professionalism of our bright-eyed-dewy-faced model, who quite literally, looked like she had just stepped out of a picture perfect Glossier campaign, or maybe it was the mezze off the Green Fig menu — while the rest of the girls shared a bourgeois pizza. From the very beginning, Hamilton’s presence was entirely nimble. Even in her descriptions of memories she shared with us about late night batty MTA encounters, she was, on every beat while seated, radiant and charming. The 19-year-old ArtHoeCollective contributor, who recently participated in Saint Records ‘An Ode to’ 2017 at the Solomon R. Guggenheim Museum, shares the most incredible realization that has happened to her this year, and two things in life she hopes to never repeat.

Isis Nicole: Thank you so much for coming out from New Jersey to NYC to meet us! Let’s start with a brief introduction to who you are professionally.

Anajah Hamilton: I’m known to dance, sing, act and model, but I’m mostly a singer / songwriter. I was a part of the “Class of 2017” Urban Outfitters campaign with Hanes and their Champion collection. I did MAKE UP FOREVER in i-D magazine, [it was] this commercial type thing. Those are like the two major things I feel are super cool. I’ve done a lot of little things here and there, like Hannah Metz, I’ve modeled for her clothing. I’m doing something for Fashion Week tomorrow [with] Lyz Olko and that’s all I can think of. [Laughter] I’ve done so much stuff.

IN: What have you learned to never repeat? It can be advice in regards to career, relationships, friendships, anything.

AH: There’s two things: To not allow toxic people back into my life. I feel like if [I] do [I’m] kind of setting [myself] back because, maybe someone has made a mistake, okay, someone can work on that but like, people who are just consistently trying to bring someone down, they’re toxic to mental health and they’re not ever good.

The second thing that I think is important is your relationship with yourself. Don’t make decisions when you’re at your lowest point because you’re going to obviously make a decision that your happiest self won’t agree with. Like for example, a career choice, or like a relationship choice. If you’re feeling down or anything along the lines of extreme melancholy, don’t make a decision because if you do, it’s not going to benefit you when you’re happy because you’re feeling really off balance. I feel like [it’s important] to always make a decision when you’re clear headed. Always take time to do things.

Isis Nicole: What’s the most incredible thing that happened to you this year?

Anajah Hamilton: I think it was me realizing that I have potential. Realizing that I am worthy to take up space because I always feel like, “Oh there’s people who are going to be better than me.” [Sometimes] I feel like I don’t belong or like I don’t fit in but I’ve realize that, no one actually fits in. You just have to find the place that you belong so I feel like, you know, learning how to be comfortable in my skin, I feel like that was the best thing that I’ve realized this year.

5 Ways to Start Living the Creative Life You Want Written by: Sara Radin I surrendered the fear of starting somewhere. I’ve made some drastic life changes in order to become the person I’ve always wanted to be: someone who goes after what she wants and doesn’t let obstacles, like not having money, stand in her way. In the last three years, I started learning how to embrace experiences every step of the way, and to enjoy the process. Here’s a few tips on how to make ideas realities and live the creative life you want.

120

1. Quit worrying.

Stop allowing the fear of starting hold you back. Quit worrying about what people think of you. Repeat: “It doesn’t matter what they think of me.” The reality is no ones thinking about you, they’re too busy worrying about themselves. And quit worrying about making money. You’ll figure it all out as you go. Lastly, quit worrying about failing. Despite what everyone says, failure isn’t so bad. In reality, it saves us from places we’re not meant to be and teaches us valuable lessons that we can use to rebuild ourselves after we fall.

Sometimes the hardest part is starting somewhere so take a deep breath, begin slowly and take your damn, sweet time. You got this!

2. Take back stolen moments.

To really live the creative life I want, I’ve had to cut back on my social life to make room for personal productivity. It’s important to make sure there’s ample time for laying low.

If you want to commit to living a creative life, you’ll need to take back stolen moments.

Think about how you’re spending your free time and re-invest all of your energy into yourself and the things you really want to do. For me, that means waking up two hours before work to write or meet with inspiring people for coffee so I have my nights and weekends free to attend and plan events. How do you cut the fat of your life? Figure out what’s necessary and what’s not. Think about what makes you truly happy and how you really want to spend your time. Make sure you say no to plans and opportunities you don’t feel are a necessary FUCK YES! 3. Enjoy the process of being a work in progress.

Sometimes we get so caught up in getting somewhere, we forget to enjoy the process as we go. The thing is, the process is just as much a part of the final outcome. Treat yourself with kindness and compassion as you go. You may not have all the answers now, but they will reveal themselves to you when they’re meant to. In the meantime, soak up the experiences and learnings every step of the way. It’ll make the journey much more magical. Stay patient, plant seeds, and watch them grow little by little into the lush future you’ve always wanted.

4. Never stop learning.

See every experience as a learning opportunity and a chance to grow. Whether that’s a breakup or a lay off, take a step back, process how you feel and soak up the knowledge every step of the way.

5. Lift others up.

Use your voice and your platform to give back. Giving back can be anything from showing up to a peer’s event, to making a helpful introduction, to sharing words of wisdom.

Being kind is cool, and we desperately need each other’s support to keep going. Take the extra few minutes to show you care. It goes a long way, and it’ll bring kindness back into your life.

Photography: Hannah Siegfried Model & Styling: Mia Ghogho Makeup: Jessica Monzalvo Creative Direction: Hannah Black

122

Printed by Peecho Print on Demand for magazines and books.

www.peecho.com

$24 124