COLE Issue # 9 'ALL BLACK EVERYTHANG'

ISSUE 9. 2018

All Black Everythang

EDITORS LETTER

COVER

CREDITS

FRONT

Editor in Chief Dana Cole

This is an issue I have wanted to do for awhile, One that as a Black Woman, I felt was near and dear to me and COLE is in the perfect place to do it. An All Black Model issue!

While the fashion and beauty industries are getting better with hiring black models for jobs(at a very slow turtle pace),

Photographer Dana Cole

Graphic Designer Minh Duong

Stylist

www.minhdesigns.com

Marte Dahlgren Photographers

Black models are still very underrepresented in the industry.

MUA/Hair

I wanted to dedicate an entire issue to all of that luscious

Magic Owen

Jacqueline Kroon

Selim Soysal

Melanin and showcase the fabulousness, the strength, the preservation that is the Black Woman and Man.

Model Thula N | Le Management

This issue is full of fabulous editorials sent to me from Photographers all over the world. I was so happy with the

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turn out of submissions, as well as the overall positivity

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when I announced this issue. I do hope you all enjoy it!!

Big thank you to all the contributors within the issue. You are the real MVP’s that makes COLE and you are appreciated!

Dana  C ole Editor-in-Chief

Jesus Soto Eluvier Acosta Florian Koell Aaron McPolin JD Barnes Dana Cole Fedor Borodin

BACK Photography/Post Magic Owen Styling Tia Oguri

Xang Mimi Ho Casie Wendel Dominiique Guillaume Isabell Wedin Leicester Mitchell Bryce Chapman Li Xingye

HMUA

Jorges Andres Rojas

Natasha French

Zakiyah Caldwell Erin Delsigne

Model

John Ellis

Gift Nyakuta

Gautier Van Lieshout Drew Botcherby Violeta Sofia Writers Joanna Austin KD Wells Publisher Cole Studios Printing Company Pixart Printing

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Send submissions to submission@colemag.com For info info@colemag.com www.ColeMag.com ISSN # 2387-3779

Magic Owen

Selim Soysal

Jesus Soto

Eluvier Acosta

STAR

LA PRIMAVERA

ELEVATION

ROMANCE AZUL

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Florian Koell

Aaron Mcpolin

BIRD IN THE ATTIC

CLAYMORE 31

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INTERVIEW WITH SHANNON SWIFT

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Dana Cole

AURA APPEAL

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Fedor Borodin

Xang Mimi Ho

Casie Wendel

Dominiique Guillaume

LOGIC OF TASTE

GEMINI

KINGDOM COME

OUT OF BOUNDS

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Magic Owen Joanna Austin

Isabell N Wedin

GIFTS OF NATURE

WONDERLAND

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THICK SKIN, SOFT HEART 105

Leicester Mitchell

POPPY 113

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Bryce Chapman

Li Xingye

K.J. Wells

Jorges Andres Rojas

EPICENE

POWERFUL WOMEN

IMITATION OF LIFE

AGE OF GEMINI

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Zakiyah Caldwell

Erin Delsigne

THE RECREATION RENAISSANCE

LIFE OUTSIDE THE BUBBLE 151

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John Ellis

Gautier Van Lieshout

GALACTIC ROYALTY

BLACK SOUL

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PROUD OF MY MELANIN

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Drew Botcherby

MOHAMED SPRING 175

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Photographer & Retouching: Magic Owen Styling: Magic Owen MUA: Amelia J Roberts Model: Karen Bengo @AJK

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Blazer Dress and Earrings: Zara Stripe Nautical Sandals: River Island

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Leopard Catsuit: Motel Gold Bra/ Neck and arm cuffs: Bijoux NY

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Yellow Stripe Swimsuit: Zara Stripe Nautical Sandals: River Island

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Gold Bodysuit and Hood: Lena Quist

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Signature Catsuit: Lena Quist

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Lightning Bolt BodySuit: Lena Quist  Platform Peep-toes: Louboutin

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Star Harness: Doll Killz Star Cuffs: Bisjoux NY

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LA PRIMAVERA

Photographer: Selim Soysal Stylist: Carolina Vidal Levesque MUA: Ana Maria Naranjo Model: Finita | Blow Models Barcelona

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Dress: Mango

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Jacket: Mango Pants: Mango Shirt: Humana

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Elevation

Photo: Jesus Soto Styling: Diego Ibanez Model: Jamaul Barnett @Bang model management

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Blazer: Galo Bertin Shirt: Nautica Trousers: Olmos y flores

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Blazer and trousers: Galo Bertin Jacket: Olmos y Flores Shoes: Reebok

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Shirt: Macrez Jacket: Macrez Trousers: Edgar Morales Shoes: Reebok

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Jacket: Macrez Vest: Raul Ozuna Trousers: Edgar Morales

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Shirt: Olmos y flores  Trousers: Raul Ozuna

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Jumpsuit: Raul Ozuna Shirt: Nautica

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Romance Azul

Photographer: Eluvier Acosta Guevara Model: Nya Gatbel | The Nobles Management (MA Canada) Models Agencies: Major Models NY, Brave Models IT, The Face FR. Makeup & Hair: Katrina Martinez Styling: Paulina Ramis Nail Artist: Miho Goto Assistant: Eric Auclair Clothing: Holt Renfrew​YYC

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Pink and Dress: Alexis black tulle triangle bra and briefs: Intimissimi (it.intimissimi.com)

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Dress: Ulloa Johnson

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Dress: Victoria Beckham​ Bomber: Philip Lim

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Dress: Victoria Beckham​ Blouse: Smythe Shoes: Zara

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Black top, black and beige striped pleated skirt: Creazioni Antonella (creazioniantonella.com) Black leather belt: Topshop Dress: (eu.topshop.com) Red Valentino Green latex socks:Earrings: Spielbarlatex Zara Black leather Bag: sandals: Cult H&M Gaia

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Dress: Zimmerman Scarf: Sabina Savage (Beyond Scarf​)

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Dress: Zimmerman Bag: Cult Gaia Scarf: Sabina Savage (Beyond Scarf​) Shoes: Zara

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Photographer: Florian Koell Stylist: Tanya Prall Hair/Makeup: Tanya Prall Model: Macon Reid | Viva Models Creative Direction/Production: Tanya Prall Production Assistant: Alexander Hoffman Nail Artist: Sevilay Uzunay

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Yellow Tunic: Talbot Runhof Tulle Gloves:Talbot Runhof Shoes: Talbot Runhof

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Green vest: Talbot Runhof Pants: Talbot Runhof Feather Collar: Tanya Prall Belt(around neck): Talbot Runhof Shoes: Talbot Runhof

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Yellow Tunic:Talbot Runhof Pant:Talbot Runhof Belt:Talbot Runhof Shoes:Talbot Runhof

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Dress: Mykke Hoffman Tulle Gloves: Talbot Runhof Shoes: Talbot Runhof

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Green Kimono: Mykke Hoffman Dress: Vintage Herve Leger Shoes: Talbot Runhof Belt(around neck) Talbot Runhof

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Dress & Jacket: Nobi Talai Embroidered Belt: Nobi Talai

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Claymore

Creative Director/Photographer: Aaron McPolin Wardrobe Stylist/Fashion Designer: Kate Hannah Makeup Artist/Hair Stylist: Nadia Duca Female Model: Florence Baitio Wardrobe Credits: P’JUNK By Kate Hannah

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Interview with

Shannon Swift

As a young girl growing up, Shannon swift has always had an eye for art. Having started out on her passion of photography and creating illustrations very early in life, her desires for creating beautiful pieces is one was born out of interest, and an obvious passion for the field, a fact that is made apparent through her numerous projects. Not only has she worked with several clients to create amazing illustrations that are set to depict specific messages and transmit explicit imageries, she is also a published photographer whose work has been featured on various web and print media.

Shannon had a very powerful childhood background. Born to parents who understood her drive to pursue her passion,

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she spent her days drawing, taking selfportraits and keeping herself amused by the things she could come up with. A quick research shows a rich catalogue of her past projects spread out across both fields and one can clearly she just how talented she is as each illustration immediately depicts the scenery at a glance. Having recognised her passion early in life, Shannon went on to college and obtained a national diploma in art and design after which she went on to obtain a HND in photography and digital imaging, a field of study that is well suited to her specific skill set.

Being a bi-racial female artist, Shannon is a vibrant asset to the art world. As more light is being thrown on highly talented woman in the field of photography and art

in General, it is a truly exciting period to recognise woman whose work and talent breaks boundary and tells powerful stories in ways that most people may be incapable of comprehending. While black women may be under-represented in the industry, it is truly refreshing to experience the astonishing creations of an artist whose is truly passionate about what she does and understands exactly how to bring her pieces to life.

Now at the age of 25, Shannon continues to push herself into new territories and challenges, a fact that she was glad to share with us in this feature.

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Cole mag: Tell us about yourself and how you started in the field?

Shannon: Hello! I’m Shannon, I’m 26 and I’m a self-employed illustrator (and photographer) from the UK. My love for the arts started very young, so young that I don’t remember how old I would have been. While a lot of young children grow out of drawing at the dining table, I didn’t. My parents were always supportive of my passion; they pushed and encouraged me enough for me to believe I could do it for a living.

Cole mag: What made you want to become an illustrator?

Shannon: Although it’s only recently that i took the leap into becoming a selfemployed artist, I’ve always been an artist, for as long as i can remember, so it’s tough for me to answer that. I would say it’s just what always felt natural for me.

Cole mag: How many times do you tend to draw a character until it is right, and also how do you know that it is right?

Shannon: I tend to draw a rough sketch and erase parts of the sketch bit by bit, over and over, until its right. It is usually 2 or 3 times per body part, but can be upwards of 10 times. You have to be very patient and believe that you will eventually get it right, and if you don’t, that’s a learning curve. I don’t think I ever “know” it’s right, I try not to concentrate on how realistic it looks, or if the proportions are perfect, if you like how it looks, that’s your style, go with it.

Cole mag: Can you remember some of your earliest influences?

Cole mag: A lot of your illustrations include people, and in particular many illustrations feature women. What is it that draws you to illustrating people?

Shannon: My biggest influence that i remember as a child was artist Amy Brown.

I’ve always been inspired by fantasy, particularly books and folktale. Amy’s work heavily featured “fairies” and other mythical creatures. I have always, and still am, inspired by cartoon shows, particularly anything aired on cartoon network in the late 90’s/early 2000’s.

Shannon: I’ve always been inspired by femininity and in particular the female form, as I am with my photography too. There’s no “right” way to be a woman, which of course opens a lot of doors to a lot of ideas in regards to inspiration. I’m inspired by Women in general, the way we create, the way we present ourselves, the ways we fight. The inspiration is endless.

Cole mag: Which illustrators or artists working today do you admire the most?

Cole mag: What tools or techniques can you share about your process? Is it all hand done or is there a computer involved?

Shannon: Quite a big variation, I admire most forms of art, particularly illustration in all styles, and while I would say that I view art from those I know personally more than any other artists, I admire the works of Hannah Alexander, GhoulKiss, Geneva B art, Loish and many others.

Cole mag: How much attention do you pay to the feedback of others on your work?

Shannon: Feedback from my audience is very important to me. Representation and inclusion plays a big part in my work, I listen to what others say they want to see represented and they help me to fill in the gaps.

Cole mag: What advice would you give other newer illustrators or those wanting to get into it?

Shannon: The one thing that I can’t stress enough is practice. I often see people say they wish they could draw like a certain 4 9

artist. It’s so important to remember how many hundreds, if not thousands of hours and practice that was put into perfecting that style. The best advice I can give is to practice, be patient, and practice more.

Shannon: I illustrate on many mediums.

While most of my current work is all traditional and free-handed, my digital illustrations are created on Photoshop CC with a pretty old Wacom drawing tablet.

Cole mag: What can we expect from you in the future? Are there any current projects?

Shannon: my plans for this year include, hopefully, the possibility of producing merch of my work. I also plan to continue working on my mini projects, some of which I’ve completed include zodiac babes, sleepy babes, and as provided, hairy babes. Who knows what projects will come in the next few months, my options are endless.

The future holds some big promises for Shannon and we are excited to watch her take on new terrains and try out new territories.

Whether it is illustrations or photography, she is definitely one to look out for.

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See more of Shannon’s work here: www.shannonswift.co.uk or IG @things.by.betty.brown I N T E R V I E W

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Aura Appeal

Photographer: Dana Cole Stylist: Marte Dahlgren MUA/Hair: Jacqueline Kroon Model: Thula N | Le Management

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Shirt: H&M Necklace: Pearl Octopussy

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Jumper: Ganni Shirt: Custommade Earrings: Vintage

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Jacket: Stine Goya Top: Hallhuber Skirt: FWSS

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Top and Coat: Stine Goya Trousers: Costummade Earrings: Vintage

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Top and trousers: FWSS Shoes: Marc Jacobs

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Dress and trousers: Stine Goya Earring: Pearl Octopussy Shoes: Marc Jacobs

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Hoodie: J Lindeberg Dress: Ajourney

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Logic of Taste

Photographer: Fedor Borodin Model: Hawa Diawara | Karin Models Makeup/ Hair: Martina Squillace Wardrobe Stylist: Martina Squillace Assistant: Dashiki

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Jacket: Saint Laurent Pants: Celine Camperos: Tony Mora Gloves: Omega Belt: Versace Neck accessory: Laruicci

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Top: Saint Laurent Bomber: Y / Project Collar: Versace

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Top: Saint Laurent Bomber: Y / Project Collar: Versace Shoes: Asos

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Gilet: Brioni Jacket: Brioni Top: Top Shop Pants: Y / Project Earring: Maison Bizarre Belt: Versace

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Dress: Y / Project Top: H&M Studio Belt: Y / Project

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Dress: Martina Squillace Shoes: Asos Belt: Y / Project

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Tunic: Martina Squillace Top: Y / project Shoes: Asos Faux fur scarf: Martina Squillace

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Gemini

Producer: Xang Mimi Ho & Alvaro G. Huezo Photographer: Xang Mimi Ho Make up: Ashlee Briscoe Model: Khalia Abner and Janae Edley Designer: Bishme R Cromatie Photo Assistants: Daniel Guzman | Toan Lam | Donnamaria R Jones

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Kingdom Come

Photographer: Casie Wendel Accessory Designer: Wxyz Jewelry Makeup Artist: Danielley Ayala Female Model: Guetcha Tondreau Male Model: Eric Brynne Retoucher: Erik Saevi Assistant: Shadeh Rangbar

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Out of Bounds

Photographer: Dominiique Guillaume Styling: Souley Lo Model: Bintou Windela Assistant: Netia Anderson

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Dress: Sassy Chic Boutique Sunglasses: RiseAD

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Top: Rue 107 Necklace: Indiviju by Maureen Saturne

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Duster: Sassy Chic Boutique

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Body Suit: Rue 107 Pants: Rue 107

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Pants: Rue 107

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GIFTS OF NATURE

by Joanna Austin photography by Violeta Sofia

Growing up as a child, I’d sometimes see Jamaica – my mother’s country of origin – on television, and without fail, bare feet children would run through endless streams corrugated iron shacks. This image never inspired any intrigue or interest, but rather a vague indifference about my country of origin, until I was 17 years old when I went to Jamaica for the first time with my extended family in ‘tow’. This was a homecoming of sorts for my parents who hadn’t returned to their homeland since arriving in the UK in the 60s.

My reaction to Jamaica could be termed as cognitive dissonance: the beliefs and ideas I’d formed in my mind about Jamaica as being an impoverished island, overrun with shacks and homeless people, was challenged, big time. I was dumbfounded to realise Jamaica is an island of outstanding natural beauty, verdant and vibrant, with an abundance of fresh food and fruits, also bauxite. However, the mining of bauxite has been detrimental to Jamaica’s economic stability and independence. During the 1970s, foreign companies owned 100 per cent of the bauxite industry, on the other hand

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North America positioned it self to become the main source of imports into Jamaica, including roughly 48 percent of the country’s food consumption.

This is just one link in the chain that can be traced back to Africa, the archetypal motherland and supporter of life to the western world. If we imagine the west as an infant sucking on their mother’s breast, Africa, we can see how this continuous feeding results in a form of arrested development of the child. Yet, the reverse has happened: this continuous feeding upon Africa’s breast has left the mother depleted of nourishment for her own children, which in turn has resulted in Africa’s impoverishment.

When we watch television, we’re presented with the malnourished children with flies in their eyes as an appeal is made to our empathetic nature to make donations to help them get running water. This dichotomy of Africa as the helpless dependent child and the West as the saviour has infantized the continent.

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But this Africa we see, poor and seemingly cursed by perpetual bad luck, makes us sigh and wonder why Africa just can’t seem to get her act together. But the question we should be asking is who and what is responsible for Africa’s underdevelopment?

According to Walter Rodney in his polemic book entitled How Europe Underdeveloped Africa, ‘imperialism is largely responsible for the economic retardation of Africa by draining Africa’s wealth and by making it impossible to develop more rapidly the resources of the continent.’ However, what is equally important, and what many of us won’t like to admit, is our own involvement in contributing towards the exploitation of Africa and Africans through our endless pursuit of consumerism, and addiction to products as we upgrade our phones to have the latest model when they are still working, and the exotic food we eat which is sourced to the detriment to other communities in developing countries.

From our love affair with diamonds to our addiction to artisan coffee, Africa feeds all our insatiable desires and maintains the lifestyles we love so much.

The first chattel slave stolen from Africa and shipped across the Atlantic to fulfil the European dream of a New World, marked the beginning of the scramble for Africa. The surplus money from slavery funded the advancements in technology, eventually leading to the Industrial Revolution, and the world as we know it today.

In addition to the commodity of slaves, Africa’s natural resources were also beginning to be exploited. Gold was instrumental in the expansion of Western Europe. For example, it enabled Amsterdam to become the financial capital of Europe during the 17th Century.

The English guinea first coined in 1663, was made from gold imported from the Guinea Coast. Gold was also responsible for financing Portugal’s sea navigations to seek new countries to exploit and expand their colonies.

Slavery continued to be a source for the accumulation of capital which was reinvested back into Europe. In the Belgian Congo, under the heinous rein of King Leopold II, extreme violence was used to force Africans to collect rubber cheaply for maximum profits by any means necessary. Those who refused to collect rubber were killed and villages destroyed, hands were chopped off, and women were raped as a form of punishment and intimidation.

It is estimated that about 10 million people were killed in Congo’s rubber industry during 1885-1908.

So, while Europe and America thrived and made advancements in technology, Africa was plundered and descended into a pit of poverty, left to subsist on conflict and corruption.

Today, the story of Africa is still one of exploitation and poverty, and while we mindlessly swipe left and right on our phones, someone in the Congo is being killed and raped so that we can be entertained.

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Wonderland

Photographer: Isabell N Wedin MUA & Styilst: Karolina Vertus Model: Zainab Jones

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thick skin, soft heart

Photography/Retouching: Magic Owen Styling: Tia Oguri HMUA: Natasha French Model: Gift Nyakuta Illustrations: Laura Elise

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Darsi Cone Hat: Carapace London Latex Gloves: Dead Lotus Couture Dress: Lamula Nassuna Gladiator Sandals: Tom Ford

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Latex Top: Dead Lotus Couture Trousers: ZS Hoss Studded Heels: Tobi

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Gloves: Dead Lotus Couture Armor Top: Carapace London Studded Heels: Tobi Fringe Belt: Boohoo

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Dress: Mary Sinclair Neck Piece: Qi Zhang

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Top: Mary Sinclair Underburst Cage Corset: Asos

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Armor Chaps: Carapace London

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Poppy

Photographer: Leicester Mitchell Model/Stylist: Kenneth Hill

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Shirt and Pants: H&M

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Shirt and Pants: H&M  Sandal: Northside Sandals

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Over shirt: Levis Shirt and Pants: H&M Shoe: Steve Madden

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Jacket and Pants: H&M  Shoes: Creative Reaction

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Shirt and Pants: H&M Shoes: Northside Sandals Jewelry: Forever 21

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EPiCENE

Photographer: Bryce Chapman MUA: Brittney Taylor Stylist: Kesha Linder Model: Patrice Best

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Avon Silk and Lace Gown Vintage Men’s Suit: L Train Vintage

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Vintage Pinstripe Long Blazer: Davistisdale Vintage Striped Button up: Ann Taylor Madison Checkered Wide Leg Pant: Ann Taylor

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Vintage Checkered Blazer: Thrifted Striped Balloon Sleeve Top: Ann Taylor Vintage Black Suspender Pant: Thrifted Black Hat: Thrifted Shoes: Target

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Checked Belted Blazer: Ann Taylor White Button up: Ann Taylor Black Maxi Skirt: Ann Taylor Skinny Jean: Ann Taylor

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Teddy Cloth and Faux Leather Bomber Jacket: Target White Perfect Shirt: Ann Taylor Blue Tulle Skirt: Ann Taylor Animal Print Bow Tie: Ebay

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POWERFUL

WOMEN

Assistant: Jaden Tang Makeup Artist: Anouk Haif Photographer: Li Xingye Female Model: Dayana Creative Director: Wu Xiaoxuan Wardrobe by ZARA

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IMITATION OF LIFE BY: K.J. WELLS

It seems every decade there’s a break out model of color who reaches supermodel status and is sure to change the model industry norms. In 1966, two years after the Civil Rights Act was passed in America, Donyale Luna became the first Black model on the cover of Vogue Magazine.

It seemed she and Naomi Sims broke a glass ceiling in the industry for many darker skinned models to follow. The 1960’s and in the early 1970’s gave the world Grace Jones, Pat Cleveland, and Iman. In the late 1970’s and early 1980’s, we saw the rise of Veronica Webb and Naomi Campbell who ushered the way for Tyra Banks and Alek Wek. Wek, was praised by the industry for her super dark skin, full face, and thin frame. The new millennium set the scene for the likes of Katoucha, Liya Kebede, and Grace Mahary; and yet, so few Black faces in fashion magazines and on “elite” runways. Black models still only make up approximately 8% of the modeling industry compared to approximately 80% of their white counterparts. However, there is no shortage of black appropriation.

In the last decade alone some of the Black culture appropriation culprits have been Gucci, Victoria Secret, Stella McCartney, and Marc Jacobs. They’ve taken everything from cornrows to durags --that are often deemed unprofessional when worn by Black models and put them on red carpets and runways. Then the same “ghetto” signatures are placed on white bodies and celebrated as cutting edge. Take the Kardashians. They have positioned themselves as representation of a culture that they, at best, have second

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hand knowledge of with their t-shirts celebrating Hip Hop Icons and rebranding of traditionally Black hairstyles. While the Kim and Kendall are praised for their “box braids’ Rihanna and Zendaya Coleman have been dragged by red carpet commentators as unkempt or too earthy “smells like patchouli oils.…and weed.” for representing their natural hair heritage.

In recent news, the cultural appropriation in the fashion industry has moved from real life models to the virtual world. Shudu is a virtual avatar and creation of British photographer/ visual artist Cameron-James Wilson. Despite Shudu’s support from major hitters, it’s surrounded by controversy.

Wilson is a white man, and Shudu is his interpretation of nearly perfect Black beauty.

With skin as dark as Wek and lips as full as Iman, Shudu is still an appropriation of Black culture despite the influence of prominent Black models. Wilson pieced together what he considered the best parts of Black women and created a marketable entity that he will solely profit from. As a Black woman that is very familiar with the objectification of black body parts throughout history. I find his creation leaving me uneasy and full of confusion about his Dr. Frankenstein’s monster. Considering the scarcity of black models in the fashion industry the outrage traveled far and wide over social medias like Twitter and Facebook.

Black women’s history in the world has been a complicated one since the colonization of Black people over most continents. This trend that has been documented since Sara Baartman was

taken to Europe from South Africa under the false pretense that she would split the profits from any show she was featured in.

Baartman was displayed completely naked and exposed. European audiences would gawk, mock, and eventually imitate her physical characteristics through fashion.

Her humanness was questioned by the Europeans and therefore the limits to what was allowed to happen to her were almost non-existent. Often treated like an animal in a zoo or circus, Baartman experienced humiliations that my 21st century mind could hardly comprehend.

Yet, her physique was used to push a trend in European fashion where the woman’s waist was girdled and buttocks drastically exaggerated. Demonstrating that even in the early 19th century the fashion industry took what was seen as desired of the Black women leaving them to cope with the objectification of their bodies.

When will there not only be a consistent space for Black bodies in the industry, but a truly integrated space where the opportunities are equal? Models of color are often competing for one spot out of dozens. While models of European backgrounds have several opportunities to be casted in runway shows or featured in magazines. Systematic Racism is not a new phenomenon but an old system which benefits anyone in society of European decent and gives them the opportunity to take what they want and leave the scraps for the rest of the world to fight over. What does it say about the world, when the perfect woman in the eyes of society, is created by a white male?

Photographer: Dana Cole MUA: Jacqueline Kroon Model: Margaret Abeshu

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age of

Gemini

Photographer: Jorge Andrés Rojas Fashion Styling: Guille Montiel MUA: Johana Sepúlveda Producer: Mauricio Herrera Barria Modelos: Magda Tamayo, Yomatsy Hazlewood

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MAGDA Alpaca Sweater: Calvin Klein YOMATSY Dress: Giambatista Valli

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Gown: Byron Lars

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MAGDA Alpaca Sweater: Calvin Klein Dress: Oscar De La Renta YOMATSY Dress: Giambatista Valli Earrings: Kate Spade

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Dresses: Zimmermann  Shoes: Yomatsy Schutz, Magda Jeffrey Campbell

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Dress: Marchesa Belt: Salvatore Ferragamo

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Purse: Salvatore Ferragamo Boots: Jeffrey Campbell

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Recreation Renaissance

Photographer: Zakiyah Caldwell Model: Chanise Fields Hair & Makeup: Cathrine Ashly Davis Wardrobe/Creative Director/Set Designer: Corrinn Chishimba

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Jacket & Pants: Columbia Outerwear

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Jacket: St Johns Bay

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Tennis Skirt: Express

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Life Outside the Bubble

Photographer: Erin Delsigne Photography Assistant & Bubble Artist: Jake Roach Creative Producer Assistant: Jennifer Gautier Model: Alexis Turner Makeup: Heather Borah Hair: Cocoa Loves Hair Designer: Dai Le – Om1 Studio (all wardrobe and pieces by Om1 Studio)

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GALACTIC ROYALTY

Photographer: John Ellis Model: Sahirah Abdur Stylist: Brandi Zarr MUA/Hair: David Aroche Assistant: Quan Michelle

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Dress: Fatale Maison

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Top: EG Luxe Clear Bolero: Fatale Maison Black Skirt: Laura Thaphimkuna Clear Skirt: Fatale Maison Boots: ASOS

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Sunglasses: Mercura NYC Top: Nika Tang Clear Ball Bag: ASOS Shoes: ALDO

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Dress: Laura Thaphimkuna Feathered Neckpiece: Brandi Zarr 3D Neckpiece: Laura Thaphimkuna Boots: ASOS

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Sunglasses: Mercura NYC Dress: Nika Tang

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BLACK SOUL

Photographer: Gautier Van Lieshout Model: Bryan Kihanguila Creative Director: Alexia Vic

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ADVERTORIAL MODEL FEATURE

MALACHI JEAN Photographer: Brandon Leigh Wardrobe Stylist/Creative Director: Camilo Andres Vargas-lesmes Model: Malachi Jean @mally_mal23

Blazer: Camilo Andres Vargas-Lesmes (MILÓANDRES) Turtleneck: ASOS MAN Pants: H&M Necklace: Supreme Assessories: H&M Jewelry: ASOS MAN

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ADVERTORIAL MODEL FEATURE

MALACHI JEAN Photographer: Zaria Love Stylist/Model: Malachi Jean

Shirt: Supreme Shoulder Bag: Supreme Pants: Supreme Shoes: Supreme x Air Jordan Retro 5

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Mohamed Spring

Photographer: Drew Botcherby Wardrobe Stylist/Male Model: Mohamed Lewis

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Jacket: Fleets Philadelphia Shirt: Kilburne & Finch

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Coat: COS

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Coat and Pants: J Ashford Vintage Shoes: Johnston & Murphy

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Jacket: George Shirt: INC Watch: Guess

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Coat: COS

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ISSUE 9. 2018

All Black Everythang