The October Issue by Premiere Magazine

Follow @@shoplhp for updates on the Fall/ Winter 2019 collection

Editors letter

10 Black Swan 36 A Boy Is a Gun: Style &Aethetic 40 TIKI

God Is a Woman 54 Underground Brands 66 Syre Vs. Eyrs 68 Zendaya Brings Hillfiger to Harlem 86 Designing a New Normal 88

Kyle Mells

Editor in Chief

Asha Alaji-Sharif Vice Editor in Chief

Arielle Williams Managing Editor

Deni Dedmon Executive Editor

Laura Richmond Fashion News Editor

Jean Jackson

Culture News Editor

Shainya Frazier Beauty News Editor

Kayla McSwain Creative Director

Nkiru Emelle Creative Director

Amber Paige Visual Editor

Kyrstain Green Visual Editor

Sashanie Keise Copy Editor

Sarah Swint Copy Editor

Maia Pina Head Stylist

Nadirah Alford

Head Creative Director

Christopher Williamson 7 Executive

letter from the editor

’ve been dealing with an identity issue with The Premiere Magazine are we just a conceptual magazine or a fashion magazine. Ive chose to take a more fashion approach come November, meaning there will be more fashion inspired shoots, more focus on the fashion of thing rather than concept shoots . I am excited for that because I’m also excited for the fall/winter fashion , this is the best time for fashion hands down. We will see so many prints, textures , layering, and other stuff so be ready for this season. We are living in a time wear fashion is becoming the forefront for creative expression and with that in mind I challenge you all to try and use that when you wake up and put on clothes this fall; wake up and be yourself put on what you feel comfortable and confident in. I was having a conversation with my friend and his little brother the the topic of fits came up and my friends little brother said “I put on a fit that was sort of your style but I had to change, it was a fly fit don’t get me wrong but I didn’t feel confident in it” and that stuck with me because he understands the concept of fashion being a reflection of ones self and expression. Also had a conversation with my fashion news editor, Laura Richmond, and we talked about the state of fashion and trends that we are seeing the the conversation started to stir towards music and pop culture and how at one point fashion was separate from those two thing but

The October issue. This issue highlights shoots that have been creatively directed by Nikina and Laura. They are sort of a powerhouse when they collaborate on things so look out for more projects from them. My favorite shoot in this issue is the Syre vs Eyrs photographed by Kennis, he went stupid with the film always a pleasure seeing him work and produce quality art. We also have articles on the fashion being Boy Is A gun music video, underground fashion labels, and many more articles that are all interesting reads. I hope you all enjoy this issue.

OCTOBER

now they are all interconnected. Anyways I just excited to see people fitted up .

black swans creative direction by kyle mells and asha alaji-sharif photograpghy by @jl_spoke

models: @nisani.lo and @gillianclifford

n May 17th of 2019, the world was blessed mansion, endless luxurious rooms are utilized with with a gift. A gift that was crafted with dedi- various messages, expensive looking, early century cation, fluidity, structure, madness, pain and paintings on the walls, and a car that looks like those passion. A gift that would have had a different effect had from the 1960s. This all ties into what the relationship it come from anyone else. A gift that would change mu- meant to Tyler. The idea of a trophy boyfriend, with sic as we knew it forever. Twelve tracks, 39 minutes, 43 your butler catering to you on your estate. The seconds, and 101 instruments of purity, heartache, for- eloquently designed marble tile bathroom, the beaugiveness and closure. IGOR is an album that too many tifully sculpted garden—having it all and all the while people can relate to, and more than enough still seemingly unhappy due to the pressures of a drainpeople have given praise to—myself included. The en- ing relationship. It’s a silent testament to how he viewed tire album was written, produced, and arranged by Tyler the relationship holistically. Okonma, better known as Tyler, The Creator. Through Tyler utilizes color as a style form of storytelling as watching interviews, personal analysis, and multiple well. He is notorious for being perceptive and playing thorough listens to the album, one thing is very clear: on what is appealing to the general eyes. There are it is inspired by a romantic relationship of his that was, four repeating colors throughout the video: brown, at minimum, toxic and emotionally intense. The rea- ivory-cream, blue, and green. The repeating colors are son the album is so relatable is because from start to shown on the garments and throughout finish he tells a story the set of this video. He sets “Tyler has familiar to many of it up so you see the monoalwaysbeenknowntohavehis chromatic pattern. In the us—the relationship that is ownstyle,butIGORwasacom- very beginning of the video, addictive and overyou can see that the color of pletelydifferentavenueforthe the cashmere sweater worn whelming and controlling but we under the brown matching California artist and just can’t let go no corduroy set is distinctly presents him to [his matter how badly similar to that of the sky. In we know we need to, admirers]inamuchmoreversa- the scene directly after this, until we no longer IGOR is wearing a cream tile light.” have a choice. On tinted jacket that is buttoned September 16th, Tyto the neck over a white butler dropped a music ton up shirt, accented with a video for what has beige-brown ascot. The colbeen perceived to be an all-around favorite off of the or scheme of this look is very close to the shade of the album: A BOY IS A GUN*. IGOR not only changed the mansion. Continuing this theme, he plays on the color game for music, but how we perceive Tyler in both style green for a major middle portion of the video. Starting and aesthetic. Tyler has always been known to have his with the shade of the grass in the garden, the tiles in the own style, but IGOR was a completely different avenue bathroom, to the heart ring on the fourth finger of his for the California artist and presents him to [his admir- left hand in the bathtub. ers] in a much more versatile light. Tyler’s use of IGOR Throughout the video, the characters maintain a not just being the title of his album, but also a perso- specific style. IGOR staying on theme has his na throughout is utilized as a visual aid in each music structured looks, usually involving either a video for the album, and essentially becomes a series of matching suit, or a matching set, with some heavily small worlds revolving around IGOR. loaded, but delectable, jewelry taste. The chartreuse Specifically, in A BOY IS A GUN*, style and aesthetic green suit (playing back on the idea of repetitive color), play a major role in the abstract and concrete the ivory-beige trench coat buttoned to the dip of the storytelling through the visuals. Directed by Wolf Ha- neck, the matching brown corduroy pants/jacket set, ley *if you know you know*, the location seems to be and the best look of them all—naked in a tub dripped estate-like grounds. Scenes of the sculpted garden, mul- out in gold link chains. This is IGOR as we have tiple grand fountains, sculptures, and a pool grown to know his style since the drop of the alsurround this cream-colored mansion. Inside the bum. The 37

all-knowing because they see and hear everything when the thought is that no one is around. I don’t think it’s any coincidence that Tyler dropped this video a week before we officially enter autumn equinox, and the colors he chose all fall within the range of a Fall color scheme. Furthermore the colors he chose to place in the same room, frame, and distance of each other show his awareness when it comes to creativity on a visual aspect. The fashion styling through and through helps provide a clear, honest depiction of what the relationship was and what the song means for Tyler. Not to mention how he plays on the title and repeated line of “a boy is a gun” through the videography and prop direction. Tyler has more than proven his dedication to his craft, moreso with this project than anything else, through the many levels of creativity, hidden messages, and overall construction of the album. If he ever reads this: you pushed me to be my truest self with this album—in creativity and in life. On behalf of all of us touched by it, thank you. You’ve created a masterpiece. To growth, maturation, and love.

GOR

majority of the video: a collared white top with khaki colored trousers. In essence, a preppy schoolboy look. There is a scene in the bedroom in which IGOR and the disputing lover argue and put on their jackets at the same time. IGOR puts on the chartreuse green blazer while the lover slips on an egyptian blue cardigan—two colors that combined look beautiful, but also contrast against one another so well. Therefore, the duality in this scene creates a beautiful aesthetic which also ties into the emotion displayed by the characters. The other character being the reappearing woman in the gardener’s outfit which was a plot twist in the video. I took her role and style to be symbolic of the stereotypical soap opera stories that usually have the character line of “my husband was sleeping with the gardener,” which I feel was Tyler alluding to a similar scenario playing a role in his relationship. Not just based on that, but when lover boy runs out of the house and into the car, once the butler closes the door you see the woman in the window of the car, not the boy. Nevertheless, there are other theories. Last but not least, the butler who appears towards the last half of the video is in a carob shaded brown suit from the moment he appears to the last time we see him on camera. In my mind, he represents, as most do in storylines like this one, how the “help” is always

GOR GOR

t i k i photography and creatie direction by nkiru emelle styling by laura richmond

anexis debut single anexis texas out now scan the qr code to listen

god is a woman 54

creative direction by nkiru emelle styling by laura richmond

photograpghy by @mal.bravo@

THIS MONTH’S SCOOP: UNDERGROUND BRANDS By Laura Oliviér

his is a conversation I’ve been finding myself engaged in lately. It's a great question because it's something I often think about. In an era where money is the root of everything, having style has been inadequately equated to wearing $10,000 from head to toe...even if it looks bad. Granted that’s subjective. However, certain pieces just don’t need to go together. It’s fairly easy to tell when one is wearing an outfit for style versus to show how much they spent on their outfit. It's a fundamental issue I’ve seen displayed in the media, walking down the street, and unfortunately on campus as well. Although this was more frequent in the early 2000s, I find that despite what people may want outside viewers to think, their value of basic designer pieces over something intricate, oneof-a-kind and vintage shows in what they choose to wear and how. Moreover, I find it is always those who are hasty to devalue the work of one who is a self-starter to be just as hasty dropping a couple hundred dollars on the same Gucci sneakers that everyone else already has. I believe the misdirection is that society has pushed us to some degree to believe the follower’s rule of “everyone else is doing it, so I might as well too.” It’s almost funny because growing up most of our parents told us to “be a leader, not a follower” when it came to social situations. However, I don’t think it was ever clarified that it could reach beyond that. This notion almost carries through to our adulthood, and not only when it comes to fashion. A large majority of the population would rather support brands that have already made a name for themselves in the industry, rather than help brands who have

Q : “If it isn’t a designer label, would people still wear it?”

the potential and the clear stamina-and with the right support could make a name for themselves as well. I dedicate this article to the brands that have been overlooked, and underestimated, whether they’re listed here or not. Never stop dreaming, and follow that creativity with love, sweat, and fire always. ØBLANC: streetwear flipped inside out. Founded and created in 2017 by Olivia Leblanc, ØBLANC is a unisex clothing and accessories brand that focuses on new ideas for workwear functionality and graphic branding. It’s a brand that harnesses the concept of sustainability by recycling and repurposing already existing pieces. In 2017, I was graced with the opportunity to watch ØBLANC’s first fashion show in the Fall 2017 NYFW as part of the Flying Solo NYC Show. I'm a fan of one-of-akind pieces, or pieces that are different. Better stated: pieces I know everyone won’t have. When it comes to style and building my wardrobe, I'm always looking for statement pieces, and what I like to call “little gems”. At the time I was still figuring out how I wanted to build my wardrobe, but I knew that there was something about abstract clothing and jeans that were purposely constructed backward that gave me *heart eyes*. Over the past couple of years, as I have become more confident in how I choose to dress and what I choose to wear, I find that ØBLANC embodies everything I have manifested in my journey with fashion. If you take a look at some of the pieces I’ve decided to include in this article, my appreciation for Miss Leblanc as a designer and her brand altogether will become much more clear. Specifically with the Cargo Zipper Jeans. What sets it

off is the detailing of the zippers as seams, the cargo pockets in denim form as a part of the jeans, and the extra length that brings the legs of the jeans over the top of the feet. The Layered Back Pocket Jeans are covered in the same denim back pockets down the entire back of each leg, and the top of the front is accented with belt loops. It’s the little things that stick out to me. Details that you just wouldn’t see on many of the better-known brands that are out right now, and you’re almost guaranteed to be the only person in the room with any pair of these jeans. Another one of my favorite underground brands is called Overlook. Overlook, founded and created by Ali the Creator in 2016, is an apparel brand based in New York City. Dedicated to showing the truest form of his artistry, Ali describes the inspiration behind the brand as being the ideation process and expressing them through clothing and visual content. In my opinion, he has done a great job of following through with this mission. I also had the opportunity to work with and meet the designer on a few occasions, and I can attest to the fact that his brand is very reflective of him as an individual. Eccentric, spontaneous, and truly original, Ali’s creative intellect and freedom is what makes Overlook the authentic streetwear brand that it is. In fact, one of my favorite pieces is called Super Crazy Jeans. Patches upon patches of all different patterns and designs on a pair of light-wash denim jeans. From checkered boxes to flame designs and smiley faces in between. They’re $415, but they’re unique and I know I’d be adding a future fashion artifact to my closet. Collecting pieces that could be used to build an in-house museum in the future. 2030 fashion artifacts, the same way we value vintage pieces from the 90s. For many fashion enthusiasts, I believe that’s what it’s about--or what it should be about anyway. To my fellow creatives who have ever been told that they’re weird or their art is too different: never stop making future artifacts.

eyrs v or syre v

creative direction b laura ric

photography

vs syre r vs eyrs

by nkiru emelle and chmond

y by kennis

ZENDAYA BRINGS HILFIGER TO HARLEM By Laura Oliviér

s I am sure most of you know by now, 2019’s Fall New York Fashion Week was hot and steaming with all of the flavors. Amazing shows ranging from Moschino by Jeremy Scott to Fenty by Rihanna all breaking barriers and pushing for new, authentic visions expanding fashion week as we’ve always known it. However, I think the most groundbreaking show was the Zendaya x Tommy Show set at the Apollo Theater in Harlem. Zendaya brought Tommy to Harlem!!! The p o w e r that this has?! I never thought I would see the day. It’s more than just the location or the fact that it’s “Tommy Hilfiger”--it’s everything Harlem represents, what Tommy Hilfiger’s brand has always represented, and it opens a new door to show that brands can step outside their comfort zone in a respectful manner. Watching the show through my computer was an experience, so I can only imagine what it must’ve been like for those who were auspicious enough to attend. From start to finish I was engaged. The stage, set to look like a block party, was a beautiful tribute to the culture of Harlem, and the theme felt like it was a continuation of their first show together back in March at Paris Fashion Week. From the designs to the decor to seeing some of our favorite celebrity models. Appearances were made on

the runway by Ashley Graham, Winnie Harlow, Alton Mason, and Halima Aden. Winnie, Halima and Alton wore my favorite looks. Winnie was styled in a stunning white based wool trench coat with a black pattern, synched at the waist with a thick black belt, a grey and black turtleneck underneath, a hat to match the jacket, and a pair of leather short wrist gloves to match the leather boots. Halima was dressed in a black cape-like leather jacket, black and white cheetah print scarf, a flowing sheer reptilian printed skirt, and a pair of long wrist leather gloves with boots to match. My absolute favorite, from the walk to the look, was Alton’s. He was in a simple reptilian printed leather suit and a pair of black boots. Entered the stage with all the energy in the world, channeling our ancestors of the 70s--similar to that of the soul train era. Some honorable mentions for looks were looks 15, 19, 24 and 29. I absolutely love the color scheme, and the use of velvets and leathers throughout the collection. The decor on set was, as mentioned before, like that of a block party. They began the show with musicians rolling onto the runway in a Cadillac. The cars were used as props, faux jazz musicians with trumpets and saxophones stood beside a grand piano as the pianist went to work, bongo players sat on

the couches outside the makeshift town house, and resident-like characters atop the steps. It was all Harlem all-around, and the audience loved every moment of it. Zendaya really did something with this one. Tommy Hilfiger is usually known to be a brand that colors inside the lines, with little to no diversity. By Zendaya collaborating and pushing for more representation, she is becoming a major voice for real change in the fashion industry, and as a result, Tommy is making his label apart of an important turning point. This will go down in the history of fashion as one of the most groundbreaking shows to have ever been constructed. Brava, to Zendaya for being an inspiration for our generation to make change in any aspect of life, to Law Roach for believing in the power of one and making that a power for all, and to Mr. Hilfiger for daring to take a chance and be apart of bridging the gap between luxury design and its most affluent inspirations.

Designing a new normal By Jean Jackson

A couple of weeks ago, Asha

and I went to a DC Design Week panel and the speaker was Antionette Carroll, a pioneer for the diversity and inclusion sector of design. It was really amazing to see a black woman on a stage speaking to a vastly white audience about what they should do to improve the way they look at equity because, as of right now, the design world severely lacks melanin. She spoke about her personal accomplishments, such as pushing for the third version of the Diversity and Inclusion Task Force for AIGA, a task force that they were skeptical about giving her. She also highlight-

ed her work in the St. Louis community and how she is helping to present youth with various design opportunities. What I found interesting was not necessarily her speech in itself, but the dialogue that was held after the fact. A couple of our other classmates were also at the talk and whereas Asha and I enjoyed her talk, one of our classmates did not. When we asked her why she said that she felt as if Antoinette wasn’t speaking to us, as in the black students in the room, but to the white audience that outnumbered us greatly. She felt as if her words were not awe inspiring and

didn’t conjure up any emotion in her. Essentially, her talk was for the white man and that everything she said was nothing new to the people that looked like her. I honestly hadn’t even considered the fact until after Bailey said this. I always feel like the person on a panel knows more than I know so I try to soak it up like a sponge, but have never given thought to whether or not the information I acquire is information I already know wrapped up in a cute little bow of eloquent words.

We then breached the topic of our responsibility as minority artists and what that means in terms of the content we put out into the world. As black creators, we have a platform to elevate others that look like us and to shed light on social issues plaguing the community. Antionette is doing an amazing job at bringing awareness to various social issues and that is incredible because she is incredibly passionate about those topics. As students, of course we are passionate about those topics as well, but at what point can we create content we are passionate

about outside of social issues? Content that has black people in ways weâ&#x20AC;&#x2122;ve never imagined before and outside of the realm of trauma porn and stereotypical roles? I am glad that Antionette Carrollâ&#x20AC;&#x2122;s talk created a conversation that needed to be held and allowed me to examine the mark I want to leave on the world and in my community. We all agreed that we hope that the design industry and other creative industries become

so saturated with black people and other minorities, that we will be able to take center stage and talk about a plethora of topics, not just diversity and inclusion to appease the white man.

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