Lupita Nyong’o (Photographed by Mert Alas and Marcus Piggott, Vogue, October 2015)
The dazzling Kenyan actress Lupita Nyong’o samples the fall couture collections and talks to Plum Sykes about fame, family, and her four new acting projects.
It’s the Monday morning of Paris Couture Week, and Lupita Nyong’o appears, right on time, from the elevator of Le Bristol hotel. Never mind that she’s come direct from a trip to her native Kenya, which she just happened to combine with an elephant-saving mission. Or that her flight landed only a few hours ago. Or that all her bags were lost en route. She is wearing a dramatically sculpted scarlet Dior minidress, her short hair is teased into a halo and held off her face with an Alice band, and her beautiful skin gleams with health. As she bounces into the lobby, her mirrored, blue-tinted Dior sunglasses reflect a roomful of transfixed admirers.
“Hello-ooo!” she says, her voice deep and warm, as she breaks into a gigantic smile. She removes her sunglasses to reveal wide, dark eyes, sprinkled with glittery silver eye shadow. Her eyebrows are precision-plucked—no Cara Delevingne strays for her. “Really, I’m not tired,” insists Lupita. She’s beaming with excitement. This is her first Paris Couture.
There are few actresses as instantly recognizable as 32-year-old Lupita Nyong’o, who took on the role of the slave girl Patsey in Steve McQueen’s 12 Years a Slavewhile a student at Yale—and went on to win an Oscar in 2014. In one fell swoop Lupita conquered Hollywood, seduced the fashion world, and found herself shouldering the dreams of an entire continent.
A few minutes later we are crawling through traffic, heading to the Dior show at the Musée Rodin. Settling herself patiently in the back of the car, Lupita tells me, “I didn’t know the power of couture until I tried on a couture dress. It made me cry.”
Lupita has an old-school attitude to fashion. She calls pants “slacks.” When I joke about this with her, she responds, “What can I say? I’m a Pisces. I have the soul of an 80-year-old woman inside me.” Long before the world was awed by her movie debut and her Oscar speech, for which she wore an exquisite baby-blue Prada chiffon gown, Lupita was properly turned out. Her first memory of fashion was at age five, wearing her “very eighties red cord miniskirt with suspender straps. Presentation is extremely important in Kenya. You dress formally. You can’t just wear flip-flops. My mother always had her own style. She wore A-line, tea-length flowery dresses, very well fitting. Her nails were always perfectly done.” As a girl in Nairobi, Lupita recalls, “salons were a big feature in my life. We would go every two weeks to get our hair braided, washed, or treated. That’s where I read American, British, and a few African magazines.Then I would design my own clothes. In Kenya it’s much cheaper to get clothes made than to buy them. We would have everything run up by a tailor, or my aunt Kitty, who is very creative, would sew things for me.”
It may seem an unlikely combination, but politics were as ever-present in the Nyong’o household as style. Lupita’s father, Peter Anyang’ Nyong’o, now a senator, was for a long period an opposition politician under the repressive Moi regime. He spent three years in self-imposed exile with his family in Mexico, where Lupita was born.
The Nyong’os returned to Nairobi when Lupita was one. The following years she remembers as “scary, but I was at an age where you couldn’t fully understand what was happening.” Her father was at times detained in jail, once for an entire month, and the family “had to destroy a lot of his documents. I wasn’t allowed to go to school. We were basically locked up in the house. The curtains were shut all the time, and we were just burning papers.” She says the experience made her resilient. “I was definitely exposed to some extreme situations. Tragedy is something that I have known and that I have tried to accept as part of life. But I don’t dwell on it. . . . OK! I need to powder my nose!”
We have arrived at the Dior show, and Lupita, her beautiful nose suitably blotted with custom-blended Lancôme Miracle Cushion (she is the newest face of Lancôme), strides confidently across the lawn toward a vast glasshouse that has been splashed with Pointillism-style dots. Photographers snap pictures constantly as she is escorted by a gaggle of worshipful Dior publicists to the front row.
I’m definitely attracted to more dramatic roles,” says Lupita. “I like playing characters that stretch me”
The sublime collection makes me want to throw out every single piece of clothing I own. As Lupita walks backstage afterward to meet Dior designer Raf Simons, she says, “I loved the breeziness of everything, the coats thrown over the dresses.” Her favorite piece is a demure, New Look–inspired green-and-pink print, A-line silk pleated coat. It’s the kind of thing a very, very chic Sunday-school teacher might have worn circa 1952. “I can work a pleat,” adds Lupita. (At Cannes this year she did just that, twirling up the red carpet in an emerald-green Gucci dressthat was a swirl of hundreds of pleats.) Backstage, while the model Rosie Huntington-Whiteley and the singer Grimes look patiently on, Lupita is greeted with excitement by Simons. He thinks Lupita is “so radiant and seems to take such pleasure in playing with fashion.” Next, the actress Emily Blunt, chic in white, grasps Lupita’s hand. “I am so thrilled to meet you,” she declares. “I am a huge fan.”
I can’t think of another actress who has appeared in only one major role in an American film and caused quite such a stir. (Lupita also played a smaller part in last year’s Liam Neeson movie Non-Stop.) But, as she tells me that evening, her output will be dramatically upped this fall. We visit the historic restaurant Le Grand Véfour in the Palais Royal for an indulgent dinner. The maître d’ offers Lupita the honor of sitting in Napoleon’s seat—now a plush crimson velvet banquette—and she accepts gracefully. She is dressed in an asymmetric print Dior silk top, skinny black pants, and high heels (all on loan while the aforementioned lost luggage is being located). While we tuck into delicious platters of fish, sorbets, and cheeses, Lupita tells me that she has just spent four months filming a CGI character—a pirate named Maz Kanata—for J. J. Abrams’s Star Wars: The Force Awakens, opening this December. “We needed a powerful actress to play a powerful character,” the director explains to me later. “Lupita was someone I’d known a little and was enormously fond of. More important, her performance in 12 Years a Slave blew my mind, and I was vaguely desperate to work with her.”
Acting a motion-capture character was “really bizarre and lots of fun,” Lupita says. “I really enjoyed the fact that you’re not governed by your physical presence in that kind of work. You can be a dragon. You can be anything.”
When I ask her, “How do you act ‘anything’ ?,” she says, “My training at Yale is the core of the actor that I am. Before that I was just going on instinct . . . having my imagination take over. But Yale taught me that it’s about giving yourself permission to pretend.”
An important pretending trick is to dress in the same “uniform” every day while going to and from set. If she doesn’t have to think about what she’s wearing when she’s not in costume, this allows her to focus. When she was recently filming the Mira Nair–directed Queen of Katwe, the true story of a chess master raised in a Ugandan slum, she wore an A-line skirt and blouse every single day because that’s what her character wore. “One amazing thing about filming in Uganda was that on the first day of rehearsal we were all barefoot,” she remembers. “I looked down and all the feet were my complexion. That had not happened to me before. I was reminded that I’m actually not that special. There are lots of people in the world who look like me.”
(Photo via YouTube)
While several superhero narratives feature parents (dead or alive) who serve as a guiding force for their protagonists, Raising Dion brings a fresh new perspective to the genre.
The story is told from the perspective of single black mother who’s trying to raise her “super” 7-year-old son in a world that is out to get him.
The poignant metaphor that plays out in this series – written by Dennis Liu and illustrated by Jason Piperberg – is pretty hard to miss, especially given this country’s current social climate.
According to their website,
Nicole, raises her 7 year-old son, Dion, who has superpowers. Life was hard enough keeping up with the bills, let alone trying to keep track of her son’s invisibility, plasma powers, and telekinesis. In order to study his progress, Nicole films her son 24/7 with the help of her friend, Pat, who is an aspiring filmmaker. But when Nicole starts to notice mysterious men tailing her, and with Dion’s developing abilities constantly changing and becoming more powerful, she must find the courage deep within herself that she can raise Dion on her own.
Check out the cleverly-executed trailer below:
[youtube https://www.youtube.com/watch?v=yDTFYoAJWwc&w=560&h=315] article by Blue Telusma via thegrio.com
After flipping through the September fall fashion issues of my favorite magazines with black “It Girls” such as Beyoncé, Kerry Washington, Serenaand Misty Copeland on their covers, I’m unusually interested in clothes. All that paging through magazines got me wondering: Where are all the black-owned fashion brands? Yes, of course well-known black brands still exist. Tracy Reese and Byron Lars are two of my favorites.
Digging into the rabbit hole of black designers led me to Fresh Dressed, a fascinating documentary from 2014 directed by Sacha Jenkins about the foundations of urban fashion that features some of the biggest names in fashion (Dapper Dan, Andre Leon Talley) and hip-hop (Kanye West, Nas). And it conveniently airs on Vimeo on Demand. One late-night click on my PayPal account and I was immersed in the world of pre-gentrified New York and hip-hop’s early years, which started the urban fashion apparel market. Sweet! Check out the trailer below:
Ready to take a walk down memory lane or learn the secret to how the brands so many of us wore in the ‘90s became hot (then not)? Check out Fresh Dressed. Here are 10 reasons the doc is worthwhile:
1. Unique fashion inspirations.
Customized leather jackets underneath denim vests—a fashion staple that was worn by street gang members who wanted to identify their affiliation—were inspired by 1969’s Easy Rider, a film about two bikers.
2. Jamel Shabazz photographs.
Brooklyn-born Shabazz spent the ‘80s taking iconic pictures of black street style and capturing the culture. His driving force? “[Black style] is interpreted around the world as just being fly,” Shabazz says in the documentary. “What I see is pride and dignity. I wanted the world to see [us] as something unlike they had seen before. That despite people’s condition, they were able to maintain a great deal of integrity and it is shown in the way people dress and the pride they take in having clean sneakers on.”
3. Random hip-hop fun facts.
Before Play of the rap duo Kid ‘n Play was a rapper, he was a graffiti artist who used denim jackets as his canvas. “People would pay me to paint their names on their jeans,” says Christopher “Play” Reid.
4. Dapper Dan was more popular than Louis Vuitton (among black people).
The (in)famous Harlem designer and boutique owner was best known for merging hip-hop fashion sensibilities with the logos of European fashion houses, such as Louis Vuitton and Gucci. Think tricking out the upholstery of Big Daddy Kane’s car with a red and black Gucci monogram print or maybe a red leather Gucci sweatsuit for Bobby Brown. “I blacken-ized [luxury] fashion” Dan boasts in Fresh Dressed. “I made it so it would look good on us.”
Nas, a producer of the documentary, takes the boasting a step further:
“Dapper Dan was Tom Ford before Tom Ford,” says the rapper. “He had the foresight to do what they [luxury brands] started doing five years, 10 years after him.”
5. The genesis of fat laces in sneakers.
Before wide laces were sold ready-made in stores, sneaker aficionados had to create their own by taking the laces out of the shoe, stretching them, starching them and then ironing them.
6. Mayor’s closet.
I’m not so into sneakers, but even I gasped looking at the walk-in closet of sneaker aficionado Mayor, who boasts of going 7.5 years without wearing the same pair of shoes twice. (That’s 2,737 pairs). He keeps his collection, which includes a significant number of Jordans, in a row of plastic containers that are as tall he is and estimates his collection is worth more than half a million dollars.
7. Rediscovering the Lo-Lifes.
This was a well-known “gang” in Brooklyn, N.Y., that didn’t identify itself by colors but by fashion logos, one in particular: Polo. Its criminal activity was mainly shoplifting Ralph Lauren clothing from department stores, and status in the group was determined by who wore the most exclusive wares best. For some, such as Lo-Life leader Thirstin Howl the 3rd (yes, like the millionaire from Gilligan’s Island), fashion is really that serious.
8. Learning how Tommy Hilfiger became so popular among black people.
Instead of offering endorsement deals to famous rappers, Hilfiger offered free clothes to the MCs—and in the neighborhoods where they came from. “Tommy Hilfiger would show up in the ‘hood and open up a trunk with clothes,” recalls Ralph McDaniels, who hosted the popular hip-hop TV show Video Music Box. “It was the drug dealer giving you a free hit. It was smart. He knew exactly what he was doing.”
9. That time GAP unwittingly spent $30 million on a FUBU commercial.
LL Cool J signed on to do a GAP commercial, but didn’t really believe the brand respected hip-hop culture, according to FUBU executive Daymond John. The rapper insisted on wearing a FUBU baseball cap in the commercial and even dropped a line that included FUBUs tagline, “For Us By Us.” “It basically became a FUBU commercial,” adds John. FUBU eventually became a $350 million business.
10. Learning that Tupac didn’t charge black people.
At the height of his fame, Tupac took a meeting with Karl Kani in which Kani pitched him to star in an upcoming ad campaign. “I ain’t gonna charge you; you black,” Pac told Kani. “I don’t charge my people for nothing.” Two weeks later, they did a photoshoot … free. Kani credits Pac with introducing him to a global market. article by Demetria Lucas D’oyley via theroot.com
Serena Williams (CHRISTOPHER GRIFFITH FOR THE NEW YORK TIMES)
by Lori Lakin Hutcherson, Editor-in-Chief
Award-winning poet, playwright and professor Claudia Rankinehas authored a cover article for the New York Times Magazine on tennis great Serena Williams. “The Meaning of Serena Williams: On Tennis and Black Excellence” was digitally published yesterday, a week before the start of the U.S. Open and Williams’ opportunity to not only achieve a Grand Slam (winning all four major tennis tournaments in one calendar year) but also tie Steffi Graf‘s record of most Grand Slam titles won in the modern era (22) by a female.
It seems with this article the New York Times is accomplishing two things – finally hiring a black female writer to write about a prominent black female (remember the Shonda Rhimes“Angry Black Woman” debacle authored by Alessandra Stanley last September?) and attempting to make up for the poorly-received article written in July of this year by Ben Rothberg that was considered to be “body shaming” of muscular female athletes and Serena Williams specifically.
But whatever the intentions, we are happy for the existence of Rankine’s piece, the thoughtful analysis of racism, black excellence, and Serena’s career that it makes, and mostly, because we are rooting HARD for Serena to take the title and make even more history. Check out an excerpt from the article below:
“The Meaning of Serena Williams” by Claudia Rankine
There is no more exuberant winner than Serena Williams. She leaps into the air, she laughs, she grins, she pumps her fist, she points her index finger to the sky, signaling she’s No. 1. Her joy is palpable. It brings me to my feet, and I grin right back at her, as if I’ve won something, too. Perhaps I have.
There is a belief among some African-Americans that to defeat racism, they have to work harder, be smarter, be better. Only after they give 150 percent will white Americans recognize black excellence for what it is. But of course, once recognized, black excellence is then supposed to perform with good manners and forgiveness in the face of any racist slights or attacks. Black excellence is not supposed to be emotional as it pulls itself together to win after questionable calls. And in winning, it’s not supposed to swagger, to leap and pump its fist, to state boldly, in the words of Kanye West, ‘‘That’s what it is, black excellence, baby.’’
Imagine you have won 21 Grand Slam singles titles, with only four losses in your 25 appearances in the finals. Imagine that you’ve achieved two ‘‘Serena Slams’’ (four consecutive Slams in a row), the first more than 10 years ago and the second this year. A win at this year’s U.S. Open would be your fifth and your first calendar-year Grand Slam — a feat last achieved by Steffi Graf in 1988, when you were just 6 years old. This win would also break your tie for the most U.S. Open titles in the Open era, surpassing the legendary Chris Evert, who herself has called you ‘‘a phenomenon that once every hundred years comes around.’’ Imagine that you’re the player John McEnroe recently described as ‘‘the greatest player, I think, that ever lived.’’ Imagine that, despite all this, there were so many bad calls against you, you were given as one reason video replay needed to be used on the courts. Imagine that you have to contend with critiques of your body that perpetuate racist notions that black women are hypermasculine and unattractive. Imagine being asked to comment at a news conference before a tournament because the president of the Russian Tennis Federation, Shamil Tarpischev, has described you and your sister as ‘‘brothers’’ who are ‘‘scary’’ to look at. Imagine.
The word ‘‘win’’ finds its roots in both joy and grace. Serena’s grace comes because she won’t be forced into stillness; she won’t accept those racist projections onto her body without speaking back; she won’t go gently into the white light of victory. Her excellence doesn’t mask the struggle it takes to achieve each win. For black people, there is an unspoken script that demands the humble absorption of racist assaults, no matter the scale, because whites need to believe that it’s no big deal. But Serena refuses to keep to that script. Somehow, along the way, she made a decision to be excellent while still being Serena. She would feel what she feels in front of everyone, in response to anyone. At Wimbledon this year, for example, in a match against the home favorite Heather Watson, Serena, interrupted during play by the deafening support of Watson, wagged her index finger at the crowd and said, ‘‘Don’t try me.’’ She will tell an audience or an official that they are disrespectful or unjust, whether she says, simply, ‘‘No, no, no’’ or something much more forceful, as happened at the U.S. Open in 2009, when she told the lineswoman, ‘‘I swear to God I am [expletive] going to take this [expletive] ball and shove it down your [expletive] throat.’’ And in doing so, we actually see her. She shows us her joy, her humor and, yes, her rage. She gives us the whole range of what it is to be human, and there are those who can’t bear it, who can’t tolerate the humanity of an ordinary extraordinary person.
In the essay ‘‘Everybody’s Protest Novel,’’ James Baldwin wrote, ‘‘our humanity is our burden, our life; we need not battle for it; we need only to do what is infinitely more difficult — that is, accept it.’’ To accept the self, its humanity, is to discard the white racist gaze. Serena has freed herself from it. But that doesn’t mean she won’t be emotional or hurt by challenges to her humanity. It doesn’t mean she won’t battle for the right to be excellent. There is nothing wrong with Serena, but surely there is something wrong with the expectation that she be ‘‘good’’ while she is achieving greatness. Why should Serena not respond to racism? In whose world should it be answered with good manners? The notable difference between black excellence and white excellence is white excellence is achieved without having to battle racism. Imagine.
To read the rest of Rankine’s feature on Williams, click nytimes.com.
Whoopi Goldberg (IMAGE COURTESY OF DAVE KOTINSKY/GETTY IMAGES)
According to Variety.com, Whoopi Goldberg has teamed up with fellow producers Keith A. Beauchamp and Frederick Zollo to make a feature film entitled “Till” about the racially-motivated murder of Emmett Till in 1955.
Till, 14, was tortured and lynched on Aug. 28, 1955, after reportedly whistling at a white woman while visiting relatives in Money, Miss. His murder helped ignite what became the Civil Rights Movement.
“Till” will be based on Beauchamp’s 2004 documentary “The Untold Story of Emmett Louis Till,” and Simeon Wright’s “Simeon’s Story: An Eyewitness Account of the Kidnapping of Emmett Till.” Beauchamp’s film led the U.S. government to reopen the Till case in 2007.
Producers are launching a Kickstarter campaign to help raise funds for the production, and the film is slated to go into production early next year.
“Here is a story that is as much a part of American history as the Boston Tea Party and may stand as the greatest argument for getting rid of sanctioned racism,” Goldberg said. “Emmett Till’s brutal death at the hands of ignorant, brutish people exposes the Jim Crow-era South that gave the implicit OK to uphold that kind of racism without any real fear of repercussions. Today, the return of rampant, unchallenged racism cries out for the telling of Emmett Till’s story again.”
Zollo produced the civil rights-based dramas “Mississippi Burning” (1988) and “Ghosts of Mississippi” (1996). Goldberg starred as Myrlie Evers, wife of murdered civil rights leader Medgar Evers, in the latter film.
Two other Till projects were announced in May: Skyland Pictures and FireRock Bay Pictures are producing an Emmett Till movie based on the play “The Face of Emmett Till,” and Shatterglass Films and Chaz Ebert are developing a film based on the book “Death of Innocence: The Story of the Hate Crime That Changed America.” Jay Z and Will Smith are also developing an HBO miniseries based on Till’s life with writer/producer Aaron Kaplan. article by Lori Lakin Hutcherson (follow @lakinhutcherson)
On Friday, August 14, 2015, Urban Movie Channel debuts its first streaming sitcom. Directed by and starring Alfonso Ribeiro, The Things We Do For Love also stars Tamera Mowry-Housley and the late James Avery, who won our hearts as Uncle Phil on “The Fresh Prince of Bel-Air.” The show centers on a recently married couple, Darren (Ribeiro) and Lourdes (Mowry-Housley) as they embark on life as newlyweds while sustaining a family-owned business. Once their zany in-laws (Avery and Maria Conchita Alonso), move in, their lives are forever changed. The comedy is an exclusive release for the UMC Fall Out Fridays weekly programming, and you can watch The Things We Do For Love at UrbanMovieChannel.com free for 14 days to new subscribers.
“You’re Cut From The Team” Trailer: https://youtu.be/Y3GjjR0AQK4
Urban Movie Channel is the first urban focused digital streaming channel devoted to the acquisition of feature films, comedy specials, stage plays, documentaries, music, and entertainment for the African American and urban audiences. Access to the impressive on-demand streaming library is available with online from mobile devices, and on the Roku platform. article by Lori Lakin Hutcherson (follow @lakinhutcherson)
Black girl magic has just been further actualized with the new Marvel superhero Lunella Lafayette, who goes by Moon Girl. Lafayette is a new take on a 1978 Marvel comic Devil Dinosaur that involved the adventures of a red Tyrannosaurus Rex and a young caveman-like boy known as Moon Boy. Today, Lafayatte may take over the Moon-child role but there’s nothing cave-ish about her. The new Moon Girl is an African American pre-teen genius. Entertainment Weekly reports Moon Girl will be similar to an inspector gadget, but even more clever due to her “unpredictable alien DNA.” Moon Girl and Devil Dinosaur were brought to life when Marvel’s team of creatives realized they did not have many books and characters that appealed to all age groups. The unlikely duo of dinosaur and girl genius will seek adventures across the concrete jungle of New York City.
“Generally, we’re skewing a little bit older with a lot of our titles and we wanted to create something that adults and kids could really love, like a Pixar feel. That’s where the tone jumped off for us,” said Emily Shaw, Marvel’s assistant editor.
However, it isn’t the age group we’re thrilled about – it’s the representation of a black girl superhero that has excitement over the new comic growing. Nancy Bustos, the artist behind the new superhero, spoke on her excitement of seeing the representation come to life.
“It’s great to be a part of the creation of something which can mean something special to so many people,” said Bustos who is Afro-Brazilian, Chilean, and Spanish.
Bustos can relate to growing up with a lack of characters that looked like her, “I myself have come up against this dilemma of finding few or no cultural references, especially in Spain,” she noted.
Soledad O’Brien Partners with #GirlsCan for Covergirl (photo via hollywoodreporter.com)
Covergirl has recently launched the second year of their #GirlsCan movement and celebrated it with a video series, produced by journalist and documentarian, Soledad O’Brien. This Covergirl program is a movement with a mission to empower young women to overcome barriers, break boundaries and be the next generation to rock the world!
“Women today are out there breaking barriers and setting records in all sectors of their lives but are still facing challenges that many people wouldn’t expect in the new millennium,” said Soledad O’ Brien. “We are so excited to work with Covergirl and share our series on how these courageous women are changing society. Their struggles are all real and relatable while their stories are inspiring.”
At a time when girls are preparing to go back to school and they, along with their mothers and fathers, are thinking about the future, Covergirl aims to inspire more women and girls to strive to make strides in areas where women are currently underrepresented, from technology and engineering, to media and sports, to entrepreneurship and beyond.
In the first year of #GirlsCan, as part of the $5 million-over-five-years donation, Covergirl collaborated with two non-profit partners to help impact change including Girls Who Code and Soledad O’Brien + Brad Raymond Starfish Foundation.
https://youtu.be/KhxwRpOuSls
O’Brien’s Covergirl video series features powerful stories of four women who have faced challenges, forged ahead and defied the odds to achieve their dreams, setting an example for many other women to follow. The pioneering women featured in the series include: Covergirl Becky G, an inspiring young Latina rap star, who has broken through on the charts in a male-dominated industry. Geena Rocero, a transgender woman who has not only graced the cover of top magazines and ads for fashion brands, but is also an entrepreneur with her own production company. Tina Garnanez, a former female military veteran coping with PTSD, who fought for years in the military, where women make up just 15 percent of the population. Rochelle Ballantyne, college student, and currently the closest female in the United States to achieving the chess title of “Master” —there are only 50 female masters out of 846 in the US!
The series is available to view on the COVERGIRL YouTube channel. article by Danielle Young via hellobeautiful.com
Lupita Nyong’o, Academy Award-winning Kenyan actress
Lupita Nyong’o, Miriam Makeba, Alek Wek, Chimamanda Ngozi Adichie and Wangari Maathai are just a few of the dynamic women featured in Ruramai “Rudo” Musekiwa‘s Sibahle poster series. The Zimbabwe-born, Johannesburg-based artist and activist created the collection to acknowledge the contributions made by both well-known and unsung heroines from the continent in time for South Africa’s National Women’s Day on August 9th.
Chimamanda Ngozi Adichie, award-winning Nigerian novelist
“The Sibahle Poster Series is an ongoing body of work paying tribute to phenomenal African women,” Musekiwa said in a press release. “The statement it seeks to make, is that our young girls can and should find inspiration right here, within the continent, within our context as a people. Women are the pillars of our society and it is imperative that we pay homage to inspirational women that not only radiate authenticity and passion within their respective crafts, but also understand how their purpose is connected to others (Ubuntu).”
Also spotlighted in the collection are Lira, Mpho Sebina, Albertina Sisulu, Winnie Madikizela Mandela, Noni Gasa, Simphiwe Dana, Claire Mawisa, Lebo Mashile, Lufuno Sathekgeand Nandi Mngoma. “These are some of the most exceptional and influential African women of today,” Musekiwa says.
The posters are part of Musekiwa’s larger Sibahlemovement, which you can learn more about here and via Facebook, Twitter and Instagram.
Myavana creators Candace Mitchell and Chanel Martin (photo via gtalumnimag.com)
Scope out the hair-care aisle in the beauty section of any major retailer and you’ll find a familiar scene: a woman with a bottle of shampoo in hand, staring in dismay at the horde of options on the shelves in front of her. Should she pick sulfate-free or biotin add-in shampoo? Should she be looking for hydration or volume in her conditioner?
The process of reviewing ingredients, comparing prices and questioning the purported hair-care benefits can be overwhelming—particularly for black women, who over the past few years have seen an uptick in the number of products tailored to their specific hair texture needs. The inventory that was once relegated to a small section of a single shelf, or worse, not available in major outlets at all, now spans entire store aisles and endcap displays.
The creators of Myavana, a web-based mobile and social platform, understand firsthand the frustration of the shelf scan. Computer scientist Candace Mitchell and chemical engineer Chanel Martin launched their Atlanta-based startup in 2013. “The goal was to leverage science and technology to provide women of color with a personalized hair-care experience that takes guessing out of the equation and delivers hair nirvana,” Mitchell says.
The Myavana website (myavana.com) is a destination where customers can discover new hair products, hair styles and salons in their area. It joins the zeitgeist of blogs, Instagram feeds and YouTube channels that deliver black hairstyle tutorials and homemade solutions to hundreds of thousands of subscribers. No doubt social media has helped this movement gain traction throughout the United States and abroad, Mitchell says.
Increasingly, black women are going online to share stories and tips in their journeys as they move away from harsh chemical straighteners and the synthetic products associated with them, and turn toward unprocessed, curly hair styles and natural products. Myavana seeks to tap into this ever-expanding market—with an estimated buying power surpassing $500 billion annually—with the goal of providing end-to-end hair-care guidance to women of color.
Myavana’s linchpin is its new custom hair analysis service that promises to find the right product for each customer. “Yes, we want women to send us their hair,” Mitchell says. “But only a little bit of it, and just long enough to view the hair through a microscope and to offer customers meaningful hair product recommendations.”
Consumers initiate the process on the Myavana website, where a one-time fee of $49 will buy a single Hair Collection Kit. The kit includes a special comb for the sample, instructions for getting a proper cross section, a questionnaire and pre-paid postage. Once the kit arrives at the Myavana lab—the company rents space on campus at the Institute for Electronics and Nanotechnology—the hair strands undergo a nine-point data analysis.
