Month: August 2020

“You were the one posting all those [Instagram] Stories, right?”

It’s three days after Beyoncé’s jaw-dropping, feast-for-the-eyes Black Is King visual album dropped on Disney+, and I’m on the phone with her stylist, Zerina Akers, the woman behind the fashion fantasies that dazzle in the film and on Beyoncé in general.

“You were on it,” she says, referencing my obsessive identification of key looks on social media. No, Zerina, you were on it.

Akers, who got her start as an intern in the fashion closet at W magazine, has been working with Beyoncé for the last six years. Growing up in Landover, Maryland, she used to test her fashion knowledge by flipping to a magazine page and identifying the designer credits without looking. The W internship led to jobs assisting stylists like Camilla Nickerson, Lori Goldstein, and B. Akerlund. It was on a shoot with B. Akerlund that Akers first crossed paths with Beyoncé. A few months later, she heard that Beyoncé was looking for a full-time stylist, and after a one-month trial, Akers was in. A match made in fashion heaven, their first collaboration was on the Beyoncé’s Instagram editorials back in 2014, which have become part of Beyoncé’s visual storytelling. With every project they embark on together, they go bigger, harder, than the last. Black Is King is testament to that.

“It’s surreal,” Akers says about working on the visual album, which is the defining pop culture moment of the year (in my opinion). “It’s humbling. It’s exciting, and it’s scary, to be honest. I didn’t expect such a tremendous response. It’s a different thing when you’re in it. You’re kind of buried in it and you don’t know. You’re kind of putting one foot in front of the other, but now, for it to be out and so well received, it’s pretty tremendous.”

Tremendous indeed, given the backstory of how Black Is King came together. Let’s dive right into it.

How was that initial sit-down, planning the look of the film?

There wasn’t [one]. It was, “Hey, I just want to shoot these little clips to do a small piece to boost the album. And I want to, you know, maybe just shoot it in my backyard, and, like, Zerina, you’re here.” When we started, I think we maybe got a day into shooting and it was, “You know what? Let’s take a pause. Actually, let’s do a full video for everything.” And then it snowballed from there. It was going as it was going. It took about two months and three weeks.

So it was a fairly quick turnaround of rethinking everything?

Oh, no. I always overdo it, because it’s Beyoncé and you just never know. She can get an idea and want to just put a wedding gown on in the pool. So it’s always about having a little bit of everything, from T-shirts to couture gowns. I like to have as much as I can, just to be ready for the curveball. As we were shooting, there were packages constantly coming in. There were boxes arriving to set off the runway. We’re constantly making things, calling designers at midnight, like, “Hey, can you meet me at 8 a.m. and let’s design this thing together.” A lot of the L.A. designers were constantly making things for us as we were going.

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What was the process for choosing the designers for each look for each visual?

Take, “Find Your Way Back,” for example. Knowing that everything has to sparkle—there’s a few friends of mine that I’ve worked closely with for years—Destiny of D.Bleu.Dazzled, Laurel Dewitt and Kerin Rose of A-Morir sunglasses, and Lace by Tanaya. They’re people that I know love sparkles, and everything is about crystals and dazzling, so those are four people that I automatically call to create something.

When I work with them, I like to push them and stretch them as well—like, Laurel Dewitt is an accessories designer. She doesn’t really make clothes per se. So I pushed her to actually do that and work with another brand, Alejandro, to stretch her. Lace by Tanaya typically makes accessories and underwear and lingerie, but to get her to make a full crystal poncho and skirt that looked like raindrops—she really killed it. Pushing her to make a full garment was interesting.

Other times, we may be on set and Beyoncé wants to keep shooting and keep changing clothes, and I’ll have to figure it out on the spot. So there’s not necessarily one way.

I was really happy to see a lot of Black designers and Black-owned businesses utilized in the styling. How important was that for you? How did you choose the Black designers you worked with?

That’s important for me, for every project we’re on to just consistently amplify the voices and the visibility of Black designers. I specifically wanted to work with L’Enchanteur. They’re twin sisters; they’re Nigerian, born and raised in Brooklyn. They interpret their jewelry with a traditional African artistry approach, but a little bit ghetto. They take a [hair] track or a hair roller and dip it in gold. To me, that is the epitome of exactly what this visual album called for. It’s highlighting and celebrating Africa and the African diaspora.

I also love including just a little bit of the street, a little bit of what we grew up with here in America in the inner city, from hair rollers to long fingernails to gold earrings. It’s important. That’s a part of our culture too. Those are pillars in my memory as a young Black girl.

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I want to break down the major Black designer moments, starting with Loza Maléombho, who I think you worked with for the “Formation” video.

I called in a lot of her pieces for “Formation,” but it didn’t end up on Beyoncé, so I’ve been trying every now and then to include her. So this piece, interestingly enough, started out as pants, and we turned the pants into little hot shorts, because Beyoncé wanted to dance in them. Typically, a lot of West African fabrics don’t stretch, so we had to create these gussets under the arms, so she could have some freedom of movement. It’s about being able to evolve these looks. I was just so happy that that look landed where it did—with Loza’s use of bright gold mask buttons complementing the L’Enchanteur jewelry so well.

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What’s the story behind that 5:31 Jérôme blue Nigerian lace look that we see in “Already”?

I love that look. Jerome was one of the first designers I lured in to work on this. He is a very good friend of mine, and we have been working together for many looks for Beyoncé. He supported me very early on in my career. He had gotten out of designing, but he’s so talented. I kind of lassoed him back in and he was down. We met in the Fashion District, where we just hashed it out and he sketched something.

I told him I was inspired by women at Nigerian weddings and the power, the strength, and the essence of these matriarchal Nigerian women and, you know, how not to mess with them. I wanted to take that and make it a bit more modern, a tough woman with a gele-inspired headpiece. But how do we project that onto this badass pop star?

So we found the fabric, picked one that we liked, and we just went for it. He made this beautiful trench dress with this corset on top with boxing gloves. Don’t ask me how he got the gloves that don’t stretch to work. The gloves actually attach to the jacket. He also made the glasses, and I connected him with the milliner Sarah Sokol to create the headpiece. It all came together quite well with the men in face paint with the cowrie shell LaFalaise Dion headpieces. Some of those shots were just stunning.

I’m curious about the floral Levenity jacket and S. Garvey bodysuit moment…

I had just taken on a whole new team of assistants in New York. I decided to take a risk since the project came up basically overnight. I hired five new assistants that I had never worked with. Beoncia Dunn was the first one. I was intrigued by her. We had been in touch on social media, and I could tell she had very little to work with and she really made beautiful art out of these tulle dresses, that you could tell she may have hand-sewn. I wanted that kind of aesthetic, I wanted someone with that kind of drive and heart in this project.

We could implement these DIY fantasy textures into the looks, and she brought on S. Garvey, who is just a young girl sewing out of her house in Brooklyn. We went to her house on a Sunday, when there were no fabric stores open. But we found two small fabric stores in Brooklyn that were open that day, and we just went in there and we found something I wanted. I had been on set with these floral-on-floral things that you can sort of see in the tea party in “Mood 4 Eva” and through the metallic floral motor gang in “Already.” So we had a few of the catsuits made with the masks.

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Beyoncé wanted to explore these exaggerated silhouettes, and one way of exploring that was with these overly exaggerated shoulders on the trench dress. So I called Venny Etienne of Levenity. I said, “I want something like this, something with a shoulder. Come up with something.” He sketched it, and, again, I think it was the weekend, and the only fabric store was open for another hour, and he found something, and we went with it.

I just paired the two together and took the extra fabric. I always have designers send extra fabric, because I like to cover shoes or need them for alterations. I also like to have extra fabric to play with if we have to make a bodysuit to go underneath. We created a turban to go on top of the mask. I then took these heels, put strings on them, tied them up [Beyoncé’s] leg, and tied flowers onto the string.

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Another look I found striking was the Tongoro houndstooth dress in “Brown Skin Girl.”

Sarah [Diouf] is very near and dear to me. Beyoncé was one of the early supporters of her brand, and she’s been very supportive of us. She put out a collection with women in all black and white with do-rags to match, and I just fell in love with it. I thought it would contribute very beautifully as a tableau in the story. But in the end, Beyoncé just wore them standing alone.

One of the dresses is an off-the-shoulder black dress that was actually made for “Spirit.” It’s very elongated with a long train, and then she rush-made this series of dresses for us, and that’s exactly what it turned into: a black and white series. So you see Beyoncé in the houndstooth, and then you see these other two women leaning on each other with the head wraps. That’s the same Tongoro series that she sent to us.

Can we talk about that white Deviant La Vie look in “Nile”?

This look was quite stunning. We made it as an option for the chess piece, but it didn’t work there in the end. This was a bit of a last-minute shot that we decided to steal at the end of the day when we shot “My Power.” It’s in the same location, so it just worked. It was custom-made for Beyoncé with the glasses from Kerin Rose, and Francesca [Tolot]—and the face paint just sealed the deal.

And what I love about that scene is that it’s almost like there’s this widow when you lose a loved one, you see Beyoncé in front of the casket, and then you see her being carried, it’s almost like you lose a piece of yourself as well. So that was a really powerful scene. For Brittany [of Deviant La Vie] (in collaboration with Alani Taylor) to be able to create the white lace skirt, the top, the hat—it all came together beautifully.

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I’d like to touch upon the LaFalaise Dion accessories that I remember also being in the “Spirit” video.

So after the “Spirit” video, we had stayed in touch. She had started making these bras and more constructed garments. She was kind enough to send us practically 20 pieces. She sent us her entire collection to sort of use and abuse, and we did just that. And it really contributed in multiple points in the film and gave it the texture. The use of the cowrie shells was a nod to when they were used as currency. To have them present and on the body in the film was a nod to that opulence, and to the past.

One of my favorite visuals, hands-down, is “Mood 4 Eva.” Walk me through how the look of that came about.

So Beyoncé wanted to do this very over-the-top, almost a parody of opulence and decadence. I had different concepts where I wanted to have a Chanel bathrobe, which they didn’t make, so I made a tweed one myself.

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I had Melissa Simon-Hartman do the entire black section of the chess piece. I wanted it to feel a bit like dark versus light. In the end, I stripped away a bit of the gothic mood that it represented, and then kept the other side a bit more soft and sweet. So even in the bishop headpiece, I wanted it to feel like an African priest. I wanted the horsemen to feel like a female warrior.

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It evolved quite a bit. “Mood 4 Eva” was single handedly the largest project I’ve ever worked on in terms of scale and people. We had about 70 extras, and having to dress them all, it wasn’t just one large scene at once. It was five or six scenes with 20 to 30 people in each scene, and one where there’s everyone.

Working on the synchronized swimming look was quite the task. Sharon [Rahim] from L.A. Roxx made, I believe, in two days, all of the catsuits for the swimmers. Dressing the Black girl synchronized swimmers in these crystal swimsuits was just stunning. Venus Prototype made the latex swim caps, and Timothy White really transformed a Solace London dress into a corseted bodysuit. And he custom-made the headpiece. He put crystals all over the dress and on the gloves. Beyoncé had this idea that she wanted cat-eye goggles, so Kerin Rose brought those to life for us. So it was this really opulent experience of wanting to, and even leaning into the world of André Leon Talley, like, decked out in Louis Vuitton playing on the tennis court. That’s what I wanted it to feel like, just over-the-top.

And the animal-print fantasy?

When we worked on the all-leopard and animal-print pieces, many people hadn’t successfully mixed animal prints in that way, and on so many people. It feels like the old lady gang in Harlem, but still speaks to a very modern woman, a very strong woman—it’s really beautiful and Valentino! This is the first time, I believe, that Valentino Couture has been shot in a music video. That’s typically reserved for red carpet.

So it took five people on the catsuit and five people on the jacket 300 hours each to make that look, and I think it was damn worth it! That shot with Beyoncé wrapping her Rolls-Royce in this cheetah print and OppoSuits! They were another unsung hero in the film.

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All the creativity and passion that went into this project is so inspiring. What would you say to Black kids looking to get into fashion?

Keep going. Do your research. Don’t be afraid to reach out to people. If you want to get into styling, maybe it’s not reaching out directly to the stylist, maybe it’s being in touch with the assistant and really wanting to serve that assistant well. Go on informational interviews. There are a lot of us that are willing to talk, willing to mentor, even if we may not be in a position to give you a job. So do that. If you send 50 emails and you get one back, you’re going somewhere. Just keep going.

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Revlon has announced its newest Global Brand Ambassador today – and it’s none other than music superstar Megan Thee Stallion.

Known for her hits Hot Girl Summer and TikTok anthem Savage, Megan has since collaborated with Beyoncé and is gearing up to launch a collaboration with Cardi B this week. And in addition to being one of hip hop’s most sought-after talents (as well as a TV presenter and student – she’s currently studying for a bachelor’s degree in Health Administration from Texas Southern University), Megan’s new Revlon role sees her joins the likes of Gal Gadot, Ashley Graham and Adwoa Aboah in the global ambassador ranks.

Speaking of her appointment, Megan said in a release, “I’ve alway set the bar high for myself with everything I do, but to now be a brand ambassador for Revlon, it feels like a new level. To me, the Revlon brand stands for both beauty and female strength and I’m excited to help define what that means to a new generation of women.” The singer also did her own makeup for the campaign shoot.

Silvia Galfo, the global brand president of Revlon described Megan as “a remarkable talent,” adding that the brand was “drawn to  her confidence and fierce ambition as much as her power to hold nothing back.” She continued, “[Megan] loves to express herself with makeup and is a constant inspiration to her fans on living boldly. It’s that authenticity and unapologetic spirit that we admire, and we are thrilled to welcome her to the Revlon family.”

This isn’t the first time Megan has starred in an ad campaign, having previously fronted ads for Coach and Savage x Fenty – and we suspect it certainly won’t be her last, either.

Evan Clayton, who launched his eponymous fashion line in 2013, also designs ready-to-wear.

For those who’ve been following Canada’s Drag Race and wonder who’s behind the dramatic look worn by contestant Ilona Verley in the show’s promo images, Evan Clayton is your name to know. The Vancouver-based creative–who graduated from the city’s Blanche Macdonald Centre and launched his label in 2013–has dressed more of the country’s other beloved queens including Tynomi Banks and Juice Boxx, and his designs have appeared on other Drag Race darlings like Naomi Smalls, and performers like Jessie Reyez and Kali Uchis. FASHION caught up with Clayton to talk about his work with the drag community, the philosophy behind his eponymous brand, and where he finds inspiration.

Tell me about your path to becoming a designer; was it something you always dreamed of doing?

I was definitely a very creative child and had a love for fashion. I read many magazines, and started thinking about having a career in fashion when I was maybe 13 or 14. But I was torn because all the way through high school, I wasn’t sure if I wanted to get into fashion or into science and go to school for marine biology. When it came time to decide what path to take, I thought to myself, Blanche is my dream school, and if I don’t get in, I’ll go to school for marine biology. I graduated from Blanche’s fashion design program in 2011 and started my line in 2013; I’ve been showing consistently since then, with this season being my 15^th collection.

It’s interesting that you say you were into science–a lot of designers I speak to tell me they were studying or working in that field before getting into fashion. How do those two worlds intersect?

I think there is a lot of science and math in what I do. When I’m not sewing, I’m drafting, and drafting is all math. And I find myself very inspired by nature. Maybe it’s cliché to say, but this idea of ‘nature is the greatest designer’–it’s true!

Aside from nature, tell me about your other influences. How did you start working with the drag community, and how does that world of design factor into your creative process and other work?

I’ve always been a very theatrical person; all through high school I was in drama. I remember the very first time I saw drag–it was before Drag Race was the cultural phenomenon it is today. I was channel surfing and saw the season one episode when Ongina came out as HIV positive. That was the first time I’d ever seen a queer person represented on TV when they weren’t the butt end of a joke, or it wasn’t the notion of having a tragic storyline just for the sake of having one. Seeing that, and seeing these people who media had shown me all my life as a joke as being an actual creative force and having talent and heart and beauty, that started to foster my love for drag.

Moving to Vancouver, my social life was the drag scene. All my closest friends are drag artists, or work with them. I’ve been putting drag queens in my runway shows since 2014; and it’s snowballed from there, from being a fun thing in my shows to making a career in making costumes for drag artists both locally and internally. It keeps building, and now that Drag Race has come to Canada, it’s going to keep expanding. The Canadian drag community is so small, especially compared to the States. I knew half of the cast on Canada’s Drag Race!

In terms of designing for drag artists for a stage show versus television or runway, how are those processes different?

It’s quite different, and it depends on the individual artist as well. Something I make for the runway isn’t going to necessarily work for stage–there are a lot technical aspects to making clothes for drag. There are a lot of elements to be mindful of: nylons; are they going to be wearing a breastplate?; are they going to be wearing a corset or padding?; what wig are they wearing? If they’re not wearing a human hair wig, they probably can’t wear sequins. There’s a lot of things to juggle when you’re designing stage costumes, whereas on the runway, if they’re just going to be walking for 40 seconds and then wearing it backstage, it’s more chill.

Is there an outfit from Drag Race Canada that you’re particularly proud of, perhaps because it presented a conceptual challenge?

There are two in particular that I know made it on to the show. The first is Ilona’s promo look, the powder blue armour set; that wasn’t a conceptual challenge because I’d based it on some looks I’d done from a few seasons past, but it was a challenge in terms of construction because we only had three days to complete it.

Another piece I’m proud of is on next week’s episode–it’s a look that we did based on a runway look that I did a few years ago; I feel that’s authentically me and it’s a good representation of who I am as a designer.

Let’s talk about style and self-expression. How do all the influences you have get distilled into your creations?

At the very core of the ethos of the brand, and also me as a person, is honesty. If a design doesn’t feel right for me and for the performer, I’m not going to do it. I’ll find a way to make it right. And that extends to my runway shows–I’m not trying to paint a delusion, and I’m not trying to create a fictional reality–the pieces I make are a very honest representation of who I am as a person and what my morals and ethics are. And I think that especially in drag, and in Vancouver drag, that’s a very visual thing. You look at the drag troupe, The Darlings; I just dressed them for a collaboration they did with the Vancouver Symphony Orchestra. I had to sit down and say, “What story are you trying to tell and how can my voice add to it?” If it doesn’t add anything, then why are you including my voice?

In terms of your approach as a designer, are you interested in the traditional fashion model of doing runway shows and several seasons of collections a year? Or are you happy doing your own thing?

My business has always been a bit of an odd duck; I’ve never really fit into the wholesale market because of budget. I was doing so much custom work, that was really the driving monetary force behind my brand. I was doing runway shows because I love them, not because I felt like I had to.

My runway shows are a kind of therapy for me; you can look at a specific show and you can see where my mindset was at the time I was creating that collection. I did a collection a few years ago where I wanted to focus on ready-to-wear for wholesale, and then have a few dramatic pieces at the end. What I learned from that show was that nobody cared about the wholesale pieces–only the fun pieces. That was kind of the nail in the coffin for me trying to fit into the fashion system.

I actually had a runway show planned that was going to happen last week but it obviously didn’t because of COVID; we’d been planning it since November, and then I had to pull the plug on it. I thought, do I show this in another format? Do I do a video? Do I just do a photoshoot? I’m just going to hold on to it until I can release it in a way I see fit, because I have a whole experience planned for it that extends a bit past the runway. I’ll be very patient about it until we can gather in numbers greater than 50. 

You’ve mentioned how meaningful seeing Drag Race for the first time, and now being part of the show, was for you. What are you hopeful for coming out of 2020 in terms of inclusion, representation, and other similar issues that have really been brought to the forefront recently?

I’m very hopeful to see more inclusion, not just on Drag Race but in media in general. It’s so amazing that Ilona was cast on Canada’s Drag Race as an Indigenous trans two-spirit person who’s very open about her status as exactly that; and she’s not afraid of sharing the struggles and letting people know what is happening in those communities. I think [the show] has done a good job of representing these stories. I remember watching Anastarzia [Anaquway]’s story about her upbringing, and coming to Canada and seeking asylum, and becoming the star she is today. That’s really inspiring and something I’d love to see continued not just in future seasons of Drag Race Canada–I think in Canadian media, we’ve always been a bit ahead of the curve in terms of showing diverse communities–but I’d love to see it extend to the American version as well; that’s the big money-maker, and I don’t think putting Gia Gunn in a season of All-Stars is going to quench the fire of Ru Paul saying he’d never cast a trans person on Drag Race. It’s not the same thing as casting an undiscovered trans talent that deserves to be on the show.

Here’s what we know so far.

Multi-Grammy Award winning artist Alicia Keys will launch her own beauty brand in 2021, according to a new report.

Per WWD, the artist has partnered with E.l.f. Beauty to launch the brand which is described as “a culmination of Keys’ personal skincare journey.” Speaking with the site, CEO Tarang Amin said, “[Alicia’s] been wanting to do something in beauty and wellness for quite some time.” Amin also praised Keys’ multi-faceted accomplishments saying, “What really appealed to us is she’s much more than a celebrity, she’s someone of real substance who goes between being a 15-time Grammy Award winner and artist [and] she’s got a New York Times bestseller. This was really a great marriage between what she stands for and wants to accomplish in beauty and wellness, and what we stand for.”

There were no details shared regarding the name of brand, nor what products we might expect once it’s live, however a statement said it will include “skin-loving, dermatologist-developed, cruelty-free products.” Amin also hinted at the line going beyond just a product offering saying “it’s so much more” than simply that. “She has such important messaging on inclusivity, empowerment, wellness, self care, rituals – so really being able to bring all those elements out in rich storytelling is a key part of what this brand is going to be about.”

In 2016, Keys penned an empowering essay revealing that she was going on a #nomakeup journey, and has worn very little on her face in the years’ since, which we’ve loved to see. While we don’t know much about what to expect from the brand, what we do know is that we’ll take any skincare tips the woman has because her skin is glowing.

In the meantime, here are nine of the best new August beauty launches to check out.

A reckoning is happening in fashion, and brands are struggling to figure out how to make necessary changes and move forward. For too long, the industry has been operating with bias, promoting a certain image that, by and large, left people of color out of the framework. From corporations to media outlets to social media influencers, many of the leading players have upheld a construct that placed whiteness at the center. The lens extended to every facet of the industry, from the types of partnerships forged, to the content they created, to who they deemed worthy enough to get a seat at the table. And in the wake of the senseless killings of George Floyd, Breonna Taylor, and the protests against police brutality and systemic racism that have followed, every industry must navigate a path forward. Now, two of the most vocal proponents for change in the fashion industry are offering their services and strategic vision.

Chrissy Rutherford and Danielle Prescod are seasoned fashion industry vets and the forces behind the newly-formed consulting agency 2BG (2 Black Girls), which aims to guide brands towards becoming more equitable and inclusive. Both worked for over a decade in fashion and media, and witnessed racism, cultural appropriation, and optical allyship firsthand.

Rutherford is currently a contributing editor at BAZAAR.com and a social media force, with 142,000 followers on Instagram. Previously, she served as the special projects director at BAZAAR.com, and spent eight years at the title. Prescod is the style director at BET.com and her resume includes stints at InStyle, ELLE.com, and Moda Operandi. She, too, has a sizable following on Instagram, with around 70,000 followers. Their respective fan bases grew exponentially after they each posted videos in late May, calling out the fashion community for turning a blind eye to the deaths of Black people at the hands of police. In their own ways, they expressed their frustration, their struggle being in an industry that marginalized them, and how not participating in the dialogue shows complacency with racism. Brands reached out to see how they could improve, so the two joined forces to help them do just that.

Ahead, Rutherford and Prescod chat with BAZAAR.com about their careers, what they plan to do with 2BG, and why having difficult conversations is important.

When you started your careers, how did you feel as two Black women working in the fashion industry?

Danielle Prescod: I mean, honestly for a long time, I felt like I was so blinded by the hustle of everything. I didn’t even have time to process anything. I just put all my focus and energy into working as much and as hard as possible. And that’s really what I just did. Also, working in fashion was not that different. It wasn’t shocking to me or surprising to me as an environment, because I grew up in Westchester and went to school in Greenwich, Connecticut. It would have been pretty hard to culture-shock me. I was fashioned that way. You know what I mean?

So you were used to being the only Black girl?

Chrissy Rutherford: Always. Danielle and I both grew up in Westchester County, outside of New York, which is predominantly white and super affluent. So in many ways, I just always felt comfortable being the only Black person. That was just the norm for me, so I never really thought much about it when I entered the industry and was often one of very few Black interns or Black editors.

How do you feel now that in the midst of racial uprisings, every single brand wants to be an ally—or at least, seem that way?

DP: I think it will all be revealed who is able to sustain their allyship and who isn’t. It’s already happening for a lot of brands. And so it’s really not enough for them to be very lazy about it. But just from a more cynical perspective, I can’t see a lot of them committing to wanting to do the work to make actual change happen.

Why do you think that’s so?

DP: Because it’s really difficult. So many people just don’t want to have the uncomfortable conversation or look at their own behaviors, and to really make sure that they’re not continuing to uphold white supremacy. Also, there are so many people who don’t even want to acknowledge that white supremacy has been a part of their business at all. You know what I mean? They assume that their brand is for everybody, always. It’s just so obvious that it’s not. But if you can’t even acknowledge that part of it, I don’t think you can move forward at all.

So is this where you guys come in with 2 Black Girls?

CR: Yes, if they’re willing to do the work. I think that it’s so difficult for them, because all they know is whiteness, and the only standard they’ve ever operated from is creating for the white gaze. And so to actually take yourself out of the equation constantly, I think, is mentally challenging for them. But that’s how we’re trying to help shape the brands or the people who we’re working with, by framing this as: You have to be active to be anti-racist. It’s not about being passive. That’s how everyone was operating up until June 2. You actually have to be constantly working at changing the narrative.

How do you feel about some of these big-name brands hiring chief diversity officers? Do you know what they do?

DP: I have never met one, and I don’t understand what they do either. Chanel had one, who was a white woman. So many of those companies probably had, in the last month or so, employees reveal that they have either experienced or reported racism to their human resources department and found no resolution whatsoever.

CR: I think the luxury brands and the mass brands are truly, truly the most stubborn and will be the hardest to change.

Are you going after them with your new business, or are you kind of focusing on smaller brands? How is this going to operate?

DP: So far, a lot of the brands that have come to us have been afraid because they’re in a crisis-management stage. And they’re of varying sizes: We have one global fine jewelry client, and we have several domestic smaller brands. We haven’t even had the time to pitch out ourselves.

Do you think it’s because the videos you both posted went viral?

CR: That’s sort of how it started.

DP: I think so, but I also think it’s that we have so many existing relationships, and some of them came about because we were calling them out. I personally emailed a few of them, and said, “This is really messed up. What’s going on?” And they just responded, “Okay, how can we fix it? How can we do better?” And I was like, “Well, that’s called labor. So if you want to find out how to do better, I’ll tell you. But you have to pay up.”

For sure. So without spilling your secrets, what is the plan that you have laid out for them? Is it different for each brand, or are you coming in with set guidelines that you already have in place?

DP: I would say it’s different for each brand. We definitely have guidelines and things that we tell brands to do. We tell them don’t run and hide, and how that’s not only cowardly, but it shows your privilege. So if you’re getting called out for something, don’t block people. Don’t try to silence them or try to avoid talking about it, because that’s not going to help anybody. But for the most part, we try to make each plan custom, because each brand communicates differently with their customer base. We can’t give something to a luxury client that we would give to someone that has a larger social media presence and a different way of approaching their customers.

CR: I also think the public perception differs from brand to brand. For example, we have one brand that we work with that’s perceived as so, so white. And we really have to strong-arm them into following a straightforward path towards diversity.

So it’s easier for some brands and harder for others?

DP: Oh, yeah.

CR: Yes. We have one client who we just had to tell a few things to, and we have one that we have to have weekly meetings with.

Why do you think it’s a struggle for a client like that? Is it because they’ve been operating in a certain way for so long?

DP: I think some people struggle with truly seeing their own privilege. I think that a lot of it comes down to that, and also the uncomfortable feelings that they don’t actually want to deal with. It’s sort of, “Well, everything was going fine for us up until people started calling us out for being racist.” But their businesses were still thriving.

I also think that they do get misled into thinking that they’re finished with their work. Say, they made their requisite post and no one has canceled them lately. They’re not getting any hate mail or they’re not getting any mean comments. In fact, some of them were getting comments that were congratulatory or praising them for what they’re doing. That could also be misleading to these brands, and they’re led to believe that they’re doing great.

You’re basically telling them that this is a continuing effort. Do you think they’ll actually apply that, really?

CR: I think that, at least the ones that are working with us, I see that they will. I don’t know if it will be perfect going forward, but I definitely think that they will think about it more than they ever have before. And that will be reflected in their content. We’ve also worked with them to set benchmarks. We tell them the bare minimum that they need to achieve in terms of how diversifying their Instagram, diversifying their website, and if they’re gifting the right people. That also really helps the situation, because brands really respond to numbers. When we give them guidelines of where they need to be, it’s easier for them to work within that.

Have you seen drastic changes since June?

CR: I think it is hard to have faith that the industry is going to suddenly turn around and everything’s going to be perfect. We know that’s not going to happen. We’re basically two months from Blackout Tuesday, and it really feels like a lot of them, from influencers to brands, think that they’ve done enough, or have just sort of gone back to normal ways of operating. And that is disappointing.

What can we all do as consumers to change that?

CR: I think that keeping the pressure on these brands is so important—especially if you’re white.

DP: Don’t follow them, don’t engage with that content, don’t shop if they aren’t doing the right things. It really is that simple. And people really make it complicated, but it doesn’t need to be. All you need to do is make sure that you’re not engaging with brands who are comfortable with white supremacy and who have trained their audience to feel that way. Because money is power. Followers are power.

Do you think that a year from now there will actually be substantial change, or was this just a flash in the pan?

DP: I think that the industry will be super different a year from now, just because of the pandemic, frankly. But I think that that has changed so many of these fashion businesses and especially the ones who are showing themselves to be unwilling to adapt. They’re getting punished. I can’t even believe I’m still getting emails currently about New York Fashion Week. I’m like, “Are you people crazy?” It makes no sense to me. It demonstrates the inability that this industry has to change. They’re like, “Oh, we’ve always done this. This is what we must do. The show has always been part of the brand. We must continue with the show.” But who cares? I think that if we look at that as a model of how the industry is willing to adapt, it doesn’t look good. They’re going to go back to doing what they’ve always done.

How do you see 2 Black Girls moving forward after all this?

CR: I think having a diversity strategy is for those who are really in it to win it. It’s an ever-evolving situation, so I do think that there are brands that we will still work with. Maybe we’re not going to work with the same brand for five years, but I think there will still be opportunities to help change the narrative, because we’re also connecting brands to Black creators, Black photographers…

We also have a class that we teach. I hope that that will continue, because that is something that we can evolve. And I do think that people really like that. We do a presentation for an hour, and then we have a conversation for an hour when people can really ask us questions that they have regarding their business, or even regarding where they’re at with racism personally and their anti-racism learning.

You guys are therapists too?

CR: Exactly. A girl in our class today literally asked why it wasn’t okay to say, “All lives matter.”

Are you kidding?

DP: We really get the full gamut of questions. That’s why we’re here.

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These are the new beauty launches to know.

Can’t believe it’s August? Us either, but on the plus side, there’s plenty of new beauty launches coming out this month to treat yourself to. Scroll down for nine of the best new beauty launches happening in August:

The Ordinary 100% Niacinamide Powder

What you need to know: Cult Canadian skincare brand The Ordinary has launched a Niacinamide Powder which offers “the most direct topical exposure” of the skincare ingredient and allows users to customize their dose. It works to decrease shine and even out skin texture, as well as visibly reduce the size of pores. According to a release, the water-soluble formula can be mixed into any non-conflicting, water-based treatments “provided that the pH of the base is between 5.0 and 7.0.” If you’re a brand junkie, this means you can mix it with several products in the range including the Hyaluronic Acid 2% + B5, Natural Moisturizing Factors + HA, “Buffet” + Copper Peptides 1%, Matrixyl 10% + HA and Argireline Solution 10%.

Price: $5.80

Where to get it: Available now at Theordinary.deciem.com.

Guerlain Abeille Royale Cleansing Oil Anti-Pollution

What you need to know: This month, Guerlain has released its very first makeup remover in its renowned Abeille Royale range. The oil formula transforms into a lightweight milk upon contact with water to soften and hydrate the skin whilst removing impurities. Suitable for use on the face, eyes and lips, the new product effectively removes pollution particles whilst protecting the skin’s pH level.

Price: $76

Where to get it: Available at Guerlain boutiques and Shopper’s Drug Mart.

GOOPGENES All-In-One Nourishing Face Cream

What you need to know: Gwyneth Paltrow has released a new face cream under her Goop brand which has been clinically proven to keep skin moisturized for 48 hours. The whipped formula contains plant-based ceramides and botanicals that work to hydrate, firm and even skin tone. Plus, the formula also helps to improve skin discolouration whilst also brightening the skin.

Price: $130

Where to get it: Sephora.ca.

Tom Ford Black Orchid Parfum

What you need to know: Tom Ford first introduced the Black Orchid fragrance in 2006. Now, almost 15 years later, the designer has reimagined the signature unisex fragrance to bring out the olfactive impact of the black orchid, ylang-ylang and black plum like never before. The new iteration is housed in an eye-catching gold bottle, which will look as good on your countertop as it smells to wear.

Price: $150 for 50ml/$195 for 100ml.

Where to get it: Sephora.ca and Tomford.com.

Innisfree Moisture Plumping Cream Mask with Lava Seawater

What you need to know: The new Lava Seawater collection from Korean skincare brand Innisfree utilizes the potent, mineral-rich lava seawater from South Korea’s Jeju Island to fight against visible signs of aging. The collection includes the Moisture Plumping Cream Mask which can be used both day and night to firm and brighten the skin. You can also use it as a sleeping mask – the brand recommends popping the jar in the freezer first where it will transform into a sherbet-like texture – so you wake up with skin that looks refreshed and is intensely hydrated.

Price: $35

Where to get it: Available this month in Innisfree stores.

NARS Orgasm X Cheek Palette

What you need to know: NARS devotees will welcome the newest addition to the brand’s famed Orgasm collection. The new deep coral pink hue with gold pearl is ultra-flattering – and is available in a singular blush palette, as well as the above cheek palette. The palette includes the new blush, as well as the brand’s signature Orgasm Blush and the Orgasm Highlighting Powder so you can “build the thrill,” according to the brand.

Price: $60

Where to get it: Sephora (in-store and online), Hudson’s Bay, Nordstrom and Shopper’s Drug Mart (in select stores and online).

Dior Dreamskin Care & Perfect

What you need to know: Dior is releasing its Dreamskin Care & Perfect formula in a new 75ml size this month. Made with shea butter and vitamin- and mineral-packed water from the Alps, the product works to reduce the appearance of spots, whilst transforming skin to be tighter and brighter.

Price: $180

Where to get it: Available at Hudson’s Bay this month.

Weleda Awakening Oil

What you need to know: Beauty editor-loved brand Weleda has released its newest sure-to-be cult product: the Awakening Oil. The oil harnesses the power of pomegranate seed oil (as well as eight other plant oils) to boost moisture and nourish the skin. It can be used alone, or mixed in with your favourite moisturizer – or if you’re a face tool fan, pop a little on your skin to help ease any friction before using your jade roller. Celebrity makeup artist Pati Dubroff uses the oil over makeup to add a little dewy goodness to her look, all whilst hydrating her skin. Skincare + glow-up? Yes please.

Price: $57.99

Where to get it: Well.ca, as well as natural beauty, health and wellness retailers across Canada.

Tatcha Rice Wash

What you need to know: Cult skincare brand Tatcha has released its newest product this week in the form of The Rice Wash. The product was inspired by the centuries-old tradition of using leftover rice water, which is rich in skin-friendly vitamins, as a form of skincare. The brand describes its newest addition as “a purifying daily cleanser that transforms into a gentle foam to wash away impurities without stripping skin.” It’s made with Japanese Rice Powder which works to boost luminosity, as well as Okinawa Red Algae, Japanese Brown Algae and Hyaluronic Acid for hydration.

Price: $46

Where to get it: Available now at Sephora.ca.