INSPIRED: Issue 1

Issue One // Summer 2020
INSPIRED
Kno Media & Creative Theory Agency
www.knoonline.com
www.creativetheory.agency

PREAMBLE
Kno. is the validation for the invalidated. We celebrate and shed light on marginalized identities through storytelling
and experiences for us and exclusively from us. Because for too long, our voices were underrepresented, and
our stories transcribed without our input. Because our shared otherness is our unifying power. Because others
need to Kno. our actual stories.
KNO. MEDIA
Creative Theory Agency believes in the power of storytelling. We believe in the power of unique voices that give
place and perspective to the experiences that shape our lives. We collaborate with brands that, like ours, value
the nuances that make our world great. These moments of nuance are sometimes challenging and abrasive — but
like calloused hands, the more we bear, the stronger we become.
CREATIVE THEORY AGENCY
COVER ART
CONTRIBUTING WRITERS
Yi Xiao Chen
Ashlee Green
Elizabeth Montague
DESIGNER
Clarize Metzger
Yonas Rosario
Casey Mattis
Dorian Gray
Gwen Lewis
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Table of Contents
01
BIRTHING
PAGE 6
02
CYBER BLACK GIRL
PAGE 8
03
MEET BIDDY
PAGE 10
04
THE SEARCH FOR MENTAL SOLACE
PAGE 14
05
MEET THALIA GOCHEZ
PAGE 16
06
THE UNIVERSAL LANGUAGE OF ILLUSTRATION
PAGE 20
07
IDLE THOUGHTS FROM A NOT SO IDLE MIND
PAGE 26
08
THE REDEFINITION OF MODEST FASHION
PAGE 28
09
ONE PHOTOGRAPHER ON CAPTURING THE
WOMEN IN HIS LIFE
PAGE 32
10
IT’S TIME FOR MORE BY HER
PAGE 34
11
“WE’RE ALL IN THIS TOGETHER”
PAGE 38
TABLE OF CONTENTS
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Birthing.
BY ASHLEE GREEN
On January 31st, my husband and I learned we were pregnant. Neither of us is overly emotional. There were no
tears, just calm, collected joy. In nine months we would become parents. A dream fulfilled, and prayers answered.
Like any newly expecting couple, we experienced a period of exceptional anxiety. As a Black woman, I’m acutely
aware of the staggering disparities in maternal and fetal health outcomes that exist in our communities. The
miscarriages. The infertility. The gross negligence of our healthcare system. These things wore heavily on me
for weeks on end as we navigated our way through our first doctor’s appointments, shared the news with close
friends and family, and ultimately crested the first trimester.
Compounding those fears and anxiety was the emergence of a global pandemic— an unprecedented and uncertain
moment in our history. While we remain gainfully employed, safe at home, and in good health, the toll this
new normal has taken is unmistakable.
In my work as a creative entrepreneur that is seemingly always building and growing communities of color, this
time has stripped away any semblance of normalcy and familiarity. Everyday is a balancing act between boundary
setting, productivity, innovating, and creating. There is a not yet established new norm for communication and
understanding with clients and partners. The unchecked desire and expectation for people to do more than they
ever have, with less than they’ve ever had, runs rampant in creative spaces.
As a friend, sister, daughter, and wife, the desire to be there to support those I hold dear has never felt so palpable.
I need to protect everyone. I need to help everyone. I need to have the answers when nobody else does. I need
to cook and clean everyday. I need to call and check-in on people, even if they don’t return the gesture. I need. I
need. I need. But what about them?
As a first-time expecting mom, I looked forward to all of the experiences that are so often enjoyed as families
and communities celebrate a life being brought into this world— maternity photos, baby showers, registries. Even
bumping around outdoors and at social events during summer months, taking in the endearing stares of loved
ones and strangers alike.
Despite the pandemic wreaking havoc on our country and the spaces we hold sacred, I know I am blessed. I just
hope that that doesn’t also mean that I can’t mourn the way some things used to be. The people I miss, the experiences
and events that will go virtual, and this pregnancy that will happen largely from inside my home, gazing
out of our front window wondering what it all could have been like.
Most importantly in all of this I hope we as a people can be focused on what and who we want to be on the other
side. What we’re able to create. The normal that we want to make sure doesn’t come back because it was so devastatingly
broken. And I hope that we know that just as I am blessed to be creating a new life during this time
that will one day grow into a beautiful reflection of the best parts of me, we can all focus on birthing the work, the
ideas, the creativity and the love that will reflect the best parts of humanity— on our terms.
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BIRTHING
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Cyber Black Girl
CONTEMPLATING THE RIPPLE EFFECTS OF RACE.
My work contemplates the ripple effects of race. These
nuances are felt by all but seen by the few who know
to look for them. I primarily focus on minority women
in post-colonial societies. I strive to unpack Blackness
as a cultural phenomenon in Western Society. Viewing
race as a cultural experience rather than a biological
fact, gives agency to people of every race to join in on
the conversation. The accessibility of the internet and
the universal reach of visual imagery allows us all to
participate in this dialogue.
best source for material. The ripple effects I feel are the
ripple effects felt by many others, sharing the stories
of black women, one of the most marginalized groups
in the world, is essential. Stories lead to understanding,
understanding leads to empathy, and empathy leads to
equality. Through my work, I create an entryway for
others to relate to me in the hope that it helps them
relate to others.
I am fascinated by race as a social and cultural construct.
The color of my skin has fundamentally shaped
my human experience — as it did for my ancestors and
will for my descendants. By allowing myself to be an
expert on my own racial experience I become my own
WORDS
Elizabeth Montague
ART
Elizabeth Montague
CYBER BLACK GIRL
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WORDS
PHOTOGRAPHY
STYLING
HAIR
Clarice Metzger
Bri Alysse
Audolita
Joyishair
Meet Biddy: The 21st-Century
Indian Girl
THIS IS FOR BROWN WOMEN WHO DON’T FIT THE MOLD OF SOMEONE THEY’VE
BEEN TOLD TO BE.
Haya was nicknamed Biddy by her high
school friends because it encompassed her
multiple personalities. South Asian by descent,
born and raised in Hong Kong and
currently residing in Los Angeles, Biddy is
an independent model who refuses to be
placed in any box.
Biddy works to represent brown women
who don’t fit the mold of someone they’-
ve been told to be. “As an Indian woman,
our society raises us to believe the perfect
woman is fair, thin, obedient—the list goes
on,” she says—all of which Biddy is not. We
chatted with Biddy to hear more about life
as a 21st century Indian girl.
Give us a little overview of what you do
and how you got started. When did you
realize you wanted to be a professional
model?
I always wanted to be a model when I was
a kid, I was just heavily discouraged and
lacked confidence due to the environment I
was in as well as my own insecurities. I never
fit in with girls of my own culture and,
on top of that, all my friends were mainly
Chinese or white. The Eurocentric standard
of beauty is everything I’m not, which is
why I shunned my own culture in the past.
I always wanted to fit in and was never true
to myself, my character or my culture when
I was younger, but with time I grew more
confident in my own skin and identity. I hated
having a fat ass, curly hair, and big hips.
I was constantly in the gym trying to shed
weight, always straightening my hair, and
only wore black clothes. As soon as I got off
the school bus in the morning, I would go
to the bathroom and slap on makeup before
anyone could see me.
I was only confident because of my personality,
but despised my appearance—which
is why I only dreamt of being a model. I was
camera shy as hell for a few years, especially
during the “emo” MySpace days, but I
warmed up to the camera when I started to
embrace all the features I’d been trying to
get rid of. Fast forward to a few years later,
after moving to the U.S, I fell into modeling
around two years ago. My best friend
started taking random pictures of me on
my couch, and I started getting messages to
shoot, so I thought I was on to something.
How do you identify?
I have an identity crisis for sure. If I describe
where I’m from geographically, it doesn’t
make sense to anyone. I was born and
raised in Hong Kong—in an Indian household—went
to a British International school
to study, where I was exposed to several
different cultures whilst still juggling traditional
Indian-Muslim values of my own
home. Eventually, I ended up moving to
the U.S. becoming even more westernized
than I was growing up but still managing to
maintain my cultural values. People always
want to put me in a box when they meet me
so that they can understand me better but
I don’t think there is one box that categorizes
my whole identity. It’s not everyday
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MEET BIDDY: THE 21ST-CENTURY INDIAN GIRL
11

that you stumble across a Muslim Indian girl who grew
up on 50 Cent albums in Hong Kong. But the simplest
way I could break it down to you is: My ethnicity is Indian,
but it doesn’t make up 100% of my identity— hence
‘representing the unconventional Indian girl who
doesn’t fit in a box.’ ‘Expat’ or ‘Global citizen’ would be
the best word to describe me.
What is the highlight of your career so far?
The highlight so far has been the response. I love seeing
young girls reach out to me with kind, supportive messages.
The cultural identity struggle is real. I’m glad I
can be someone they relate to or look up to, so they
don’t feel alone. Everything else is really just gravy.
What is the 21st century Indian girl and how do you
embody her?
The 21st-century Indian girl is care-free, bold, and unapologetic.
I embody her by being my true self, something
I neglected when I was younger when I wanted
to fit in a box. I wanted to make everyone (including
my parents) but myself happy. Now I really don’t give a
fuck what anybody thinks about me.
Social media can be an incubator for creativity and
connectivity, but simultaneously harbors so much
hate and violence. How do you see its impact on today’s
young women?
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There’s always a positive and a negative side to anything.
Everybody wants their opinion heard, even
anonymously. People just love to get a reaction out of
people for likes and retweets, which can unfortunately
lead to serious situations. People are obviously aware
of the damages social media can cause, but cyberbullying
and slut-shaming aside, I’ve recently seen more
positivity from young women and men on social media.
I think the current state of the world with all this
negative energy is actually molding social media into a
positive space. I’m seeing women hype other women,
calling each other queens, retweets asking to drop skin
care routines. It’s magical.
What’s next for Biddy?
You’ll definitely be seeing more of me: shoots, brands, a
possible YouTube Channel. I’ll be exploring new things,
so stay tuned.
MEET BIDDY: THE 21ST-CENTURY INDIAN GIRL
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The Search For Mental Solace
BY CASEY MATTIS
I could feel my head weighing heavy from staring up at the moon for so long. It was April 7th of 2020, the night
of The Pink Moon—the largest moon of the year and the first full moon of spring. I was standing outside in the
middle of the night in my pajamas; it was quiet, I could barely hear the soft breeze, had it not been brushing up
against my ear. The wind made my eyes water. The night was tranquil, and I was lost staring at the stars above
me, completely enamored by the moon’s beauty. I could feel the tension in my shoulders finally relax after weeks
of built up anxiety from this global pandemic. Prior to being lost in the stars, I didn’t even realize I was clenching
my shoulders until I could finally feel myself breathe calmer looking towards the moon. That night, just for a moment,
I felt some sort of normalcy. The Pink Moon was so radiant, beautiful, and close to the Earth, for the first
time all quarantine, I was able to find solace remembering that the Earth is still doing her job.
It is very easy to feel defeated nowadays—there is no reason to get ready in the morning, there’s no commuting
to be done, and since all Zoom meetings are viewed from the waist up, it’s hard to find the motivation to even
bother putting on pants. In this world of constant data flowing through our fingertips, it’s hard not to feel anxious
and over-stimulated with information. When our country’s leaders fail to agree on how to keep us safe, anxiety is
a very natural reaction. Anxiety is the fear of the unknown, the fear of sudden change, and these days everything
feels like an endless cycle of repetitive misery. It’s tough to remain hopeful when living in quarantine starts to feel
more and more like the movie ‘Groundhog Day.’
Before COVID, I had spent months practicing self-care and working to overcome my mental anxiety, so I could
live life a little lighter. I found a therapist that helped me manage my anxious mindset, and I started integrating
meditation and journaling into my daily routine. Pretty soon, I was feeling open and optimistic about life again.
When COVID hit, it was a major test of my newfound resolve. At first, I was knocked down—I’m not going to lie.
But after that night I spent staring at space, gawking up at something much bigger than myself, I was reminded
that despite all this unknowable chaos, some things are still going to be constant. The Earth and its celestial neighbors
are still out there providing us with what we need to keep moving forward. While we are chained to our
homes, Earth still rotates. With humans being forced to lower their pollution output, the planet has been able to
take a breath, and has responded in an extraordinary way to our new daily habits. Mother Earth is speaking back
to us, telling us how to best love her. With so much pending unknown around us, I try to stick to what remains
constant in life, in order to retain some sense of normalcy. The faith in knowing that no matter how stuck I feel,
Earth keeps on moving. That no matter how dark the night gets, another dawn is just around the corner. And that
after the heaviest rain comes the brightest rainbows. I’m confident that tending to my mindset will provide the
inspiration I need to see that light at the end of the tunnel. And just like finding the motivation to put on pants
everyday, we all just have to deal with our struggles one leg at a time.
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THE SEARCH FOR MENTAL SOLACE
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Meet Thalia Gochez
THE ARTIST CELEBRATING LATINX IDENTITY.
In her latest project, with Nike and Girlgaze, Los Angeles-based photographer Thalia
Gochez highlights unsung heroes igniting positive change in their local community. The
daughter of Salvadorian and Mexican immigrants, Thalia has created a platform for women
of color to be represented the way that they should be. Her photographs are genuine
depictions of women taken in their communities offering space for conversation and
self-representation.
We chatted with Thalia about the importance of representation, where she draws inspiration
from and learnings from her latest project.
Give us a little overview of what you do and how you got started shooting.
I am a film photographer, creative director, and fashion stylist. I started shooting a couple
years ago, around when Trump got elected. I used my creativity and need for expression
to cope with the political climate but also for fun! I started shooting my friends in their
communities. I saw the beauty within their neighborhood and wanted to highlight it in a
positive way. It started off simple— I wanted to shoot folx that looked like me and I connected
with on a cultural and ancestral level.
Where/who do you draw inspiration from in your art?
My childhood and culture, my dreams, current emotions, Mexico, El Salvador, corner stores,
old film photos of my family, dollar stores, street vendors, flea markets, folx on public
transportation, people of color, natural lighting, mundane interactions on the street—the
list goes on. Inspiration is a daily exploration and ever-changing, but a common thread
throughout the list is authenticity. I am inspired by authentic living.
Talk to us about representation. Why is this something you choose to focus on through
your art?
When I was in fashion school, I hardly saw any representation of my narrative, culture
and identity and I wanted to start creating content I connected to! I want to give the next
MEET THALIA GOCHEZ
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generation of brown kids something to connect to and get inspired by—I see
my work as a cultural archive.
How would you say your photography is a form of activism?
My art is just expressing my experience and the people I love. My goal wasn’t
to be an activist—I’m just learning how to navigate and exist in these institutions
that weren’t built for people like me to succeed. I do that by highlighting
and holding a safe space to the best of ability through my art for my friends and
people of color in the community. I’m not afraid to speak and bring awareness
to issues that directly affect marginalized communities. However, I know my
limitations as a lighter skin Latinx and very mindful of the space I take up. I
want my contributions to the community to be an equal exchange, and never
exploitive or performative. I am here for real interaction, real healing, real solutions,
positive impact. There’s so much I have yet to learn and I’m constantly
learning how I can be a better ally to all intersectionalities.
Tell us about your experience with the Nike x Girlgaze project.
In the Nike x Girlgaze project, we highlighted unsung heroes igniting positive
change in their local community—a perfect fit for me! It was an incredible
experience with a steep learning curve. I’ve never experienced that level of
production and although the attention is nice—the most rewarding part of it
all was overcoming the mental burden of not being “good enough.” I learned
that I have to have the courage to constantly challenge myself and what I think
I can do creatively in order for me to grow into the womxn I know I’m destined
to be.
WORDS
Clarice Metzger
PHOTOGRAPHY
Thalia Gochez
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MEET THALIA GOCHEZ
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The Universal Language
of Illustration
“THE DIALOGUE AROUND ETHNIC MINORITIES IN THE AUSTRALIAN
CONSCIOUSNESS HAVE ALWAYS BEEN AS THE ‘OTHER.’ ART CAN BE A MEDIUM
THAT SERVES TO CENTER THESE FACES AND STORIES.”
While Australia has long considered itself an immigrant
nation, there’s no question that it is a far more racist
country than its people like to admit. Yi Xiao Chen is
a first-generation Chinese-Australian artist and general
practitioner whose work is geared towards opening up
the lines of communication surrounding ethnic minorities
in the country.
medicine and art, Yi views duality as a notion that is
at the core of everything and believes “that opposing
elements can be in the service of a common purpose.”
We chatted with Yi about the meaning and importance
of multiculturalism, where she draws inspiration from
and her current frustrations with today’s society.
Having lived her entire life between two cultures while
being immersed in the two vastly different fields of
Where/who do you draw inspiration from in your
art?
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I draw inspiration from the stories of ordinary individuals
and their families, their personal struggles and
triumphs, and the different ways they uphold traditions
from their homeland. I often collect images of old
family photographs, personal memorabilia, letters and
handwritten notes, cultural artefacts and historical
remnants of the mundane and personal. This way, I can
gather inspiration from the traces of past lives of ordinary
people, and form a connection with people across
a different time period and culture.
How do you identify and what does your identity
mean to you?
I identify as a Chinese-Australian woman and a first-generation
immigrant. In terms of gender, I’m a cis female.
My vocation consists of both art and medicine, and
day-to-day, I tend to have to make the switch between
the two and separate those parts of my identity. But ultimately,
I think that duality is at the core of everything,
and that opposing elements can be in the service of a
common purpose.
What does being a woman today mean to you?
Being a woman in this day and age is a privilege that the
previous generations of women have fought hard for. I
never take for granted the opportunities and freedom
that I enjoy today, and the ability to pursue my interests
and passions freely.
Historically, and still today, the cards have been stacked
THE UNIVERSAL LANGUAGE OF ILLUSTRATION
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ARTIST
Yi Xiao Chen
WORDS
Clarice Metzger
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“Representation creates normalisation and
amplification of these marginalised voices, and
highlight the richness and beauty of their
traditional cultures.”
against women across the majority of cultures
and in most countries. Being a woman
today, in a privileged country and society,
there is a sense of responsibility to continue
to champion the rights of women around
the world.
What frustrates you the most about today’s
culture?
Much of today’s contemporary culture, with
its over-saturation of constructed imagery,
sound bites, information and misinformation,
infiltrates every aspect of our daily
lives and establishes a cultural hegemony
that serves to uphold its model of profit
and consumption. The result of which has
the effect of distracting from, rather than
leading us towards the truth.
What do you hope people take away from
your art?
I hope my art can open up lines of conversation
about cultural identity, belonging, unity
of diverse peoples, and connection to our
shared histories.
Talk to us about multiculturalism. Why
is this something you choose to focus on
through your art?
Multiculturalism is the celebration of both
our diverse cultural differences and the
collective human experience. It is a theme
that is very dear to me, as a first-generation
immigrant and as a daughter of immigrants,
who, like many others, share the common
experiences and struggles of adapting to a
new culture and customs.
Australia is arguably the most multicultural
country in the world yet this status has
been fraught with a long history of conflict
and tension. There have been efforts made
towards unity and peace, particularly in
the ‘70s under the Whitlam government,
to encourage cultural pluralism and the retention
of one’s traditional cultural practices
without fear of discrimination. Nonetheless,
the continuation of such discourse
must be upheld, now more than ever, to
stem the ever-present undercurrent of hate
and distrust in our society, whose ebb-andflow,
in its various manifestations and changing
targets, dates from the earliest colonial
years.
The dialogue around ethnic minorities in
the Australian consciousness has always
been as the ‘Other.’ Art, and portraiture, in
particular, can be a medium that serves to
center these faces and stories. Representation
creates normalisation and amplification
of these marginalised voices, and highlights
the richness and beauty of their traditional
cultures.
This exhibition pays tribute to those who
have, for decades, contributed to championing
the voices and presence of their communities
in the public sphere. Likewise, it
is paying tribute to those whose lives were
lived in the domestic sphere, in particular
women, whose immense contributions to
their families and local communities are often
overlooked but are no less important to
be recognised and celebrated.
What’s your positive message?
That we continue to use art and story-telling
to appeal to our common humanity,
build bridges and challenge existing mindsets.
Art, with its ability to evoke our basest
human responses and emotions, can achieve
what politics and mainstream media can-
THE UNIVERSAL LANGUAGE OF ILLUSTRATION
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not, in speaking to the personal; the innate, biological need for human connection
and understanding.
Upholding human rights and the preservation of human dignity and justice
can only be achieved through collective effort and hard work. 2019 has been a
tumultuous year thus far, but I have seen a vast amount of kindness, empathy,
and dedication from inspiring individuals who continue to work hard for these
goals, and in turn inspire others, such as myself, to do the same.
THE UNIVERSAL LANGUAGE OF ILLUSTRATION
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Idle Thoughts From
A Not So Idle Mind
BY CLARICE METZGER
Like you, I’ve been trying to figure out life in quarantine — and endlessly scrolling through Instagram and Twitter
where there is no shortage of quarantine advice. “This is an opportunity!” “Stay positive!” “Remember to breathe!”
“Record a podcast!” “Do nothing!” “Learn a new language!” “Feel how you feel!” they all shouted.
Underneath all this conflicting advice, I could only hear the whispers of my mind telling me: “Sis, if you don’t use
this time to figure out your finances, continue to build your creative platform, learn a new skill and prepare for
your future, you’re doing this whole thing wrong.”
So naturally, for the past seven weeks, that’s what I’ve been doing. I’ve been keeping busy. I’ve been learning new
things. I’ve been writing a lot. I’ve been productive. And it’s been going great — until it wasn’t.
The exhaustion hit my brain like a wave washing over my entire being. I took a day to rest but couldn’t shake
the fatigue weighing me down. I know this sounds overly dramatic—full transparency, some would deem me an
overly dramatic person—but I’m the type of person who is always on the go. I thrive in fast-paced environments. I
love learning and trying new things. I’m always looking for ways to grow and innovate. All this to say that slowing
down and taking a break just doesn’t come naturally to me. How to slow down during a globe-crushing, health
system-flooding, soul-jerking pandemic? Even more foreign.
The reality is that you—looking at the people whose brains don’t turn off—like me, have not the slightest clue how
to adjust to this new norm and we’re desperately working to maintain just a shred of control.
I think that’s how we’re coping. Working our asses off to achieve whatever we’re looking to achieve makes us feel
better, and it’s what we know how to do best. And our best is all we can do right now.
That being said, be kind to yourself. Finishing that project during Day 45 of quarantine vs. Day 48 really won’t
make much of a difference. Take it easy. Listen to your body when it’s telling you to slow down. You deserve the
break.
Be safe and stay well.
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IDLE THOUGHTS FROM A NOT SO IDLE MIND
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The Redefinition of
Modest Fashion
MEET THE DIGITAL CREATOR TURNED DESIGNER SPEARHEADING THE MOVEMENT.
“Inclusive” is the latest buzzword in fashion as most brands
are trying to adapt their styles to keep up with our evolving
definition of what the word actually means. 20-year-old
college student, digital creator, and influencer Nawal Sari
is on a mission to prove that inclusivity is more than a buzzword
through the redefinition of modest fashion.
Born and raised in Sydney, Australia, Nawal has developed
a strong sense of appreciation for the “buzzing
colors of culture, the wide range of creativity and drive
for success the community holds despite the negative
stereotypes associated with it.” As a young Muslim woman,
Nawal leverages the power of social media to document
her own take on modest fashion while encouraging
other Muslim women to explore fashion’s infinite
avenues. She’s also started designing to share her view
of modest fashion with the world.
We chatted with Nawal about her entrance into the
fashion world, the cultural impact of Hijabi bloggers
and the importance of identity.
How did you start designing?
I am a digital creator and influencer who focuses on
fashion and beauty. I incorporate my faith and cultural
identity into what I do also. I would have never thought
I would end up designing, let alone in conjunction with
what I do online. When Hijab House reached out to me
to further our relationship through collaborating on a
collection, I was beyond excited. I have [a] close alliance
with the team, and they helped launch me into the
modest fashion scene a few years back when I started.
They believed in me and understood my vision and
now I am launching my own line with one of the world’s
biggest modest fashion labels.
Share with us how you view your identity.
My identity is something I love and strive to understand
as I feel I am constantly in an identity crisis. I was
born and raised in Australia, Lebanese on my father’s
side, English Australian on my mother’s side. Within
that, my parents are diverse with Turkish and Scottish
last names and ancestry. I am also Muslim, a Hijabi, a
“The Hijab is empowering, a symbol of feminism, limitless
and most importantly worn to demonstrate submission
to God and worn as a reminder of Islamic
values such as generosity, kindness and honesty.”
THE REDEFINITION OF MODEST FASHION
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creative, and a full-time student, retail worker, and influencer. I’ve been raised close
to my Muslim and non-Muslim family, sharing cousins with traditional names such as
Mohammed and Max. My Aussie freckles from my mother’s side on the very common
Lebanese trait of a prominent nose from my father’s side have always been a conversation
starter. Being all of these things are something I’ve had to myself understand
and appreciate to find belonging in. I’m not your conventional Australian, Muslim, or
Middle Eastern girl, and I definitely don’t fall into a box that sums up who I am.
Talk to us about the Muslim community in Sydney. How would you say the rise of
Hijabi bloggers is shifting the culture forward?
The Muslim community here is large and very diverse, in saying that it’s also very closely
knit, and everybody knows each other in some way. We are also still establishing
ourselves with a sense of belonging. At most our grandparents migrated here from
overseas so [we] are made up of first- and second-generation immigrant families. Traditions
from overseas and [those] norms are still present and taught so the adjustment
to Western norms while balancing cultural tradition and religion tend to be obvious
obstacles with our youth.
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In Sydney, the Hijabi community is large and it is very common to see the Hijab, although the digital
world and its entrepreneurial capabilities I feel aren’t as known to us as it is overseas with influencers
and creatives. There are very few Hijabi bloggers in Sydney and I feel it’s more apparent in cities such
as Melbourne. Sydney does have more of a sense of the strive to fit in and being okay with the safeness
of stereotypes as there’s more belonging in it. With that comes more close-minded people and fewer
expressing fashion creativity.
What does modest fashion mean to you and how are you redefining it?
Modest fashion to me is how I can be stylish and creative while respecting the Hijab. Every Muslim
girl has their own narrative and definition of what modest fashion is and how they want to express it.
My drive to redefine modest fashion means to me that I can help change the perspective of the Hijab.
Oppression, blandness and a male-enforced power are all negative associations of the Hijab, but they
are far from what the majority of Muslim women experience with the Hijab. With [the] campaigns I
do, collaborations I take part in, and fashion looks I post, it’s all in aim to show how it really is to us
Muslim women. The Hijab is empowering, a symbol of feminism, limitless, and most importantly, worn
to demonstrate submission to God and as a reminder of Islamic values such as generosity, kindness, and
honesty.
Where/who do you draw inspiration from in your designs?
It came from all sorts of avenues such as high fashion runway pieces, both current and new, trendy
pieces I love but needed a more modest flare and 90s early 2000’s streetwear with the bold colors and
patterns. I get inspired from cities, music and my surroundings in general, it’s safe to say the collection
is a reflection of Nawal.
What’s next for Nawal?
I hope big things. I have learned to manifest things I want into the world since I would never have
thought I would end up here initially. I want to grow more as a person, travel A LOT and make a bigger
impact for my sisters. Inshallah.
WORDS
Clarice Metzger
PHOTOGRAPHY
Nawal Sari
THE REDEFINITION OF MODEST FASHION
31

32

One Photographer on Capturing
The Women in His Life
DORIAN GRAY TALKS US THROUGH HIS PROJECT “CORREE”
AND HIS TAKE ON IDENTITY
“Growing up looking at my mother and other
women in my life, they were always easy on my
heart, mind, and soul.”
“Green has the healing power and is understood
to be the most restful and relaxing color for the
human eye to view.” This was the inspiration
for this visual story. Growing up looking at my
mother and other women in my life, they were
always easy on my heart, mind, and soul. Especially
my mother, who knew how to calm and
uplift when I was upset, and give joy and peace
constantly. There was a constant green color
dripping from her, and has never left her.
Identity is the fact of being who or what a person
or thing is. Having a unique identity will set you
apart from everyone else. We all have a certain
image of ourselves - beliefs about the kind of
person we are. Having a strong sense of identity
seems to be desirable, something that brings
comfort and security. Many people seem to
spend a lot of time trying to figure out who they
are, what they want, and what they believe. And
perhaps rightly so: having a strong identity certainly
seems to have advantages. Identity is hard
to change. Identity can be difficult to notice.
Identity has unintended consequences. If you are
willful, and careful, and wise, then you can cultivate
the identity of the person you always wanted
to be. creative, full-time student, retail worker
and influencer. I’ve been raised close to my
Muslim and Non-Muslim family, sharing cousins
with traditional names such as Mohammed and
Max. My Aussie freckles from my mother’s side
being placed on my very common Lebanese trait
of a prominent nose from my father’s side have
always been a conversation starter. Being all of
these things are something I’ve had to myself understand
and appreciate to find belonging in. I’m
not your conventional Australian, Muslim and or
Middle eastern girl I definitely don’t fall into a
box that sums up who I am.
PROJECT
Corree
PHOTOGRAPHY
Dorian Gray
REFLECTION
Dorian Gray
ONE PHOTOGRAPHER ON CAPTURING THE WOMEN IN HIS LIFE
33

It’s Time For More By Her
AND IT STARTS WITH THE ADVANCEMENT OF FEMALE CREATIVITY.
WORDS
Clarice Metzger
PHOTOGRAPHY
Gaby Deimeke
34

What does it take to replace the ‘starving artist’ concept with that
of a ‘thriving artist?’ Brand builder, strategic marketer, artist advocate,
and creative entrepreneur Anisa Benitez founded the creative
platform More by Her to help answer that question.
A New York native born to Cuban and Nuyorican (Puerto Rican
New Yorker) parents, Anisa couldn’t envision herself in a creative
field growing up. “My family had sacrificed too much to live in the
U.S., we were low-income, and I didn’t personally know a woman
who was making a comfortable living as a creative,” she shares.
Fast forward to today and Anisa has built a career in marketing
with major brands like Google and TIME and is continuing to evolve
into the artist she’s always wanted to be. We chatted with Anisa
to learn more about her work as a marketer, what identity means
to her and how we can all play a role in dismantling the starving
artist stigma.
Give us a little overview of what you do and how you got started
in marketing.
I’m now a marketing consultant with over 7+ years of experience
with top brands like Google, YouTube, TIME Magazine, Entertainment
Weekly, Fortune Magazine, and RCA Records within Sony
Music Entertainment. I’ve also been using my marketing skills towards
More by Her, a platform I founded to highlight creative women
who are shaping our culture.
I fell in love with marketing in undergrad. I was obsessed with
behavioral economics, and the psychology behind the way people
made decisions. As a creative and strategist, marketing is a fulfilling
blend of the two. My first marketing role was for my college’s,
Smith College, executive leadership conferences for women. It
wasn’t meant to be a marketing role, but I advocated to take on growing
their social channel and taking on marketing duties to make
it so. Then interned in the music industry, on the entertainment
side and absolutely loved it. “I will leverage my marketing skills to
support artists,” was my work mantra.
After graduating, I started at Sony Music in Promotions Marketing
for RCA Records. After that, I moved to Time Inc. for a subscription
marketing & new revenue acquisition role. I also did marketing
IT’S TIME FOR MORE BY HER
35

“Afro-latina, Black, Latinx, a woman, she, her…
My identity is important to me because it carries
history; Stories of all the people who fought for my
identity to be recognized and treated as equal.”
36

consulting for startups and small businesses. Then I’ve
been at Google for the past 3 years, most recently as a
Brand Marketing Manager for YouTube Music. Marketing
is storytelling; it’s continually evolving. I’m grateful to
have built my career around learning how to make people
care for things I value: supporting artists and creatives
across music, media and other spaces.
How do you identify and why is your identity important
to you?
Afro-Latina, Black, Latinx, a woman, she, her. My identity
is important to me because it carries history — stories of
all the people who fought for my identity to be recognized
and treated as equals.
Why did you decide to create more by her?
More by Her serves as a platform and community that
aims to dismantle the ‘starving artist’ stigma by highlighting
creative women who are shaping culture. We share
the stories of the #ThrivingArtist across a diversity of
backgrounds with the intention to:
• Strengthen the pipeline of women in the arts and
creative spaces by providing others transparency
into what a creative future could look like.
• Shift unequal power structures and cultural beliefs
by promoting creative women and supporting their
work.
• Show the diversity of creative paths.
Growing up, I couldn’t envision a creative future for myself,
despite being a very artistic kid. My family had sacrificed
too much to live in the U.S., we were low-income,
and I didn’t personally know a woman who was making
a comfortable living as a creative. “I will not be a starving
artist,” I declared myself.
they could be shifting culture through what they create.
I deeply admire all the women on More by Her; each is
sharing their perspective through their work and creating
a more inclusive future for all.
Here is some visual context about my story.
How can we all play a part in dismantling the ‘starving
artist’ stigma?
We have to start by shifting our mindsets, our internal
narrative first. Most of us have been conditioned to believe
the ‘starving artist’ stigma. Only after re-examination
can we can change the external narratives and drive
change through action. I lead workshops on this, so please
reach out for further inquiries: morebyher@gmail.com.
What frustrates you the most about today’s creative
landscape?
Economic disparity – that there is actually SO MUCH
wealth and abundance invested in creative spaces, but it’s
not distributed fairly. Where it’s mainly invested, there
is also a lack of diversity. I’ve witnessed it first-hand in
marketing — seeing massive budgets go to creative agencies
of pretty much all white (and already wealthy) men.
What do you want people to take away from your work
with More By Her?
That they are powerful. That in unleashing their creative
power, they can shift culture. That they don’t need
to ‘starve’ to be creating. That their unique perspective
matters.
Against my proclamation, today I’m an artist: actor, a dancer,
model, writer, speaker, and creator of More by Her.
I’ve also realized the power that we unleash by creating
and recognize that so many people suppress this power.
They believe the ‘starving artist’ stigma and don’t continue
to express themselves creatively or pursue what
brings them joy. It’s tragic to me! Especially because
IT’S TIME FOR MORE BY HER
37

“We’re All In This Together”
With A Hint Of
“Life On The Other Side”
BY GWEN LEWIS
I didn’t yet know for how long our lives would be changed or how deeply society would be cut. As always, when
holding uncertainty, I knew it was time to talk to God. About a week into Philadelphia’s stay-at-home order, safely
at home with my family, I got in bed to pray. For the first time, I didn’t know what to pray for.
It’s not that I’m unfamiliar with prayer. Growing up as an anxious child, in a religious household I was taught early
to cast my burden on the Lord. So, I did. At 4 years old, when I watched my mom survive and recover from brain
surgery, I spent so much time in prayer that I must have exhausted my preschool vocabulary. Communicating my
worries and wishes to God became second nature.
I developed a go-to line to cover myself and my loved ones. Some variation of that line has appeared in my nightly
prayer for over 20 years. “Please help me and everyone I love wake up safely in the morning.” I used it in the early
days of the COVID-19 pandemic. Then, I’d read a headline or watch the news. My loved ones were healthy, but
around the world, each morning, a suffocating amount of people weren’t waking up.
Something about my staple line started to feel empty and selfish. I needed to try to protect more than just my circle.
It morphed. “Please help as many people as possible wake up safely tomorrow morning.” “Please help all those
grieving to somehow find peace.” “Please help this to end, illogically soon, so the maximum amount of people’s
loved ones, including my own, can still be here tomorrow morning.”
The current world has a pervasive aura of fear and grief. While it’s not directly my own, I can’t escape helping to
bear it. We say pandemic. Really, we mean prolonged trauma. No matter where we are, we’re having a collective
experience. With shared experience, comes understanding. With understanding, comes compassion. Collective
compassion looks like me, in Philly, dissatisfied with praying for the safety of only those that I love and needing
to include the wellbeing of strangers. It looks like my definition of people “I love” being expanded to just mean
“humans.” I started to think: what if, on the other side of this united vulnerability, is a united fellow feeling?
Revisiting my toolbox for managing anxiety, I reread The Power of Now, by Eckhart Tolle. In the chapter, “The
Meaning of Surrender: When Disaster Strikes,” he explores pain as a vehicle for a rise in consciousness that jolts
the singular human out of their egotistical bubble and into a larger experience, shared by every living soul. He
encourages us to know that there’s another side to tragedy, “a complete alchemical transmutation of the base
metal of pain and suffering into gold.”
If the only way to save the lives of people we don’t even know is to make changes to the way we live our own,
then maybe more of us will feel less divided. If we must sit alone with ourselves in this reality, then maybe we’ll
become more connected to the lifegiving energy that flows within us, so much so that we can recognize it in those
who are, otherwise, nothing like us. Maybe, on the other side of this tragedy, the gold will be us, continuing to be
so keenly aware of the experiences of other beings that we still feel tenderly enough to send to them well wishes,
through prayer or whichever medium we hold sacred even when there’s no immediate danger.
38

“WE’RE ALL IN THIS TOGETHER”
39

Issue One // Summer 2020
INSPIRED
KNOW MEDIA
More At
A TEMPLATE BY RUBEN STOM
www.knoonline.com
www.creativetheory.agency
WWW.YOURDOMAIN.COM