AphroChic Magazine Issue No. 18

a curated lifestyle magazine
ISSUE NO. 18 \ WINTER 2024
THE MOMENT THAT CHANGED FASHION \ THE ART OF BEING EXTRA \ EXPLORING PORTUGAL
APHROCHIC.COM

Happy everything! Our last issue of the year always comes out just at the
start of the holiday season. And while the focus of the season has routinely
been "buy, buy, buy," we wanted to focus on something different, and instead
give you some "hope, hope, hope."
It’s no question that things have been hard these past four years, and our world ever more chaotic. But
there is hope, in the form of community, togetherness, and the celebration of our shared culture.
In this issue, we hope that your spirit is moved when you read our cover story about Davóne Tines, his
band, The Truth, and their new album, ROBESOИ. The album is an incredible musical feat that reshapes the
classical genre, bringing a new perspective on the icon that was Paul Robeson, and inviting us all to lift our
voices and speak our truth.
We hope you feel inspired when reading about Brittney Ifememi’s brand, Ifsthetic. Infused with her
Nigerian American heritage, Brittney shares ways that Ifsthetic can help you entertain and host in luxurious
comfort this season.
In Culture, we hope you are moved to learn more about the Black experience in the Middle East, in Tala
Al Arfaj’s article on NRTVE. An organization founded by Nini Oki, the mission of NRTVE is to reshape the
narrative for Black creatives living in the Middle East and Africa (MEA).
And in Food, we hope you’ll enjoy bringing Rahanna Bisseret Martinez’s delicious Masa Doughnuts with
Early Grey Glaze recipe to life in your own kitchen. A sweet treat that is perfect for the holiday season.
This issue is also chock full of history, as we take you through the Moorish past in Portugal, and into the
deep historical significance of Watch Night and Freedom’s Eve. And we have a gift guide for you as well, sharing
some of our favorite pieces from our new home decor collection that are sure to bring comfort, peace, and
style home to you and those you hold dear.
We wish you an absolutely joyful holiday season. May it be filled with hope. May you stay safe and well. We
look forward to seeing you again in 2025.
Jeanine Hays and Bryan Mason
Founders, AphroChic
Instagram: @aphrochic
editors’ letter

WINTER 2024
DEPARTMENTS
Read This 10
Visual Cues 16
Coming Up 18
The Black Family Home 20
Mood 32
FEATURES
Fashion // The Moment That Changed Fashion 40
Interior Design // A Study in Neutrals 48
Culture // NRTVE 62
Food // A Delicious Holiday Treat 70
Entertaining // The Art of Being Extra 74
Travel // Exploring Portugal 86
Sounds // Past Meets Present 96
PINPOINT
Artists & Artisans 102
Lit 114
Who Are You? 118

CONTRIBUTORS
Cover Photo: Davóne Tines
Photographer: Noah Elliott Morrison
Publishers/Editors: Jeanine Hays and Bryan Mason
Creative Director: Cheminne Taylor-Smith
Editorial/Product Contact:
AphroChic
AphroChic.com
magazine@aphrochic.com
Brand Partnerships and Ad Sales:
Krystle DeSantos
Krystle@aphrochic.com
Contributors:
Tala Al Arfaj (below left)
Tedecia Wint (below right)
issue eighteen 9

READ THIS
HOLIDAY
BOOKS
The AphroChic team loves to collect reading recommendations,
from history to biography to fiction to young adult. The holidays are
the perfect time to give and receive fantastic books. So here are our
selections for the best ideas to give friends and family — or to purchase
for yourself.
picture book
The Band in Our Basement
by Kelly J. Baptist and
Jenin Mohammed
Publisher: Abrams. $18.99
early reader
Brown Girl, Brown Girl
by Leslé Honoré
Publisher: Little, Brown. $18.99
preschool
We Are Free, You & Me
by Colin Kaepernick and Nessa Diab
Publisher: Scholastic. $17
middle
reader
The Secret Library
by Kekla Magoon
Publisher: Candlewick. $16
young adult
When the Mapou Sings
by Nadine Pinede
Publisher: Candlewick. $19.99
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Celebrate Black homeownership and the
amazing diversity of the Black experience
with AphroChic’s newest book
In this powerful, visually stunning book, Jeanine Hays and Bryan Mason explore
the Black family home and its role as haven, heirloom, and cornerstone of Black
culture and life. Through striking interiors, stories of family and community,
and histories of the obstacles Black homeowners have faced for generations,
AphroChic honors the journey, recognizes the struggle, and embraces the joy.
AVAILABLE WHEREVER BOOKS ARE SOLD

READ THIS
HOLIDAY
BOOKS
cookbook
Praisesong for the
Kitchen Ghosts
by Crystal Wilkinson
Publisher: Clarkson
Potter. $18.99
biography
A Passionate Mind
in Relentless Pursuit
by Noliwe Rooks
Publisher: Penguin Press. $15
true crime
Morningside
by Aran Shetterly
Publisher: Amistad.
$23.99
music
Hip Hop Is History
by Ahmir Thompson
Publisher: AUWA. $20
narrative
nonfiction
The Black Utopians
by Aaron Robertson
Publisher: Farrar, Straus
and Giroux. $26
history
The Swans of Harlem
by Karen Valby
Publisher: Pantheon. $20
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APHROCHICTV
Stream The Culture
APHROCHIC.COM

READ THIS
HOLIDAY
BOOKS
fiction
Sky Full of Elephants
by Cebo Campbell
Publisher: Simon & Schuster.
$22
poetry
Woke Up No Light
by Leila Mottley
Publisher: Knopf. $20
thriller
One of Us Knows
by Alyssa Cole
Publisher: William Morrow.
$15
mystery
The Accomplice
by Curtis Jackson
Publisher: Amistad. $19
book club
Colored Television
by Danzy Senna
Publisher: Riverhead. $23
award winner
A Spell of Good Things
by Ayobámi Adébáyo
Publisher: Vintage. 13
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VISUAL CUES
Kind of Blue by Claudette Johnson
A new exhibit at the Philadelphia Museum of Art examines the Black figure in Western art history, and the
fact that it is also often missing. Running through Feb. 9, 2025, The Time Is Always Now: Artists Reframe the
Black Figure features 60 contemporary works focused around three core themes — Double Consciousness,
The Persistence of History, and Our Aliveness. Double Consciousness, a theory first introduced in 1897 by
the African American sociologist W.E.B Du Bois, explores concepts of being, belonging, and Blackness as a
psychological state. The Persistence of History looks at the absence of Black figures in many mainstream
narratives and shows how artists have responded. Our Aliveness features assertions and celebrations of Black
assembly and gathering. Curated by British writer and the former Director of the Institute of Contemporary
Arts, Ekow Eshun, The Time Is Always Now takes its title from an essay on desegregation by American writer
and social rights activist James Baldwin. He wrote: “There is never a time in the future in which we will work
out our salvation. The challenge is in the moment, the time is always now.” The exhibit features 28 Black and
African Diasporic contemporary artists, including Michael Armitage, Lubaina Himid, Kerry James Marshall,
Toyin Ojih Odutola, and Amy Sherald, and showcases paintings, sculpture, and drawings. Through their work
these artists invite a shift in the dominant art historical perspective from “looking at” the Black figure to
“seeing through” the eyes of Black artists and the figures they depict. Their art illuminates the richness, joy,
beauty, and complexity of Black life.
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Meet Asari Chair by Herman Miller

COMING UP
Meetings, conferences and events exploring activism and social change across the African Diaspora
Zora Festival
January 31-February 2, 2025 | Eatonville, FL
This outdoor festival of the arts offers live music, art, crafts,
food, and more. Celebrating Black heritage, art, and culture, the
event is named for Zora Neale Hurston, an African American writer,
anthropologist, folklorist, and documentary filmmaker. The festival
also offers the Zora STEM Hub Tent, an Augmented Reality
Tour of Eatonville’s rich history, and the ability to visit the Zora
Neale Hurston National Museum of Fine Arts. Each day also has
a theme, like Education Day, Family Day, and A Day of Reflection.
Learn more at zorafestival.org.
.
African American Heritage Festival
February 20-22, 2025 | Charlotte, NC
Sponsored by the Charlotte Museum of History, the 2025 African
American Heritage Festival kicks off 2025 with the theme Black
Country. It will focus on the Black experience in rural Mecklenburg
County over time through performances, guest speakers, panels,
and community-focused events for the whole family. The event
will highlight Black farmers, rural communities, and the history
of Black families in and around Charlotte. Learn more at
charlottemuseum.org.
National Brotherhood of Snowsports Summit
February 22-March 1, 2025 | Dillon, CO
The National Brotherhood of Snowsports Summit was formed to support and
promote winter sports for Black athletes. Its mission is “to identify, develop, and
support athletes of color who will win International and Olympic winter sports
competitions representing the United States and to increase participation in
winter sports.” The Summit is an annual gathering and fundraiser that brings
together over 60 member clubs and thousands of supporters for a week of
winter sports fun. Snowsport activities include skiing, snowboarding, tubing,
snow mobiling, ice skating, snow shoeing, and more. Events throughout the
week also include networking, mixers, happy hours, concerts, parties, racing/
competitions, and a gospelfest. Learn more at nbs.org.
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ALODIA
SCULPTURAL
CANDLE
APHROCHIC.COM

THE BLACK FAMILY HOME
Joy Comes in the Morning:
The History of Watch Night/Freedom’s Eve
The American observance of Watch Night/Freedom's Eve traditionally
spans both the night of New Year’s Eve and the first day of the year, with
the overnight observance giving way to day-long feasts the following
day. Whether at churches, community centers, or in Black family homes,
the menus at these parties often boast an assortment of familiar dishes,
including yams, cornbread, collard greens, mac and cheese, potato salad
and Hoppin’ John — a mix of black-eyed peas, peppers, and pork over rice,
thought to bring luck for the new year. The events also feature joy and
thanksgiving. But where and how did these celebrations first begin? It all
began with a proclamation:
"On the first day of January in the year of our Lord, one thousand eight hundred and
sixty-three, all persons held as slaves within any State, or designated part of a State, the
people whereof shall then be in rebellion against the United States shall be then, thenceforward,
and forever free; and the executive government of the United States, including
the military and naval authority thereof, will recognize and maintain the freedom of such
persons, and will do no act or acts to repress such persons, or any of them, in any efforts they
may make for their actual freedom."
These words, first set forth by Abraham Lincoln in his Preliminary Emancipation
Proclamation issued on September 22, 1862, were meant to accomplish a number
of things. First and foremost, they were a point of military strategy. The Preliminary
Proclamation was made only days after the Battle of Antietam, which would prove to
be the deadliest engagement of the Civil War. Despite taking higher casualties and
failing to produce a conclusive military result, the Union came out the overall winner
The Black Family Home is an
ongoing series focusing on the
history and future of what home
means for Black families.
This series inspired the new book
AphroChic: Celebrating the Legacy
of the Black Family Home.
Words by Bryan Mason
Photos by Anna Shvets, Diego F. Parra, Ebru Yilmaz, Egor Komarov,
Mehmet Turgut Kirkgoz and Cotton Bro Studio
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THE BLACK FAMILY HOME
of the battle, which represented a significant strategic victory.
From this perspective, the proclamation was the perfect way for
the Union to press its advantage.
The supply train is one of the most important and therefore
vulnerable parts of any military effort. Still considered chattel,
and therefore property, enslaved people were a significant part
of the apparatus upon which the Confederate army ran. With
some 89% of eligible Southern white men serving in the army,
the South relied more than it ever had on the forced labor of
enslaved people. This labor was invaluable to the army as well,
as enslaved people were forced to build everything from fortifications
to cannons while filling vital support roles in areas
such as cooking and laundry services. Because supply trains are
so important, they tend to be well-guarded. Disrupting them
is crucial, but attacking them is risky. The Emancipation Proclamation
is likely one of the few instances in military history
where a nation severely degraded the supply train of an enemy,
not through raids or blockades, but simply by giving much of it
permission to walk away.
At the same time, the proclamation was worded in such a
way as to offer a way out to any within the Confederate ranks
that may have been having second thoughts, offering to end the
conflict while preserving the institution of slavery — if only for
a while. Issued in September with an effective date of January
1 of the following year, the proclamation asserted that it would
go into effect only in those “states and parts of states” designated
as being “in rebellion against the United States,” and without
representation in Congress as of that date. Ostensibly then, any
state that had, by then, relinquished its state of rebellion would
have avoided the enforcement of the proclamation.
As it stands, the proclamation did not go into effect in
Tennessee, Kentucky, Missouri, Maryland, Delaware, or the
areas of Virginia and Louisiana controlled by Union forces,
leaving slavery to continue unmolested in those territories.
Traditional American slavery would not end as a whole
until December 31, 1865, several months after General Lee’s
surrender and Abraham Lincoln’s assassination, when the 13th
Amendment was ratified. Even then, several Southern states
refused or severely delayed ratification, such as Mississippi,
which did not complete its ratification of the 13th Amendment
until February 7, 2013.
From another perspective, the Emancipation Proclamation
was a shrewd piece of international statecraft. By 1862,
King Cotton Diplomacy — the Confederacy’s plan to force Great
Britain into recognizing and supporting it in the war effort —
was beginning to take effect. Cotton was the cornerstone of the
British economy at that time, the vast majority of which came
from the American South, particularly Mississippi. The same
was true of France. Though Britain had stockpiled a surplus of
the raw material in anticipation of an internal U.S. conflict, by
1862 its stores were running low, and the threat of one or both
of the foreign nations entering the war on the Confederate side
loomed large over the Union. However, Lincoln’s proclamation
centered slavery as a major focus of the war, which previously
had been concerned primarily with preventing the secession
of southern states from the Union. The proclamation made
it clear that any foreign nation siding against the Union was
openly allying itself with the institution of slavery, something
the British in particular were loathe to do, thus keeping both
nations out of the war.
Finally, having suffered the greater burden of casualties at
Antietam and other engagements, the Union needed to bolster
its ranks, and early attempts at conscription resulted in riots.
Though it did not integrate the armed services of the United
States, the Emancipation Proclamation did open the Army and
Navy to newly freed African Americans. By conflict’s end, nearly
200,000 Black servicemen had joined their ranks, while by
January 1865, the Confederate forces were suffering from widespread
food shortages and desertions.
For a certainty, when Abraham Lincoln first set the words
of his proclamation to paper, he did so for a number of reasons.
It is likely that ensuring the happiness and wellbeing of Black
Americans and their progeny was not chief among them. Yet for
the almost 4 million enslaved Black people whose condition of
slavery did fall under the purview of the document, none of that
mattered. As they gathered in churches on New Year’s Eve 1862,
awaiting word of an outcome that was anything but certain, the
only question anyone had was whether Lincoln would keep his
word.
The observance of the last night of slavery in the Confederate
South, and the joy that followed the news that the proclamation
had indeed been enacted, was the beginning of Watch Night,
or Freedom’s Eve, which has been a part of New Year’s Eve celebrations
in African American communities ever since.
The occasion of Watch Night/Freedom’s Eve as it is
currently observed in the U.S. is, in some ways, the convergence
of two older traditions. The first, Watch Night, a midnight
vigil on the eve of a new year, began with Protestant Moravian
churches in 18th century Bohemia. It was later adopted by Englishman
John Wesley, a founder of the Methodist church, for
his parishioners. In 1816, Richard Allen formed the African
Methodist Episcopal Church in Philadelphia, creating a space
for worship for Black parishioners away from the racism they
experienced even in the city’s nominally integrated churches.
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issue eighteen 29

THE BLACK FAMILY HOME
The second tradition was the celebration of Freedom’s Eve, which originated in the
Caribbean, some years ahead of American emancipation. Britain’s passage of the Slavery
Abolition Act freed some 800,000 people in its Caribbean colonies. Unlike the Emancipation
Proclamation however, British colonial abolition went into effect in the middle of the
summer, on August 1, 1834. The first Freedom’s Eve celebrations were held on July 31, both
in the Caribbean and in the United States, where it became a major holiday for Black people
both free and enslaved, especially in the northeast. The occasion was celebrated all the more
as Britain’s move away from colonial slavery was precipitated by a major uprising in Jamaica,
led by preacher Sam Sharpe, which lasted for more than a month.
From the 1830s to 1850s, August First Day celebrations were major events for the
American abolitionist movement, which received support and funding from British abolitionists.
By the 1880s, it had reached the South as well. Yet, by then the start and ending
of the Civil War, along with the passage of the Emancipation Proclamation and the 13th
Amendment caused a turn towards other celebratory dates among African Americans,
including the 4th of July, Juneteenth, and Watch Night.
In some ways, the American tradition is as much a perfect confluence of dates as it is
a continuation of the two older observances. The habit of keeping vigil on New Year’s Eve
was likely already a habit for many, as was the celebration of August First Day. The timing of
the Emancipation Proclamation simply allowed the two to be joined. And since the event fits
perfectly in either category, at least with regard to the date of American emancipation, the
names remain interchangeable.
Today, while Watch Night celebrations are plentiful throughout the nation, not all
retain the connection with Freedom’s Eve. But awareness is growing around this important
holiday once again. In 2020, the Gullah Geechee Cultural Heritage Corridor National
Heritage Area broadcast its Freedom’s Eve celebration live on Facebook, complete with a
panel discussion and screening of the documentary Watch Night: An Extended Public Service
Announcement. And in 2021, the National Museum of African American History and Culture
held an hour-long virtual panel entitled Freedom’s Eve | Watch Night, Family, and Memory.
We can, and likely will, debate forever the truest intentions and deepest desires of
Abraham Lincoln’s heart while writing and later effecting the Emancipation Proclamation.
Whether a military measure, a political safeguard, or a seized opportunity to do good among
all the evils of slavery and war, the fact remains that for the millions of people the proclamation
freed from the bonds of slavery, and the countless more of us who trace our roots to
them, the act was enough. And whatever the intention, it marked and still marks a major step
forward in the story of this nation.
At the same time, the stain that racism has left on every step the nation has taken since
— from the assassination of Lincoln to the crumbling of Reconstruction and the 13th Amendment’s
rebranded continuation of American slavery though the prison industrial complex —
lends continued urgency to celebrations such as Watch Night / Freedom’s Eve, to remind us
that however imperfect the current situation may be, we are always capable of taking a big
step forward.
So this New Year’s Eve, as the clock approaches midnight, let’s all spare some time
to remember all that came before December 3, 1862, and all that happened after. And
while we’re at it, let’s bring back August First Day, too. Because we celebrate best when we
celebrate together. AC
30 aphrochic

AN EVENING
WITH
APHROCHIC
EVENINGS IN WITH AUTHORS,
FILMMAKERS, DESIGNERS &
ARTISTS FOR THE CULTURE.
LIVE ON APHROCHICTV.

MOOD
The Perfect Holiday
Back in the day, our perfect holiday meant leaving our
apartment in Brooklyn and heading down to Philly to
visit lots of family and friends. While it was fun, it was
also a whirlwind, visiting three houses on Christmas Day
alone. Throughout the week, seeing every auntie, uncle,
and friend in the tri-state area left us pretty spent, and
needing a holiday after the holiday. These past few years,
as life has slowed down since 2020, the perfect holiday
means something different to us. We opt for days that
are laidback — decorating the tree (not the whole house),
making a few of our favorite dishes, FaceTiming with
family and friends, streaming a favorite holiday movie
like Baggage Claim, and putting on some classic Motown
Christmas tunes is simply perfect. This year, to help you
have the perfect holiday, we designed some new pieces
that promote relaxation, self-care, special moments at
home; and if you’re traveling — traveling with ease. Mugs
for that perfect cup of hot cocoa, a sculptural candle that
adds a special glow, comfy PJs for lounging around the
house. These are pieces for you and yours that can help
bring your perfect holiday to life.
Alodia Sculptural
Candle $98
Kamala ’24 Teacup
and Saucer Set of 2
$150
Dunham Watercolor
Velvet Pillow in Wine $148
FIND ALL THE GIFTS ON
APHROCHIC.COM
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GIFTS FOR
THE HOME
Silhouette
Classic Serving
Platter $98
Juju Linen
Watercolor Pillow
in Black $135
Kamala ’24 Dinner
Plate Set of 2
$120
Silhouette Classic Fine
Bone China Mug
Set of 6 $180
Legacy Fine Bone
China Mug $60
Kamala ’24 Dessert
Plate Set of 2
$105
Silhouette Classic
3-Tiered Cake Stand
$110
issue eighteen 33

MOOD
Jumping The Broom
Classic Leather Duffel
Bag $750
Crown Monarch Tracksuit
Jacket in Black $175
Jumping The Broom
Classic Carry-On $350
Crown Monarch Tracksuit
Pants in Black $178
Single Ladies Bluetooth
Speaker $60
FIND ALL THE GIFTS ON
APHROCHIC.COM
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GIFTS FOR
TR AVEL
Jubilation 18 oz.
Water Bottle $39
Hustle Classic Leather
Backpack in Fuchsia $218
Jubilation Watercolor
Eco Puffer $185
Hustle Classic High Tops
in Fuchsia $90
Legacy Linen
Tote $60
issue eighteen 35

MOOD
GIFTS FOR
SELF CARE
Sisters Candle $60 Sisters Slippers $98
Jubilation Watercolor
Pajama Shirt
$178
Sisters Classic
Kimono $218
Wild At Home: How
To Style and Care For
Beautiful Plants $27
Jubilation Watercolor
Pajama Pants $138
FIND ALL THE GIFTS ON
APHROCHIC.COM
36 aphrochic

FEATURES
The Moment That Changed Fashion | A Study in Neutrals | NRTVE |
A Delicious Holiday Treat | The Art of Being Extra | Exploring Portugal |
Past Meets Present

Fashion
The Moment That
Changed Fashion
A New Record of The Battle of Versailles
In her introduction to the new fashion tome The Battle of Versailles:
The Fashion Showdown of 1973, Pat Cleveland — one of America’s
first supermodels and one of the most prominent African American
models to emerge in the 1960s — paints a picture of the historic
moment when American fashion stole the show in Versailles, forever
transforming the industry.
“Everything was like a fairy tale. The cherubs
were dancing on the ceiling! It was akin to an even
playing field. That's a feat, isn't it? To accomplish
such a thing when you had such diversity in that
room. It wasn't just Black versus white. The socioeconomic
diversity: ridiculously, insanely rich, and not
so much. But that’s where you see the humanity of the
arts. You see what’s important. The things that you
cannot buy in an environment that is so sumptuous
and beautiful and over-exaggerated. America is a
fruit bowl. You can expect that every color, every level
of society, is going to be represented. A sort of tower
fell for the French in 1973. Accepting people just as
human beings, from different levels, from different
backgrounds, coming into your country. They had
sympathy, too. They had feelings about Americans.
‘Those poor Americans, they don't know fashion like
we know fashion.’ They were like, ‘Okay, let's let them
come over and play.’ But we came over and we won
the chess game. It was checkmate.”
Words by Jeanine Hays
Photos by © Jean-luce Huré - Courtesy of Bridgeman Images and © Bill Cunningham
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Fashion
It was 1973. The Civil Rights Movement
had ended. Disco was taking over the
airwaves, and American life was more integrated
than ever before. That year, a benefit
would take place in France in the Château
de Versailles, a former royal residence commissioned
by King Louis XIV. The palace was
in need of restoration, and to raise funds a
historic battle was put on in what was considered
the heart of the fashion world and
the birthplace of couture.
American fashion designers Oscar de
la Renta, Stephen Burrows, Halston, Bill
Blass, and Anne Klein would make their
mark at the event, going up against the
kings of French fashion at the time — Yves
Saint Laurent, Pierre Cardin, Emanuel
Ungaro, Marc Bohan, and Hubert de
Givenchy. Literal royalty was in the crowd.
The Philly girl turned princess, Grace of
Monaco was in attendance. And Cleveland,
who walked the show, would sit next to
the Duchess of Windsor Wallis Simpson,
who also hailed from Pennsylvania. “I was
hanging out with the Duchess of Windsor,”
Cleveland writes about the moment. “She
was so cute and little and so historic. And I
thought, this is something!”
What was also something was the
makeup of the American fashion brigade.
Burrows would break the color line as the
sole Black fashion designer present, and
11 Black American models, unprecedented
at the time, would conquer the runway.
While the French designers built elaborate
sets and played classical music during their
presentation, the American designers used
simple sets out of necessity, played contemporary
music, and had spirited models
who stole the show. Bethann Hardison,
who modeled at the event, spoke about the
groundbreaking moment in an interview
with The Cut, “We came out clean, and it was
rustic and raw… they’d never seen models
GET THE BOOK
The Battle of Versailles: The Fashion Showdown of
1973, by Mark Bozek.
Published by Rizzoli International Publications Inc.
walk [in time] to music. There was a whole
spirit, the way the girls sashayed, the colors,
the way one designer flowed in and out of
the other. It was a very cohesive production.
It was like a small, tiny musical.”
Black history was being made moment
by moment. Josephine Baker sang at the
battle. “As Black American girls, our idol
was Josephine Baker. She was the girl who
got away from slavery, went to Europe,
and became the biggest star in the world,”
Cleveland reported to AnOther. Hardison
would also recognize how historic the
moment was as a Black American woman.
She recalls the weight of that legendary
moment when she walked in a yellow
silk dress by Burrows and brought the
audience to their feet. “Every step I took,
I was talking to that audience. I was very
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Fashion
aware of them. It was a fierceness because
I was talking to them, I was defying them,”
Hardison stated in an interview with The
Cut. “It was an intention; it was like acting.
My modeling — because I had been a child
tap dancer — was much more stage-driven.
When I stopped and decided to throw
down the train, I stared at the audience for
so long that they then started to stamp their
feet. And the longer they stamped their
feet, they started to scream, ‘Bravo, bravo!’
And then their programs — like Indianapolis
— started going up in the air and that’s
when you knew. You could see Halston and
Liza running down the side of the stage,
and they were screaming, ‘Stephen, come
here!’ And then all of a sudden you saw Oscar
[de la Renta], and everyone was holding
hands. And that to me was the most significant
moment, after everybody not feeling
together and not feeling equal, to watch
them all bracing themselves together, oh my
God. That moment for me, it just told me so
much. You know, every time I tell that story
I get emotional, because it was such an extraordinary
moment. I knew I nailed it.”
The Battle of Versailles marked the
moment the walls came tumbling down in
fashion. It marked the ascendance of readto-wear
over couture. Stephen Burrows
would emerge as a pioneer of American
fashion. And 11 Black models would own the
night, giving fashion some much-needed
soul. AC
“Every step I took,
I was talking to
that audience... It
was a fierceness
because I was
talking to them. I
was defying them.”
- Bethann Hardison
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A S

tudy in Neutrals
issue eighteen 49

Interior Design
Inside Hayet Rida’s Sophisticated Chicago Home
“What I love most about my home is how calming it is
and that it’s a beautiful visual story. It feels like walking
through a museum,” says Hayet Rida, owner of KHOI, a
Chicago boutique that sells stunning jewelry that Hayet
designs. In 2020, the busy Chicagoan was searching for a
new place to call home. She found what she was looking for
in a 1300-square-foot, two-bedroom corner apartment. A
clean slate, with floor-to-ceiling windows that filled it with
an abundance of light, the space was move-in ready, and
perfect for Hayet to complete with her own personal style,
which includes original art and handcrafted artisan details.
Words by Jeanine Hays and Bryan Mason
Photos by Aimee Mazzenga
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Interior Design

Interior Design
A consummate creative who knows a
thing or two about design as the daughter
of an interior designer, Hayet’s home is the
perfect example of modern classic style and
getting the most out of neutrals. It all starts
with the deep contrast between the apartment’s
dark stained floors and crisp white
walls, with a mix of neutral shades, earth
tones and metallics. Serenity is what Hayet
was working for when she designed the
space. And serenity is the reaction most
people have when they experience it. The
colors are calm, the artwork is engaging, and
the layout makes full use of the excellent light.
Throughout the space, art is on display.
“It was important to me that I had big
feminine energy,” Hayet says of her art collection.
The striking photo of an African
woman above the credenza in her living
room is a favorite. Like the rest of the home,
the artwork that punctuates the decor is
simple but impactful. “The artwork I use at
home is bold,” she reflects. “It tells a story
each time and I love that they are big conversation
pieces.”
Hayet describes her style as Afrocentric,
a story that is clearly told in her artwork.
“There are always themes from my home
country of Ghana,” she explains. “I also love
to add pieces I have curated from travel.”
The combination of small statues, photography
and woven baskets follows throughout
the home, creating a story that is told from
room to room. In the living room, a creamy
sofa and ottoman and off-white pillows add
to the neutral statement, while a blend of
numerous textures in the form of rugs and
throws creates depth in the space.
Traversing from the living area to
the bedroom, you will see that the home’s
hallway has been turned into an art gallery.
Hayet remembers how deliberate she was
in selecting each item. “I knew once I picked
the right piece it would set the tone for the
room,” she says. Across from the living
area, the kitchen is the heart of this home.
Eschewing a traditional dining space, Hayet
instead opted for an intimate setup for three
at the bar separating her living room and
kitchen area. With the home so well prepared
when she arrived, there wasn’t much to
do by way of renovation. “The easiest part
was switching out the light fixtures and the
knobs on all cabinets,” she remembers.
In her office, design becomes a way to
combat the stress of having so much on her
plate with a thriving brand and boutique.
Hayet worked to extend the feel of her living
space into her work space. “My living room
makes me feel the calmest,” she confesses,
“but I’m working on making my office just as
calm.”
“I love how curated the whole story is,”
Hayet says of her home. Artist, designer,
brand owner, Hayet’s home does feel like a
museum. One filled with stunning details
that you’d love to come back and explore
again and again. AC
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Interior Design
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issue eighteen 61

Culture
NRTVE
Unveiling the Force Behind
Black Creatives in The MEA
In the shadows of the Middle East and Africa’s (MEA)
creative landscapes, a quiet revolution is unfolding.
It doesn’t shout; it doesn’t seek the limelight, but its
impact is undeniable. NRTVE, a collective founded by
the enigmatic Nini Oki, is emerging as a powerful force,
dedicated to connecting, documenting, spotlighting, and
empowering Black creatives across the region. Through
their work, highlighted on their Instagram account
@our.nrtve, NRTVE is steadily growing as a beacon for
those who have long been overlooked.
Interview by Tala Al Arfaj
Photos furnished by NRTVE
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Culture
Reshaping the Narrative for Black Creatives
in the MEA
The MEA region is a vast and diverse area
that encompasses countries from the Arabian
Peninsula, the Levant, North Africa, Sub-Saharan
Africa, and beyond. The region is home
to a rich tapestry of cultures, languages, and
histories, with significant economic, social,
and political diversity. However, despite its
vibrant cultural landscape, the MEA region
has often been overlooked in global creative
industries, particularly in terms of representation
for Black creatives.
Born and raised in Nigeria, Nini was surrounded
by a rich tapestry of cultural expressions
and creative energy. However, upon
moving to Dubai she encountered a different
reality. "I was attending various events and
noticed the glaring underrepresentation
of Black creatives," she recalls. "It was frustrating
because I knew there were so many
talented Black individuals, yet they weren’t
being acknowledged or celebrated."
This disconnect sparked a determination
in her to create a space where Black
creatives could not only thrive but be seen and
heard. "I realized the power of representation
and the need for platforms that genuinely
support and celebrate Black creatives,” she
says. The name "NRTVE" reflects this mission
perfectly — born out of a need to change
the narrative and take control of how Black
creatives are represented in the MEA region.
For Nini, it’s been about more than creating a
platform, it’s about reclaiming and reshaping
the narrative for Black creatives. "We're going
to connect with each other and empower each
other. For too long, our stories have been told
by others. NRTVE is about taking control of
our own narrative, on our own terms."
Building a Platform for Change
NRTVE's initial efforts focused on organizing
events to discover and showcase
Black photographers, videographers, models,
stylists, and artists. These events served as a
catalyst for bringing together a diverse array
of talents, each with their unique stories
and contributions. Over time, the collective
expanded its scope to include the creation of
original content and documentation of the
work of their creative community. For Nini,
archival documentation is crucial, especially
as NRTVE is pioneering in a region where
such efforts are relatively new.
One of NRTVE’s standout initiatives
is their comprehensive directory of Black
female creatives in the MEA region. This
directory serves as a vital resource for connecting
talent with opportunities, allowing
people to find and collaborate with creatives
who might otherwise be overlooked. "We
started the directory because we needed a
way to make our community visible," Nini
explains. "It’s not just about listing names; it’s
about creating a living, breathing resource
that celebrates and elevates our talents."
Initially focused on Black female
creatives, the directory reflects Nini’s belief
that Black women face unique challenges. "As
a Black woman, you deal with multiple layers
of marginalization. You’re Black and you’re
female. That’s why I felt it was so important
to start with Black female creatives," Nini
shares. However, as NRTVE has grown, so
has its scope. "We’ve recently expanded the
directory to include Black male creatives
as well. It’s been great to see how much they
want to be part of this community," Nini adds.
The directory, accessible on their website, is
a testament to NRTVE’s commitment to visibility
and empowerment, offering a platform
where talents can shine and be discovered by
those who value diversity and inclusion.
But building and sustaining this
platform has not been without its challenges.
One of the most significant obstacles
NRTVE faces is funding. The collective has
been largely self-funded, limiting the scale
and speed of their projects. Despite these
financial constraints, Nini remains optimistic
and is committed to expanding NRTVE's reach
beyond Dubai and the UAE. "It's slow, but it's
steady progress," she notes, emphasizing
the importance of perseverance and vision.
"There are days when it feels overwhelming,
but I remind myself why I started this. We’re
creating something bigger than ourselves."
Changing Perceptions and Promoting
Transparency
Despite the hurdles, NRTVE has made
notable strides in gaining recognition within
both the Black and broader creative communities
in Dubai. One of the proudest moments
for Nini was when Cosmopolitan reached
out to collaborate for Black History Month.
"It was a bittersweet moment," she reflects.
"On one hand, it was great to be recognized,
but on the other, I knew that our community
deserved attention all year round — not just in
February." While the recognition itself was a
testament to NRTVE's growing influence, Nini
declined the offer because the publication’s
engagement with the Black community was
limited to just Black History Month, leaving
the rest of the year largely unacknowledged.
For Nini, one of the most critical
aspects of NRTVE’s mission is changing how
society perceives Black people, particularly
in the creative industry. "There’s been this
long-standing narrative that Black people
are always competing against each other,
and it’s something that’s been imposed on
us," she explains. "But I knew that wasn’t true.
We’re stronger together, and NRTVE is about
showing that solidarity and strength."
NRTVE aims to dismantle stereotypes
and create a new narrative where Black
creatives are seen as valuable, talented, and
indispensable members of the community.
"We’re not here to fit into someone else’s
mold," Nini says. "We’re here to break the mold
and create a space where our talents are not
just recognized, but celebrated."
Transparency within the community
is also a core value for Nini and NRTVE. She
believes that being open about the challengissue
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Culture
es and successes of the collective is crucial for building
trust and solidarity among members. "We’re very open
about our journey — the good, the bad, and the ugly," Nini
shares. "It’s important for us to be transparent because
that’s how we build real connections. When we’re honest
about our struggles, it allows others to see that they’re
not alone. It’s not just about the glossy surface; it’s about
the reality of what it takes to create change."
This commitment to transparency is reflected in
how NRTVE operates and interacts with the community.
By being upfront about the challenges they face, Nini
hopes to encourage others to join the movement, understanding
that progress is made through collective
effort and shared experiences. "We want people to know
that this isn’t easy," she says. "But it’s worth it. And we’re
in it together."
A particularly heartwarming success story
involved a photoshoot with a member's parents. "We had
a 70-year-old participant who brought so much energy
and regal presence to the shoot — it was unforgettable,"
Nini shares. "Moments like that remind me of why
we do what we do. It’s about celebrating our history, our
stories, and our resilience."
Nini is acutely aware that navigating the complexities
of building and sustaining a movement like NRTVE
requires more than passion and resources — it also
requires wisdom and experience. This is why she places
a high value on guidance and mentorship from individuals
and organizations who have successfully walked
similar paths. "There's so much to learn, and we're eager
to learn it," Nini admits. Mentorship for Nini is not just
about receiving advice, it's about forming partnerships
that can help NRTVE navigate challenges, avoid
common pitfalls, and make strategic decisions that align
with their long-term vision. Her hope is to work with experienced
mentors who can provide insights into everything
from fundraising strategies and brand development,
to community engagement and sustainable
growth. This kind of support is invaluable, particularly
as NRTVE seeks to expand its impact across a region as
diverse and complex as the MEA.
"We’re in this for the long haul," she says with determination.
"The more support we get, the more we
can do — and we’re committed to making sure that what
we’re building today will have a lasting impact for generations
to come."
The Power of External Support: Funding and Mentorship
The organization has been engaged in fundraising
efforts, but "we’ve been informed that it is illegal in the
UAE, so unfortunately, we are unable to engage in that,
which means that NRTVE has remained self-funded,"
Nini shares. However, they are exploring the possibility
of future partnerships with brands and organizations to
sustain and expand their work across the region.
With adequate financial backing, Nini believes
that the brand could host larger events, expand their
directory of talents, and create more in-depth documentation
of the stories and contributions of Black
creatives in the region. Nini envisions a future where
NRTVE can operate with the freedom to explore
ambitious projects that further elevate the profiles of
the creatives they represent, without being held back by
financial constraints. "The more support we receive, the
more we can give back to our community," she says. "It’s
about creating a ripple effect that benefits everyone."
But NRTVE's needs go beyond just funding.
Looking Ahead: A Vision for the Future
Nini aims to create a lasting impact, ensuring
that the collective's efforts continue to benefit Black
creatives long after her direct involvement. "NRTVE is an
independent institution on its own," she asserts. "I want
NRTVE to be a beacon for Black creatives across the
region," she shares. "A place where they know they will
be seen, heard, and celebrated."
As NRTVE looks to the future, the collective
invites individuals and organizations to join them in
their mission. Whether through funding, mentorship,
or collaboration, Nini lets people know that there are
numerous ways to support NRTVE and help amplify the
voices of Black creatives in the MEA region. "Seeing the
joy and pride in the faces of the creatives we work with is
what keeps me going," Nini shares. "It’s a reminder that
we’re on the right path, and that what we’re doing truly
matters."
To learn more about NRTVE follow them on social
media @our.nrtve. AC
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Food
A Delicious
Holiday Treat
Masa is one of the great scientific and mathematical
gifts of ancient Mexico. The act of processing dried
corn kernels and creating a chemical lime solution
to make something so versatile from corn amazes
me endlessly. This masa dough gives another level of
flavor complexity and subtle sweetness to the classic
glazed doughnut. I first started working on this
recipe on the same day that I was getting interviewed
by cookbook author Julia Turshen for Food & Wine. I
was a big fan of Julia’s before we met and she has been
a great supporter of mine and countless others. When
the interview was over, we started chatting about
things we’d made recently and I talked about these
doughnuts. Her response was an enthusiastic “yum!”
and just hearing that response was so encouraging to
me. Sometimes, just a small word of cheer goes a long
way. You can save the leftover frying oil for another
frying project. It should not need to be strained
because these doughnuts hold together during the
frying process. To store, keep in a dark, cool area
with an airtight lid for one month, or until it starts
to smell off.
GET THE BOOK
Reprinted with permission from Flavor+Us: Cooking for
Everyone by Rahanna Bisseret Martinez © 2023.
Photographs by Ed Anderson © 2023.
Illustrations by Marianna Fiero © 2023. Published by Ten
Speed Press, an imprint of Penguin Random House
Words by Rahanna Bisseret Martinez
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Food
Masa Doughnuts with Earl Grey Glaze
DOUGHNUTS
Makes 4 doughnuts
2 ⁄3 cup whole milk
1 ⁄4 cup unsalted butter
2 1 ⁄4 teaspoons (1 ⁄4-ounce envelope)
active dry yeast
2 1 ⁄4 cups all-purpose flour
1 ⁄2 cup masa harina
1 ⁄4 cup natural cane sugar
1 ⁄2 teaspoon fine sea salt
1 egg
2 quarts neutral cooking oil
GLAZE
1 ⁄2 cup whole milk
2 teaspoons loose-leaf Earl Grey tea (or 2 tea bags)
1 teaspoon vanilla extract
2 1 ⁄4 cups confectioners’ sugar
To make the doughnuts: In a saucepan, combine the milk and butter and heat until lukewarm (90°F). Don’t worry about the
butter melting all the way yet. Transfer to a small bowl, add the yeast, gently stir, and let sit for 5 minutes, until foamy.
In the bowl of a stand mixer or in a large bowl, combine the flour, masa, cane sugar, and salt.
Mix at the lowest speed or by hand until combined. Slowly add the milk-yeast mixture and mix, but not thoroughly. Beat
the egg in a small bowl, then slowly add it to the dough, and mix again until combined. Scrape down the sides of the bowl,
then continue mixing on medium speed until the dough just comes together but isn’t smooth yet, about 4 minutes. Place the
dough onto an oiled cutting board and knead for 3 to 5 minutes, until smooth.
Lightly oil a mixing bowl and place the dough in it. Cover the bowl with plastic wrap or a damp kitchen towel, and let the
dough rise in a warm place for 1 to 1 1⁄2 hours, until roughly doubled in size. Dust a cutting board with flour and pour out the
dough. Roll out the dough with a rolling pin until it’s 1⁄2-inch thick. Using a 3- or 4-inch ring mold, cut out four circles. Using
a small 1-inch ring mold, cut out doughnut holes from the circles and the remaining dough. If you don’t have ring molds, a
large-mouthed glass jar and a piping tip will do just fine. You could even roll out the excess dough into a rope and cut 1-inch
pieces to make more holes. Either way, space the doughnuts out on a baking sheet, cover, and let rise for 30 minutes.
While your dough is doing its final rise, make the glaze. In a small saucepan over medium-low heat, add the milk and Earl
Grey tea. (If you’re using tea bags, cut them open and empty out the leaves into the milk.) As soon as the milk comes to a
simmer, cover the pan and take it off the heat. Let infuse for 20 minutes. Add the vanilla. Place the confectioners’ sugar in
a medium bowl and place a fine-mesh sieve on top. Pour the milk mixture through the sieve into the confectioners’ sugar.
Whisk until completely combined and set aside.
Place a cooling rack on top of a baking sheet (or just set out a baking sheet). Fill a large saucepan with the oil and heat on medium-high
until it reaches 315°F on an instant-read thermometer. Working in batches, fry the doughnuts for 3 minutes on
each side and the holes for 1 minute on each side, turning with a slotted metal spoon, until golden brown. Don’t crowd the
pot and keep an eye on the temperature, adjusting the heat as needed to maintain 315°F.
When the doughnuts are done, place them on the cooling rack (or baking sheet). Let cool slightly. Spoon some glaze over
each doughnut and hole and serve. I find these doughnuts are best the same day they’re cooked. But they will last until the
next day, especially if warmed.
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Entertaining
The Art of
Being Extra
Entertaining Tips with Brittney Ifemembi of Ifsthetic
Brittney Ifemembi is the founder and creative director of Ifsthetic, a
luxury home decor brand that offers homewares infused with Nigerian
cultural heritage. For Brittney, who lives in Los Angeles, “Ifsthetic is
the art of being extra,” an unabashed embrace of fun, fresh, maximalist
design. Formerly working in the fashion industry for Brandon Maxwell,
Brittney has a clear eye for luxury, designing artisan pieces for the home
that are sure to make a statement.
Interview by Jeanine Hays and Bryan Mason
Photos courtesy of Ifsthetic
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Brittney Ifemembi, Founder and
Creative Director of Ifsthetic

Entertaining
We spoke with this lover of maximalism about her
brand, her top 5 songs for the perfect holiday gathering, and
how Ifsthetic can help you bring meaning and artisanship to
your holiday entertaining this season.
AphroChic: What does it mean to live Ifsthetically?
Brittney Ifemembi: Living Ifsthetically means
embracing boldness and creativity within the comfort of
your own home, allowing yourself to express your most
luxurious and visually vibrant self. It’s about discovering
luxury in the small moments — a joyful pillow tossed on
the couch, a candle in an artfully designed vessel, or lounge
slippers that perfectly complement the vibe of your space.
It’s about curating a home that reflects not just your style,
but your desire to find beauty in the everyday.
AC: How does your Nigerian American heritage help guide
the focus of your brand and the creative direction of your
artisan pieces?
BI: Nigerian culture is bold, vibrant, and filled with
stories that deserve to be celebrated. I draw inspiration
from many facets of my life — the fabrics my mother and
grandmother wore, the music we listened to, and even
the way we prepare our food. It’s a culture that embraces
boldness in every aspect of life, and I aim to infuse that
same energy and spirit into my designs. Growing up in the
U.S. has also shaped my perspective. My interaction with
Nigerian elements, like fabrics, may differ from someone
raised in Nigeria, or even in another country like Sweden.
This blend of cultural influences allows me to bring a
fresh, nuanced approach to my design. I often reference
the sultry and cool elements of '70s glam and decor in my
work, merging those nostalgic vibes with the richness of my
Nigerian roots.
AC: Design was, at first, a hobby for you while you pursued
an education in economics. When did you first start creating,
and what were some of your creative outlets?
BI: As a kid, I would spend hours with my coloring
books, carefully layering my crayons to create soft gradients.
I didn’t want my pages to feel flat or one-dimensional — I
craved depth, even back then. My mom picked up on how
meticulous I was and decided to enroll me in art classes.
Every Saturday, I’d dive into painting, and it quickly became
my creative outlet, a part of me I carried into adulthood. It
wasn’t until a college entrepreneurship retreat in Costa Rica
that I realized art and design could be more than a hobby. I
understood that I didn’t have to follow the traditional path to
success that we’re so often told to take. Life’s too short not
to explore what truly brings you joy. So, after college, I made
a bold decision to pack up and move to New York to study
Strategic Design and Management at Parsons. That decision
changed everything. While working at Brandon Maxwell,
I learned something that forever reframed the way I see
design. It’s not just about making things beautiful; it’s about
creating with purpose. Design can blend art and functionality
in ways that enhance people’s lives. In my work, I strive
to bring that magic to life, where products aren’t just objects
but pieces of art that serve to bring the customer moments
of joy in their daily lives.
AC: Which pieces from Ifsthetic can help someone elevate
their hosting to create some magic this holiday season?
BI: It’s all about elevating the hosting experience. Our
candle holders and coaster sets are standout statement
pieces designed to elevate any dining or coffee table. They
really allow your dining table to look photo-ready with less
hassle. Also, what makes these designs truly special is their
versatility. Our candle holders aren’t just for candlesticks
— I love styling them as sculptures and placing mini glass
vases with sculptural floral buds next to them. This creates
layered, dynamic arrangements highlighting your table
for any occasion or event. Our coaster set is designed with
beauty and function in mind. It’s crafted to fit a wine bottle,
turning the bottle itself into a centerpiece and reducing the
clutter on the table. And our Pekak slippers are a cozy musthave.
They pair comfort and chic so that you’re always
ready for when family comes to visit or if you’re running
to the store for holiday shopping. They can even be cute
for matching family holiday shoots. And I would be remiss
if I didn’t mention the vibrant and cozy Wugo pillows. They
are great for cuddling on the couch to watch your favorite
holiday movies with loved ones.
AC: Are there any specific Nigerian cultural references, such
as color, symbols, or weaving included in your products?
BI: Nigerian culture is intricately woven throughout
the product line. A major source of inspiration comes from
my grandmother’s fabric archive, a treasured collection of
textiles from the '60s and '70s. I often reference these fabrics,
and they even make cameos in our photoshoots. She is also
the muse behind the Wugo pillow — a design that captures
her bold outfits, joy, and essence. The star of this piece is
Aso Oke, a traditional Nigerian fabric often used for special
occasions like weddings, where custom outfits and head
wraps are made. I’ve incorporated Aso Oke not only into
our pillows but also into our lounge slippers, celebrating its
richness in everyday life. Another piece, the Aria Sculptures,
is a modern interpretation of an Igbo instrument called
Oghene. I’ve always been captivated by its elegant form and
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Entertaining
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wanted to reimagine this deeply cultural object as something that could
live in the home, transforming it into a sculptural piece that holds both
aesthetic and cultural significance.
AC: What was the inspiration for your tabletop collection?
BI: While I was in Nigeria, I was inspired by the arrival music of
masquerades. Rhythmic drums are foundational to music in these
performances. If you look closely at our tabletop collection, you’ll see
how the shapes resemble drums, paying homage to that inspiration.
Each piece is hand-carved from Acacia wood by our talented artisans,
making them as meaningful as they are beautiful.
AC: What will be on your menu for holiday entertaining this year?
BI: For starters, a luscious grazing table overflowing with assorted
fruit, meat, and cheese. Main course: Peri Peri Roasted Lamb and my
mom's signature Goat Stew. Sides: Jollof Rice (of course!), plantains,
and a medley of fire-roasted veggies. Dessert: Chin Chin ( Nigerian
fried cookie), and sticky toffee pudding with ice cream.
AC: We love your At Home With Ifsthetic playlists. What are your top 5
songs for the perfect holiday playlist?
BI: Ooooh, this is hard! I am an R&B girlie, so my Top 5 would be:
#1 Mariah Carey, All I Want for Christmas
#2 Destiny’s Child, 8 Days of Christmas
#3 Jhene Aiko, Wrap Me Up
#4 Boyz II Men and Justin Bieber, Fa La La La
#5 TLC, Sleigh Ride
AC: Ultimately, what do you hope will be the cultural impact of Ifsthetic?
BI: My vision for Ifsthetic is to become the go-to destination for
fun, unique, and boldly vibrant home decor that empowers people
to infuse their spaces with personality. In a world dominated by
mass-produced, low-quality items, craftsmanship stands out as the
pinnacle of luxury. It’s time to shift the focus back to quality, artisanal
creations. With Ifsthetic, the goal is to celebrate and support skilled
craftsmanship, not only from Nigeria but from talented artisans around
the world.
Discover pieces for entertaining at Ifsthetic. AC
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Entertaining

Entertaining
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Exploring Portugal
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Travel
Where History Leaves Its Mark
Portugal is a place where history speaks. It whispers down
its streets, is evident in its language, can be tasted in the
food, and viewed through the country’s stunning architecture.
The coastal nation is home to a diverse history
that has left its mark. Some of the earliest inhabitants of
the coastal nation were the Phoenicians, ancient maritime
traders throughout the region who were skilled in wood,
ivory, and metalworking, as well as textile production.
From 205 BCE to 409 CE, Rome dominated the area, with
Julius Caesar naming Lisbon a Roman municipality under
the name Felicitas Julia. Hints of the Roman history still
exist in inscribed stones in the city today.
Words by Jeanine Hays
Photos reprinted with permission from Patterns of Portugal, by Christine
Chitnis, copyright © 2024. Published by Clarkson Potter, a division of
Penguin Random House, LLC.
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Travel
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The Visigoths would conquer the Roman Empire,
and reign in the region from the 5th to 8th centuries,
until they were defeated by the Umayyad Caliphate,
— a Muslim dynasty established after the death of the
prophet Muhammad. From the 8th to 13th centuries, the
small nation, just north of Morocco through the straight
of Gibraltar and west of Spain, was home to the Moors,
who called the country al-Andalus, the Arabic name
for the Iberian Peninsula. Ruling for over 400 years,
the Moors would leave an indelible mark on the nation,
creating centers of trade, commerce and education,
turning al-Andalus into a hub of intellectual and artistic
achievement and discovery, and leaving a defining mark
on the nation’s architecture and design.
In the book Patterns of Portugal by Christine
Chitnis, we get to see the Moorish influence up close
through imagery Chitnis created over years of traveling
to the region. We see the beautiful architecture in the
Algarve region. Moorish design included majestic
towers, marketplaces, and homes with whitewashed
exteriors and blue accents that still stand today. Doors
with the “hand of Fatima” draw the eye. The door
knockers feature five fingers that Chitnis teaches us
“allude to the five pillars of Islam and is thought to ward
off the evil eye.”
As well as stunning gardens and vegetation, the
Moors developed advanced agricultural techniques in
the region, creating irrigation systems that resulted
in lush gardens and diverse fruits and vegetables. The
Moors developed advanced agricultural techniques in
the region, creating irrigation systems that resulted in
lush gardens and diverse fruits and vegetables, introducing
new crops to the region such as rice, pomegranates,
and sugarcane that are still part of the country’s
rich landscape. And you will not be able to miss the
stunning ceramic tiles that the Moors brought to the
region. Known as azulejos, they adorn buildings with
intricate, eye-catching geometric patterns that make
every building’s exterior a work of art.
The reign of the Moors would end in the 13th
century. And in the 15th century, under Catholic rule,
Portugal would found the European and transatlantic
slave trades. In 1444, the Portuguese transported
the first enslaved Africans to Europe. And in 1526,
Portugal brought the first enslaved people to the
Americas, landing them in Brazil. A walk among the
issue eighteen 91

Travel

Travel
streets of Lisbon, and you’ll notice the street names were all former
colonies: Rua de Angola, Rua de Moçambique, Rua da Guiné, Rua de
Cabo Verde. It’s a history that Portugal is reckoning with, erecting
more than 20 historical street markers that honor the contributions
of African peoples and their descendants. As journalist Nana-Ama
Danquah relates in an article for National Geographic about how Black
travelers are reclaiming Lisbon, “Travelers can find the plaques near
the riverside Terreiro do Paço, where enslaved people disembarked
from the ships that carried them there from Africa, or in places such
as Rossio Square, which for centuries has been a traditional gathering
place for Black people in Lisbon. It is also the location of Igreja de São
Domingos, the church where enslaved Africans were taken for their
requisite baptism.”
Monuments are also being unveiled in the country to honor the
enslaved. A bust of Paulino Jose da Conceiçao, a formerly enslaved
African who emigrated from Brazil to Portugal in 1832 and who became
a major social justice advocate in the country, sits in the Largo São
Domingos neighborhood, home to a large African population. And in
the Algarve region, in the coastal city of Lagos, sits the Mercado de
Escravos, a museum dedicated to the history of slavery.
We suggest the following places, communities, and books to learn
more about Portugal's Black history:
Explore the Country’s Moorish Architecture
Castle of the Moors (Castelo dos Mouros): Located in Sintra, this
is one of the most iconic Moorish sites in Portugal. It was built by the
Moors in the 8th and 9th centuries and offers a panoramic view of the
Sintra region.
Castle of Silves (Castelo de Silves): This is another important
Moorish site located in the Algarve region. It is one of the best-preserved
Moorish fortifications in Portugal.
São Jorge Castle (Castelo de São Jorge): Although it has undergone
several modifications over the years, the origins of this castle in Lisbon
date back to the Moorish period.
Discover Community
Black In Portugal: An organization that provides space for Black
expats to connect, ask questions, and share information.
Black-Owned Lisbon Guide: A guide from Viator that highlights
Black-owned businesses in Lisbon.
African Lisbon Tour: A Black-guided tour of Lisbon that explores
the city's Black history.
Read About the History
Patterns of Portugal by Christine Chitnis
Golden Age of the Moor by Ivan Van Sertima
The History and Description of Africa: And of the Notable Things
Therein Contained by Leo Africanus
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Sounds
Past Meets Present
ROBESOИ by Davóne Tines & The Truth
For a long time, there’s been this feeling that nothing new is
happening in Black musical culture. Hip Hop has become one of
the world’s largest commodities, and unless Kendrick throws a
pop out, it feels like it’s becoming harder and harder to discover
something new in the art form that’s been speaking to the Black
experience in America for more than half a century. R&B is on
the rise again, but it’s far from its golden age in the '80s and
'90s. And while we might find some songs here and there that
feel truly new, it’s extremely rare to find an album these days
that feels like true artistry — visionary, provocative, present,
honest — until you listen to ROBESOИ by Davóne Tines & The
Truth. “This album is my most personal artistic statement to
date,” says Tines. “I’ve endeavored to compare and contrast my
journey as an artist with that of my artistic ancestor and hero,
Paul Robeson, the unparalleled singer, actor, and activist.”
Words by Jeanine Hays
Photos by Noah Elliott Morrison and Huy Luong
issue eighteen 97

Sounds
Paul Robeson was a giant, literally.
A Renaissance man, born in 1898 in
Princeton, NJ, Robeson stood 6-feet-3-
inches tall, had a booming bass-baritone
voice, and was one of the most accomplished
men of his time. He would
become the first African American to
attend Rutgers University, earned a law
degree from Columbia while playing
in the National Football League, could
speak more than 20 languages, and
would go on to be partner in a law firm
as well as one of the most celebrated
actors in the world. Robeson starred in
over a dozen films, and several plays,
bringing characters to life like Emperor
Jones on Broadway, and Othello in the
London theatre. It was at the height of
his career, having performed all over the
world, and being a staunch voice for civil
rights globally, that he was blacklisted by
his country.
One of the first victims of McCarthyism,
in 1956 Robeson was called to
testify before the House Un-American
Activities Committee after he refused
to sign an affidavit affirming that he
was not a Communist. In standing up
for his rights, he was no longer considered
a son of America, stripped of his
passport and blacklisted. “I am not being
tried for whether I am a Communist,
I am being tried for fighting for the
right of my people, who are still second-class
citizens in this United States
of America,” he would state at the time.
“Standing on his beliefs of egality for
the disenfranchised led to governmental
and public attacks that almost ended
his life,” says Tines of Robeson. “This
album is the fever dream of the universal
journey to battle internal and external
persecution in order to find one’s self
and decide what you need to say the
most now that you’ve survived.”
Just as James Earl Jones did when
he played Robeson on Broadway in 1977,
Tines and his band The Truth, made up
of pianist John Bitoy and sound artist
Khari Lucas, have developed a piece of
art that speaks to Robeson’s humanity.
Through 12 compositions, we are taken
on a journey, “from the stage of Carnegie
Hall to the floor of a Moscow hotel room
in an attempt to understand an icon not
through aspiring to his monumentality,
but through connecting to his vulnerability,”
reads the album’s description.
Each track feels like a resurrection of
things we have lost and urgently need to
remember — pain, joy, resilience, what
America is, and the promise of what
Black America can be.
Through Tine's own bass-baritone
voice, we feel Robeson's anguish and
our own, as opera, spirituals, gospel,
rock, and R&B collide, telling a deeply
personal story of perseverance and
human connection. In Scandalized, a
track that makes you take notice, Tines
is the spirit of Robeson himself, singing
in bold voice the refrain “Don't you
scandalize my name,” as the tambourine
keeps rhythm and an electric guitar
takes you to the edge. The language is
raw and current as Tines boldly declares
at the song’s end “Keep my name out
your mouth. Cause you gonna fuck up
and you gonna find out.”
Nobody Knows is an agitating hymn
— discordant, foreboding, and angry.
A remake of Nobody Knows The Trouble
I’ve Seen that Robeson recorded with
Sony in 1926, upon listening to Tines
you realize this is not a song of sadness,
but a warning about the troubled nation
and world that we live in. Through Tines
and The Truth, we can feel Robeson
march that lonely, dangerous road of
government oppression, suppression,
and threats to one’s life and livelihood
should we dare speak our truth.
For The House I Live In, Tines
shot a music video, set against a white
backdrop, his voice and expressions
all the work necessary to relay the
message. “I’m deeply happy to share
the song and music video for The House
I Live In. It’s an updated version of a
song Paul Robeson sang from the 1940s
that still has a lot to say about the hopes,
fears, and reckoning of America.” And
Lift Every Voice is presented in a Boyz
II Men-style a cappella. Tines enunciates
every word in the Black national
anthem so clearly. It’s a clarity that feels
necessary in such chaotic times.
The album ends with Old Man
River. A new version of the song that
Robeson famously sung in the 1936 film
Show Boat. It sounds different through
Tines and The Truth and you are forced
to hear the song in a whole new light.
No longer a tune that makes you think
of old Black stereotypes or caricatures,
in Tines and The Truth’s hands, you feel
the tiredness that Robeson was wanting
to convey to Black America and all
people everywhere.
The New Yorker wrote of Tines,
“Davóne Tines is changing what it
means to be a classical singer.” And this
certainly feels true. Davóne Tines & The
Truth are not only playing the classics of
the past, they are connecting them to the
present, showing their relevance to the
Black experience today. AC
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issue eighteen 99

PINPOINT
Artists & Artisans | Lit | Who Are You

ARTISTS & ARTISANS
Calida Rawles Resuscitates Black History
Lost Among The Tides
Water has great significance in African American culture. Our
people were born on the water. As our captive ancestors made the
tortuous journey across the Atlantic, packed liked cargo in the hulls
of European ships, we became something new. Among the tide,
various cultures, tribes, languages, and heritages came together,
fought together, survived together, discovered modes of resilience
together, forming new cultures that, today, make up parts of the
African Diaspora.
On new shores, the ancestors carried with
them religious beliefs, mythologies and stories about
the water — the goddess Oshun, the water spirit
Mami Wata, and the practice of spiritual renewal
through baptism, to name but a few. Through resistance
movements and the struggle for liberation,
the water was a protector. The Gullah Islands and
Maroon communities were protected by the water,
keeping white aggression at bay. It was during Jim
Crow — American apartheid post Reconstruction
— that the water was taken from us. Black communities
were denied access to beaches, Black people
denied access to public pools, even taxpayer funded
state and federal parks were closed off to us, denying
whole generations a relationship with the water.
It is this story — our relationship to the water -
that is explored and revealed through Calida Rawles’
first solo museum show at the Pérez Art Museum
Miami (PAMM), Away With The Tides. In the exhibition,
Rawles creates 10 new pieces providing a
window into Overtown — a once thriving historically
Black community in Miami, that lost everything,
even its connection to the water, due to the
violence of eminent domain, highway construction,
and gentrification that displaced, destroyed, and
washed away its history. For Calida, whose hyperrealistic
oil paintings of Black bodies in water are often
described as poetic and romantic, the work at PAMM
was not just about aesthetic, but an important historical
resuscitation. Among the water, the play of
light and shadow, the subjects peacefully embraced
by the tides, Calida’s work allows for history from
Words by Jeanine Hays
Photos by by Marten Elder
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ARTISTS & ARTISANS
Requiem for My Navigator
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the deep to come into full view.
“There’s agency in the water, and in my paintings, of
people owning the water. No one is thrown in, no one looks
scared; they look powerful, ethereal, and in total control of
their bodies in an aquatic underworld. It’s a major element
that has been taken away from Black culture because of
segregation laws. We don’t even — some of us, anyway —
feel that it belongs to us,” remarks Calida, in an interview
with Christine Y. Kim, Britton Family Curator-at-Large
of North American Art at Tate Modern, London, that is
featured in the exhibit’s accompanying catalog.
“There are so many Black communities where people
won’t even go to the beach because they think that it’s for
others. They don’t go to the pool or don’t know how to
swim because they think that’s not for them. And that’s
what disturbs me most, where the segregationist laws in
our government, putting laws on a group of people, has
impacted the mindset of the people themselves.”
Upon arriving in Miami to begin taking photos for
the works to be created, Calida dove into the history of
Overtown, and was joined by Maritza M. Lacayo, Associate
Curator at PAMM. As part of the catalog, Lacayo’s shares
the experience of what the two unearthed together. “As a
daughter of Nicaraguan immigrants, I’ve only ever known
Miami to be the so-called ‘northernmost city in Latin
America,’ and was never formally taught about Miami’s
Black roots,” she writes. “A city firmly situated in the South,
Miami is first and foremost Black. This exhibition brings
forth that history that has so often been buried.”
That history is of a place originally known as “Colored
Town” — a neighborhood in Miami that was designated for
Black people to live in upon the city’s incorporation in 1896.
Something that never would have happened if it were not
for Miami’s Black community. Lacayo writes, “Miami was
incorporated as a city on July 28, 1896. Four days prior,
the Miami Metropolis reported that there were 438 registered
male voters in the precinct, of which 182 were Black.
State law required a minimum number of registered voters
to incorporate a city and in order to meet that minimum,
managing supervisors who worked for Flagler were instructed
by him to get their Black workers to attend the incorporation
meeting. Although Black workers were manipulated
into participating, Miami’s incorporation was
only made possible by the Black folks who built it.”
Flagler, was Henry Morrison Flagler, an oil tycoon
who from 1885 to 1913 built his Florida railroad empire off
the backs of Black citizens. Flagler used debt peonage and
convict leasing, where states would arrest Black people
for so-called “crimes,” place them in jail, and then lease
them to private companies. Slavery by another name, it’s
no surprise to learn that the people of Colored Town were
living in substandard conditions where fire and disease
were constant issues. To ensure that there was no room for
social uplift, Black people were not permitted to open businesses
in the city, leaving forced labor and peonage the only
options.
D. A. Dorsey, a sharecropper’s son who worked for
Flagler’s railroad company, used his hard-earned pay to
buy land in the community, constructing shotgun houses
for those living in Colored Town. Dorsey went on to develop
more property in the area, constructing a two-story home
for himself and his wife, and working to establish the first
park for Black people in the community. Dorsey was also
the owner of a hotel and the Negro Savings Bank. One of
the first Black millionaires in the South, through Dorsey’s
investments and development, Colored Town became
New Day Coming
issue eighteen 105

In the Light (for Stephon Clark)

ARTISTS & ARTISANS
Overtown, a thriving Black community and a popular destination
for artists like Count Basie, Nat King Cole, Billie
Holiday, and Ella Fitzgerald. At a time when Blacks were
barred from public beaches, Dorsey purchased 21 acres of
land known as Fisher Island in 1918 to provide a beach for
the Black community as well.
In 1925, Dorsey was forced to sell Fisher Island, and it
would be 20 years until Black people living in Miami would
be allowed access to a public beach again. On August 8, 1945,
Virginia Key Beach, a segregated public beach for Black
people was opened. Its very existence was an outgrowth
of Jim Crow. The US Navy would not allow Black military
personnel to use the white-only public beaches in the
area for training, and utilized Virginia Key as a temporary
beach for Black trainees. The beach became Miami’s leisure
space for the Black community. The first legally-recognized
bathing beach for Black people in the United States,
Virginia Key Beach went on to include walking trails,
cabanas, a refreshments stand, and a miniature train. The
area attracted notable visitors, including Martin Luther
King, Jr.
But in the 1950s, all of that came to an end with the
construction of I-95 and the Dolphin Expressway. “With
the Overtown paintings, the underlying prompt is the
history of the community broken apart from the 1960s
and especially when they built I-95, which bifurcated
the community. It had been a thriving neighborhood, the
Harlem of the South,” says Calida. The construction, right
through the heart of Overtown, led to an 80% decline in
population and severe economic and social decline.
To create the paintings for the exhibition, Calida went
and met with residents of Overtown. She got to know the
people in the community and became inspired by them.
“Overtown continues to become further fragmented, but
the heart and soul of the community is still there, beautiful
and connected,” says Calida. Residents were photographed
as a source of reference for the paintings. Calida
took photos at the Theodore Gibson Park’s public pool and
at the historic Virginia Key Beach. Some of the residents
were not familiar with the areas or the history, having been
separated from the water so long, they did not know it was
theirs to experience. “Art can expand and shift that perception.
I get messages all the time from people saying ‘I scuba
dive because I saw your painting.’ or ‘I learned to swim
because of your painting.’” In this particular moment,
subverted histories were brought back to the people
because of Calida’s paintings.
“I’m excited and honored to create something that
comes out of my time with the residents and the folks of
Overtown,” says Calida. “In one of the paintings, you can
see the light coming through the fragmented body. This
is a time for unity, mobilization, creativity, and power. We
are going to make it through, and these beautiful Black
people, their culture and history are going to be honored.
Even though Ron DeSantis and others in Florida are trying
to censor, block, stunt, and erase it, this one community
that keeps getting hit is so strong and resilient, and I want
to honor that, and it does feel good to be in the fight.” AC
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On the Other Side of Everything
issue eighteen 109

Thy Name We Praise
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issue eighteen 111

A Promise
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issue eighteen 113

114 aphrochic

LIT
On The Record With George The Poet
When interviewing someone for an article,
it’s usually considered good form for the interviewer
to leave themselves out of the story.
Generally, I agree with this. After all, as the reader
I rarely want to read about the interviewer's "same
here's'" and "yeah, me too's." It's a delicate dance
and an interviewer's bid for connection can easily
cross into something resembling sycophancy. But
everything about George feels like an invitation to
discourse. There's that voice, of course — interchangeable,
playful, subdued, and intimate, but
always smooth. It begs its listener to pour another
and lean in closer — we’re going to be here for a
while, it seems to say. And then there's his style,
listening to his Peabody-winning podcast Have
you Heard George's Podcast or any of his poetry,
often feels like those conversations you have with
your realest friend, it's easy but they are dropping
bars the entire time.
So there’s plenty within George’s story that
doesn’t require me to insert myself. But when in
his new book Track Record George writes of his
journey as a son of Ugandan immigrants, raised in
London and educated in Cambridge, I can’t help
but think of my parallel existence as the daughter
of a Jamaican immigrant, raised in Cambridge
and educated in London. It's all an education of
course, and George and I would come to learn
the inverse of each other's worlds all while being
rooted in what it means to be Black in Britain.
So when I sat down with George the Poet on
a bright September morning to talk about Track
Record, the first thing on my mind was his mention
of the Cambridge club scene which he describes
as ‘Cheese’. I can’t help but feel a little prickly and
defensive of our little club scene at establishments
like Fez Club, Friday nights at the Quayside
Words by Tedecia Wint
Photos furnished by George the Poet
issue eighteen 115

LIT
(shout out to DJ Special Edd), and of course The Junction,
which in my day was located in a warehouse at the old
cattle market and where my friends and I discovered acts
like TDK, Matt Jam, Dream Team, Heartless Crew, and
Pay as you Go, just to name a few. These nights weren’t
just about music but an opportunity for us to connect to
a larger Black identity, coming from a city that at the time
was just 1.7% Black (compared to London's 13.5%). What
I’m defending, of course, what I'm always defending as
a Black girl raised in Cambridge, is my own Blackness. I
sense a hint of a raise in his distinct brow.
Let me just say off the bat that Track Record is an
essential read, firstly for any lover of Hip Hop who may
have grown up with her and perhaps is now taking a good
hard look at their first love. Secondly, it's for anyone
who has any interest in the African Diaspora and how
we got to this point here and now. I can’t tell you how
many recent conversations I have had about many of
the issues in the current climate that I haven’t answered
with, “you must read the new book by George the Poet.”
A Political Science major at King's College, Cambridge
and a sublime wordsmith honed in the early grime scene
of the mid 2000s, George The Poet expertly takes us
on a journey that charts the rise and maturation of Hip
Hop while weaving us through the global socio-political
sphere. What does one have to do with the other, you
might ask? For Track Record, everything.
Currently doing a PHD at University College
London with a focus on the potential for Black music
to catalyze social power and economic progress, I ask
George about this summer's Olympic Games where we
saw arguably two of the genre’s most influential rappers
rebranded by the media as American sweethearts. I am
of course talking about Snoop Dogg and Public Enemy’s
Flavor Flav. Given that his thesis asks if this embrace by
mainstream media is a win for the culture, it doesn’t take
him long to answer, “No, it's not a win.” In fact, he makes
the argument that they and the likes of Jay-Z serve as a
perfect example of the co-opting of Hip Hop by the neoliberal
agenda which he writes “promotes a highly individualized
view of economic interests, so everything
about Jay-Z’s journey (or Snoop and Flavor Flav for that
matter), from the drug money he raised to the Rap skills
he developed, is isolated from its social context.” The
result: “[a] rapper’s success usually means nothing for
their community.” So what of the Afrobeats community?
Recently the reggae artist Buju Banton was on Drink
Champs, and he rather controversially made the claim
that Jamaican artists have done more to fight for the liberation
of Africa than the Afrobeats community: “We
hear our African brothers and sisters doing music that
we can identify with, but we're not hearing nothing to
free Africa, to free the mind of African [people]. We are
concerned.”
Does George share his concern? He carefully muses
that much of the music we hear from the Afrobeats world
is a very small percentage of the actual output of music
that makes it into western airwaves and within that
there is the Afrobeats of the French-speaking diaspora
that makes it to say the suburbs of Paris vs what's played
by youths on the streets of London or New York. That's
before we even consider the literal hundreds of dialects
that are spoken across continents. With that being said,
he cannot think of a single Afrobeats artist that he knows
that can meet the criterias being laid out by Buju.
Despite his ease of delivery, the George on my
computer screen comes across as a serious man. He's
asking a lot not just of the genre that gave him voice, but
also seems to be asking a lot of himself, willing to hold
his own feet to the fire before inviting others to take off
their shoes. A husband and a father to a one-year-old, I
can’t help but ask the poet, “But what of love?” He smiles.
I suggest that out of all the constructs of Blackness and
masculinity held up by Hip Hop, the idea of openly loving
Black men seems to be one of the hardest to broach. He
agrees, “If you see my wife and I, all you would see is us
laughing. We laugh a lot and about everything, the good
and the bad. I would like to talk more about that, what it
means to be a husband and a father.”
I often like to think about what I’d be doing or who
I’d be if I spent less time defending what is but a manufactured
idea to begin with, “my Blackness.” So I ask
George: “If you weren’t Black what do you think you’d be
writing about?”
“I’d like to think I’d still be socially conscious. I’d
like to think I’d probably be like George Carlin.” AC
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WHO ARE YOU
Photograph by Richard DeBose
Name: Monique T. Marshall
Based In: Brooklyn, NY
Occupation: Founder & Chief-in-Charge at Black
to Business
Black Culture Is: Black culture is resilience and
innovation, qualities that have allowed us to thrive
and lead despite challenges throughout history.
In many ways, my own journey reflects these core
values. Growing up, I didn’t have examples of Black
entrepreneurship around me, and that deeply
impacted my understanding of what was possible.
That’s why I started Black to Business because
I wanted to build the platform that I wish had
existed for me, one that empowers first-time and
early-stage Black entrepreneurs to build successful
businesses. I know firsthand the struggles of
building a business with limited representation,
resources, and support, and that’s why this mission
is so important to me. At its core, Black culture
has always been about resourcefulness, creativity,
and community. Through Black to Business, I’ve
committed to amplifying the voices and businesses of
those who don’t always get the exposure they deserve.
By providing business-building resources, helping
them build relationships, increase their visibility,
and turn that exposure into growth, we’re creating
opportunities for entire communities. Our work has
been recognized by 21Ninety, Apple, Spotify, Harvard
Business School, and Wondery Media, but it’s the
impact we make on the ground, the real relationships
we help entrepreneurs forge, that reminds me how
necessary this work is. When I think about Black
culture, I see a culture that consistently sets trends,
pushes boundaries, and drives innovation. Whether
through music, fashion, or business, Black culture is
a source of unbounded creativity. Black to Business
carries this forward by empowering entrepreneurs
to tell their stories, build their brands authentically,
and create legacies that last. I believe that at its
core, Black culture is rooted in community. Black
to Business thrives on that sense of connection and
unity. When we succeed together, we build a stronger
future for generations to come. I see Black culture as
a reflection of resilience, boundless creativity, and a
legacy of strength that we carry forward, collectively.
A
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