I’m just as ‘confused’ as you are...
Because what exactly was the concept for Tyla’s feature in ‘DAZED’ magazine?
Like I’m actually sitting here, staring at the wall in front of me trying to imagine a scenario in which somebody pitched the creative angle for this cover and was well-received…
I mean of course Tyla is gorgeous and newly successful and so I’m sure she really does have men fawning over her like this in real life, as is depicted in the cover. Though I imagine in these interactions, the kind of men approaching her vary at least a little in their appearances, beyond having ever so slightly different skin tones. I’m sure that those men in real life talk and move instead of staring longingly with empty eyes as they appear almost mannequin-like; merely existing to ‘contrast’ and ‘compliment’ the centre focus, the world’s newest princess of pop-culture.
‘Pushing the Boundaries’
In the highly anticipated Summer 2024 issue of DAZED Magazine, rising star and artist Tyla takes the stage, promising what fashion outlet’s everywhere have assumed it to be some kind of visual extravaganza, ‘pushing the boundaries’ of artistic expression…
Renowned for its cutting-edge approach to fashion and culture, DAZED chose Tyla to showcase her perspective, supposedly serving as a testament to her burgeoning status as an industry icon. This exclusive feature is introduced as delving into Tyla's oh-so ‘authentic’ artistic journey, influences, and the stories behind her ground-breaking work, highlighting her multifaceted talents across fashion and music to inspire readers to embrace their own creative visions.
And this shoot sounds complex and interesting, where fans might get a better understanding of who Tyla is underneath all that star-quality.
But as the issue reached the eyes of many fans and art enthusiasts, who were eagerly awaiting this visual feast, ready to be immersed in a world of creativity, style, and innovation, they found they were severely disappointed at an altogether flat, lazy, and potentially problematic set of images.
Firstly, we’re wondering why the cover positions four or five dark-skinned, similar looking men around one light-skinned woman. Note that these men aren’t seen engaging with Tyla or even the props around her but are merely shown fawning over her graciousness. It doesn’t even take a deep understanding of the history of colourism and its intersection between gender and dating in order to consider how the cover comes across. Some things just look kind of weird, and so it’s no surprise that this facet stood out to many other than myself.
Where colourism is concerned, this isn’t DAZED’s first time around…
As an ode to their 30th anniversary, DAZED chose Rhianna as being the artist to represent their cool yet sophisticated legacy, where abstract posing and surrealism was used to create a cutting-edge and interesting to observe set of photos for their Autumn 2021 issue. But wedged in between some great shots was this same utilisation of contrasting skin tones as being an additional prop as seen in one of the photos. The way in which the picture seems entirely out of place in contrast with the others further elucidates its issue, seeming entirely unnecessary. Still, it seems this cover in addition to Tyla’s latest demonstrates an almost uncontrollable thirst for this specific storyline.
Where Blackness is an Accessory
The pervasive objectification of Black individuals within the fashion and modelling industry is a far too underreported, yet extremely prevalent issue. The industry's tendency to position Black models as otherworldly or ethereal entities, as evidenced by certain magazine covers, perpetuates a problematic narrative that distances them from the realm of the ordinary and the relatable. This othering not only fetishizes their presence but also robs them of their humanity, reducing them to mere aesthetic objects for the consumption of the predominantly white gaze.
I recently saw this critique raised by a content creator named Morgan on TikTok, concerning the 'artistic capitalization' of Black models. She highlights the need to reconsider how their skin is contrasted and presented. The argument is not against artistic expression but against the erasure of their three-dimensionality. Black models should be celebrated as supermodels and as the boy or girl next door, embodying the full spectrum of human experience. At least this would challenge the monolithic representation that currently prevails.
The dichotomy between the fashion world's representation of Black individuals and the lived reality of colourism, particularly as it intersects with beauty standards, is a conversation that is always neglected as we prioritise ‘aesthetics’. When these discussions occur on separate planes, with the fashion industry operating in its own realm and the real world in another, the opportunity for a meaningful dialogue is lost. This missed opportunity of course has proven detrimental, as it prevents the industry from engaging with the complexities of racial representation and the impact of colourism on Black individuals' lived experiences.
This has always been a multifaceted issue that requires a nuanced understanding, though this doesn’t mean we have to go the other way and be completely tone deaf, especially as we contribute to the creation of these representations of blackness.
But What about Her?
Theoretically, we have to look at the creative directors responsible for this cover, but it's essential to approach the discussion without underestimating the ability of grown adults to consider the implications of the creative projects they are central to.
Several months ago, there was a significant discourse regarding Tyla's association with her visual race and ethnicity, particularly her choice not to identify as Black. Honestly, I actually don’t take issue with her preference to identify as 'coloured' rather than being labelled as Black. In a South African context, 'coloured' refers to a distinct ethnic group with a blend of racial heritages, not exclusively Black. Tyla has specifically mentioned her partially Indian descent, highlighting the diversity within the 'coloured' ethnic group. This variation in proximity to Blackness allows us to validate the term 'coloured' as an accurate descriptor, rather than a rejection of Black identity, as some might assume.
Viewing Tyla and others like her beyond conventional racial categorizations, her decision to identify as 'coloured' emerges as a more precise reflection of her cultural background. Even if the choice wasn’t popular, it’s one that aligns with the complexities of identity and the mixed tapestry of her ethnic heritage.
But this distinction comes with consequences, which I’m not entirely sure Tyla and her team considered all the way, and instances like those similar to this DAZED cover once again raise questions about her sentiment of prioritising marketability in any given circumstance over authenticity.
If this cover depicted a delicate and desirable white woman, surrounded by the same male models as depicted in Tyla’s shoot, mine and others’ frustrations would appear far more sympathetic, as opposed to appearing to some as being an infantile criticism of a cutting-edge magazine cover. But if we perceive Tyla as being non-black, then why should this kind of imagery get a pass at all? Once again, the storyline tells a tale of fetishization, both of the black male models who are depicted as being nothing more than objects to her attractive qualities, but fetishizes the relationship between darker-skinned and lighter-skinned people. Where typical associations of femininity and masculinity are concerned, images like these merely epitomise both feminity and masculinity in their ‘ideal’ portrayals – femininity = lighter skinned, masculinity = darker skinned.
And I thought we were over this notion…
But if we look at Tyla’s history in the industry, this cover barely comes as a surprise. When I saw an interview in which Tyla gushes on and on about her mentor and friend… Chris Brown … it would be easy to predict a familiar carelessness as has been seen with other celebrities over time. In addition to his horrific past with GBV, Brown is a well-known colourist in Black- American nightlife spaces, and so unfortunately it tracks that somebody who doesn’t identify as black, continuing to benefit from colourism would find no issue aligning themselves with someone like him, in a similar way to what we saw with Rhianna’s cover due to their similarities conceptually.
But by the time Rhianna’s cover had been released in 2021, she had already built a name and a legacy for herself, allowing these kinds of missteps to go largely unnoticed. The same can’t really be said of Tyla however, especially considering her target audience is one who concerns themselves with what constitutes tasteful representation, as opposed to the lazy habit of ‘diversity and ‘inclusion!’
(with no consideration)…
As for now we can only sit and wait for a moment when we’re left inspired rather than confused…
But frankly I’m not in the habit of wasting my time,
Asisa.
The whole shoot really did leave a nasty taste in my mouth and, like you, I’m genuinely scratching my head over how the concept was even allowed to leave the drawing board to begin with. Like who sat there and said, “dark skinned men as props!” and how how HOW did no one say, “actually… maybe not?”
It was such a shame because I read through other interviews within this DAZED issue and there was a lot more care put into not only the personality but the essence of the subject that just wasn’t put in for Tyla, I don’t think. For Kobie Mainoo and Speed, their interview shoot put them in a soft light surrounded by their profession and honestly made them look pretty charming whilst the vibes Tyla gives of unity, of being big on her heritage, was completely swept away for this false image of her as this ManEater that I just don’t think she is? I thought maybe the interview would have that, but no! She spoke about her hesitancy with swearing, growing up in an African household etc and the shoot was just such a weird contrast. It felt more like an artistic decision to objectify her in a way rather than actually CAPTURE her