“The Onus Is On Everyone To Perpetuate The Momentum”: A Root Through The Rise And Stunts Of Independent Publications

It’s hard to think of times when magazines were so lavishly fawned over and yet simultaneously criticised—socially speaking—in not only fashion but popular culture. The unprecedented phenomenon of a pandemic (that shall be named) has placed a colossal pressure on many industries, causing global downturns in the publishing world. While fashion is supposed to promote a ‘healthy’ balance of its products, the magazine industry has often failed in its delivery. And that raises a question: why has there been a need for independent publishers, if mainstream media were doing the work?

There’s a simple answer, and a complex one. The straightforward explanation is backed by research, which argues that revenues in publishing have plummeted by over 50 per cent in the last years due to an increasingly digital pivot, which forced publications to leave print behind and focus on online-only approaches. But even though larger, mainstream media has all the potential to thrive, they must also adapt to the needs of new markets (case in point: in comparison to institutionalised titles, independent publications open more windows to marginalised issues and communities). In fashion, the pattern is clear. Many are the cases in which mainstream outlets have used their influence to deafen topics at the expense of their power—and privilege. Some would argue that, with the presence of emerging platforms having surged in recent years, established magazines are now trying to shift the paradigm to be more inclusive. But this is speculation, because the data isn’t there.

That said, the stunts faced by independent magazines are a far cry from those of mainstream publishers. To paint a better picture of the issue, look to advertising costs: as data editor Goran Dautovic has written, average advertising costs for small business operations amount to four-to-six-figure sums, leaving independent publications in precarious conditions to due lack of funding for printing and legal expenses.

Taking a step back, one’s forced to question the importance—likewise the relevance—of independent publications, which have proven to tackle the strains of a revolutionary moment, leading to representation. “Ironically, in a period where independent publications and DIY, grassroots editorial projects are probably under the most pressure that they have been in years, now is also the time where they are at their most fundamental,” argues Francesco Loy Bell. “If mainstream media is finally beginning to reach a point of inclusivity—and I stress the ‘if’ as there is still a huge amount of work to be done in this respect—it’s in part thanks to the tireless work of independent publications that have paved the way for a diverse range of creative talents to have their voices heard, forcing media institutions to finally pay attention.”

Activist, writer, and wellness commentator Jessica Noah Morgan is in agreement. “Emerging, independent publications have definitely come a long way and it’s been refreshing watching them pop up. There is a real need for independent publishers because these are the grassroots organisations giving voices to the unheard. We all know that the mainstream media only reports on certain issues relating to certain communities, so it leaves many others feeling left out, ignored and as though their concerns, issues or creativity don’t matter.”

Moreover, Morgan stresses the tokenism level present in the media industry, explaining how much these conversations, in light of racial protests, have brought the system to a mutual awakening. “A few years ago, no one really wanted to know,” she adds. “But now they do, because it’s cool to be ‘woke’, it’s cool to be ‘diverse’—we just need to keep riding that wave and taking advantage of the fact that people want to listen to us (this is debatable but has to be said).”

The case for independent publications is a conversation to which industry insiders now find to question. But against all the odds, there seems to be a reckoning: Vogue spoke to Kevin Hunter and Bryce Thomas about racial politics in fashion, inclusivity, and their latest project—Justsmile magazine.

Why now, more than ever, is it important for us to be engaging in dialogue about diversity and racial otherness in the publishing sector and the wider world?

Kevin Hunter & Bryce Thomas: Anyone in the fashion and creative industries should most certainly be engaging in these dialogues. It prompts us to look at the wider publishing and fashion publishing industries and analyse are these increasingly diverse people and stories that are being highlighted in the major glossies, also reflected on their mastheads, in their business structure, and in the teams that are creating these stories and images on the pages? For example: how many non-straight-white-cis gendered people are editors-in-chief, creative directors, fashion directors, publishers?

You've managed to centre your work around celebrating ethnic diversity while simultaneously defying those groups who seek to divide and spread hate throughJustsmilemagazine. How did you go about achieving this critical balance?

KH: We created a publication of the work we wanted to see in the world, for creatives whose work we wanted to be uplifted. We honestly weren't concerned about defying anyone; we just wanted to make a welcoming space for everyone. I guess now that it's out in the world, it has a life of its own and is open to interpretation. We just wanted to make the best publication we could with our message.

BT: I think we managed to cover a broad spectrum of stories, people, and ways of creative expression. We weren't necessarily conscious about creating a "balance" when making the title. Still, we were aware that our ideas and way of bringing this title together would be unique compared to other titles.

You can see that in fashion, we've witnessed a high level of perfunctory activism that has been confined to the media without real action, specifically after Floyd's passing.

Was establishing the publication a challenging process, in the quest to prevent looking tokenistic before your readers?

KH: No, establishing the publication was not a challenging process. Justsmile was already in the stages of production before Floyd's passing. We had a rough skeleton of the magazine; his death, many other deaths, and the ensuing protests that followed undoubtedly affected us, and therefore made some of our priorities even more relevant and pressing for issue one. I wanted to make sure black men had their voices heard in issue one and could express themselves any way they felt. When everything you do comes from a genuine place, readers can pick up a copy of the magazine and understand we did nothing from a tokenistic place. I often feel publications that have always had nondiverse staff and then suddenly hire several people of colour have that sort of problem. We started issue one by being authentically ourselves, which resulted in a diverse masthead and an incredible array of Black and POC contributors and contributors who are allies.

Where did 2020 and its multiple disruptions originate the process, and how did you build on it?

KH:Justsmile was a publication that has been floating around since I met Bryce in 2018. We started looking for a team of editors and art directors in September 2019. The pandemic gave us a moment to say: “Okay, while we have so much free time on our hands - How can we put out this publication before the end of 2020?” The disruption of everything stopping was a blessing for us as we could sit in our office and focus solely on Justsmile and figure out how to make it as impactful as possible. That said, as you can imagine, 2020 threw a lot of obstacles and limitations our way when making the issue; we just had to be grateful for what we could do and smartly work around them.

Politicising race-related narratives has come under attack by failing institutions over the last year (from brands, small businesses to established firms), likewise symbols and references that appropriate values of the BAME community. How do you ensure to provide the right message through the magazine, and what do you think fashion has garnered from its wrongs?

KH: For us, proper planning is essential; research is vital, and making sure you are connecting with people from the community is imperative, too. The positive about being a biannual is it affords us more time to work on a particular story. Today, we are all moving so fast and want to get the article online or the post on Instagram and not taking time to think about what we are putting out. Additionally, if more of these failing institutions had more diverse staff and different viewpoints, we would not have many of these issues. We can not 100 percent say we are always going to get it right. We need to make sure we go the extra mile to make sure our messaging is right. I am not sure what fashion has garnered from its wrongs; I wholeheartedly think that's a good question for those who have been doing the wrong within the industry to answer.

From a social perspective (and from an inclusivity one, too), gender, sexuality, race and modern notions of identity are often intertwined. Could you say they all play an important role within your artistic vision atJustsmile?

BT: I honestly think they play an important role in any magazine that interacts with the fashion industry in 2021, old or new. I think these influences are the realities of our current world. I believe publications should be cognizant of their impact and the narratives they are either perpetuating or breaking. I also think publications have influence, value, and hold regard as cultural markers within our society. As the people dictating editorial perspectives and values, we need to be careful that what we create makes our world a better place.

Regarding our artistic vision, they are incredibly important. Justsmile was conceived from a void in publishing and lack of opportunities for many voices. Who these voices are, their identities and backgrounds are incredibly important to us, as they are who surrounds us, who our teams are made of, and who inspires us? I think it's summarized well in our strapline "Be Heard, Think Different."

Do you feel now is a good time to establish new editorial realities, like launching a platform from scratch to promote unconventionality and newness?

BT: Absolutely! I think people are receptive to what comes from the heart and personal stories. Justsmile is genuinely from both our hearts. We want to make people happy, inspire and challenge them, and have a place for those who we love to tell stories that matter to them.

KH: There is so much space for creatives and new voices that should be out in the world. Suppose we continue to have the same media institutions telling stories. In that case, we will continue to have the same issues within the publishing sector, surrounding appropriation and diversity, among many other problems. 

What changes do you hope to see in the industry from this year forward, and how can we go about perpetuating the momentum while still being in the present?

KH: The change I would like to see would be more openness and acceptance of new ideas and dismantling systems within the industry that have prevented Black and POC people's growth. I want to see a more sustained approach to hiring black creatives from brands, businesses, and established firms. I loved seeing so many Black run creative sets from Black Photographers to black-owned production teams working with established brands during the middle part of last year. I hope brands will continue this even though the civil unrest has less media attention, and Black Lives Matter is not a major headline in the news.

BT: The onus is on everyone to perpetuate the momentum, especially those with privilege. Just as it is outside fashion, we all need to use the people's power to keep momentum on the changes we want to see. That means using your dollar, voice, clicks, time, and action. Buy clothes from Black and POC designers or Black and POC owned businesses and support fashion houses or publications making changes. Think about your actions, waste, consumables - engage with fast fashion less. Engage with creators or creatives that you believe in (follow them, comment, share their work), take the effort to seek out people who you don't know of yet, research, start a conversation with friends. Question your habits or engagements that you have been in for a long time. Is it time to change things up? Do these brands I engage with meet my expectations and values?

What are your hopes? 

Kevin Hunter & Bryce Thomas: We hope Justsmile finds a way to connect with people worldwide, and we hope it continues to give a platform to artists to express themselves. However they feel. We genuinely do not want to filter any of our contributors; we hope to inspire people to believe in their dreams and live by the motto do it yourself. If no one believes in your dream or vision, you can achieve it on your own.

Visit www.justsmilemagazine.com for the latest updates.