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Why Is The Mainstream So In Love With Lupita Nyong’o, Her Black Beauty?

Written By Mike Ntobi on Monday, March 24, 2014 | 11:33 AM


Lupita Nyong'o colorism
From Mark Brooks’ Facebook page.
Two days after Lupita Nyong’o accepted the “Academy Award for Best Supporting Actress” for her riveting portrayal of “Patsy” in “12 Years A Slave,” Jamie Broadnax sent out a tweet to her 15,000 followers saying that the Kenyan beauty should be America’s next shero:

Unexpected support from that tweet lead Broadnax, 34, to create a change.org campaign that petitions Marvel Entertainment to cast Nyong’o as the new “Storm” for the next X-Men film. So far, the petition has some 1,000 signees; it needs 50,000.
John Jennings, an associate professor of visual studies at the University of Buffalo whose research focuses on African-American representation in comic books, told NewsOne that Nyong’o would be a perfect fit.
“To see Lupita cast as a popular character like ‘Storm’ could be very empowering and exciting to see.”
He described how Nyong’o and “Storm” share identical backgrounds: the Mexico-born Nyong’o grew up in Kenya, while Storm was born in New York City as the child of Kenyan tribal princess “N’Dare”; both have distinct accents that can be traced to the continent of Africa. Jennings also acknowledged that if Nyong’o did take on the role eventually, her casting would address some of the colorism issues that have risen as a result of Halle Berry‘s portrayal of Storm.
This is one of the main reasons why Broadnax started the petition.
Making it clear that she has no issues with Berry as an actress, Broadnax said that having a conversation about Nyong’o being Storm some day can continue the wave of appreciation that the mainstream world has shown for the actress’s beauty — even if no one discusses her dark skin.
“One of the things that’s sort of the elephant in the room that people don’t really want to bring up, but I don’t mind bringing it up is that there’s just a lot of mainstream roles that seem to be given to Black actresses who are lighter-skinned,” Broadnax told NewsOne. “And this is coming from someone who is light-skinned herself, but it’s very frustrating for me to see images of only light-skinned women depicted in roles where clearly it would be better for a darker-skinned actress — Storm being one of them.
And also with the recent controversy with Zoe Saldana playing the role of Nina Simone. So in addition to sharing the same lineage and her having the acting chops and the accent, just on appearances alone she would be an excellent fit.”
(Berry, however, is slated to play storm in the upcoming film “X-Men: Days Of Future Past”)
Watch Lupita Nyong’o talk about her dark skin here:
Nyong’o's rise, coupled with her impeccable style and flawless velvety skintone, reveals how important Hollywood representations of beauty truly are. While her Oscar award-winning performance won the critical acclaim of film critics, her red carpet appearances at various awards shows captured the hearts of many Black women.
That Nyong’o's distinctly African phenotypic features have been idolized by millions of fans on such an international stage is certainly something that has evoked a sense of pride among many dark-skinned Black women who feel their type of beauty has been ignored in favor of lighter-skinned sistahs.
Yaba Blay, co-Director of Africana Studies at Drexel University, is one of them. Blay is participating in a Twitter campaign, #LupitaForMAC, with other like-minded Black women that’s asking MACcosmeticsto create a line of products for Nyong’o. She told NewsOne that she hopes the campaign will help keep Nyong’o in the spotlight, and hopefully, land her a contract.

“It’s not easy being a dark-skinned woman in this society, and it’s not easy being a dark-skinned woman within the beauty industry,” she said. “There are a lot of compromises that I have had to make throughout my adult life in terms of how to manage my aesthetics. So I just can’t walk in to your average make-up counter and get my color instantaneously. I definitely can’t get my color out of a Target and I wouldn’t even try.
“I’ve had make-up artists have to blend three and four colors to get the right shade without making me look ashy. So if Lupita were to get the same type of million-dollar contract that RiRi got — because all ofRihanna‘s lines with MAC sold out — and leverage this fanfare and the affirmation of her beauty, I think for a lot of women, not only in the States but all over the world, would know the beauty industry was actually creating colors for our skin color.”
Why Lupita?
To be sure, Lupita certainly isn’t the first dark-skinned Black woman whose performance in a motion picture earned the coveted golden trophy. Hattie McDaniel was the first Black woman to win an Oscar, but her very dark-skinned tone and full-bodied physique relegated her to “the help” in most roles she played. Then there’s Whoopi Goldberg, a Hollywood pioneer in her own right, but was never noted in the mainstream for her looks. Cicely Tyson, even during her younger days, doesn’t appear to have been the fodder of beauty conversations on a national level either. Even if you consider Regina King orGabrielle Union – both of whom are established actresses known for their beauty — neither has gained the same national traction over their looks as the “12 Years A Slave” star.
So what’s so unique about Nyong’o?
Tanisha Ford, assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst, told NewsOne that part of the mainstream’s fixation on the actress’s looks is more about her physical appearance than her skin color.
Alek Wek Lupita Nyong'o
Prof. Tanisha Ford says it took some convincing to get the mainstream to see Alek Wek as beautiful, but very little was needed in the case of Lupita Nyong’o. (Photo/AP) 
“She, in many ways, fits a normative beauty image,” she said. “Even though she has dark skin, she has short, natural hair. There is also a way in which she has thinner features. She is very thin, so she comes as the perfect model for all of these high-end fashion designers. So, because she fits this more normative mode, White folks can imagine her moving through spaces in ways that other Academy Award winners like, Monique, for example, couldn’t.”
Ford gave the example of Alek Wek, the Sudanese model, “who people had to be convinced was beautiful as oppose to Lupita. We’re looking at her saying, ‘Oh, of course she’s beautiful.’”
While Nyong’o's physique may inoculate her from the prejudices that other dark-skinned actresses experience, American society does show clear preferences for light-skinned women. A Harvard study reports that light-skinned politicians stand a better chance of winning elected office than dark-skinned candidates. And a Villanova University study reports that light-skinned Black women receive shorter sentences than dark-skinned women.
So it is not a stretch to suggest that the fascination with Nyong’o may also be fueled by the same colorism prejudices that plague the rest of American society.
Is Mainstream Affirmation Of Black Beauty Really That Important?
Nyong’o's fame and national exposure are well-deserved; however, is it unfortunate that it takes mainstream success for many Black people to feel so unusually overjoyed by her success? Why is it important for companies like MAC to recognize Nyong’o? Blay says she understands why some Blacks are reluctant to focus on White companies to lead the charge for celebrating Nyong’o's beauty, but part of why she supports the MAC campaign is because it ensures that Black women of all shades are treated equally on the global stage.
“We want Lupita to get that same kind of bank that Rihanna got,” she said. “We want her to get that same kind of affirmation of who she is and her beauty to the extent that MAC reached out to Rihanna, like they reached out to Lil Kim, like they reached out to Mary J. [Blige] in years past. If Lupita is the “it” girl, we want to see this sustainable over time.”
Exact numbers on how much Rihanna has cashed in on her deal with MAC are not available, but the deal was expected to bring in some $15 million at retail globally when it was signed in February of 2013. AndNicki Minaj‘s line of MAC Viva Glam lipstick became the brand’s best-selling lipstick ever, so Blay’s championing of the inclusion of all Black women is well-warranted.
The subject of how important mainstream recognition is has never evaded Nyong’o. During her acceptance speech for “Best Breakthrough Performance” at ESSENCE’s “Black Women in Hollywood Luncheon” in February, she read part of a letter from a young girl who wrote that she was happy and shocked that she could receive the attention she is getting while being “that Black.” The little girl told Nyong’o that she was about to buy skin lightening cream before she “arrived on the world map and saved her.” It was a letter that resonated with her own sojourn to loving her own skin:
I remember a time when I too felt unbeautiful. I put on the TV and only saw pale skin. I got teased and taunted about my night-shaded skin. And my one prayer to God, the miracle worker, was that I would wake up lighter-skinned. The morning would come and I would be so excited about seeing my new skin that I would refuse to look down at myself until I was in front of a mirror because I wanted to see my fair face first. And every day I experienced the same disappointment of being just as dark as I was the day before.
I tried to negotiate with God. I told him I would stop stealing sugar cubes at night if he gave me what I wanted, I would listen to my mother’s every word and never lose my school sweater again if he just made me a little lighter. But I guess God was unimpressed with my bargaining chips, because He never listened.
During her speech, Nyong’o said that, like the little girl, she eventually grew to love her skin when an African who looked like her began making waves on the international scene. She told the captivated audience that this “dark as night” model walked runways around the world and graced the pages and covers of the top magazines. There wasn’t anyone who wasn’t saying how beautiful she was, Nyong’o remembers. And when Oprah called her beautiful, that convinced her that it was a fact.
“I couldn’t believe that people were embracing a woman who looked so much like me as beautiful,” she continued. “My complexion had always been an obstacle to overcome, and all of a sudden, Oprah was telling me it wasn’t. It was perplexing and I wanted to reject it because I had begun to enjoy the seduction of inadequacy.”
A flower, she says, bloomed inside of her, when she saw this model. “I inadvertently saw a reflection of myself that I could not deny,” she said.
That model Nyong’o was talking about is Alek Wek.

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Oscars 2014: Neutral makeup and pushed-back hair top the best beauty statements from the red carpet

Written By Mike Ntobi on Friday, March 14, 2014 | 9:53 AM

Oscars 2014 best hair makeup

Lupita Nyong’o
Simplicity was key when it came to hair and makeup at the 2014 Oscars. Natural texture, neutral makeup and glowing skin made for the biggest beauty statements of the night, with just a few punchy lip colours and smoky eyes appearing on the red carpet.
Jennifer Lawrence
For hair, the trend of the night was a tie between the deep side part and no part at all.Jennifer LawrenceAmy AdamsPortia de RossiNaomi Watts and Lupita Nyong’o were just a few of the stars to opt for the pushed-back look, keeping hair off their faces. For Lawrence, her finger-combed, almost-bouffant gave a grown-up feel to her fresh pixie cut while still being a hairstyle that wasn’t overly fussy. Adams had one of the more structured hairstyles on the Oscars red carpet, but the slight bump at the front of her very-lacquered updo gave it playful appeal, while Watts’ Grace Kelly-inspired hair made us want to run our fingers through our own throughout the night. Rounding out the pushed-back looks was Nyong’o, who wore a delicate headband that anchored her dramatic style.
Cate Blanchett
As for deep side parts, Cate BlanchettKate HudsonJennifer Garner and Sandra Bullock all rocked this classic red carpet style and they all also swapped out the usual Old Hollywood red lip for neutral tones. Blanchett’s light-pink makeup palette complemented her opalescent earrings—a strong contender for best accessory of the night!—with a light touch of mascara and rose-coloured lipstick to balancing the look out. Bullock also matched her makeup to her dress, making a subtle colour statement with teal eyeliner. It was just bright enough to add visual interest against her smoky eyeshadow but didn’t look too over the top on the red carpet. Also a lifelong fan of the smoky eye is Angelina Jolie, who amped up the look last night with some dramatic false lashes and shimmering taupe shadows.
Angelina Jolie
And, while neutral makeup reigned supreme at the 2014 Oscars, there was some colour to be had. Emma Watson‘s burnt red lipstick suited her complexion so well we wouldn’t be surprised to find out that it was a custom mix. But the best colour of all goes to Kerry Washington: Her deep berry lip and matte makeup was a departure from the shimmering, glowing look that Washington usually wears while playing Olivia Pope, which made it an excellent option on the red carpet.
Sandra Bullock

Emma Watson

Kerry Washington

Amy Adams

Naomi Watts


Lupita Nyong’o swaps looks on the red carpet for Vanity Fair’s Oscars 2014 after party

Lupita Nyongo Oscars 2014-Red Carpet Afterparty

LEFT: PHOTOGRAPHY BY ETHAN MILLER/WIREIMAGE. RIGHT: PHOTOGRAPHY BY 

PASCAL LE SEGRETAIN/GETTY IMAGES

While the Oscars may actually be about the awards, we all know that red carpet glamour is the main reason us fashion gals tune in. While movie critics and fans alike are all talking about Gravity’s production awards sweep and Leo’s latest loss for Best Actor, we still can’t get over how amazing Lupita Nyong’o looked last night. Given her run this past red carpet season, we went into the night knowing she was going to look unreal, but she blew us out of the park on Hollywood’s biggest night.
Undeniably the belle of the ball, Nyong’o first wowed on the red carpet in a plunging powder blue Prada gown fit for a Grecian princess. The revealing gown was perfect for the Best Supporting Actress’ slight figure—anyone with too much décolletage would have been falling out of the dress. The deep-V front was mirrored in the back and in the open sides, and the full skirt was enriched with a dusting of crystal beading on the edges of the pleats to add some shimmer. The accessories were kept minimal, as to not over-power the gown, with Fred Leighton ear cuffs, gold wrap bracelet and a crystal and gold Prada Raso clutch.
After scooping up her Oscar and giving a heartfelt speech, the freshly dubbed Lupiterella (Lupita + Cinderella), courtesy of eTalk Hollywood, changed into a more party-friendly Miu Miu dress, inspired by the brand’s Spring 2014 collection. With a green beaded fringe neckline and crisp white colour, the dress worked perfectly with her headband and new gold hardware. A soft sweetheart neckline, thick straps and a streamlined silhouette kept the fringe from looking like a bad ‘80s bedazzled flashback and kept the dress fresh and youthful. Lupita kept her hair and make up relatively the same, swapping out her coral lipstick from the show for a bolder red lip and losing the gold bangle—you don’t need a regular ole gold bracelet when you won the ultimate gold accessory.
While Nyong’o was the star of the night, Miuccia Prada deserves some props for being the creative mastermind behind the two looks. Both of the dresses were equally glamorous but so very different—do you prefer the storybook princess moment or the clean and tropical look? Cast your vote now! 
Lupita Nyongo Oscars 2014 Red Carpet Prada Lupita Nyongo Oscars 2014 Afterparty Miu Miu Lupita Nyongo Oscars 2014-Red Carpet Afterparty

Miu Miu’s Fall 2014 front row is crazy star-studded (and Oscar-winning)!


Miu Miu Fall 2014 Rihanna Lupita

PHOTO BY PASCAL LE SEGRETAIN/GETTY IMAGES

See the Miu Miu Fall 2014 front row »
As Paris Fashion Week wraps up today, the international fashion circuit comes to a close. But as with all good things, the arguably best shows were saved for last. Or rather the most star studded front rows. At this morning’s Miu Miu Fall 2014 show, every pretty young thing turned up to watch the runway; even Jared Leto and his perfectly coiffed hair made an appearance!


Prada/Miu Miu It girl and newly minted Oscar winner Lupita Nyong’o was wore a Spring 2014 ruched pink skirt and cropped jacket with an embellished collar in a deep raspberry shade that complemented her skin tone flawlessly. After reportedly introducing herself to all of her fellow front row-ers (so darn polite!), she pulled out some thick framed tortoise shell glasses to enjoy the show. Bad eyesight be damned. Fellow Miu Miu frontwoman Elle Fanning kept things prim and proper, removing her light blue Miu Miu jacket to reveal a yellow houndstooth sleeveless top and matching blue pleated skirt as she sat for the show.
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Amongst the other attendees was Paris Fashion Week staple Rihanna, sporting a Prada Fall 2014 shearling coat and brown chevron dress, styled with a purple neck scarf in typical eccentric style, all from the Fall 2014 collection. We’ll say it once, we’ll say it a thousand times, but only Badgirl RiRi could pull off such a look. All hail.


On the flip side, a newly brunette Margot Robbie kept things a little more streamlined and ladylike in a full skirted grey dress and a red Miu Miu jacket, accented with a floral pump. Adèle Exarcholpoulos and Léa Seydoux, the faces of Miu Miu’s Resort 2014 campaign, donned designs from the Spring 2014 collection, opting for a navy blue embellished jacket and a colour blocked pink and purple coat respectively.




The look of the day was clearly the statement jacket, something Miu Miu has a knack for expertly outfitting all the front row celebs in. And we have to admit we’re jones-ing pretty hard for one. Where can we place our order, Miuccia?













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Sexplosion! Today’s taboo-breaking sexual renaissance examined, from Miley Cyrus to Lena Dunham

Sexplosion

MILEY CYRUS PHOTOGRAPHED BY CHRIS NICHOLLS

Briefly, in the early 1990s, I was a smut peddler. I edited an anthology called The Girl Wants To, which included art and writing about sex and the body, from Roberta Gregory’s “Bitchy Strips” to Barbara Gowdy’s strange, beautiful account of a young necrophiliac, “We So Seldom Look on Love.” The anthology was part of a growing wave of heated discourse by third-wave feminists—women making sense of sex in the ’90s. These were women who felt the need to write about want, desire, pleasure and other taboo information. Taboo because we were talking about our bodies and sexuality in ways we never had, at least publicly and en masse. Think forward, and think of what even the sweetest pop star imaginable, Katy Perry, is saying in virtually all of her songs: that she is a bi-curious, sexy dream-girl/gurl who refuses to “bite [her] tongue” any longer. Having been pushed down to the ground, she is up and roaring in the old-school manner of  “I Am Woman.” She is Helen Reddy 2.0, in other words: no bowl-cut and cardigan, no dulcet tones, but the same fervent desire to tell us that we, as women, need not suffer oppression lightly; that we are a pride of powerful lions.
Lately, there has been a sea change, with a powerful sense of another killer wave coming—a “sexplosion.” Writer and former Variety editor Robert Hofler used the term in his fascinating book of the same name. But while his exhaustive, illuminating book focuses on the period from 1968-1973, the wild time that followed the sexual revolution, Hofler’s theories suggest that the future of sex will become less “man-made.” And it already has, of course. Female performers are busily upsetting ideas about sex and power, about the naked body and their perceived passivity.
In her graphic song “Pour It Up,” Rihanna sings, “That’s how we ball out,” in a voice that is virtually empty of inflection. And in the controversial video for the song—“The really sad thing is that she thinks she’s being edgy and sexy when in fact she is slowly destroying her soul,” commented one disquieted fan—she sings this chorus as she presides over a strip club, sitting on a throne in a diamond bra, collar and Lana Turner wig, talking like a man, acting like a woman and unsettling our idea of what it means to be either.
Not so long ago, Rihanna was best known for being beaten by her boyfriend. Her video, both high art and glorious excess, hits back hard. She looks meaner now, if far more elegant, and at the same time alluringly playful—something like Madonna in her cabaret-Gaultier days, the holy mother of the third wave. Madonna also played with gender, decorating her suits with slashes, smoking cigars, having both girlfriends and boyfriends and being a magnificent brat. But when feminism lost its cachet, so did she. And so did everyone cool. But the MIA are back—sort of, in new guises and with new demands.
As Britney Spears barks in her oddly puritanical, envelope-pushing song “Work Bitch,” the onus is on us. If we’re going to get what we want and need, if we are filled with longing and desire, we’d “better work, bitch.”
In an interview, Hofler tells me that while it’s taboo in its extreme forms (graphic sex in films, sex with minors), sex still exists, and feminism is changing it. “What Lena Dunham has done with Girls is fairly new,” he says. “Dunham is quite ordinary looking, and while the movies have always featured schlubby guys, from Woody Allen to Adam Sandler, getting beautiful women and having lots of sex, the reverse has not been true. With Girls, Dunham is getting laid all the time.” And it’s about time.
In the 1990s, the third wave went mainstream. Sex and the City, which appeared in 1998, showed us, with particular audacity, how the movement had infiltrated pop. The four Manhattan single lady leads spoke openly about sex, their bodies and their desire to explore both regions with impunity. Still, they were Cinderellas at heart, altar-bound girls obsessed with “the one,” with rakish back stories. Today, their salty talk of bodily fluids seems almost quaint.
The revolution in cable TV has also mainstreamed raunch: We are not so easily astonished by women speaking graphically about sex. The Girls girls are boy-crazy young New Yorkers with huge aspirations and painful obstacles. But they allow themselves to look hideous; they are narcissists who discuss this quality. In Girls, we see a high-end fusion of sex and pop, a huge contribution to the discourse spreading throughout the arts and philosophy (a philosophy that includes Virginie Despentes’s raw, rock-starrish book, King Kong Theory).
The film S#X Acts came out in 2012 to great reviews, though some of them expressed that its unflinching view of female teens’ sexuality—“Every good girl has gotta be bad sometimes,” the soundtrack insists—was, as one put it, “more disturbing than most horror movies.” On the blog SluteverAurel Schmidt dressed like a bookworm-punk-tramp hybrid and talked about her fascination with the taboos around sex organs. Fifty Shades of Grey spawned innumerable copycat novels, read casually by all ages and manner of people, and a film-in-progress about highly romantic, pig-dirty sex. Masters of Sex has taken over Showtime to great acclaim, joining the ranks of high-calibre, racy TV shows like Scandal and True Blood.
Rihanna, Britney and Miley Cyrus (who recently told the BBC that she is “one of the biggest feminists in the world”) have all released powerful, porny videos that angered enough people to welcome the phrase “slut-shaming” into the vernacular. Talking and performing about sexuality were not invented at the end of the last century. Every 10 to 20 years, it seems, women start breaking taboos with two-by-fours, followed by a long, latent period in which we bask in or repudiate the same sexy events. And the shamed sluts—from Lindsay Lohan in her Yu Tsai shots for Muse to the tongue-out-of-cheek Cyrus treating the bland Robin Thicke like the droogs treated their victims to, more critically, the mass of teen girls driven to torment and even suicide for alleged promiscuity—are reason enough to keep the conversation alive.
The conversation is about the ideal, in which sexual women are permitted to revel in who they are without fear of reprisal and we get to speak for ourselves, about ourselves, or else. When Miley Cyrus came at us on a wrecking ball, she was saying something similar. No one is criticized more than Cyrus, but she is, as the artist Sophy Pollak pointed out to me, “like our kid—we watched her grow up, and we are now like her scandalized parents.”
In the spirit of the third wave, and of female miscreants everywhere, this nascent movement’s detractors may be seen as the concerned bus driver in the 1996 movieThe Craft, who warns the four budding witches to “Watch out for those weirdos” as they sullenly disembark. “Mister,” says the sexy punk sorceress, “we are the weirdos.”

FASHION Magazine April 2014 cover: Cobie Smulders

Written By Mike Ntobi on Monday, March 10, 2014 | 7:06 PM

Cobie Smudlers Fashion Magazine April 2014 cover
PHOTOGRAPHED BY CHRIS NICHOLLS AND STYLED BY GEORGE ANTONOPOULOS, COBIE SMULDERS WEARS A DRESS, $3,200, BY ETRO, CHAIN, $470, AND SHARK TOOTH, PRICE ON REQUEST, BOTH BY JENNIFER FISHER, AND RING, $85, BY JENNY BIRD. HAIR BY DAVY NEWKIRK FOR THE WALL GROUP/DAVINES. MAKEUP BY JO STRETTELL FOR THE MAGNET AGENCY/LANCÔME. MANICURE BY LISA POSTMA FOR TRACEYMATTINGLY.COM. FASHION ASSISTANT, SERENA DUFFIN.
Known most for her role as Robin Scherbatsky—the token Canuck on TV’s How I Met Your Mother—Vancouver’s Cobie Smulders is one of those stars who comes off as a natural on and off the camera. Photographed during an emotional time when her widely successful sitcom was wrapping up its last episode (airing March 31), Smulders cleared her just-as busy film schedule (she has a couple of blockbusters on her plate, including a star turn in Captain America: The Winter Soldier) to pose for FASHION Magazine’s April 2014 issue and chat with features editor, Elio Iannacci. Here is a sneak peek at some of the things she talked about in her cover story—which arrives on newsstands on March 17.
Cobie Smudlers Fashion Magazine April 2014 cover
PHOTOGRAPHY BY CHRIS NICHOLLS; STYLED BY GEORGE ANTONOPOULOS; DRESS, $2,965, BY LANVIN; BRACELET, $1,085, BY JENNIFER FISHER
On choosing her role on How I Met Your Mother:
“I had to choose between three projects…I decided to go with How I Met Your Mother, which was the best call. I would’ve been so pissed off if I had gone the other way, don’t you think?”

On Robin’s character development:
“Robin started off not being the funny one…at the beginning, she was the girl that the guy wanted. She eventually went through some emotional growth.”

On her Canadian-ness:

“I never want to lose my Canadian-ness…and when I say Canadian-ness, I mean down-to-earth. I like being able to not take myself seriously and to not feel entitled.”

On the reason behind her rigorous exercise regime for her upcoming roles in Captain America: The Winter Soldier and Avengers: Age of Ultron
“I didn’t get to do many stunts, but I still wanted to be in shape..I’m wearing a catsuit for God’s sake!”

To read our cover story, pick up the FASHION Magazine April 2014 issue starring Cobie Smulders, available on newsstands March 17, 2014.

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