Igi  Lola Ayedun ︎

Photography :  Mylena Saza  

Styling: Camila Vaz Models: Weslley Baiano y Gzebel (Another)

STILL HERE, 2020, serie
Photography: Ivan Erick Styling: Alexandre Dornellas
Make-up+ hair: Janaína Marques (Fernanda Sá) Nail artist: Eliane Olyveira
Styling assistant: Lucas Rodrigues
Retouch: Philipe Mortosa
Model: Thalita Farie  (Viva)

NOT ALONE, 2019, photography
Helen Salomão

Graphic design
João Pedro Nogueira

Locked doors, open borders.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!! I wanted to write a panoramic about the world right now but just thinking of it makes me wanna scream! Who could tell that 2020 would turn into this? Ok, a better q would be: who projected this year to unfold this way? It’s obvious that, while a pulse filled with optimism exists, aiming to build a valve of economic progressivism to the generations to come, to be in this exact moment, here, in the global south, specifically in Latin America y then, even more specifically, in Brasil, turns the notion around the deepness of every problem of the world explicitly visible. There is a white haze, 80% opacity, that causes blindness and ends to numb the Americas, ensuring there is no step forward without any risk.

Since a very young age, I was always afraid to go down the mountains, towards the beach. Always feared the very white haze there was. Not seeing clearly is constantly a reason for a mini-panic attack. Okay, it must be because of the limited spectrum of my eye, or because of the accuracy required by my ascendant and moon in Virgo, or even because I was educated to always understand the value of things before putting them in check, before playing into the void. However: what a f* mess Ms. Earth?

We have spent the past few months experiencing the global uprising of the people's fights against colonialist heredities. Many spoke about guilt, responsibility, equality, freedom and reparation. Empowered by a social network, where the voices of the racialized people has become a bonfire of reincarnated enunciations among a whole centenary history of resistance. For the first time, I accepted the beauty of collective euphoria with a certain tranquility, and all because it was impossible not to see in each flame a little piece of many of our fears.

The crisis of the norm is not over yet. Today, as much as we already have enough aspirational repertoire for another 50 years of film industry (between invasion of locusts, cyclones, pandemic and economic recessions, etc) there is much to rebuild from so many ashes. To question incessantly what is our place of existence in the projections of the future of this world has become the greater starting point.

There’s some kinds of behaviours and reactions that can be seen as ciclic in our own history. However, when I stop prioritizing the western narrative, I can’t let go of the idea of continuity when revisiting the essences of our ancestral knowledge. Now, in this exact moment of the world, I hear all prayers piled up from 500 years ago, submerging the gravity of the planet with polyphonic chants of liberation. I feel all the energy of the waters of the seas, between so many crossings (please consider: so many crossings!), seasoning in the winds the strength of each of our movements. I see, as well, every soul and ancestry that we carry within us, settling into comfort, greatness and sharpness, learning a new understanding about the time and compositions around what it is to live. We still here. Harvest time. The time to exist.


Gabriela Campos y Igi Lola Ayedun


In the last week (28.07) the fashion world found itself (once again!) lost in the spiral of controversies of social media, involving the racial debate that since the BLM demos post-George Floyd, has intensified with the intention of reaching together a broader panorama on equality prospects. This time, the case involved the Italian brand MARNI, founded in the 1990s by Consuelo Castiglioni and currently part of the OTB group - the same that owns other luxury brands such as MAISON MARGIELA, DIESEL, VIKTOR & ROLF etc. The sensitive point of the pandemic's launches was the brand's latest accessory campaign, directed by the creative studio GB65 and photographed in northeastern Brasil, more precisely, in the city of Salvador-Bahia.

With the intention of celebrating the afro-brasilian culture in one of the blackest cities in the world (outside the african continent) the serie exposed a variety of local talents to the luxury industry, aiming to season the scene of Italian labels with a non-Eurocentric aesthetic, more aligned with the global consumers desire of the last generations, who see diversity as a motto to be trusted and followed. However, let’s  be honest: 2020, BLACK IS KING, SOLANGE, BAGDALRIRI, ELZA SOARES and a whooooole history of social movements of the black diaspora of the last 60 years, has already proved that the anti-racist struggle lives not only from aesthetics. So, what seemed like a good idea became a displaced action, poorly written, poorly structured and super offensive when shaped through terms like “tribal”, “jungle” and other stereotypes that dehumanize black culture through colonial archetypes of description of the racialized body.

The story generated a buzz on the social channels of the brand as well as in publications on platforms such as DIET PRADA and DAZED DIGITAL. However, on the “oficial” version of the facts, we can’t really hear the voices of the other part of the story that was, disrespectfully, conditioned to precarious working conditions, with no creative autonomy in the processes of finalizing the MARNI campaign and under a terrible financial support in one of the countries that is going through one of the biggest economic crises of COVID-19, being the second nation in the world ranking of infections. The case also involved the signing of a document (in english) of lifetime concession of the right to use the images of all professionals, including models, completely disproportionate to the amount agreed by GB65 for distribution among the team on set (or margin, or front line or even the bottom of the row, as you wish).

Ok ok, but what about the photo with the chains? Surprisingly, the model's feet were not chained (and neither were ours!) And we unveiled all this mystery in a sincere conversation with Edgar Azevedo, the 26-year-old prodigy photographer who moves the cultural scene of Salvador's youth with his eyes full of exquisite tastes.

There is a very harmful racial complexity in Brasil, where the iron of contemporary white elitism, inherited from colonial times, still insists on shackling our narratives in a position of subservience. With no delay, MJ invites you to expand your spectrum of vision and, just like that, to know the whole truth. Clickbate? Freedom sis!

Photographer: @edgarazevedo
Creative director: @gb65
Makeup Artist: @jainepita
Fashion producer: @silasmatos
Models: @davi_mali, @noiemi_queiros, @israelqueiros e @marcelladellar

[19:08, 03/08/2020] Igi Ayedun: Oy everyone, how we doing?

[19:08, 03/08/2020] Edgar Azevedo: Hey!

[19:08, 03/08/2020] Igi Ayedun: Like, HI Gabi, Hi Edgar
[19:09, 03/08/2020] Gabriela Campos: heeey Igi, hi Edgar ✨
[19:09, 03/08/2020] Igi Ayedun: I have to say I love this wpp interviews. It feels like I’m in a movie, being exposed, you know?
[19:10, 03/08/2020] Gabriela Campos: KKKKKKKKkkkkkk

[19:10, 03/08/2020] Edgar Azevedo: Hahahaha
[19:10, 03/08/2020] Edgar Azevedo: This is my first time doing this

[19:11, 03/08/2020] Gabriela Campos: I like it cause it looks like we gossiping but it’s actually serious kkkkk

[19:11, 03/08/2020] Igi Ayedun: Love it!

[19:11, 03/08/2020] Edgar Azevedo: Kkkkk
[19:11, 03/08/2020] Edgar Azevedo: Nervousssss

[19:11, 03/08/2020] Igi Ayedun: But tbh the real information runs here, right!?

[19:11, 03/08/2020] Edgar Azevedo: Exactly

[19:12, 03/08/2020] Igi Ayedun: Well, let’s do this! Edgar I’d like you to tell us more about your work. Like a short description, to the readers that aren’t yet familiar with you. Would that be ok?

[19:12, 03/08/2020] Edgar Azevedo: Yeah, ofc!

[19:13, 03/08/2020] Igi Ayedun: So, you are a photographer... right??

[19:15, 03/08/2020] Edgar Azevedo: I am and work with photography since about 10 years
[19:15, 03/08/2020] Edgar Azevedo: My work is and has always been based on building positive representation of black skin in visual fields or practices. Offering a new perception on how I think today's society could act in the deconstruction of imposed standards, addressing issues such as masculinity, sexuality, politics and personal experiences. Always exploring new visual concepts, researching and exposing my own view on what directly affects my life in the society in which I live.

[19:15, 03/08/2020] Gabriela Campos: 10 years? :O but like, how old are you? kkk

[19:16, 03/08/2020] Edgar Azevedo: Hahah I’m 26, started shooting when I was 15. But I fell in love with it when I was about 12...

[19:17, 03/08/2020] Igi Ayedun: Whoa, that’s amazing! Salvador’s wonder boy.
[19:17, 03/08/2020] Igi Ayedun: ❤️

[19:18, 03/08/2020] Edgar Azevedo: A bit crazy cause I’ve always thought of having another profession, but somehow I always worked in other places just so I could invest in my photography
[19:18, 03/08/2020] Edgar Azevedo: Which is a very expensive field
[19:18, 03/08/2020] Edgar Azevedo: But I always figured it out, a lot of hustle, jobs, and more jobs, Mas sempre dei um jeito, muitos corres, trabalhos, built my own path

[19:19, 03/08/2020] Gabriela Campos: Y E S!

[19:19, 03/08/2020] Gabriela Campos: and how was it or it’s been to build your career in Salvador?

[19:20, 03/08/2020] Edgar Azevedo: Extremely difficult and exhausting
[19:20, 03/08/2020] Edgar Azevedo: Well, it’s a big fight, up until today.

[19:21, 03/08/2020] Gabriela Campos: are you currently mainly working with photography there?

[19:21, 03/08/2020] Edgar Azevedo: The thing is that here in Salvador, everything is quite precarious to everyone working with art, you know? It sums to be about a network that if you don’t have access to it, becomes really hard to survive it all. And, unfortunately, I’m not part of this network
[19:21, 03/08/2020] Edgar Azevedo: But I do what I can.

[19:21, 03/08/2020] Gabriela Campos: .. hnmm I got curious about this other profession that you’ve already imagined to yourself haha

[19:22, 03/08/2020] Igi Ayedun: same kkk

[19:22, 03/08/2020] Edgar Azevedo: I’m currently making my living strictly from photography, 5 years ago me and my partner created @laiafilms so we could meet the demands coming from the wedding market here in Salvador.
[19:22, 03/08/2020] Edgar Azevedo: A lot of different things. Bar keeper, telemarketing, poetry on the bus, photocopies …
[19:22, 03/08/2020] Edgar Azevedo: Damn, it was a lot o things
[19:23, 03/08/2020] Edgar Azevedo: Selling cans that my father used to collect from the restaurant he worked...
[19:23, 03/08/2020] Edgar Azevedo: It was a lot. Real fight

[19:23, 03/08/2020] Igi Ayedun: Yes, I can imagine.

[19:24, 03/08/2020] Igi Ayedun: and Edgar, how did your work migrated to fashion photography? How is it to dialogue with this universe within your creative process?

[19:25, 03/08/2020] Edgar Azevedo: I’ve always been in love with wedding photography, but I saw in fashion an opportunity to learn more about the technicals, lightning and retouching. That was when I started to study and create self-made editorials with some friends that were also into producing and creating something here in Salvador.
[19:26, 03/08/2020] Edgar Azevedo: But soon I’ve quitted fashion because I understood that it wasn’t something for me, at least that was what I thought for a long time
[19:27, 03/08/2020] Edgar Azevedo: Never managed to publish and have space in magazines, I was doing it fully out of pleasure, but always wished to be part of publications
[19:27, 03/08/2020] Edgar Azevedo: Which almost never happened

[19:29, 03/08/2020] Gabriela Campos: aaa, welcome to the club! 😥

[19:30, 03/08/2020] Gabriela Campos: but what about Marginal.Mag?

[19:30, 03/08/2020] Gabriela Campos: how did it happen?

[19:34, 03/08/2020] Edgar Azevedo: Marginal came from a provocation I had
[19:35, 03/08/2020] Edgar Azevedo: I wanted to create a mag where we could talk exclusively about all the pluralities of the black men

[19:35, 03/08/2020] Igi Ayedun: Interesting. And how do you make it happen nowadays? Is it digital, printed, is there more people leading this project with you?

[19:37, 03/08/2020] Edgar Azevedo: At the moment we are on a break, I started all alone. But cause there’s a lot of demands that need daily attention (cause of a survival thing) [19:37, 03/08/2020] Edgar Azevedo: I ended having no time left to give the attention it needs
[19:37, 03/08/2020] Edgar Azevedo: But it is digital
[19:37, 03/08/2020] Edgar Azevedo: I started alone but I really want to invite some people in

[19:41, 03/08/2020] Igi Ayedun: It would be amazing to have a publication that shine some light on the scene in Salvador. Here in São Paulo, I feel like we are so disconnected from the rest of Brasil…

[19:42, 03/08/2020] Gabriela Campos: YESS. I feel like sometimes we end isolated in a separated market
[19:42, 03/08/2020] Gabriela Campos: but anywaysssss

[19:42, 03/08/2020] Edgar Azevedo: yessss
[19:42, 03/08/2020] Edgar Azevedo: Very that!

[19:43, 03/08/2020] Gabriela Campos: you said earlier that you felt it was quite hard to propose fashion projects… how was the whole MARNI process? It suddenly became so big!

[19:43, 03/08/2020] Igi Ayedun: Yes, I know it’s a sensitive topic for you due its repercussion, but I’m happy to know that you can feel comfortable to talk to us about how everything unfolded…

[19:44, 03/08/2020] Gabriela Campos: RT

[19:46, 03/08/2020] Edgar Azevedo: Awesome. I was pretty happy with the idea of doing something with my homies to such a big brand as MARNI, but I wasn’t expected to feel so sad after seeing my images being reposted with extremely unappropriated subtitles.
[19:46, 03/08/2020] Edgar Azevedo: It was hard to believe
[19:47, 03/08/2020] Edgar Azevedo: So, (_____* the campaign art director through his office operations in Brasil) that was responsible to connect me and the brand
[19:47, 03/08/2020] Edgar Azevedo: Invited me, through his project (_______*platform dedicated to new black creative talents). 

[19:48, 03/08/2020] Igi Ayedun: Tell us how was this process? Have you guys worked together before? And how did the invitation to shoot the next MARNI’s campaign came through?

[19:50, 03/08/2020] Edgar Azevedo: So, first (______*the campaign Art Director) invited me to take part on his project, (_______*platform dedicated to new black creative talents)., asking me some of my images to publish on this project
[19:51, 03/08/2020] Edgar Azevedo: And then soon after that he invited me to shoot a campaign for MARNI

[19:52, 03/08/2020] Igi Ayedun: And how was the creative process behind this one? Was there a briefing?

[19:54, 03/08/2020] Gabriela Campos: exactly! was there a moment in which they had some more specific directions for you? And were you aware of which campaign would the images be used for?

[19:54, 03/08/2020] Edgar Azevedo: Yes, there was a briefing. Initially, the products from @marni were meant to be shot along with some models here in Salvador, but as the pandemic hit us, the pieces ended not arriving in time for the shoot. Which originated the idea of making collages with the pieces on the images we would produce
[19:55, 03/08/2020] Edgar Azevedo: Yes, I was aware that they would be used to promote the new bags and sandals, but I was not aware of the collection’s name or anything around it
[19:55, 03/08/2020] Edgar Azevedo: Got to know about it when they released it
[19:56, 03/08/2020] Edgar Azevedo: When the images were published

[19:56, 03/08/2020] Igi Ayedun: And what about the making of this shooting? Models, crew, narratives? Was this also part of the briefing? 

[19:57, 03/08/2020] Edgar Azevedo: Yes, they wanted it to be something very “Brasilian”, but at the same time something very specific and tight to Salvador, you know?
[19:58, 03/08/2020] Edgar Azevedo: The paintings, styling refs, was everything there
[19:59, 03/08/2020] Gabriela Campos: was there anyone else working on the executive production? selecting the cast, producing the styling? Or was everything on you?
[20:01, 03/08/2020] Edgar Azevedo: I had to do it all myself when it came to executive production and casting. I just had a friend helping on the styling production, another friend doing hair and make-up, and a friend assisting me
[20:01, 03/08/2020] Edgar Azevedo: But I was the one making it all happen in the end

[20:02, 03/08/2020] Igi Ayedun: Do you think that the set was reduced because of the pandemic?

[20:04, 03/08/2020] Edgar Azevedo: A lot! We just had access to that space because at the location we were shooting, everything was in lockdown
[20:05, 03/08/2020] Edgar Azevedo: The beach was closed. But I wanted to give my best, something I always do when I set myself to do something.

[20:06, 03/08/2020] Gabriela Campos: excluding the pandemic context, would you say that you happen to have more of a creative freedom or do you believe if this was shot in a different climate, the support to make it happen would be bigger?

[20:07, 03/08/2020] Gabriela Campos: I’m talking crew: like the creative team from the brand, from the (_______*platform dedicated to new black creative talents) project, etc…

[20:07, 03/08/2020] Gabriela Campos: being present on set on the day of the shoot...

[20:10, 03/08/2020] Edgar Azevedo: Yes, there was more of a creative freedom, even so because the deadline was super short, so everything was in a rush. So yeah, I think the support would be different in a different context.

[20:11, 03/08/2020] Gabriela Campos: You said earlier that the pieces couldn’t get to you because of the pandemic. The accessories worn by the models were from local brands?

[20:12, 03/08/2020] Gabriela Campos: was there a previous approval from MARNI to use them?

[20:13, 03/08/2020] Edgar Azevedo: They are pieces found on flea markets here in Salvador, like the São Joaquim market e.g, where you can find a lot of local artisans work

[20:14, 03/08/2020] Igi Ayedun: Edgar, now let’s go straight to the point: In relation to all the negative reactions on social media, most of them were related to the image of chained feet. What was that exactly? Did you literally chained the model’s feet?

[20:16, 03/08/2020] Edgar Azevedo: Never! That would never be my intention. My work goes against it all! That image specifically, I positioned the model on top of a concrete pillar, where there are some security restraints from a wall on the beach, all to make it more harmonic. The image would be cutted, there’s no way the chains would be present on the image!
[20:16, 03/08/2020] Edgar Azevedo: The issue was that they didn’t sent me the images for approval beforehand
[20:17, 03/08/2020] Edgar Azevedo: I was completely off from this process

[20:19, 03/08/2020] Gabriela Campos: so there wasn’t any previous retouch from your end? And you also didn't take part in the selection process?

[20:21, 03/08/2020] Igi Ayedun: Damn! Can you tell us a bit about how the delivery process was as well as the finalization of this work?

[20:22, 03/08/2020] Edgar Azevedo: What happened was that as they weren’t here, I’ve basically sent all images so they could have an idea of what we produced here in Salvador
[20:23, 03/08/2020] Edgar Azevedo: But they ended choosing the images, retouching it and finishing the process without sending me anything, so I could see the end result

[20:24, 03/08/2020] Gabriela Campos: 😮

[20:25, 03/08/2020] Gabriela Campos: was this campaign focused on digital only? or was there the possibility of printings?

[20:25, 03/08/2020] Edgar Azevedo: As far as I know, it was only for digital. This was not made clear to me

[20:26, 03/08/2020] Igi Ayedun: But did you send the images without any retouch?
[20:26, 03/08/2020] Igi Ayedun: without cuts?
[20:26, 03/08/2020] Igi Ayedun: nothing?

[20:26, 03/08/2020] Edgar Azevedo: Yes, no cuts, nothing.
[20:27, 03/08/2020] Edgar Azevedo: I only made few light and color adjustments just to make some parts of the images more visible

[20:28, 03/08/2020] Igi Ayedun: And how was to you to not be part of it? Wasn’t there any response to the archives you shared?

[20:29, 03/08/2020] Edgar Azevedo: I literally only managed to see the final images after everything went down, precisely when I was asked to make a post explaining the context of the image
[20:29, 03/08/2020] Edgar Azevedo: I mean the image with the chains
[20:30, 03/08/2020] Edgar Azevedo: This was the 27th of July, after they had published and deleted the images

[20:32, 03/08/2020] Gabriela Campos: when exactly did you share the archives?

[20:32, 03/08/2020] Igi Ayedun: Ok, so you were indeed excused from the selection process of these images. Which means that your vision wasn’t fully delivered to the client, taking in consideration that the images didn’t have any kind of adjusts.

[20:33, 03/08/2020] Edgar Azevedo: I shot on the 12th and sent through on the 13th

[20:34, 03/08/2020] Igi Ayedun: Now, pls tell me, in terms of fees, how was it? how did it happen?

[20:36, 03/08/2020] Edgar Azevedo: We were set at 6k for production, stating that the budget dropped due to fact that the pieces wouldn’t make it to Salvador in time
[20:36, 03/08/2020] Edgar Azevedo: I thought this budget was way too low, but I really wanted to allow an international projection towards myself and all my friends dreaming of a modeling career
[20:36, 03/08/2020] Edgar Azevedo: I was thinking more from this side
[20:37, 03/08/2020] Edgar Azevedo: On being a good opportunity to be exposed to an international circuit
[20:37, 03/08/2020] Edgar Azevedo: You know?
[20:37, 03/08/2020] Edgar Azevedo: There’s so few of these opportunities, sometimes none, that when something comes up we do it without really thinking it through

[20:37, 03/08/2020] Igi Ayedun: lol, 6k on our currency is equivalent to 958 euros!

[20:37, 03/08/2020] Igi Ayedun: This budget included models fee? and the whole crew?

[20:38, 03/08/2020] Edgar Azevedo: Yes, it was meant to cover everything!

[20:38, 03/08/2020] Gabriela Campos: and this amount was stated under contract? did they previously request you a quote or something like that?

[20:39, 03/08/2020] Edgar Azevedo: Nop, nothing under contract. DIY style, you know? [20:39, 03/08/2020] Edgar Azevedo: “I have this much, do you wanna do it?”

[20:40, 03/08/2020] Gabriela Campos: and there was any sort of contract? regarding image usage and so on?
[20:40, 03/08/2020] Gabriela Campos: I still shook with having 6k to cover everything…

[20:41, 03/08/2020] Edgar Azevedo: Yes, an image authorization contract that they sent one day prior or on the same day of the shoot, I think.
[20:41, 03/08/2020] Edgar Azevedo: It was the only thing I signed

[20:42, 03/08/2020] Gabriela Campos: you said that if the pieces from MARNI would have arrived in time, the budget would have been different. Was there any initial proposal, unlike the 6k?

[20:43, 03/08/2020] Edgar Azevedo: They didn’t really send me what would have been this total amount. They just told me that they had 6k because the pieces didn’t arrive and that they wouldn’t be able to come back.

[20:45, 03/08/2020] Gabriela Campos: and how long, more or less, did you guys work on set?

[20:45, 03/08/2020] Edgar Azevedo: Around 6/7h non stop

[20:46, 03/08/2020] Gabriela Campos: 6k for 6/7h of work... how many were you again?

[20:47, 03/08/2020] Edgar Azevedo: 8 in total

[20:47, 03/08/2020] Igi Ayedun: Has there ever been an attempt on their end to renegotiate this budget? And who informed and agreed on this fee for the job?

[20:49, 03/08/2020] Edgar Azevedo: (________* The art director assistant), was who informed me
[20:49, 03/08/2020] Edgar Azevedo: It was something like “this is a great opportunity, we have this budget and that’s it”
[20:49, 03/08/2020] Edgar Azevedo: Basically that

[20:50, 03/08/2020] Igi Ayedun: And after the negative repercussion? Did they try to repair you in any way? Moral or financially? How did that go?

[20:51, 03/08/2020] Edgar Azevedo: They require me a position with the intention of relieving their side. Speaking of my vision as the photographer. I made my text but several changes were suggested
[20:52, 03/08/2020] Edgar Azevedo: They even suggested me a template
[20:52, 03/08/2020] Edgar Azevedo: (_______* Marni creative director) from marni did apologize and all
[20:53, 03/08/2020] Edgar Azevedo: and then on friday, (_________* The Campaign Art Director) said he would send me the money that would have been used for the production tickets to Salvador.

[20:54, 03/08/2020] Gabriela Campos: Did you feel, at any time, that there was a chance they were trying to put the responsibility of what happened on you?

[20:59, 03/08/2020] Gabriela Campos: on the friday after all went down?

[21:00, 03/08/2020] Edgar Azevedo: Yes, when they questioned me about the image they have published
[21:00, 03/08/2020] Edgar Azevedo: As the mistake was mine
[21:01, 03/08/2020] Edgar Azevedo: Yes, after everything happened

21:01, 03/08/2020] Igi Ayedun: And what was the amount offered by (_______*the campaign art director) after the occasion and what was your reaction? 

[21:03, 03/08/2020] Edgar Azevedo: At first I felt grateful, but quickly started to think it through and reflect on the issue
[21:03, 03/08/2020] Edgar Azevedo: I thought this could be a way of compensating me for not positioning myself and stating what I believe
[21:04, 03/08/2020] Edgar Azevedo: He never made this clear, but I felt so
[21:04, 03/08/2020] Edgar Azevedo: About everything
[21:04, 03/08/2020] Edgar Azevedo: Exactly
[21:04, 03/08/2020] Edgar Azevedo: But felt bitter to see my name and work being harmed in the way it did
[21:04, 03/08/2020] Edgar Azevedo: Used
[21:04, 03/08/2020] Edgar Azevedo: You know?

[21:05, 03/08/2020] Igi Ayedun: Yes, taken away from its context and being distorced.

[21:05, 03/08/2020] Gabriela Campos: yessss ;x

[21:06, 03/08/2020] Igi Ayedun: And the amount of this compensation, Edgar?

[21:07, 03/08/2020] Edgar Azevedo: From the tickets? 10k

[21:07, 03/08/2020] Igi Ayedun: Yes

[21:08, 03/08/2020] Igi Ayedun: damn, this is equivalent to 1.600 euros, and still a very low amount comparing to the European luxury market average.
[21:09, 03/08/2020] Igi Ayedun: What would you like to say to the people that are still criticizing you online for being a black photographer that “signed” such a controversial campaign?

[21:11, 03/08/2020] Edgar Azevedo: I’d also like to emphasize the importance of "Ours". Black people and their stories are sources of inspiration for me, and having them by my side, talking about them, cheering them up and representing them in a positive way is one of the ways I found to talk about myself and my roots as well. I could have done a mixed casting for this campaign, but I wanted to make it as dark as possible, to make it even darker how we, black people, are incredible and exceptional in everything we set ourselves to do.
[21:11, 03/08/2020] Edgar Azevedo: It is extremely necessary to make as darker as possible, how importante these images are to me and to everyone on set, such as @jainepita, make up artist specialized in dark skin complexity responsible for taking care of the models @davi_mali, @noiemi_queiros, @israelqueiros e @marcelladellar. We are and came from the periphery, marginalized and without much perspective in life. Understanding that we are also references of beauty, intellect and a range of endless other good things, are fundamental to our construction of life.
[21:13, 03/08/2020] Edgar Azevedo: I’m completely sure that I did not sign this campaign as a whole, after all, I was excused from crucial parts of the process. You get me?
[21:13, 03/08/2020] Edgar Azevedo: I was super upset tbh, quite affected by being attacked for something I did not do, the mistake wasn’t mine and it ended being “my fault”
[21:14, 03/08/2020] Edgar Azevedo: Days without sleep, reflecting about all I’ve done up until now. I even questioned the importance of my work…
[21:14, 03/08/2020] Edgar Azevedo: I’m off Instagram cause it just made me feel bad
[21:15, 03/08/2020] Edgar Azevedo: I’m avoiding it quite a lot
[21:15, 03/08/2020] Edgar Azevedo: Cause I’m upset about it all

[21:17, 03/08/2020] Gabriela Campos: I completely get it… it’s super understandable! even so cause we’ve been in this position right @Igi Ayedun!?

[21:19, 03/08/2020] Gabriela Campos: and through all these transformations in the world and everything that happened, what do you expect from the future as a black image creator?

[21:20, 03/08/2020] Igi Ayedun: Wow, very that!

[21:22, 03/08/2020] Edgar Azevedo: That we are no longer exploited, used and devalued, you know? I want to be recognized and valued for what I am and for what I do.
[21:22, 03/08/2020] Edgar Azevedo: I hope for a more equal future, where opportunities can reach the periphery, our communities
[21:23, 03/08/2020] Edgar Azevedo: Where I can work on something that doesn't pay me a smaller fee just because I’m black
[21:23, 03/08/2020] Edgar Azevedo: Or for assuming I’m not capable of
[21:23, 03/08/2020] Edgar Azevedo: Because I def am!
[21:24, 03/08/2020] Edgar Azevedo: This is the future I imagine, the future I want. Without any exploration from the fashion industry, without white supremacy in the market
[21:24, 03/08/2020] Edgar Azevedo: It’s about that!

[21:24, 03/08/2020] Igi Ayedun: So be it, bb. So be it”

[21:24, 03/08/2020] Gabriela Campos: it will be! ❤️

[21:24, 03/08/2020] Edgar Azevedo: So be it, dears!

[21:25, 03/08/2020] Igi Ayedun: Edgar could you pls send me a selection of your coolest works for us to put in the article and also images from Marni that were left out?
[21:25, 03/08/2020] Igi Ayedun: oh and I would also like to offer you legal support from HOA for whatever you need.

[21:26, 03/08/2020] Edgar Azevedo: Ofc! I will make a selection and send it through asap

[21:26, 03/08/2020] Igi Ayedun: The thing about granting the use of lifelong images, we will put it in the introductory text, is that alright?

[21:26, 03/08/2020] Edgar Azevedo: Whoa, thank you sm for all the support and love. I was feeling completely lost about it all.
[21:26, 03/08/2020] Edgar Azevedo: ok

[21:28, 03/08/2020] Igi Ayedun: C’mon, we got you

[21:28, 03/08/2020] Gabriela Campos: @Edgar Azevedo thank you very veeeery much for the chat, and for feeling comfortable talking with us about this! ❤️

[21:28, 03/08/2020] Igi Ayedun: truly
[21:28, 03/08/2020] Igi Ayedun: yesssss
[21:29, 03/08/2020] Gabriela Campos: yeh we got you!

[21:29, 03/08/2020] Edgar Azevedo: I’m feeling home, honestly. No ears, you know?
[21:29, 03/08/2020] Edgar Azevedo: I have no clue how to thank you girls 💚💚

[21:31, 03/08/2020] Igi Ayedun: with a lot of love, positive energy and our names on every Oxum prayer

[21:31, 03/08/2020] Igi Ayedun: just cause our mom’s they love that

[21:31, 03/08/2020] Igi Ayedun: kkkkkk

[21:31, 03/08/2020] Gabriela Campos: kkkkkkkk truuuu! they really like it haha

[21:31, 03/08/2020] Igi Ayedun: when you pleasing Oxum, think of us
[21:31, 03/08/2020] Igi Ayedun: this is enough

[21:31, 03/08/2020] Edgar Azevedo: Ofc! Funny you mentioned...

[21:32, 03/08/2020] Igi Ayedun: what?

[21:32, 03/08/2020] Edgar Azevedo: Oxum leads me

[21:32, 03/08/2020] Igi Ayedun: hahaaaaa yessss!

[21:33, 03/08/2020] Gabriela Campos: aaaaaaa ❤️

[21:33, 03/08/2020] Edgar Azevedo: I will light a candle for you girls, asking for the most beautiful things, lots of light and prosperity in your lives
[21:33, 03/08/2020] Edgar Azevedo: Especially to my father Odé
[21:33, 03/08/2020] Edgar Azevedo: May it cover you with blessings and abundance

[21:33, 03/08/2020] Gabriela Campos: there's nothing more genuine than a lit candle and a glass of water ❤️

[21:33, 03/08/2020] Edgar Azevedo: I am very grateful to you

[21:38, 03/08/2020] Gabriela Campos: Thanks once again! and let’s keep in touch ❤️

[21:39, 03/08/2020] Edgar Azevedo: Keep in touch
[21:39, 03/08/2020] Edgar Azevedo: Looking forward
[21:40, 03/08/2020] Edgar Azevedo: Everything will work out for sure!
[21:40, 03/08/2020] Edgar Azevedo: Just took a shower to keep it chill

[21:47, 03/08/2020] Igi Ayedun: axé
[21:47, 03/08/2020] Igi Ayedun: yes yes we keep in touch


The category is... VOGUING!

Ísis Bruna ︎ y Wallace Domingues ︎
The HOUSE OF MUTATIS crew  explain what is the magic behind one of the hottest cultural environment inside a contemporary queer youth. São Paulo calling.

Photography: Wallace Domingues Styling: Kitty  Make-up: Baby G  y Ayana  Hair styling: Edan Photography assistant: Mateus Rodrigues Executive Production: HOUSE OF MUTATISSpecial thanks to HOA

“The Ballroom scene allowed me to recognize a talent that I thought I didn't have, an artistic and performative side that was very withdrawn within me. Today I can assert and reaffirm every day that I am an artist. Our house was created in 2008 by me and my big sister Isis and it already speaks by its name: MUTATIS, which comes from the latin Metamorphosis, a such a strong name, with so many different meanings, but inside me the mutatis comes from the changes that each and every body can generate: the change of being, to be able to evolve spiritually and mentally, seeking to recognize ourselves, to transform and transcend one another, increasingly, through art.”

- Bonnie

"The Ballroom scene in São Paulo has been growing and consolidating itself more and more over time. The fact that people in our community identify with each other, makes the dialogues and debates around identity a quite common factor among us. After all, it created a base that strengthens us for anything we propose ourselves to do, not only art, despite the main pillar of the community being performance as an artistic bias that praises and enables the expression of bodies outside the political-social norm."


"The ballroom culture is about celebration of bodies, it is the creation of black trans women, it is about existing and re-existing. It is anti-culture, exists in opposition and against the oppression of society."


"Exalting diverse identities is a way of creating spaces of freedom and expression for our own outputs, and for the history we have built despite having a legacy of colonization that we reinvent every day."


"Place of permissions, discoveries and possibilities. I discovered a place full of meanings. You made me understand a lot both personally and professionally. I made myself and I do it with power."


"Ballroom is a welcoming space, it is a safe space of representation and identification, it is about being beyond what was built, it is destroying, deconstructing and rebuilding."

- Sodomita

"When you take a look at cultures coming from the African Diaspora, the ballroom is one of them! As much as it appeared in an North American context, when we add it to the Brazilian culture, through a Latin America perspective, we find ourselves obliged to disconnect with many colonial standards that were imposed on us a LONG time ago.”


"Guarantee of visibility and recognition of a black, peripheral and travesti culture, which goes beyond cis-normative boundaries and barriers. The opportunity to build a social life, family, legacies, stories and memories. Fight for spaces and rights: multilingual arts, composed of different powers ... And most importantly, a place of self-discovery and social reconstruction."

- Peu

"I believe that the Ballroom scene with its strength, unity and discussions takes us on the opposite path from what is imposed on us daily. Mutatis divide while add me and make me see that this equation makes perfect sense.”


"It's my cry for existence! the space of power where I make and remake myself at each Ball, at each encounter, in each experience."

- Baby G

"Family is being together, regardless of any blood ties. It is who is there for you, who runs with you and who brings the feeling of welcome and questioning in a productive way. It is a two-way street, like any other relationship."

- Carmen