Fashion Photography

Lupita Nyong’o Brings The Drama For Porter Edit

By satisfashionug | March 8, 2019

Kenyan star, Lupita Nyong’o is a drama queen for this week’s issue of Porter Edit. She models dramatic pieces in the shoot, which is accompanies life lessons she has learned from the six years she has worked in Hollywood.

Here are few excerpts from the story

“Starting with 12 Years a Slave, I was welcomed [in Hollywood] with such warmth. My castmates surrounded me. I don’t know if they are aware of this, but I felt so protected. Sarah Paulson: my God, that girl, she was like everything to me. And Alfre Woodard, she was invaluable. I would ask questions about my finances, where I should live, all sorts of things. [Woodard] had this dinner that she throws during Oscars season for all the black women in Hollywood. Being invited to that basically [felt like] my TV had exploded in the room because all these actresses were there. No cameras are allowed and people just have candid conversations. Oprah embraced my mom and my brother and invited them to her house for lunch without me. I was just like, ‘Wow, this is an incredibly supportive industry.’ I didn’t feel isolated. Gabrielle Union: we’d gone to a fashion show in France together and she’d been so open and embracing, exchanging phone numbers with me – there was a ‘you need anything kind’ of vibe. I didn’t feel alone within the black community, I didn’t feel alone within the Hollywood community… [Director] Steve McQueen really did look out for me big time. Brad Pitt, same thing. And Jared Leto, he’s still on speed dial, because we were on that [Oscar campaign] journey together and he’s so embracing of me. There was an intimacy that grew from that, that goes beyond the dating rumors, beyond all that.”

“I don’t feel defined by my hair, and I think that’s why I like to play with it. I remember when I was a teenager in Kenya, I had relaxed hair and I decided on a whim that I was going to cut it all off and grow my hair natural. I’d been going to the same hairstylist for years – he was a Kenyan, like me, and when I went natural, he didn’t know what to do with it. He was like, ‘They don’t teach us how to style natural hair in school.’ There’s been a whole revolution, led by African America for sure, where we are embracing our natural hair texture and returning to a past glory. You look at beautiful traditional hairdos from pre-colonial and colonial times and they have been erased from so much of our contemporary expression. I remember one of the first times I really saw African hairstyles preserved and celebrated as art was through the photographic lens of Leni Riefenstahl. I was 10 years old and had not truly seen images of natural pre-colonial hairstyles beyond our Kenyan borders. At the time, I wasn’t familiar with Riefenstahl’s work as a Nazi propagandist and that, in and of itself, is highly problematic, because this deeply colonialist, white supremacist gaze was introducing me to the people and hairstyles of the Nuba, Dinka and Shilluk of Sudan. Essentially, even when we as a colonized or oppressed people are engaging with images or notions of our ancestry, it is so often within a Eurocentric gaze. That idea has stayed with me. Now at least it seems like we are waking up to ourselves again, and are like, ‘Hey, hold on, wait a minute…’ Our hair is kind of fabulous and it’s like clay and we can do all sorts of things with it.”

“I’m a stickler for grammar and I can’t stand spelling mistakes in text – and now it happens more and more. I’m that person: I’ll type a text message real quick and send it and then I’ll proofread it as I send it. I’m like, ‘Oh my God. There are so many letters I got wrong!’, and I’ll rewrite the text and resend it. I judge people on their emailing skills. I feel disrespected if someone just writes to me in emojis. I’m like, ‘Where are the words? Where is the time for wording?’”