On the Pulse of Black Beauty and racial justice

(This is the final of a two-part series.)

Powered by passion and driven by a strong motive to produce results, the Pulse system of introducing new faces from Jamaica and later, the greater Caribbean, to the international market developed many early successes spanning both sides of the Atlantic. Kimberley Mais, a trailblazer, made her mark in Tokyo, Paris, and New York. Angela Neil, Althea Laing, Juline Samuels, and a host of others would be featured in magazines and advertising in the major markets of New York, London, Paris, and Milan. Since then, the list of highly successful Pulse models has been widely documented, from multiple cover girl Lois Samuels to Jaunel McKenzie, who became the world’s number- one black model for three years running; to Jeneil Williams, who appeared in the first all-black edition of Vogue (Italian). Fast-forward to more recent times with Alicia Burke’s cover appearance, again, for V ogue Italia. Pulse models have worked for the most important fashion brands worldwide.

Although significant for Pulse, in the global context, this was little more than tokenism in how the fashion world saw and used the services of black beauty. Rarely did a black model front a global fashion campaign for a major brand (as did Nadine Willis for Gucci in 2002) or appear on a major magazine cover.

Fashion’s white power brokers kept a tight rein and limited the access of a significant number of beautiful black women.

COVID-19 and the intersection of a renewed awakening around the importance and significant contribution of black lives may have created the perfect conditions for a paradigm shift in how black talent is perceived and utilised. This is opportunity for manifest growth, development, and financial success.

The pandemic and the attendant lockdown/work-from-home ordinances, mixed with the tragedy of George Floyd’s death and potent social media, facilitated the groundswell of people power through the Black Lives Matter (BLM) protests. This has galvanised a racial-justice movement all over the globe. And this time, too, the approach for social justice is deeply layered and encompasses all areas of life beyond voting rights, criminal justice reform, etc. Opportunities for all races to adequately participate in economic activity are now vitally relevant in advancing justice. Social media has catalysed the movement with a salience that will not allow it to fade. The built-in transparency of new media readily puts the powerful under a microscope. Thus, they can be called out for both action and inaction.

Rectifying the wrongs

The Black Lives Matter movement and the pandemic have highlighted the racist positions that have maintained the status quo in the beauty and fashion industry for generations. Its leaders have taken notice and are now trying to rectify the wrongs, become more inclusive, and open their eyes to the new dynamic in consumer patterns as well as how the world looks and ought to be represented across all areas of fashion. There is a keen understanding that it is insufficient to simply apologise as per the Condé Nast example. Condé Nast, publishers of Vogue and several other magazines, have been trying to come to terms with the systematic racism throughout its culture. Commitments to act in a racially just manner must be followed by real action. We hope that the new interest in black beauty will be sustained and the offerings abundant for talent of colour.

Despite fashion’s challenges, marked by the bankruptcy of several large retailers, including the centuries-old Brooks Brothers, along with Ann Taylor, Barneys, Neiman Marcus, Roberto, J.Crew, and Lord & Taylor, it is clear that the new opportunities for black talent fall at the intersection of this pandemic and the racial-justice movement.

The major industry players are keen to feature black models more significantly and with much greater frequency in all aspects of the business. Black-owned businesses are becoming bolder and arenmoving to the fore to take their place among the best in their categories. In fact, the Barbados-born Rihanna, through her Fenty beauty line, has produced close to 40 shades of make-up foundation to cater to black customers. She has highlighted the deficiencies, albeit inadvertently, of other make-up companies that have long underserved the needs of black consumers.

Model agents in New York, the biggest and most lucrative market, are acutely aware of the times, and as that city eases into its final phase of reopening, the uptick of business is notable and even more so for black models. “The market is in need of strong, beautiful black girls. People know what time it is,” says Elite’s Michele Prior. The requests are coming in at a quick clip, and Pulse’s top models are poised to claim these riches of opportunity. Having played their part in creating new paths for black models, Jeneil Williams, Alicia Burke, Francine James will continue to push boundaries in the new movement. And so, too, can Miqueal Symone Williams, Daniella Davis, and the 2020 class of new faces like Shantae Leslie and Zan Hyde, whose nascent careers are about to take off in these extraordinary times.

Pulse played a pivotal role in creating success for black models in the international market four decades ago. Now, the company is positioned to engineer an explosion of new talent for the new order that beckons.