I think my main issue with the blackface is I feel that if someone wants to get us thinking about different shades of beauty, then they should use women that ARE different shades of beautiful, instead of making someone into something they are not. Maybe I am being narrow-minded about it, but I just wish that the industry would celebrate real diversity, instead of creating it where it is not.
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I don’t have much of a problem with the so-called blackface in these modern pictures. It’s subtly and beautifully done. If Caucasian model has the bone structure, expressions, body moves, attitude, and gaze you want, make her any color you want and with any hairstyle you want.

I think it also introduces a long-overdue idea: why shouldn’t fair or straight-haired women emulate darker complexions or full, curly hair if it’s a look they want to embrace? Why does the path usually go the other way, with skin lighteners, peroxide, and straightening chemicals and instruments?

If Numéro had used a black model, it would be just that — a beautiful black woman in vintage styles. But the use of a white model really gets us thinking about different shades of beauty and how we can create it, and style it. More layers of thought here. I gather that Numéro is meant to be more thinky and edgy that way.

Perhaps part of the problem is the use of the label “blackface” with all its historic stigma.

I remember the first time I saw blackface was in an old Bing Crosby film, Holiday Inn. I’d never even heard of the process and, considering the mood in terms of racial tolerance back then, I was a bit struck. It seemed offensive, even for something as light-hearted as a Bing Crosby film (the very one that gave us “White Christmas” of all things! Stop it now, Casee, your film geekery is showing). Anyway, things have changed so much now and fashion is fashion, but I still feel like using blackface is in some way supporting its original use. And that’s a little bothersome.
Ramble, ramble. Regardless of the blackface, though, I do love the shoot!