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    <loc>https://www.gemculturalagency.com/blog</loc>
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    <lastmod>2026-10-25</lastmod>
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    <loc>https://www.gemculturalagency.com/blog/throwback</loc>
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    <lastmod>2026-10-25</lastmod>
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      <image:title>NEWSLETTER - Throwback - Throw Back — VOL. 07</image:title>
      <image:caption>It's been a wild couple of weeks, so crazy that if you were paying close enough attention you would have noticed there was no Newsletter last week. We would never want to leave you guys hanging so we are back and better this week to report on everything that's been going on and everywhere we’ve been. And since some of these snippets are throwbacks in reference to this week's issue we will be doing a deep dive into some fashion history with the Ebony Fashion Fair and the Harlem Fashion Row.</image:caption>
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      <image:title>NEWSLETTER - Throwback - Model - Edlyn Eugene</image:title>
      <image:caption>Last week our team filmed a promo video for the company. We wanted to make it feel like an introduction to who we are while also showing what we can create for potential clients. The concept came from the vivid imagination of our Founder Moremi, and was brought to life with our full team on October 17.</image:caption>
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      <image:title>NEWSLETTER - Throwback - Shoot Day</image:title>
      <image:caption>The team met in Freeman Alley on the Lower East Side as that is where the longest scene of the video took place. Models had a call time of 12 pm, unknowingly to the GCA team there was a Snuggle pop up happening on the same street. The line stretched all the way around the block but it did not discourage the team and models from giving it their all in every shot.  Female lead model Edlyn Eugene wore an original deconstructed denim cropped jacket by designer Reesemarie of Reesies Piec333s (@reesiespiec333s). Male models Tyreese Folkes and Joselito Burgos Jr. wore unreleased pieces from Ghetto Fires (@ghettofires). Our final Model Jalene Burgos wore a top made by our founder from a past portfolio project. It was a cold day in New York so styling had to revolve around the models' comfortability. We especially did not want our girls to be freezing as they were wearing skirts and cropped tops.   The campaign was filmed and directed by Kyle Anderson(@okpadawan) , who collaborated closely with GCA founder Moremi Gbayisomore to bring her creative vision to life. The 3.5-hour shoot included a full video production alongside still photography captured by Rose Goodrich(@iknowrose_) , a New York City–based street photographer. Both creatives worked alongside Moremi to execute the campaign concept and continue their partnership with GEM Cultural Agency, collaborating on client brand events and future digital campaigns. With a couple other members from the team missing who we deeply missed, we were able to come together and create something beautiful.  We wrapped our final scene at a local coffee shop before heading back to the alley for a few last shots. This campaign was especially meaningful to bring to life alongside Moremi, and we can’t wait for you all to experience it! Follow GEM Cultural Agency on Instagram for behind-the-scenes footage and stay tuned for the official campaign video, premiering November 7. Interested in working with us? If you’re a brand looking for digital marketing services or know someone who is, visit our Services tab to learn more. Let’s bring your vision to life!</image:caption>
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      <image:title>NEWSLETTER - Throwback - Now it's time we gaze back to a fashion moment of the past to acknowledge how far we’ve come and who put us on the path to getting there. As an agency that specializes in granting exposure for black designers and black models, it's only right we pay homage to a woman who pathed new avenues (or runways) for black creativity to be seen.</image:title>
      <image:caption>. I am of course talking about Eunice W. Johnson and her Ebony Fashion Fair.</image:caption>
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      <image:title>NEWSLETTER - Throwback</image:title>
      <image:caption>Following a precursor event in 1956, Johnson officially launched the showcase through the Johnson Publishing Company in 1958. What started as a charity show,  would explode over its fifty year run into an internationally traveled fashion institute, flying in the face of mainstream beauty standards, and showing that black models and designers undoubtedly deserve a place on the stage. Before the time of the Ebony Fashion Fair’s conception, the American fashion industry kept a tight hold on who was allowed to create and who was allowed to embody beauty.While there was no lack of black designers, they were denied institutional legitimacy. Mainstream erasure actively resisted giving black designers public recognition for their work, and without recognition most were successfully kept out of the industry. Anne Lowe is testament to this: the black female designer behind Jackie Kennedy’s 1953 wedding dress, regularly commissioned by Rockefellers, the Roosevelts, the du Ponts, she was referred to as “Society’s best-kept secret”. It was not until 1964 that an article in The Saturday Evening Post credited her with many of her best works. And so a show not only highlighting black creatives, but presenting their work ,along with Givenchy, Yves Saint Laurent, and Christian Dior, on color-rich skin was unheard of. It was also a hit. Raising fifty-five million in charitable donations, the traveling showcase paraded models in haute couture in front of audiences in 180 cities within the United States, Canada, and the Caribbean. The success of the Ebony Fashion fair tilted the world of luxury fashion on its head, and its effects are still evident to this day. We owe a lot to Eunice W. Johnson and the black voices she uplifted. Their unwillingness to be ignored sparked many conversations we are continuing to have today. Why is black ownership important? Who should have access to luxury fashion?  Where would be without the Ebony Fashion Fair?</image:caption>
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      <image:title>NEWSLETTER - Throwback - One Lace Fashion Show Event Coverage</image:title>
      <image:caption>Thursday October 22. 2026</image:caption>
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  <url>
    <loc>https://www.gemculturalagency.com/blog/beyond-halloween</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2026-10-12</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6aa73d86b735ad210ce07218/61b989bf-cc79-4cf2-b2f1-f781ddc9b0af/GEM+NewsLETTERS+.jpg</image:loc>
      <image:title>NEWSLETTER - Beyond Halloween</image:title>
      <image:caption>In America, we celebrate Halloween every year, and it is a time for people to get together, dress up like their favorite princess, movie characters, or memes. Kids get dressed up and go trick-or-treating, and adults go out to Halloween parties to reconnect with their inner child. But keeping the idea of GCA being committed to uplifting cultures and how they are expressed through fashion and art, we wanted to find holidays celebrated amongst different cultures that also involve dressing up, passing on spirits, and celebrating with loved ones.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6aa73d86b735ad210ce07218/aba43b4e-ec83-44f9-8159-3c445617f4dd/Screenshot+2026-10-12+at+3.37.27%E2%80%AFPM.png</image:loc>
      <image:title>NEWSLETTER - Beyond Halloween - Mexico In Mexico, El Día de los Muertos is a 3-day holiday spanning from October 31st to November 2nd. The holiday’s purpose is captured in one of its staple traditions: the Ofrenda. These lovingly decorated home altars include photographs, brightly colored flowers such as marigolds, and skull-themed sweets. Families meticulously craft these individual dedications to welcome the departed back into the home. Where some Halloween celebrations center on fear in different ways, El Día de los Muertos strives to promote remembrance and the joy associated with it. On November 1st and 2nd of November have participants playing La Pirinola (A traditional spinning top game), watching parades, and competing in cook-offs. And then there are the outfits Inspired by the historical character of La Catrina, the dresses worn during El Día de los Muertos adopt her skeleton motif and Victorian aesthetic. Think feminine silhouettes, puff sleeves, bright florals, ruffles and intricate patterns. The holiday is underscored by a shared tone of comfort throughout, and our favorite example is the outfits. People literally disguise themselves as skeletons just so those who have passed might feel welcome in their homes. So maybe the halls can again be filled with their love and laughter.</image:title>
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      <image:title>NEWSLETTER - Beyond Halloween - China On the 15th of the seventh lunar month, usually falling somewhere around August, China celebrates its Hungry Ghost Festival. The celebration originates from Taoist and Buddhist traditions as a way to appease and honor ancestors.  They do so in a wide array of offerings and decorations that invite the spirits to take part in the festivities. People light incense and float water lanterns on rivers and lakes to lead wayward spirits home. Bands play music to soothe them. Participants cook elaborate meals and place them out for them to scent. And artisans construct massive paper and bamboo effigies for their amusement. These artworks range from modern Tesla sedans (with charging cables), fully made out of paper, to 20-foot-tall statues of religious figures like Dashiye the King of Ghosts. At the end of the celebrations, the food, figures, and money offerings are burned, so that they may pass from matter to spirit for the ancestors to enjoy. The festival is rooted in respect and hospitality. As such, costumes are not traditionally a part of the holiday. People wear plain and modest clothing. No extravagant colors, no outlandish designs. They dress as if they’re receiving treasured guests, because they are. The spirits are cherished loved ones gone too soon, elders, and ancestors who smile down upon you though you may have never met them. The Hungry Ghost Festival is a time set aside to acknowledge this, spending deliberate time with those who cannot be touched, though their love is still felt.</image:title>
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      <image:title>NEWSLETTER - Beyond Halloween - Nigeria  In Yoruban culture, the Egungun is a sacred masquerade wherein ancestors manifest within concealed dancers, offering blessings and guidance to the living. The practice originated in Nigeria and parts of Benin. The term Egungun translates to “bone” or “skeleton” — a nod to the foundational effects ancestors had on society and continue to have by  enforcing moral order and settling disputes during these events. As one of many masquerades important to the Yoruba tradition, the day of the Egungun features large feasts, community gatherings, and dancers. From a young age, children are taught to respect these figures. Crowds part for them, and the utmost reverence is given to any wisdom they impart. The dancers' outfits are a beautiful blend of form and functionality. Their attire must fully hide them in order to channel the returned ancestors. This is accomplished through a multilayered design. The base is made of Aṣọ-òkè, a traditional weave of cloth strips. Cascading panels, patchworks, and lappets are then added to the base layer, creating otherworldly silhouettes. The piecemeal construction adds dynamism to the outfit, with panels flapping in the wake of the dancers' turns, blowing wind into the crowd. These gusts are known as “breeze blessings.” — favor cast from the ancestor onto the living. The idea of compounding multigenerational design also appears in families' outfits. New textiles, beads, cowrie shells, mirrors, coins, and imported trade cloths are added to ensembles over generations, displaying a lineage’s prestige and history. Both the dancer and the family outfits emphasize a return to the past. They ensure that the path taken to bring these people to the modern day is never forgotten. And the themes of ancestral guidance encourage people to look back at where they have been to see the way forward.</image:title>
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    <loc>https://www.gemculturalagency.com/blog/its-october-4th</loc>
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    <priority>0.5</priority>
    <lastmod>2026-10-12</lastmod>
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      <image:title>NEWSLETTER - ITS October 4th - Make it stand out</image:title>
      <image:caption>All too often, great costume design goes underappreciated in movies and TV. Often, great stories not only propel actors to stardom and capture the hearts of the public,  but they also send shockwaves through the world of fashion. They inspire mass adoption of patterns like plaid and animal print, give us more layering than we knew what to do with, and make sure that Wednesdays always have us reaching for our pinks.    So, this week we thought it only right to give out some flowers. These movies told much of their story by how they dressed their cast, unintentionally birthing trends and styling their fans in the process. Let’s look into what some of our favorite characters were able to say through sequins and not sentences, and how we can apply it to our own wardrobes. Our Favorite Fashion Movies  This week we are focusing on the fashion of five movies, Clueless — 1995, Mean Girls — 2004, Edward Scissorhands — 1990, The Cheetah Girls — 2003, and B.A.P.S. — 1997.  These movies tell a story through their fashion and stand out for fall styling tips. Keeping your wardrobe interesting in the fall becomes hard, everything needs a jacket or maybe a couple of layers. Using these movies we are going to translate the costume design from these iconic movies to your everyday fall wardrobe.</image:caption>
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      <image:title>NEWSLETTER - ITS October 4th - Make it stand out</image:title>
      <image:caption>Clueless — 1995 ‍ ‍ Set in Beverly Hills, 1995’s Clueless feels as good a place as any to start. An adaptation of Jane Austen’s Emma, the movie follows Cher Horowitz as she navigates Bronson Alcott High School. And while Cher and her matchmaking schemes drive the movie, someone else stole the show for us: her best friend, Ms. Dionne Davenport. Played by Stacey Dash, Dionne serves as Cher's right-hand woman through most of the film. Their coordinated outfits showcase some of the best work of costume designer Mona May. The pair always match in their preppy schoolgirl plaids and pleats. But for this movie we really want to focus on the power of a good accessory. Because, I mean, look at Dionne’s Hat! Constructed by KOKIN, Dionne’s black, red, and white flower hat is a showstopper unto itself. Stark colors top a vinyl brim (matching her blazer’s lapels), and the hat is just as courageous as its wearer. Dionne who could have easily fallen into the shadow of being the token black sidekick, but through opening the movie with that bold styling choice Dionne's character identity becomes just as recognizable as her counterpart Cher. She told us as much with the hat: She is bold and not afraid to make a scene. A good accessory should work to function within the outfit as a whole. From their colors to their materials, the accessory and outfit mirror one another, building their cohesiveness and strengthening the look overall. So, when choosing your own accessories, consider them in terms of what they do for everything else you’re wearing.</image:caption>
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      <image:title>NEWSLETTER - ITS October 4th - Make it stand out</image:title>
      <image:caption>Mean Girls — 2004 Of course, we all knew I’d eventually bring up Mean Girls, the article's title is inspired by it. Written by theTina Fey and starring Lindsay Lohan, the movie released in late spring 2004. Through her and her team’s work, costume lead Mary Jane Fort helped define how an entire generation dressed. To create a foundation for the cast’s look, Fort and her team scraped countless high school yearbooks and teen magazines to predict future trends, while also looking back to older eras when dressing your best for school was expected. The result was timeless costuming that communicates the high school experience no matter when you watch the film or when you graduated. And if we’re talking about iconic fashion and hallmarks of high school, we have to talk about Queen Bee, Regina George.  Regina has maintained her reign over North Shore High School. This is reflected in her ability to constantly turn out the best looks in school while always returning to her comfort color of pink.  The major styling pull we took from mean girls is styling different shades of pink with fall plaids. It's seen throughout the movie and is honestly  a lot more effective to an outfit than it sounds. Fall fashion always seems to go mute when it comes to color, but the plastics choice to keep pink in the rotation no matter what season shows that you can create trends, not just follow the ones already set in place. We want to see everybody wearing color with their fall plaids this season.</image:caption>
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      <image:title>NEWSLETTER - ITS October 4th - Make it stand out</image:title>
      <image:caption>Edward Scissorhands — 1990 And while we’re on the topic of doing the most with a single color, let's look into the doom and gloom of Edward Scissorhands for what bright nuggets we can find. The 1990s main character, courtesy of Tim Burton, was costumed and brought to life by designer Colleen Atwood. There are plenty of reasons why the movie is so memorable throughout generations, one reason being Johnny Depp with blades for fingers. At GCA our most memorable aspect of the movie was the monochromatic palette of the neighborhood characters. In essence it was encapsulating the sheep like mentality of modern day suburbia but also it was striking and dominating. . Using a single color throughout an outfit can give it a certain confidence—more presence through a lack of variation. In denying the eye a break from a single color, monochromatic outfits can draw attention to virtues besides color.  Much like Edward himself, the all-black outfit demands that you look past your initial impression to receive all that it has to offer. Add this to your styling pantry! Fall reds, oranges, and browns pair beautifully with themselves.</image:caption>
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      <image:title>NEWSLETTER - ITS October 4th - Make it stand out</image:title>
      <image:caption>Cheetah Girls — 2003 Continuing forward on our movie timeline, we can’t pass 2003 without mentioning The Cheetah Girls. The aforementioned movie became the highest-rated premiere for a Disney Channel Original Movie at the time, and its soundtrack went double platinum. So how did this mesh of song, script, and style come together?   In the same way Cheetah Girls songwriter, Galleria, comes up with her outfits. By being resourceful. It is by no means new ground to say the group, and by extension the movie, were heavily influenced by Destiny’s Child. From their sound to their personal dynamics, they served as spiritual older sisters for our girls in cheetah print. And like all younger sisters, the Cheetah Girls “borrowed” what they liked from their closet. Their penchant for mixing patterns and distributing proportions across the group is almost a direct homage to the original four women from Houston, Texas. The Cheetah Girls took these concepts and expanded on them. They used different proportions to individualize each member, while spreading unique (usually animal-printed) patterning across all four girls, making them look like they belong together. Their outfits are strong on their own, but together the effect is incredible because the patterns play off one another, producing stunning four-person looks. Add to this their rainbow of velour tracksuits, some furs just because, and the Cheetah girl’s aesthetic is born. And luckily for us, faux animal print is timeless, our Cheetah sisters just gave us ways to think outside of the box when styling them. When deciding what to wear, you don’t need to stay loyal to one aesthetic. Most good art is inspired by tons of different places, and you can do the same with the way you dress.</image:caption>
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      <image:title>NEWSLETTER - ITS October 4th - Make it stand out</image:title>
      <image:caption>B.A.P.S. — 1997 Can we be honest with you real quick? One movie’s worth of cheetah print isn’t enough. It’s just not and we don't feel like that statement needs to be explained further . Luckily, the movie B.A.P.S. will let us stick to that animal style. Featuring Halle Berry and Natalie Desselle-Reid, dressed by two-time Academy Award-winning Ruth E. Carter, BAPS is over the top and stays that way through its hour-and-a-half runtime. Huge hair, out-of-pocket jokes, and hijinks; one of these three is on screen at any given moment. And to round it out, you’ve got the outfits. This movie tells you what it is immediately. B.A.P.S. which stands for Black American Princesses features the two main actresses on the cover wearing our favorite outfits from the whole movie. Nisi in her creamsicle orange and Mickey in her yellow and cheetah. And, no, I did not forget the cheetah print. Mickey’s yellow out encapsulates the movie's core themes. In the midst of high society’s pressure to conform, she is not afraid to rock what looks great. The print adds texture; it is timeless, and it lends confidence to the wearer. Not to mention, they go great with any color, which Mickey clearly knows, pairing the bright yellow trim with bright yellow pumps.</image:caption>
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    <loc>https://www.gemculturalagency.com/blog/i3iohvij2telhb9tofezyfynh8jo66</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2026-10-12</lastmod>
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      <image:title>NEWSLETTER - Curtain Call - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>https://www.gemculturalagency.com/blog/nyfw-ss27-event-recap</loc>
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    <lastmod>2026-10-12</lastmod>
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      <image:caption>Daveed Baptiste with Moremi Gbayisomore</image:caption>
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      <image:caption>Hosted in Midtown on 29th Street during Fashion Week, In Loving Memory brought together a room full of creatives, each bringing their own personal style and creative flare to the space. From the artwork to the crowd, the gallery opening felt like a true meeting point for fashion, art, and culture — with free wine flowing throughout the evening courtesy of the 1800 Collective team. The exhibition was curated through a collaboration between Peter Cepeda, his sister Rachella Cepeda, and 1800 Collective, an NYC NY Event Group, creating a space that celebrated both emerging artistry and the people behind it. The exhibition was curated through a collaboration between Peter Cepeda, his sister Rachella Cepeda, and 1800 Collective, an NYC NY Event Group, creating a space that celebrated both emerging artistry and the people behind it. One piece that immediately caught our attention was a portrait of two young Black girls. After speaking with Peter, we learned that the girls are his nieces — giving the work an even more personal connection. It was one of those pieces that felt intimate before you even knew the story behind it.</image:caption>
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