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  • Andre's Way

    A stable nine to five does wonders for the psyche due to the fact that it prevents constant worries about unnecessary hassles, such as accumulated, unpaid bills or lack of money for transportation and shelter. However, for wild-hearted artists, a regular corporate gig may be a hindrance preventing them from living life at maximum potential.  Andre L. Perry is an extremely valiant soul who ditched a lucrative career in the digital advertising field to pursue his passion as a lifestyle photographer.

    I met Andre at BAPE three years ago, and at first sight, I thought he was a stylist or worked in the entertainment industry in some way. I eventually found out that his occupation was quite the contrary to my calculation.  The suave lad with the cooler-than-thou swag and I kept in touch through Instagram, where I rapidly witnessed his lightspeed growth as a photog—pardon me, a connoisseur in visually capturing “vibes”—particularly of the millennial African-American community.

    I recently sat down with the prosperous lensman to converse about his corporate past, drastic career change and life as an entrepreneur. Check out our dialogue below:

    FRENDY:  When we initially met you worked for Complex, right?

    ANDRE:  I think when we first met I was working for Nylon magazine. I was working in Ad Operations which has nothing to do with what I’m currently doing now. Ad Operations deals with ads you see on a publisher’s website.  The ads you usually see on a publisher's page, I was responsible for managing that. I was responsible for making it appear to the right audience, making sure it clicks through the correct website, making sure that the wording was correct, ect.  There’s a lot of analytics involved, tons of reporting.  I was in excel all day, everyday—again nothing creative, nothing to do with what I’m doing now.

    FRENDY:  Oh ok, what were you doing over at Complex?

    ANDRE:  Same thing.  Ad Operations.

    FRENDY:  Why did you decide to move from Complex to Nylon?

    ANDRE:  I got fired. *Laughs*

    FRENDY:  *Laughs* Damn, what happened over there?

    ANDRE:  I knew Ad Operations was not my thing, and at the time, that was the only craft I was good at—I really didn’t care for it though. As a result, I wasn’t going above and beyond, or producing at the same level as when I first got hired at all of these jobs with the same position.  The only reason why I kind of stayed in the field for such a long time was because it paid well.

    FRENDY:  How long did you stay at Complex?

    ANDRE:  Almost a year.

    FRENDY:  That was your first job out of college?

    ANDRE:  No, so my first “real” job out of college was YellowPages.com.   That was when I was living in Atlanta. It was more of a digital sales position—I stayed in the digital world just because I was accustomed to it.

    FRENDY:  What did you actually major in college? 

    ANDRE:  I went to the Art Institute of Philadelphia and my first major was actually photography.  I was pretty much my professor’s muse, but after my second semester I bailed on the subject because I wasn’t shooting what I wanted to shoot. It was moreso technical than creative, so I had to really make a decision about what I was going to study for the rest of my college career.  I just decided to go into marketing since I had somewhat of an interest in it.

    FRENDY:  You’re fully invested in photography right now so it just goes to show how life comes full circle.  When did you realize in Nylon that Ad Operations was no longer something you wanted to do?

    ANDRE:  I actually got fired from there as well.  Working at Nylon reignited my interest in photography. I knew I wasn’t going to stay there for long, so I took advantage of the situation and started to express my passion for photography.  I informed people at the job that I was capable of shooting.

    I had an idea for featuring the raincoat company Stutterheim on Nylon Guys (which was ran by only just one person).  So I reached out to them, got a couple of coats and models to shoot. I told the person that ran NYLON Guys and got the ok for the spread.  At the end of the day, we were trying to push Nylon Guys but Nylon was trying to discontinue the section because it wasn’t making any money.  It was also around the time when Nylon was transitioning to a different webhost.  Nylon Guys was running from a different host from Nylon.com, so it was almost like they were running as two different businesses which didn’t make sense.  When Nylon.com relaunched, Nylon Guys wasn’t a part of it.

     FRENDY:  Crazy.  Let’s take it back for a bit.  Where did you grow up?

    ANDRE:  Philadelphia and South Jersey.  I was born and raised in West Philly, moved to South Jersey around Junior high school, and then spent most of my young adult life back in Philly.

    FRENDY:  How was it like growing up in Philly?

    ANDRE:  Philly at the time was very hood fab.  This was the era of Kim, Biggie, Diddy and Mase--everything was about being flashy, fly and living a music video lifestyle. I didn’t have much friends, I just always knew there was more to life.  I knew if I stayed in Philly I would of been stuck.

    FRENDY:  When did you move to Atlanta?

    ANDRE: After I graduated college in 2006, I moved to Atlanta and lived there for about four years. To be honest, I had no idea what I was going to do there.  Technically, my first job was working for Sprint in ATL right after college because I simply needed money to live.  After that, I worked for other cellphone companies (including Helio) then worked for the Yellow Pages.

    FRENDY:  What was your working title at those cell companies?

    ANDRE:  Just selling phones.  Nothing creative or fab.

    FRENDY:  How did you go from selling mobile phones to YellowPages.com?

    ANDRE:  They simply had an opening in their online advertising department and I needed money.  Back then, there was no company I felt compelled to work for—I just needed to survive. I stayed with them for two years then moved to New York.

    I still didn’t know what I really wanted to do when I moved here, so I started working at Zara. I was doing the visuals for their store windows. I just knew somebody on Facebook who referred me to work there.

    FRENDY:  Did you enjoy working at Zara?

    ANDRE:  I didn’t like the job because it really didn’t leave room for creativity.  The higher ups were very specific in how they wanted their mannequins dressed, and I just realised that I didn’t care so much about the details that goes into dressing them. A piece of clothing could be off by a quarter inch and usually there would be an entire two-hour discussion about it. I stayed there for about eight months and then got fired.   After that situation, I went to selling digital ads for CBS Radio.

    FRENDY:  Wait a minute.  You studied marketing in college, how were you getting all of these advertising gigs?

    ANDRE:  There’s not necessarily a trade that needs to be studied for selling ads because at the end of the day it’s just sales.

    FRENDY:  There are tons of unemployed people out there, you’re telling me they have a good chance of getting work in that particular field?

    ANDRE:  Well, it’s not that easy.  Fortunately, my resume is filled with previous sales jobs. Some of them didn’t necessarily involve selling online ads, but there was a quota I had to meet each month. When I went to these job interviews I sold myself on how I met the quotas and how I overcame certain challenges.

    FRENDY:  When did you decide to pick up the camera again? Was it during your time at Nylon?

    ANDRE:  I actually decided to pick up the camera again while working for Complex in 2014.

    FRENDY:  What inspired you to do so?

    ANDRE:  It’s a funny story. I’ve always been an android user, and when Instagram came to androids I made a conscious decision to not just post selfies. As everyone knows androids take better pictures than Iphones, so I would always take these dope pics on my phone and post them on the app.  Then, my friends who happen to be bloggers reached out and inquired about the camera I shot with, I said I just used my phone.  Since I didn’t own a camera, they said they would provide me with one to shoot them and I agreed. They provided me with a Canon T3I.  The pictures from that shoot came out great and shortly after I picked up my very first camera (Canon T3i).

    FRENDY:  After the shoot were you compelled to take photography seriously?

    ANDRE:   Well, I didn’t know I was going to make a career out of it.   I just knew that I liked it at that time.  It was like a drug in a sense where I instantly felt happy when I started shooting, and I wanted to continue it. 

    The Four Pins blog actually inspired me to start capturing street style, so I would always hang out in SOHO (which is where we met) to capture cool and stylish people.  I was gradually getting deeper into photography during my Nylon days.

    FRENDY:  Where were you posting all of your street style photos?

    ANDRE:  Just on my Tumblr and Instagram.

    FRENDY:  Let’s fast forward a bit.  What were you doing after you got fired from Nylon?

    ANDRE:  I was looking for work. I eventually got hired at BET for Ad Operations and stayed there for just a year.  I actually quit that job and the reason I did so was because I established a good relationship with my boss Nicole Cosby (we were brought on around the same time).  When she announced that she was quitting, I decided to do the same. 

    She played a real important role in aiding me to be where I am today. The reason why we left is because BET didn’t have their sh*t together.  We really were rooting for them, but internally it didn’t make sense to be there and invest so much energy in trying to change things around when the company is stuck in their ways.  As much as my boss tried, nothing happened.

    After BET, I went over to SpinMedia which consists of Spin Magazine, Vibe magazine etc.  Again same job in Ad Operations, but this time around I was also assigned as a media planner. I didn’t have that much experience in that field and it became overwhelming.  A media planner makes up a plan for a brand’s exposure online, then the plan is sent to a salesperson who pitches it to the company. The salesperson and company would negotiate what the plan would actually be and then it comes back to me to execute. Unfortunately, At SpinMedia I was not only in ad operations but also had the responsibility of coming up with the media plan and executing it.

    In SpinMedia’s culture it was normal, but not necessarily normal in other companies.  I wasn’t fully aware of that when I signed up for the job. It was just too much and I left the company after six months.

    FRENDY:   So when did you decide to take on photography fully? Of course, I understand that you had to survive which is why you worked all of these jobs, but what made you consciously turn it up a notch as a shooter?

    ANDRE:  The good thing about all my jobs was that they all paid great. I had about $30,000 saved in my banking account while I was working at SpinMedia.  I was 33 and then, you know, as a human being we all compare ourselves to how others are living.  I thought I wasn’t living my best life, I wasn’t living my purpose. Photography was my only passion that lasted this long.  There were so much things I thought I loved doing, but over a period of time those passions faded away.  One of my goals before moving to New york was to work for Complex and BET because I always thought it would be cool to work at those companies. When those dreams materialized I was totally disappointed.  But with photography, my high expectations were just like  how thought they would be.

    I remember getting out of work on January 14, 2016 and literally crying all the way from the train station to my home because I was fed up with not living my purpose.  Since I had money saved I sent out an email saying, "Effective Immediately: I am quitting this job."

    FRENDY:  Wow! Good for you. What did you after quitting SpinMedia?

    ANDRE:  Within 2 weeks after I sent the email I moved to Brazil for about a month. I went over there to relax a bit and take pictures.

    FRENDY:  Many people who are reading this interview may be thinking, “why is he crying?  This dude has a great job, he has money in the bank. What’s there to be sad about?” What do you have to say in response to that?

    ANDRE:  Well, at the time I wasn’t traveling.  You’re always going to want to accomplish more goals after achieving the ones you already set for yourself.  If you have $100,000 in the bank, you’re going to want $200,000. An artist can have the biggest record of the year, they’re going to want an even bigger record the following year. Every goal I set for myself was fulfilling at that time, but then I always needed more.  And as I said before, my passion for photography is endless, so I had to pursue a craft that actually gave me joy rather than financial security.

    FRENDY:  What did you do after your Brazil Trip?  Did you move back to New York?

    ANDRE:  Before quitting SpinMedia, I reached out to travel a company that documented group trips called, Travel Noire. They wanted me to shoot in Morocco for a long period of time, unfortunately I just started the job at SpinMedia so I couldn’t take the time off.  While I was in Brazil I hit Travel Noire again since I was free and they booked me.  That was my first official photography job during April of 2016.

    FRENDY:  How long were you shooting for Travel Noir?

    ANDRE:  It was all project based,I shot about 3 trips for them. Two in Brazil and one in Italy.  I did my first trip at Travel Noire back in April of 2016, then when I came back to New York I had nothing.  So in between assignments for the company I was still figuring out what I was going to do for consistent pay. That’s when Nicole Cosby (my former boss at BET) came back in the picture.

    When I was over at BET, one of the things I did was share my photography with everyone. I also did that at SpinMedia. Basically, I made sure to let everyone know that I had interest in becoming a photographer at my latest corporate jobs.  Nicole knew that I wanted to become one, so she referred me to RushCard, Russell Simmons’ pre-paid debit card company, since they were looking for photographers. They became my very first major client.  That all happened in June of 2017.

    FRENDY:  Was it unexpected for you to get the gig?

    ANDRE:  There was a lot of things that went into getting the job. It was an easy sell for them, but it wasn’t necessarily easy where I just had a camera and was at the right place at the right time.  The style of photography that I do is very niche—It’s commercial lifestyle advertising. What I capture is real life moments of real people.  I decided to do that early on because there’s not a lot of black photographers who showcase lifestyle images. I made sure whatever photos I decided to take from that point on would reflect the brands I would want to work for.

    When I was shooting for Travel Noir I decided to take on a passion project by creating a coffee table book called, “Happy Black People.” So fast forward to my meeting with RushCard, once Nicole made the connection, I already had a portfolio that represented what the company was looking for. 

    FRENDY: It’s all about taking initiative, and not waiting for any particular lucky situation to get a gig.

    ANDRE:  Yes, exactly!  One thing that has made me successful is the passion that I have for photography. There’s not a lot of people that would want to make a photobook simply for the love of it.  I didn’t do it to make money, I just created it to share my work. I love showing my photos to people.

    FRENDY:  When did your love for photography actually begin? I know you partly studied it in college, but what sparked your interest in shooting?

    ANDRE:  *Laughs* It started with the movie, Love Jones. The movie was all about the renaissance black man and I just fell in love with that idea.  Even though Nia Long played the photographer role, that’s what actually sparked my interest in photography.

    FRENDY:  What was it about the movie that specifically triggered your interest in photography?  I’m sure you were aware of other photographers prior.

    ANDRE:  I didn’t know anything about photography at that time. It was just the idea. This was also during the era that neo-soul was very big, and you know me being in Philly, it was really big there. There was a particular section of neo-soul that sort of had the photography vibe, so it just elevated my love for it.

    Whatever someone’s passion is, you kind of like have to go back to where it all sparked and realize it just came from this small source of inspo. And then it just snowballs into this bigger thing.

    FRENDY: True love always comes back when you set it free.  Obviously, your love for photography was deep inside of you, but you had to go through the “valley of death,” so to speak, to experience the opposite of your passion just to realize your true purpose.

    ANDRE:  Yup!

    FRENDY:  How do you go about getting clients as a photographer?

    ANDRE:  There’s really no one way of getting them. If you’re a freelancer, you’ll have to rely on your personality.  That’s one thing that I discovered. I’m an introvert at heart, I don’t necessarily like reaching out to people for business so I really have to depend on personal relationships.  If you’re passionate about something, people will be aware.  For example, you’re a writer, that’s pretty much what people are going to instinctively know about you because you are consistently providing new reading content. So if photography is a person’s passion, their name should be easily associated with the craft.  That’s where the opportunities lies.

    When it comes to photography most people only think of fashion, celebrity and documentary styles.  But there are a lot more avenues in the field that generate tons of money they aren’t aware of.  There’s architectural photography, sports photography, and many more.  So a person that is interest in shooting pics for a living should study markets that aren’t necessarily popularized.

    It’s also good for an aspiring photographer to study the companies they would want to work for and get familiar with their imagery. For example, Condé Nast has a very specific way of shooting the men who are featured in their publications.

    FRENDY:  Who have you worked with so far?

    ANDRE:  Right now, my main client is RushCard.  Since I signed a contract with them, I’ve been blessed with tons of work.  I shoot for them about 4 to 5 times a month.

    FRENDY:  How do you go about booking the models you work with? Through an agency?

    ANDRE:  Yup, I use an agency called Instagram *Laughs*.  I use a lot of the same models over and over again, but they also refer me to more. I’m at a point where when I reach out to a model, they either have heard of me already or they simply reach out first.  It’s all about word of mouth and social media for me.

     

    FRENDY:  What’s your daily routine in regards to work?

    ANDRE:  Whenever I have an idea, I would share it with my main point of contact at RushCard and they would either say yes or no--most of the time they agree with it.  Prior to presenting the idea, I put together a moodboard so the company could see what I envisioned. Once they agree, I reach out to the models and scout locations for shooting.

    FRENDY:  Are you working on anything else other than RushCard projects?

    ANDRE:  Well, I’m working on re-doing my contract with them for 2018, with a pay increase.  I’m super happy about that. To be honest, I’m working on building a business, build up my portfolio and save a lot of money.  Next year I plan on getting an employee and renting a studio where I can live and work.

    FRENDY:  Did you ever think you would be this successful in your career of choice?

    ANDRE:  Hell no!  I never knew that I could actually work for myself and do what I love. It really wasn’t how I was raised, it was just about making money, that’s it.

    FRENDY:  Do you have any advice for artist who are trying to make it in their desired field of work?

    ANDRE:  If your passion keeps you up at night then there’s no other choice but to make the first step to complete your goal. Don’t ever be too “realistic” because it can deter you from doing what you love.

    Photographs by: Andre L Perry

  • DANYAKI

    At the young age of seven, my parents and I migrated from Haiti to The City of Dreams in search of a better life. Hassan Gibrin fled from Ghana with the same mission - the only difference is that he was unable to depart alongside his beloved family.

    Hassan, now known as Hass Kwame, thoroughly enjoyed the vibrant surroundings in his hometown of Takoradi.  “The first thing you experience in this environment is its natural elements, hence nature became my first teacher, best friend and resource provider,” he states. “Playing soccer was the everyday thing, and when we were hungry we would turn to nature for all types of plants, fruits, fish for lunch and go back to having fun.” 

    Kwame’s love for the rural habitat inadvertently cultivated his unique sense of creativity.  God’s green earth provided the necessities that Hass couldn’t afford, so he began utilizing nature’s elements to get by on a regular day basis. For example, instead of purchasing soccer jerseys, Hass dug up mud to write his favorite players name and number on his back during games.  He even used leaves from palm trees to build fencing screens around his and neighboring homes.

    Hass’ childhood was joyous due to his intimate relationship with mother earth, but he later realized that the living conditions were actually below poverty level.  “The only way out from out the bottom is by migrating somewhere better - that was my attitude so I was obligated to leave the family behind and jet off,” Kwame lamented.  From 1994 through 1997, Hass travelled back and forth from neighboring countries like the Ivory Coast, Nigeria and Guinea until he finally moved to New York in 1999. “I didn’t plan to migrate directly from Ghana to the states because it takes a lifetime to acquire money and the visa, so I was like a nomad traveling for a better life.”

    The Ghanaian lone ranger is currently living his best life in the Big Apple as he is working full-time in the restaurant industry while running his very own clothing line, Danyaki. I recently spoke with Hass to further discuss life in Ghana, come up in NYC and the meaning behind his fledgling label. Check out our conversation below:

    FRENDY:  Were your parents reluctant to let you travel abroad by yourself at such a young age?

    HASS:  As a Danyaki, the last thing you want to do is tell your traveling plans to your parents, that's a no no.  Our parents would love for us to live with them forever, so me telling them that I was traveling without an exact destination is not what they would want to hear. I told them that I was going to visit a friend across town, and it took 17 years for me to return home – I never got to see my dad again.  The most valuable thing in life for me is family, the worst thing in life is poverty. How do you balance that? ‘Cause happiness and poverty don't mix.

    In your case your entire family got their visas and the funds to afford that kind of migration - you got to be at least middle class and/or part of the elite class to be able to do so where I’m from. In the underworld you don't see an entire family migrate in my part of town, it's always the Danyakis who break out unannounced in order to send some remittance home to support the fam.

     

    FRENDY:  What is a Danyaki exactly?

    HASS:  Danyaki is when u are faced with obstacles and hurdles in order to get to the next level of life. The process of the struggle in fighting to get over the hump makes one a Danyaki. So the concept of Danyaki is global, not just me. 90% out of the seven billion people in the world are going through their own “Danyaki” struggle right now.  It has a lot to do with migration, ‘cause if you are not happy with the life you are living, then you gotta make the hardest decision in your life by leaving your comfort zone behind and jet off in search of a better one.

    FRENDY:  Interesting. We’ll definitely get back to this topic later on.  How difficult was it for you to get a job in the neighboring countries you visited?

    HASS:  It's hard to get a job in those countries, you either have to take a bottom feeder job or create a service of your own.  You just got to be creative with your immediate surroundings. People are always going to need help in their day-to-day operations, so you go around and offer them help in exchange for chump change - it always works, so that's one of the smartest way to get by. The most important thing is staying out of trouble, you don't want to mess with the jail system over there.

    FRENDY:  I feel you. Did you know any english before moving to the states?

    HASS:  Absolutely, Ghana is a 100% English speaking country. The entire educational system is English based. However, I grew up speaking three other indigenous languages, which I still speak very fluently, but English is spoken all over the media so it's hard to avoid. Plus, once you enter the school system, you’re all in.

    FRENDY:  That’s awesome, I didn’t know that.  Which part of New York did you initially reside in? How difficult was it for you to get accustomed to the hustle and bustle of the city?

    HASS:  In New York, I lived in the Bronx due to Ghanaian density.  I actually still live there. Life in New York could not be difficult at all for me, it's easy. The hustle and bustle is not comparable to Danyakis upbringing - it's easy here.

    You gotta understand one thing, the income disparity is unimaginable - it's pretty much from 0 to 100 real quick. The fact is no one loves leaving their comfort zone and migrate to a new terrain to start all over again, it could be a lot of wasted time starting from the bottom. But it's not a matter of choice, it's a matter of survival.  Surviving in NYC is nothing to complain about, I love it. I was around a lot of inspiring people so I was motivated to figure out my situation - I’m still on that journey and enjoying the process.

    FRENDY:  What was your first job here in the concrete jungle?

    HASS:  My first job in New York was in a 99 cent store in the BX, and then two different places before moving on to a discount clothing store by the Yankee stadium in the Bronx, that was my last gig in that borough.

    Since I never stopped searching for more opportunities, a friend of mine invited me to his spot in Harlem called ‘Scheme,’ one block away from Apollo theatre.  It was the spot to shop for people like Swizz Beatz, Fabolous, Raekwon, Dipset, etc. and they needed one more person work. That's how I ended up on 125th in Harlem - It has been my favorite place ever since. Working at Scheme was the best thing that happened to me in New York. The exposure and the inspiration I got from working there motivated me to get back to creating - I met every hip hop artist and some of the behind the scene guys, I met major clothing designers as well. I had an amazing time working there, it's out of business now.

    FRENDY:  When did you start taking art seriously?

    HASS:  Like I said, working at Scheme exposed me to the fashion and music industry.  The cool kids in Harlem were all about grinding - all I heard around me is “I am a DJ, rapper, writer, producer or a manager.” Everybody was doing something, except for me, so I began figuring out what to get into. I contemplated doing music but then in 2002 I met a young black kid from Newark, NJ who owned a brand called Omavi Clothing Co.  He stopped by the shop to show how his label was doing.  I got his business card, chopped it up and eventually called him back to say that I could help him spread his business in New York.  He took me in and we flew to Vegas for the magic show that August - that’s how I left retail behind.

    FRENDY:  Did you attend school in the city to sharpen your design skills?

    HASS:  Oh yeah, I did attend school - I mean I couldn't have done this without the fundamental education I received from the school system. So I left retail for the manufacturing/wholesale side of the business, that's when I started sketching and drawing. But then I realized I needed to get back to school to pick up from where I left it.  But before that, I needed to buy a Macintosh (Mac) - it's expensive and I didn't have the money, so I left the clothing world alone and started working in a restaurant in SoHo. 

    I saved up money and signed up at F. I.T. (Fashion Institute of Technology) for pre-requisite classes. Meanwhile, I was working my way up in the restaurant from a stocker to a busboy to a food runner, then finally a server so I can make enough money to pay for tuition and supplies and rent. I was making enough money so also signed up for more classes at S.V.A. (School of Visual Arts) and Pratt Institute, for industrial Design classes. I also attended tons of private studio art classes in Chelsea and SoHo and other parts of the city as a hobby. 

    Those three art and design institutions changed the way I looked at shapes, forms and spaces. The simplest abstract forms that the average human eye ignores, that’s the difference, and school really helps with that.

    FRENDY:  What sparked the idea to create your brand?

    HASS:  What sparked the idea was me meeting Hakim Stevens, a young black guy who walked into Scheme, the store I worked in on 125th street in Harlem. I was hooked after that! I took his card and connected with him soon after and started working for him, I got my exposure to the business side of fashion from him.  I was also inspired by a very beautiful, young black girl who was designing for Baby Phat by Phat Farm (owned by Russell Simmons).  She came to the store to check on their merch - it blew my mind and I saw myself capable of working in the fashion industry as well. Besides, every young kid in Harlem I met was doing something productive, mostly in music though. So I've been searching for something to sink my teeth into since day one in Harlem. I just didn't know what it was gonna be.  I never thought that clothing brand designers were young and looked like me since I didn't know any - I've always thought the extreme opposite.

    So being exposed to that young girl from Baby Phat (who I fell in love with on the spot in my mind after she told me what she did for a living) and Hakim Stevens sparked the creative muscle in my brain - that's how I started entertaining the idea of creating my own brand.

    FRENDY:  Can you explain the symbolism of the paint splatters on your merchandise?

    HASS:  Yes! The symbolism is simple, fun. And it's more of a colors thing than paint splatters for me. I love colors, I enjoy playing with colors, I love childish and innocent color play - it reminds me of my childhood. So whenever it's time to create with colors, I relapse to being a child version of myself that created innocently without wrong or right, just creating and just having fun with colors, that’s my secret of approach. I don't consider myself a painter, that's why my process is called Ideation.

    Furthermore, my pieces goes beyond painting on fabrics, it comprises of experimenting with different treatments such as rip and repair, bleached out effects and also plain indigo basics. Artistically I am very interested in the abstract found within shapes, forms and spaces regardless of colors. And frankly nothing brings me peace and happiness than colors, let alone mixing and creating with it. It's all in the name of ideation.

    FRENDY: I'm guessing ideation is when you are creating without the interruption of the ego?

    HASS:  Exactly. I don't like to create art as an adult, I rather create as a child. Ego, arrogance and overthinking happens when u create from an adult point of view because you are chasing perfection instead of having fun. My goal is to mimic what I would have done as a kid with all these colors in front of me to create. Ideation simply means brainstorming. In any industrial design class, Ideation happens when we poured all types of ideas down without overthinking it. Usually we couldn't wait to get over the ideation to go to the next stage of design and the finish the products.

    For whatever reason I fell in love with the ideation of creation without overthinking. In my color theory class, I fell in love with playing with colors and then in my industrial design class fell in love with ideation. These two classes reminded me of my childhood so I mashed them all up to create art and design from my childhood point of view, which is innocent and fun and happiness. Ideation is liberating, there is a sense of freedom that comes with creation using the ideation approach. And I’m hooked.

    FRENDY:  How does the Danyaki ideology bleed into your clothing?

    HASS:  Practicality - Danyaki ideology bleed into my work by way of colors and physically getting my hands dirty. Danyaki is also a process of DIY, you got to get up and go change your condition by any means necessary, that's why I physically hand paint or treat and ideate with every piece, which means I can only make a limited amount of one of a kind pieces batch by batch.

    Doing things yourself for your own good and self improvement is the ideal ideology of Danyaki. So Danyaki’s ideology itself is the practicality and the religion of physically doing to improve thyself.  Danyaki is not Danyaki if you are not practically doing. Danyaki Art&Design Ideation means practically creating while having fun as an innocent kid.

    FRENDY:  Where are you currently selling your pieces?  Through an online store or brick and mortar shop?

    HASS:  Danyaki is currently sold online at Danyaki.com and in stores around New York City, mostly in Harlem and the Bronx.  But most importantly, I do week-end pop ups in Harlem at Red Rooster to physically connect, share and have dialogue with my art loving supporters who patronize my Tastemakers Rack on weekends.

    Social media has also played a major role in bringing people out on weekends to check out new pieces. My absolute favorite part, though, is interacting with the supporters - it’s sort of like being on stage and performing live for the people. It's therapeutic to see my regulars and new supporters stop by to connect and reconnect. 

    The weekends Tastemakers Rack is an extension of my studio, it's an exhibition and conversation of art and design among art lovers, Q&A sessions as well. I call my supporters Tastemakers, because they are not buying clothes, they are buying the art and experience of ideation. I don't only set up to sell, but also set up to invite a community of art lovers and tastemakers and share creativity offline.

    FRENDY:  What’s the reason behind your name change?

    HASS:  The reason behind the name change is pretty much cracking the shell off my back and busting out as an artist versus the person I was expected to be. So for me it's a new day, new person, new stage, new career, new platform and a new name. I look at it as my stage name.

    Being born on a Saturday means that I am naturally connected to that divine day. Because I don't celebrate the date that I was born but rather the day, which was Saturday, I don't see why my name shouldn't reflect such a day.  Hence, I went back to officially claim my name, “kwame.” The name change for me represent growth and independent.

    FRENDY:  If you were able to go back in time, what advice would you give to your younger self during trying times in Ghana?

    HASS:  The only advice I would give my younger self is to, maybe, spend more time at the public library to absorb more information. But how can one study with an empty stomach? So, in reality I would not change anything looking back - no regrets. I only wish I had spent the lost years with my family, but you can't have your cake and eat it too, so it is what it is. C’est la vie. I’m happy how my life turned out.

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  • Hosea's Ultimate Hustle

    When you know what you want out of life at an early age, the faster it’ll be to manifest your deepest desires. The universe always provides­­­­­­­­­­­­­­­­­­­­­­­––especially when one’s eyes are fully focused on the prize.  While most 22-year-olds are gearing up to face the real world after four eventful years of college, Hosea Choga is already living an abundant life as a Developer.

    Born and raised in Toronto, Hosea and his twin sister grew up in a home where real estate was at its very core. “My parents were always in the business growing up so it was always familiar to me,” he states. Choga’s father and mother are Zimbabwean immigrants who instilled in him the value of honest, hard work.  When Hosea was 13 he got his first job at Canada’s top coffee shop, Tim Horton’s.  Shortly after, the determined teenager decided to get right into the family business where he's been flourishing ever since.

    I recently sat down with Choga to discuss his early beginnings in the real estate industry, biggest accomplishments and how exactly he’s enjoying the fruits of his labor.  Check out our conversation below:

    FRENDY: The energy surrounding Toronto has surely grown since your days there as a child.  How do you feel about everything that’s transpiring?

    HOSEA: The energy of the city is remarkable!  I feel like it was always there, but with Toronto getting more exposure globally it's more vibrant than ever. I'm really happy with everything that's happening, like a lot of people from Toronto are proud of it and you can make a name for yourself right here.  You don't have to go to New York for exposure.  We've really grown and people from other places are always curious about life in Toronto. We're such a diverse community––I grew up with people of completely different backgrounds, religions, color all just mixed into this city we call the “6.”

    A lot of people in Toronto have a certain way of talking; it's almost like an accent if you're not from the city. It’s like a Jamaican, UK mixed with Canadian type of slang, which Drake kind of pushed in the spotlight. Most people will know if you're from Toronto based on your style, the slang and just the vibes it's pretty unique.

    FRENDY: What a time to be alive in T Dot right? It’s funny because we’re having this convo literally right after Drake finally released his highly anticipated project, More Life. You must be motivated more than ever after listening to it.

    HOSEA: Yes, I'm I am very motivated by Drake. I used to watch him on Degrassi and also watched him turn himself into a global superstar, while pretty much putting Toronto on the map in the music industry. I relate to his music because I feel like we're very similar people. I'm also a fan of the way he handles his brand and business. I've been listening to More Life non-stop!  It's cool to see someone that's from your city reach that level of success. He took a risk doing music and at the beginning people didn't really have a lot love for the guy.  Depsite it all, he remained true to his values and I respect that.

    FRENDY: Since we’re on the topic of motivation, what compelled you to take a plunge into the real estate world?  Did your parents push you towards it?

    HOSEA:  Because I was around it for so long, I really started to understand more and more about the business and just enjoyed the process. My parents always gave me the option to do whatever I wanted; I chose to do something I enjoyed. I guess for me you could say working on a development project can be compared to working on an album where you put in months of work, build from nothing and put an endless amount effort.  Furthermore, multiple people contribute to perfect the project.

    FRENDY: That’s a great comparison. How old were you when you embarked on your journey as a Developer?

    HOSEA: I started to take real estate seriously after high schooI-–I was 18. It wasn’t easy at first because I kind of watched all my friends go to school and do the whole college experience. But I’m grateful for the way everything turned out.

    FRENDY: I could imagine how isolated you felt. What were your initial duties as a Developer?

    HOSEA: I did a lot of property management when I was younger.  I really got experience dealing with different types of people. I try to create schedules, depending on timelines and costs, make sure everyone is aware of their roles and the time they have to complete each job, basically making sure everything is running smoothly. I also enjoy doing a little marketing as well.

    FRENDY: Are you currently working on any big projects?

    HOSEA: Yes, definitely working on some new projects in real estate and getting involved in tech also. I can't say too much but this is going to be a great year for me and I'm very humbled and grateful.

    FRENDY: Nice! Hopefully we’ll get a part two of this going so you can finally unveil what the projects are. When you’re not hustling, what do you do for fun?

    HOSEA: I definitely will!  My idea of fun is trying out different restaurants and traveling.  Basically just trying new things.  I also enjoy calling up a group of my close friends and just kicking back, joking around and whatever.

    FRENDY: I took a quick look at your Instagram and to say that you’re low-key would be an understatement, though, I can tell you’re making major moves.  The best way to describe your account is “calm but heavy,” as Juan would say.

    HOSEA: *Laughs* Yea that's exactly how I would describe it. I'm pretty private, I like to just to keep it relaxed and post whatever I think is cool at the time.  There's no real theme or anything, it's just me being myself.  But I definitely got some special things coming in the near future and I love using Instagram as platform to share.

    FRENDY: Do you have any other passions besides being a Developer?  Are you heavily into fashion and music?

    HOSEA: I wouldn't say I'm heavily into music and fashion but I'm definitely a fan of hip hop and trap music. I'm a fan of all the young kids coming up and making bangers.  People hate on them but they're good at the music they make, which is Trap.  Future I think is one of the greats of our time! Drake, PartyNextDoor and NAV have been on my playlist lately.

    I'm into chill fashion--I'd say I think my style is pretty random.  Most days it's John Elliott with some Chelsea boots, and other days it's a Supreme hoodie with some Vans, or Palace with some Yeezys. Really all depends on the occasion...it could be a Fear of God flannel and some Visvims. Whatever vibe is for the day.

    FRENDY: I feel you. You’re basically a chameleon when it comes to style.  It's safe to say that your hard work is allowing you to fully indulge in anything that you please––whether it's traveling or dining virtually anywhere. What advice do you have for those who desire to live a lavish lifestyle but have no idea how to actually get their funds up?

    HOSEA: I feel like if you're doing anything at all, you should do it for yourself and not anyone else. I think patience is key, just keep putting in hard work and effort.  However you choose to reward yourself is up to you. I think you shouldn't really compare your life to anyone else's because everyone's situation is different, but if you're looking for inspiration and motivation I encourage that. I'd just say put in the work and everything will fall into place.