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ICONA Month Year | Issue Number Nadia KeitaSUPPORTING TEXT FOR THE COVER STORY GOES HERE OUR TIME IS NOW The industry's rising stars speak up FASHION FORWARD Aiyla Hakim talks style, soul, and substance 1

T H E I R O N M A G N O L I A w w w . t h e r a d i c a l s o u t h e r n b e l l e . c o m Rooted in the Black South The Iron Magnolia A Radical Southern Belle Publication Issue No. 1 Spring 2026 Kratina N. Baker, J.D. © 2026 The Radical Southern Belle, LLC. All rights reserved. For inquiries, contact: hello@theradicalsouthernbelle.com Issue No. 1 S Spring/Summer 2026 2

TO MY DADDYContemporary Trends Reimagined Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum eget placerat purus, quis molestie magna. Maecenas suscipit commodo metus eu posuere. Quisque interdum tellus sapien, ut iaculis purus rutrum laoreet. Sed sit amet pulvinar massa, id efficitur ligula. Vestibulum in ultrices neque, ac pulvinar diam. Fusce scelerisque blandit sapien, et dictum urna. Nam at fringilla nunc. Nulla maximus rutrum urna sed rutrum. Suspendisse potenti. Suspendisse faucibus mollis euismod. Donec scelerisque iaculis tincidunt. Maecenas purus neque, volutpat eget lorem in, hendrerit lacinia sapien. Suspendisse maximus massa eget enim porta, vel pellentesque lectus rhoncus. Fusce at convallis ipsum, eu fermentum lacus. Sed vehicula erat eu consequat interdum. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum eget placerat purus, quis molestie magna. Maecenas suscipit commodo metus eu posuere. Quisque interdum tellus sapien, ut iaculis purus rutrum laoreet. Sed sit amet pulvinar massa, id efficitur ligula. Vestibulum in ultrices neque, ac pulvinar diam. Fusce scelerisque blandit sapien, et dictum urna. Nam at fringilla nunc. Nulla maximus rutrum urna sed rutrum. Suspendisse potenti. Suspendisse faucibus mollis euismod.Thynk Unlimitedwww.reallygreatsite.comFradel and Spies CoPage 23 3

13 IF NOT NOW, THEN WHEN Add a short teaser paragraph here 9 ON FINDING YOUR STYLE Here's another teaser paragraph that varies in length NADIA KEITA6 PAGES Add a short teaser paragraph here 16 FASHION’S BIG QUESTION MARK Here's another teaser paragraph that varies in length 18 TREND WATCH Add a short teaser paragraph here 4

Editor-in-Chief Carly Ferris Managing Editor Wendy Salinas Content Director Theodore Lewitz Art Director Jackson Davis, Lillian Pratt Photographers Francois Mercer, Francisco Andrade, Jin Ae Soo. Hannah Morales Contributors Phyllis Schwaiger Aaron Loeb Noah Schumacher Margarita Perez Place a short biography Place a short biography Place a short biography Place a short biography ICONA 123 Anywhere St. Any City ST 12345 www.reallygreatsite.com hello@reallygreatsite.com / @reallygreatsite 5

An editor's letter is a message written for a variety of purposes, from friendly to formal. They can help the reader understand the content and creative direction of a certain issue, they can give the reader and idea of what they can find in the magazine, or they can explain the issue's theme and how it can resonate with them. If you’re thinking of writing an editor's letter yourself, make your intentions clear from the start. Editor-in-Chief Carly Ferris NOTE FROM THE BELLE 6

IN THIS ISSUE Give your readers a peek at how your magazine comes to life. Feature behind the scenes photos featuring your photo shoots, your interviews, or any other activity related to putting the issue together. Place a photo caption here. Place a photo caption here. Place a photo caption here. 7

practiceBy Margarita Perez Photography by Francois Mercer A SHORT INTRO OR KICKER OF THE ARTICLE WILL GO HERE. 8

SUCH IS OUR INHERITANCE By Margarita Perez Photography by Francois Mercer A magazine is a periodical publication, which can either be printed or published electronically. It is issued regularly, usually every week or every month, and it contains a variety of content. This can include articles, stories, photographs, and advertisements. To create your own, choose a topic that interests you. It can be anything from fashion and beauty to travel and the news. Once you have your overall theme, you can start brainstorming the content. Just starting? Design a memorable masthead with an equally memorable name. This goes on the cover and sets up the branding for your entire magazine. What style are you going for? Is it playful? Classic? Bold? A good masthead captures the essence of your magazine, so it needs to be flexible, meaningful, and consistent enough for future issues. A SHORT INTRO OR KICKER OF THE ARTICLE WILL GO HERE. THIS PART ACTS AS A BRIDGE BETWEEN THE HEADLINE AND THE ARTICLE ITSELF. 9

After writing all your articles and adding them to your layout, list down all the titles to set up your table of contents. You can add a brief description for each article or keep it simple and paste the feature titles on the page. Don't forget your page numbers too! Finally, design your back page. Most magazines feature a full-page advertisement, which you're also welcome to do. Why not partner with a local business and feature their products? Not your style? Simply include some contact information and tell your audience how to reach you. Add your social media handles, email, or even any publication information you think they'd be interested in. You can even just extend your cover photo to keep things clean and simple. A magazine can be a great way to reach your audience and communicate your message to the world. With great, curated content, yours can be a bestseller in no time. Here, you can place a caption for the photo. It can be a short description or it can credit the production team. 10 After writing all your articles and adding them to your layout, list down all the titles to set up your table of contents. You can add a brief description for each article or keep it simple and paste the feature titles on the page. Don't forget your page numbers too! Finally, design your back page. Most magazines feature a full-page advertisement, which you're also welcome to do. Why not partner with a local business and feature their products? Not your style? Simply include some contact information and tell your audience how to reach you. Add your social media handles, email, or even any publication information you think they'd be interested in. You can even just extend your cover photo to keep things clean and simple. A magazine can be a great way to reach your audience and communicate your message to the world. With great, curated content, yours can be a bestseller in no time.

TREND WATCH By Phyllis Schwaiger Photography by Jin Ae Soo A SHORT INTRO OR KICKER OF THE COLLAGE WILL GO HERE. THIS PART ACTS AS A BRIDGE BETWEEN THE HEADLINE AND THE ITEMS ON THE LIST. 12

IN DEPTH: FLEURE BEAUTY A magazine is a periodical publication, which can either be printed or published electronically. It is issued regularly, usually every week or every month, and it contains a variety of content. This can include articles, stories, photographs, and advertisements. To create your own, choose a topic that interests you. It can be anything from fashion and beauty to travel and the news. Once you have your overall theme, you can start brainstorming the content. Just starting? Design a memorable masthead with an equally memorable name. A SHORT INTRO OR KICKER OF THE ARTICLE WILL GO HERE. THIS PART ACTS AS A BRIDGE BETWEEN THE HEADLINE AND THE ARTICLE ITSELF. 13

4Editor-in-Chief14 BLACK WOMEN AS MEMORY KEEPERS A gallery curated by The Iron Magnolia Journal

MEMORY HAS ALWAYS NEEDED ITS KEEPERS. ACROSS GENERATIONS, BLACK WOMEN HAVE CARRIED HISTORIES TOO PRECIOUS TO LOSE AND TOO OFTEN OVERLOOKED BY THE INSTITUTIONS MEANT TO PRESERVE THEM. THE WOMEN GATHERED HERE REMIND US THAT MEMORY IS CARRIED THROUGH STORIES, SONGS, LAND, LANGUAGE, FAITH, NEWSPAPERS, HEALING TRADITIONS, AND THE ORDINARY ACTS OF CARE THAT ALLOW A PEOPLE TO KNOW WHO THEY ARE.4Editor-in-Chief15

PHILLIS WHEATLEY PETERS C. 1753-1784 | POET In 1772, Phillis Wheatley was preparing to publish her first collection of poetry. Before the young enslaved Black woman could see her work in print— and become one of the first Black women to enter the American literary record in her own words—she first had to prove that the words were hers. She was questioned by a group of prominent white men in Boston who were asked to determine whether she had actually written the poems attributed to her. Their signed attestation was later printed in the front matter of her first book, Poems on Various Subjects, Religious and Moral, published in London in 1773, certifying to readers that Wheatley was indeed the author of the work that followed. The questioning of Wheatley’s authorship makes her an important place to begin. Born in West Africa and taken across the Atlantic as a child, she arrived in Boston through the violence of the slave trade and was purchased by the Wheatley family. 16 Within years, she was reading Latin and Greek classics, studying the Bible, and composing poetry that engaged faith, death, freedom, politics, and the intellectual traditions of her time. Still enslaved when her collection appeared in 1773, Wheatley became the first African American woman to publish a book and one of the earliest American women to do so. An Early Keeper of Memory Phillis Wheatley at her writing desk, 1773. Engraved by Scipio Moorhead, the portrait appeared as the frontispiece to her first published collection, Poems on Various Subjects, Religious and Moral.

Black women’s memory keeping did not begin with Phillis Wheatley. But she stands at the threshold of this gallery because her work represents one of its earliest surviving expressions in the American written record. Long before her poems appeared in print, Black women had carried memory across generations and across the Atlantic through stories, songs, faith, ritual, and ways of knowing that survived extraordinary rupture. Wheatley carried that inheritance onto the page. The women who followed would carry memory in their own ways, each preserving something of Black life that might otherwise have been lost.Black women’s memory keeping did not begin with Phillis Wheatley. But she stands at the threshold of this gallery because her work represents one of its earliest surviving expressions in the American written record. 17Frontispiece and title page of Poems on Various Subjects, Religious and Moral, 1773. Published in London while Wheatley was still enslaved, the collection made her the first African American woman to publish a book.

Black women’s memory keeping did not begin with Phillis Wheatley. But she stands at the threshold of this gallery because her work represents one of its earliest surviving expressions in the American written record. Long before her poems appeared in print, Black women had carried memory across generations and across the Atlantic through stories, songs, faith, ritual, and ways of knowing that survived extraordinary rupture. Wheatley carried that inheritance onto the page. The women who followed would carry memory in their own ways, each preserving something of Black life that might otherwise have been lost.“BLACK WOMEN’S MEMORY KEEPING DID NOT BEGIN WITH PHILLIS WHEATLEY. BUT SHE STANDS AT THE THRESHOLD OF THIS GALLERY BECAUSE HER WORK REPRESENTS ONE OF ITS EARLIEST SURVIVING EXPRESSIONS IN THE AMERICAN WRITTEN RECORD.” 18Frontispiece and title page of Poems on Various Subjects, Religious and Moral, 1773. Published in London while Wheatley was still enslaved, the collection made her the first African American woman to publish a book.

Vera Hall learned spirituals, work songs, blues, and folk songs through the Black Southern oral traditions of her family and community. Recorded by folklorists beginning in the 1930s, her unaccompanied voice carried a haunting intimacy—the weight of a place and history that listeners could feel even when they did not know its story. Her 1937 recording of “Trouble So Hard” traveled far beyond her lifetime. More than sixty years later, DJ Moby sampled Hall's voice for “Natural Blues” on his album Play, bringing that voice to millions who may never have known the woman behind it. Hall's journey reveals both the power and vulnerability of cultural memory: a voice can survive its singer and cross generations, but preserving the sound is not the same as remembering the woman who carried it. JANIE HUNTER JOHNS ISLAND, SOUTH CAROLINA JUNE 7, 1918-JUNE 14, 1997 | SINGER & STORYTELLER WHAT SHE CARRIED Generations of Gullah memory, carried through story and song. Janie Hunter understood that memory could disappear if no one chose to carry it. Raised on Johns Island, South Carolina, she learned songs, folktales, games, and traditions from elders whose stories reached back to slavery. Hunter became a keeper of that inheritance, preserving Gullah culture not in an archive, but through her own voice and the generations she taught. A singer, storyteller, mother, and community elder, Hunter believed the past mattered because it helped people understand who they were. She spent her life passing what she knew to her children, grandchildren, and wider community so that the stories entrusted to her would not die with her. WHAT SHE CARRIED The ancestral weight of Black Southern song. JANIE HUNTER JOHNS ISLAND, SOUTH CAROLINA JUNE 7, 1918-JUNE 14, 1997 | SINGER & STORYTELLER

CLEMENTINE HUNTER CLOUTIERVILLE, LOUISIANA LATE DECEMBER 1886 OR JANUARY 1887-JANUARY 1, 1988 ARTIST WHAT SHE CARRIED Black Southern life, painted from memory. Clementine Hunter did not begin painting until she was in her fifties. A self-taught artist who spent much of her life working at Melrose Plantation in Louisiana, she painted the world she knew: cotton picking and pecan gathering, baptisms and funerals, weddings, churchgoing, children at play, and the ordinary rhythms of Black community life. Hunter often painted from memory, preserving scenes of a changing rural South through the eyes of a Black woman who had lived them. Her work transformed everyday experience into historical record, documenting lives and traditions that formal archives often overlooked. Hunter did not simply paint what Black Southern life looked like. She preserved what it felt like to live it. Emma Dupree learned the healing properties of plants as a child, gathering roots, leaves, bark, and herbs from the woods and fields of eastern North Carolina. Known in her community as a gifted herbalist, she prepared remedies for generations of neighbors who came to her seeking care. Dupree’s knowledge was not learned in a classroom or preserved first in medical texts. It grew through observation, practice, community, and an intimate relationship with the natural world. By sharing what she knew, she carried forward a tradition of Black Southern healing shaped outside formal institutions. Dupree reminds us that memory can live in the hands—in knowing what to gather, how to prepare it, and when to offer it. EMMA DUPREE FALKLAND, NORTH CAROLINA JULY 4, 1897-MARCH 12, 1996 HERBALIST + TRADITIONAL HEALER KNOWN AS “GRANNY WOMAN” WHAT SHE CARRIED Generations of healing knowledge rooted in the land.

IDA B WELLS BARNETTWHAT SHE CARRIEDThe truth others worked to bury.Ida B. Wells understood that documentation could be an act of resistance. After three of her friends were lynched in Memphis in 1892, she began investigating the violence white Americans justified through lies about Black people. Wells gathered names, examined newspaper accounts, compiled statistics, and published evidence exposing lynching as a tool of racial terror. Her reporting challenged a nation determined to obscure both the scale of the violence and the humanity of its victims. At enormous personal risk, Wells made certain that what happened—and to whom —was placed on the record. Way ahead of her time, Wells reminds us that memory keeping can mean refusing to let truth be buried with the dead.WHAT SHE CARRIEDBlack Arkansas in its own words.Through the Arkansas State Press, Daisy Bates and her husband, L. C. Bates, documented Black life in a state where the mainstream press often ignored Black communities or distorted their experiences. The newspaper confronted racial violence and discrimination while chronicling the people, institutions, and struggles shaping Black Arkansas. Bates later became central to the 1957 desegregation of Little Rock Central High School, advising and supporting the nine Black students who entered the school amid fierce resistance. That commitment came at tremendous cost. The Bateses faced threats and economic retaliation, and the loss of advertising revenue eventually helped force the State Press to close in 1959. Still, Bates insisted that Black people had the right not only to make history, but to tell it for themselves.DAISY L. GATSON BATESHUTTIG, ARKANSAS NOV 11, 1914–NOV 4, 1999 JOURNALIST, PUBLISHER & CIVIL RIGHTS LEADERHOLLY SPRINGS, MISSISSIPPI JULY 16, 1862–MARCH 25, 1931 JOURNALIST, ACTIVIST & PUBLISHER

ALICE WALER EATONTON, GEORGIA FEBRUARY 9, 1944 WRITER, POET & ACTIVIST WHAT SHE CARRIES Black women’s lives, restored to the center. Through novels, poetry, essays, and criticism, Alice Walker has written Black women into places where their interior lives, histories, pain, pleasure, and complexity had too often been neglected. Her 1982 novel The Color Purple centered the voices and relationships of Black Southern women and earned Walker the Pulitzer Prize for Fiction. But Walker also reached backward. In the 1970s, she helped revive interest in Zora Neale Hurston, whose work had largely fallen out of the literary canon, and famously located and marked Hurston’s previously unmarked grave. Walker’s memory work reminds us that inheritance requires more than creating what comes next; sometimes it means going back for the women the world left behind. As Chieftess of the Gullah/Geechee Nation, Queen Quet has devoted decades to preserving the language, history, traditions, and land of Gullah/Geechee communities along the southeastern coast. Through organizing, education, writing, and cultural advocacy, she has worked to ensure that preservation remains connected to the people and places that created the culture. Her work insists that cultural survival requires more than remembering what came before; it also requires protecting the communities capable of carrying it forward. Queen Quet’s work reminds us that preserving a culture also means protecting the people and places that allow it to remain alive. ST. HELENA ISLAND, SC CHIEFTESS, CULTURAL STEWARD & HISTORIAN WHAT SHE CARRIES Gullah/Geechee culture as a living inheritance. QUEEN QUET MARQUETTA L. GOODWINE

SHIRLEY SHERRODWHAT SHE CARRIESBlack land, reclaimed and returned to purpose.Shirley Sherrod’s life has been shaped by the struggle for Black people to remain connected to land. Alongside her husband, civil rights leader Charles Sherrod, she helped build New Communities, the pioneering Black- led cooperative in southwest Georgia created around collective land ownership and economic independence. After the organization lost its land during the farm crisis of the 1980s, Sherrod continued advocating for Black farmers facing discrimination and dispossession. Decades later, New Communities prevailed in a claim arising from the landmark Pigford litigation over USDA discrimination against Black farmers. The settlement helped the organization acquire Resora, a former plantation—returning Black farmers to the land under radically different terms. Sherrod’s work reminds us that land can carry the memory of what was taken—and the possibility of what can be restored.WHAT SHE CARRIEDBlack queer experience, carried through the blues. Known as the “Mother of the Blues,” Ma Rainey gave voice to Black Southern life with a candor rarely afforded Black women in the early twentieth century. Her songs held heartbreak, desire, betrayal, humor, sexuality, independence, and the everyday realities of people whose inner lives were seldom preserved in the official record. Rainey also sang openly about relationships between women, leaving behind glimpses of Black queer life at a time when such experiences were rarely documented publicly. Through the blues, she preserved more than sound; she preserved feeling. Rainey’s music became an archive of what Black women loved, endured, desired, and dared to say aloud.MA RAINEYCOLUMBUS, GEORGIA APRIL 26, 1886-DECEMBER 22, 1939 JOURNALIST, PUBLISHER & CIVIL RIGHTS LEADERBAKER COUNTY, GEORGIA NOVEMBER 20, 1947 CIVIL RIGHTS LEADER & AGRICULTURAL JUSTICE ADVOCATE

Before hospitals welcomed them, before medical institutions respected their knowledge, Black women were already bringing generations safely into the world. Across the South, granny midwives and nurse-midwives carried knowledge learned through apprenticeship, family, community, formal training, and experience—knowledge of pregnancy and birth, the body, healing, and the care required after a child arrived.24 GRANNY MIDWIVES WHAT THEY CARRIED Black Southern Midwifery as Living Memory

Their work was especially vital in rural Black communities where segregation, poverty, and distance placed medical care beyond reach. They traveled back roads carrying bags filled with the tools of their practice, delivered babies in family homes, cared for mothers afterward, trained other women, and became trusted figures across generations. Mary Francis Hill Coley alone delivered thousands of babies around Albany and became the subject of the 1952 training film All My Babies; Onnie Lee Logan delivered more than 1,000 during three decades in Mobile County. Their archive was not kept on shelves. It lived in trained hands, practiced knowledge, and the generations they helped bring safely into the world. “THEIR ARCHIVE WAS NOT KEPT ON SHELVES. IT LIVED IN TRAINED HANDS, PRACTICED KNOWLEDGE, AND THE GENERATIONS THEY HELPED BRING SAFELY INTO THE WORLD.” 25 Photo Credit: W. Eugene Smith/Life Pictures/Shutterstock

archiveBy Margarita Perez Photography by Francois Mercer A SHORT INTRO OR KICKER OF THE ARTICLE WILL GO HERE. 26

A Southern Summer RememberedRememberedRemembered You remember summers like this, don’t you? Somebody’s mama was always taking pictures. There were cousins everywhere, family reunions, trips back home, and at least one grown-up determined to turn vacation into a history lesson.The pictures in these pages belong to different families, different places, and different summers. Kellee takes us back home to Little Rock. D’Andrea brings us into a family reunion in Chattanooga. And I take you along on a road trip with my children thatincluded a stop in Birmingham. Come on. Let’s look through the album.

THE AUNTIES STAYED FLY ALL SUMMER Summer heat be damned. The hair was done, the outfits were pressed, and the shades stayed within reach. Whether they were headed somewhere special or simply sitting on the front steps, the aunties were going to look good doing it. 28

THE FAMILY REUNION IS THE MAIN EVENTMatching shirts optional. Folding chairs required. There was food everywhere, relatives you remembered and a few you didn't, and somebody insisting everybody get together for a picture before folks started leaving.29

FAMILY REUNIONS WILL FOREVER FEED MY SPIRIT 30 A reflection from D’Andrea of Chattanooga, Tennessee Growing up in the North, visiting family down South could intimidate me. I was shy, I didn’t see them often, and I worried I wouldn’t fit in. But every single time we got together, no matter how much time had passed, my family loved hard. There was no distance or awkwardness—just love and laughter. This was the first family reunion I can remember. If you look closely, you’ll find little D’Andrea between my mom, dad, and sister, smiling and completely comfortable in her space. We’ve lost a good number of the people in this picture, which makes me even more grateful that someone thought to capture it. Now another reunion is approaching, and this time I’ll return with my own children to meet their roots. I’m ready to create the next version of this moment —the next picture.

Edit this text to match your own memories.Edit this text to match your own memories.Edit this text to match your own memories.31

ALWAYS MAKE TIME FOR THE ELDERSSummer visits home meant time with the people who remembered what came before us—and usually had a story or two they were ready to tell. Stay awhile. You might learn something.

THEIR TURN AT SUMMER: The kids get their own version of the summer we grew up with.It starts the moment you see that welcome sign at the airport. Kellee, pictured right as a child, now brings her own daughter home to Little Rock, Arkansas, where another generation is making summer memories of its own. 33

SOME THINGS NEVER CHANGEKellee and her cousins grew up spending summers together. They’re grown now, but coming home still means finding their way back to one another. Meanwhile, Kellee’s daughter gets her own taste of cousin time —complete with water guns and a little help from the grown folks.34

Edit this text to match your own memories.Edit this text to match your own memories.Edit this text to match your own memories.35 ROAD TRIPS WITH MAMA There’s always a history lesson. On a summer road trip through Birmingham, Alabama, I made one important stop with my children: Sixteenth Street Baptist Church. On September 15, 1963, members of the Ku Klux Klan bombed the church, killing four girls—Addie Mae Collins, Denise McNair, Carole Robertson, and Cynthia Wesley—and injuring others. The church had been an important gathering place for Birmingham’s civil rights movement. Sometimes summer travel is about seeing someplace new. And sometimes it is about making sure our children understand the history beneath their feet.

LeftLeft: Three sisters walking home from Sunday school, Edisto Island, South Carolina, 1956.: Three sisters walking home from Sunday school, Edisto Island, South Carolina, 1956. CenterCenter: Kratina and her childhood friend: Kratina and her childhood friend Kisa, Easter Sunday.Kisa, Easter Sunday. RightRight: Denise McNair with her mother, Maxine, Mother’s Day 1963; photographed by her father, Chris McNair.: Denise McNair with her mother, Maxine, Mother’s Day 1963; photographed by her father, Chris McNair. Left: Three sisters walking home from Sunday school, Edisto Island, South Carolina, 1956. Center: Kratina and her childhood friend Kisa, Easter Sunday. Right: Denise McNair with her mother, Maxine, Mother’s Day 1963; photographed by her father, Chris McNair. Summer Sundays meant putting on your best before you went anywhere. Dresses pressed, shoes polished, hair done—and absolutely no playing in your good clothes before church. Whether it was Easter Sunday, Mother’s Day, or an ordinary Sunday morning, showing up in your best was part of the ritual. 36 SUNDAY BEST WAS SERIOUS BUSINESS

Edit this text to match your own memories.Edit this text to match your own memories.Edit this text to match your own memories.37

ON FINDING YOUR STYLE By Margot Elsher Photography by Job Park A magazine is a periodical publication, which can either be printed or published electronically. It is issued regularly, usually every week or every month, and it contains a variety of content. This can include articles, stories, photographs, and advertisements.Photo caption. It can be a short description or it can credit the production team. Heading goes here Write a concise description that supports the heading and connects it to your listicle topic.1 Heading goes here Write a concise description that supports the heading and connects it to your listicle topic.2 Heading goes here Write a concise description that supports the heading and connects it to your listicle topic.3 Heading goes here Write a concise description that supports the heading and connects it to your listicle topic.4 38

AS SHEBy Margarita Perez. Photography by Francois Mercer STEADY GOES A SHORT INTRO OR KICKER OF THE ARTICLE WILL GO HERE. A magazine is a periodical publication, which can either be printed or published electronically. It is issued regularly, usually every week or every month, and it contains a variety of content. This can include articles, stories, photographs, and advertisements. To create your own, choose a topic that interests you. It can be anything from fashion and beauty to travel and the news. Once you have your overall theme, you can start brainstorming the content. 39

"IF NOT NOW, THENA SHORT INTRO OR KICKER OF THE ARTICLE WILL GO HERE. THIS PART ACTS AS A BRIDGE BETWEEN THE HEADLINE AND THE ARTICLE ITSELF. By Margarita Perez Photography by Francois Mercer 42

A magazine is a periodical publication, which can either be printed or published electronically. It is issued regularly, usually every week or every month, and it contains a variety of content. This can include articles, stories, photographs, and advertisements. To create your own, choose a topic that interests you. It can be anything from fashion and beauty to travel and the news. Once you have your overall theme, you can start brainstorming the content. Just starting? Design a memorable masthead with an equally memorable name. This goes on the cover and sets up the branding for your entire magazine. What style are you going for? Is it playful? Classic? Bold? A good masthead captures the essence of your magazine, so it needs to be flexible, meaningful, and consistent enough for future issues. Next, think of a compelling feature for your cover story. This will be what draws your audience in. Make sure that you have accompanying visual content that immediately catches the eye. Include photos, illustrations, and other graphics to match. Appeal to your audience, choose the right fonts and images, and you'll have a magazine that people will remember for years to come.When you've decided on your cover story, come up with a list of topics for your feature articles. This can range from interviews, product reviews, human interest pieces, and even lists. Think about what your audience would be interested in and get writing! Again, choose engaging photos and graphics to accompany your words, as these also help catch your audience's eye.Here, you can place a caption for the photo. It can be a short description or it can credit the production team.44

FASHION'S BIG QUESTION MARK By Margarita Perez Photography by Francois Mercer A magazine is a periodical publication, which can either be printed or published electronically. It is issued regularly, usually every week or every month, and it contains a variety of content. This can include articles, stories, photographs, and advertisements. To create your own, choose a topic that interests you. It can be anything from fashion and beauty to travel and the news. Once you have your overall theme, you can start brainstorming the content. Just starting? Design a memorable masthead with an equally memorable name. This goes on the cover and sets up the branding for your entire magazine. What style are you going for? Is it playful? Classic? Bold? A good masthead captures the essence of your magazine, so it needs to be flexible, meaningful, and consistent enough for future issues. A SHORT INTRO OR KICKER OF THE ARTICLE WILL GO HERE. THIS PART ACTS AS A BRIDGE BETWEEN THE HEADLINE AND THE ARTICLE ITSELF. 45

TREND WATCH By Phyllis Schwaiger Photography by Jin Ae Soo A SHORT INTRO OR KICKER OF THE COLLAGE WILL GO HERE. THIS PART ACTS AS A BRIDGE BETWEEN THE HEADLINE AND THE ITEMS ON THE LIST. 47

Place a photo caption here. Place a photo caption here. Place a photo caption here. 48

When you've decided on your cover story, come up with a list of topics for your feature articles. This can range from interviews, product reviews, human interest pieces, and even lists. Think about what your audience would be interested in and get writing! Again, choose engaging photos and graphics to accompany your words, as these also help catch your audience's eye. After writing all your articles and adding them to your layout, list down all the titles to set up your table of contents. You can add a brief description for each article or keep it simple and paste the feature titles on the page. Don't forget your page numbers too! 50

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Give your readers a peek at how your magazine comes to life.Give your readers a peek at how your magazine comes to life.Give your readers a peek at how your magazine comes to life.MARGINS Margins define the boundaries of your page. Content placed outside the margins can be cut off in the printing process so it's best to keep all important information within the margins.COLUMNS Columns are vertical fields which elements and text are aligned to, to create a neat and organized appearance. You may opt not to use the grid all the time for a more flexible layout.GAP A gap is a vertical space used to separate columns of text or elements on the page, keeping your layout organized and readable.When working with text-heavy layouts, we can use guides to organize our headlines and body copy, and maintain a clean and balanced layout.Canva GuidesHOW TO USE:Kindly delete this page before saving/printing your design. :) 55

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