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Nazanin Mandi is never out of options.

About a year ago, the 37-year-old life coach and actress was navigating life after divorce and determined to experience homeownership for the first time as a single woman. She’d been married to the R&B singer Miguel for three years, following a long-term relationship that started when she was 18 years old. But, in 2022, she filed for divorce. It was certainly the most public change she made but, in reality, it was just one of many decisions to refocus and reach her full potential in recent years.

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Nicole Walters has always been known for two things: her ambition and her ability to recognize when life’s challenges can also double as an inspiring, lucrative brand.

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Over the summer, podcast host Sequoia Holmes sent me a screenshot of an email with some exciting news. The email came from someone at Spotify who said that Hayley Williams of Paramore listened to Holmes’ podcast Black People Love Paramore and wanted to be on the show. Holmes would attend Paramore’s concert in Los Angeles and go backstage to conduct the interview.

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Jessica Cruel picked her career path in a way that one might imagine she would if she were a fictional magazine editor: She decided she wanted to be a journalist by taking a quiz.


The career quiz, which was a part of a class she was taking in high school, intrigued Cruel. Still, she knew if she were to become a reporter, it wouldn’t be for a newspaper. “I had this dream of wearing a really fly suit, living in a big city – because I’m from a small town [in] the south – [and] working in some big, fancy building,” she says. “I landed on fashion magazines.”

For her senior project, Cruel oversaw the publication of a magazine she named Onyx, including facilitating photo shoots and writing an editorial letter. Onyx, she says, was designed to serve Black teens.

Cruel became the editor-in-chief of Allure in 2021, achieving a lifelong goal after amassing the necessary tools to land the job in various roles throughout the media industry. In her current role atop the masthead of Conde Nast’s beauty magazine, she’s worked to bring the publication from “on high” and make it more accessible to readers, including Black women who look like her. She’s also worked to usher the brand into the digital era with last year’s announcement that the Allure would no longer have a print edition.

As a high school and college student, Cruel says she wasn’t ignorant of the fact that magazines weren’t very diverse. Still, she was motivated by the thought that she could contribute to changing the makeup of the industry. An internship at Self introduced her to the idea that this could be done through covering beauty.

“I was so impressed by the science of it all. It felt so accessible,” she says. “I think fashion always felt out of my reach. I’m Black. I got natural hair. I’m curvy as hell. And I’m from Georgia. I never felt like I fit into fashion, but then I got to [Self’s] beauty closet and I was like there are so many things here that I can use and that feel welcome to me. Even the people in Georgia can go to the Walgreens and get the thing that we’re recommending, for a price they can afford.”

"I think fashion always felt out of my reach. I'm Black. I got natural hair. I'm curvy as hell. And I'm from Georgia. I never felt like I fit into fashion."

Eugene Gologursky/Getty Images for Allure

Being a native Southerner who grew up in Albany, Georgia, informs a lot of Cruel’s perspective as an editor. As a Black woman working in mainstream media, she’s often worked for brands that her friends don’t read because the content feels like it wasn’t created with them in mind.

Cruel is also no stranger to working with writers who have felt their works have to incorporate explanatory commas to educate non-Black readers at the expense of alienating Black audiences. This awareness inspired Cruel to launch the Allure vertical The Melanin Edit when she was still the content director at Allure. “I just thought, my friends don’t read Allure, but they would if they knew there was a vertical just for them,” she says.

The Melanin Edit was inspired by Unbothered, a Refinery29 vertical that was created to cater to Black readers, shortly before Cruel began working at the digital publication as deputy beauty director in 2018.

This year, Cruel oversaw the launch of an inaugural live event for Allure’s signature Best of Beauty tentpole. For 27 years, readers have turned to the magazine to figure out the best beauty products. In 2023, beauty editors tested more than 8,000 products before deciding on the winning 391 items. Cruel, who says she’s been craving an opportunity to have some face-to-face time with Allure readers, sees Best of Beauty: The Live Event as a way to do just that.

Last month, celebrities such as John Legend were on hand for the event, which also featured “master classes” and a chance for readers to visit a Conde Nast magazine’s beauty closet just as Cruel did as an intern for Self.

Eugene Gologursky/Getty Images for Allure

“I believe we are doing a great service by making [Best of Beauty] modern [and] doing it in a way that can keep this legacy alive. The way it was built 27 years ago wouldn't necessarily allow it to survive and thrive in this year so we have to upgrade,” Cruel says of the event.

The beauty editor uses her social media platforms to continue this work of making beauty more accessible, especially to Black women who look like her. Recent Instagram Reels have chronicled her receiving treatments, including Hyperdilute Radiesse filler for necklines, a Pico laser to address dark spots and texture, and a Kobido face massage for an “instant flush.”

“I think every treatment people have been able to get for years, we should also be able to get, and we should be able to get safely and to our desires,” she says. “Unfortunately, the science hasn’t caught up yet to give us everything. It’s really important to me that what we convey is the safety of it all. What’s the safest way for you to get it? I’ve been turned away from treatments before, even as a beauty editor. That was many years ago, but I don’t want anyone to ever feel like that. I want them to be able to come to Allure and be like I read on Allure that this is okay for us.”

Beyond this, she’s also using her social media accounts to make the role of editor-in-chief more accessible and relatable to other thirty-something women who are navigating their own corporate jobs, as well as dating and homeownership. As much as she shows herself attending galas, she also wants to be honest about how she navigates life at the top of the masthead by going to the gym in the mornings, cooking dinner for herself at least once a week, and managing her anxiety with Lexapro.

"I think so many of us are in the same place in corporate America, finding our way, becoming bosses [and] leveling up."

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Featured image by Robin L Marshall/Getty Images for Allure

There are two words that Rachel Lindsay keeps returning to over and over again: Rest and renew.

The ambitious, self-described “type A” media personality just left one of her more prominent roles after three years, and instead of being anxious about the downtime, she’s finally learning to take a few moments for herself.

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Amber Riley has the type of laugh that sticks with you long after the raspy, rhythmic sounds have ceased. It punctuates her sentences sometimes, whether she’s giving a chuckle to denote the serious nature of something she just said or throwing her head back in rip-roarious laughter after a joke. She laughs as if she understands the fragility of each minute. She chooses laughter often with the understanding that future joy is not guaranteed.

Credit: Ally Green

The sound of her laughter is rivaled only by her singing voice, an emblem of the past and the future resilience of Black women stretched over a few octaves. On Fox’s Glee, her character Mercedes Jones was portrayed, perhaps unfairly, as the vocal duel to Rachel Berry (Lea Michele), offering rough, full-throated belts behind her co-star’s smooth, pristine vocals. Riley’s always been more than the singer who could deliver a finishing note, though.

Portraying Effie White, she displayed the dynamic emotions of a song such as “And I'm Telling You I'm Not Going” in Dreamgirls on London’s West End without buckling under the historic weight of her predecessors. With her instrument, John Mayer’s “Gravity” became a religious experience, a belted hymnal full of growls and churchy riffs. In her voice, Nicole Scherzinger once said she heard “the power of God.”

Credit: Ally Green


Riley’s voice has been a staple throughout pop culture for nearly 15 years now. Her tone has become so distinguishable that most viewers of Fox’s The Masked Singer recognized the multihyphenate even before it was revealed that she was Harp, the competition-winning, gold-masked figure with an actual harp strapped to her back.

Still, it wasn’t until recently that Riley began to feel like she’d found her voice. This sounds unbelievable. But she’s not referring to the one she uses on stage. She’s referencing the voice that speaks to who she is at her core. “Therapy kind of gave me the training to speak my mind,” the 37-year-old says. “It’s not something we’re taught, especially as Black women. I got so comfortable in [doing so], and I really want other people, especially Black women, to get more comfortable in that space.”

“Therapy kind of gave me the training to speak my mind. It’s not something we’re taught, especially as Black women."

If you ask Riley’s manager, Myisha Brooks, she’ll tell you the foundation of who the multihyphenate is hasn’t changed much since she was a kid growing up in Compton. “She is who she is from when I met her back when she was singing in the front of the church to back when she landed major roles in film and TV,” Brooks says. Time has allowed Riley to grow more comfortable, giving fans a more intimate glimpse into her life, including her mental health journey and the ins and outs of show business.

The actress/singer has been in therapy since 2019, although she suffered from depression and anxiety way before that. In a recent interview with Jason Lee, she recalls having suicidal ideation as a kid. By the time she started seeing a psychologist and taking antidepressants in her thirties, her body had become jittery, a physical reminder of the trauma stacked high inside her. “I was shaking in [my therapist’s] office,” she tells xoNecole. “My fight or flight was on such a high level. I was constantly in survival mode. My heart was beating fast all the time. All I did was sweat.”

There wasn’t just childhood trauma to account for. After auditioning for American Idol and being turned away by producers, Riley began working for Ikea and nearly missed her Glee audition because her car broke down on the highway while en route. Thankfully, Riley had been cast to play Mercedes Jones. American Idol had temporarily convinced her she wasn’t cut out for the entertainment industry, but this was validation that she was right where she belonged. Glee launched in 2009 with the promise of becoming Riley’s big break.

In some ways, it was. The show introduced Riley to millions of fans and catapulted her into major Hollywood circles. But in other ways, it became a reminder of the types of roles Black women, especially those who are plus-sized, are relegated to. Behind the scenes, Riley says she fought for her character "to have a voice" but eventually realized her efforts were useless. "It finally got to a point where I was like, this is not my moment. I'm not who they're choosing, and this is just going to have to be a job for me for now," she says. "And, that's okay because it pays my bills, I still get to be on television, I'm doing more than any other Black plus-sized women that I'm seeing right now on screen."

The actress can recognize now that she was navigating issues associated with trauma and low self-esteem at the time. She now knows that she's long had anxiety and depression and can recognize the ways in which she was triggered by how the cult-like following of the show conflicted with her individual, isolated experiences behind the scenes. But she was in her early '20s back then. She didn't yet have the language or the tools to process how she was feeling.

Riley says she eventually sought out medical intervention. "When you're in Hollywood, and you go to a doctor, they give you pills," she says, sharing a part of her story that she'd never revealed publicly before now. "[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that's not fixing my problem. If anything, it's making it worse."

“[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that’s not fixing my problem. If anything it’s making it worse.”

Credit: Ally Green

At one point, while in her dressing room on set, she rested her arm on a curling iron without realizing it. It wasn't until her makeup artist alerted her that she even realized her skin was burning. Once she noticed, she says she was "so zonked out on pills" that she barely reacted. Speaking today, she holds up her arm and motions towards a scar that remains from the incident. She sought help for her reliance on the pills, but it would still be years before she finally attended therapy.

This stress was only compounded by the trauma of growing up in poverty and the realities of being a "contract worker." "Imagine going from literally one week having to borrow a car to get to set to the next week being on a private jet to New York City," she says. After Glee ended, so did the rides on private planes. The fury of opportunities she expected to follow her appearance on the show failed to materialize. She wasn't even 30 yet, and she was already forced to consider if she'd hit her career peak.

. . .

We’re only four minutes into our Zoom call before Riley delivers her new adage to me. “My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway,” she says.

On this Thursday afternoon in April, the LA-based entertainer is seated inside her closet/dressing room wearing a cerulean blue tank top with matching shorts and eating hot wings. This current phase of healing hinges on balance. It’s about having discipline and consistency, but not at the risk of inflexibility. She was planning to head to the gym, for instance, but she’s still tired from the “exhausting” day before. Instead, she’s spent her day receiving a massage, eating some chicken wings, and planning to spend quality time with friends. “I’m not going to beat myself up for it. I’m not going to talk down to myself. I’m going to eat my chicken wings, and then tomorrow I’m [back] in the gym,” she says.

“My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway."

This is the balance with which she's been approaching much of her life these days. It's why she's worried less about whether or not people see her as someone who is humble. She'd rather be respected. "I think you should be a person that's easy to work with, but in the moments where I have to ruffle feathers and make waves, I'm not shying away from that anymore. You can do it in love, you don't have to be nasty about it, but I had to finally be comfortable with the fact that setting boundaries around my life – in whatever aspect, whether that's personal or business – people are not going to like it. Some people are not going to have nice things to say about you, and you gotta be okay with it," she says.

When Amber talks about the constant humbling of Black women in Hollywood, I think of the entertainers before her who have suffered from this. The brilliant, consistent, overqualified Black women who have spoken of having to fight for opportunities and fair pay. Aretha Franklin. Viola Davis. Tracee Ellis Ross. There's a long list of stars whose success hasn't mirrored their experiences behind the scenes.

Credit: Ally Green

If Black women outside of Hollywood are struggling to decrease the pay gap, so, too, are their wealthier, more famous peers.

Riley says there’s been progress in recent years, but only in small ways and for a limited group of people. “This business is exhausting. The goalpost is constantly moving, and sometimes it’s unfair,” she says. But, I have to say it’s the love that keeps you going.”

“There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman,” she continues. “We’re still niche. We’re still not main characters.”

"There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman. We’re still niche. We’re still not main characters.”

Last year, Riley starred alongside Raven Goodwin in the Lifetime thriller Single Black Female (a modern, diversified take on 1992’s Single White Female). It was more than a leading role for the actress, it also served as proof that someone who looks like her can front a successful project without it hinging on her identity. It showcased that the characters she portrays don’t “have to be about being a big girl. It can just be a regular story.”

Riley sees her work in music as an extension of her efforts to push past the rigid stereotypes in entertainment. Take her appearance on The Masked Singer, for instance. Riley said she decided to perform Mayer’s “Gravity” after being told she couldn’t sing it years earlier. “I wanted to do ‘Gravity’ on Glee. [I] was told no, because that’s not a song that Mercedes would do,” she says. “That was a full circle moment for me, doing that on that show and to hear what it is they had to say.”

As Scherzinger praised the “anointed” performance, a masked Riley began to cry, her chest heaving as she stood on stage, her eyes shielded from view. “You have to understand, I have really big names – casting directors, producers, show creators – that constantly tell me ‘I’m such a big fan. Your talent is unmatched.’ Hire me, then,” she says, reflecting on the moment.

Recently, she’s been in the studio working on original music, the follow-up to her independently-released debut EP, 2020’s Riley. The sequel to songs such as the anthemic “Big Girl Energy” and the reflective ballad “A Moment” on Riley, this new project hones in on the singer’s R&B roots with sensual grooves such as the tentatively titled “All Night.” “You said I wasn’t shit, turns out that I’m the shit. Then you called me a bitch, turns out that I’m that bitch. You said no one would want me, well you should call your homies,” she sings on the tentatively titled “Lately,” a cut about reflecting on a past relationship. From the forthcoming project, xoNecole received five potential tracks. Fans likely already know the strengths and contours of Riley’s vocals, but these new songs are her strongest, most confident offerings as an artist.

“I am so much more comfortable as a writer, and I know who I am as an artist now. I’m evolving as a human being, in general, so I’m way more vulnerable in my music. I’m way more willing to talk about whatever is on my mind. I don’t stop myself from saying what it is I want to say,” she says.

Credit: Ally Green

“Every era and alliteration of Amber, the baseline is ‘Big Girl Energy.’ That’s the name of her company,” her manager Brooks says, referencing the imprint through which Riley releases her music after getting out of a label deal several years ago. “It’s just what she stands for. She’s not just talking about size, it’s in all things. Whether it’s putting your big girl pants on and having to face a boardroom full of executives or sell yourself in front of a casting agent. It’s her trying to achieve the things she wants to do in life.”

Riley says she has big dreams beyond releasing this new music, too. She’d love to star in a rom-com with Winston Duke. She hasn't starred in a biopic yet, but she’d revel in the opportunity to portray Rosetta Tharpe on screen. She’s determined that her previous setbacks won’t stop her from dreaming big.

“I think one of my superpowers is resilience because, at the end of the day, I’m going to kick, scream, cry, cuss, be mad and disappointed, but I’m going to get up and risk having to deal with it all again. It’s worth it for the happy moments,” she says.

If Riley seems more comfortable and confident professionally, it’s because of the work she’s been doing in her personal life.

She’d previously spoken to xoNecole about becoming engaged to a man she discovered in a post on the site, but she called things off last year. For Valentine’s Day, she revealed her new boyfriend publicly. “I decided to post him on Valentine’s Day, partially because I was in the dog house. I got in trouble with him,” she says, half-joking before turning serious. “The breakup was never going to stop me from finding love. Or at least trying. I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness, and you enjoy it and work through it.”

Credit: Ally Green

"I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness and you enjoy it and work through it.”

With her ex, Riley was pretty outspoken about her relationship, even appearing in content for Netflix with him. This time around is different. She’s not hiding her boyfriend of eight months, but she’s more protective of him, especially because he’s a father and isn’t interested in becoming a public figure.

She’s traveling more, too. It’s a deliberate effort on her part to enjoy her money and reject the trauma she’s developed after experiencing poverty in her childhood. “I live in constant fear of being broke. I don’t think you ever don’t remember that trauma or move past that. Now I travel and I’m like, listen, if it goes, it goes. I’m not saying [to] be reckless, but I deserve to enjoy my hard work.”

After everything she’s been through, she certainly deserves to finally let loose a bit. “I have to have a life to live,” she says. “I’ve got to have a life worth fighting for.”

Credits

Director of Content: Jasmine Grant

Campaign Manager: Chantal Gainous

Managing Editor: Sheriden Garrett

Creative Director/Executive Producer: Tracey Woods

Cover Designer: Tierra Taylor

Photographer: Ally Green

Photo Assistant: Avery Mulally

Digital Tech: Kim Tran

Video by Third and Sunset

DP & Editor: Sam Akinyele

2nd Camera: Skylar Smith

Camera Assistant: Charles Belcher

Stylist: Casey Billingsley

Hairstylist: DaVonte Blanton

Makeup Artist: Drini Marie

Production Assistants: Gade De Santana, Apu Gomes

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