Hairstyling by Yara Forster | Photography by Andrea AmponsahYara Forster is a hair artist using Black hair as her medium. She is known for her sharp, sculptural signature. Cornrows, afro shapes, and custom hairpieces define her work, each a statement on its own. Narrative-driven, her practice spans editorials, campaigns, runway shows, music videos, and theatre, always making hair part of the story rather than decoration.Growing up in the late ’90s and early ’00s, she was constantly working with her own hair, studying it, figuring it out. The styles she saw in the Bijlmer, combined with pop culture from music videos and magazines, shaped her eye and foundation.Her work has gained international recognition, appearing in leading publications including Vogue, Elle, and Harper’s Bazaar, as well as institutional exhibitions such as Voices of Fashion at the Centraal Museum Utrecht. In 2022, Yara won Best Hairstyling in a Fashion Film at the London Fashion Film Festival. In 2024, she presented Welcome To The Kingdom at OSCAM, her first solo exhibition.What began as an inner urge is now a daily practice. Yara works with focus and intent, using Black hair as a language. For this issue, she created a series of looks celebrating the art of Black hair.Braided Updo In the 2000s, updos became louder and more glamorous, more volume, spiky ends, and playful shapes. Rhinestones, clips, glitter, and creative edges added extra flair, while swooped side pieces and braids were often incorporated. This look reimagines that era with a modern, sculptural approach, combining braids and form in a bold statement. Natural Hair Texture This look is a tribute to the unique structure of Black hair. Yara reflects, “My own hair taught me to explore its possibilities. In my family, I had no direct reference for my tighter, denser curls, so I had to figure out how to care for and style it myself.” This style celebrates natural textures while incorporating braiding. Freestyle Braids“This was my favourite braid style growing up,” Yara says. Freestyle braids allowed her clients to fully trust her creativity, resulting in unique combinations of patterns, forms, and sometimes even words. This look merges different braided shapes and structures, showing a playful approach to hair as art. Ala Kondre BraidsInspired by the traditional Surinamese Ala Kondre Chain, this look translates the chain’s links, charms, and beads, each with its own meaning, into hair. Various braid techniques, patterns, and textures combine to form a cohesive whole. The look celebrates Yara’s Surinamese heritage and the unity of diverse influences and techniques. Every braid pattern carries a story, making the hair both a visual and symbolic tribute to her hair journey.Archive images of Yara Forster's work Photographer: Fred EldarPhotography: Ines Vansteenkiste-Muylle

Amsterdam-based nail artist Daniel Smedeman has established himself as one of the go-to creatives in nail art culture. As the co-founder and Creative Director of Glazed Salon, Daniel has created a signature style. His work has been featured across leading publications including Vogue, Acne Papers, Carnale, Perfect Magazine, Harper’s Bazaar, Vanity Fair and in campaigns for Tom Ford, Versace and Viktor & Rolf.His creative direction sets the tone on the runway, as he leads nail design for houses such as Casablanca and Willy Chavarria. Being such a talented individual, it was a no-brainer for Patta to collaborate with him in the past. His salon, based in Amsterdam’s Red Light District, is a place we turn to whether we’re after a perfectly clean nail or a piece of art.Fashion and beauty are becoming more intertwined than ever. How do you think nail art fits into the broader fashion narrative today? Just like fashion, beauty is forever changing. Sometimes it's more out there and sometimes more muted. Either way, it can definitely be seen as a form of individual expression, community, celebration or even protest. What was it like entering a field that’s mostly female-dominated, and how did you find your place in it? At 38, I wanted to be self-employed and more creative, so I was determined to succeed. For me, being a man in a space where there were few was one of the reasons for me to venture into nails. During my first day in class, I fell in love. Still, even now, I see myself being who and what I am as a plus.You’ve created so many standout looks over the years. Is there a particular set or moment that still stands out to you? I mean, there have been a few; however, the one closest to my heart is doing a simple red nail for my grandmother for a story in the Dutch national newspaper, the NRC. What have been some defining moments for Glazed, the projects or milestones, that made you realise it was becoming something bigger than you imagined? My first Paris fashion show with Viktor & Rolf was for sure a pinch-me moment! Opening Glazed with my business partner Jessica van Houten, a salon that creates space for community, is humbling. Especially to stay true to our initial concept. Working together with Willy Chavarria, a brand that stands for the same things I believe in. Being able to bring my team along with me, I very much believe in sharing this experience with them.Collaboration seems central to your world, from working with artists to fashion brands. What makes a collaboration feel right for you, and how do you make sure it stays true to the Glazed vision? Even though I believe in individual expression, I believe it's very important to come together. It is what creates so many more possibilities, brings knowledge and is so powerful. Making the right decisions is a gut feeling and always thinking about the long run. Believing in a constant vision, calmness and daring to swim upstream.There have been rumours about a newspaper-like magazine you’re working on called ‘Unguis Oracle’, set to launch in January 2026. Can you tell us a bit about it? What can people expect from this release? The rumours are true. It's been a long-time dream coming true. It's a love letter to everything hands. A physical paper celebrating craft, care, knowledge and a whole lot of creativity. Collaborating with photographers like Paul Kooiker, Woody Bos and illustrations by Piet Paris and more.What’s next, either for Glazed or for you personally? Any new directions, collaborations, or ideas you’re excited to explore? For Glazed just to stick around and dare to stay true to its core values. Collaborate, celebrate and give back. As for me, to always keep dreaming dreams that lead to creation, I hope.Visit Daniel at Glazed Salon.

Photography by Gabe Searles and Max Hummels“I'm using this residency to kind of reset a little bit mentally. This year was pretty busy for me,” says Raheem Esteban over FaceTime from Chatham in upstate New York.Esteban Raheem Abdul Raheem Samayoa has just wrapped up his first solo institutional exhibition at the Institute of Contemporary Art San José, titled Blood Be Water. Capping off a formative year that is not quite over yet, the moment even came with a profile in The New York Times. Born in Sacramento and now living in Oakland, the Mexican-Guatemalan artist took the opportunity to incorporate new mediums like pastels and ceramics rather than the airbrush and charcoal drawings that he has previously been known for.It is immediately evident that Samayoa’s art is a personal reflection of his life, experiences, and perspective. Based around themes of community and identity, “what I want people to grasp from the work is a feeling of being comfortable, a feeling of being seen and heard,” he explains.Below, Samayoa speaks to Patta Magazine about the themes that define his work, his love of dogs, and what’s next.Tell me about what you’re doing in New York and the residency. What do you have planned?I’m upstate in Chatham for the Macedonia Institute Residency with another artist, Leonard Macintosh. We’re here for a month. For me, it’s a reset. This year was busy, two solo shows, group shows, another residency in August, so being out in nature lets me get away from the noise and reflect on what’s next when I get back to Oakland. This is my last engagement of the year. Next year I’ll have a group show at Jonathan Carver Moore Gallery in San Francisco and a solo show with my friend Callie Jones at COL Gallery, a small space in Ghirardelli Square. It’ll be an intimate show, which I’m excited about.Tell me about your early exposure to art. When did you realize you wanted to be an artist?I’ve been drawing since I was a kid, maybe three years old. My mother said I was always sketching cars and people. But growing up, I didn’t see art as a possible career. I was focused on working and surviving, figuring things out on my own. Art was always a calling though. During the pandemic in 2020, I finally had the time and resources to create a body of work. I’d moved to Oakland in 2017, and by 2020, galleries started noticing my work for the first time.You often mention community. What does home mean to you, and how does it appear in your work?What I want people to grasp from the work is a feeling of being comfortable, a feeling of being seen and heard. I’ve faced a lot of hardships, and while my story isn’t unique, people in my community often feel isolated in their struggles. My work aims to show that we’re not alone. I try to be vulnerable with the viewer, to build connection and empathy. Many of my paintings reflect not just my life but stories from friends and people in my community. That’s why the work feels relatable, it’s all drawn from shared experiences.And the dogs that appear throughout your work. What do they represent?Dogs are a recurring motif. I grew up with Dobermans and Rottweilers, breeds people often see as dangerous because of how they look. But the ones I had were rescues, they just needed love and care. That mirrors how people see communities like mine. They might look at me, with tattoos or whatever, and assume something that isn’t true. The dogs represent misunderstanding, but also loyalty and family. In hip-hop, “my dog” is about brotherhood and trust. I also grew up on old cartoons - Looney Tunes, Tex Avery - those characters stuck with me. And funnily enough, I’m born in the Year of the Dog, so it all connects.Why do you gravitate toward charcoal?I love its softness, similar to airbrush, which gives my work a nostalgic, dreamlike quality. Charcoal feels physical, I’m blending it into the fibers of the paper, really working with it. Early on, I painted with acrylics and oils, but charcoal was the first medium that completely drew me in. It let me express myself the way I needed to.How do you think art can create real impact or change in the world?Artists are essential to keeping hope alive. If you have nothing else, you have art and water. Artists express what’s happening in their communities, and that sparks a connection. When I see great art, I leave inspired and eager to create. That ripple effect builds energy across people. The message varies for everyone, but art keeps the human spirit hopeful, especially in difficult times. It reminds us that change and connection are still possible.Given everything happening in the US right now, has it changed or influenced your work?Definitely. As I’ve grown older, I’ve tried to lead by example and take on more of a leadership role. I’m aware that what I create can have an impact, even for people I don’t know. These times push me to be intentional and use a louder voice in my work, to reach further and express freely.Looking ahead, what are your short- and long-term goals?I’m focused on getting my art in museums and institutions and creating more opportunities to speak at colleges and universities. I want to share my story with younger generations and make art more accessible. I didn’t grow up going to museums, my first time was in college, so I want to bring that experience to others. I’ve really been pursuing this career seriously for about five years, and I’m learning to be patient, but I know it’ll happen.Is there a moment or accomplishment you’re most proud of so far?This year, for sure. It was packed, but a blessing. I took every opportunity, even when I wasn’t sure how it would work out. I had my first institutional show at the ICA San Jose, got a New York Times write-up, then had my first LA solo show, plus two residencies. Making all of that happen through art alone, that’s a huge accomplishment for me. Get Familiar with Raheem Esteban's Artist Residency in the Patta Magazine Volume 6. Patta Magazine Volume 6 is available now at Patta chapter stores in Amsterdam, London, Milan and Lagos.