Reinventing Ariel for a new generation, The Little Mermaid star Halle Bailey reflects on her casting controversy, style evolution, and life lessons from Beyoncé.

Dress, heels, Schiaparelli; necklace, rings, Dior. Photo: The Morelli Brothers

She’s the teen music star who’s pivoted into a movie starlet, having wrapped two major remakes within the last 18 months. Halle Bailey is the 23-year-old actress and singer making a splash with her portrayal of Ariel in Disney’s The Little Mermaid reboot, alongside acting titans Javier Bardem and Melissa McCarthy in the roles of King Triton and Ursula. Director Rob Marshall had auditioned the crème de la crème of young Hollywood for the role, and even Zendaya was rumored to have read for the part. But it was movie newcomer Bailey who won the coveted lead. The moment she heard the news will stay with her forever. “I was at home with the family celebrating my sister Chloe’s birthday, so when I got the call, it was even more of a celebration,” she shares from her Los Angeles home over a Zoom call.

With her sister Chloe; the R&B-pop duo has received several Grammy nods

Like generations of children before her, Bailey grew up on Disney classics, with Ariel having a special place in her heart. “I remember watching The Little Mermaid for the first time when I was around five years old,” Bailey says. “My older sisters Chloe [now 24] and Ski would pretend to be mermaids whenever we were in the swimming pool; it’s cool how it’s all come full circle.” Bailey didn’t take on the esteemed role lightly, either. “I felt an immense responsibility just because of how much Ariel meant to me. It’s crazy how you think it’s just a movie. But Disney means so much to so many people. Films are like the footprint of some of these adults now, so I did feel a duty to just do it justice.” Bailey pushed herself to the limit, often spending up to 13-hour days in the water – filming in both the UK’s Pinewood Studios and Sardinia. “It was like superhero training as it was very physically intense on my body, but I’ve always loved swimming and the water,” she enthuses. “And I was in the best shape of my life!”

Dress, Valentino; earrings, Chopard. Photo: The Morelli Brothers

Bailey was given poetic license to develop Ariel beyond the Hans Christian Andersen book it was originally based on. “I was really happy that Rob Marshall allowed me to have creative freedom and bring myself to Ariel and who she is. It was his vision to keep her with locs and his only request was that they were red. I really appreciated that because being a young Black girl, it’s so important for all the babies to be able to see themselves represented on screen.” The response to the trailer – from celebrity reactions to those from young girls of color around the world – left Bailey overwhelmed. “When I saw Nicki Minaj’s tweet I freaked out,” she says. “I’m such a fan of so many artists, so to have their stamp of approval is huge.” Minaj wrote, “When this come out no one speak to me. Even papa bear betta not get on mama nerves that day.” Bailey continues, “It’s moments like that when you just pinch yourself. But it means so much to me to see the reaction of all the beautiful children.”

The Disney live action remake sees Bailey star alongside Javier Bardem and Melissa McCarthy, who play the roles of King Triton and Ursula

The actress says the racist backlash against a woman of color being cast as the fictional mermaid was a shock, though not entirely surprising – however, she chooses to focus on the positives. “This is such a blessing, and the movie is bigger than me. I initially expected everyone to be as excited as I was, but the reality of it all hit me later as I realized the world that we live in. I just hope that people who aren’t sure about it, go and watch the film and realize we did the original justice.”

Dress, David Koma; boots, Aknvas x Stuart Weitzman; gloves, David Koma at Mytheresa; earrings, Van Cleef & Arpels. Photo: The Morelli Brothers

The live-action adaptation of Disney’s 1989 The Little Mermaid may have caused a sea of controversy, but Marshall insists that Bailey won the role on merit. As one half of the sibling duo Chloe x Halle, it was their 2019 Grammy performance of Where is the Love that caught Marshall’s attention. He was instantly blown away by Bailey’s angelic voice. The musical sisters who write, produce, and sing their material became internet sensations at the ages of 11 and 13 when they launched a YouTube channel uploading covers from their favorite artists. Their interpretation of Beyoncé’s classic Pretty Hurts went viral, and the rest is history. TV appearances on The Ellen Show followed. Chloe x Halle eventually caught the attention of Beyoncé, who signed them to her label, Parkwood Entertainment, releasing their professional EP debut with Sugar Symphony. As their music stormed the charts, the duo also won acting and cameo roles on Disney series and hit US TV shows.

Dress, Valdrin Sahiti; necklace, Van Cleef & Arpels Photo: The Morelli Brothers

Now, the five-time Grammy-nominated pair regularly tour with R&B royalty Jay-Z and Beyoncé, have performed at the Super Bowl, and Bailey was part of Beyoncé’s VVIP entourage when she made her much-anticipated stage comeback in Dubai a few months ago. Having Queen Bey on speed dial may be a perk of the job, but Bailey gleans the most from observing her mentor live her best life. “The advice she’s given me over the years is so special, but it’s also watching her navigate life that’s so inspiring. She’s a wife and a mom, and still killing it in her career. I admire her ability to balance and focus on the things that make her happy,” she buzzes.

Dress, heels, Schiaparelli; necklace, rings, Dior. Photo: The Morelli Brothers

They are life lessons she holds closely, and Bailey also credits her tight-knit family for keeping her grounded, which is just as well as the fame juggernaut shows no signs of slowing down. Hot on the heels of The Little Mermaid, Bailey’s also wrapped filming The Color Purple reboot due out later this year. It is produced by media tycoon Oprah Winfrey who predicts it will change the lives of the cast – just as it did hers when she starred in the 1985 Steven Spielberg film. Bailey couldn’t agree more. “It feels incredible to be working on such big, important films, especially as it’s all relatively new to me as I consider myself a singer first,” she says. “I’m just glad that we get to remake these movies so that new generations can see what the hype is all about and experience these wonderful stories first-hand.”

Dress, scarf, Jil Sander; heels, Valentino; headpiece, Saint Laurent at Mytheresa. Photo: The Morelli Brothers

“My dream is to learn something from every strong, female role I take on. Ariel taught me a lot about myself, being independent to have courage and passion and strive for what I want in life. I want to play characters who teach me about myself because I’m 23 so I feel like I’m still learning who I am, every single day.”

Halle Bailey at the Vanity Fair Oscars party in March wearing Maison Yeya

As Bailey’s confidence evolves, so too has her style over the years. Channeling timeless glamour during her shoot with Vogue Arabia in the Hollywood Hills, Bailey was in her element. “I had so much fun,” her honey-toned voice goes up a few notches. “I didn’t have to think about my style before and now it’s a moment in time for me to find out what I like to wear. I love beautiful, classic structured outfits as they make me feel good about myself and my body.”

Jacket, blouse, skirt, shoes, earrings, necklace, rings, Chanel. Photo: The Morelli Brothers

Bailey’s joy is palpable. “I’m loving it all, and it’s exciting having designers dress me for all these shoots, red carpets, and premieres. It’s like a real fairy tale.” Bailey is living proof that fairy tales do come true as she’s well on her way to bonafide stardom.

Scarf, Jil Sander. Photo: The Morelli Brothers

Originally published in the May 2023 issue of Vogue Arabia

Video director: Danielle Gruberger
Style: Julia Müller
Makeup: Christiana Cassell
Hair: Tinisha Meeks
Photography assistant: Andrew Harless/ Jesse Belvin
Digitech: James Goethals
Photo producer: Rafa Farias
Style assistant: Mascia Remie, Thao Vy Huynh
Props stylist: Marianne Lu
Movement director: Liam Lunnis
Local production: Lita Monclus for Seduko Productions

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Shadin Hamdan. Photo: Marsha Lebedev Bernstein

When you bite into a hot, sweet kanafa cup, you’re not just indulging in one of the most iconic (and addictive) desserts from the Arab world, you’re tasting a piece of Palestine. Shadin Hamdan, a 25-year-old Palestinian-American baker, started her Kanafa Cups business as a hobby over Ramadan during Covid. “It was intended for my friends and family only and then I decided to start an Instagram page. I didn’t think I would be launching a business because I was studying for my Master’s in education. I thought it would just be a ‘Ramadan thing.’ Alhamdulillah with all the support I got from the community it just grew bigger and bigger,” she recounts. Post-pandemic, her pop-ups in New York City saw her sweet treats become an instant hit beyond the Arab and Muslim community. “We would make 1 300 cups a night, with lines of people waiting outside stretching around the block, and we would always sell out.”

Shadin Hamdan wears an apron made of her grandmother’s hand-stitched tatreez, which is traditional Palestinian embroidery. Photo: Marsha Lebedev Bernstein

Kanafa is the most famous of Palestinian desserts, originating in the city of Nablus. It traditionally takes the form of a large tray of spun, angel-hair dough stuffed with a sweet cheese like mozzarella and baked to crunchy, golden perfection. It’s then doused with a fragrant orange-blossom syrup, sprinkled with ground pistachios, and enjoyed as soon as it comes off the flame. “Growing up, we would always go to Sitti’s (my grandmother’s) house, and she would make kanafa for us. We couldn’t wait to have it. My cousins and I would help her in the kitchen; at the time, I never imagined that I would be making it for the rest of my life. Sitti helped me to perfect the recipe, with a secret ingredient that makes it unique.”

Photo: Marsha Lebedev Bernstein

Since starting her business, Hamdan has seen firsthand the role that food plays in building bridges across cultures and religions. “We’re all human and we all love food. What better way to share our own cultures than through our food? My best friend is Italian and had never heard of kanafa. Then she tried it and loved it; her family too. She’s a teacher now and she knows about Ramadan. She had one student fasting and she asked her if she was celebrating Eid. That student’s face lit up because her teacher wasn’t Arab or Muslim, but she understood what Eid was. Growing up I didn’t have that. I said to her, ‘Do you know what you just did? That kid is going to go home and tell her parents that her teacher understood what Eid was. That’s going to mean the world to them because it’s still not spoken about here.’ Even though the Arab and Muslim community in New York is huge, Ramadan and Eid are still not known.” Being an openly Palestinian entrepreneur in New York is not easy, but Hamdan is determined to break down barriers. “With my business, I try to emphasize that we are Palestinian-owned, because we are often afraid of hate and backlash. Palestine doesn’t get talked about in conversations. You often feel like you’re not seen, and your feelings are invalid.”

Bella Hadid was gifted a custom-made birthday cake from Kanafa Cups last year

Hamdan’s burgeoning fan base includes Palestinian-American supermodel Bella Hadid, who was gifted one of her custom-made kanafa birthday cakes. “That was just huge on its own. When I first started, I said that my dream was to open a café and to have Bella Hadid try my kanafa. I couldn’t believe it when Bella’s make-up artist Nadia reached out to order a birthday cake for her. Nadia was already a customer, so when I saw the DM from her, I went crazy. I was overwhelmed with joy! To see something that came from my house in Staten Island reach Bella Hadid, and to see her post about it was surreal. I cried happy tears for two weeks straight because I couldn’t believe it. It meant so much because Bella and the Hadids are such a powerful voice for Palestinians.”

Kanafa Cups harnesses the power of the community to make and sell its sweet treats. Photo: Marsha Lebedev Bernstein

Hamdan traveled to Palestine for the first time with her family, who are refugees, in the summer of 2022, visiting her parent’s hometown of Beit Hanina. “It was a powerful experience because for the first time we saw what our parents were talking about all these years, about our land and our homes that we lost as they were taken over. It was overwhelmingly emotional, and there were tears shed as we drove through Palestine. I grew up in Florida and New York, and to be surrounded by our people in Palestine was so beautiful. For the first time, we felt this was home.”

The baker explains that Kanafa Cups has since become a family affair. “My dad brings me the ingredients from his supermarket, and my mom, my sister, and my cousins often help me fulfill orders. It’s not just my accomplishment; it’s my whole family’s. I have days when I feel discouraged and run down, but they keep me going.” As her business grows, Hamdan has started shipping kanafa cups all over the United States, especially when she gets special orders from the likes of social media stars such as Mai and Max Maxwell. She still dreams of opening her own café, knowing she has her community behind her.

Originally published in the April 2023 issue of Vogue Arabia

Makeup: Islam Allan

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After an abrupt departure from the world of fashion in 2020, Halima Aden is back on the cover of Vogue. But this time, on her own terms, and never forgetting where she comes from.

Dress, earrings, Stephane Rolland. Photo: Youssef Oubahou

There are not many places in the world like Chefchaouen, a tiny village stacked between the mountains of the northwest of Morocco where blue is the reigning color. Dating back to 1471, every little alley is coated with paint and layers of history, immediately transporting you to a real-life postcard, where a serene but powerful energy takes over. As a guide explains, blue was painted on the walls, floors, and steps to represent the color of the sky and to connect the city to heaven and God. It is exactly in that pathway between physical and ethereal that we felt awash in otherworldliness.

Dress, earrings, Chanel. Photo: Youssef Oubahou

It is not a coincidence that this small but unforgettable village in Africa was selected as the backdrop for Halima Aden’s first cover shoot after she unexpectedly exited the fashion industry in 2020. Like the location that surrounds us, when I meet Aden, she is serene and warm, but there’s definitely a sense of power behind both her gaze and her inviting smile.

Dress, Gucci; turtleneck, Lama Jouni. Photo: Youssef Oubahou

The relationship between Vogue Arabia and Aden is long, dating back to 2017, when, for our fourth edition, we invited the new face to become the first ever veiled personality on the cover of Vogue. The project received unparalleled acclaim, with hijabi women around the world finally feeling represented on the front page of a publication with the impact of Vogue. Unapologetic and fearless since day one, the Somali refugee came onto our radar the year prior, after making a splash at the Miss Minnesota USA competition, where she was the first contestant to participate in the event wearing a burkini and a veil. And while today there might be some more information about modest dressing and the women who wear it – from politician Ilhan Omar to Olympic fencer Ibtihaj Muhammad – it was not the case back then.

Dress, Taller Marmo; shoes, Bottega Veneta; earrings, Chanel. Photo: Youssef Oubahou

The following years were filled with incredible success, trips around glitzy red carpets, and glamorous fashion weeks. But, in 2020, something felt terribly wrong – Aden found herself at a crossroads where her faith, her mental health, and her career were no longer compatible. To announce this, the model went straight to Instagram, posting dozens of consecutive, bombastic stories featuring her past fashion shoots, campaigns, and covers, where she felt that her hijab was not respected, nor her identity as a Muslim woman. “Before the pandemic I was too hard on myself. And the truth is that 2019 was the busiest year of my career,” Aden reflects. “To give you insight, in one month I had 45 flights, and not one day to spend with my family. I’m grateful because that was the reason why my platform grew the way it did. But then, when the pandemic happened, everything paused, and I’m someone that likes to always keep busy. During lockdown, there were no distractions, so I had to be at one with my own mind, and that was tough. I thought that I hadn’t done enough when it comes to showcasing the hijab in a proper way; I thought it went off the deep end and I could no longer relate to this identity of wearing a hijab. Towards the end of my career, in my photoshoots, my hijab became more adventurous… It was very experimental, and I confess I also had a part to play in that. Nobody forced me to put jeans on my head instead of a traditional veil, to do a shoot being fully decked out with jewelry, and very sexy even though it was modest…”

Shirt, pants, shoes, hat, Schiaparelli. Photo: Youssef Oubahou

Besides the personal and religious beliefs that made her exit the industry, Aden also underlines the importance of discussing the work conditions of models in general, whether they are hijabi or not. “This is not just a discussion around Muslim girls. It’s about how we should treat all models,” she says. “I think that a big part of the reason why I quit was the lack of privacy backstage. I was mortified early on in my career when I realized some shows had just clothing racks to separate the girls from the public, from male photographers, from the people bringing food… For me, as a newbie, I had my own box, literally one box just for myself… It was awkward and just didn’t feel right,” she explains. “When you come from the refugee community I hail from, the one thing I can’t stand is when the perks are not applied to everybody else. When the other models came to me to ask if they could use my small dressing box, I remember thinking, ‘Why can’t they just create a covered space for all of us?’ Even Walmart has changing rooms; one for the girls and one for the guys… Of course, we never complained, because we are too scared to make a fuss and be replaced. If you speak up, you are labeled difficult.”

Jacket, shirt, pants, overskirt, earring, ring, Dior. Photo: Youssef Oubahou

Although Aden’s decision to call out the fashion industry was received with excitement by the general media, I ask if she regrets the way her message was delivered. After all, the stylists, publications, clients, and editors she singled out on her posts were also the people giving her a platform, helping her to build a career when she was an unknown model. And many of them made an effort to protect Aden the best way they knew or could, trying to navigate the complexities of the hijab, creating special dressing boxes, allowing her to be accompanied by a chaperone, and so on. “My message resonated with people because I was honest, but I was also young. If I could go back, I wouldn’t have delivered it on Instagram. I really wouldn’t have,” she answers. “I do feel bad, and I feel like I could have been gentler. But fashion is a cruel business to be a part of, and sometimes you just have to say it like it is. You can’t be so scared, because other people are not afraid to tell you ‘You’re not good enough, you’re doing this wrong.’ Tell me the last time a model went on Instagram to quit or to call out the industry… That same night, The Guardian, BBC World News, all these major outlets were writing my story.”

Dress, Gucci; turtleneck, Lama Jouni. Photo: Youssef Oubahou

Now we see Aden’s story being written again, but on her own terms, and right in front of our eyes. Wearing a delicate, white Chanel lace dress (with an underbody and a classic veil, of course), she is posing next to a beautiful Moroccan door – blue, as everything else around us. If modeling is like riding a bicycle, she clearly hasn’t forgotten how to pose for the camera. To return to this place of confidence and control, Aden tells me that she spent the past years working on her mental health, “unpacking things,” and doing weekly therapy sessions. “I always thought, ‘Oh, I don’t need that’… It turns out that the people who say this are the ones that need it the most. Now, I’m just at a different place in my life, where I feel very protected, I feel very loved and cared for. I’m really going at my pace, which wasn’t the case as a model.”

Sweater, skirt, Ferragamo; turtleneck, Lama Jouni; shoes, Moschino; ring, Dior. Photo: Youssef Oubahou

On the topic of mindfulness, Aden expresses regret to recognize that visiting a therapist is a luxury that not everyone has access to, especially the younger generations. Therefore, she is collaborating with Snapchat for the project Club Unity, which encourages Gen Z voices to open up about their own mental health journeys, empowering them to embrace this important aspect of their lives. “Honestly, it is a privilege speaking to a therapist, and it is unfortunate many people can’t afford it. In my case, this was never the option. Under the influence of my mom, the solution was always to run back to God, pray your five daily prayers, fast, wake up at 2am to journal. But at one point, I felt like I needed somebody who could understand everything that I was going through.”

Dress, Elie Saab; shoes, Bottega Veneta. Photo: Youssef Oubahou

Besides classic therapy, Aden underlines the importance of becoming a more mindful society, something she believes can also be achieved through bonding with family and community. “When I was growing up in a refugee camp in Kenya, I might have been just a child, but I remember the laughter; I remember my mom being so stressed, but at the same time, so full of light and joy, and the bliss on her face. And this is in a refugee camp… I realized that because there was such a strong sense of community, there really wasn’t a need for therapy. Now, in America, we are very isolated, and I feel we don’t do enough of a good job of discussing where we’re at.”

Coat, veil, 1309; rings, Dior. Photo: Youssef Oubahou

While modeling took a back seat for Aden, this doesn’t mean that she is not busier than ever, working on different projects that make her eyes sparkle. Still very much a part of the fashion world, in 2024 she is all set to release a ready-to-wear collection in collaboration with a Jordanian and Muslim entrepreneur, a project she prefers not to reveal too much of for now. There is also an ongoing partnership with the Turkish modestwear e-tailer Modanisa, where Aden doubles as global ambassador while also designing turbans and headscarves. “They were one of the brands that reached out and really supported me when I decided to quit,” she remembers. “This past year was amazing, as our collection sold out right away. It was exciting to be in the creative seat, fully working on vision boards, casting of models, campaign concepts, packaging, and even the small notes that go with each purchase… It made me appreciate all the work behind a brand even more.”

Dress, Taller Marmo; shoes, Bottega Veneta; earrings, Chanel. Photo: Youssef Oubahou

The two other projects Aden is excited to reveal showcase her range as creative and a humanitarian. In partnership with Vita Coco, she wrote a children’s book targeting communities being supported by the coconut water brand, which recently built 30 classrooms in the Philippines for youngsters with less resources. When Aden visited the locations, she realized she didn’t want to come back empty-handed, and started typing three versions of an inspiring and empowering children’s book. For the big screen, following Aden’s initial cinema experience executive producing the 2019 film I Am You by Afghan director Sonia Nassery Cole, there’s already a movie script registered at the Writers Guild of America. “I will tell my agent to send you a copy, so you see I’m not joking,” she laughs. “I noticed that there are gaps in the movie industry, and there are not many Muslim writers, showcasing what a modern Muslim woman is like. It’s easy for people to have misconceptions of Muslim females when they only see on the news very extreme examples of women in a hijab. We are not oppressed. We have dreams and ambitions, and we make mistakes. We’re human, we’re not perfect, we’re flawed. We are so misunderstood…” she says regretfully. “I’m aware I’m not in Hollywood, but I know what I’ve been able to accomplish in fashion, and the truth is that nothing is impossible. So, you must dream, you have to believe in yourself – and I do believe in myself. I have this newfound confidence in my ability and my story, and film is the perfect medium to share it with the world.”

Shirt, tights, shorts, shoes, Valentino. Photo: Youssef Oubahou

Perhaps the work that still takes center stage in Aden’s universe is her role in inspiring refugees. Born in the Kakuma camp in Kenya, where she resided until she was relocated to Minnesota at seven years old, the journey of Halima Aden is a success story that inspires millions of people forced to flee their home countries. Just Kakuma counts 185 000 displaced people, from 14 different nations. When I ask what it really means to be a refugee, she takes a couple of seconds to gather her thoughts. “That’s a hard one… But I would say scars and smiles. The reason why I say scars and smiles is there’s a lot of trauma that comes with being a refugee. A lot of the work that I was doing in therapy was unpacking some of those experiences.”

Dress, Taller Marmo; shoes, Bottega Veneta; earrings, Chanel. Photo: Youssef Oubahou

It is in this context that Aden has been collaborating with the platform RefuSHE, “a community for refugee girls by refugee girls.” And while she describes the project, I notice she mentions the word hope more than once in the same sentence. But how do you feed this “hope” when you have barely anything physical to eat, I wonder. “I think that when people have lost it all, they cling tight to hope. They cling tight to that one day. Maybe, if I pray hard enough, I will have that one opportunity that’s going to change our lives,” she says. “Only 1% of refugees get to leave the camps and go to a developed country like America. Only 1%. But if there is that 1% chance people are going to have hope, they will continue to pray, and to daydream about a better future. The reality is that no parent would put their child on a boat, to cross an ocean, if it wasn’t an extreme situation. Sometimes, when people have experienced the worst that life has to offer, they become grateful and appreciative for the tiniest win of everyday life. The way that we, in America, don’t necessarily always appreciate.”

Blazer, shirt, hat, earrings, Moschino. Photo: Youssef Oubahou

Originally published in the May 2023 issue of Vogue Arabia

Style: Amine Jreissati
Makeup: Karima Maruan
On-ground production: Nashta Production and Sarah Nadjar
Photography assistant: Malak Housni
Producer: Sam Allison
Special thanks: Moroccan National Provincial Tourist Office 

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