Marielle Bobo, the Caribbean-American, Flatbush, Brooklyn born and raised Editor-in-Chief & Senior Vice President, Programming of Ebony, has worked in the publishing world for the last two decades. Her high school was Brooklyn Tech, Howard University the alma mater, and the Fashion Institute of Technology her gateway into fashion.

Bobo’s professional trajectory took her from Allure Associate Market Editor to WWD Accessories Market Editor, ESSENCE Senior Fashion Editor, Ebony Fashion & Beauty Director, Interactive One Executive  Director, and AC Brands Editorial Director for Ayesha Curry’s lifestyle publication Sweet July before she returned to Ebony as EIC and Senior VP of Programming. Ebony’s history is vast and has been highly documented over its 75 years, and today, she takes us down memory lane and lets us in on Ebony’s iconic covers, the new digital-first Ebony Magazine, and – spoiler alert – the first print issue in three years, hitting newsstands on Feb. 11.

When you started out two decades ago as a model agent at Wilhelmina, what was the goal?

Back then, I was just looking for a way into the industry. Two decades ago, I had completed my studies at Howard and subsequently enrolled in the Fashion Merchandising program at FIT (Fashion Institute of Technology). Part of the reason I decided to attend was how connected I knew FIT was to the industry. The school had this job board that would post all these openings, and one day I came across a listing for an Associate Model Booker at Wilhelmina. Having that position at the agency exposed every facet of the industry to me. I formed a rapport with the bookings team and editors at the different publications, along with photographers and casting agents, which helped me out in the long run as I built contacts and relationships. This role led to my first magazine job as a fashion assistant at Allure, thanks to Alicia Bridgewater, who knew I was interested in working at a fashion magazine. She left the magazine and went to work at O, The Oprah Magazine, for many years.

You’re a publishing veteran but tell us a bit of your trajectory for those who may not be familiar. Take it from the beginning and work your way up.

At Howard, I was super shy and not great at networking. By chance, I got the opportunity to produce the school’s fashion show during my senior year. If anyone reading this knows anything about HBCU culture, our fashion shows are seen as just as important as anything at NYFW. While working on the show, I reached out to The Source magazine, asking them to come on as a media sponsor, and they agreed. The Fashion Editor at that time even came to the show, and she saw all the work I had put in and told me to keep in contact after I graduated. I interned for BET while in DC at Howard in their wardrobe department. I also interned at the now-defunct Emerge Magazine, which didn’t have a fashion department, but I learned the essentials of strong reporting within a magazine setting. After I graduated, I reached back out to The Source’s Fashion Editor, and they offered me an internship on the spot. Never a dull moment working there. It also taught me how to do a lot with a little and minimize costs.

How was it starting this new role at the top during a time when you weren’t meeting anyone in person?

This is my second time at Ebony. In 2011, I was the Fashion & Beauty Director, a role I held until 2017. The trials and tribulations that Ebony has endured have been widely documented, and I admit I wondered what I would face in this position. At the same time, it’s an honor, and it’s rare in your career that you get the opportunity to be offered a chance to put your stamp on a legacy brand. One of the things that excited me is that it’s the first time the brand has been solely digital. We’re going hard with pushing and building our digital ecosystem. Not just online with the website, but in other forms of storytelling such as documentaries, scripted series, podcasts, and books. We’re launching our first book under Ebony Publishing with Viola Davis this April. We’re launching a platform for Black-owned businesses and expanding into the world of NFTs. The vision is to really grow the brand’s presence as a 21^st-century global media company by exploring these other areas that the brand’s perspective is so needed in.

What’s your thought-process on picking your cover stars?

I think about who we are as a brand in this exciting new chapter. Our motto is Moving Black Forward, so, it’s about highlighting cover stars who embody that ethos. The first cover we released since the relaunch was Lena Waithe, who, by time we featured her, was already this megastar, yet had never graced our cover. I think the barometer of what defined Black excellence at EBONY had failed to evolve through the years. More emphasis seemed to be put on highlighting household names as opposed to striking a balance between seasoned stars and the next generation. We should identify and champion our talent in the early stages of their career and introduce them to the masses first. Part of that is in granting them the visibility that our covers provide. We’ve been able to do that, while also engaging with some of our icons in different ways. We were the first major outlet to put Houston rapper Tobe Nwigwe on the cover—the visionary artist has gotten cosigns from Beyoncé, Erykah Badu and Michelle Obama without going mainstream. We tapped The View co-host Sunny Hostin to write for a rare cover story with athlete-turned activist Colin Kaepernick, who is notoriously private. We featured Tessa Thompson, who is championing for women of color through her production company. Our digital covers also allow us to bring the storytelling to life with motion graphics and videos that reimagine the experience.

I can reveal that we’re releasing our first print issue in three years this month. It’ll be a special commemorative magazine which hits stands on February 11th. I can’t wait for you to see the cover because it isn’t what most folks might expect; the focus isn’t celebrity; it’s about highlighting Black excellence in our communities and is very inspirational.

Everyone knows the job of an EIC, but most don’t know what they really do outside of editing. So, what does Marielle do every day?

Whew, I do a lot more than the typical Editor-in-Chief. We did a soft relaunch of the website last year. I’ve only been here since April 2021, so I’m still staffing and building my team. I’m mapping out the strategy and vision for the brand. I’m working in conjunction with engineers to build out a new virtual experience that we hope to unveil this spring. In addition to being the EIC, I’m the Senior Vice President of Programming, which means I’m also responsible for ideation in the realm of experiential strategy. So, I’m constantly thinking about ways to bring our editorial franchises and packages to life in terms of events and brand extensions.

I’m also thinking about new areas of exploration from a content perspective. A big space I want the brand to lean into is the arts. I still believe there’s a vast void when it comes to Black coverage of the arts, and I know that’s a space we can own. So, we’ll be launching a photography hub that amplifies young Black photographers. In addition, we’ll be venturing into e-commerce for Black-owned businesses, tapping into the HBCU experience year-round, and finding ways to amplify our covers – when we launch a cover, what else can we do to make them more interactive.

It’s Black History Month, and you work at one of the most Iconic Black inventions to ever exist. How does that feel?

It’s surreal, and it’s an honor to be tasked with continuing the brand’s legacy by ushering in a new chapter for Ebony and being able to tell our stories in new ways that we originally hadn’t. One of the first things I did when I got the role was deep dive through all of our archives and issues. Ebony is the brand that told our stories when no one else was; it’s been 75 years. When the brand shut its doors for the time, there was such a void. Since relaunching, the support we’ve received has been immense and speaks to how important the brand is and how it’s so needed.

What does Black History Month mean to you?

As Black Americans, our story is the story of the diaspora. We came from Africa. We had to make a way here and find ways to persevere despite the challenges and all the oppression we faced. Being aware of what our community went through was rooted in my upbringing. My dad, being from Haiti, was extremely adamant in making sure that there was connectivity to our African roots. My last name Bobo can be traced to the West African country of Burkina Faso. The Bobo people comprise the majority of the population there. It’s also a shortened name of Bobo-Diolasso, the second-largest city in the country. My father was very vocal in letting me know how lucky we were to know that we didn’t have a slave name and how we could trace it back to our roots in West Africa. He also made sure we knew about the Haitian Revolution, the largest and most successful slave rebellion in the Western Hemisphere. That connection to legacy is intrinsic to who we are. For me, Black History Month isn’t a month; it’s a year-round celebration.

One of the great things about working for Ebony is that we’re telling Black stories all day, every day. Being completely transparent, it’s one of the reasons I decided to work for Black media. I’ve been in publishing for 20 years, and the first ten were spent at the Condé Nasts and Hearsts, what folks would call the “mainstream” media companies vs. the multi-cultural ones. I grew tired of working for brands that seemed to only put emphasis on only telling our stories during the month of February.

Talk to me about your idea for Ebony. What goals have you set for the iconic publication?

Obviously, we’re known for our iconic print covers. Since they are such a signature for the brand, one goal is to reimagine the covers into a cutting-edge, fully interactive, digital experience. Last year, we started producing motion covers with innovative graphics and videos. I also want to explore and feature individuals we’ve historically not featured in the past. There’s a vast pool of next-generation Black talent that we must tap into. I think about cross-generational conversations. I also want us to fill the void for so many areas of coverage that still exist. There’s nothing for Black men, and Ebony can be that space. Black travel, the Black family and community engagement are additional pillars where we hope to build something truly special.

When I look back at the old covers from the 1960s to the 1990s, Ebony had a regal, almost elite feel. All the greats had a cover. What do you think the disconnect was post-2000?

For many years, Ebony was one of the only magazines putting Black celebrities on the cover but that is no longer the case. As time passed, mainstream media publications eventually started following suit, forcing the brand to compete with bigger outlets. There are more places to go now, which makes securing those A-list exclusives more difficult. But I wouldn’t say there was a ‘disconnect’ as Ebony evolved with the times, yet continued to highlight our greats. When you look back at some of the early covers from the 1940s and 1950s, they were quite bold; many featured politicians, activists and even statement art, which made sense given the political climate. Many covers in the 60s and 70s featured the great actors and actresses of the time, pop stars from Michael Jackson and Kanye West to Beyoncé and Alicia Keys graced early 2000s covers. Over the last 10 years, that legacy has continued with a range of notables from the Obamas to Oprah. The look and feel of the magazine evolved over time. With each new editor comes a new vision for the brand, so the aesthetic is what I would say has changed.

What is it, if anything, that you want people to know about the work you’re doing and the team you’re building?

We’re genuinely dedicated to continuing the legacy of the brand. For anyone who comes on board to work for this new iteration of Ebony, you must really love and be passionate about Black culture, Black people, and telling our stories. This is a special time for the brand. We’re also looking for individuals who also possess a sense of entrepreneurship. I’ll want them to bring fresh and new ideas to the table and offer exciting thoughts on what we could be doing better.

Lastly, how was it celebrating Ebony’s 75th at the Ebony Power 100 Awards in Los Angeles?

Power 100 is such an exciting event for us. It’s one of our longest running franchises and has always been about celebrating the best of us, and it’s not only about celebrities. We honor the activists, teachers, community leaders and business leaders making a difference. That is what makes the room special, showcasing, and honoring celebrities and everyday heroes. This particular year was unique because it was my first-time meeting most of the team in person as I was hired during COVID. That night really showed me how excited people were about Ebony being back in their lives. We’re also reimaging Power 100 and what that experience will look like as well. We partnered with Bloomberg last year, which created a Power 100 special with a series of interviews with several of the honorees.

IG (Personal): @MarielleBobo

IG (EBONY): @ebonymagazine

Visit ebony.com for more information on the EBONY x OLAY commemorative print issue hitting stands nationwide on February 11th, 2022.