top of page

The numinous and harrowing nature of death dovetails multiple complex feelings. It’s an experience all existing beings experience from a third-hand perspective, then eventually firsthand. And because of its terrifying nature, people naturally seek comfort and answers to their curiosities, often met through various religious beliefs. Death isn’t an unusual or unique experience, but certainly a challenging one.


Through faith, humanity has tethered itself to an idea of what happens next, where life exists beyond the human body. 




Through observances and studies conducted by Science Array and BBC Earth, it’s been proven taxonomic classes beyond humans grieve. Mammals, such as Orcas hold their deceased calves for sometimes weeks, signaling deep grief within their pods. Whereas birds, perhaps the Magpie, will arrange grass aside their deceased companions, almost ritualistic. Insects even, bees for instance carry dead colony members outside the hive — many argue it’s for sanitary purpose, but many believe the behavior is a result of mourning. 


Dr. Jane Goodall researched chimpanzees both enthusiastically and rigorously. Her studies suggest chimpanzees mourn similarly to humans, indicating they might have their own sense of spirituality. The question remains an argument, of what comes next.


There is an estimated ~4,000 religions, which naturally divert historically; through wars and wages, beliefs and purpose. With beneficent, loving, and unforgiving deities. However, an integral purpose is to reach a higher sentience, relief, or for many - nothing. After interviewing various individuals with different religious and cultural backgrounds, the general synopsis garnered is to do better to live better after our passing. Though the foundation is similar, the qualifications for Heaven, Nirvana, Jannah - the tiers have complexities of their own. 


Paris Byron, a Pentecostal Christian has devoted plenty of her life to being a faithful Christian in the image of God. Similarly, Esteban Conde a practicing Catholic has a different life experience but still seeks the same benevolence from his faith and community. Paris believes “we have an individual, unique purpose given from God” which the soul leads. When death arrives, they collectively agree that there is an afterlife, an eternity in Heaven, that Hell is real, and purgatory is argumentative.


This is solely determined by God. 



Whereas from its Abrahamic relative, in Islam many principles overlap however after death souls enter Barzakh, an almost waiting room where judgement is conducted. Thereafter, Sama Arafat states “Allah is kind, forgiving, but you must be obedient and [your] moral conduct as a Muslim matters.” She shared that there are two primary places with multiple tiers in the afterlife, Jannah and Jahannam. Where each have individual dwellings depending on the severities of your sins,

and goodness of your soul. She believes punishment in the afterlife can be temporary, in lieu of eternal. 


On another scale, Ryusei Satō, who has spent nearly fifty years as a practicing Buddhist, has an entirely different perspective on purpose, divinity, and afterlife. “Are you tired? Of the worry you are constantly doing wrong, suppressing the natural rhythms of life?” Mr. Satō believes he has lived previous lives, and expects he might have a few more; considered Samsara. And until he reaches Nirvana (the end of all suffering and rebirth) he intends to live with liberation, courage and kindness. When we die, he believes consciousness continues into something else based on our karma. The Noble Eightfold Path is a framework that he follows, and he believes Buddhism is unique in a universal lens; meaning, it is not a religion exclusive to Buddhists. 


His longtime friend Dheer who associates himself with Hinduism, shares similar core values. Emphasizing “Atmnan” the eternity of the soul. That similarly, we continue to reincarnate until reaching Moksha, liberation from rebirth. He shares that similar to all religions, belief and values are argued over. “There are multiple Lokas, realms almost, that we land based on Karma.” Karma, which determines our next life’s journey, challenges, and circumstances. His is devoted, to both his faith and culture. 




Undoubtedly, faith is a result of nurture, whereas curiosity stems from nature. Living in a spectrum of goodness. It seems many individuals have an incredibly personal perception and journey with their God, Deities, and communities. Death, does not have to be terrifying, and faith can be an incredible extension that leaves people tender-hearted and kind.


No individual can escape its sticky grasp, and though painful and unfortunate, comfort lies within the fabric of faith.

Interviewed and Written by Jazzi Almestica and Lucy Anderson


What started as an online thrifting venture by creator and designer Tarnovsky from her LA apartment quickly turned into an internationally loved and admired fashion capsule inspired by the early aughts and the peak of socialites in the spotlight. While Tarnovsky is still working out of her LA apartment, the brand she created, Hoes For Clothes, has grown greatly beyond that. Sasha talks with 47magazine about her experience as a creator, designer, and Gen-Z fashion icon. 





Pictured Above: Sasha Tarnovsky in Hoes For Clothes


47Magazine: You’ve cultivated such a distinctive culture and style with your clothing brand “hoesforclothes.” What was the inspiration behind your brand and its unique name?


Sasha Tarnovsky: Honestly, the name just came to me sporadically. I have had this brand since 2019, and the original name was Grinchy Vintage (like, after the Grinch, haha), and then I rebranded to Cherubs and Cherries when I switched from selling vintage to selling more of my own designs. However, it never really felt right. Then, I remember being in a section for one of my political science classes in school, and it was around the time when the expression being a “hoe for” something was popular, like “I'm a hoe for peanut butter” or something, idk, and the name hoes for clothes came to me. I remember being so excited I could barely pay attention in class because I was like.. “This is so perfect,” but I didn’t know if it was taken already or not, so I sat through the class in agony, waiting to check my phone. Then I swapped it, and the rest was history!


47: Your clothing hits a specific spot for young adults, balancing hotness and humor, setting the trend for Gen-Z culture. Where do you find your inspiration and creativity? 


ST: I get a lot of inspiration from internet culture, memes, tv-shows and stuff like that. I have always really liked the 2000s aesthetic and used to be so obsessed with Jersey Shore and Desperate Housewives growing up. Everything else just kind of comes together! I also get lots of ideas from my followers, which makes it a really fun and collaborative thing. 





47: Starting a business is one thing, but turning it into a flourishing success is another. Did you think your business was gonna reach this level of fame?


ST: Literally never did I imagine something like this would happen! I just started it to sell off some clothing out of my closet originally, and help pay off some of my loans. I actually have a degree in political science. I was originally going to go into law, but then right around when COVID started, the brand kinda took off, so I didn’t accept any law school applications, dove head first into this world, and I haven’t looked back since! But being a fashion designer, or whatever you want to call it, was always my dream.


47: Who is your personal fashion icon?


ST: I don’t really have any celebrity fashion icons (although some movie characters definitely inspire me, like Shelley from The House Bunny, Edie from Desperate Housewives, etc). Still, I do have a few girls online that I would like to shout out for sure, my two favorite fashion girlies to follow are @beanieboylston and @linmick; neither knows I exist, but I have been following them for so many years. I am always inspired by the creative and fun approach they both have to fashion. For Lindsay (@linmick), I don’t necessarily even think our fashion style is remotely similar, but something about her vibe and style is so incredible. 


Beanie Boylston (@beanieboylston)
Beanie Boylston (@beanieboylston)


Lindsay Vrckovnik (@linmick)
Lindsay Vrckovnik (@linmick)

47: What is one item of clothing you couldn’t live without?


ST: This is a basic answer, but either a black mini skirt or a pair of denim cut-off shorts. I think you can style them both in so many different ways, up or down, and they are both constants in my wardrobe. I felt like there was no “perfect” black mini out there, so I designed my own. 



47: What was your “I’ve made it” moment?


ST: I bet you could ask even Christian Dior this question and he would say, “did I really make it?!” or maybe that is just my imposter syndrome talking but I guess if I had to say something, I would say when I was still pretty new to all this and Tana Mongeau wore my “DUMP HIM” hat and had some paparazzi take her photo. To this day, I always think of her so positively regarding this situation because she did not buy the hat, she gently asked me for it, and I gifted it to her, and then when people asked her about where it was from she reposted one of those “Tana Closet” accounts to her story that shared my @. I have never seen her do that before for anyone. It was a gesture she absolutely did not need to do, because influencers like her are paid so much for their tags, but it was so sweet and kind and brought so many new eyes on me. I will always be so grateful for that, and I remember freaking out that THE Tana, who I used to watch on YouTube after school for hours, wore my trucker hat and shouted me out. 


47: What’s one piece of advice you wish you could tell yourself at the beginning of your journey? And what’s something you’d want to tell future you?


ST: I would tell myself to stay true to myself and my style because when you try to be something you’re not, you won’t succeed. The phrase “they can copy the recipe, but the sauce won’t taste the same” is so true. When I try to make items that I think people “want”, they never do well. All my best-performing pieces always came from the heart, and they were items I was personally inspired by. I am so grateful for the community I’ve curated on my social media, and I believe I got there by following my heart and doing whatever the fuck I wanted!


In an intimate, candid conversation full of empathy, insight, and mutual understanding, filmmaker Gabriel Noble opens up about the journey behind their debut short film, A Cup of Tea, a layered portrait of grief, community, and the humanity behind headlines. The project, born out of adversity, became not only a personal triumph but also a work that stirs collective reflection on justice and healing.

Recently graduated from Stony Brook University with a Master's in Fine Arts majoring in Film and TV Writing, Gabriel joined the conversation, still recovering from burnout and illness. Yet despite the fatigue, what emerged was a moving discussion about filmmaking as both a creative and emotional act of resilience.


Turning Isolation Into Art

Securing funding for A Cup of Tea was an early and defining challenge. Gabriel turned to the crowdfunding platform Seed & Spark with no prior experience. “I had to do it all on my own from filming the pitch to setting up the campaign page,” they explained. “It was exhausting. Once we launched, it became this constant anxiety. You’re just watching the numbers.”

Although the campaign began strongly, momentum stalled after two weeks. Gabriel was on the verge of giving up when a college friend stepped in with an unexpected act of generosity: a $10,000 donation. “His mom had passed away and left him money,” Gabriel said. “He wanted to use it to support other people’s dreams. Without him, this film wouldn’t have happened.”

The emotional toll didn’t stop at money. “Not a lot of people even knew I wanted to be a filmmaker,” they admitted. “My parents were supportive, but it felt like I was alone most of the time.”

But that very sense of solitude, the emotional and creative weight of feeling unsupported became the thematic bedrock of the film. “The characters are isolated, grieving. That was exactly how I felt at the time. I just leaned into that.”


Directing from the Heart

For Gabriel, A Cup of Tea was more than storytelling; it was soul-bearing. When asked which scene was the hardest to direct, Gabriel pointed to a central moment of confrontation: two parents arguing at a coffee table, consumed by grief over the loss of their child.

“I’ve never lost a child, and I don’t even want kids,” they said. “So how do I direct actors who are parents in real life?”

The answer came in emotional honesty. During two Zoom rehearsals leading up to the shoot, Gabriel asked the actors to reflect on their real lives: once on their happiest moments as parents, then on the hardest. “By the time we got to set, that emotional groundwork was already there. My job was to trust them.”


A Cinematic Eye - Even Before Film School

Though they hadn’t yet begun grad school, Gabriel already had a strong visual sensibility. “I didn’t know about the rule of thirds or traditional framing concepts,” they admitted. “But I’ve always understood how an image can carry emotional weight.”

Cinematographer Rikki Porter played a crucial role in executing that vision. “She got what I was going for, sometimes better than I did,” Gabriel said. “That’s my biggest advice to any filmmaker: find a DP you can talk to, who speaks your language. It’ll change everything.”

One sequence stands out as Gabriel’s favorite: a quietly devastating birthday scene. “It was in the first draft, I knew it had to be the centerpiece,” they said. “The camera slowly pushes in on Shannon’s face as everyone sings. No dialogue. Just her expression.”

They shot the film in a single day, a decision Gabriel now calls “insane.” By the time they reached the birthday scene, everyone was exhausted. “But I needed one more take. I asked the team to trust me. And when we got it, my producer said, ‘That was so cinematic.’ Watching it still gives me chills.”

Do you need film school to make a film? “Absolutely Not,” Gabriel said. “Every film is film school. Making this short taught me everything from managing a set to trusting collaborators.

There were so many pieces of equipment I didn’t understand. I just asked people questions. Watching them operate things with confidence was so educational.”

They laughed, “I think Tarantino said that first. But I live by it.”


A Story Born on the Block

The inspiration for A Cup of Tea came from Gabriel’s neighborhood. “There’s this woman who lives on my block, always sitting quietly on her stoop. She’s not on her phone, not reading just sitting, existing. That image stayed with me.”

In 2022, amidst the lingering trauma of the pandemic and the social unrest following the murders of George Floyd and Breonna Taylor, Gabriel enrolled in a screenwriting class. The final assignment was to write a 12-page short.

“I kept thinking about the aftermath of the protests,” they said. “What happens to the parents who were thrust into the spotlight? They’re grieving, and suddenly they’re also public figures. That contradiction stayed with me.”

Gabriel, influenced by dialogue-driven films like Before Sunrise and Before Sunset, wrote a piece that thrived on tension and subtext. At first, they weren’t going to direct it. “A mentor told me, ‘This is your story, you have to direct it.’ And I’m so glad I did.”


Evolution and What’s Next

Since completing A Cup of Tea, Gabriel’s perspective on filmmaking has grown. “Grad school expanded how I think about visual storytelling,” they said. “I still love dialogue, but now I’m drawn to darker material, thrillers, mysteries. The next short I’m working on is way different in tone.”

They’re adamant about not being boxed into one genre. “Sidney Lumet is a huge inspiration; he did Dog Day Afternoon, The Wiz, and courtroom dramas. That’s what I want: range.”

Gabriel is already beginning work on their next short film, which will explore gun violence in America. “I'm entering the funding process again,” they said. “So stay tuned.”


Building the World Through Space and Color

Set design played a pivotal role in shaping the emotional tone of A Cup of Tea. Though the team originally searched for locations in Brooklyn, they ultimately shot in Harlem near 125th Street. “I needed a house that felt lived in, something passed down through generations,” Gabriel explained.

The location they found already had depth. “Romina, the homeowner, had so many artifacts and textures in the space. We barely had to dress the set. The melanin, the plants, the warm tones it all just fit.”Color was crucial. “I didn’t want the film to be too dark. It’s about grief, but it’s also about hope. The lighting and palette of warm oranges, greens, and natural textures reflected that balance.”


What Conversations Should A Cup of Tea Spark?

As our conversation wound down, I asked Gabriel what they hope audiences take away from A Cup of Tea, especially in terms of race, justice, and healing.

“I want it to spark conversations about why this keeps happening,” they said. “Approaching the story through a natural, humanistic lens helps audiences see these people, these parents, as more than just headlines. They’re human. They're grieving. And they’re trying to move forward.”

Ultimately, Gabriel hopes the film stands in solidarity with those who've suffered unimaginable loss. “It’s about honoring the victims and the families left behind. I want people to remember that grief doesn’t disappear once the cameras do. And I hope the film helps people keep fighting for justice.”


A Cup of Tea - and a New Chapter

Gabriel may be just beginning their journey, but A Cup of Tea showcases that they are a natural storyteller or something like that.. It’s a mature, resonant film that leaves a lasting impact not only because of what it says, but because of how it says it.

As they prepare to enter a new phase of storytelling, one thing is clear: Gabriel’s voice is one that audiences and the industry should be paying attention to.


A Cup of Tea is now available to stream on Vimeo.

Written by Chloe Kaleah Stewart

You reached the end! Make an account to get updated when new articles and interviews drop.

bottom of page