December 5, 2024 • 31 mins
Have you ever battled imposter syndrome or chased a dream that seemed impossible? Join us as Yemi Sekoni shares her powerful story of resilience and passion in the evolving fashion industry. Don't miss this episode! #Entrepreneurship #FashionIndustry
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(00:10):
Welcome to The Water Trough,where we can't make you drink,
but we will make you think.
My name is Ed Drost of The SmallBusiness Doctor, and I'm really
excited you chose to join mehere as we discuss topics that
are important for small businessfolks just like you.
If you're looking for ideas,inspiration, and possibility,
you've come to the right place.
Join us as we take steps to helpyou create the healthy business
that you've always wanted.
(01:02):
Welcome back to the watertrough.
This is Ed draws to the smallbusiness doctor, and I'd like to
welcome my friend, Yemi Sukonyitoday.
Yemi is the president of Donahuecreative group.
I have known Yemi for over 20years.
However, I have not seen Yemi insome time.
I'm delighted to be with hertoday.
And Yemi is going to tell us abit about her story.
(01:24):
in the exceptionally dynamic,ever changing, and I'd say
rather fascinating world ofmodeling and talent.
Yemi, welcome.
Yes, thank you, Ed.
Thank you for having me.
I'm excited to be here.
It's a pleasure to have you, andI want to say the fact that
years go by and we don't seepeople does not diminish the
(01:47):
fact of the value that theybring to us.
And you've always brought asmile to my face.
I follow your stuff out there onLinkedIn and elsewhere, and I
know what you're up to, eventhough I'm not always saying it.
And I just want to tell you,it's nice to see your face here.
I know the audience does not seeit, but I do.
And they get to hear that voiceof yours as well,
Microphone (Yeti Stereo Micr (02:05):
So thank you for that.
Absolutely.
So Donoghue Models started in what
year?
The company actually started,when I was about four years old.
It's the oldest agency in thestate of Rhode Island.
It was founded in 1973 byAnnette Donahue, thus the name.
At that time, I was a littlemunchkin, in England where I was
born.
(02:26):
and I always joke about writinga book about the juxtaposition
of our lives, this lady here inNorth Providence starting this
agency and then this littleNigerian, Jamaican, British girl
at age four, just living herlife with no idea where her
career was going to end up.
So interestingly, we crossedpaths in 2000 and.
(02:46):
Three, when I moved to RhodeIsland from England was trying
to get back into the modelingand entertainment industry
because I've been acting since Iwas a child and joined her
agency as a model, over theyears of working with her.
She liked my passion, my energy,my hardworking nature.
And so 2009.
She approached me and asked meif I would consider buying the
(03:08):
company from her because at thatpoint she was in her late 60s or
early 70s, and she was ready toretire, and she had been looking
for someone that she could talkto about handing the business
over, but she hadn't quite foundthe person that.
She was excited about or thatwas also very serious about the
prospect of buying the company.
Now, of course, I had no ideahow to buy a business.
(03:29):
So I had to, you know, do alittle bit of work.
Took me about 18 months speakingto family.
I talked to, different businessconsultants.
I talked to small businessadministration.
I got mentors, spoke todifferent banks.
And so piece by piece, it cametogether and I officially bought
it in 2010, August of 2010.
So I've owned it now for 14years.
(03:50):
14 years.
And in those 14 years, I'm sureyou've seen an awful lot.
What kind of challenges andopportunities as well do you
find in this business?
We can blame for this, and wecan also thank COVID for this.
some things came good out ofCOVID and others not.
pre COVID, auditions andcastings happened in person.
(04:13):
You had to be physically thereto go meet with.
Potential, client.
And then when COVID happened, ofcourse, with the shutdown, no
one could see anyone goanywhere, do anything.
So, self tape submissionsemerge.
It had actually been around someyears before that, but not as
rampant as it became because weneeded an alternative to keep
the industry going.
And so what that did for us as aindustry as a whole was open up
(04:38):
newer markets for us that wenever considered previously pre
COVID.
All my models and talent werelocal.
They were in Rhode Island orMassachusetts or Connecticut
after COVID.
I've got talent across thecountry in LA, Washington,
Texas, everywhere.
And so transitioning into moreof a digital space.
gave us that advantage, but thechallenge now became you're
(05:01):
competing with a largeraudience.
So now the competition is a lotbigger because now I'm no longer
just competing against the, 2other agencies in New England
that I saw as my competitors.
Now I'm competing against.
An agency in New York or anagency in LA that's much larger
than me and has a better handleon what to do, where to do it.
so it has it pros and cons, but,you work within it and you
(05:23):
adjust and try to, do the bestthat you can do.
What is the competition like forsomeone like myself, who's not
familiar?
And I'm sure most people thatwill hear this podcast are not
familiar with the industry.
What exactly does competitionlook like?
It's, other agencies.
For me here in Rhode Island,there aren't many my agency is
(05:43):
the oldest, as I said, and theremay be one or maybe two other
agencies locally.
The other competitors are inMassachusetts.
So there are three or fouragencies in Mass that have been
around as long as my agency hasbeen.
And so they've got, their ownnetworks and markets.
But again, because castingagencies, are reaching out to
everybody at the same time.
Previously, you would just bethe person that was sending them
(06:05):
all of your models and theychose from they have the
advantage.
Now, if they can pick the bestfrom all the different agencies,
and so for big markets, like,New York, for instance.
That's one of the busiest,spaces for our industry.
And so some models do this fulltime, whereas in a market like
Rhode Island, we're a smallermarket.
It's what we'd call a tertiarymarket versus a primary or
(06:27):
secondary.
And so most of my models do thispart time.
They're working full time.
They're going to school fulltime.
And this is a side gig becauseyou can't do it and survive on
just this part time.
As your primary income, ifyou're doing it in New England.
And so if I'm competing againstan agency that's represented
models, in New York, they'redoing this all day, every day.
So they can respond quicker.
(06:48):
they're much more prepared.
They're much more experiencedcause they've just got a lot
more work, under their belt.
you've got different ends of thespectrum that you're constantly
keeping an eye out for.
So when a model or talent comesto you, and I presume there's a
process of introduction andscreening, if you will, are they
(07:09):
expecting to get from you andwhat do you expect them to bring
to the table?
When they approach you.
Sure.
So when I'm interviewing, basedon my years of experience and
interviewing models literallyevery day for 14 years, I've
come to put them into threecategories.
And I tell them this, when Imeet them for the first time,
(07:30):
the first thing they need to dois go to the agency website,
submit their information, kindof like an application.
And then we schedule aninterview.
And Also, again, since COVID, Istarted to do those virtually
rather than in person.
And then during theconversation, I'm trying to
determine, is this someone who'shad some experience?
Have they been doing this for afew years?
Have they just kind of beendabbling here and there part
time or are they completelygreen?
(07:51):
And the process of bringing thatperson on board differs based on
that level of experience.
If they're brand new, don't knowanything about the industry, now
I need to make sure they'reeducated because People see the
glitz and glamour of ourindustry and they forget that
there is work ethic, there arethings you need to know, there's
a high level of professionalismthat goes into being a model or
(08:13):
actor and they just think youneed to show up when they feel
like.
And so I need to break them ofthat delusion and say, no, no,
no, this is a serious job.
Even if you're doing it parttime, the clients are real.
and the job is real.
I've had the pleasure of workingwith companies like Hasbro, CVS
Pharmacy, Blue Cross and BlueShield, IGT.
These are conglomerates.
I tell them, think of us as anemployment agency for talent.
(08:37):
And so if I'm booking for a job,you need to show up.
You need to show up and knowwhat you're doing.
So a brand new model, never donethis before, needs to go through
a personal development andmodeling program where we're
teaching them work ethic, thelingo, acting, walking on the
runway, photography, the personin the middle.
That's had some experience.
What I'm figuring out is what dothey know?
(08:57):
And what do they not know?
And what knowledge gaps do weneed to fill?
And then the third category,which is the experience, they've
got proof that they've doneenough work.
They've got a resume and aportfolio.
We're just adding them to thewebsite and getting them going.
But for me, when I'm meeting anew person, regardless of what
level they fall into, I amlooking to see, are they coming
across as someone that I cantrust?
(09:18):
So when I'm sending you out, Iknow, for a fact that you're
going to show up and you'regoing to represent the agency.
To the best of yourcapabilities.
So I really look for seriousindividuals that even though
they're doing this part time,they recognize the seriousness
of doing this.
So that sounds a little, scaryto me, the idea of them being
remote now you're talking peopleall around the.
(09:42):
And you don't have that physicalaccess to them.
That sounds spooky to me.
how do you manage that?
a lot of agencies will do ageneral open casting, everyone
comes in, they meet them, theytell them how things work, and
then they make their decisionsafterwards.
I have chosen to stick with.
one to one interviews with eachperson that's looking to come on
board with my agency.
(10:03):
So it's a bit of a longerprocess.
Each interview is about 30 to 45minutes long.
So I've created a template ofquestions that I'm asking each
person.
Tell me about your skin care.
Tell me about your diet.
Do you work out?
Do you wear makeup?
what's your level of knowledgeas far as makeup application?
They do have to send in, say, arunway video so I can see their
runway walk and their presence.
(10:24):
I send them a script that theyhave to read and deliver on,
record themselves on camera andsend that to me.
So after the interview, they'vegot kind of like a little bit of
homework assignment that theyneed to do and send.
They've got a week to do thatand then now I'm reviewing all
of that.
So after that 30 to 45 minuteconversation, and the homework
that they send me, it at leastgives me a good sense of if this
(10:45):
person is serious or not.
During that 30 minute interview,I do take about 10 minutes
giving them a PowerPointpresentation overview about the
company, what's expected.
And there are several times whensomeone's looking to join the
agency, not realizing the levelof dedication.
That requires, and then theyemail me afterwards to say, Ooh,
(11:06):
they were thinking of it as ahobby, and I make sure that I
very, intentional about makingthem understand that, and that
it's, a contract breaker.
If they come on board, they'resigning a contract with me.
They do that once contractsover.
So you have controls in place.
Yes.
Yeah.
But it seems to me that controlsare important in business, but
(11:28):
it seems to me that you'vedeveloped a keen sense of who
and what people are, and youhave mapped out what you're
looking for in such a way thatthey know darn well who Yemi is
and who this company is.
So they really shouldn't beguessing.
By the time this process isover, they should be pretty
clear on what they're gettinginto and who they're working
(11:48):
with.
Absolutely.
And a lot of this was trial anderror over the years of,
trusting someone a little bittoo much, give them a little bit
more leeway.
And then at the end of the day,ending up with egg on my face
and potentially losing abusiness relationship with one
of these corporations becausesomeone's done something wrong.
So it took me a while to figureall of that out.
(12:10):
and because I've been around solong, I've also earned, for want
of a better word, theauthority,, to put my
requirements, in place andexpect.
you know, have a highexpectation of my models and
talent and make sure that theydon't violate them.
I think that's appropriate.
No, you did not walk into thisin that space.
(12:32):
You have earned it and it mustfeel good by the way, to be at
this point where you have infact earned it and can apply it
like that.
Right.
Absolutely.
And, can I tell you this veryquickly, and when I first took
the agency, you can tell meslowly if you want, but the
first couple of years, you'veprobably heard the term imposter
(12:54):
syndrome and, as a woman, womanof color, wasn't born here.
So there were a lot of thingsthat kind of made me feel, um, I
certainly earned the right to bethere, but made me question
whether I had the right to bethere.
And I would always second guesswhat people thought, because
then I just showed up one day, Iwas here for a couple of years.
(13:15):
And the next thing I know, Ibought an agency.
And so it was like, who the helldoes she think she is?
Where did you know, what traindid she come off of?
And so the first two years of mebuying the agency, when I would
meet someone new, when I'd gonetworking and people asked me
what I did, I didn't say I ownedan agency.
I said, I worked.
Um,, slight difference, but thenit gave me room not to, explain
(13:38):
how I got to be here and I couldjust answer the questions and
have them continue to beunassuming about who I was.
So it took a long time for me tobuild the confidence and be
confident in that space thatI've come to fill in this local
market.
Really glad you brought impostersyndrome.
I think that it impacts.
(13:58):
More people than we realize Iwon't disparage the added layer
of complexity being a woman or awoman of color.
But I think every last 1 of usat some point in some way
experiences imposter syndromebecause as we're growing and
aligning with that, which webecome, it really is.
(14:20):
It's difficult.
At some point, you got to jumpand say, okay, I'm going to be
that.
And I'm right to be that.
But when you do it's thescariest darn leap you ever
make.
You bringing that up was reallygreat.
I thank you for that.
Because a lot of people don'teven recognize it for what it
is.
The name is convenient.
(14:42):
But a lot of people don'tunderstand what that hesitation
is all about.
They sit there and they go, ah,I should, I could, I would have,
but I can't because, cause Idon't know why.
Yes.
Thank you.
And in something that requires,I imagine, again, I'm not a
model.
Look at me.
(15:03):
I'm not going to go through theinterview process because you
wouldn't take me.
But if you would like an oldman, you can have me.
And you got the work ethic.
Hey, so never say never.
I don't know.
Maybe I'll reach out after thisis over.
In your industry, aside fromthings like imposter syndrome
and things like that, there isthat need for boys and
confidence mingling in such away that they're not construed
(15:26):
as aloofness, bringing themtogether.
Because you need to be poisedand confident, but you don't
want to look like you're somekind of arrogant so and so,
right?
Or maybe in a given role youmight, that might be the role,
but you know where I'm going,right?
That makes it that much morecomplex, and that would really
add to Yours and to your,models, positions as well.
(15:49):
Yeah.
That's very true.
That's a very good observationthat you may and part of what I
talk about during mypresentation, when I am
interviewing someone, becauseone of the slides talk
specifically about what I lookfor in models.
So I'm looking for great looks,all ethnicities.
I'm looking for excellentgrooming.
a well proportioned build andthen professionally at the first
(16:09):
line, says, I'm looking for aprofessionalism, but, oh, sorry,
the last line, sorry, says, Ilook for great personalities
and, just friendly people.
as you've known me for years,I'm one of the, most laid back,
easygoing people that, you know,so for me, I always have a smile
on my face.
I've got an easy and readylaugh.
And I worked hard to build thatculture, with all the models and
(16:32):
talent that I work with.
So I let them know I follow upwith the clients after every job
that we do.
How did it go with the modelsand talent?
Let me know.
And what I'm looking for is theywere friendly, they were
professional, they wererespectful, they were nice.
So I look for really decentpeople.
If I get a sense during theinterview that this model thinks
they're all that in a bag ofchips, sure.
And I joke, I say, listen, weare all that in a bag of chips.
(16:53):
But we don't need to walk aroundtown like we know we are we can
treat people decently like wewant to be treated and although
we haven't mentioned it, Iproduce Rhode Island Fashion
Week and so usually when we'replanning that we've got, 60, 70,
80 models that are in thatspace, and I tell them, make a
new friend, connect, network,meet someone, don't sit in
(17:14):
little silos by yourself,network with other people and,
follow each other on socialmedia.
So I'm very big on just beingdecent human beings and not try
to live up to that misguidedimpression that all models think
they walk on cloud nine.
I'm glad you segued to the Royaland Fashion Week because I
wanted to ask you about that.
(17:35):
So this is something that you'vecultivated over the years.
Tell us a bit more about it,what you actually are doing and
how it's evolved I started thatin 2016.
Now, I mentioned earlier in thisconversation that I'd started
acting since I was a child.
So I started in theatre when Iwas about, I don't know, seven,
eight, nine years old.
(17:55):
I'm 55 now, even though I know Idon't look it.
but I, Thank you.
I've done this pretty much myentire life.
Through the years of doingtheater, I enjoyed being on
stage, but just as much as Ienjoyed being on stage, I
enjoyed the behind the scenes aswell.
So I was always the kid, helpingbehind the scenes with the stage
management and the direction andthe costumes.
So when the opportunitypresented itself, we had a gap,
(18:17):
in Rhode Island.
after I started the business, wehad a gap where there wasn't a
major fashion show.
going on in the state.
They had been and then the othercompany took a break for a while
to rebrand.
And so I figured, friends whoknew that I did this said, Hey,
Yemi, why don't you dosomething?
So I said, let's just startfashion.
We can see where it goes.
Never really thought it wasgoing to be much, but I thought
I'll just do it and have funbecause I enjoy it.
(18:39):
Started in 2016.
And, this now is our eighthyear.
We do it twice a year.
So now we just concluded aseason 15.
when I started it.
we did it in a nightclub.
we had maybe about fourdesigners that we were
showcasing, maybe about 30models, and an audience of about
100.
and now 15 seasons later,, wefeature about 18 designers.
(19:03):
We have between 60 to 80 modelsand we have, between four and
600 guests.
That will come through all thedifferent shows.
it's just blossomed and becomeits own entity.
And what I do a little bitdifferently because of my love
of theater.
I love to bring in thetheatrical.
So I want people to come in notto see clothes, but be
entertained.
(19:24):
So my philosophy is as long asyou can wear it, we will put it
on the runway.
So not just pretty sequineddresses.
We've done women, pregnantmodels in maternity.
We've done carnival wear formen.
we've had dogs on the runwayshowing doggie wear, and we do
children in our shows.
so I bring in basically anythingand everything that can be worn
(19:46):
that adds an element ofexcitement that will make the
audience sit up and go, Oh,that's different and
interesting.
and I just get a kick out of it.
You've taken diversity to atotally different level.
We're so confined that this ideaof diversity is about, you know,
racial lines and things of thatsort but you've taken diversity
(20:07):
to what is really moreappropriate.
It's a much broader term.
From the comedic to the seriousand everything in between, from
the old to the young, soundspretty powerful to me.
It is and, when we did and 1 ofthe ladies on my planning
committee, she owns her owncasting agency in Massachusetts.
It's called humankind casting.
(20:27):
I'll just give Christie a shoutout.
and so her specialty is ondifferently abled models.
That's what she focuses on and,so she goes by the mantra,
everybody belongs.
two or three seasons ago, shecame to me and says, Yemi, I
would love to focus on diversityand inclusion.
would you consider havingdifferently abled models in the
show?
And I'm like, absolutely.
(20:49):
And so we find designers that doadaptive apparel.
and so we've got kids inwheelchairs on the runway, or
just different capabilities.
this last season she found adesigner, a differently abled
designer that makes jewelry.
And so we had able bodied.
models wearing the pieces, butthe pieces were by a differently
(21:09):
abled designer.
And that was a whole differentelement.
but the thing, Ed, is I've seensome of these, during the show,
I'm not exaggerating, tears.
In the audience, because they'reseeing, especially with the
differently abled kids, seeingthem walk down the runway and,
get the level of attention thatthey do, because everyone's just
bowled over by this.
(21:30):
you can just see the kids shineon the runway.
And this has come back to mewith stories of a child saying,
Oh my God, this was so cool.
This has boosted my confidence.
I want to try cheerleading.
And that's made me cry.
Yes.
And so even though it was justan idea she brought to me and I
thought, sure, let's have funwith it, it broadened even my
(21:53):
perspective of what this couldand should look like.
Everyone has a right to seesomething on the runway that
they identify with.
So I don't follow the guidelinesof every model needs to be
skinny and tall and, 5'10 If youcan be on the runway, we'll put
you on it.
Wow, I have a question for you.
(22:15):
What would you say to you, thefour year old today?
Oh, oh boy.
Well, I'll say this, and thiswas something I heard Oprah say,
I don't know that she owns thesaying, but I just happened to
be working on my laptop onenight.
And not paying attention to thetelevision, but that thing that
she said, I guess the universejust needed me to hear it popped
(22:36):
out of everything up the humdrumof the, background.
And it's something I'mparaphrasing.
It says, whatever you do, do itwith everything you've got,
because you never know who'swatching.
And that.
Always stuck with me and I'veall that's always been my
tendency.
I don't do anything by house.
I'm either in it or I'm not.
And if I'm in it, I'm neck deepin it and I throw everything
(22:57):
I've got into it.
Um, and so I do it all withgusto.
And I feel I was in the rightplace at the right time, Annette
had observed me for about, let'ssee, I joined her agency in
2005.
And so she had me actuallyworking behind the scenes with
her once she had made thedecision about two years before
she spoke to me, that she'd madethe decision to approach me with
(23:17):
that question.
And so she started to, you know,She would groom me.
She'd have me coming in andhelping behind the scenes,
helping her produce shows,coaching models on the runway.
And I was just doing everythingwith the same exuberance that I
do everything.
Not realizing that she was doingit with intention.
So that would be the biggestthing I would tell my 4 year old
self.
Do it with everything you've gotbecause you never know who's
(23:39):
watching.
And also persistence.
I could have quit this manytimes.
I don't put my aggravations on,social media, have a love hate
relationship with social mediaas you probably do.
I think it's also the generationwe're from, not everything needs
to be on social media.
the times when I was goingthrough a rough patch and sure,
your audience, your followerswant to know.
(24:00):
They want to see the sausagemaking on the back end.
But I feel I don't need to alsosubject them to, every trial and
tribulation that I went through.
I have fallen many times inthese 14 years, especially in
the earlier years.
And there were times, Ed,honestly, when I would I was
just going to curl up in bed andjust cry myself to sleep out of
frustration because I wasn'tmaking headway.
(24:21):
This wasn't going as quickly asI wanted.
And as a single, female tryingto do this, if I'm not working,
if revenue is coming in, there'sno honey that's going to pay my
mortgage or pay my car note.
So I needed to figure it out.
and so many times I thought,maybe I should just quit this
and go get a day job.
It's easier.
But somehow I didn't becausethen I'd always think about, the
(24:44):
friends, the family, especiallymy mother.
Oh, my God.
I love my mother.
I could not have done thiswithout her.
Just thinking about the amountof work.
the amount of herself that shepoured into me doing this.
And just everything she had putin, over the years, and I would
say, I cannot disappoint.
I cannot.
I just say, let's just keepgoing.
Let's keep going.
Let's keep going.
And now, 14 years later, I canlook back and be proud of myself
(25:08):
for not giving in to the doubtthat I was allowing myself to
experience and keep going.
I'm going to speak on behalf ofyour four year old self and let
you know that she says thank youfor not wasting me and for doing
so much with me.
She's very happy.
Yes.
Very happy with you.
Yeti Stereo Microphone (25:28):
So Yumi, I understand you just held a
showcase called Raw Providence.
It's an artist showcase and it'sa bi annual event.
Tell us more about that.
Raw Providence, essentially,it's an artist showcase.
A few Thursdays ago, we had,about 20, 25 artists, visual
artists, photographers, craftspeople, accessory designers,
(25:53):
jewelry designers, musicians,singers, dancers.
It's a four hour event,typically, and I do it twice a
year, around, spring and thenanother one, in the summer, But
it's just bringing the artscommunity together, bringing the
general public, and so peopleare able to experience local
art.
but sometimes we get artists.
Outside of the region, we justhad an artist who came in from
(26:15):
California, a very lovely younglady who's building her musical
brand.
Her name is Marina Vanoff, andshe flew in from California to
perform to our audiences.
here and she was absolutelyamazing.
And I would say a rising youngstar.
But since I was working withmodels under the agency.
I started working with designerson the fashion week.
(26:36):
was excited to add thisadditional element.
So I was also having theopportunity to cater to all
other aspects of all all thegenres.
And of the creative andentertainment industry.
So our next one is actuallygoing to be in February.
I would love for you to come,Ed, and be my guest and see in
real time, the things that I do.
(26:56):
Thank you for that.
It sounds like a great,showcase.
And of course it alignsperfectly with what you do.
I'm sensing that you're allowingthe broader community in this.
Genre to come together, and Ithink that's really, really
important because it is not justa simple runway type situation.
If you will, there's so muchmore to it.
(27:18):
That's what I'm hearing.
Absolutely.
And as, you know, I talk a lotabout inclusivity, diversity.
Equity across the board.
And so a lot of the artists thatwe cater to are independent
artists.
They're starting out.
They don't have arepresentative.
They're not in a gallery, butthey're having a hard time
getting a foothold for people tosee them.
So what we're doing in thisinstance is bringing in the
(27:39):
general public, but we're alsoinviting, record label
executives.
I haven't yet, but I would loveto get someone who produces
music.
we get the press, we getinfluencers, we get buyers.
Owners of boutiques so thatwe've got important stakeholders
in the space that would notordinarily get the chance to see
these artists and hopefully beable to ultimately gain a new
(28:00):
client and work with them.
And, I'm proud to say that I'vehad a singer.
Who was seen by a congresswomanin Rhode Island that invited the
singer to perform at,International Women's Day
earlier this year because theysaw her on our showcase.
So the beauty of it is, it'skind of like an expo for
artists, so they're there topromote themselves, promote
their talent, but hopefully beseen by someone that could
(28:24):
potentially hire them orcommission them for something,
that they want themselves.
Thanks.
That's fantastic.
Thank you so much for sharingthat.
Thank you so much for theinspiration.
I, and certainly everyone whohas listened to this will
appreciate that very much.
Yeah.
I mean, we're at that pointwe're going to have to wrap up.
So I'm going to ask you, ifyou've got any closing comments
(28:45):
you'd like to make before we do.
Yes.
Well, again, Ed, thank you somuch.
This has been wonderful.
You know, people always like totalk about themselves, but this
was a very structuredconversation.
I really love the direction andthe different angles that we,
touched on, but, to anyone outthere that's, listening to this,
if you've got an idea, that youlike, it may just be a hobby,
one of the things I'm sograteful every day when I wake
(29:05):
up, Ed, I'm so grateful that I'mdoing what I do, because, I
could be doing something else.
I worked in a bank for severalyears when I first came here
because I needed to get settledin.
But now I get to do somethingthat I would wake up and do for
nothing.
if you're not going to pay me, Iwould still do this.
But I get to call this my careerand I get to live it and be it
every day.
So if anyone's listening andthey've got that thing in their
(29:27):
mind that they're wonderingabout, I say jump in with both
feet.
Jump in.
Now, don't quit the day jobbecause you still need to pay
the bills.
Do it.
Start it.
it's not failure if you don'tsucceed.
It's failure if you don't do it.
And then you're on your deathbedand you never experienced that
thing that you could have doneand had no idea how well you
(29:48):
might have been able to do itbecause you just didn't give
yourself enough time.
The chance.
It's so important to hearpeople's stories.
This is the kind of inspirationthat brings small business
people, a bit of clarity, a bitof, Possibility that they might
not otherwise have had.
So this is a really powerfulthing.
And for that, I really want tothank you.
(30:08):
So folks, once again.
I am joined by my guest myfriend, Yemi Sokoni, the
president of Donahue CreativeGroup.
Yemi, thank you so much for yourtime.
Thank you.
It's a pleasure.
This is Ed Draws of the SmallBusiness Doctor, and until we
meet again, I want to wish you ahealthy business.
Welcome to The Water Trough,where we can't make you drink,
but we will make you think.
My name is Ed Drost of The SmallBusiness Doctor, and I'm really
excited you chose to join mehere as we discuss topics that
are important for small businessfolks just like you.
If you're looking for ideas,inspiration, and possibility,
you've come to the right place.
Join us as we take steps to helpyou create the healthy business
that you've always wanted.
(01:02):
Welcome back to the watertrough.
This is Ed draws to the smallbusiness doctor, and I'd like to
welcome my friend, Yemi Sukonyitoday.
Yemi is the president of Donahuecreative group.
I have known Yemi for over 20years.
However, I have not seen Yemi insome time.
I'm delighted to be with hertoday.
And Yemi is going to tell us abit about her story.
(01:24):
in the exceptionally dynamic,ever changing, and I'd say
rather fascinating world ofmodeling and talent.
Yemi, welcome.
Yes, thank you, Ed.
Thank you for having me.
I'm excited to be here.
It's a pleasure to have you, andI want to say the fact that
years go by and we don't seepeople does not diminish the
(01:47):
fact of the value that theybring to us.
And you've always brought asmile to my face.
I follow your stuff out there onLinkedIn and elsewhere, and I
know what you're up to, eventhough I'm not always saying it.
And I just want to tell you,it's nice to see your face here.
I know the audience does not seeit, but I do.
And they get to hear that voiceof yours as well,
Microphone (Yeti Stereo Micr (02:05):
So thank you for that.
Absolutely.
So Donoghue Models started in what
year?
The company actually started,when I was about four years old.
It's the oldest agency in thestate of Rhode Island.
It was founded in 1973 byAnnette Donahue, thus the name.
At that time, I was a littlemunchkin, in England where I was
born.
(02:26):
and I always joke about writinga book about the juxtaposition
of our lives, this lady here inNorth Providence starting this
agency and then this littleNigerian, Jamaican, British girl
at age four, just living herlife with no idea where her
career was going to end up.
So interestingly, we crossedpaths in 2000 and.
(02:46):
Three, when I moved to RhodeIsland from England was trying
to get back into the modelingand entertainment industry
because I've been acting since Iwas a child and joined her
agency as a model, over theyears of working with her.
She liked my passion, my energy,my hardworking nature.
And so 2009.
She approached me and asked meif I would consider buying the
(03:08):
company from her because at thatpoint she was in her late 60s or
early 70s, and she was ready toretire, and she had been looking
for someone that she could talkto about handing the business
over, but she hadn't quite foundthe person that.
She was excited about or thatwas also very serious about the
prospect of buying the company.
Now, of course, I had no ideahow to buy a business.
(03:29):
So I had to, you know, do alittle bit of work.
Took me about 18 months speakingto family.
I talked to, different businessconsultants.
I talked to small businessadministration.
I got mentors, spoke todifferent banks.
And so piece by piece, it cametogether and I officially bought
it in 2010, August of 2010.
So I've owned it now for 14years.
(03:50):
14 years.
And in those 14 years, I'm sureyou've seen an awful lot.
What kind of challenges andopportunities as well do you
find in this business?
We can blame for this, and wecan also thank COVID for this.
some things came good out ofCOVID and others not.
pre COVID, auditions andcastings happened in person.
(04:13):
You had to be physically thereto go meet with.
Potential, client.
And then when COVID happened, ofcourse, with the shutdown, no
one could see anyone goanywhere, do anything.
So, self tape submissionsemerge.
It had actually been around someyears before that, but not as
rampant as it became because weneeded an alternative to keep
the industry going.
And so what that did for us as aindustry as a whole was open up
(04:38):
newer markets for us that wenever considered previously pre
COVID.
All my models and talent werelocal.
They were in Rhode Island orMassachusetts or Connecticut
after COVID.
I've got talent across thecountry in LA, Washington,
Texas, everywhere.
And so transitioning into moreof a digital space.
gave us that advantage, but thechallenge now became you're
(05:01):
competing with a largeraudience.
So now the competition is a lotbigger because now I'm no longer
just competing against the, 2other agencies in New England
that I saw as my competitors.
Now I'm competing against.
An agency in New York or anagency in LA that's much larger
than me and has a better handleon what to do, where to do it.
so it has it pros and cons, but,you work within it and you
(05:23):
adjust and try to, do the bestthat you can do.
What is the competition like forsomeone like myself, who's not
familiar?
And I'm sure most people thatwill hear this podcast are not
familiar with the industry.
What exactly does competitionlook like?
It's, other agencies.
For me here in Rhode Island,there aren't many my agency is
(05:43):
the oldest, as I said, and theremay be one or maybe two other
agencies locally.
The other competitors are inMassachusetts.
So there are three or fouragencies in Mass that have been
around as long as my agency hasbeen.
And so they've got, their ownnetworks and markets.
But again, because castingagencies, are reaching out to
everybody at the same time.
Previously, you would just bethe person that was sending them
(06:05):
all of your models and theychose from they have the
advantage.
Now, if they can pick the bestfrom all the different agencies,
and so for big markets, like,New York, for instance.
That's one of the busiest,spaces for our industry.
And so some models do this fulltime, whereas in a market like
Rhode Island, we're a smallermarket.
It's what we'd call a tertiarymarket versus a primary or
(06:27):
secondary.
And so most of my models do thispart time.
They're working full time.
They're going to school fulltime.
And this is a side gig becauseyou can't do it and survive on
just this part time.
As your primary income, ifyou're doing it in New England.
And so if I'm competing againstan agency that's represented
models, in New York, they'redoing this all day, every day.
So they can respond quicker.
(06:48):
they're much more prepared.
They're much more experiencedcause they've just got a lot
more work, under their belt.
you've got different ends of thespectrum that you're constantly
keeping an eye out for.
So when a model or talent comesto you, and I presume there's a
process of introduction andscreening, if you will, are they
(07:09):
expecting to get from you andwhat do you expect them to bring
to the table?
When they approach you.
Sure.
So when I'm interviewing, basedon my years of experience and
interviewing models literallyevery day for 14 years, I've
come to put them into threecategories.
And I tell them this, when Imeet them for the first time,
(07:30):
the first thing they need to dois go to the agency website,
submit their information, kindof like an application.
And then we schedule aninterview.
And Also, again, since COVID, Istarted to do those virtually
rather than in person.
And then during theconversation, I'm trying to
determine, is this someone who'shad some experience?
Have they been doing this for afew years?
Have they just kind of beendabbling here and there part
time or are they completelygreen?
(07:51):
And the process of bringing thatperson on board differs based on
that level of experience.
If they're brand new, don't knowanything about the industry, now
I need to make sure they'reeducated because People see the
glitz and glamour of ourindustry and they forget that
there is work ethic, there arethings you need to know, there's
a high level of professionalismthat goes into being a model or
(08:13):
actor and they just think youneed to show up when they feel
like.
And so I need to break them ofthat delusion and say, no, no,
no, this is a serious job.
Even if you're doing it parttime, the clients are real.
and the job is real.
I've had the pleasure of workingwith companies like Hasbro, CVS
Pharmacy, Blue Cross and BlueShield, IGT.
These are conglomerates.
I tell them, think of us as anemployment agency for talent.
(08:37):
And so if I'm booking for a job,you need to show up.
You need to show up and knowwhat you're doing.
So a brand new model, never donethis before, needs to go through
a personal development andmodeling program where we're
teaching them work ethic, thelingo, acting, walking on the
runway, photography, the personin the middle.
That's had some experience.
What I'm figuring out is what dothey know?
(08:57):
And what do they not know?
And what knowledge gaps do weneed to fill?
And then the third category,which is the experience, they've
got proof that they've doneenough work.
They've got a resume and aportfolio.
We're just adding them to thewebsite and getting them going.
But for me, when I'm meeting anew person, regardless of what
level they fall into, I amlooking to see, are they coming
across as someone that I cantrust?
(09:18):
So when I'm sending you out, Iknow, for a fact that you're
going to show up and you'regoing to represent the agency.
To the best of yourcapabilities.
So I really look for seriousindividuals that even though
they're doing this part time,they recognize the seriousness
of doing this.
So that sounds a little, scaryto me, the idea of them being
remote now you're talking peopleall around the.
(09:42):
And you don't have that physicalaccess to them.
That sounds spooky to me.
how do you manage that?
a lot of agencies will do ageneral open casting, everyone
comes in, they meet them, theytell them how things work, and
then they make their decisionsafterwards.
I have chosen to stick with.
one to one interviews with eachperson that's looking to come on
board with my agency.
(10:03):
So it's a bit of a longerprocess.
Each interview is about 30 to 45minutes long.
So I've created a template ofquestions that I'm asking each
person.
Tell me about your skin care.
Tell me about your diet.
Do you work out?
Do you wear makeup?
what's your level of knowledgeas far as makeup application?
They do have to send in, say, arunway video so I can see their
runway walk and their presence.
(10:24):
I send them a script that theyhave to read and deliver on,
record themselves on camera andsend that to me.
So after the interview, they'vegot kind of like a little bit of
homework assignment that theyneed to do and send.
They've got a week to do thatand then now I'm reviewing all
of that.
So after that 30 to 45 minuteconversation, and the homework
that they send me, it at leastgives me a good sense of if this
(10:45):
person is serious or not.
During that 30 minute interview,I do take about 10 minutes
giving them a PowerPointpresentation overview about the
company, what's expected.
And there are several times whensomeone's looking to join the
agency, not realizing the levelof dedication.
That requires, and then theyemail me afterwards to say, Ooh,
(11:06):
they were thinking of it as ahobby, and I make sure that I
very, intentional about makingthem understand that, and that
it's, a contract breaker.
If they come on board, they'resigning a contract with me.
They do that once contractsover.
So you have controls in place.
Yes.
Yeah.
But it seems to me that controlsare important in business, but
(11:28):
it seems to me that you'vedeveloped a keen sense of who
and what people are, and youhave mapped out what you're
looking for in such a way thatthey know darn well who Yemi is
and who this company is.
So they really shouldn't beguessing.
By the time this process isover, they should be pretty
clear on what they're gettinginto and who they're working
(11:48):
with.
Absolutely.
And a lot of this was trial anderror over the years of,
trusting someone a little bittoo much, give them a little bit
more leeway.
And then at the end of the day,ending up with egg on my face
and potentially losing abusiness relationship with one
of these corporations becausesomeone's done something wrong.
So it took me a while to figureall of that out.
(12:10):
and because I've been around solong, I've also earned, for want
of a better word, theauthority,, to put my
requirements, in place andexpect.
you know, have a highexpectation of my models and
talent and make sure that theydon't violate them.
I think that's appropriate.
No, you did not walk into thisin that space.
(12:32):
You have earned it and it mustfeel good by the way, to be at
this point where you have infact earned it and can apply it
like that.
Right.
Absolutely.
And, can I tell you this veryquickly, and when I first took
the agency, you can tell meslowly if you want, but the
first couple of years, you'veprobably heard the term imposter
(12:54):
syndrome and, as a woman, womanof color, wasn't born here.
So there were a lot of thingsthat kind of made me feel, um, I
certainly earned the right to bethere, but made me question
whether I had the right to bethere.
And I would always second guesswhat people thought, because
then I just showed up one day, Iwas here for a couple of years.
(13:15):
And the next thing I know, Ibought an agency.
And so it was like, who the helldoes she think she is?
Where did you know, what traindid she come off of?
And so the first two years of mebuying the agency, when I would
meet someone new, when I'd gonetworking and people asked me
what I did, I didn't say I ownedan agency.
I said, I worked.
Um,, slight difference, but thenit gave me room not to, explain
(13:38):
how I got to be here and I couldjust answer the questions and
have them continue to beunassuming about who I was.
So it took a long time for me tobuild the confidence and be
confident in that space thatI've come to fill in this local
market.
Really glad you brought impostersyndrome.
I think that it impacts.
(13:58):
More people than we realize Iwon't disparage the added layer
of complexity being a woman or awoman of color.
But I think every last 1 of usat some point in some way
experiences imposter syndromebecause as we're growing and
aligning with that, which webecome, it really is.
(14:20):
It's difficult.
At some point, you got to jumpand say, okay, I'm going to be
that.
And I'm right to be that.
But when you do it's thescariest darn leap you ever
make.
You bringing that up was reallygreat.
I thank you for that.
Because a lot of people don'teven recognize it for what it
is.
The name is convenient.
(14:42):
But a lot of people don'tunderstand what that hesitation
is all about.
They sit there and they go, ah,I should, I could, I would have,
but I can't because, cause Idon't know why.
Yes.
Thank you.
And in something that requires,I imagine, again, I'm not a
model.
Look at me.
(15:03):
I'm not going to go through theinterview process because you
wouldn't take me.
But if you would like an oldman, you can have me.
And you got the work ethic.
Hey, so never say never.
I don't know.
Maybe I'll reach out after thisis over.
In your industry, aside fromthings like imposter syndrome
and things like that, there isthat need for boys and
confidence mingling in such away that they're not construed
(15:26):
as aloofness, bringing themtogether.
Because you need to be poisedand confident, but you don't
want to look like you're somekind of arrogant so and so,
right?
Or maybe in a given role youmight, that might be the role,
but you know where I'm going,right?
That makes it that much morecomplex, and that would really
add to Yours and to your,models, positions as well.
(15:49):
Yeah.
That's very true.
That's a very good observationthat you may and part of what I
talk about during mypresentation, when I am
interviewing someone, becauseone of the slides talk
specifically about what I lookfor in models.
So I'm looking for great looks,all ethnicities.
I'm looking for excellentgrooming.
a well proportioned build andthen professionally at the first
(16:09):
line, says, I'm looking for aprofessionalism, but, oh, sorry,
the last line, sorry, says, Ilook for great personalities
and, just friendly people.
as you've known me for years,I'm one of the, most laid back,
easygoing people that, you know,so for me, I always have a smile
on my face.
I've got an easy and readylaugh.
And I worked hard to build thatculture, with all the models and
(16:32):
talent that I work with.
So I let them know I follow upwith the clients after every job
that we do.
How did it go with the modelsand talent?
Let me know.
And what I'm looking for is theywere friendly, they were
professional, they wererespectful, they were nice.
So I look for really decentpeople.
If I get a sense during theinterview that this model thinks
they're all that in a bag ofchips, sure.
And I joke, I say, listen, weare all that in a bag of chips.
(16:53):
But we don't need to walk aroundtown like we know we are we can
treat people decently like wewant to be treated and although
we haven't mentioned it, Iproduce Rhode Island Fashion
Week and so usually when we'replanning that we've got, 60, 70,
80 models that are in thatspace, and I tell them, make a
new friend, connect, network,meet someone, don't sit in
(17:14):
little silos by yourself,network with other people and,
follow each other on socialmedia.
So I'm very big on just beingdecent human beings and not try
to live up to that misguidedimpression that all models think
they walk on cloud nine.
I'm glad you segued to the Royaland Fashion Week because I
wanted to ask you about that.
(17:35):
So this is something that you'vecultivated over the years.
Tell us a bit more about it,what you actually are doing and
how it's evolved I started thatin 2016.
Now, I mentioned earlier in thisconversation that I'd started
acting since I was a child.
So I started in theatre when Iwas about, I don't know, seven,
eight, nine years old.
(17:55):
I'm 55 now, even though I know Idon't look it.
but I, Thank you.
I've done this pretty much myentire life.
Through the years of doingtheater, I enjoyed being on
stage, but just as much as Ienjoyed being on stage, I
enjoyed the behind the scenes aswell.
So I was always the kid, helpingbehind the scenes with the stage
management and the direction andthe costumes.
So when the opportunitypresented itself, we had a gap,
(18:17):
in Rhode Island.
after I started the business, wehad a gap where there wasn't a
major fashion show.
going on in the state.
They had been and then the othercompany took a break for a while
to rebrand.
And so I figured, friends whoknew that I did this said, Hey,
Yemi, why don't you dosomething?
So I said, let's just startfashion.
We can see where it goes.
Never really thought it wasgoing to be much, but I thought
I'll just do it and have funbecause I enjoy it.
(18:39):
Started in 2016.
And, this now is our eighthyear.
We do it twice a year.
So now we just concluded aseason 15.
when I started it.
we did it in a nightclub.
we had maybe about fourdesigners that we were
showcasing, maybe about 30models, and an audience of about
100.
and now 15 seasons later,, wefeature about 18 designers.
(19:03):
We have between 60 to 80 modelsand we have, between four and
600 guests.
That will come through all thedifferent shows.
it's just blossomed and becomeits own entity.
And what I do a little bitdifferently because of my love
of theater.
I love to bring in thetheatrical.
So I want people to come in notto see clothes, but be
entertained.
(19:24):
So my philosophy is as long asyou can wear it, we will put it
on the runway.
So not just pretty sequineddresses.
We've done women, pregnantmodels in maternity.
We've done carnival wear formen.
we've had dogs on the runwayshowing doggie wear, and we do
children in our shows.
so I bring in basically anythingand everything that can be worn
(19:46):
that adds an element ofexcitement that will make the
audience sit up and go, Oh,that's different and
interesting.
and I just get a kick out of it.
You've taken diversity to atotally different level.
We're so confined that this ideaof diversity is about, you know,
racial lines and things of thatsort but you've taken diversity
(20:07):
to what is really moreappropriate.
It's a much broader term.
From the comedic to the seriousand everything in between, from
the old to the young, soundspretty powerful to me.
It is and, when we did and 1 ofthe ladies on my planning
committee, she owns her owncasting agency in Massachusetts.
It's called humankind casting.
(20:27):
I'll just give Christie a shoutout.
and so her specialty is ondifferently abled models.
That's what she focuses on and,so she goes by the mantra,
everybody belongs.
two or three seasons ago, shecame to me and says, Yemi, I
would love to focus on diversityand inclusion.
would you consider havingdifferently abled models in the
show?
And I'm like, absolutely.
(20:49):
And so we find designers that doadaptive apparel.
and so we've got kids inwheelchairs on the runway, or
just different capabilities.
this last season she found adesigner, a differently abled
designer that makes jewelry.
And so we had able bodied.
models wearing the pieces, butthe pieces were by a differently
(21:09):
abled designer.
And that was a whole differentelement.
but the thing, Ed, is I've seensome of these, during the show,
I'm not exaggerating, tears.
In the audience, because they'reseeing, especially with the
differently abled kids, seeingthem walk down the runway and,
get the level of attention thatthey do, because everyone's just
bowled over by this.
(21:30):
you can just see the kids shineon the runway.
And this has come back to mewith stories of a child saying,
Oh my God, this was so cool.
This has boosted my confidence.
I want to try cheerleading.
And that's made me cry.
Yes.
And so even though it was justan idea she brought to me and I
thought, sure, let's have funwith it, it broadened even my
(21:53):
perspective of what this couldand should look like.
Everyone has a right to seesomething on the runway that
they identify with.
So I don't follow the guidelinesof every model needs to be
skinny and tall and, 5'10 If youcan be on the runway, we'll put
you on it.
Wow, I have a question for you.
(22:15):
What would you say to you, thefour year old today?
Oh, oh boy.
Well, I'll say this, and thiswas something I heard Oprah say,
I don't know that she owns thesaying, but I just happened to
be working on my laptop onenight.
And not paying attention to thetelevision, but that thing that
she said, I guess the universejust needed me to hear it popped
(22:36):
out of everything up the humdrumof the, background.
And it's something I'mparaphrasing.
It says, whatever you do, do itwith everything you've got,
because you never know who'swatching.
And that.
Always stuck with me and I'veall that's always been my
tendency.
I don't do anything by house.
I'm either in it or I'm not.
And if I'm in it, I'm neck deepin it and I throw everything
(22:57):
I've got into it.
Um, and so I do it all withgusto.
And I feel I was in the rightplace at the right time, Annette
had observed me for about, let'ssee, I joined her agency in
2005.
And so she had me actuallyworking behind the scenes with
her once she had made thedecision about two years before
she spoke to me, that she'd madethe decision to approach me with
(23:17):
that question.
And so she started to, you know,She would groom me.
She'd have me coming in andhelping behind the scenes,
helping her produce shows,coaching models on the runway.
And I was just doing everythingwith the same exuberance that I
do everything.
Not realizing that she was doingit with intention.
So that would be the biggestthing I would tell my 4 year old
self.
Do it with everything you've gotbecause you never know who's
(23:39):
watching.
And also persistence.
I could have quit this manytimes.
I don't put my aggravations on,social media, have a love hate
relationship with social mediaas you probably do.
I think it's also the generationwe're from, not everything needs
to be on social media.
the times when I was goingthrough a rough patch and sure,
your audience, your followerswant to know.
(24:00):
They want to see the sausagemaking on the back end.
But I feel I don't need to alsosubject them to, every trial and
tribulation that I went through.
I have fallen many times inthese 14 years, especially in
the earlier years.
And there were times, Ed,honestly, when I would I was
just going to curl up in bed andjust cry myself to sleep out of
frustration because I wasn'tmaking headway.
(24:21):
This wasn't going as quickly asI wanted.
And as a single, female tryingto do this, if I'm not working,
if revenue is coming in, there'sno honey that's going to pay my
mortgage or pay my car note.
So I needed to figure it out.
and so many times I thought,maybe I should just quit this
and go get a day job.
It's easier.
But somehow I didn't becausethen I'd always think about, the
(24:44):
friends, the family, especiallymy mother.
Oh, my God.
I love my mother.
I could not have done thiswithout her.
Just thinking about the amountof work.
the amount of herself that shepoured into me doing this.
And just everything she had putin, over the years, and I would
say, I cannot disappoint.
I cannot.
I just say, let's just keepgoing.
Let's keep going.
Let's keep going.
And now, 14 years later, I canlook back and be proud of myself
(25:08):
for not giving in to the doubtthat I was allowing myself to
experience and keep going.
I'm going to speak on behalf ofyour four year old self and let
you know that she says thank youfor not wasting me and for doing
so much with me.
She's very happy.
Yes.
Very happy with you.
Yeti Stereo Microphone (25:28):
So Yumi, I understand you just held a
showcase called Raw Providence.
It's an artist showcase and it'sa bi annual event.
Tell us more about that.
Raw Providence, essentially,it's an artist showcase.
A few Thursdays ago, we had,about 20, 25 artists, visual
artists, photographers, craftspeople, accessory designers,
(25:53):
jewelry designers, musicians,singers, dancers.
It's a four hour event,typically, and I do it twice a
year, around, spring and thenanother one, in the summer, But
it's just bringing the artscommunity together, bringing the
general public, and so peopleare able to experience local
art.
but sometimes we get artists.
Outside of the region, we justhad an artist who came in from
(26:15):
California, a very lovely younglady who's building her musical
brand.
Her name is Marina Vanoff, andshe flew in from California to
perform to our audiences.
here and she was absolutelyamazing.
And I would say a rising youngstar.
But since I was working withmodels under the agency.
I started working with designerson the fashion week.
(26:36):
was excited to add thisadditional element.
So I was also having theopportunity to cater to all
other aspects of all all thegenres.
And of the creative andentertainment industry.
So our next one is actuallygoing to be in February.
I would love for you to come,Ed, and be my guest and see in
real time, the things that I do.
(26:56):
Thank you for that.
It sounds like a great,showcase.
And of course it alignsperfectly with what you do.
I'm sensing that you're allowingthe broader community in this.
Genre to come together, and Ithink that's really, really
important because it is not justa simple runway type situation.
If you will, there's so muchmore to it.
(27:18):
That's what I'm hearing.
Absolutely.
And as, you know, I talk a lotabout inclusivity, diversity.
Equity across the board.
And so a lot of the artists thatwe cater to are independent
artists.
They're starting out.
They don't have arepresentative.
They're not in a gallery, butthey're having a hard time
getting a foothold for people tosee them.
So what we're doing in thisinstance is bringing in the
(27:39):
general public, but we're alsoinviting, record label
executives.
I haven't yet, but I would loveto get someone who produces
music.
we get the press, we getinfluencers, we get buyers.
Owners of boutiques so thatwe've got important stakeholders
in the space that would notordinarily get the chance to see
these artists and hopefully beable to ultimately gain a new
(28:00):
client and work with them.
And, I'm proud to say that I'vehad a singer.
Who was seen by a congresswomanin Rhode Island that invited the
singer to perform at,International Women's Day
earlier this year because theysaw her on our showcase.
So the beauty of it is, it'skind of like an expo for
artists, so they're there topromote themselves, promote
their talent, but hopefully beseen by someone that could
(28:24):
potentially hire them orcommission them for something,
that they want themselves.
Thanks.
That's fantastic.
Thank you so much for sharingthat.
Thank you so much for theinspiration.
I, and certainly everyone whohas listened to this will
appreciate that very much.
Yeah.
I mean, we're at that pointwe're going to have to wrap up.
So I'm going to ask you, ifyou've got any closing comments
(28:45):
you'd like to make before we do.
Yes.
Well, again, Ed, thank you somuch.
This has been wonderful.
You know, people always like totalk about themselves, but this
was a very structuredconversation.
I really love the direction andthe different angles that we,
touched on, but, to anyone outthere that's, listening to this,
if you've got an idea, that youlike, it may just be a hobby,
one of the things I'm sograteful every day when I wake
(29:05):
up, Ed, I'm so grateful that I'mdoing what I do, because, I
could be doing something else.
I worked in a bank for severalyears when I first came here
because I needed to get settledin.
But now I get to do somethingthat I would wake up and do for
nothing.
if you're not going to pay me, Iwould still do this.
But I get to call this my careerand I get to live it and be it
every day.
So if anyone's listening andthey've got that thing in their
(29:27):
mind that they're wonderingabout, I say jump in with both
feet.
Jump in.
Now, don't quit the day jobbecause you still need to pay
the bills.
Do it.
Start it.
it's not failure if you don'tsucceed.
It's failure if you don't do it.
And then you're on your deathbedand you never experienced that
thing that you could have doneand had no idea how well you
(29:48):
might have been able to do itbecause you just didn't give
yourself enough time.
The chance.
It's so important to hearpeople's stories.
This is the kind of inspirationthat brings small business
people, a bit of clarity, a bitof, Possibility that they might
not otherwise have had.
So this is a really powerfulthing.
And for that, I really want tothank you.
(30:08):
So folks, once again.
I am joined by my guest myfriend, Yemi Sokoni, the
president of Donahue CreativeGroup.
Yemi, thank you so much for yourtime.
Thank you.
It's a pleasure.
This is Ed Draws of the SmallBusiness Doctor, and until we
meet again, I want to wish you ahealthy business.
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