THE “/AUTEUR/”

Giani Jones [pronouns=G, Giani, Gees, She’s, Her] is the third child of a blended family. G is an Afro-Indigenous independent contractor and emerging artist from The Lucayan Archipelago//The Bahamas and New Orleans East. Giani is an alum of New York University (NYU) with a BFA and a concentration in 4-dimensional art. Giani identifies as a conceptual multimedia artist and woodworker who prioritizes research, ancestry, and site specificity in her work. G’s childhood was shaped by early exposure to grief and loss resulting in a fixation on where the price of Love intersects with the concepts of deracination, palimpsests, and liminal spaces. While in college, Giani refined her artistic practice conceptually and aesthetically by interfacing constructs of identity, time, morality, and duty through the examination of otherness and interpersonal relationships. Thusly, many of her works have developed around gift-giving and upcycling discarded objects; the gardening of her personal relationships is critical in G's desire for creative pursuits. Her choice of medium for each piece is selected to allude to historical, artistic, and cultural movements. 

Throughout Giani’s career, she has honed her skills in scenic carpentry, fine woodworking, and finish work in diverse settings from large fabrication shops to live events like the Voodoo Music and Arts Experience NOLA; theatrical productions with Studio Theatre in Washington D.C.; and, permanent installations at the National Children’s Museum, the National WWII Museum and The Sazerac House. Gees’s artworks have been featured in The New York Times. Giani has exhibited with Ogden Museum of Southern Art for the 2026 edition of Louisiana Contemporary, Ashé Cultural Arts Center, Contemporary Art Center Nola, All Street Gallery NYC, AXIOM Gallery in New Orleans, and, in the summer of 2025, Giani hosted her second solo show “Love & Happiness | For Everything I forgot to Remember and the Bitterness that Prevailed” in New Orleans’ Bywater neighborhood. With her brand N E W   N E G R O E S, Giani creates and designs streetwear with the purpose of fortifying blaxploitation culture against Eurocentric erasure to demonstrate that blackness is beyond a monolith. Giani’s work intends to build a holistic aesthetic across the creative process and the everyday experience of expression. Giani works to integrate various art objects of her creation into panoramic art experiences and integral visual environments.

Giani’s art movement: ESOTERIC SURREALIST POP

//Giani’s ethos: BLEED PRODUCT & PROCESS

zelle GianiMarisaJones | venmo @Giani-Jones-1 | cash app $GianiMarisaJones

THE CLOTHES

A celebration of Afro-American culture

New Negroes embraces language, signs and signification as the most critical tools in the functionality of a people. They are the weapons that write redacted and untrue histories, the tools that allow us to interpret as we conceptualize—between their many forms, they are friend and foe.

Negro is about unbreakable pride, it is pro-Black and anti status, it is a celebration of Black history and culture. It’s like. I'm lit, my people lit, been lit, stay lit; they can't subvert our identity or ideas. In America or elsewhere. Dig and not by proxy.

Each piece is hand printed or created by Giani Jones, founder and owner of New Negroes clothing and design. 

WHY NEW NEGROES

Popularized by Alain LeRoy Locke during the Harlem Renaissance, the term New Negro implies a more outspoken advocacy of dignity and a refusal to submit quietly to the practices and laws of Jim Crow racial segregation.

"Negro" was a first step, in terms of vernacular nomenclature, in describing people of African descent in the United States with civility. Creating the trajectory toward labels such as colored, Black, and African-American, "Negro" reflects a progression in our respective liberties and the acknowledgment of the existence of our consciousness beyond being someone's nigger. Using "New" as the adjective, I want to call to mind that developing consciousness—that feeling that we are on the path toward equality, inclusion, and obtaining those rights to which our diaspora has always been entitled.

The struggle is intersectional and perpetual. New Negroes is a way to remember and commemorate our first steps and be inspired to continue, even when our people are being killed and disproportionally imprisoned. Though progress is moving slowly, almost cyclically, New Negroes is a reminder to keep that first sense of hope within the everyday life of blackness toward structural reform. 2999 is a far off date for Negro America, but Blackness endures.