Karla Aryee

Karla Aryee's cover design of 'Girl, Woman, Other'

My cover design was hand-made using the paper-weaving technique, which involves strips of paper being interwoven to create a grid consisting of one or more pictures. Interweaving pictures of multiple women enhances the book’s theme of interconnectivity between the twelve characters. I integrated adinkra symbols into the cover design as they have been used throughout the book to symbolise each character’s story and create a strong sense of identity. Pairing the adinkra symbols with a vibrant dashiki pattern helped bring life to the cover design by introducing vivid, contrasting colours that make it stand out.

Mollie Boardman

Mollie Boardman's cover design of 'Girl, Woman, Other'

The concept behind my book cover design is character-driven but influenced by the abstract format of Bernardine Evaristo’s writing. From my research, it was clear that many books about black women or black feminism have very similar cover compositions and colour schemes that seemed ineffective for Girl, Woman, Other. I really wanted to draw upon the uniqueness that is present due to the poetic flow of the narrative and the variety of strong characters – a boldness I feel I have shown through my colour palette.

Evy Olivia Diepenbroek

Evy Olivia Diepenbroek's cover design of 'Girl, Woman, Other'

It was difficult to visualise something that reflects all subjects, so I tried to focus on how the characters feel. The hands are representing topics and the characters relationships between them. Some are pulling, stuck, being played with, and some pick up the pieces. The red thread represents the thread of the story and what can be pushed around. Lastly, the one thing we all have in common is our hands, it’s just what you do with your own. It doesn't immediately give away the story but hopefully generates curiosity.

Mae Dunham

Mae Dunham's cover design of 'Girl, Woman, Other'

I wanted to create a cover design for Girl, Woman, Other which would reflect the deep authenticity of the themes: feminism, gender identity, human connection and interdependence. Once I had focused on this, I realised they linked to love, relationships, and family. The textures and outline are unique, as are the 12 voices of the characters. Creating my cover by lino printing means the work has imperfections and flaws just as humans do. The cover bears the scars of imperfect process, which is beautiful in its own flawed way, just like all the women in this book.

Poppy Loughtman

Poppy Loughtman's cover design of 'Girl, Woman, Other'

My design draws from the themes of feminism and gender identity within the book. I liked that each woman had their own unique voice and I wanted to represent all the complex personalities using abstract figures as well as representing the powerful and dynamic writing style. I experimented with layout and bold colours to help it stand out on a bookshelf. I love using hand lettering in my work, so I chose to use it to emphasise the author’s name.

Natalia Nascimento Hartmann Mendes

Natalia Nascimento Hartmann Mendes's cover design of 'Girl, Woman, Other'

My cover design is based on the way Bernardine Evaristo has woven a narrative of human connections and race. To represent this idea, I used strips that intertwine, sometimes touching sometimes not, as if they were parts of fabric to be built. Not all the threads of the story directly linked, but as a whole they are connected. For each character there is one colour to represent their individuality, and the design attempts to represent the complexity of how they interact. Retro typography interweaves with contemporary, unornamented colour to reflect the way book’s narrative shifts between the past and the present.

Isabelle Poulson

Isabelle Poulson's cover design of 'Girl, Woman, Other'

My design aims to represent the key themes from the novel Girl, Woman, Other. At first glance, the design appears to overtly represent the novel’s focus on the lives of black women in Britain. However, on closer look, the disposition of the image alludes to other aspects of the novel. In particular, this aims to represent both the complexity of each individual character’s identity, and the interlocking narratives of the characters lives as a whole. Through this, the overarching theme of human connection and interdependency is shown.

Lauren Sharples

Lauren Sharples's cover design of 'Girl, Woman, Other'

Girl, Woman, Other, a novel faithfully depicting the Black British experience, warrants a cover equally devoted to the interconnectivity of the twelve women and nonbinary characters in its pages; one illustration does not fit all. My design is a tapestry of modern British iconography but, by interlacing it with traditional Adinkra symbols used to represent each character on their chapter pages, ultimately celebrates the diaspora. Formulated in a mosaic where iterations of race, gender, class, and sexuality are in the foreground, this cover reflects the form of traditional Adinkra cloths and gives each character the space to be celebrated.

Lucie Tranova

Lucie Tranova's cover design of 'Girl, Woman, Other'

Do you know what it is like to be underestimated? Or not being allowed to speak up? Or being laughed at because you feel love for the same gender? Look at the girl with a butterfly on her lips preventing her from speaking up. But just like flowers, women grow in beauty and strength, no matter how hard it is. You can stand for yourself. Your rights. You are allowed to love and be loved. Let all those buried feelings come alive. The cover is about frustration but also about boldness and strength, about women, girls, and others.

Julia Villard

Julia Villard's cover design of 'Girl, Woman, Other'

When reading the book I was intrigued by the diversity of characters and voices depicted and how strongly their identity is portrayed through their language. The characters in this book are touching, bold, strong, and the flow of speech through the pages fascinated me. I wanted to reflect this through a typographic cover. I created this cover using letterpress, drawing inspiration from archives of protest and theatre posters. Each letter has its unique flaws, reflecting how our identity is mirrored in our language and speech.

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