Senior Capstone

ISSUE 01

SPRING 2019

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Editor’s Letter

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Willi Smith

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Charles Lynch

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Zelda Wynn Valdez

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Taunya Benton

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Featured Editorial

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Jeffrey Taylor

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Patrick Kelly

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Kadi Flory

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Anne Lowe

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Steven Burrows

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Credits

History Blurb

Designer Diaries

History Blurb

Designer Diaries

Designer Diaries

History Blurb

Designer Diaries

History Blurb

History Blurb

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Editor In Chief: Tayja Strickland

Editorial Assistant: Ka’Dia Dhatnubia Art Director: Christine Drakes

Photographers: David Dong, Chandori Held Head Stylist: Tayja Strickland

Assistant Stylist: Britnee Hopkins Hair: Idara Sunday

Makeup: Alexis Broome Models:

Gabrielle Ram Nayelin Delgadillo Maya Ash Nicole Mitchell CourtnĂŠe Ross Special Thanks: RentTheRunway HayHouse Macon Taunya Benton Design

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Purposely entitled “The Prophet�, this magazine stands between the designer and the world expressing their thoughts, bringing awareness and ultimately celebrating their beauty. At The Prophet, we hope to provoke thought and spark numerous conversation around the issue of designer representation in the industry.

Special Thanks: I would love to thank everyone who supported me financially, spiritually, and mentally doing the creation of this project, To all my collaborators and all the people on my team. May this become bigger than all of us, to God Be the Glory.

The prophet hopes to become the number one reading source for Black designers and creatives in the fashion industry. We want to educate and express the thoughts of individuals who are continuously making great strides in the industry.

- Tayja Strickland

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Willi Smith

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Willi Smith 8

Willi Smith was noted to be one of the most successful black designers of all time. His brand grew to great heights in a short period because he tackle something that the American consumer was looking for at the time, functionality. Willi was one that went against the grain of fashion in his time. He was not one to focus on haute couture and the wealthy people of the world, he wanted to specifically cater to everyday people and that is what ultimately helped him gained his success.

Willi was born in Philadelphia in 1948 where he was raised and later attended the Philadelphia Museum College of Art from 1962 to 1965 where he studied fashion Illustration. During that time he made the decision to become a fashion designer, so further pursuing his dream he entered Parson School of Design from which he received two scholarships. While in school he began doing Freelance work for the designers Arnold Scaasi and a sportswear company called Bobbie Brooks. He eventually made the decision to leave school and pursue his career in fashion design and soon after his name was on clothing made by the brand Digit. Here he would specialized in sportswear and begin to develop his aesthetic that would lead him to into creating his own brand appropriately named Willi Wear Limited which was sold in New

York. The collection consisted of 13 pieces in soft cotton because he really like clothes that didn’t restrict the bodies natural movement. Willi often identified with the youth of New York, which lead him to go for a more functional take on fashion.

Him doings this help his business go to incredible heights reaching 30,000 in a year alone and over 25 million in revenue total. Not only did his business become successful, he also designed the wedding dress worn by Mary Jane Watson when she married Peter Parker in the Spider-Man comic book and comic strip in 1987 and the suits for Edwin Schlossberg and his groomsmen when he married Caroline Kennedy in 1986.

In 1994, he won an American Fashion Critics’ Coty Award for women’s fashion. He also won a Cutty Sark Award for Men’s Fashion in 1985. Unfortunately Willi died in 1985 after contracted AIDS however his achievements have not gone unnoticed. Willi’s success was very inspirational, instead of focusing on the glam and glitz that we all love, Willi wanted to create timeless pieces that were affordable and accessible to America’s growing middle class.

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Charles

Lynch

Based in Los Angeles, Charles Lynch and his partner Sergio have created a luxury statement brand that is on the rise. Discovering his love for art and architecture at a young age fueled him and eventually steered him into the world of fashion. He began his studies at Bauder Fashion

College where he would soon meet his best friend and cohort Sergio Hudson. Together they have created a brand that is on the rise to becoming notable among many in the industry. Read about his journey and thoughts on the fashion industry today.

@charlesfd

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TS: So tell me a little bit about your beginnings in fashion When did you know it was your calling?

CL: Well, initially I wanted to go to school for architecture because I had always enjoyed drawing differents things as far as building and cartoons go. So, I clinged more to drawing cartoons and making characters and my friends would ask me, “Why do they always have on the same clothes?” And I didn’t know why they did. They just did; and I continued to do that. Fast-forward to junior year of high school, my friend and I had planned to go to prom together and she asked me to make her dress for her. So, I did that because I have always known how to sew. I made it and we went to prom and that’s when I decided to take up fashion.

TS: Charles, I’m aware you had your clothing before teaming up with Sergio. When did you to decide to join forces and why? When was Sergio Hudson’s “big break”?

CL: Well, I started my clothing line while I was in college and it was really at the push of my friend Crystal because I would make the bodycon dresses for her. People would see it and she would refer me; it became a on-going cycle. Not to mention it was putting money in my pocket.

Also, at the time, Twitter was the big thing in social media while Instagram was creeping up on the scene and my clients kept encouraging me to make an account because people wanted to see the items they can purchase.

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So, I did and the business grew bigger and bigger. I was shipping things overseas like Australia, London, all kinds of random places.

It went really well.

Then, Instagram became super major; and that’s when I hit the death of my business.

It became really hard for me to create these pieces all by myself. I was talking to production, taking the necessary steps to assure the longevity of my business; then the knock offs started to happen. First, it was just regular designers here and there just knocking my stuff off. I would get in contact with them and say, “Hey. You’re copying my project etc. etc.” But once it gets to such a big scale that you have people in China doing it, you can’t control it. I would be walking in the mall and see a copy of a dress that I didn’t sell to them. My friends and everybody telling me, “Hey, I saw your dress here or there,” and my business pretty much started to slowly decline after that.

So, from Atlanta, I moved to South Carolina with Sergio and that was really a dark time for me because my friend had just passed from AIDS and my business was failing. So, Sergio asked me to come stay with him for a couple weeks, which turned into a couple of years. I was still doing my business because I had clients here and there but not enough to meet needs. That’s when Sergio asked me, since I was staying in South Carolina, why don’t I just help him with his business and I said, “Well, sure,” because we made a pact back in college that whoever takes off first will help the other. Then, he went off to do the show Style to Rock with Rihanna and won. He came back and wanted me to work with him

full time; and it was perfect because my business was no longer producing.

From there, we kept putting out collections and the Kendall Jenner jumpsuit happened and we were up from there. We got the showroom and Cali and got honored to be represented by Style PR and that’s when we started to build a larger celebrity clientele.

We are now working on creating our own PR right now because our contract is now up with that agency but that’s pretty much how we started and where we’re going.

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TS: To get more in depth about the conversation of identity: when was the first time you realized you were looked at differently as designers?

CL: There is so many variables in that that I can’t really think of a first time; but I know it’s awkward when people find out we are a black brand. The industry can be so tricky and as a collective— meaning black stylist,designers, etc.— we are held back in so many ways. For example, like the black stylist it’s hard for them to get the A-List celebrities like Jennifer Lopez or Nicole Kidman. We get stuck with reality stars. So here we are, a black brand trying to elevate ourselves with the likes of Versace and Louis Vuitton, because that’s the type of garment we put out and the type of quality we put out We can’t dress reality stars and be considered on the level of those brands. Because once you begin to dress a certain number of reality and b-d list celebrities, people like Nicole and Jennifer are never going to want to wear your clothes.

TS: Has being labeled as “black designers” had a negative impact on you?

CL: When dealing with things like what I stated, it becomes this

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thing when you’re a black brand.

The stylist will look at you like, “Oh he black, we’re going to get the hook-up from him!”

Then you feel obligated and don’t want to keep those types of obligations. Another way is when we are looking for funding.

I think it’s the biggest thing because every designer needs funding.

... it becomes this thing when you’re a black brand. The stylist will look at you like, “Oh he black, we’re going to get the hook-up from him!”

Then you feel obligated and don’t want to keep those types of obligations.

It takes money to make money.

We’ve done a lot of amazing things that people could only dream of, but we aren’t making the money that people would assume we’re making because we’re dressing all these celebrities. Celebrities don’t buy, they borrow and that’s what it is. Their stylist goes to the style PR, they try on the clothes. They wear them on the red carpet or to a photoshoot and they bring them back.

Collections cost several thousand dollars to produce and you have to do that every six months so you always need backing; and being a designer of color, a black designer, it is always difficult to find that backing. For one, it is more common for the white community to have generational wealth or the connections to get to somebody that’s wealthy and they dont mind investing in that. They have the resources and outlets to get to the funding. We don’t. You know that black community generational wealth is not that common; and the general wealthy don’t really understand fashion enough to back it. It’s hard to go to people that doesn’t look like us and get them to understand. ‘Till this day people are still shocked that we are a black brand.

TS: How would you like to be seen in the fashion industry?

CL: You know, dealing with the shock factor of people finding out we’re a black brand is one thing that I would want to end. They see the clothes and they’re like, “Oh, this is so amazing!” and then they found out we are black and it’s like, “Oh, well the quality is so amazing,” like why wouldn’t it be? When they see the clothes, they begin to flip them inside out.

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There is no question of production and make when Tom Ford is the one being mass manufactured. “It’s just made so well,” they say. It’s like a back-hand compliment.

I equate it to “You’re pretty for a darkskin girl.” It’s just a feeling. When you’re black, you feel it. So, I would want us as black designers to be included and the playing field to be even. I feel there is too much of a struggle for us to be heard, seen and respected.

TS: On the other hand, have people often tried to box you in?

CL: A little, because it’s this undertone that all they expect from us is urbanwear. If we were designing streetwear, it would be much easier for us to wiggle our way into the industry because that’s what they want from us.

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TS: So, we are always proud to see our community accomplish great things within the industry such as Virgil Abloh with Louis Vuitton/OFF-WHITE or Olivier with Balmain. However, do you think there is a problem with awareness in the industry?

How has this affected you?

CL: Everybody’s road to the industry is different and unique. You have Telfar and Pyer who entered into the Vogue Fashion Fund which put them in front of a different audience. With Olivier, he took a more traditional road, working his way up until he got offered the position at Balmain. For us, we went a little backwards. We went directly to working with celebrities and that’s been our claim to fame.

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So now, we are trying to build a legitimate business where we have the ability to be sold in stores and women all around the world can wear our clothes. I mean, celebrity is cute but you can’t live your life off of that.

TS: We know of platforms like Net-a-porter, Moda Operandi, Gilt and Farfetch but you rarely see luxury black designers on these platforms, why do you think that is?

CL: Well, there’s not that many of us who have structured businesses. There are a lot of black people out here designing but they are doing custom, straight to customer work.

Like I said before, they have to be funded to put out a collection or grow a legitimate business. Without funding, this gives them no ability to have their collections viewed by buyers or at fashion weeks. They don’t even have the feedback to know what they are doing right or what they are doing wrong.

And that’s where most of us are. You have Laquan Smith—who has been doing this for a while— who is just now crossing that barrier. So, in reality, there’s just not that many of us.

I would want us as black designers to be included and the playing field to be even.

I feel there is too much of a struggle for us to be heard, seen and respected.

TS: If there was a platform exclusively for luxury black designers modeled after the companies before, would you want to be a part? Why or why not?

CL: Yes, we would; and I think it could be successful. It is all in the presentation of it. Everybody is beginning to notice that we don’t have the platform; and a lot of the time industry people like to use “Well, they just aren’t out there,” make it seem like we are so hard to

find, which is somewhat true. It is not that difficult to Google and do your research, but they are always looking for easy and it is not easy. We are out here. And, sadly, they think we are a trend.

Black is a trend—black models, black designers—and we are just in this place trying to hold on to a movement. They get in the spirit of “Oh, we’re only wearing black designers because we are not winning awards and such and such,” and that’s great, but let’s

not make it a temporary thing.

We all talk, and we all have the same complaints at every level so we definitely have to take matters in our own hands and stay in people’s faces. We are not ashamed of being black designers and representing what we are and what we do. It is important that we continue to stay on top of things to assure we get to where we want to be.

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Zelda Wynn Valdez

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We’ve all heard of Beyoncé’s Freakum Dress? Well, meet the women who invented it. Zelda Wynn Valdes passion redefined fashion and lead her to create one of the most iconic looks of all time. Zelda was the eldest of seven children born and raised in Pennsylvania where she sat under the tutelage of her grandmother learning how to sow. She tried her hand at sewing a dress for her grandma who happens to be a curvaceous woman of tall stature. Because of this, her grandma was skeptical, but nevertheless, the dress turned out to be a perfect fit. So after graduating high school, her family relocated to White Plains New York where she began to work at her uncle’s tailoring shop. She eventually would open her own boutique named Chez Zelda on Broadway Manhattan in 1948 making her the first black person to do so.

In her boutique, she sold her signature low-cut, body-hugging gowns, which unapologetically extenuated a woman’s curves. Her design met the body of many iconic stars of her day like Josephine Baker, Diahann Carroll, Dorothy Dandridge, and Ruby Dee to name a few. In fact, she even designed Maria Ellington’s “Blue Ice” wedding dress when she walked down

the aisle and tied the knot with jazz singer Nat King Cole in 1948. She played a critical role in the image of black cabaret singer Joyce Bryant who the named the “black Marilyn Monroe.”

Valdes’ sexy-but-sophisticated dresses earned Joyce a cover on Life Magazine really made her a sex symbol of the time. Zelda’s ability to accentuate a woman’s curves made her stand out among American designers especially during a time where fashion was Parisian focused.

Nevertheless, this ability got the attention of mogul and pop culture Icon Hugh Hefner. Hugh approached Zelda and ask her to commission what we know today as the iconic playboy suit which became the signature stamp of his brand.

Zelda continued to do great things and design for women on a vast spectrum.

She loves to women of all shapes and sizes look and feel like goddesses, as well as the enormous amount of detail stitched into every single custom-fitted creation. She was the go-to designer of her time and ended up having a very long prosperous career even designing gowns for Ella Fitzgerald and leading the National Association of Fashion and Accessory Designers, a coalition that was founded with the sole purpose of promoting black designers. Her work helped to pave the way for all black fashion and costume designers today in Hollywood; women like Ruth E. Carter and Tracy Reese. Zelda acted as a true pioneer for the fashion world, and she made sure many after her could have the opportunity to do the same.

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Taunya

Benton

Started her business in 2008, Taunya Benton has created quite the success for herself running a small accessory business in Savannah. Using mostly brass, Taunya can take pure metals and turn it into beautiful intricate jewelry pieces. She has presented in numerous art fairs and show

events in Savannah; however, wishes there was a collective of black artists to share her beauty with and among. Read about her everyday journey as a small business owner and how she hopes to see Savannah’s art scene progress.

@taunyabentondesign

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TS: When did you start your career in accessory design?

TB: I started in 2008, I started making jewelry out of broken glass from my jewelry box and other things. People literally wanted to buy it off my body when I would wear it, so I started to make things for other people.

Starting on Facebook, then later I created my website. I began to learn how to do other building techniques I discovered on Youtube in addition to buying pieces and deconstructing them.

I’m pretty much all self-taught. I love jewelry and I hated to throw anything away so I had a lot of things I could work with.

TS: Is it much of a difference how you are portrayed in the accessory field versus how black designers are represented in fashion?

TB: It’s a little different, I feel like everyone in the industry feels they are one up on the other person. My daughter Tierra is a fashion model and I could remember when I was doing accessories for her it was all was a constant feeling of competition.

I had gotten to the point where I didn’t and don’t go on set anymore. If I am not doing the shoot, I just send my jewelry by someone. In contrast, one of the reasons I like working with SCAD students is because you guys are open creatively and haven’t been tainted by the industry.

TS: Tell me about some of the obstacles you face owning your own company?

TB: You can’t be mediocre. I see alot of mediocre when it comes to jewelry design here. People will jump up and down for a bead on a string and I am like, “Seriously?” I just believe we have to be better than everybody else. We have to cause them to stand in awe of our designs and I found in the white community they can do the same thing everybody else is doing and get more business than a unique designer with a unique vision.

Nevertheless, I don’t let it deter me because I love what I do.

I moved here from Gainesville, which is a couple hours from Atlanta, because I felt that it would be easier since Savannah is an art hub. I thought I would be able to get into the shops and fair but I got a lot of no’s, a lot of no’s from people not even looking at your work. Just no for no sake.

So, I say to myself, “Okay. Keep going,” and this one lady told me yes. That acted as a catalyst for me, giving me the ability to reach a broader audience that I couldn’t with my website alone.

I started to get invited to different street fairs and pop-up events and the same people that would tell me no would come up and recognize me and acknowledge my work and things like that you have to let roll off your back. You have to have a certain level of

thick skin and take on the santria that what’s for you, is for you and no matter how many people tell you no, that’s not the end. You just have to skin that chicken another way.

TS: Have you ever had someone try to “negotiate” your prices?

How did that make you feel?

TB: Yes! Yes! Yes! Just recently I did a street fair off of Bull and this lady came up and said, “Your pieces are all gorgeous but they are made of brass.”

So I say, “Yes, well I do 14 karat gold upon request but I work with brass because I don’t have to worry about waste and with gold you have to be very meticulous.

You have to know exactly what you’re going to make, what your measurements are and I don’t approach things that way. If a client wants it in gold I’ll make it in gold.” So, she says, “I don’t think it should be that much,” and I explain to her the process and that she is paying for my time but she insists and I’m pretty much at the age now where if you don’t like, don’t buy it; but I maintain my cool because I was a little offended. She offered $20 for a $75 pair of earrings and proceeded to tell me what I did to create the earrings and I say, “Well, if that’s all it is then you can do it yourself, but these are $75.”

You get use to it, it takes a little bit of time but when you think about the people that come up and pay full price without batting

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an eye, it reassures you in a way to keep doing what you are doing. Just realize those people are not your people and that’s okay.

TS: What’s the biggest problem in today’s industry for designers like yourself?

TB: The biggest problem, I think, is, at least local, there is no collective of us. For Savannah to be more than 51% black, most of the people I work with are white and it’s not because I seek them out, they seek me out. I just wish we had a better collective and it’s very difficult to find them. If you never came to Savannah before, and you came to buy art, you would think black artists don’t exist here and that’s not true. Overall, I think we need better representation, our own street fair. I believe we need our own rather than looking to be accepted by a couple.

Because they will only let a couple in; so, instead of waiting, we need to create our own.

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TS: When creating our “own” what would you want to see?

TB: When you look at anything design, we did it first. It’s just when they pick it up, it suddenly becomes cool and it all goes back to us being underrepresented at the moment.

I can just imagine how it is for a clothing designer, but we just have to keep going. On a local scale, I feel we need to start to connect and network amongst each other instead of relying so much outside of the community. I would love to organize something like Artist and Fleas in New York where we could all display our work and connect with each other.

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But you are a chosen people, a royal priesthood, a holy nation, God’s special possess wonderf 1 Peter

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sion, that you may declare the praises of him who called you out of darkness into his ful light.

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Maya (above) is wearing Jonathan Simkhai Gingham Poplin Midi Dress.

Gabrielle (right) is wearing Line+Dot red back button dress, Taunya Benton Funsani Necklace and Crescent Earrings.

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Nicole (above left) is wearing Opening Ceremony Foil Pleated Top, Derek Lam 10 Crosby Button Waist Culotte.

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Courtney (above right) is wearing Mara Hoffman Vivica Dress, Taunya Benton Anjuli Necklace, Mitali Ring (not pictured), and Anika Ring.

Nayelin (right) is wearing N12H Edwardian Blouse, Patbo Pleated Lurex Cropped Pants, Taunya Benton Zara Earrings.

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Jeffrey

Taylor

Atlanta born SCAD Alum Jeffrey Taylor made his star-studded debut at New York Fashion week for Supima. There he not only represented himself well but his alma mater which is why he is an inspiration to many of the remaining SCAD bees. Jeffrey talks about his experience at SCAD

and the great responsibility of representing SCAD at NYFW. He also discusses the black indoctrination that ““we have to work twice as hard to get to where they are” and how he sees this in both schooling and industry.

@_jeffreytaylor

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TS: When did you know this was something you wanted to do for the rest of your life?

JT: Since I can remember I was always playing in my mother’s clothing or dressing my little sister. It was something I had an interest in that I didn’t know at the time was a serious field as far as degrees go. It wasn’t until middle school that I found I could advance my studies in fashion design.

So, I decided to start looking at different schools and colleges.

I happened to always be following a lot of designers because my mom would buy magazines with the latest fashions in them; and the church had a big impact on me as well. With the First Sundays and the Easter Sundays, seeing the women dress and the beautiful, colorful suits and the hats just inspired me alot. I always knew I wanted to do something with clothing at a young age but I never knew that I could be a fashion designer.

TS: Why SCAD? JT: Well, let’s see, of course I looked at schools in New York, LA and Rhode Island, I think, but I chose SCAD because one: just looking at the facilities they offered and the alumni, the ambassadors for SCAD, pretty much the resources that SCAD offered really stood out to me. It was also just something I loved about Savannah. I didn’t want to go to the Atlanta campus because I lived 15 minutes from there. So, I said if I am going to SCAD, I am going to go to the main one, the home base.

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I never took a tour of SCAD and I always tell people that. I just saw pictures and the catalog.

I also had an art teacher in high school that was a SCAD alum that would keep drilling in me, “You need to go to SCAD. You need to go to SCAD.” So, I was like, “Okay, okay.” I looked into it and I fell in love with it. I think just the whole fashion program in itself was mind-blowing to me and it was something I looked forward to getting into.

I remember once, when I was in high school, I was in the high school bands (we were one of the best in Georgia) and we had a competition in Savannah. We came here and parked on Broughton street. We went to Lady and Sons and I remember sneaking away to the Jen Library and being so excited to go here.

And not trying to say we excluded ourselves from anybody else in the building, but we felt that when you go to such a prestigious school like SCAD that’s private, that costs a little bit more money, there are just some things we can agree on more. Just coming from different backgrounds of that nature and understanding that when you go to a school like this there are less African Americans students there who are able to afford all four years and get through the trials and tribulation to graduate with a degree.

It was very encouraging to see the people like me pushing; and I was pushing because it is hard.

It’s very true that we have to work ten times harder wherever we are and to get our message across because —I hate to say it— but in the fashion industry, we are good for ideas, we are good for talent but they don’t want to put us in the front row of that. I feel they just want to use us and pull from us but, at the end of the day, they don’t want to give us credit. I will say SCAD didn’t do that. They made sure everything was fair and on an even playing field. I never remember feeling any tense feelings of that nature. However, there still was an understanding amongst the African American students that we weren’t going to get that shot unless we work ten times harder than everybody else.

TS: Tell me how it felt when you won the Supima contest. What was the process like?

TS: When you were attending, were there many people that looked like you in the program? Did that bother you?

JT: So, if I could make an estimate their were probably a good 15 of us. I don’t want to sound like a mean or problematic person or anything, because I love SCAD to the end, but there wasn’t a big percentage of us there. However, I was very fortunate to be friends with a good bit of us there that were in the building helping each other out.

JT: I found out about it at the end of my sophomore, beginning of my junior year and I was in love with it. Long story short I submitted my line up collection for it and you kind of already have an idea of who would get the opportunity. My love was for evening wear and that was what Supima consisted of when the competition started so I submitted my info and it was a blessing from God that I got accepted into it. Right after we graduated on a Saturday, that Monday I was back at Eckburg working on Supima. So, I basically had no

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break after graduation and it was a very intense summer. That whole process was the highlight of my college years at SCAD. And I say that because of how personal my collection became and how I got to know the professors one on one helping me and training me, overall perfecting my craft. The whole process and concept really made me feel like an established designer being that it was for NYFW. It was an incredible experience that I will forever treasure. There were a lot of times over the summer where I would get a little doubtful because I had so much power.

It wasn’t like my senior collection where I had to do this and had to do that but I had to say what was going to get done and what wasn’t going to get done. I had to really make sure everything was prepared. The professors acted as my team following the directions that I gave because I was no longer a student but someone that was representing the school.

TS: Tell me about the pressure you experience during this competition?

JT: Well. yes, because here I am an African American representing one of the most prestigious schools. The thought of being able to make my mark at NYFW was a big thing because as an African American designer in this industry we have to do more than what the average person is doing and constantly prove ourselves. So I felt a lot of pressure because this wasn’t just a school project. This was something that people in the industry are going to remember my name by—people that I respect so much that I possibly want to work for or run the race alongside.

There were a lot of things running through my head: does this need to be changed? Or change that? Of course that was happening but I also was trying to make sure I wasn’t trying to please everybody else; and I think at SCAD we do things that we love but we also do things to please the professors, to get that validation that we are that top student.

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As an African American designer in this industry we have to do more than what the average person is doing and constantly prove ourselves.

We are constantly in this competition at SCAD to be the best student we can possibly be and that sometimes can overshadow us as a designer so that pressure alone was very frustrating. I would often have to take a break and when I was working for Supima I was working from Monday-Saturday 7 a.m. – 7 p.m. The professors would leave around 4 or 5 and I would stay ‘till about 7 or 9 p.m. at night trying to keep up with the schedule simply because of the pressure. At the end of the day, it was my collection that I was presenting, not SCAD’s.

I thought of all these people looking at me, all these seniors looking at me and these other seniors that applied that didn’t get in. I just wanted to make sure that I represented the school in the best way I could and be true to myself while doing so. That is one thing that I appreciate about Supima, that I was able to get out of the cycle of trying to please SCAD and more of pleasing myself and representing myself as a designer.

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TS: How much do you know about the black designers of the past? How important is it that we learn our history in fashion?

JT: I didn’t know as many black designers as I do now because, as I said, at a younger age the designers that I was watching were not black.

Black designers were not being featured in the magazine. They didn’t have spreads from what I can remember from the magazines my mom was buying. Even some of the African American magazines that she was buying, I don’t really recall some of the designers in those like I would do Vogue and all of those types of magazines.

I think right now for young African American artists going through the industry it is important for them to research these African American designers and really research the roots of where we stand in the industry and how we have changed the industry. Our African American designers, how they’re in the background of most of these design houses, are the reason why these design houses are so successful. It’s because of our predecessors in the back sewing or doing all the color or patterns, finding the inspirations that these big brands got success from.

Also, really pinpointing where certain trends may have came from. I definitely feel like there does need to be a educational element of culture in these big companies like Gucci with the recent happenings. If they have a multicultural team we need to figure out why things got so far; and if it’s not, it needs to change.

So, again, I think as a young artist myself and the artist younger than me we need to constantly be on the lookout and figure out the origin of things. You know, if we hear a

rumor that an African American did this for this fashion house, figure out if it’s true or not, dig deeper in it.

TS: Why do you think the world tends to box us in when it comes to style category? (ie street wear) JT: They try to box us there because they know that’s our culture. Like, if I was offered to do streetwear with an amazing streetwear designer right now, not being cocky or anything, I think I would succeed in it because it would just take me back to growing up, to hearing hip-hop and different music on the radio, going to picnics and concerts. It’s ingrained in us because it’s ours. We can take streetwear and make it look expensive.

So, if you were to take anybody from the culture and give them a job in streetwear, they would succeed even if they didn’t

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have studies or they didn’t design in it because it’s a part of us. And that’s no disrespect to any African American that does street wear but I think we all know how to do it and know what looks nice. However, in my case I was in love with the glamour and drama of fashion and that’s not putting down any other fashion aesthetic. I just feel like I would succeed in it because it comes naturally.

TS: What are some obstacles you personally face and overall black designers face in the industry? How do you want the industry to receive not only you, but black designers in general?

JT: I think the biggest problem is the box.

Them just saying we are good for urban and us really finding our voice. Proving that we can really fight this battle with the other guys,

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standing our ground. We have the training.

We know the technique and we know what sales. Placing us in a category limits us so I think making it better would be them opening the doors to African Americans more. If they come in with a portfolio of glitz and glamour, accept them for who they are and don’t try to make them do anything else. If they are good at it, give us that position. Don’t say to us, “We’re going to give such and such the position because we like their image better,” when our work is better.

Basically, don’t choose image over talent; and I think the industry being more open to our ideas and us coming in and advancing their companies. Because if they would, they wouldn’t go through what we saw Gucci and all these other labels go through. All I want is an even playing field.

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Patrick Kelly

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Patrick Kelly

Known for his ability to engage the conversation of race and for becoming the first African American to be admitted to the Chambre Syndicale du Prêt-à-Porter, Patrick Kelly was a star of the ‘80s. Born and raised in pre-civil rights Mississippi, Kelly’s experience in the south as well as the women in his life influenced him both generally and creatively. His grandmother’s labor and creative reconstruction inspired him, noting how she took a garment missing a button and sewed on new buttons of various sizes and colors.

Before leaving the nest for Atlanta, Kelly briefly attended Jackson State University to study art. He worked as a window dresser for the Yves Saint Laurent Rive Gauche Boutique.

Eventually, he branched out even further to New York’s Parsons School of Design with the encouragement of his supermodel friend Pat Cleveland.

After Parsons, Kelly made the final leap across the pond to Paris, the eventual birthplace of his iconic brand. Kelly began designing for stars such as Grace Jones, Naomi Campbell and Princess Diana. However, his starstudded clientele is not the sole reason why he is crucial to the culture. Patrick is responsible for taking an image meant to demonize and degrade his culture and making it into something

beautiful. In 1985, Patrick created a dress with a cartoon image of blackface, better known as “Golliwog,” a fictional character that first appeared in 1885, later becoming a plush toy in the 1970s.

During the time the image was primarily known as a symbol of racism, but Patrick deliberately used it to spark an ongoing conversation of race and identity which were and continue to be prevalent topics of the time.

Kelly provoked thought, prompted debate and discussion; no doubt that same candidness and bold attitude would thrive today. That bright, upfront spirit lives on and Patrick goes down in history as one of the most iconic designers of all time, remembered for his colorful, unapologetic designs.

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Kadi

Flory

Kadi Flory is a recent SCAD grad who uses her art to convey her experience as a young black woman. She focuses heavy on making people feel connected to her work and evoking emotion.

Kadi uses her fibers degree to create beautiful

wearable art that can be interpreted in many different ways. In this interview, she talks about her fashion inspiration and gives encouragement to the young black artist even though the industry can be a little discouraging.

@kadiflorystudio

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TS: Who/what are some of your biggest fashion inspirations?

KF: Oh, Yohji Yamamoto. He is like my major fashion inspiration when it comes to people I look up to. Also Valentino, The Row, just really minimal, contemporary brands.

TS: When designing how do you hope people receive your work?

KF: Very personal— I think because it is coming from such a personal place, my work, I just want someone to have a connection with it or respond in a way of nostiglalia or calmness. That’s what I aim for when creating: to have a personal connection with each individual.

TS: As a designer how much significance do you hold to your race? Is it something you exhibit proudly?

KF: Yeah, I mean being black is just a part of who I am and I don’t think I can separate that from my work because I am living a black experience. My point of view is always going to be from a perspective of a young black woman, so it definitely comes forth through my work. And not necessarily like “I’m black and I’m here,” but more about the struggles I had to face; and I feel like you just can’t separate those two.

TS: How do you feel being one of the few black fibers majors in your senior class?

KF: Yeah, it’s actually something I don’t think about that much. It is one of those things when you’re in such an educational space you are just used to being the minority. I grew up attending predominantly white schools, so, to me, it is normal and you kind of just exist in

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your own space and sometimes it can be frustrating and something we all go through when you have to check people on ignorant statements. So yeah, that’s been my norm.

TS: Is the culture among you communal or competitive?

KF: It has become more competitive.

I think I was in this for four years and it started off very community-based but now it’s more competitive for sure. I have seen it. People don’t want to share their work, don’t want to post to social media, none of that. It’s like when you have worked so hard on something, you get tired of people ripping you off so you begin to protect not only your work, but yourself too in a way. It’s bizarre how much has changed over the span of two years because it wasn’t like that at all.

TS: What do you think the biggest problem in fashion is today?

KF: Well, as far as the black community goes there is not enough black designers and I think there is not enough black people in the industry. With seeing all this controversy with big corporations being out there, we don’t have enough of us in those spaces. If you were to hire a person of color to be a voice for their community, it would reduce a lot of problems. Also, this trend of streetwear, everybody, every house is producing the same thing. I used to be able to tell what was Gucci and what was Prada but everybody is doing the same thing. So, authenticity needs to come back to fashion.

Originality and making space for more black designers would be the two biggest problems.

TS: Do you ever see the industry becoming a level playing field? Why or why not?

KF: I hope so. I mean, I think we would all want that; but I think in this industry there is always going to be an underdog.

That’s how the world works. The reason we want a designer bag is because it is unattainable. So, I hope in the future it will become an even playing field; and we are progressing now because people are beginning to force themselves into the space and thrive. SCAD alum Christopher John Rodgers is killing it right now and that inspires me. I feel like you have to kick doors down for yourself because nobody is letting people in and you have to be persistent. Like why is there no black people in the board meeting, but you market the products to us?

TS: What do you see your brand becoming in the future? How do you hope to inspire young artists like yourself?

KF: Oh gosh. One of my biggest dreams is to do costuming. I grew up in a very creative family. My mom writes music for plays and I always wanted to get into that. I knit a lot so maybe getting my work into that. I like things like Game of Thrones and their elaborate costumes and things— that’s where I see myself in the future. As far as inspiring young black artists: it’s just like If I can do it, we can all do it, you know. We can all strive for bigger things, but don’t lose hope. It is so hard and so discouraging, like I said, being in a space, when it’s just you and so it’s like you have to adapt to them instead of them adapting to you. It just hasn’t been fair but hopefully things kind of evolve and change more. My main point is don’t be discouraged.

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Anne Lowe

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Anne Lowe 62

Ann Lowe was the first internationally recognized African American designer. Know her name.

Know her story. Lowe dressed some of the biggest and wealthiest socialites of her time, presenting one-of-a-kind designs in the Jim Crow era that lead to her being an unstoppable, influential force in the fashion industry. Her career began in Alabama, learning how to sew from her mother Janey Lowe and her grandmother Georgia Tompkins who happened to be a former slave and skilled seamstress. Alongside her mother Jane, Lowe worked on dresses made for the high society women of the South. When her mother unexpectedly passed in 1914, she had been working on four ball gowns for the First Lady of Alabama Elizabeth Kirkland O’Neal.

Ann Lowe, at the young age of 16, was able to complete her mother’s commision, setting her on a path to unavoidable success.

Lowe was married at the time she began pursuing her fashion career; however, the marriage ended when her husband didn’t want her to continue fashion. So, at the age of 19, she took their son and moved to New York to attend St. Taylor Design School. Because the school was still segregated, Lowe attended classes in a room alone. After graduating, she moved to Tampa, Florida and

opened her salon named Annie Cohen.

The following year, after saving $20,000, Lowe moved back to New York to do commissions for some of the biggest retailers of the time like Neiman Marcus, Chez Sonia and Saks Fifth Avenue.

Lowe’s quality and unique designs went on to see the lights of the Duponts, the Rockefellers and style icon and First Lady Jackie Onassis Kennedy. The First Lady’s wedding dress garnerd Lowe critical acclaim, further solidifying her legacy. She continued to build a wealthy clientele and open a salon in New York named Ann Lowe’s Gowns on Madison Avenue, making her the first black on a high-end retail strip.

Unfortunately, the wealthy that she designed for would often persuade her to sell her work for much less than her competitors, which eventually lead to the closing of her New York salon in 1962 after failing to pay taxes. Ann passed in 1981, but she left behind a remarkable legacy that deserves recognition. With spreads in Vogue, Vanity Fair and Town & Country along with having Christian Dior as a fan, Ann Lowe is without a doubt a designer to be inspired by, because she was successful in an era not accepting of her.

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Stephen Burrows

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Stephen Burrows 66

Stephen Burrows is a New Jersey native that would go on to make history not just for black designers but for the fashion industry as a whole. Burrows was born in Newark, New Jersey in 1943 to Gerald Burrows and Octavia Pennington. At a young age, he was taught to sew by his grandmother Beatrice Simmons, who helped him developed his aesthetic and love for designing. In 1961, Burrows first attended the Philadelphia Museum College of Art in Pennsylvania, before transferring and eventually graduating from FIT. After graduation, Burrows landed a job as a designer for Weber Originals and worked as a supplier for Allen & Cole.

Soon, he would leave to become the cofounder of O Boutique in 1968, which would lead to his first ready-to-wear collection at an upscale department store Bonwit Teller. After two years, O Boutique was forced to close because of Burrows’ lack of business experience.

However, the president of Henri Bendel Geraldine Stutz opened up the third floor of his Bendel studio for Burrows to create his ‘70s disco-inspired designs.

Burrows reached immediate fame, designing for the likes of Diana Ross, Cher, and Barbra Streisand.

Later, Burrows would leave Bendel studio to find himself as one of five American designers to display his work at the Palace of Versailles. The Palace of Versailles goes down as one of the most iconic moments in fashion history and a pivotal moment in American fashion as

a whole. Not only was he the only African American to represent the states, but he was also able to bring some of the first black models along with him to showcase the beauty of his community.

Burrows gained international fame, awarded for his contributions with the Coty award in 1974, winning another in 1977. He was also admitted to the Fashion Walk of Fame and was even recognized by the Savannah College of Art and Design with a lifetime achievement award. Burrows is yet another exceptional designer who overcame racial obstacles with undeniable and unapologetic flair and finesse.

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