Black & Vintage Zine Vol. 1 | Summer 2017
Black & Vintage:
At the Intersection of Fashion & Black History
Vol. 1 | Summer 2017
LISTEN | Bonus Black & Vintage Vol. 1 Audio on Soundcloud
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BASQUIAT: The Unknown Notebooks @ The Brooklyn Museum
Until next time, B!
Jean Pual Gaultier Takes Brooklyn
The Fashion World of Jean Paul Gaultier:
From the Sidewalk to the Catwalk
The Brooklyn Museum
There are no words to describe how truly incredible these pieces are in person!! Viewing this exhibit while in the midst of my Sew Sexy-Sewalong mindset made me view many things in a completetly different way. And my recent fabric shopping trip (OMG, so much fun chatting and shopping with these three ladies!!) was certainly influenced by it (leather, metallic, print).
Even as I viewed the pieces and snapped these photos, I sensed a theme. I am, clearly, most drawn to the waistline and garments that highlight it. That nipped-in-ness is sexy to me. Whether it is on a metallic leather corset (my FAVORITE PIECE) or a striped, backless tshirt with a floor length train.
Watch the waist.
More photos here:
Jean Paul Gaultier:
@
The Brooklyn Museum
And I found a few of the pieces from the exhibit being worn:
{Machine} Knit All The Things
Friends!! I (along with the help of my hubby who spoils me, I’m SO lucky) made a dream come true!!
I am the proud, infatuated, new owner of a
KNITTING MACHINE!!
(seller’s image)
Not only did I get the machine locally from a Craig’s List seller (so no $100 shipping charge) she accepted $75 less than she initially offered it for AND the machine came along with a crap load of extras! Lace, intarsia and ribber attachments along with a slew of hand tools, cones of yarn to practice on (more than enough to make an actual test garment!) and the seller’s notes and materials from a machine knitting class she took at FIT.
This deal was an absolute SCORE!! I feel even better about it because I missed out on another, not nearly as good (or even in the same universe), local CL offer just last week. Best thing that could have happened!! I was able to get what appears to be a lifetime of collected materials with only two (related: aunt and niece) previous owners who held onto everything and took great care of it all. I could have spent double (and nearly triple if you think of the shipping charges) collecting the same over time. I feel so lucky!!
Even more so because LOOK at what I made after only one week of intense machine knitting related pinning and research & one day of struggling and YouTube-ing and Google-ing (this post in particular was a God send) like a maniac!
A totally excellent swatch!!
This is 70 rows wide x 100 high and measures 10×7 inches. Shall we ponder how long it would have taken me to hand knit the same at this gauge? lol
And I only have one not-s0-serious-injury to show for it! Though, my back might not be so happy with me in the morning. I need to make some space for my new toy, so my much loved, though little used, vanity table will make its way to Craig’s List and into the life of some one new.
Check out my Pinterest board if you’re in the market for a machine and want to read up!
And expect more, MUCH more, knitting content in the future!
Machine details for the curious:
– Singer Knitting Machine & Carriage Model 360K
– Singer Ribbing Attachment SRP 60N
– YC6 Single & Double Bed Yarn Changer
– Model LC-2 Lace Carriage
– Model AG-20 Intarsia Carriage
– Model SC-3 Automatic Linker
Style Icon: Eartha Kitt
This post wants to be about the lack of recognition and due respect paid to black style icons throughout history. It wants to be about that struggle being the least of their worries in their own time. It wants to be about a great many things: feminism and how it’s different when you’re black, beauty and how it’s viewed differently when you’re black, style and how often it’s copied without credit when you’re black.
BUT
That shit brings me down! Sometimes, even in my own heart and mind, I just want it to be simple! A simple post, conversation, thought, feeling about this person of color and how looking at them
MAKES ME FEEL GOOD!!!
Let’s look at Eartha.
LOOK AT HER!!
She is fucking stunning!
And she knows it.
Look at that rare, girlish smile!!
And look, LOOOOOOK at her MOOOOOVE!!
Look at the POWER!!
There are millions of images like these from old Hollywood, but not so many of its African American stars.
Being fitted.
Getting pretty.
Embracing style and motherhood, with equal aplomb.
She appeared to be so unapologetic about being her full self! So proud and regal (which some might feel she shouldn’t have because of her very humble beginnings, and that is a massive understatement, but this post is not about that)!! So, SO talented and passionate!
And beautiful!!
Especially as she aged.
I hope to see her name and likeness in more vintage style reports around the blogisphere.
She was there.
And she looked fucking awesome.
Stephen Burrows: When Fashion Danced – A Handmaker’s Factory Review
A curator’s job must be so difficult. Deciding which bits of a vast history, body of work or era to include sounds immensely challenging. Perhaps, that is what makes it all the more impressive, and rewarding, when the job is done well. When I planned my visit to the Stephen Burrows exhibit on display at the Museum of the City of New York, I expected to see beautiful clothes arranged in an artful setting. But, both Mr. Burrows work and the museum met, and far exceeded, that expectation!
The very first thing you see when you enter the space that houses this collection is a massive photo of Grace Jones, outfitted in Burrows’ clothes. This image immediately sets the tone for the liveliness, beauty and attitude of the entire exhibit. Burrows’ work is an explosion of color, pattern, texture and, most of all, movement. Stephen Burrows: When Fashion Danced, is appropriately named.
The designer’s evolution is clear and the way the exhibit has been arranged encourages you to view the pieces in the order of that evolution. Positioned just after Ms. Jones are several sketches. An introduction of sorts.
Leather, fringe, fur, glamour give way to jersey, silk chiffon, sequins, glamour. Even a coat made of wool felt drapes in such a way as to appear weightless. I was also struck by how body conscious and sleek many of the pieces were while still remaining fun and elegant. Quite the accomplishment.
Taking it all in as one evokes a feeling that Iman succinctly sums up.
Even the room is cloaked in billowy fabric, carrying the movement from the clothing up the walls to the ceiling.
The sparse color of the ceiling, background and platforms create the perfect backdrop for this color explosion. The deep ebony mannequins setting them off in a way that any other color just couldn’t do. Their posture communicating self assurance, elegance, class, playfulness, sex appeal.
Stephen Burrows continues to enjoy a thriving career and made a splash at the opening ceremony for the exhibit. It’s so wonderful to see someone receive their honors and accolades during their lifetime. To have the chance to see the impact that their influence has had on their industry. What an amazing privilege.
Photo credit-http://www.zimbio.com/photos/Stephen+Burrows/Stephen+Burrows+Fashion+Danced+Exhibit/ZzFg-lruMEM
It’s thrilling to see him smile and mingle with those whose careers mirror his own rise. Iman, Bethann Hardison, and more of the African American glitterati gathered to reminisce with him and show that they still look fabulous in his clothes. This exhibition is just one in a long line of retrospectives, documentary films, awards and fashion milestones. After more than 45 years in the fashion business, he can also add to his list of distinctions the honor of styling for a range that includes collector edition Barbie dolls and the First Lady of the United States.
His continued success and growth into a fashion mogul that has prospered with the times, he’s on Twitter AND Instagram creating his own buzz about his work, makes me think of his contemporaries (like Jaxson and Kelly) who did not live to do the same. With a few of his vintage pieces for sale on Etsy and Ebay, including sewing patterns(!!) and invitations from the Chambre Syndicale de la Mode to present his collections in Paris, make me hopeful for more of his work for years to come.
This review originally appeared on Handmaker’s Factory.
Thanks, again, to Nichola for making the arrangements for me!
Designers of Color in Fashion History :: Patrick Kelly
I was astonished to learn that Jay Jaxon was the first American (and by default, African American) haute couturier. He is not widely known, so it stands to reason that this extraordinary fact about him must be little known, too. So, I found myself surprised, again, when reading up on Patrick Kelly. In the late 80’s Kelly was the first American and person of color to become a member of the exclusive Chambre Syndicale du Prêt-à-Porter. Though Kelly enjoyed a degree of success and recognition during his lifetime, that has endured after his passing, I imagine that this honor felt like a huge validation of his talent and vision as a designer.
After all, the world he would eventually inhabit was light years away from his humble, but proud, beginnings. In his working class Mississippi home, Kelly was surrounded by female family members with a flair for making-do and mending. He was introduced to embellishing, reworking and otherwise refashioning from a very early age. It was here that his social consciousness was raised, too. According to reports, Kelly noticed the lack of African American women featured in magazines. His grandmother explained that designers did not think of them when making clothes. This, perhaps, provides some reasoning for the imagery he used in his work. Golliwogs previously had no place in haute couture.
Kelly began what would become his life’s work, to clothe ALL women, by starting with his junior high classmates whom he designed and sewed dresses for. Later, Kelly attended Jackson State University where he studied art history and African American history. Eventually driven out by the prejudice and racism he experienced, he left his hometown to pursue a career in fashion.
On his own and living in Atlanta, he began to make clothes again. This time, to sell. His work sorting donations at AMVETS (an American veterans’ organization, there) gave him access to a wealth of designer clothing. He refashioned the garments and sold them alongside his original designs. This allowed him to work as a window dresser at the Yves Saint Laurent Rive Gauche Boutique for free. The position gave him a crucial in with the fashion industry elite. His volunteerism paid off. Kelly began to draw a salary at the St Laurent boutique and eventually opened his own selling vintage. In addition to this, he taught classes at a modeling school where Pat Cleveland, a notable person of color in fashion’s history in her own right, encouraged him to go to New York.
Taking the advice to heart, Kelly studied design at Parsons in New York City before landing in Paris where he really began to make his mark. Calling on his combined influences: skills he learned at the feet of his family, showmanship developed while in school, technical skills honed at Parsons and the hustle he displayed when volunteering at the St Laurent boutique, Patrick sold his designs on the streets of Paris. To much acclaim. This is not an easy thing to do. According to Christian Lacroix, “The French function according to love at first sight. If they fall in love with you, they accept you. And Patrick is very lovable. Everybody loves him.” It’s as simple as that. Or is it? Patrick was driven. He took risks. He worked hard. His success did not come from nowhere.
Kelly went on to produce unique collections, presented in electrifying (for their time) shows. He remained true to his mission by designing with all women in mind and kept an ear to the street so that his work was reflective of what was in Parisian style. He believed in making affordable clothing, the kind of luxury that women like his mother, aunt and grandmother could have worn in their time. He achieved a level of success that those women, his “full-figured girls”, did not think possible. He had clothes in the finest boutiques, magazine spreads in Elle and so many orders and freelance jobs that he hadn’t vacationed in years. His creations were worn by princesses (like Diana) actresses (like Jane Seymour) and the singers (like Madonna and Grace Jones). It was the all singing, all dancing Patrick Kelly show.
But that show would not go on. Kelly’s full and fabulous life was cut short at age 35(ish- he was secretive about his actual year of birth). Though the original cause of death was attributed to bone marrow disease and a brain tumor, it was later confirmed that Kelly was HIV positive and his death was AIDS related. Unlike the houses of other famous designers, Kelly’s folded after his death. One can’t help but wonder what led to this. Kelly had a seemingly vast (and influential) circle of friends. Did legal issues play into the demise of his house? Was there a clash of interests that led its standstill? Are there other, notable designers of color whose work died with them?
This article originally appeared at Handmaker’s Factory.
There’s a lot more information available about Patrick Kelly than there was about Jay Jaxon. Spend a little time getting to know more about him and he’ll start feeling like a long lost friend!
Music & Style :: Coco O. of Quadron
Danish duo Quadron, which consists of the lovely Coco O. and Robin Hannibal, are my current music obsession!
I listen to Simili Life at least 5 times a day and this new album (link to preview, below) is AMAZING!! I cannot WAIT to see them live! I mean, follow that link, listen and tell me you don’t want to feel that power in person?!?!
For my money, their new album, Avalanche, might be the best sophomore effort since D’Angelo’s Voodoo. I hope Coco and Robin continue to make absolutely beautiful, soulful, soul stirring music together!
As much as I appreciate Coco’s voice, her vintage inspired style is pretty fucking awesome, too!!
Click below to hear a preview of Quadron’s latest masterpiece, Avalanche
via NY Times :: Press Play
PUNK: Chaos to Couture – A Handmaker’s Factory Review
“Tears, safety pins, rips all over the gaff, third rate tramp thing, that was purely really, lack of money. The arse of your pants falls out, you just use safety pins”
-Johnny Rotten of the Sex Pistols
This quote sums up the origins of the punk era, taken from one at its center, Johnny Rotten. I copied it from one of the walls in the Punk: Chaos to Couture exhibit currently on view at The Metropolitan Museum of Art, here in New York City. It was located towards the end of the rather large collection. Copying it was difficult because the area it was located in was dark, crowded and full of flashing light thrown off of the massive video display on a nearby wall. I felt compelled to copy it because it allowed me to identify the feeling of “something’s just off…” that I was afflicted with while taking everything in.
Let me explain myself. Directly beneath this Johnny Rotten quote reads:
“More than any other aspect of the punk ethos of do-it-yourself, the practice of destroy or deconstruction has had the greatest and most enduring impact on fashion.”
It continues on for a bit. Espousing all of the ways that punk style, method, material and attitude has influenced many of the designer featured in the exhibit. What the composer of this spiel apparently misses, which I saw clearly with reading these things one after the other, is the huge irony of the entire exhibit. Mr. Rotten’s quote tells you directly, punks wore their clothes that way because they had no choice! This style/lifestyle grew organically. It grew out of necessity. And it became cool (and political) because those who rocked the style were so awesome, so talented, so in your face their lack of money and torn, pinned clothing only made them better, more interesting, more desirable. So, a ritzy museum like the MET, which calls one of the toniest neighborhoods in NYC home, offering an exhibit on the fashion of the poor, downtrodden and disenfranchised is really quite amazing.
Title Wall Gallery/Image © The Metropolitan Museum of Art
When you walk into the chamber that punk claimed you are met with a massive, jarring video display that is Right. In. Your. Face. It’s followed with a reproduction of the filthy bathroom at CBGB and continues with the actual clothes made/worn/sold by punks and punk Godmother Vivienne Westwood and her god-children the Sex Pistols. The moody dark atmosphere of it all the sets bar at a height that the remainder of the exhibit fails to meet.
Facsimile of CBGB bathroom, New York, 1975/Image © The Metropolitan Museum of Art
430 King’s Road Period Room/Image © The Metropolitan Museum of Art
D.I.Y.: Hardware/Image © The Metropolitan Museum of Art
The above chamber does feature some vintage punk couture. However, from here on, many of the items featured are “punk inspired” designer clothes. Designer clothes that cost into the thousands of dollars. That is not punk. A neatly trimmed grocery store shopping bag paired with silk shantung pants does not make quite the same statement as safety pinning the ripped crotch of your pants together because you can’t afford to buy new ones. In my humble opinion. Strategically slashed designer jeans are not DIY. The do-it-yourself label cannot be applied to mass produced goods. Can it? Attaching two lengths of elastic to some black netting, and charging a fortune for it, is not a continuation of the punk era.
Don’t get me wrong. There are some absolutely stunning things in this collection. Particularly some additions by Alexander McQueen and this set of dresses made with hand painted fabric.
D.I.Y.: Graffiti & Agitprop/Image © The Metropolitan Museum of Art
But, unless Dolce and Gabanna painted and then wore these gowns themselves, can they really be DIY?
After you take in all of the color and slash and ironically contrary text spread around the place, you’re dumped out into a gift shop. A gift shop. Could they have ended on a less punk note? There is not one piece of free memorabilia for this collection. Well, if there was I surely did not see it. What you are given is the opportunity to spend $46 on a book about it. Or to buy a postcard with Sid Vicious scowling on it. Or a studded platform shoe key chain….
This photo, where I’m reflected in a sign pointing me toward the exhibit, is all I have to remember the experience by.
To visit Punk: Chaos to Couture online, click here.
This review originally appeared on Handmaker’s Factory.
Thanks to Nichola for making the arrangement for me!
