Saturday, August 9, 2014

The History of Fashion From The Black Perspective. Elizabeth Keckley: From Slave to Mary Todd Lincoln's Fashion Designer.


             Did you see the recent movie, Lincoln? If you did, you may have noticed the character, Elizabeth Keckley, Mary Todd Lincoln’s dressmaker. As I watched the movie, I wanted to know more about this person and how she became the companion and friend to the first lady. I was curious… I knew Mrs. Lincoln had a “dressmaker,” in those days White women of means had someone to make their clothes. That was not unusual; however, I was not aware of the depth of their employer -employee relationship.
           Who was Elizabeth Keckley?  How did she, working as a ‘seamstress’ or ‘dressmaker,’ come to be a close friend and companion of the first lady at of the United States? My experience as a fashion designer fueled my interest in the life of a Black fashion designer who had such high status at that time in American history.
          The movie was a Steven Spielberg and Kathleen Kennedy production, and I allowed for the fact that they may have taken some creative license; therefore, I proceeded to do my own research. I was fascinated with the facts I uncovered, and I will share them with you.
          I found a picture of Elizabeth Keckley (Keckly) and I have to give credit to the movie makers for their realistic casting because Gloria Reuben, who played the part, had a remarkable physical resemblance to the real person. 





Gloria Reuben as Elizabeth Keckley with Sally Fields as Mary Lincoln in the movie Lincoln.



          Elizabeth Hobbs Keckley, also known as Lizzie, was born a slave around 1818 in Dinwiddie, Virginia, although there is some speculation as to the exact year of her birth because of the way slave records were kept. Her parents were listed as George Pleasant and Agnes Hobbs. George Pleasant was a slave on another plantation, and eventually was moved out of state; therefore, Elizabeth seldom saw her father, but his love for her was unwavering as expressed through letters over his lifetime. She would discover, as her mother lay dying, that her actual father was her mother’s White master, Colonel Armstead Burwell.
           Although Elizabeth suffered many tribulations as a slave, she maintained a positive attitude about the circumstances of her life. Perceived as a beautiful woman, Elizabeth was also self-confident, self-determined, and maintained an independent attitude which may have been the reasons for her being brutally whipped – they were traits that her masters felt needed to be beat out of her.  She was violated by a White man over many years; in fact, it seems that her master gave her to his friend as a concubine. As a result of this unwilling relationship, in 1839 Elizabeth gave birth to a son, George. Despite all of these emotional upheavals in the merciless, ruthless, and inhumane atmosphere of the slave environment, Elizabeth credited her personal strength to her experiences while being a slave.
        Elizabeth established herself as a valuable dressmaker and built a clientele of wealthy high society women. In fact, during a two year period she was able to make enough money through her sewing skills to support her money-strapped master’s family.
         Her master moved to St. Louis where Elizabeth met and married James Keckley; however, it was a short marriage – some have expressed the belief that her independent attitude got in the way of the relationship. Elizabeth Keckley was born ahead of the formal women’s rights movement, but she had an affinity to the cause.

        In November of 1855, with loans from her wealthy clientele, Elizabeth was able to pay $1, 200 to purchase her own freedom. She had used her networking skills to build a viable business, and respect for her dressmaking/ design talent was appreciated through the social circles. By 1860, she had moved to Washington, D.C. and attracted the attention of the wives of the elite: Mrs. Jefferson Davis, Mrs. Robert E. Lee, Stephen Douglas, and of course Mrs. Abraham Lincoln. It was a known fact that before the civil war, confident that the South would win, Mrs. Davis offered to take Elizabeth home with as her personal designer. Elizabeth turned down the offer and chose to stay with the North.
         This woman, born a slave, eventually had 20 employees, and was recognized in the exclusive society for her expertise in fit and design. She became a constant companion to Mary Todd, she was with the family: when Lincoln gave the Gettysburg Address; at fundraising events for the civil war efforts; when the Lincoln’s lost their son to typhoid in February, 1862 - even though her own son had been killed in the Civil War (George had enlisted as a white man) in August of 1861; to comfort after the president Lincoln's assassination; to personally help Mary Lincoln sell garments to help raise money when the first lady was struggling financially.   
        In 1868 Keckley wrote a memoir that would be the unwitting cause for ending that remarkable connection. There is a lot of controversy  surrounding the book, and I beg you to read it so that we can discuss it... I really want to have that discussion. 

      The book, Behind the Scenes: Or, Thirty Years as a Slave and Four Years in the White House, is a fascinating read. It is FREE online... Please take the time...




and the kindle edition is free.


http://www.amazon.com/Behind-Scenes-Thirty-years-slave-ebook/dp/B0082P4F7O/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1407469245&sr=1-3&keywords=elizabeth+keckley+behind+the+scenes

       The last years of her life were difficult for Elizabeth. In 1892 she taught dressmaking and design at Wiberforce University; sadly, she had to resign after only one year - she had a stroke.
       Although the records are sketchy, it is known that in May 1907 Elizabeth Keckley died in the National Home for Destitute Colored Women and Children in Washington, D.C.. Ironicly, it was an institution that was established using contributions from the Contraband Association founded by Elizabeth in 1862 to give support to recently freed slaves and returning civil war soldiers.  

At the time of her death Elizabeth Keckley was 88 years old, and destitute.





Mary Lincoln wearing an Elizabeth Keckley design in the 1850s. This is on display in the Smithsonian.

Friday, July 11, 2014

The History Of Fashion from the Black Perspective: Patrick Kelly; Runway of Love








                       


 Do you remember your grandmother’s button jar? Well, if your grandmother had a button jar that she used to rejuvenate used, old, or discarded clothes, and you were looking for a signature representation for your collection, then you might be Patrick Kelly.

     In the 1980s Patrick Kelly, a young, vibrant, fashion designer remembered his grandmother’s button jar, and incorporated an assortment of multicolored buttons into his creations. When one thinks of Patrick Kelly, the images of colorful whimsical clothing inspired by the pop-culture of the day comes to mind… And buttons… Lots of buttons!

      Patrick also loved to compliment his outfits with decorative hats. He was born in Mississippi in 1954, and he went to southern churches with his grandmother where he observed the hats worn by the fashionable women around him; therefore, Patrick’s fashion shows were always accessorized with fancy hats in honor of his southern black heritage.

     His grandmother fueled Patrick’s interest in fashion when she brought home fashion magazines from her job as a maid in white people’s homes. When Patrick asked his grandmother why there were no African American Women in the magazines she told him that no-one had time to design for them… He never forgot that statement and set about to change that fact…

     He moved to Paris, and through his hard work, understanding of marketing, and engaging personality Patrick was able to introduce his first collection to the world in 1985… The world took him seriously, and a diverse list of celebrities such as Grace Jones, Bette Davis, Cicely Tyson, and Princess Diana wore his garments.  High-end stores and exclusive boutiques sold his designs while Patrick Kelly became recognizable by his own attire – oversized blue denim overalls.

     In 1988 Kelly became the first Black designer and the first American to be admitted into the very restricted fashion group, Chambre syndicate du pret-a-poter des couturies et des createurs de mode (French Federation of Fashion and of Ready-to-Wear Couturiers and Fashion Designers) which is the French fashion industry organization governing clothing.

Patrick Kelly passed in 1990, at the height of his illustrious career.

Patrick Kelly: Runway Of Love is an exhibit of Patrick Kelly designs at the Perelman building of the Philadelphia Museum of Art until December 2014. Seeing this exhibit it is one of those things to put on your to-do-list.

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Monday, June 23, 2014

My Introduction to NAFAD (National Association of Fashion and Accessory Designers)



My Introduction to NAFAD (National Association of Fashion and Accessory Designers)

I share my introduction to NAFAD in my latest novel, "Aunt Donsy's Trunk." The following excerpt is from page 209.

Before my graduation from Drexel in June of 1960, one of my designs was selected by the faculty to be featured in a large fashion extravaganza held at John Wanamaker’s public access auditorium. My design of a soft, flowing, blue and white peignoir set was chosen as a competition winner in the lingerie category.

After the show, I was approached by one of the few Black people attending, Sarah Young, a very stylish and fashionable milliner designer. Sarah Young invited me to find out more about N.A.F.A.D (The National Association of Fashion and Accessory Designers), an organization founded in 1949 by Jeanetta Welsh Brown, who was Mary McLeod Bethune’s executive secretary. Jeanetta Welsh Brown was one of the first Black lobbyists in Washington where she served as a representative of the Alpha Kappa Alpha Sorority; the contribution she has made to our history is immeasurable.

“It is the goal of N.A.F.A.D, to provide Negro designers with a vehicle to break into the fashion world.” Jeanetta Welsh Brown declared.

With the blessings of Mary McLeod Bethune, N.A.F.A.D’s first function was to provide a fashion show as a fundraiser for the National Council of Negro Women. I became a member of this historical Negro organization and continued to be a member for over thirty years. The members of N.A.F.A.D were among the first Black designers on the scene in the fashion industry and have been responsible for the initial advancements within the narrow employment, artistic, and business corridors of the world of fashion.

Young Black designers, ignorant of the historical struggle and racial challenges within the fashion industry, are strolling through doors that were opened by talented people. There are Black entertainers labeling themselves as designers who have done no more than slap their names on pre-sewn articles produced in Taiwanese sweatshops.

Many fashion pioneers were still alive to see the transition, but were too old and tired to take advantage of the opportunities their hard work created; furthermore, those designers are disheartened  by what is now referred to as fashionable. The older designers knew that there was still a lot of work to do in the industry; the strength of the young was needed to continue the work. We must realize that we have not yet reached our destiny in the fashion industry. To print a “Tee-shirt” with a name on the front is not a fashion line. We are a creative people with the ability to set trends, not follow them...


Soon after I graduated from Drexel, armed with the youthful aspiration, ambition, and desire, I merged my energy with another creative NAFAD designer, Gwen Daniels. Gwen and I formed a custom fashion business known as Gwen - Laine Originals - blending both of our names.

Gwen specialized in Leather craft and designs of intricate detail, while I focused my creativity into millinery and lingerie designs. In those days women wore fancy negligee outfits to sleep in, and I loved working with the soft, flowing fabrics. 

We gave and modeled in numerous fashion shows, and work hard to make a dent in the hard core of the fashion world. The picture above shows me modeling a hand-linked evening gown, designed by Gwen, in a Harrisburg, PA television show for Black History Month in the 1960s. Gwen and I will always value our years of NAFAD associations and experiences. And, we along, with other NAFAD veterans, are hopeful that we can share our knowledge and history with neophyte designers.  


Saturday, May 3, 2014

Fashion History from the Black Prospective


         My mother and all the women in my family were fashion designers, although they were labeled as ‘dressmakers.’ Their talent and creativity was not unusual in the black community. Black women designed beautiful clothes out of scraps, flour sacks, and fabrics of many sources.  They did not hire people to make their clothes, they were the ones hired. 

        When I was a child, most Black women sewed, it was so common that as a talent the ability to sew was not valued or respected. However, there were some designers who broke the mold and commanded the respect they deserved. I want to call them to your attention; therefore, I will be posting several articles to reveal some of this unknown history.

         I am a lifelong member of NAFAD (National Association of Fashion and Accessory Designers) an organization founded in New York city in 1949 by Jeanetta Welsh Brown, executive secretary National Council of Negro Women IInc., under the auspices of Mary Mcleod Bethune to draw attention to the Black Designers and give them more influence in the world of fashion.

It was not until the early 19th century that black women began to be recognized as fashion designers in the full sense of creating personal designs. Thanks to Elizabeth Keckly, Francis Criss, Ann Lowe and Zelda Wynn Valdes, African-American women began to gain recognition for their skill as fashion designers. Ms. Bethune understood the need for designers to be organized, and Zelda Wynn Valdes played an integral role in the formation of the National Association of Fashion and Accessory Designers. (NAFAD)

You might not know Zelda Valdes’ name, but you will know her work…

Fashion legend Zelda Wynn Valdes (1905 – 2001) was the first black designer and costumer to open her own shop, which was the first black-owned business on Broadway in 1948. Zelda Wynn Valdes died at the age of 96 on Sept. 26, 2001, but her lasting contributions to fashion will live on forever. 

During the rise in her professional career she caught the attention of Hugh Hefner, who hired her to design the first Playboy Bunny costumes in the 1950s… At 65, when most others were retiring, Arthur Mitchell, creator of the first black ballet company, asked her to design the uniforms for the Dance Theatre of Harlem.


Zelda Wynn Valdes 1905 - 2001

 For more information please visit my website:
                                            http://www.elainetjones.com