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.

,

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.