A set of recurring issues surrounding the fashion industry, especially in the United States, is race and representation. Over the years, the identity of Black Americans was unseen, chastised, and negotiated under the systematic rule and overarching White American society. As laws began to change and society slowly began to progress, the identity of Black Americans shifted to the agency of Black Americans. Designers like Patrick Kelly of Patrick Kelly Paris used tools such as design, branding, and subcultural influences to reconfigure the image of Black Americans. His work shows how designers and people of the culture established agency and identity through dress. While also addressing serious issues such as racism and racial stereotypes through fashion activism.

Designer Patrick Kelly was born in 1954 in Vicksburg, Mississippi. At age five, his maternal grandmother, Ethel Rainey, began to gift him fashion magazines after noticing his interest in clothing.¹ Kelly’s grandmother would acquire these magazines through the homes of families she worked out of as a domestic worker. Even though fashion played a primary keen interest, Kelly was also inquisitive about art history. After enrolling at Jackson State University, he studied African American art history. Kelly then decided to move to Atlanta and, thus, not complete his studies there. However, shortly after, he moved to New York City, where he briefly studied fashion. Kelly settled in Paris in 1979 after the encouragement of his friend Pat Cleveland.² After five years of working within the industry, Kelly created his label Patrick Kelly Paris with the help of his romantic partner Bjorn Amelan. Three short years after the brand’s establishment, Kelly became the first American to be inducted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode (France’s Federation for Ready-To-Wear couturiers).

Kelly acquired an extensive collection of racist memorabilia, which accumulated over 8,000 examples of advertising and artifacts, including items such as mammies, pickaninnies, golliwogs, and watermelon accessories.³ Embracing these racial stereotypes and cliches, Kelly used the memorabilia in his work. This collection of memorabilia and his designs became his documentation of tangible discomfort. A discomfort Black Americans faced and weren’t given the luxury to escape.

A prime example of this would be Kelly’s brand logo: the golliwog. Golliwog’s introduction occurred in 1895 through a children’s book titled Adventures of Two Dutch Dolls and Golliwog.⁴ The “black nome” named Golliwog was described as “neither an Uncle Tom nor a sissy” by Lois Kuznets.⁵ This character was an explicit appropriation of blackface. While also stylized similarly to the men who participated in dandyism. This form of blackface, in particular, is directly reflected in minstrelsy.

Initially started in New York City after the ending of the American Civil War, minstrel shows were a peak form of entertainment for working-class White Americans.⁶ This source of entertainment relied on White actors using blackface to mimic further and dehumanize Black Americans. Minstrelsy became a visual “representation” through the white gaze of how a marginalized group behaves and handles society. The Black dandy trope also co-existed during this period. For many Black Americans beginning to obtain wealth and stability, Black dandyism created an external argument about what a race is allowed access to, how to act in society, and how to exhibit identity through dress. All of which created a deep fear of the unknown in the northern White American culture.

The golliwog imagery further iterated these perplexing racist concepts about caricatures, dress, and racial cues — claimed as accurate or not depending on who is consuming the image. Therefore, this inspired Kelly’s usage of the golliwog imagery, adding gold earrings to his iteration, which served as an affirmative introduction of his resilience and resistance towards narratives that projected fear onto his Black and Queer identity. Although a powerful reappropriation, the logo made American buyers feel deeply uncomfortable, which prompted Kelly to withdraw the golliwog logo entirely for the American market, unlike the French, who embraced the logo in their market.⁷

However, Kelly still used his brand to address racial imagery despite the backlash from the golliwog logo in America. As many people who attended his runway shows recall, the Mississippi-raised designer would hand out brown baby dolls with bright red lips that resembled pickaninnies. The pickaninny trope was birthed through a book titled Uncle Tom’s Cabin made by Harriet Beecher Stowe in 1852. The author used a little enslaved Black girl character named Topsy to describe the horrors of slavery. This novel became increasingly popular for its various caricatures, and the concept of Topsy became implemented in minstrel shows. The child caricature then shifted into a “happy child coon,” in these performances, still depicted as dirty with kinky hair, wearing ragged clothes, and having an exaggerated obsession with eating watermelon.

The baby dolls Kelly accumulated and passed around, closely resembling the pickaninnies became what Robin Givhan described as his totem. Therefore, by using these external figures, Kelly was facilitating conversations that began to question ideas about race in an industry that had not yet discussed it. “He would purchase these little black dolls made out of plastic — 600 a month. People would volunteer and, with a glue gun attach pins to the back. He would never leave without stuffing his pockets with them,” said his partner Bjorn Amelan.⁸ Not only was the Paris-based designer pushing people to confront the uneasiness of these images visually. He was also using his visual style, such as adding pins similar to the addition of gold earrings to the golliwog, to try to create a new subconscious meaning to the caricature.

Kelly stated, in an interview, the discomfort people had experienced witnessing specific racial imagery geared towards African Americans:

“One very intelligent woman said she didn’t like the Aunt Jemimas because they reminded her of maids. I said ‘My grandmother was a maid, honey.’ My memorabilia means a lot to me.”⁹

He deeply revered his grandmother, a domestic worker for wealthy white families in their area. The Mammy, an domestic working caricature further popularized during the minstrel era, is directly related to the persona of Black female domestic workers such as his grandmother faced comparison. This archetype then snowballed into the Aunt Jemima persona, which Kelly mentioned. He used certain stylistic elements of these caricatures throughout his collections.

For his Spring/Summer 1988 collection, Kelly designed a skirt that explored the red bandana, otherly known as the handkerchief worn by the mammy caricature. This red-pattern printed cotton plain skirt served as an example of Kelly’s exploration of Black representation and identity through dress. Kelly also had commissioned a red leather embossed bandana print pair of mules to be worn for his runway show. These experimentations through dress served as a visual diary that was beginning to examine this tension between stereotypes and individualistic identity and how the two paradoxes one another.

It is also essential to highlight Kelly’s queer identity tied into his camp aesthetic that directly influenced how he designed and exhibited these racist undertone images. That aids in the playfulness of his shows, the usage of dolls, and the equal exaggeration of images. Just as the minstrel shows used these images for entertainment, Kelly used entertainment to reimagine what these images could mean once adapted and changed by someone whose ancestors they affected. An example is in his iteration of Josephine Baker’s “banana dance,” in which he designed an ensemble in its remembrance. A skirt with various yellow plastic bananas (another food item racially tied to people across the Black Diaspora) attached to a wired waistband paired with a pink metal wired bra for his F/W 1986 collection. Baker, whom people would tie to the caricature of a jezebel, was a source of inspiration for Kelly. Unfortunately, Baker experienced the dangers of racism, prompting her to seek refuge in Paris. Yet, Kelly’s design and display of the ensemble on the runway; shows the depth of his understanding of American historical entertainment, media, and the blanket perceptions of what White American society seemed to believe a Black American should aspire to be.

Kelly’s work is deeply rooted in the African American historical experience despite his brand’s base in Paris. Since his African American identity directly correlated with how he interacted with his creativity. It becomes a prominent visual example of ethnicity’s role in a designer’s work. In the book Fashion and Cultural Studies, authors Susan B. Kaiser and Denise N. Green note ethnicity to “refer to the place(s) or space(s) from which people articulate their identities and communities.”¹⁰ Ethnicity further implies that a level of self-awareness or self-reflexivity is conducted within the ethnic group, which becomes a part of the process of “belonging-in-difference.” It is then reflected in the everyday process of minding one’s appearance. In such a short career period due to his untimely passing, Patrick Kelly was beginning to imagine possibilities that allow dress and style to address cultural discourse within the African American community. While simultaneously showcasing personal agency by remixing past motifs to create a new future.

To quote the renowned writer and author of Patrick Kelly’s upcoming biography, Eric Darnell Pritchard:

“Turn to ancestors as a critical intellectual resource to identify historical erasure, challenge, and survive its negative effects and establish invisible connections to cultural and political genealogies that will provide inspiration and sustenance for generations to follow.”¹¹

Patrick Kelly faced several dichotomies as both a Black American and a designer. This dichotomy allowed him to creatively produce clothing pieces and branding treatments that reconfigured the visual representation of Black Americans. By looking into the past of African American experiences through counter-appropriation, the designer’s exploration to form empowerment in the Black American image was his tribute to fix its brokenness.

Notes:

1. Eric Darnell Pritchard, “Race WERK: WilliWear and Patrick Kelly Paris,” in Black Designers in American Fashion, ed. Elizabeth Way (London and New York: Bloomsbury, 2021), 251.
2. ibid, 251
3. Robin Givhan, “Patrick Kelly’s Radical Cheek,” The Washington Post, May 31, 2004. https://www.washingtonpost.com/archive/lifestyle/2004/05/31/patrick-kellys-radical-cheek/7f404cd3-6f4d-4f28-8a24-6a0b398dba45/
4. Sequoia Barnes, “If You Don’t Bring No Grits, Don’t Come”: Critiquing a Critique of Patrick Kelly, Golliwogs, And Camp as A Technique of Black Queer Expression,” Open Cultural Studies, 2017; 1: 678. https://doi.org/10.1515/culture-2017-0062
5. ibid, 679.
6. Samantha Kubota, “How minstrel shows led us to racist stereotypes in culture today,” Today, June 26, 2020, https://www.today.com/tmrw/how-minstrel-shows-1800s-led-us-racist-stereotypes-culture-today-t185341
7. Robin Givhan, “Patrick Kelly’s Radical Cheek,” The Washington Post
8. ibid
9. ibid
10. Susan B Kaiser and Denise Nicole Green, “Racial Rearticulations and Ethnicities,” in Fashion and Cultural Studies (2nd Ed), ed. by Susan B. Kaiser and Denise Nicole Green (London & New York: Bloomsbury, 2021), 87.
11. Eric Darnell Pritchard, “Black supernovas: Black gay designers as critical resource for contemporary black fashion studies,” International Journal of Fashion Studies, 4:1 (2017), 108, DOI: 10.1386/infs.4.1.107_7

It was love at first sniff when I blind-bought the gourmand goodness that is Vanilla 28. Kayali scents are incredibly formulated, offering a variety of fragrance families for just about anyone to enjoy. However, Vanilla 28 stole the show and became my staple vanilla scent. Vanilla 28 contains notes such as amber, tonka bean, musk, brown sugar, and Madagascan vanilla. It’s perfect for the fall/winter months. It packs a majestic mesmerization for date nights, leaving your partner craving more. I received so many compliments from friends, family, and strangers as I passed by wearing this scent. The consensus is that I smell like a delicious plate of cookies. If you’re looking for a sexy sweet scent and are a huge fan of vanilla, Kayali Vanilla 28 is a no-brainer.

During the summer of 2022, Mysa Fragrance Haus captured my attention after several people raved about their products. Dark Rose, in particular, is a cult fave for excellent reasons. The scent of Dark Rose is a soft and warm floral. Purchasing this body creme was entirely out of my comfort zone because I’m not the biggest fan of rose. Yet, Mysa Fragrance Haus’s blend of pink peppercorn, black roses, vanilla, and patchouli creates a rose scent that perfectly introduces the rose family’s complexity. The body creme is formulated with kokum, shea, and aloe butter, leaving my skin soft and supple after each wear. The scent lasts on my clothes all day. It’s a perfect showstopper for nighttime and pairs well with many warm floral fragrances I own. Mysa Fragrance Haus is a great brand to watch in 2023.

If you’re a, suffer from sensitive skin or eczema outbreaks, such as myself. La Roche Posay Lipikar AP+M Triple Repair Body Moisturizer is the best staple body moisturizer on the market. The minute my skin became irritated, dry, or itchy from the harsh cold weather or allergy season, this cream immediately calmed my skin down. La Roche Posay packed this moisturizer with shea butter, glycerin, niacinamide, ceramides, and their highly favored prebiotic thermal water, leaving the skin barrier protected and dry skin quenched of moisture. This triple-repair body moisturizer was my face’s saving grace and has become a staple product in my hygiene routine.

Now I know some people either love or hate aluminum-free deodorants currently available. Regardless of your stance, everyone should give Lone Bodycare a good try. My skin is susceptible and receives harsh reactions from baking soda, leaving my choices of natural aluminum-free deodorants pretty slim. Lone Bodycare is popular because of its shea butter and dead sea salt formula, guaranteeing a smooth application without irritation. The lavender scent from their Bold line is my favorite from the brand. Its high performance allows me odorless days despite a jammed pack schedule. If you’re not a fan of scented deodorant, their unscented version of the Bold line performs just the same. This deodorant is another staple hygiene product I’m carrying into 2023.

Gel X nails have been on everyone’s timeline and for your pages for all of 2022, with great reason. Are you looking to ditch the nail salon but still want the salon look? I highly recommend this gel x dupe from Amazon. It’s perfect for any beginner and gives me a long fresh set. Since buying this kit, each set I’ve applied has lasted me around 2–3 weeks. Am I a nail tech? No. Do I want to give nail tech vibes? Of course! Gel X does the trick without the constant shaving of my savings. Pick this up from Amazon and give it a try for yourself.

Over the past year, I’ve become more of a braid-out and twist-out girlie. Looking for a product that could keep my hair moisturized throughout the week while executing full definition was a journey. That is until I came across this gem from Camille Rose. This curlaide butter is a curly-haired person’s dream, especially for the type 4s like me. It has that pleasant, sweet cookie smell from its original line while super hydrating and moisturizing from the jojoba and macadamia oils. My braid-outs and twist-outs last 8–10 days just using this hair butter alone. You heard me right. One product that acts as a styler and leave-in, keeping my hair moisturized and frizz-free until wash day.

The OG naturals in the community always raved about this deep conditioner. Although I was fashionably late to the party, I’ll never leave. This deep conditioner has officially become my favorite of all time. The honey gives the conditioner excellent slip allowing detangling to become a breeze while restoring moisture to my color-treated strands. It leaves my hair soft and moisturized for days, whether drenched in gels from a wash-n-go and buns or buttered up from twists and braid outs. Not to mention the scent lingers on my hair for days no matter the stylers I choose to use. If you’re a fan of honey or looking for another deep conditioner, check this one out.

This early fall, I was hunting for a boot that gave the rugged yet sleek look of Doc Martens but the warmth of UGGs. These boots from Camper Lab were the perfect blend. Now I must say no shoe I’ve come across will ever leave my feet as warm as UGGs. However, I walked around in these Camper Lab boots a day after a snowstorm, and let’s say my feet were toasty. The rubber cap sole saved me from slipping on any hidden black ice. Its textured rubber midsole made walking in rain and snow pretty easy. These ankle calfskin boots are perfect for the rainy or cold days winter brings. I will continue to put these boots to use in 2023.

Buying a telfezy is a no-brainer these days. However, I’m a small crossbody girl and rarely use totes anymore. But Telfar’s medium chocolate shopping bag reeled in my credit card, and I. It’s the perfect on-the-go bag, and it fits my laptop and all of my daily essentials and still leaves room for more. The brown chocolate pairs so well with most of my outfits, and the medium tan shopping bag will be my next purchase.

This small Ana bag from Luar stole my heart when I saw Dua Lipa pictured with it. From that moment, I knew this bag needed to be in my collection. It’s my favorite event bag thus far, and I can fit all my must-haves, such as wallet, keys, and lip duo, while leaving room for more. The shiny black leather pairs well with any look, adding a bit of luxe. Please browse the site if you want a different style handle/crossbody bag and want to support an Afro-Latino-owned brand. You won’t regret getting ahead on the newest IT bag.

Back in March, an influencer by the username toomuchmouth posted a TikTok in a beautiful green two-piece set from Hanifa, asking her followers their opinion on how to style it for her upcoming vacation. Look one, you see the brightly hued lime green set styled together. For the second option, the influencer decided to pair the side slit skirt with a fun blue and lime green patterned satin draped neckline crop top. Many users praised look one stating it as classy and luxurious while deeming the second look as cheap or only acceptable for a night out. While the almost $200 Robyn set from the Black-owned brand is far from cheap. With the rise of new aesthetic trends rooted in respectability politics, a re-emergence of modesty is being pushed toward young Black women. Therefore causes many young Black women to see silhouette and style in a different light. How can respectability politics impact the outward perception of black women? What effects will this have on the ways we choose to dress?

stay blocked stay mad 🥴 on Twitter: "So I posted this video on tik tok asking which way should I wear this set and they in the comments saying the left is giving "classy" while the right looks "cheap" and fashion novay and if I say what I wanna say 🥴🥴 pic.twitter.com/xf092jUyMB / Twitter"

So I posted this video on tik tok asking which way should I wear this set and they in the comments saying the left is giving "classy" while the right looks "cheap" and fashion novay and if I say what I wanna say 🥴🥴 pic.twitter.com/xf092jUyMB

If a woman is positively perceived by a man -under societal standards- the higher her potential is for success. This knowing is deeply rooted inside a young girl’s brain, which then subconsciously takes form in the way we, as identified women, behave and interact in the world. Then coupled with the other heightened sense of awareness, marginalized groups of Black and Brown people are conditioned to perform daily due to racial and social conditions. Respectability politics causes marginalized people to often compare themselves against the criteria based on classism, featurism, ableism, and texturism deeply rooted in white supremacy. Therefore, how we (meaning Black and non-Black people of color) perceive ourselves and execute that perception outwardly through tone of voice, dress, social groups, place of living, career, and many other subcategories; can directly correlate to our survival. The world under the gaze of white superiority objectifies us, which then Black and non-Black people of color internalize. We then internally objectify ourselves due to the hyper-awareness of such sights. The social media debate regarding the influencer’s outfit choice became emblematic of the harsh reality of several stigmatizations surrounding Black women and Black femininity.

It’s not unknown how the general rules surrounding femininity standards leave out Blacks and other minorities due to Eurocentric beauty taking center stage. The acknowledgment of how such measures can change due to class and money status is neither a revolutionary thought today. The way people choose to adorn themselves directly reflects their society and subcultures. People outside those subcultures stigmatize and criticize those dressing forms until it’s picked up by mainstream media. This subconscious rewiring would make a person call a Black woman’s style “ghetto” vs. Kim Kardashian’s style reiteration based on such Black woman would be considered “high fashion.” Seeing this resurgence of modesty becoming hyper-imposed onto Black women is questionable. History has shown the cultural, commercial, and economic significance of the power of the Black body, especially in the context of a Black woman’s body; it is precious and sought after. Black women’s way of dress, speech, and style of hair has constantly been scrutinized while secretly idolized.

The term “ghetto fabulous,” coined by Uptown Records Founder Andre Harrell, is often and most times only associated with Black women who choose to dress in a way that is far from the status quo. Rapper Lil Kim’s fashion influence is a powerful symbol of the sexual revolution and Black feminity. Her stylist Misa Hylton through the art of fashion-challenged mainstream media to question what makes a Black woman feminine and how her style choice coincides with respect. Lil Kim wore colorful wigs and mink coats with bikini suits draping herself in gold jewelry while raising her income status. Contrary to the general consensus about womanhood and femininity, Lil Kim didn’t need modesty to prove her luxury or worthiness. Just like a cow neck crop top doesn’t negate “classiness.” Black women’s style choices shouldn’t have to be determined based on their fight for approval. Black femininity has shown to be just as powerful whether the woman is covered head to toe or at an event with one boob out. Each type of woman should be given space to explore their way of identifying without shame or comparison.