I will be speaking on a panel during the afternoon session, sharing photos from my family archive and discussing the importance of documenting family history.
This panel discussion will serve to identify, address and deepen our understanding of the social and systemic issues that challenge and pervade the fashion system. Topics that will be the focal point of this solutions-based conversation will include cultural appropriation, celebrating personhood through diversity and what fashion makes possible in a tense political climate.
This event is free and open to the public.
Elaine Welteroth, Editor in Chief, Teen Vogue
Aurora James, Creative Director, Brother Vellies
Amy Farid, Hair Stylist
Anastasia Garcia, Photographer
Kim Jenkins, Lecturer at Parsons School of Design, Visiting Assistant Professor at Pratt Institute
Presented by the Fashion for All Foundation, I will be featured on a panel alongside the following speakers:
Audrey Smaltz - Former Model & Ebony Fashion Fair Announcer
Dapper Dan - The Harlem Couturier
Zara Rahim - Director of Communications, Vogue
James P. Scully - International Casting Director
Connie Wang - Global Editor, Refinery 29
"Fashion & Justice" is a daylong workshop that my colleague Jonathan Michael Square and I have organized. Jonathan is a writer and professor of history specializing in fashion and visual culture in the African Diaspora, currently teaching at Harvard University. I'm currently a Visiting Assistant Professor of fashion history and theory at Pratt Institute and Part-time Lecturer at Parsons School of Design, specializing in the sociocultural and historical influences behind why we wear what we wear, specifically addressing how politics, psychology, race and gender shapes the way we ‘fashion’ our identity.
Fashion forms part of a society’s rich tapestry and can serve as an entry point into contemplating how marginalized and racialized communities understand themselves and their place in the world. "Fashion & Justice" will examine the role of fashion in challenging inequality through sartorial ingenuity. The agenda will include an analysis of archival images, select films, artwork and fashion objects that has galvanized social justice, in addition to a compendium of literature that expands our knowledge of fashion history and culture. The significance of contemporary designers and artists will be interpreted through the groundbreaking work of journalists, curators, photographers and academics who explore the fashion system through a critical lens. Timely topics will also be addressed, including, but not limited to, cultural appropriation and the decolonization of fashion images. Participants will leave the workshop with a #fashionandjustice syllabus equipping them with tools to better understand how fashion has been harnessed by marginalized communities, proposing substantive solutions for a more just fashion system.
The seminar will include guest speaker Elizabeth Way. Elizabeth Way is an assistant curator at the Museum at FIT where she curated the Black Fashion Designers exhibition and symposium, and published a distinguished profile of black dressmakers Elizabeth Keckley and Ann Lowe for Fashion Theory.
For press inquiries or additional details about this event, please contact Jonathan at firstname.lastname@example.org or myself at email@example.com. The tuition for the workshop is $30, and you can register here.
From the Bard Graduate Center:
Mabel O. Wilson, Associate Professor, Columbia Graduate School of Architecture, Planning and Preservation (GSAPP) and appointed Senior Fellow at the Institute for Research in African American Studies, will give an overview of her research on black participation in world’s fairs.
Navigating through the fairgrounds of the large international expositions staged in the cities of Philadelphia, New Orleans, Chicago, Atlanta, Buffalo, Charleston, Jamestown, and Paris, France, Wilson will examine African-American participation at the great world’s fairs. Along with these large mainstream fairs, it is important to peruse the aisles of the expositions organized by black Americans to commemorate their hard-fought struggle to gain freedom from enslavement. These Emancipation Expositions beginning in 1913 through the 1960s happened in cities with growing black populations—Philadelphia, New York City, Chicago, and Detroit. How did World’s Fairs and Emancipation Expositions serve as counter-public spheres for black Americans during the era of Jim Crow segregation? What can we learn from how black Americans built or claimed spaces to reimagine their national belonging and share a collective memory of their past?
From The Wing:
It’s more than a SEO keyword used to incite clicks, or a one-off magazine cover. Join Essence Magazine’s Julee Wilson, The Coveteur’s Laurel Pantin, model Paloma Elsesser and stylist Solange Franklin as they sit down with moderator Marjon Carlos to discuss everything from getting their start, how to address hiring praxis, to overcoming intraracial politics in the workplace.
From the Brooklyn Public Library:
The Jumpsuit Project is a socially engaged art project inspired by Sherrill Roland’s personal experience in the prison system. Roland was wrongfully convicted of a crime and spent nearly a year in state prison before the conviction was thrown out. A year-and-a-half after being released, he was exonerated of all charges. As a response, Roland began The Jumpsuit Project: he wears an orange jumpsuit, similar to the one he wore while in prison, in public places in order to spark conversation about incarceration and its impact on individuals, families and communities. Over the course of three days, Roland will bring his project to Central Library. The public is invited to ask him questions, share their stories and experiences with the criminal justice system and start to combat the stigma surrounding incarceration.
From The Fem League:
Join The Fem League at Rise New York for "Power-Filled: A Night of Conversation, Womanhood & Power," hosted by Yomi Abiola.
The Power-filled program was developed to support women in leadership. We operate on the premise that women are already powerful and the realisation of this power needs to be unveiled. In our organisation, we focus on the advancement of women, rather than the empowerment of women. The program outlines four steps of a multi-step program. The intention is to create a paradigm shift in the relationship and mental approach women have towards power. The outcomes are tangible tools for women to start unveiling, recognising and utilising their personal power. Through this recognition, we can live our most power-filled lives and mobilise communities globally.
From Food Book Fair:
Food Book Fair and Food52 co-host a roundtable discussion on how food media can rigorously and responsibly diversify its voices along racial, gender, age-based lines, and beyond.
What are publications doing to ensure another pho-gate doesn't happen? How are publications protecting people of color, women, queer, or other minority writers from dealing with harassment? How do people in positions of editorial power respond to demands that food is an apolitical space? What are strategies for providing meaningful, intentional coverage and content that reflect a broader swath of voices than mainstream media is used to — and how do allies and accomplices continue to push the boundaries of what is expected?
Featured speakers include:
Andrea Nguyen, cookbook author, teacher, consultant
Mayukh Sen, staff writer, Food52
Kenzi Wilbur, managing editor, Food52
Stephen A. Satterfield, writer, founder, Whetstone Magazine
Kimberly Chou Tsun An, co-director, Food Book Fair
I will be moderating the panel discussion, “Fashion & the Peculiar Institution” at 1:00pm during this crucial conference organized by my colleague Jonathan Michael Square.
Scholars often encounter difficulty finding sufficient source material when researching the way in which enslaved people have understood themselves and their place in the world. Yet, the experience of Africans who have been enslaved and of their descendants is not wholly absent from historical records. One entry point into acquiring an understanding of the experience of these enslaved people is through how they were forced or chose to dress and adorn themselves. Fashion was one of the few arenas in which slaves had an opportunity to exert a modicum of control because it was, in spite a number of constraints, open to their adaptation. For slaves, as for all groups, fashion has constituted a rich, unique medium for complex cultural expression. This conference will explore some of the many facets of the intersection between slavery and fashion, bringing scholars, designers, and artists into conversation around this understudied (and often challenged) topic.
Image: "Sarah Forbes" by Ayana V. Jackson, courtesy Fashioning the Self.
From Pratt Institute:
Location: Engineering Building, Room 307, Brooklyn Campus
What is the role of art in times of global political, economic, and social upheaval? What does representation (on all levels) mean in an age of twenty-four hour news, cable and reality television, and burgeoning, at-your-fingertips social media platforms? Taking its cue from two of James Baldwin's landmark, mid-century essays on the responsibility and process of the artist, this panel of interdisciplinary scholars and practitioners will consider these questions and more as they explore the responsibility of the artist in a climate of revanchist politics and pervasive anxiety.
Patricia J. Williams (Columbia University), Mira Schor (Painter and Writer), Jacolby Satterwhite(Artist), Rashida Bumbray (Choreographer)
Moderator: Rich Blint, Ph.D., 2016-2017 Scholar-in-Residence, MFA Program in Performance and Performance Studies, Department of Humanities and Media Studies, Pratt Institute
For those of you in New York City and Brooklyn, I have the pleasure of speaking on a panel (alongside Refinery29 editor Connie Wang) to discuss the state of diversity within the fashion system–from education to business. See you there?
I am excited to announce that my peer project, The Fashion Studies Journal has officially launched online! Check out our first issue, a beautiful collection of writing and research from our fashion studies peers and colleagues from related fields.
I am very excited to share a new research project that I have co-authored alongside my Parsons School of Design peer, Rikki Byrd, entitled, "The Fashion and Race Syllabus" . This evolving, online-based resource seeks to organize and call attention to scholarship that addresses the intersection of fashion and race, and decentralizes Western fashion history.
Our mission is as follows:
"In 2008, writer Vicki Woods posed a bold and unsettling question in Vogue magazine’s July issue: “Is Fashion Racist?” It meant something, for one of fashion’s most prestigious publications to acknowledge, or at least beg the question, of racism in the aspirational industry that is fashion. This question evokes a topic worthy of further study, as new conversations in fashion criticism have emerged in recent years to further complicate existing discourses as it pertains to the social construct of race and ethnicity, challenging accepted standards of beauty and shifting the power dynamic within the fashion system. Through selected readings and links to resources in the media, this syllabus will investigate the ways in which fashioned identities emerge within a racialized context in an effort to gain access, visibility and power.
While reading, please note that this list is by no means exhaustive, though we are optimistic that our syllabus will expand as the discourse regarding fashion and race broadens its authorship and becomes concretized within the academic discipline of Fashion Studies. Building upon the interdisciplinary nature of fashion, this living document revisits classic texts and celebrates new research within neighboring fields such as Cultural Studies, Women's Studies, Africana Studies, Gender Studies, Sociology and Anthropology, ultimately developing a framework that decentralizes and complicates our understanding of fashion history."
The fashion podcast, 'False Image', will be celebrating its second season with a launch event in New York. Guests in attendance will include those featured in season 2's episodes, including myself.
You purchase tickets to this event here.
Deadline: July 12, 2016
I am proud to be spearheading the relaunch of The Fashion Studies Journal alongside my co-founder and co- Editor-in-Chief, Lauren Downing Peters. FSJ's brilliant editorial team includes co-founder Laura Snelgrove (Editor-at-Large), Stephanie Kramer (Managing Editor), Sara Idacavage, Adelle McElveen and Tessa Maffucci (Associate Editors).
We are looking for contributors who can deliver accessible and critical editorial content on fashion and culture with academic rigor behind it. FSJ's relaunch is scheduled for this September and you can subscribe for updates on our website.
Join Liz Bacelar, Madison Maxey, Birce Ozkan and a representative fromXRC Labs for a conversation on the importance of women in technology. Each panelist shares their process for innovative thinking, interest in design and why gender inclusion is well-overdue in the field of technology.
Before the event, be sure to fill out a raffle ticket for a chance to win a Rebecca Minkoff bag. After the event, join the panelists for a reception and small exhibition of their innovative designs.
About the Panelists:
Liz Bacelar is the founder of Decoded Fashion, the top global event series connecting decision-makers in fashion and retail to new technologies. The summits have taken place in London, Milan, and Tokyo and are produced with partners such as CFDA, BFC, IMG, Condé Nast and Pitti Immagine. She is also an Emmy-nominated journalist and producer, angel investor and advisor of startups.
Madison Maxey's interests lie between 2nd generation wearable technology, additive manufacturing and computational design. She is the founder and president of The Crated, a design and engineering studio integrating technology and apparel with an impressive client list including North Face, Milk Studios and Zac Posen. In 2016 she appeared on the Forbes 30 Under 30 list and NBC's BLK 28 Under 28, along with several other innovators making waves in design, technology, media and beyond. She has held fellowships and residencies with Thiel, General Assembly, BF+DA and more.
Birce Ozkan is a fashion technology and interactive designer based in New York. She studied international relations and business administration at Koc University in Istanbul and completed a MFA Design and Technology at Parsons School of Design, where she currently teaches Interactive Garments class. She recently won best Wearable Technology Design Award in Fiber Arts at ISWC/Ubicomp Design Exhibition Osaka, Japan. She showcased her projects at ISWC Design Exhibition Osaka, Interlaced Fashion Tech Runway Show London, Make: Wearable on Runway Show at Javits Center NY and SXSW Austin TX 2015. Her work has been published internationally in many prestigious publications including ISWC/Ubicomp, Fast Co Design, Dezeen and several more.
RC Labs is an innovation accelerator for the next generation of disruptors in the retail and consumer goods sector. It is a joint venture between Kurt Salmon, Parsons School of Design and Harvard Innovation Lab. XRC Labs provides workspace on the Parsons' campus, access to capital, mentoring and operational support to emerging companies in the retail and consumer good industry.
Join me at Sincerely, Tommy on Saturday evening, May 7th, as I engage in conversation with my colleague Stephanie Kramer as we discuss how fashion research and an understanding of materiality can strengthen your business or design practice in fashion. Please RSVP as space is limited.
From Pratt Institute:
2016 Pratt Institute Fashion Show + Cocktail Benefit
Honoring Harold Koda, Former Curator in Charge of The Costume Institute at The Metropolitan Museum of Art
Fashion Show + Award Presentation
Thursday, May 5, 6 PM
Showcasing collections by the Department of Fashion Class of 2016
Cocktail Benefit to Follow
Thursday, May 5, 7:30 PM
50 Varick Street
New York, NY 10013
For information and tickets:
Proceeds benefit Pratt scholarship funds and the Institute’s Department of Fashion.
From The New School:
Join the school of Art and Design, History and Theory for a public talk given by Professor Caroline Evans, Research Leader in the Fashion Programme at Central Saint Martins, where she convenes the Fashion History and Theory Research Group.
This exploratory talk surveys some of the objects, ideas and approaches behind my current research project into the material and immaterial cultures of fashion. Ranging from a 1920s couture dress label by Madeleine Vionnet to a cigarette burn in an Alexander McQueen dress from the 1990s, it investigates the transient materiality of fashion garments that are at once both object and event.
About the speaker:
Professor Evans studied art history at the University of Sussex. Her first book on fashion history and theory was published in 1989 and since then she has written extensively on twentieth-century and contemporary fashion. She has been a consultant to international fashion exhibitions at the V&A (London), Museum of London, Musé Galliera (Paris) and others. She is the author of several exhibition catalogue essays on designers including Paul Poiret, Hussein Chalayan and Victor & Rolf.
This event is open to the pulic and will take place in The New School's University Center on the lower level (Room U L104).
ABOUT PARSONS FESTIVAL//
Parsons Festival is an annual series of art and design events in which cutting-edge student work is presented to the Parsons community and the public. The festival takes place at the end of each academic year and includes thesis exhibitions and critiques, thought-provoking public programs, interactive installations, gallery openings, workshops, and special events.
From The New School:
Parsons School of Design is pleased to welcome Alber Elbaz, former creative director of Lanvin, in conversation with Kim Hastreiter, Founder/Editor/Publisher of Paper Magazine, and Julie Gilhart, Fashion Consultant.
With welcome remarks by Burak Cakmak, Dean of Parsons School of Fashion.
Doors open: 4:30pm
Talk: 5:00 - 6:30pm
Join the conversation:
From Food Book Fair:
All food comes from somewhere. But when it exists as a snapshot of a popular dish at a popular restaurant, or mentioned in a click-bait listicle, that origin isn't always so clear. From bone marrow to bone broth, this panel explores what we talk abut when we talk about eating today, and how to recontextualize popular foods in relation to history, culture and food systems in the age of #trends.
Christophe Hille, CFO of Fleishers Craft Butchery
Doria Santlofer, fashion stylist and executor of Joy Santlofer's "Food City"
Maria Rodale, chairman and CEO, Rodale Inc., author of "Scratch"
Koel Thomae, co-founder of Noosa
Noah Fecks, moderator, food photographer and author of "The Way We Ate"
From Food Book Fair:
Our annual literary collaboration dinner with Egg restaurant, where great works of literature are at the center of the feast. This year, we cook from Zora Neale Hurston's "Their Eyes Were Watching God," for a lush Southern-inspired dinner featuring readings and special surprises.
"Focusing on Oceania—the vast region encompassing Australia, New Zealand, New Guinea, and the tropical Pacific Islands—Frontier Shores explores how anthropology was used by colonial powers to justify and gain control over the resources and lives of the various native peoples, how collection both described and pacified the frontier, and how marginalized peoples adapted to, resisted, or otherwise exerted their own power and agency in the colonial context."
"Bonnie Cashin is credited with many fashion "firsts," including introducing the concept of layering and championing such timeless shapes as ponchos, tunics, and kimonos. She is acclaimed for inventing the "it bag," with her classic handbag designs for Coach in the early 1960s. Brimming with a half-century of creative work, Bonnie Cashin celebrates the designer’s incredible, well-traveled life and her revolutionary designs with an unflinching, happy elegance. For more information, click here."
I plan to attend wearing my very own Bonnie Cashin coat from 1970!