Tag Archives: Solange

Beychella Kamala Harris Fashion – The Significance Behind the Uniform in Black Culture | Instant News

Growing up in Houston, Texas, Beyoncé Knowles said that her whole life had been shaped by her Blackness.

The famous singer-songwriter and younger sister, Solange, grew up in the shadow of Historical Black Colleges and Universities, or HBCU. He watched Battle of the Bands as a kid at Prairie View A&M University and sat in the audience, amazed. Although Knowles was catapulted into star power when he was a teenager, he said that if his life had turned out to be different, he would attend one. But alas, the divine power has another way for global sensation.

In 2018, Knowles became the first black woman headlines Coachella Valley Music and Arts Festival – it is without a doubt one of the largest events in the world. The two-hour set wasn’t just a concert; it was a radical turning point in the show’s history, creating touching social effects that touched fashion, internet memes, Grammys, and Netflix.

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The music is great, but to be honest, we’re here to mode. The costumes for the Beychella major dancer, the stick player, the stepper, the drumline, and the false promise of brotherhood were all made by Olivier Rousteing‘s Balmain. Rousteing was one of the world’s first black creative directors of fashion to head a large French heritage house, a key point in Knowles’s book as a longtime collaborator. For the stars, every detail counted to be science. The Houston native knew before he even took the stage that the event would change history.


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“I want a black orchestra. I want steppers. I need a different character, I don’t want us all to do the same thing,” he said. Come home Netflix documentary. “And the number of swag is unlimited.”

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Drumline Beychella’s Bzzz is a tribute to the main musicians in HBCU bands. This collective earned a spot on the Homecoming Live album with snares, cymbals, quads, and bases playing a key role in Knowles’ celebratory looks

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Knowles made a deliberate choice when concentrating on Black’s college experience during his 2018 performance. For many, this was their first time seeing anything like it. Beychella was a huge cultural leap, but it didn’t start there.

Historically, Black Colleges and Universities – or HBCUs – are a collection of academic institutions across the country that started in the image of segregation. Founded in 1837, now 107 schools offer opportunities for higher learning at a time when so many black Americans were barred from entering established colleges, now inversely called PWI – a predominantly white institution. The HBCU not only fosters academic excellence, but also provides a rich cultural sanctuary for Black students to thrive without fear of social repercussions.

Over the years, black actors, politicians, filmmakers, poets, and celebrities have talked about their Black college experiences that shaped their creation process. Famous director Spike Lee, a Morehouse College graduate, put HBCU’s life front and center when filming his 1988 film School Daze.

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Lee’s love letter to the academic institution that underpins him is much more than just great beats and distinctive cinematography. Too much, School Daze is the first accurate depiction of life in the HBCU, made for black people, by black people. The film’s celebration highlights a vibrant and breathable community created among black students, from homecoming weekends to the Nine Gods.

However, the week-long celebrations weren’t just in movies. Homecoming is an integral part of the HBCU culture with alumni, faculty, and students gathering for cooking shows and raising drumlines. There are steppers, strollers and Greek sisters who steal the show. You might even see it Kanye West on your Howard University return, who knows? However much we love Mrs. Carter, Beychella pales in comparison to the saccharine joy that radiates from these intimate occasions.

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School DazeThe main characters – members of the fraternity in the fictional Gamma Phi Gamma – are representations of the brotherhood born out of HBCU. The National Pan-Hellenic Council, a collection of fraternities and sororities for Black Greek students, took center stage in universities across the country after being founded in the 1930s. Known as the Divine Nine, these organizations acted as companions of traditional white Greek life – often criticized for its racist and elitist past.

The Nine Immortals wore their pride on their sleeves – literally. What Lilly Pulitzer meant for the sorority of white students in the South was a satin university jacket for Kappas and Ques at Howard University, one of the most prestigious HBCUs in the country. The letters are worn with great respect, the founder’s colors are often coordinated to match the best in monochrome. The fraternity and sorority members are shown to the public in synchronized lines wearing elaborate costumes after weeks of training during the Probate season. In HBCU Greek life, identities revolve around elevating one another. The uniform, both assumed and acquired, brings together Black Greek life and the surrounding academic family in their pursuit of a joyous common identity.

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But, is that a uniform? The term is more than just a plain plaid skirt and blazer fictional school girl wear and tear on the streets of Manhattan. Since its inception, collective dress identifiers have been used to unite people of economic status, military rank, or social groups. This is not to make the wearers feel like proper clones of one another, but rather to enjoy their shared life-defining experiences. In the United States, the idea of ​​self-identity is ingrained in us from birth. Who wants to be the basis? Not us. So why are we willing to wear something drab that everyone wears?

It’s simple: We often want to be part of something bigger.

The principle of collectivism, prioritizing the group as a whole over individual needs, encourages us to be better. While we may complain about wearing cheap polo shirts and trousers to work, those markers strengthen our place in the world. It is comforting for some to know that there is a group of people standing by. The shared experiences and backgrounds provide a safe space for those who have not been given another opportunity to develop. For black men and women in the Nine Divine, stitched letterman jackets and Greek letters aren’t just something to put in your Instagram bio. It means a lot more. For this community that has been cooped up from the start of academia, proudly wearing Blackness on their sleeves is something to celebrate.

During the President’s inauguration in 2021, Vice President Kamala Harris wore his signature pearl and Chuck spoke on the steps of the Capitol Building in honor of Alpha Kappa Alpha, Inc.’s roots. hers. The necklace, created by Puerto Rican designer Wildredo Rosado, is a callback to the founding members of AKA – often called the Twenty Pearls organization. “Family is Alpha Kappa Alpha I love,” Harris said of his relationship with the organization during the 2020 Democratic National Convention – he joined the founder of the Alpha branch of AKA at Howard University in 1986. US Congressman Terri Sewell sat in the stands with Harris, proudly showing off AKA-inspired personal protective equipment in pink and green. Sewell is a member of the Zeta Eta Omega branch, in Selma, Alabama.

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Vice President Kamala Harris at Alpha Kappa Alpha, Inc. Sorority Gala in 2019. Vice President Harris was a member of AKA at Howard University in 1986

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US Representative Terri Sewell arrives at Capitol Hill removing her AKA in salmon pink and apple green PPE.

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While we didn’t see greens and pinks on the Harris live that morning, we did see AKA’s signature colors lighting up newsstands everywhere – Veep was the cover star of January’s Vogue. The now iconic image, taken by young fashion photographer Tyler Mitchel, framed Harris with hanging pink and green sheets, a subtle nod to the Alpha chapter of his alma mater. “To me, their colors conjure up images of black women standing together,” Mitchel said. “[United] in brotherhood all the time, affirming each other. “

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More than just uniforms, the motifs and symbols of pride that the Nine Gods and HBCU alumni wear proudly are a famous differentiator. The strength that exists in solidarity cannot be ignored as the nation grapples with its unjust past.

While Beychella may have brought Black’s academic experience to the forefront of the conversation, that doesn’t mean it didn’t exist before her 2018 Coachella appearance. Instagram pages dedicated to the HBCU experience, such as Watch the Yard, document today’s pioneers on the National Pan-Hellenic Council and student street style icons. With a rich and dynamic history, the legacy of the HBCU and the Nine Gods continues to shape the country’s fashion conversation.


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Five Hair Stylists on How They Turned the Conversation Around Black Hair in Fashion | Instant News

For the black community, hair is more than just hair. Hair is history, representation and form of expression. The black hair hug has revolutionized it into a form of pride, self-love and intense respect. In recent years, many have opted for relaxed and chemical-free hair. However, the lack of representation in the market determined by the White washed beauty trend has driven a pullback in celebration of textured hair. This derogatory connotation has long been attached to the natural hair of black men and women, with many models and celebrities facing the discrimination and emotional strife on a daily basis for which the fashion industry is responsible. From editorial deployments to magazine covers, brand campaigns to runway shows, diversity and representation have historically been lost; with relatively few people willing to understand and celebrate textured hair.

In an effort to increase the conversation around natural hair in fashion, CR sat down with five black hairstylists who share their journey as game-changing figures when it comes to kinsmen, curls, and coils in fashion. Featuring textured hair in all its beautiful splendor, this look is in the process of being made.

Kendall Dorsey

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I think it’s important for me to be able to start the conversation by understanding how to actually love our true textures. What this means for me is that I have to understand that everyone has a different texture. So, each canvas requires different skills. I really like building character behind textures. It seems to me to link them all together.

Some of the ways that I emphasize Black beauty refer to my grandmother and mother who go to church. Understanding my ancestors what hairstyles were like before they became glamorous. I think it’s important that I keep referring back to the things that are at my core. “



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“The natural hair hug represents strength, because all this time, our natural hair has not been able to be at the forefront of beauty. That’s something that has to be changed with a relaxer or straightening system to” beauty. ” “I think embracing natural hair is empowering. Can walk into your current workplace in an afro, braid, or something textured, I think it allows women and men to be empowered in their own natural right.”

Redway frilly

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“I didn’t have the representation I wanted to see when I started a business and as a young person. To see more people who look like me, who have my hair type and texture, on magazine covers, and on the red carpet. It’s great for me to be. part of this conversation about changing the way hair looks, especially, [for] Black women, we have been told for so long that the way our hair grows from our heads is neither professional nor worthy of the red carpet. So it’s really exciting to collaborate with a client I have that has given me the space to really showcase it. Through that belief, we can change the conversation around what beauty looks like. “

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“I just love. I mean, I’m a black woman, I like being black. I can’t imagine being anyone other than black people. Because I feel everyone is beautiful, but I like the way I am made, I like to emphasize it through my work. , because I am a storyteller. So I am happy to be able to tell this beautiful story about my relationship with hair through my work. “

Vernon Francois

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“Shifting conversations and perceptions wasn’t something I did on purpose, but identified a need for it early in my career.”

“Years ago when I was looking for an agency, I was repeatedly overlooked by professionals who could not see the commercial value of model hair textures in my portfolio. Part of my vocation has always been to support individuals with this hair texture, to say—” You can, you will, and you will “

As a hairstylist, my goal has always been to help my clients recognize, feel and be beautiful themselves – no matter what form they are – no matter their heritage, hair texture, age, gender, sexuality, religion and so on. If you feel beautiful, you will naturally radiate confidence, positive energy, and be attractive. I emphasize beauty through kindness and education, showing how the original texture of the hair is unique to each individual, it’s part of your identity. “

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Actress Lupita Nyong’0, hair by Vernon François. Met Gala 2019.

Instagram / @ vernonfrancois

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Musician Willow Smith with Vernon François, hair by François.

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“Wearing hair in its natural state opens people’s minds and can be a conversation starter that gives them the opportunity to spread love and embrace whatever they embrace. There is an element of courage as well as vulnerability that lies in it, and strength.”

Larry Sims

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“I feel like I’m kind of a poster boy because it creates a really cool and definitive look for the culture. Fortunately, I work with various groups of women who fall into the category of wanting to really live their freedom and truth hard in terms of texture versus conforming to the ideology of beauty that is hard. considered. It takes a lot of effort, but it’s actually very little convincing. Collaboratively, I can really represent what we stand for and we want to celebrate in ourselves. It’s amazing and I’m proud of the work I can do from Lupita [Nyong’o] to many others, Gabrielle [Union]. So many people really like their texture and I take pride in leading the charge. To be that voice, and to be someone these girls can count on to really amplify and enhance the texture in a really graceful and cool, modern way.

Larry Sims


RCA Record Label

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“I grew up in a generation where hair is processed; pressing, making Jheri’s curls into cheerful curls, perm sets. You know, everything I teach to be considered beautiful has to be relaxed. It really interests me as an artist, I talk to clients. last night for a big shoot and he looked at the reference and he was like, “that’s not me, I’m not a straight haired wig girl.” We have to revisit this creative. I said, we didn’t just say yes because we got accepted today, we didn’t said yes because we were invited to a party. We said yes, we wanted to come to the party, but under our terms, and that texture was exemplified to me in my process. I love that I don’t have to encourage clients to insist on not doing something that isn’t she likes. In fact, I don’t. No. I like that it comes from above, and I can support the movement that way. “

Kahh spence

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“I try to embrace Black beauty by showcasing our natural textures and really speaking out about us in the beauty space as best I can. Whatever platform I use, whatever I’m talking about, it doesn’t matter who I work with, I just have to make sure I can use my voice and tell us we are the blueprints and we are the standard. “


Musician Kelly Rowland, hair by Kahh Spence

Instagram / @kahhspence


Model Jordyn Woods, hair by Kahh Spence.

Instagram / @kahhspence

For me, I am happy that we can show the tangle of what we have. For the longest time getting a job we had to make sure we walked with the straightest hair so we felt like “welcome”, you know it’s a struggle. So, I just think embracing what we naturally have and embracing the beauty of our nature and what we offer is something beautiful, and that is something that will show the generations to come after us that again. We are who we are, and we stand the way we are because it all starts with us. “


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London Fashion Label 16Arlington Brings Luxury, Luxury And Fetish Attention With Their Latest Collections | Instant News

Marco Capaldo and Kikka Cavenati are the duos behind the London-based fashion label, 16Arlington.

Founded in 2017, their brand exudes glamor, real charm. I mean the glamorous type of Jean Harlow that you associate with Hollywood young stars, but there is a cool London.

There are feathers, there are sequins, silk, leather, and crystals. What more do you want? And this killer silhouette adorns including hugging figures for mini halterneck and one shoulder midis. This is the best maximalism.

Brought to date, there are more important, pay closer attention and there is a collective harmony is disharmony – femininity and masculinity (see special blazers), minimalist and maximum, made sexiness and style without effort. Also not PG, besides that there is also a bit of mixed fetish. Hot.

And the appeal is real, so much so that they get their own Hollywooder, Lena Dunham to walk on their 2020 Spring / Summer catwalks at London Fashion Week (that was Dunham’s debut appearance as a runway model). Also seen they pocketed prominent stockists from Bergdorf Goodman and Kirna Zabete to Selfridges, Moda Operandi, Luisa through Rome and Lane Crawford all eager to follow their alluring lines. So I guess what needs to be done is to add a red carpet.

Felicity Carter: What was your first memory of fashion or style?

We always talk about how we are both very fashion conscious thanks to our mother.

Even though none of them work directly in fashion, they always have a high interest and interest in clothing. We often find ourselves referring to old photo albums and asking them to dig up old pieces that we found in them.

Kikka: My mother used to be a model in her 20s and was often paid for clothes. He will choose unusual special pieces that he normally doesn’t buy so I remember playing with these pieces often. Growing up, I always wanted him to have high heels, but he always liked to sew and very masculine footwear, so I would arrange these beautiful dresses with male lace and big blazer. That real contrast is something that I still applied when designing.

FC: How, when, why did you enter the industry?

We both studied women’s clothing at the University where we met. I think that is the first real formal introduction to this industry. After the collection of our graduates, we built some beautiful relationships with stylists, we both did internships for different design houses but really felt the urge to work together something together that is when we started working at 16Arlington.

Through our stylist being introduced to Lauren Santo Domingo, he put on one of our works which made Moda one of our first stockists.

FC: How do you summarize aesthetics?

Marco and I have real love and appreciation for all the beautiful things. I think that is the starting point of our true aesthetic is to create something beautiful and empowering. 16Arlington is a balance of two extremes, masculinity versus femininity, minimalism versus maximalism, a combination of our British / Italian heritage that creates this beautiful alignment when put in a container of excessive glamorous sexy Italian glamor and a relaxed and cool London and a casual touch of amulets.

FC: What is luxury for you?

For us, luxury is something that is formed in an object of desire. Something that makes your heart beat fast and makes you stop, observe, admire, and enjoy its beauty.

FC: Who are your customers?

We have never identified our customers with any limitations. We do not place age groups or jobs with our clients. For us, she is a woman who uses clothes to strengthen the beauty that is already there. We are truly fortunate to be able to work with a variety of inspirational women since starting a brand that we feel represents our customers. They are all very different and unique but all have something in common so they change the world in a positive way, making it a far more beautiful place.

FC: What do you each bring to the brand?

At the beginning of the trip I thought that we both bought something quite individually aesthetically for each collection but after working with each other and now in our fifth season our aesthetics have really been synchronized and worked in parallel which we don’t need to pay attention to who brings ideas or details specific to the table. I think the real thing that still exists is the eyes of men and women, Kikka is well aware of how women feel in the clothes we make. Marco has a tendency to push the thigh cleavage a little too high.

FC: What is the foundation of your company?

Being a young brand, we have always been very involved in every aspect of the company from the start, which made us learn a lot because the reality of brand building is that there is far more to it than just designing a collection every season. We always take a very direct approach and are still involved in every small aspect of the brand which certainly has weaknesses but also allows us to be very aware of how the brand works and develops. This combined with a very small dedicated team allowed us to get to this point. One of our greatest blessings is to think of one another to continually form rational decisions based on two opinions rather than one and that something both of which is very present both in business, everyday running the brand, and finally the collection itself.

FC: Which was the first time you designed it and how did it happen?

That’s a very difficult question, we made this fur coat very early and it was really about playing with the basic proportions of the coat. We created a large cocoon like this shaped coat to make you look like a pin falling into a fur ball. Another truly impressive creation is the performance we created for Jourdan Dunn and Edie Campbell for the 2018 British fashion award. These two performances are very different but truly represent extreme balance. Jourdan was wearing a strapless transparent lace sequin dress adorned with feathers that had a three-meter long train and Edie was wearing a suit that was completely polished in a limping icy blue with an oversized masculine satin collar.

FC: What’s on your mood board right now?

Nowadays it is quite difficult to channel creative inspiration when surrounded by such sadness but there are times where inspiration kicks in and creates pauses and also acts as a small form of escape. The atmosphere and ideas change quite quickly now and the adjustment from working under extreme pressure and tight deadlines to having more time to develop is something that you think will only benefit the process but in reality adjustments and uncertainties occupy many things. time.

FC: Tell me about the process from sketch to production …

The process from sketch to production is very interesting because each garment is made in a different way. Sometimes there is a very clear visual idea that we detail very deeply in sketches on paper and at other times it is something that comes alive attached to the body. Sometimes something made in a certain direction changes into something when the force inspires to go in a new direction. The process of developing a collection really is something that changes until the morning of the show. After the collection is displayed, it will be sold and seen by our stockists. We often develop exclusive works with our buyers and from our sales campaigns we really begin to understand how collections will be translated commercially. After the sale, we really spent a lot of time aligning clothes in production. Here we tweak the waist circumference bottom keyhole hemlines etc. Many things work well editorially or in show format when you create fantasy but don’t have to be translated into the real world. It is important to us that we keep our clothes as close to the dream as possible, but to make sure women can feel and feel great about wearing them.

FC: How would you like to see your label develop?

We are very fortunate to work with extraordinary stockists around the world and we look forward to continuing to develop our distribution in a very organic way. For us the goal is never to redistribute the collection, but to make it very special and available in a very beautiful space. We want to continue to build long-standing relationships with all our retail partners. We recently launched an exclusive bag collection with Net-a-Porter and we hope to explore more categories in the future as the brand develops into what we hope will become global.

Buy labels on their labels website and in leading stores globally.


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