Shelton Boyd-Griffith

Janelle's look was like, that overcoat was huge.

Janelle's look was like, that overcoat was huge.

Frederick Douglass, they have his hat, his jacket. They had this mannequin that kind of encompassed his body mass. And I think sometimes you don't really see the totality of the person. It was like, this is his presence, this big, boisterous Black man. And that intention of presenting it on this mannequin form that looked like... his body was in it.

Frederick Douglass, they have his hat, his jacket. They had this mannequin that kind of encompassed his body mass. And I think sometimes you don't really see the totality of the person. It was like, this is his presence, this big, boisterous Black man. And that intention of presenting it on this mannequin form that looked like... his body was in it.

And I think also like I was talking to somebody yesterday, like the ancestral, like kind of like spirit and presence of like some of those artifacts. I think that's something that's going to stick with me.

And I think also like I was talking to somebody yesterday, like the ancestral, like kind of like spirit and presence of like some of those artifacts. I think that's something that's going to stick with me.

Even Monica Miller. Yes.

Even Monica Miller. Yes.

That was special. That was special.

That was special. That was special.

Yes.

Yes.

It was kind of unexpected for me, but I really enjoyed Tessa Thompson and that proper look with the Andre Leontali church fan.

It was kind of unexpected for me, but I really enjoyed Tessa Thompson and that proper look with the Andre Leontali church fan.

I loved it. It was such a sweet homage to him. That Sunday, you know, high noon on Sunday kind of reference.

I loved it. It was such a sweet homage to him. That Sunday, you know, high noon on Sunday kind of reference.

Yeah. It was such a cute, sweet homage. I was like, oh, I love that. I loved it.

Yeah. It was such a cute, sweet homage. I was like, oh, I love that. I loved it.

Okay, so for me, Jeremy Pope and the archival Margiela bodice.

Okay, so for me, Jeremy Pope and the archival Margiela bodice.

Yeah, I was like, I love that it's sustainable. I love that it's vintage, but I also like that it's a subversive way to take on tailoring. It wasn't a suit. It was like, this is literally the starting point of tailoring.

Yeah, I was like, I love that it's sustainable. I love that it's vintage, but I also like that it's a subversive way to take on tailoring. It wasn't a suit. It was like, this is literally the starting point of tailoring.

I think there was definitely like a safe approach, but there definitely is some standout looks for me.

I think there was definitely like a safe approach, but there definitely is some standout looks for me.

I was keeping a tally of each. I was like, okay, there's Willis Bonner, there's CJR, there's D-Bay, there's Hanifa.

I was keeping a tally of each. I was like, okay, there's Willis Bonner, there's CJR, there's D-Bay, there's Hanifa.

I think it was everywhere. I think of, like, Jeremy O. Harris, like, in that Balmain look.

I think it was everywhere. I think of, like, Jeremy O. Harris, like, in that Balmain look.

It was very... It kind of... Even the hair kind of referenced, like, Ike Uday, whose work is in the exhibition.

It was very... It kind of... Even the hair kind of referenced, like, Ike Uday, whose work is in the exhibition.

I have one. It was Miley Cyrus and Aliyah. It felt so disjointed. The designer said, this is just what we do, and this is what it is. But it felt nothing connected to the theme. It was a nice outfit because it's Aliyah, but like... It just was not on theme for me.

I have one. It was Miley Cyrus and Aliyah. It felt so disjointed. The designer said, this is just what we do, and this is what it is. But it felt nothing connected to the theme. It was a nice outfit because it's Aliyah, but like... It just was not on theme for me.

Hi, thank you for having me, Brittany.

Hi, thank you for having me, Brittany.

Even when he went to the press preview, the Oswalt suit was like, this is better than what was on the carpet.

Even when he went to the press preview, the Oswalt suit was like, this is better than what was on the carpet.

I also feel like across the board, I feel like the cultures were like very safe. Like, very safe across the board. Like, Pharrell was very safe. See?

I also feel like across the board, I feel like the cultures were like very safe. Like, very safe across the board. Like, Pharrell was very safe. See?

When I saw that, I thought that was fake. I was like, oh, is this just like a Twitter edit? And I was like, oh.

When I saw that, I thought that was fake. I was like, oh, is this just like a Twitter edit? And I was like, oh.

Not necessarily because it was like massive, but I think like structurally, like how did Rihanna get with that corset? Like that pregnancy corset is amazing, actually. Like I'm obsessed. But I'm like, you sat down with that corset in your pregnant belly.

Not necessarily because it was like massive, but I think like structurally, like how did Rihanna get with that corset? Like that pregnancy corset is amazing, actually. Like I'm obsessed. But I'm like, you sat down with that corset in your pregnant belly.

Not in recent years, Andre.

Not in recent years, Andre.

Yeah, I would love to see, like, an outcast moment, too.

Yeah, I would love to see, like, an outcast moment, too.

Yeah, when he was wearing those essential hats, those are beautiful. Beautiful. I would love for people to show up in essential hats. I wore one for my wedding.

Yeah, when he was wearing those essential hats, those are beautiful. Beautiful. I would love for people to show up in essential hats. I wore one for my wedding.

When I could wear hats, you know.

When I could wear hats, you know.

Before the afro.

Before the afro.

Yes.

Yes.

In theory, dandyism is like an aesthetic, but it's also like a lifestyle of like rebellion and subversion. So it really is such a wide, expansive term.

In theory, dandyism is like an aesthetic, but it's also like a lifestyle of like rebellion and subversion. So it really is such a wide, expansive term.

Thank you for having us.

Thank you for having us.

Anton, you just took my person, so thanks.

Anton, you just took my person, so thanks.

Janelle Monáe. I think, like, styling her is, like, an homage to, like, those Black queer women who, like, subvert, like, menswear. Absolutely.

Janelle Monáe. I think, like, styling her is, like, an homage to, like, those Black queer women who, like, subvert, like, menswear. Absolutely.

That was beautiful, the Mugler. I think that a lot of people like confuse the theme of the exhibition in the dress code. And I don't think that they lean into the inspiration of the exhibition.

That was beautiful, the Mugler. I think that a lot of people like confuse the theme of the exhibition in the dress code. And I don't think that they lean into the inspiration of the exhibition.

You know, when people are looking to get dressed up, they want to get dressed up how they want. They're like, this is a nice event. Do I really care about the brief?

You know, when people are looking to get dressed up, they want to get dressed up how they want. They're like, this is a nice event. Do I really care about the brief?

For me personally, it's a double-edged sword. I think on one hand, like, it's this beautiful moment of, like, centering Black expression. It's not just about Black style. It's about, like, the history of, like, Blackness and history of, like, the diaspora. And, like, some of that is ugly. You know, it is chattel slavery. It is Jim Crow.

For me personally, it's a double-edged sword. I think on one hand, like, it's this beautiful moment of, like, centering Black expression. It's not just about Black style. It's about, like, the history of, like, Blackness and history of, like, the diaspora. And, like, some of that is ugly. You know, it is chattel slavery. It is Jim Crow.

Like, it is everything that, like, this administration is, like, trying to, like, erase. But it's, like, presented in this beautiful way. Obviously, this was planned, like, before the administration, you know, overhaul of, like, DEI. But I think that it existing now is really important.

Like, it is everything that, like, this administration is, like, trying to, like, erase. But it's, like, presented in this beautiful way. Obviously, this was planned, like, before the administration, you know, overhaul of, like, DEI. But I think that it existing now is really important.

But then on the other hand, I think I was like talking to some colleagues about like 2020, how like there was like this huge push where let's get someone Black. Let's have this focus on Black designers. Now, like so much of that support and like that exposure is kind of like missing. So I don't want this just to be like a moment. And then like we go back to regularly scheduled programming.

But then on the other hand, I think I was like talking to some colleagues about like 2020, how like there was like this huge push where let's get someone Black. Let's have this focus on Black designers. Now, like so much of that support and like that exposure is kind of like missing. So I don't want this just to be like a moment. And then like we go back to regularly scheduled programming.

I agree. It was rooted in this rebellion. And then that same concept carried on through Jim Crow and then carried on to now. And it's like... It's freedom of expression of identity, you know, ownership of like how you present to the world.

I agree. It was rooted in this rebellion. And then that same concept carried on through Jim Crow and then carried on to now. And it's like... It's freedom of expression of identity, you know, ownership of like how you present to the world.

And I think also, like, touching to Monica's point in the book, these different, like, forms of, like, how Black people, like, use dress. Like, Black folks deal with respectability politics and putting on a suit and, like, that whole concept of that and how we use that as, like, a shield.

And I think also, like, touching to Monica's point in the book, these different, like, forms of, like, how Black people, like, use dress. Like, Black folks deal with respectability politics and putting on a suit and, like, that whole concept of that and how we use that as, like, a shield.

But that's one of the things I've always appreciated about Antoine's, like, style. It's like, you're wearing, like, this full Martine Rose suit, but then, like, you're wearing your do-rag. It's a subversion of, like, those things.

But that's one of the things I've always appreciated about Antoine's, like, style. It's like, you're wearing, like, this full Martine Rose suit, but then, like, you're wearing your do-rag. It's a subversion of, like, those things.

It's rooted in, like, traditional sartorial, like, suiting. But then it's also juxtaposed with, like, someone who's more, like, peacocky and, like, more exuberant. It is, like, a Billy Porter, which is rooted in, like, this queerness. But then also, like, it is Dapper Dan and it is, like, A$AP Rocky. And early Danelle Monáe.

It's rooted in, like, traditional sartorial, like, suiting. But then it's also juxtaposed with, like, someone who's more, like, peacocky and, like, more exuberant. It is, like, a Billy Porter, which is rooted in, like, this queerness. But then also, like, it is Dapper Dan and it is, like, A$AP Rocky. And early Danelle Monáe.

Like, to Antoine's point, I would have never worn my afro, like, years ago. Or, like, my braids or, like, in traditional, like, fashion settings. So we're still dealing with these same things that, like, we've been dealing since the 18th century on through Jim Crow to the 80s to now.

Like, to Antoine's point, I would have never worn my afro, like, years ago. Or, like, my braids or, like, in traditional, like, fashion settings. So we're still dealing with these same things that, like, we've been dealing since the 18th century on through Jim Crow to the 80s to now.

It's a performative handshake. Because, I mean, fundamentally, it's a performance.

It's a performative handshake. Because, I mean, fundamentally, it's a performance.

Janelle's look was like, that overcoat was huge.

Frederick Douglass, they have his hat, his jacket. They had this mannequin that kind of encompassed his body mass. And I think sometimes you don't really see the totality of the person. It was like, this is his presence, this big, boisterous Black man. And that intention of presenting it on this mannequin form that looked like... his body was in it.

And I think also like I was talking to somebody yesterday, like the ancestral, like kind of like spirit and presence of like some of those artifacts. I think that's something that's going to stick with me.

Even Monica Miller. Yes.

That was special. That was special.

Yes.

It was kind of unexpected for me, but I really enjoyed Tessa Thompson and that proper look with the Andre Leontali church fan.

I loved it. It was such a sweet homage to him. That Sunday, you know, high noon on Sunday kind of reference.

Yeah. It was such a cute, sweet homage. I was like, oh, I love that. I loved it.

Okay, so for me, Jeremy Pope and the archival Margiela bodice.

Yeah, I was like, I love that it's sustainable. I love that it's vintage, but I also like that it's a subversive way to take on tailoring. It wasn't a suit. It was like, this is literally the starting point of tailoring.

I think there was definitely like a safe approach, but there definitely is some standout looks for me.

I was keeping a tally of each. I was like, okay, there's Willis Bonner, there's CJR, there's D-Bay, there's Hanifa.

I think it was everywhere. I think of, like, Jeremy O. Harris, like, in that Balmain look.

It was very... It kind of... Even the hair kind of referenced, like, Ike Uday, whose work is in the exhibition.

I have one. It was Miley Cyrus and Aliyah. It felt so disjointed. The designer said, this is just what we do, and this is what it is. But it felt nothing connected to the theme. It was a nice outfit because it's Aliyah, but like... It just was not on theme for me.

Hi, thank you for having me, Brittany.

Even when he went to the press preview, the Oswalt suit was like, this is better than what was on the carpet.

I also feel like across the board, I feel like the cultures were like very safe. Like, very safe across the board. Like, Pharrell was very safe. See?

When I saw that, I thought that was fake. I was like, oh, is this just like a Twitter edit? And I was like, oh.

Not necessarily because it was like massive, but I think like structurally, like how did Rihanna get with that corset? Like that pregnancy corset is amazing, actually. Like I'm obsessed. But I'm like, you sat down with that corset in your pregnant belly.

Not in recent years, Andre.

Yeah, I would love to see, like, an outcast moment, too.

Yeah, when he was wearing those essential hats, those are beautiful. Beautiful. I would love for people to show up in essential hats. I wore one for my wedding.

When I could wear hats, you know.

Before the afro.

Yes.

In theory, dandyism is like an aesthetic, but it's also like a lifestyle of like rebellion and subversion. So it really is such a wide, expansive term.

Thank you for having us.

Anton, you just took my person, so thanks.

Janelle Monáe. I think, like, styling her is, like, an homage to, like, those Black queer women who, like, subvert, like, menswear. Absolutely.

That was beautiful, the Mugler. I think that a lot of people like confuse the theme of the exhibition in the dress code. And I don't think that they lean into the inspiration of the exhibition.

You know, when people are looking to get dressed up, they want to get dressed up how they want. They're like, this is a nice event. Do I really care about the brief?

For me personally, it's a double-edged sword. I think on one hand, like, it's this beautiful moment of, like, centering Black expression. It's not just about Black style. It's about, like, the history of, like, Blackness and history of, like, the diaspora. And, like, some of that is ugly. You know, it is chattel slavery. It is Jim Crow.

Like, it is everything that, like, this administration is, like, trying to, like, erase. But it's, like, presented in this beautiful way. Obviously, this was planned, like, before the administration, you know, overhaul of, like, DEI. But I think that it existing now is really important.

But then on the other hand, I think I was like talking to some colleagues about like 2020, how like there was like this huge push where let's get someone Black. Let's have this focus on Black designers. Now, like so much of that support and like that exposure is kind of like missing. So I don't want this just to be like a moment. And then like we go back to regularly scheduled programming.

I agree. It was rooted in this rebellion. And then that same concept carried on through Jim Crow and then carried on to now. And it's like... It's freedom of expression of identity, you know, ownership of like how you present to the world.

And I think also, like, touching to Monica's point in the book, these different, like, forms of, like, how Black people, like, use dress. Like, Black folks deal with respectability politics and putting on a suit and, like, that whole concept of that and how we use that as, like, a shield.

But that's one of the things I've always appreciated about Antoine's, like, style. It's like, you're wearing, like, this full Martine Rose suit, but then, like, you're wearing your do-rag. It's a subversion of, like, those things.

It's rooted in, like, traditional sartorial, like, suiting. But then it's also juxtaposed with, like, someone who's more, like, peacocky and, like, more exuberant. It is, like, a Billy Porter, which is rooted in, like, this queerness. But then also, like, it is Dapper Dan and it is, like, A$AP Rocky. And early Danelle Monáe.

Like, to Antoine's point, I would have never worn my afro, like, years ago. Or, like, my braids or, like, in traditional, like, fashion settings. So we're still dealing with these same things that, like, we've been dealing since the 18th century on through Jim Crow to the 80s to now.

It's a performative handshake. Because, I mean, fundamentally, it's a performance.