The exhibition In America: A Lexicon of Fashion serves as a compelling platform to explore how American fashion communicates complex narratives of identity, history, and culture. Within this exhibition, the contributions of Black designers are particularly significant, revealing profound ways in which clothing can be used as a tool for “Fashioning Meaning.” This is evident in the works of designers like Patrick Kelly, Dapper Dan, Telfar Clemens, Greg Lauren in collaboration with the Gee’s Bend quilters, and Tremaine Emory of Denim Tears, each imbuing their creations with layers of significance that resonate deeply within both the fashion world and broader society.
The collaborative piece between Greg Lauren and the Gee’s Bend quilters exemplifies this concept of “fashioning meaning.” This partnership, born from Lauren’s respect for the quilters’ artistry and the author’s digital humanities project Fashioning the Self in Slavery and Freedom, highlights the extraordinary talent of the Black women from Gee’s Bend, Alabama. This rural artistic community is celebrated for its striking, abstract quilt designs, a tradition deeply rooted in resourcefulness and creative expression. The collaboration itself becomes a powerful statement, bridging high fashion with historically marginalized craft, and “fashioning meaning” through the fusion of disparate worlds.
Tremaine Emory of Denim Tears further demonstrates the potent ability of fashion to “fashion meaning” by consistently using his brand to interrogate and celebrate American identity, particularly through the lens of Black history. His collaboration with Levi’s, featured in Lexicon, draws directly from his personal history as a descendant of enslaved people in the American South. Emory’s designs are imbued with references to the cotton-growing regions of Georgia, his ancestral home, and the legacy of enslavement and sharecropping that shaped the lives of his family. Through Denim Tears, Emory masterfully “fashions meaning” by transforming garments into poignant narratives of resilience, remembrance, and the enduring creativity born from hardship.
Emory’s design choices are deeply symbolic. The Pan-African colors, red, black, and green, inspired by the Liberty Rock in his childhood neighborhood of Jamaica, Queens, are prominently featured in Denim Tears’ collections. This color palette becomes a visual language, “fashioning meaning” that connects to Black liberation movements and a powerful sense of cultural identity. The cotton wreath motif, inspired by Kara Walker’s art, serves as another layer of symbolism. Emory describes it as a “talisman for Black people,” representing both the painful history of cotton production through enslaved labor and the creative ingenuity that emerged from this oppressive system. By incorporating these symbols, Emory “fashions meaning” that is both deeply personal and broadly resonant, inviting a dialogue about America’s complex past and present.
The impact of Denim Tears extends beyond the runway and into the wardrobes of everyday individuals, particularly resonating with younger generations. The author recounts encountering a young Black man at the Virgil Abloh exhibition proudly wearing Denim Tears jeans, styled in a way that reflected his own unique sense of style. This real-world example underscores how Emory’s designs, laden with historical and cultural significance, are adopted and reinterpreted by wearers, further “fashioning meaning” on a personal and communal level. Fashion becomes a living, breathing form of communication, where designers initiate narratives and wearers contribute to their ongoing evolution.
Tremaine Emory’s recent collaboration with UGG, partnering with the Mardi Gras Indians of New Orleans, further exemplifies his commitment to “fashioning meaning” through conscious collaboration and cultural celebration. By working with this historic New Orleans community, Emory highlights the rich cultural contributions of African Americans, tracing back to the relationship between runaway slaves and Native American tribes. This collaboration moves beyond mere appropriation, instead “fashioning meaning” through genuine engagement with local culture makers, offering a platform for marginalized voices and celebrating authentic creative expression.
In conclusion, the designers featured in In America: A Lexicon of Fashion, particularly Greg Lauren & Gee’s Bend quilters and Tremaine Emory of Denim Tears, showcase the profound power of clothing to “fashion meaning.” They demonstrate how fashion can be a potent medium for exploring personal and collective histories, celebrating cultural heritage, and engaging in critical conversations about identity and society. Their work transcends mere aesthetics, transforming garments into powerful narratives that resonate deeply and contribute to a richer understanding of American fashion and its capacity to communicate complex human experiences.
