When it comes to Fashion, or hell any industry, The “standard” for an African American is getting what the crumbs that you can in the back or standing in the front as the token ethnic requirement. In a time when others have only tucked their ‘blacks here’ sign rather than destroying a fight of equality, one we’re still fighting, progress has been drastically pushed forward. Decades and decades of only wanting to be heard, we’ve muted the excess noise and are being well beyond heard and even seen. Race has always been a conversation, but never a topic. Always a though, and never an understanding.
Kerby Jean-Raymond, the visionary genius behind Pyer Moss, has always stood tall on the principles of speaking the truth, and speaking it very black-ly. Across the boroughs of New York, the young black man took his presentation to the roots of which he calls home in a historic theatre with a grand the-opening after months of renovations. Away from stereotypical Fashion Week ‘norms’ and the uptight air of the city is The Kings Theatre in Brooklyn, the raw edge of the city that possesses character that is are through DNA. On the evening the Collection 3 presentation, shades of all blacks and brown stood patiently and calmly outside in hopes of seeing the then unknowingly magnificence that was to be presented under the cultured roof. Over his past three collection, Jean-Raymond takes us on a journey of ptimsi discovering the generals of American pop culture through the lens of the curators, the African American. Back in February of 2018, he led with the cowboy; following that last September was family time via the backyard barbecue; and this season, it was the true essence of rock ’n’ roll.
Truly cultivating the language of Fashion, the Pyer Moss brand puts true use into their delicate threads intricately weaving stories of righteousness of true black culture. The collection titled “Sister” helmed from the historic story of history of Sister Rosetta Tharpe who was a “queer black woman in the church,” who arguably also claims the crown of founding rock ’n’ roll. The show opened with a shifting sermon, that wasn’t really a sermon, by Casey Gerald. Gerald led with a message of empowerment with subtle, yet forceful, reminders of who we (African Americans) are and what it is exactly that we’ve done for this
country world and it’s time we claim everything that has been attempted to be wiped out.
To counter a show, Jean-Raymond elevated the production by commissioning a 65 person choir dubbed the “PYER MOSS TABERNACLE DRIP CHOIR DRENCHED IN THE BLOOD” who definitely brought the house down. If you’ve ever been to a black church, you just got it. The choir didn’t hum, they didn’t chant, the downright muthafuckin SANG! Renditions of classics from Diana Ross and Queen Latifah to harmonizing millennial tunes from Cardi B and Saweetie. The ode to greatness continued with velour sweatsuits and decadent millenialized Sean John designs walked the Runway, an ode of thanks as founder Sean Combs was the first black designer to win a Council of Fashion Designers of America award, an award Kerby would win himself. To heighten the ‘Do You See Us Now?’ message, an ALL black model line-up gracefully exuded elegance walking the boxed runway of clouds leading from the stage of bliss where the choir blessed 3,000 brown faces watching in awe and inspiration.
After a 65-Look collection, the party didn’t stop there. Once service was dismissed the flow moved to the lobby as the celebration ignited with taste of Hennessy, the adult Kool-Aid, flowered the rooms pallet. Afro-beat music pumped the energy, aromas of the finest greenery, and the vibrations of a room full of unity and progression.