Unveiling the Unheard Narratives: Rekindling Black British Fashion Voices in a Captivating Exhibition

A young Black woman, dressed elegantly, wears a subtle yet resolute smile on her face. The door adjacent to her displays graffiti stating "KEEP BRITAIN WHITE." This captivating photograph, captured by photographer Neil Kenlock, who hails from Jamaica, is featured in a new exhibition at Somerset House in London.

Titled "The Missing Thread, Untold Stories of Black Fashion," the exhibition is comprised of numerous photographs similar to this one. It delves deep into the history of Black British culture, specifically from the 1970s till the present day, shedding light on its overlooked impact on the fashion industry.

"There is a sense of resilience that has been forged within the community," remarked Andrew Ibi, one of the curators of the exhibition, while discussing the woman captured in Kenlock's photograph. "Despite adversity, one would anticipate her dressed in riot gear, but remarkably, she appears immaculate. Her hair is styled, and she adorns jewelry... It's akin to a symbol of unwavering strength."

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Ibi, Jason Jules, and Harris Elliot, the designers and academics behind the Black Orientated Legacy Development Agency (BOLD), invested nearly three years in creating the show.

"In an interview with CNN, Jules emphasized that this endeavor extends far beyond mere fashion. Fashion acts as the Trojan horse, carrying a deeper purpose."

While the past ten years have witnessed an increase in the acknowledgement of Black creatives and designers, such as Law Roach receiving the inaugural Stylist Award at the 2022 CFDA Fashion Awards, or Chioma Nnadi becoming the pioneering Black woman to edit British Vogue, Ibi, Jules, and Elliot were convinced that there remained a multitude of narratives ready to be shared.

British Jamaican photographer Vanley Burke has dedicated more than five decades to capturing the essence of Black British communities in Birmingham. Somerset House is currently showcasing his photograph titled "Young Men on See-Saw, Handsworth Park, Birmingham," which was taken in 1984.

Some of the stories are personal anecdotes. Ibi, for example, recalls the challenges he faced as a student when he used his loan to purchase a gas fire for his freezing house during the winter. He reflects on the disparities in their journeys and how his white counterparts did not face the same struggles. These experiences made him question if it was all just bad luck or if there were other factors working against them.

There are also heartbreaking accounts of failed fashion careers, like that of Wayne Pinnock, a designer from the 1990s. Pinnock, who graduated from the prestigious Royal College of Art in London, had his early work recognized by renowned style journalist Suzy Menkes in the New York Times. He even had the opportunity to work for Moschino in Milan. However, despite his initial success, the exhibition reveals that Pinnock now works in a supermarket, his creative talent stifled until now.

Jennie Baptiste, a talented photographer born in London, is receiving well-deserved recognition in "The Missing Thread." Presenting "Pinky, 2001," this captivating photograph was beautifully styled by Chinyere Eze and adorned with impeccable makeup by Brenda Cuffy.

The exhibition also showcases narratives from the often overlooked viewpoint of Black women, despite the difficulty in finding them, as Jules acknowledges. "We noticed the absence of Black women in the dialogue. Simply having photographs of them was insufficient for us. We sought out photographers, creatives, and designers," he explained. "However, it was a challenge to find many. Where were they? Could it be that they are underrepresented or undervalued? Ultimately, it boils down to the fact that many of them have not had the opportunity to share their stories until now."

Its a recurring motif, a missing thread that brings the exhibition together. Voices that have been erased from history now take center stage. Elliot's role as co-curator has been particularly poignant as he delves into the past, researching and constantly revisiting decades-old experiences of racism. "Charlie Allen, a third-generation Black tailor, shared with me the harrowing reality of working on Londons Regent Street in the 1990s. The discrimination was so severe that every morning, before stepping into the lift, Charlie had to recite the 23rd Psalm as a way to find solace and strength to face the day ahead.

Designer Joe Casely-Hayford for i-D magazine's Bible issue in 1987.

Kevin Davies/Courtesy Somerset House

The show explores connections, showcasing a range of influences. For instance, a nail bar installation pays tribute to nail art's impact in dancehall fashion, now embraced by White celebrities and popular culture. The exhibition also delves into the lasting influence of trailblazing designers like Bruce Oldfield, recognized for designing Queen Camilla's coronation gown, and Ozwald Boateng, the first Black man to work on Savile Row in London.

At the heart of the exhibition is the work of Joe Casely-Hayford, a prominent Black British designer who passed away in 2019. Casely-Hayford received nominations for Womenswear British Designer of the Year in 1989 and Innovative Designer of the Year in 1991. Despite his significant contributions to fashion history (notably, U2 singer Bono wore his designs for a groundbreaking appearance on the cover of US Vogue in 1992), Casely-Hayford's name has often been overlooked.

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Harris recalled his conversation with Charlie, Joe Casely-Hayford's son, who was tearful as he expressed doubt about his father's story ever being shared. Turning such pain into something both challenging and beautiful was a crucial endeavor. While Harris hoped for visitors to gain a deeper understanding of the experiences of Black designers, his ultimate desire was for them to recognize and appreciate the beauty in their work.