'Patrick Kelly: Runway of Love' explores Blackness and queerness at PEM

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'Patrick Kelly: Runway of Love' explores Blackness and queerness at PEM
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'Kelly knew that rage and jubilance, and all of the other feelings that come with being Black and queer in a time (and world) that does not understand us, can coexist,' writes bonitafrobum.

I grew up thumbing through the old copies of Ebony and Jet at my grandmother’s house and coming across the colorful spreads showcasing Patrick Kelly and his designs. Bright, slightly campy and always, always jubilant, Kelly had a way of utilizing fabric and adornment to imbue joy into his clothing.

Like me, Kelly grew up pouring over his grandmother’s old magazines. But unlike me, he didn’t have the benefit of seeing Black models or fashion in ads or on the runway. Born in 1954 in Vicksburg, Mississippi, Kelly came of age in a time when magazines celebrating Black fashion were scarce. Ebony was still in its infancy, as was Jet, publications that would feature his work decades later.

His skin-tight dresses adorned with colorful mismatched buttons speak to his youth, watching the women in his family recycle materials to mend clothing. A quilted pink rayon coat is printed with a cartoon rendition of Black performer Josephine Baker, who Kelly idolized. Another black dress is adorned with gilded hair bows, an item that reminds me of my childhood when I and many other Black girls sported heads full of them on the ends of our braids and twists.

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