Fashion: A Black Legacy

As a photographer documenting the intersection of culture and style, I've witnessed firsthand how Black culture has shaped the fashion landscape. The contributions are endless—from the artistic explosion of the Harlem Renaissance to the bold statements of the Black Power movement, Black creativity has been a driving force behind countless innovations in style and design.

Perhaps the most visible recognition of this influence in recent years has been the long-overdue acknowledgment of Dapper Dan's genius. For decades, he crafted revolutionary styles from logo fabrics, pioneering techniques that others would later appropriate. Now, after years of operating on the periphery, he's finally being invited to the tables where decisions are made—though this recognition comes decades after his innovations first transformed the streets of Harlem.

When I reflect on designers whose work has been historically overlooked, I think of both national figures and the incredible talent in my community. Locally, creatives like Yemisi Sanni, Alpha Blackburn, Nikki Blaine, stylist Tynae Neal, and Extol by Milan are pushing boundaries and creating distinctive aesthetics. On a broader scale, designers like Tracy Reese, Korto Momolu, and Shaquita Garcia have persevered despite limited recognition from the mainstream fashion establishment.

If I were to curate an exhibition on this subject, I'd title it "Black Style: Past, Present, Future"—a recognition that Black fashion influence isn't merely a moment in time but a continuum of creativity that has shaped our understanding of style across generations.

The "Black is Beautiful" movement of the 1970s stands out as a particularly authentic celebration of Black culture in fashion. It wasn't just an aesthetic trend but a powerful statement about identity and self-love. The movement embraced natural hairstyles and incorporated African prints and fabrics in ways that honored their cultural significance. I just missed experiencing this vibrant era firsthand, but its impact continues to resonate in contemporary fashion.

The issue of cultural appropriation remains a persistent challenge in the fashion industry. The solution, I believe, lies in giving Black designers and stylists not just a seat at the table but the driver's seat—positions where they can make decisions and implement plans.

True appreciation comes through communication, listening, and enlisting people who are of the culture. And when mistakes are made, as they inevitably will be, the path forward involves acknowledging them and committing to do better.

In my work capturing fashion through photography, everything begins with a concept, though I prefer to keep the execution somewhat fluid, especially when collaborating with stylists, designers, and models who bring their own distinct perspectives. Influence becomes evident in the styling choices—when I say "streetwear," you immediately envision something funky with abundant style. Location selection also plays a crucial role in conveying the story and feeling of an image.

When photographing fashion moments inspired by Black culture, my primary focus is on beauty and joy. I seek to capture the beauty of Black people in all shapes, sizes, and shades. One of my ongoing series focuses specifically on Black women's hair—the various styling techniques, each unique and awe-inspiring in its own right. The element of joy emerges through the vibrant colors my models and muses express, particularly in African prints that tell stories through their patterns and hues.

I'd like to believe that storytelling through fashion is evolving to include more diverse narratives, but in the current political climate, progress feels increasingly fragile. We must persist in telling our stories, and this requires collective effort—everyone must share, platforms must be extended to those driving change, and financial investment must support creative visions.

The rise of Black-owned fashion houses and designers offers hope for a shift in who gets invited, celebrated, and worn at prestigious events like the Met Gala. Yet I remain cautiously optimistic. When I hear that industry veterans like June Ambrose, who has been a pioneering stylist for years, still hasn't "had a seat at the table,” it's a reminder of how political these spaces remain. People who are deserving don't always receive the invitation, but that doesn't diminish their value or contribution.

Media representation needs to transcend the confines of designated months or special events. We are Black 365 days a year, 24 hours a day, 7 days a week—our stories and contributions deserve recognition throughout the year. There's an abundance of talent that remains undiscovered, and there's space for all of us to shine. If media organizations don't know where to find Black creatives, they should ask the community.

As a photographer based in the Midwest, I hope my work documents what we're doing in fashion, especially in this region because it’s often overlooked. People think of Indiana and Indianapolis as flyover territory—if they think of us at all. It isn't until they set foot in the city that they discover we're elevating our game in art, fashion, and creativity.

Through my lens, I aim to showcase our inspirations and how we interpret them in our distinctive way, highlighting the creatives who are making bold statements far from the traditional fashion capitals.

Our creativity doesn't require coastal validation to be legitimate. We're here, we're creating, and we're part of the ongoing conversation about Black influence in fashion—a conversation that spans centuries, and continents, and continues to shape the very essence of style itself.

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Model/Stylist: Tynae Neal

Braids: Mersades Edmonds

Makeup: Anijah Lajae

Bottle Cap Pants & Earrings designer: Extól by Milan

Model/Stylist: Troy Landers, Distinct Gentlemen

Faith Blackwell Photography, LLC

The Stutz 212 W. 10th Street, Studio A-445 Indianapolis, Indiana 46202 (317.414.0621)

IG: @fb_photog_art