PYER MOSS COUTURE F/W 22 ANALYSIS

The most prominent themes from this collection are praise to Black Americans for their contributing inventions to society that has gone without receiving credit or any form of reparations, 3-D shapes, and forms with inspiration from animated characters from shows like Sesame Street or Pixar, and inspiration pulled from multiple decades. Designer Kirby Jean-Raymond mainly wanted to highlight Black American culture and contributions to US soil which he decided on highlighting after seeing a list of black inventions while visiting the Black Inventions Museum in LA. Characteristics from the 90s can be seen in accessories like bucket hats and strappy sandals seen on most of the models. 60’s themes are reflected in the Space-age inspired footwear and clothing, specifically in Look 16 & 18 of the collection, and the various cutouts seen in multiple bodices of the garments.

This collection highlights important American inventions that were crafted by Black folk and were essential to the evolution of technology today. Head Designer of Pyer Moss, Kirby Jean-Raymond, presented these inventions in the form of Couture clothing. The show is titled WAT U IZ, a sentence used in African-American vernacular, highlighting the language Black people created after their original tongues were stripped away. This show was labeled Take 2 as the collection was originally supposed to premiere on the Thursday 2 days prior but a tropical storm had come through and rearranged those plans. The show was held at the Villa Lewaro in Irvington, New York, a 30-room mansion previously owned by Madam C.J. Walker back at the beginning of the 19th century who was a child of slaves from Louisiana yet brought herself up by the booming business of on her own haircare products. The large estate was known for being a safe gathering place for Black folk during the Harlem Renaissance, the walls are practically filled with black history. The entire show was based on a “celebration of Black culture as well as a critique of the fixation of others who seek to profit off of Black trauma”.

Opened with a powerful speech by Elaine Brown, a performance by rapper 22Gz carried on throughout the entirety of the show. Brown began the show by yelling ‘Power To The People’ and quoting the late Martin Luther King asking “After We Say That, Where Do We Go From Here?” It appears that Jean-Raymond is asking everyone to think about the progress Black Americans have made, referring to the Civil Rights movement many years ago to the Goerge Floyd-inspired movement just 2 years ago, yet the position Black Americans are in now where many who were watching the show are learning who invented to items reference in his collection for the first time. This fashion show was seen as a huge deal to the public because, after the premiere, Kirby Jean-Raymond officially became the first Black designer to be invited by the Chambre Syndicale de la Haute Couture to show a collection during Paris’ official Haute Couture schedule, something he shares with only 2 other American designers with their own houses, Mainbocher, and Ralph Rucci.

Many pieces are seemingly wearable, with large decorations or accenting additions on top that look as if they could be removed and worn for a typical occasion but the message was very clear. The collection had various aspects of themes from the 1950s, ’60s, and the ’90s seen with the use of geometric shapes, accessories popular from the time, and the choices of colors. For example; Look #5 was a pale blue gown with a horseshoe neckline with stomach and hip cutouts and two bustles that jut out on either side below the hips paired with matching knee-high heeled sandals with a geometric heel while the model is holding a gold wire horseshoe to represent the creativity of Oscar E. Brown, who created the horseshoe which he patented in 1892. Look #5 shows references to the Victorian era with the bustles and Charles James, a fashion designer who was popular for his structured ball gowns in the 1950s, with the tight-fitting bodice and large skirt forming below the hips. The look also has references to Pierre Cardin who specialized in unique bodice cutouts during the 1960s. 

Look #5

Another example, Look #22 is a floor-length, vibrant yellow gown with what appears to be an empire waist with a camisole neckline and a knee-high slit. The dress was rather simple yet the model was holding a frame around her face which resembled a portable air conditioning unit one would place in a window. This look was in reference to the Black American Frederick Jones who was an inventor, entrepreneur, and engineer who made a significant impact on the transportation of perishable goods. It is hard to determine the entire dress shape as it is covered by the air conditioning frame but the empire waistline would be on theme with characteristics from the 60s as it was a popular trend then.

Look #22

The next example is Look #18, a 3-toned, orange & red hooded, gloved one-piece paired with puffy orange heeled boots. Atop the catsuit is a 3-D printed replicate of a fire escape in an ode to Joseph Richard Winters who was a black abolitionist and inventor who received his patent for the wagon-mounted fire escape ladder in 1878. This look also had themes from Cardins work from the 60s as he was known for futuristic fashions which can be seen in the color-blocked Space-Age-like jumpsuit paired with gogo-inspired booties.

 “..I’m always reversing the erasure of Black people in the larger conversation around the African diaspora, but we need to evolve that conversation every time. I wanted this to be new, imperfect, and fun. And some of the pieces are super hilarious to me, like the peanut butter one,” Jean-Raymond stated as a response to what message he was trying to portray with the show.

Look #18

While these almost traditional couture looks may work for a more streamlined editorial, the other looks were full Avante Garde gaudy looks that Jean-Raymond stated he simply made because he found them humorous. Namely, Look #4, which particularly blew up on many forms of social media as a discussion of whether it was wearable or not which led to another discussion of did it need to be wearable in the first place, is a tubular-shaped plush mini dress fashioned after a creamy peanut butter jar paired with red knee-high strappy heeled sandals in reference to ​​George Washington Carver, a Black American man who was a well-versed agriculture scientist and inventor who found many uses for peanuts. Jean-Raymond said that he was inspired by the animated characters from the TV shows of his childhood, like Sesame Street, and attempted to create his own characters as if Black Culture was an animated show.

Look #4

Another look that one would not typically see in street fashion was Look #11. This look was a yellow mini dress with a neckline that extends past the face as a mask and three see-through cut-out portions to resemble a traffic light paired with red strappy-heeled sandals to portray the important invention by Garrett Morgan which has made driving easier for decades. Again, cutouts seemingly inspired by Cardin can be seen on either side of the garment with strappy sandals pulling from the 90’s as well.

Look #11

The last look that was very unique was the final look of the collection, Look #25. It is the wearable white refrigerator with colorful letter magnets arranged to spell out “But who invented black trauma?” over a baby blue turtleneck mini dress with an open back and a bustle of ruffles on the lower half paired with atypical fluorescent green heels. The look had notes of 90s inspiration as the block letters attached to the fridge were popular with children during that time. This look was a beautiful close after showing the important inventions Black Americans have provided for people all over the world because one question that could be brought up is if black people invented all these important items why isn't there worldwide recognition? Why are Black people still some of the poorest demographic in every country even when these inventions can be found in homes across the globe? Jean-Raymond made folks watching consider these exact questions while trying to create his own form of reparations.

Look #25

Although the collection held a lot of weight behind it, a beautifully powerful and important message, and an interesting show to announce it, there was some discussion for those who could not understand the concept, saying it was not couture because it is not wearable however the overall message and inspiration pulled for the collection was a powerful statement that may have slipped over many heads. His collection raises the question, Why is Pyer Moss the first Black couturier when Black Americans have clearly been creating for years? From the positive press received for the show which was filmed for an upcoming documentary about the couture process, Raymond announced he is still yet to release a film that may incorporate the pieces from this collection in some form. Based on the eccentric shapes he chose for the runway, I expect a very animated and quirky film.