The Clothes Story - Catalog

THE CLOTHES STORY

The Clothes Story is an exhibition experience that celebrates women and acknowl edges stories that display their resilience, strength, bravery, courage, and unapol ogetic spirit of change. For centuries, women have exuded their personas through their style of dress. Clothes Story showcases the power of women through their style, presence, and trailblazing mentalities. Highlighting clothing women wore from the years 1890 to 1963, the narratives shared in this exhibition will take you on a journey through time of fascinating experiences of women’s lives in their homes and communities and feature these historic moments through an engaging fashion experience.

The Clothes Story exhibit invites guests to reminisce as they experience women’s fashion through the lens of a fashion enthusiast. With insight from local histori ans, archivists, fashion designers, and tailors, this empowering walk through time welcomes guests of all ages to learn, reflect, discuss, and enjoy. The replicas in this thoughtfully curated exhibition have been inspired by moments in time that were heavily influenced by the women that lived and worked in these garments. Accented by accessories, these fashion trends reflect both style and values of the time frames represented.

KENNETH GREEN PRODUCER/SHOW DIRECTOR

1910’s: Orange and red and two-piece plaid ensemble. Belted, cuffed with gold ornamentation on belt with peplum front.

AN ODE TO HER STORIES UNTOLD: THE CLOTHES STORY

Adomestic worker, according to Dorothy Lee Bolden Thompson, is more than a maid and a cook. She’s also “a counselor, a doctor, a nurse.” Domestic workers, howev er, “have never been recognized as part of the labor force.” Born in 1923 in Atlanta, Georgia, Thompson labored as a domestic worker since the age of nine. Then, in the 1940s, when she was in her 20s, she refused to stay late to wash the dishes for her white employer. To punish her refusal, her employer called the police. Thompson was taken in for a psychiatric evaluation then admitted because after all, you have to be crazy to talk back to a white woman. “This was the way you got locked up,” Bolden said in a 1995 interview, “This was the system.”

Like Harriet Tubman, who we all know, and Fannie Lou Ham er, who some of us know, Dorothy Lee Bolden Thompson, who very few of us know, used her rage and disappointment in the system as a catalyst for change. She organized a union for domestic workers, which according to a Georgia State University article by Traci Hammond, “increased Atlanta wages by 33% over two years and won workers’ compen sation and Social Security rights for all domestic workers.”

Dorothy Lee Bolden Thompson is not celebrated during Black History Month or Women’s History Month, nor is her name acknowledged in school textbooks. She is, however, honored in The Clothes Story, a Sankofa-themed exhibit that features designs replicating the clothing style of black wom en throughout history, spanning from 1880 to about 1963.

The idea of conveying a story through fashion is not a new concept. And certainly there is plenty of room for storytell ing through style on the runways, in entertainment platforms, as well as within the pages of fashion magazines. However, there is a story that hasn’t been told quite like the one that Atlanta-based Theatrical and Cultural Art Designer, Kenneth Green envisioned when he produced The Clothes Story.

You won’t find these stories on the red carpet at the Met Gala or during Fashion Week in Paris or New York City, but once you experience the richness of the history behind the women who adorned the garments on display, you’ll be inspired and

enlightened. Although you might catch a glimpse of some styles worn by a few notable and well-known figures in Af rican-American history, Green’s main focus is to highlight ordinary women who weren’t quite as prominent but who accomplished some extraordinary things for black history and culture.

These women were your average everyday mothers, grand mothers, aunties, neighbors and friends. They’re women who demonstrated leadership, courage, advocacy, humanity, and overall strength and fortitude during a time period when their taking up space was not encouraged. Other women highlighted in the exhibit are trailblazers setting precedence in a particular field like Dr. Eliza Ann Grier, the first Afri can-American woman to become a licensed medical practi tioner in the state of Georgia.

Consequently, Black history as it has been filtered through the lens of American history, has been very limited in its scope. The names that have often been highlighted in tradi tional history books and teachings barely scratch the surface of the stories that revel in the richness and depth of its his torical roots. Green wanted to do something that would not only shine the light on stories often untold but to do so in a way that would be educational, uplifting and memorable. And what better way to do so than through art, fashion?

Green’s background and expertise in creative arts, particu larly musical theatre, no doubt had some influence behind the inspiration for this exhibit. The producer has been around many influential entertainers, artists and creators, coordinat ing major events like the gala to celebrate the unveiling of the MLK Monument in Washington DC and serving as a casting director for Walt Disney. However, this project was more of a personal undertaking and Green’s own sense of ap preciation and homage to the black woman, and her fashion sense is what makes the entire exhibit so authentic.

According to Green, “Throughout history, black women have very often paved the pathway and set the tone through their sense of fashion.” However, it is clear that although the fashion will be the first thing people see, the garments are

merely the prelude to the actual stories being told, which are purposely intended to be the most captivating component of the exhibit.

“The very first piece that I replicated was from 1881. I went from 1881 to 1950, then we disbanded in 1963. For me, once you get past the ‘60s, you see how we start to repeat ourselves and it’s not as interesting,” Green pointed out. “The fashion,” he said, “seems to be what’s drawing people in, but then they read the stories of these women who really were just like my mom, and maybe your mom, grandmother and auntie who just did things to keep their family and to keep their community going, they begin to see the bigger picture. They see that these were major efforts. These were not people who have big names, but they ran the car pools; they were feeding everybody.” They were making the world go ‘round.

The Clothes Story started off with about 8 pieces based on data collected through archives initially pulled from various resources throughout Georgia. Green tapped into some valu able historical data that included images of black women making a fashion statement through the clothing they wore in their particular era. The clothing designs themselves were replicated based on images and recreated using similar pat terns and designs. With the collaborative effort of about five designers along with Green’s creative direction, the exhib it has now grown to include approximately 25 pieces with each having its own compelling backstory about the women who wore them.

Although Green’s primary objective for this display has al ways been to celebrate the unsung heroes, there are certainly a few women who many may recognize, but through The Clothes Story one might hear a piece of their history that isn’t always highlighted. For example, Dr. Coretta Scott King is most widely known as the wife of Dr. Martin Luther King Jr. Many might not be as familiar with Coretta Scott, the soprano and violinist who had a career in performing arts before she became Mrs. King. One of the dresses on display is a replica of the very one once worn by Scott as a celebrated songstress in her earlier life and music career.

The Clothes Story exhibit has most recently been on dis play in Columbus, GA at the Columbus Public Library for the community’s Juneteenth Jubilee and Unity week cele bration. While it’s no longer on exhibit, it will continue to be accessed and appreciated for generations to come via its upcoming catalog which is being sponsored by the Black Art in America Foundation.

In the world of visual art, a catalog allows the legacy of art to remain even if the exhibit is no longer on display. The Metropolitan Museum of Art for example, has an entire collection of exhibition catalogs dating as far back as the 1800s. Catalogs “provide documentation relating to all the items displayed in a show at a museum or art gallery and they contain new scholarly insight by way of thematic es says from curators and academics” (University of Toronto). Black Art in America (BAIA) looks forward to actualizing this documentation for The Clothes Story, everyone involved in its creation, and, per our mission, for the culture.

SEAMS OF A CHORUS

LYRRIC JACKSON

These dresses, skirts, scarves, and coats have a song to sing. As you take time to visualize where each garment could have been and who may have worn it, take a closer listen to the crescendo of each zipper, the forte of the crinoline, and the grand pause that meets your heart when you read the story that accompanies them.

A majestic sound that meets the mind with cloche hats, dropped waistlines, and opera length coats. A sound subtle enough to capture the attention to detail but robust enough to take your breath away. These exceptionally arranged and gallantly presented notations of history exist to inform and remind us of a fascinating time for which the tempo never remains the same.

The memory of silk nylons, satin slips, and fascinators ring out in a vibrant song that resonates in the soul of African American families throughout the United States.

Where a woman’s Sunday’s best can be found on the front lines of the Civil Rights Movement singing “We shall overcome”, gently gliding towards change with every click of her heel. Here we honor and emphasize the accented accessories, bustle gowns, tapered skirts, and lace gloves that elegantly wrote so many triumphant moments found in tales untold of the women who worked in education, science, and medicine. A beautiful song written with fringe, embroidery, feathers, and fur, the rhythm of this story of clothing harmonizes with each year in style, celebrating the life and stories of African American women in entertainment and high society. A stunning broche, perfectly clipped over her heart, as she stands to greet her guests at the door of her restaurant, waiting with open arms as the voices of Black folks and White folks in the Deep South meld to map the melody of fellowship.

The translation of American fashion on the Black woman’s body through storytelling and reflection have been curated like your favorite album. One hit after another, a record that will remain on repeat, uttering a symphonic mix of the stories of women like Evelyn Frazier, Adrien Elizabeth McNeil Herndon, Dr. Eliza Ann Grier, and Ma Rainey. Here we seek refuge in reflection and acknowledge the teachings of Ludie Clay Andrews, applaud the mission of Clara Ann Howard, and stand with Ella Baker in service of the community. Constructed with the hands that threaded generations together through their practices of peace, change, and unwavering persistence, the style of these African American women synchronize here as a reflection of what happened, what is possible, and how going forward has never been a trend but a way of life. At its core, this vibrant look back to what women wore from 1890-1963, sings a tune without words and instead with the fabric of our history.

THE UNFOLDING LEGACY OF EVELYN J. FRAZIER

KENNETH GREENE

Evelyn J. Frazier’s groundbreaking contributions to the cultural, civic, economic, and political life of Atlanta began in the mid-1930s. Evelyn rose to local and national prominence through her business, Frazier’s Café Society, which she owned with her husband, Luther Frazier. A dreamer whose primary mission was to improve life for Colored people, Evelyn created avenues for community and civic engagement. Evelyn was a large supporter of the Republican Party. Under Presidents Nixon and Ford, she held special appointments dealing with Minority Affairs. She served on a number of influential boards, was a member of many philanthrop ic organizations, and received numerous awards for her efforts and accomplishments.

Born about five miles from Raleigh, North Carolina, on March 21, 1912, Evelyn attended The Berry O’Kelly Training School for Coloreds in Method, North Carolina. She graduated in 1932. After moving to Atlanta and working as a nanny for a short while, she re alized that her passion was to work in food service and established the Evelyn Jones’ Café in 1937.

Evelyn married Luther Frazier in 1940, and in 1945, they pur chased property at 880 West Hunter Street (which later became Martin Luther King Jr. Drive). After major renovations, enhancing the ambiance, and upgrading the services, they renamed the estab lishment “Frazier’s Café Society.” Prominent and distinguished persons, including well-known civil rights leaders, dined and con vened at the Café.

With prominent placement in the Atlanta community, Evelyn en couraged Coloreds and Whites to embrace more progressive points of view. She crossed many barriers to make gains towards racial equality. Evelyn continued to provide opportunities through out standing leadership, leaving a legacy of community and cultural empowerment to last long beyond her passing in 2007.

BLACK VICTORIANS

During the Victorian Era, named for Queen Victoria, Black Victorians were seen as early as 1839 in England. Intelligent, well-educated, and well-dressed the Black Victorians were Black women who followed the fashion ideals of white society while still maintaining the Black cultural traditions. This trend occurred in both England and the United States. Black Victorians lived in large numbers in Illinois and Seattle around 1880 and represented a new standard of beauty, fashion, and achievement. In accordance with their education, middle-class and upperclass Black Victorian women often had better chances for exposure to opportunities and areas for achievment and making a name for themselves than most. In England, a few Black women were permitted to join societal groups known as the upper echelon. Sara Forbes Bonetta, an African princess, became Queen Victoria’s goddaughter and was viewed as the ultimate Black Victorian socialite. Legal racial discrimination in the form of Jim Crow laws took hold in America, resulting in the demise of the Black Victorian era.

1865: Blue full Victorian dress with blue floral print trim. Worn with a petticoat to achieve fullness.

1865: Black and Green Black Victorian dress with a gold overskirt, green flounce, and hoops with fringe and bow at the center of the back. Embellished with gold buttons, ruffled cuffs, and trim along the bottom of the vest layered with gold and green tassels.

CLARA ANN HOWARD

Clara Ann Howard was the only daughter of nine children born to King Howard and Mary Ann Howard in Greenville, Georgia. Her father was born into slavery and bought his freedom before emancipation, was literate, and a skilled carriage maker. Raised in Atlanta, Georgia, Clara was one of the first students to attend Spelman Seminary and was valedictorian of the Class of 1887. She taught school in Atlanta after college. In 1890, she joined the Women’s Baptist Foreign Missionary Society and was stationed at Lukunga in the Congo for the next five years. Howard was the second Spelman graduate to go to the Congo. While in the Congo she ran an orphanage, taught school, and ran a printing office with her Spelman sister.

Spelman College Archives

1889: Representing the “gilded age, the “Clara” dress, is a structured tight-fitting bodice, tight sleeved and the skirt naturally falling over the hips supported by a diminishing bustle with metal bands.

AUBURN STRUT: 1900

HISTORICAL CONTEXT

At the beginning of the century, Black women forged ahead into areas of life previously inaccessible. Colleges and universities across the South began to educate Black women. The indelible steps made by these impactful women began at places like Spelman Seminary. Schools like this focused on educating black women in liberal arts and more. Women studied and trained for job opportunities in education, science, and medicine. Women during this era were characterized by an unapologetic spirit of change.

CLOTHING STYLE

Continuing the elegant lines of the 1800s, skirts are hourglass-shaped and have slight trains. Sleeves are slightly puffed and elbow length with fitted cuffs. Tall stiff collars characterized the period, as did broad hats. When wearing dresses, women were corseted with a bustle or a bump.

1905: Two piece blue walking suit with-multi-colored blouse belted just below knew.

1910: Purple Trumpet skirt, purple belt satin floral blouse.

1910: Green skirt with red gingham blouse.

A DAY IN THE LIFE: 1920

HISTORICAL CONTEXT

In the 1920s, America was highly influenced by the art and culture of France. The avant-garde were shaping the various artistic disciplines. Across the Atlantic, a cultural revival of the arts including music, literature, and dance, known as the Harlem Renaissance, was taking place. Another influential revival was taking place in education. This included W.E.B. Dubois teaching at Atlanta University. Trailblazing women made inroads not just in the arts, but in science, literature, and education. Cre ating opportunities for young girls and women in future workforces.

CLOTHING STYLE

The 1920s were a vibrant time for women’s fashion. Women’s dresses fluctuated in length, hats were popular accessories, and deep shades of lipstick became the trend. The simple cut of the modern women’s dress allowed for many styles to choose from. These styles varied with some dresses hitting just below the knee while others had drop waistlines. Other trends included long beads, cloche hats, feathers in the hat, cocoon fur coats and fringe shawls.

1920: Nursing attire in red, white, and blue, with full sleeves and cuffs, a preacher collar, worn with a petticoat, and full apron.

1920: Women’s flapper dresses were designed with straight simple lines. Waistlines were at the knee and hips. The flapper era was the era of chest less, waist less and hipless.

1920’s: Gatsby Coat (also called a cocoon coat or a kimono wrap).

Often made in silk or velvet and trimmed in faux fur.

IF IT AIN’T GOT THAT SWING…: 1940

HISTORICAL CONTEXT

The 1940s was a time of increased economic opportunity, and the beginning of the modern civil rights movement. Jim Crow laws in the South were being challenged and the Black press became central in the movement for their work around activism, education, and economic self-sufficiency. Women during this era showcased the courage necessary to make strides against the odds.

CLOTHING

Though the rationing of clothing and materials during World War II was a regular occurrence, fresh styles emerged. The 1940s pin-up styles brought forth the hourglass silhouette paired with masculine details including padded shoulders, tucked-in high waist tops, and A-line skirts that came down to the knee. This style was quite reminiscent of a two-piece military style suit. Pants had a similar high waisted, wide leg shape. Shirtwaist dresses and military style suits were looks for everyday dressing.

Vintage Dancer Archives

Skip Mason Archives

1940’s: Blue full double layered lace dress. Hand beaded along shoulder and neckline.

DRESSED UP: 1950

HISTORICAL CONTEXT

In 1954, Thurgood Marshall, who would later become a Supreme Court Justice, was Chief Council for the NAACP in the landmark Brown v. Board of Education case. The Supreme Court declared that separate educational facilities for Black children were inherently unequal, and desegregation of schools began. During the next year, Rosa Parks, a Black activist in Montgomery, Alabama, was arrested when she refused to give her seat on the bus to a White person. Sparking a 13-month bus boycott, it ended when bus companies stopped their discrimination practices. Bravery to persevere and impact growth and change characterized women of this era.

CLOTHING STYLE

Blouses, jeans, and long, narrow skirts were a goto look. Originating in the Alps, the dirndl dress, with a fitted bodice, either sleeveless or with small puff sleeves, and a billowy skirt, became extremely popular. Cardigan sweaters were worn with capri pants or paired with tea length skirts. Light petticoats were often added to the skirts for fullness. Christian Dior’s “New Look” was frequently seen in stylish and sophisticated circles.

Worthpoint Archives

1960’s: Black Vintage cocktail dress.

Half sleeve dress with belt and a lower shaped backline for enhancement.

1950’s: Silhouette features a cinched waist, exaggerated skirt often worn with shoulder pads. Bouffant petticoats helped to extend the wideness and volume of the skirt.

1950’s: Typical school outfit for young women and girls. Attire often included variations of a pea coat, caramel, and plaid skirt.

1890’s: Vintage Brown and tan day dress made with lace and trimmed with ruffles along wrist, bottom of dress crisscrossed in front.

1940’s: Vintage lined two-piece light grey suit. Suit has inverted pleats and is finished with patch pockets on the upper edge.

ELIZABETH ANN ECKFORD

African American teenager, Elizabeth Ann Eckford, became one of the Little Rock Nine in an effort to desegregate Little Rock Central High School in 1957. A photograph of the events includes an image of fifteen-year-old Eckford walking alone through a screaming mob in front of Central High School. News of the occurrence propelled the reality they were experiencing into living rooms across the world and brought international attention to Eckford and the other students. After walking a block from her bus stop through the angry mob of people that included men, women, and teenagers chanting, “Two, four, six, eight, we ain’t gonna integrate” to enter the school campus, she was turned away by Arkansas National Guard. The troops were there under orders from Governor Orval Faubus. Eckford did not graduate from Central High School. Her studies included correspondence and night courses that earned her enough credits to graduate.

1957: White blouse with poodle skirt supported by petticoated. Gingham print on bottom half of skirt.

1950’s: Dorothy Dandridge inspired ball gown. Two-piece duster and dress with flowing train by Bernard Jackson.

1957: Pink Mermaid - Fitted to the body, featuring a sweetheart neckline flares out at the bottom. This classic look is often attributed to African American Fashion designer Zelda Wynn Valdes.

CORETTA

SCOTT KING

I was born on April 27, 1927, in Heiberger, Alabama. My par ents were entrepreneurs Obadiah and Bernice Scott. Mother was known for her musical talent, while father worked as a policeman and was a strong advocate for education. They owned and operated various businesses. At age 10, I began picking cotton to help supplement the family income. At age 12, I attended Lincoln Normal School where I graduated as valedictorian. Throughout my life, music was my focus! I earned a B.A. degree in music and education from the pre dominantly white, Antioch College and a degree in singing and violin from the New England Conservatory of Music. At Antioch, I joined the college chapter of the NAACP and the Race Relations and Civil Liberties Committees. While matriculating at the Conservatory, I met a ministerial doctoral student named Martin Luther King Jr. After graduation, we married, moved to Montgomery where Martin had accept ed a position as full-time pastor, and added four children to our family. In 1956, Martin became the leader of the Mont gomery bus boycott protest movement. I soon came to the realization that I was a part of something much greater than myself; therefore, giving up my music ambitions. We were in the forefront of a movement that would help liberate the oppressed throughout the world. On April 4, 1968, after many bomb threats, shootings, marches and rallies, my husband was assassinated. I then took the helm as leader of the Civil Rights Movement, later broadening my focus to include women’s rights, LGBT rights, economic issues, world peace, and vari ous other causes. Two of my greatest accomplishments were the establishment of The King Center in 1968 and my success in the campaign to make Martin’s birthdate a federal holiday in 1983. I also wrote My Life, My Love, My Legacy and My Life with Martin Luther King, Jr.

1959: Pink Opera Gown – Fitted dress, worn slightly off-theshoulder, with fitted bodice, with layers of ruching from the waist to the ankle. Bottom ruffle at the base of dress.

FREDYE MARSHALL

Fredye Marshall, a native of Columbus, Georgia, attended Co lumbus Public Schools and was a member of Metropolitan Baptist Church. She studied voice while attending college in New York City and gained notoriety with the Booker T. Washington Play ground Chorus. She performed with Katherine Dunham Dance Company; the operatic diva, Leontyne Price; William Warfield; and Cab Callaway. This Columbus treasure is a celebrated singer that concertized all around the world. Affectionately noted as the “extradentary singer” she performed on some of the world’s big gest stages including the worldfamous La Scala House in Milan, Italy. She delivered command performances for Princess Marga ret among other royalty in London and performed for the British Broadcasting Company. Her Broadway and off-Broadway perfor mances include “Carmen Jones”, “Aida”, and “My Darlin.”

Columbus Georgia Historical Archives

1960’s: 9 layers of gold fringe with satin bodice trimmed with gold sequin.

ALMA THOMAS

Alma Woodsey Thomas was a native of Columbus, Georgia but spent her formative years in Washington, DC. She was the first fine arts graduate from Howard University and later attended Co lumbia University. While her lifelong dream was to be an architect and build bridges, she worked as a teacher for over 30 years and developed a program to create art galleries in schools. Later be coming an internationally recognized artist, Alma’s paintings can be seen in the Smithsonian Institution and the Corcoran Gallery of Art in Washington, DC. She was the first Africa American woman to have a solo exhibition at the Whitney Museum and her work was displayed three times at the White House. As an expressionist, she was inspired by patterns of light, flowers, and colors. Her work can be seen at the Columbus Museum in Columbus, Georgia.

1960’s: Represents her orange working smock. Design on smock represents the graphic style from which most of her work was derived.

1950’s: Vintage lined two-piece green suit. Unpadded round shoulders with shapely bust lines, with lace gathered cinched waist.

1960’s: Two-piece long to the floor jacket and brocade suit. Buttons in back with epaulets with silver buttons.

1960’s: Three-piece women’s ensemble. Silver and white vest coat with Peter pan collar with A-line skirt and pick blouse with full sleeves.

1970’s: Green and beige dress with “V” line neck scalloped edges around dress with bow at waistline.

OPHELIA DEVORE MITCHELL

Ophelia Devore Mitchell, a model, entrepreneur, and business woman, helped establish the Grace Del Marco Modeling Agency, the first Black agency of its kind. Ms. Devore Mitchell was Pub lisher Emeritus of the Columbus Times during the 1970’s and was also instrumental in launching the careers of Richard Roundtree and Diahann Carroll. She was featured in Brian Lanker’s “I Dream a World,” a pictorial book of essays that celebrates the prolific lives of African American Women who have changed the world.

Columbus Georgia Historical Archives

1970’s: Green laced dress with lining, cap sleeves and sweet heart neckline.

ABOUT THE PRODUCER

Kenneth Green, originally from San Bernardino, California, graduated from the United States International University with a B.F.A. in Musical Theater Dance and an M.A. in Dance from California State University Long Beach. Kenneth served as cast ing director for Walt Disney World in Orlando, Florida, where he was responsible for identifying and maintaining professional talent for Walt Disney World and their global partners. He has been on faculty at the University of California Irvine, and Spel man College in Atlanta, where he served as Director of Cultural Initiatives in the Office of College Relations. He has staged half time shows for the Atlanta Falcons and choreographed several productions for Six Flags Over Georgia including their 50th An niversary Show Celebration. His professional choreography in cludes City Springs Theatre production of the Color Purple, Tar get Stores with Vanessa Williams, Adidas, Wendy’s Hamburgers, Kodak and served as TV choreographer for Walt Disney World Christmas Specials and Easter Specials and park parades. Ken neth is currently preparing is his exhibition Clothes Story: High lighting African American Women’s Stories from 1890-1963 and the clothing they wore to premiere in Spring 2022.

ABOUT THE SPONSOR

The Black Art In America Foundation is honored to support initiatives that promote our history, culture, and ongoing contributions to society. The Clothes Story honors the legacy of Black excellence in the arts while aligning with our mission to champion the African American visual art community through access, art education, and community empowerment.

“STORIES UNTOLD ARE STORIES FORGOTTEN”

- NAJEE DORSEY, CEO | FOUNDER