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from the client. It always astonished me that no matter how tired she may have been, there was never a time where she was not focused and willing to respect the process by giving her undivided attention to details. Although she was demanding, she knew what she was talking about. During the fitting process, while my technical team was busy making adjustments, I would find myself chatting with Aretha about our mutual love of classic films and the costumes in them, on Turner Classic Movies, as well as her favorite singers. She was a big Bette Davis fan. So am I. Along with Aretha Franklin, my two favorite singers are Barbra Streisand and Judy Garland. I was a bit surprised when she told me they were her favorites, too. ‘I’ve never heard either one of them sing a false note!” she told me. On a personal note, the story that always brings tears to my eyes is from 2006. Aretha was appearing at Caesars in Atlantic City. Since my parents have a home close by in Longport, I asked her management to see if it was possible for me to attend one of the concerts with my mother and father. Aretha told her people to give me as many tickets as I wanted and that she would like to meet my parents after the show. I was also told that she gave explicit instructions that no one was allowed backstage that night except my guests and me! Needless to say, my parents were ecstatic. We, along with my sister and brother-in-law, were escorted backstage to meet The Queen. My mother extended an invitation for Aretha to come back to our house for White House Subs cheesesteaks and hoagies. She declined, saying, ‘Oh, thank you! I love me a good Philly cheesesteak, but I’m watching my waistline!’ And then - this is
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the part that always gets me choked up - as she got up to walk to her limousine, she looked straight in my parents’ eyes and said, ‘You did good.’ My father has since passed but knowing that Aretha Franklin said those words about me to him will live on in my heart forever.
Q: What were her favorite pieces that you designed for her? Where are the dresses now?
a: The answer here is what is bet-
ter known as a ‘no brainer.” Over the 15+ years that I was Aretha’s exclusive designer for all her concert gowns plus a few cocktail dresses I created – the white silk satin faced organza ruffled jacket and matching mermaid gown that I designed (and stitched myself) for her triumphant return to Los Angeles’ Greek Theatre in 2004 was her personal favorite. I know this because upon putting on the pieces in our final fitting, she exclaimed, ‘Kenny, I doubt that you’ll ever top this! I responded with, ‘Maybe. But that won’t stop me from trying!’ And for all the years that followed, it became a running ‘joke’ between us. I would ask her, “So, how about this one? Does it top the white ruffled number?” ‘Close. But no cigar!’ she replied. As to where the approximately 30+ pieces that I designed for Aretha Franklin are presently – the person that they were bequeathed to recently informed me – in storage. It has not been decided yet what is to be done with them. I have heard that there are auction houses, along with museums, that are interested in them. I hope that someday in the near future, I will be asked to view them in an effort
to assess whether or not some of them need any restoration.
Q: What did Aretha think of Jennifer Hudson?
a: Jennifer Hudson’s American
Idol audition song was a cover of Aretha’s “Share Your Love With Me.” During the 2014 season, when Jennifer Hudson was a contestant on American Idol, Aretha and I would discuss Jennifer’s abilities. She had nothing but praise for her. She’d say, ‘It doesn’t matter if she wins or not. That girl’s got it!’ Jennifer Hudson was voted off in seventh place. A few days following that night, I was on my way to a fitting with Aretha Franklin in NYC. Jennifer was in town doing the talk show circuit. As I turned a corner, holding the garment bag with Aretha’s gown in it, there stood Jennifer Hudson. I would normally never approach a celebrity on the streets of NYC, but this was one occasion where I simply could not resist. I apologized if I was invading her privacy, then explained that I was Aretha’s designer and that the gown in the bag was for Aretha. She responded, ‘Oh! It is not. You are not!’ I said, ‘I know. Sometimes I can’t believe it myself. But I am!’ I added, “Someday in the future, I would love to design something for you!’ ‘Well. ALL RIGHT!’ she exclaimed. Then we were both on our separate ways. On August 11, 2021, 17 years after that chance meeting, the film’s incomparable costume designer, Clint Ramos, invited me to the NYC premier. Upon entering the after party, standing alone in front of me was Jennifer Hudson. Realizing that within seconds she’d undoubtedly be surrounded by a gaggle of fans, I wasted not a moment. I walked right
| ROWHOME MAGAZINE | October / November / December 2021
up to her. She grabbed my hand as if we had known each other forever! To call her gracious and welcoming would be a gross understatement. I introduced myself then recalled, never expecting her to remember, the first time we met in 2004. I reminded her of my desire to design something for her. Although it was quite noisy, I could swear she said the same thing as the first time I expressed my wish to design for her… ‘Well. ALL RIGHT!’ Whether or not this will come to fruition – I’ve no idea. But the intention is out there in the Universe now.
Q: What’s next in your career?
a: First and foremost, on my
agenda for 2022 is a retrospective of my work from 1977 through the present day. The title of the installation is Kenny Bonavitacola REFLECTING FORWARD. I’m in the process of amassing as many of my vintage pieces as possible. The exhibition will launch at a venue in New York City with the goal to move it in the Fall of 2022 to a venue in Philadelphia. As well, I’m creating Haute Couture pieces that reflect the influences that my past designs have on these new designs. Also, I am developing an original musical play entitled, “WOW!” inspired by the lives of a group of friends who moved from Philadelphia to New York City in the mid 1970s to pursue their dreams of ‘making it’ in the worlds of fashion, beauty, art and theatre. The sets, costumes, lighting and multi-media effects will create a visually compelling theatrical experience. The arc of the libretto spans over 50 years, from 1960 to present day NYC. PRH gohomephilly.com
