Kelly was African-American and that fact played prominently in his designs, in the way he presented them to the public and in the way he engaged his audience. In 2004, Robin Givhan, writing in the Washington Post, observed that an important aspect of Kelly's work as a designer was the way he foregrounded race and heritage in his designs, choices of models and public image:Īny lasting contribution that Kelly made to fashion's vocabulary is dominated by the singular significance of his ethnicity. He deployed this material ironically in his designs, which feature cartoonish watermelon wedges, black baby dolls, bananas and golliwogs, among other images. Kelly was an avid collector of Black memorabilia, with an affinity for items depicting racial stereotypes that many people find challenging, offensive or demeaning. Describing one such 1988 show, The Christian Science Monitor commented, "Styles ranged from the sublime-tailored suits and dresses with longer hemlines, mostly in somber gray flannel, and flowing crepe pants-to the ridiculous-motorcycle-helmet hats, lopsided pockets, scoop necklines trimmed with huge gardenias, and, of course, an abundance of buttons." Through this affiliation, Kelly was able to present runway shows at The Louvre. He was the first American to join the organization, which is the trade association for the French ready-to-wear industry. His young label thus became an official colleague of brands such as Yves Saint Laurent, Chanel and Christian Dior.
With the support of designer Sonia Rykiel, Kelly was admitted in 1988 to the prestigious Chambre syndicale du prêt-à-porter des couturiers et des créateurs de mode. That year, his sales approached $7 million. With Warnaco's backing, Kelly designs were soon available in stores throughout the world. In 1987, the Warnaco fashion conglomerate signed an agreement to manufacture Kelly's clothing. He also participated in a notable collaboration with jewelry designer David Spada, one product of which was one of Kelly's most famous designs, a Josephine Baker-inspired ensemble with a banana skirt now in the collection of the Philadelphia Museum of Art. During this period, he began to acquire celebrity couture clients, such as Bette Davis, Paloma Picasso, Grace Jones, Madonna, Cicely Tyson and Goldie Hawn.
#Chanel business affinity full
He was so gay and so full of energy, and so were his clothes." Also in 1985, the French edition of Elle Magazine covered Kelly with a six-page spread in its February issue. In an interview, the store's buyer said, "Patrick landed like a bomb in my shop in 1985. Kelly began to sell his designs at the trend-setting Victoire boutiques in Paris. The two quickly became lovers, with Amelan taking a management role in Kelly's burgeoning enterprise. Kelly met Bjorn Amelan, a photographers' representative, in 1983. In Paris, he found more immediate success and soon developed his signature slinky, brightly colored jersey dresses adorned with colored buttons and bows in a nod to the sophisticated cut-rate style of the Southern women of his childhood. After a lackluster year in New York, he moved to Paris in 1980, again at Cleveland's suggestion. In 1979, he connected with the pioneering Black supermodel Pat Cleveland, who admired the clothing he was making and encouraged him to move to New York City. He also worked fashion shows at the Atlanta Hilton with upcoming super model Iman and established a modeling agency and clothing line under the name Longboy. He ultimately had his own store in the city's Buckhead district. In 1974 Atlanta, Kelly supported himself by working at an AMVETS thrift shop, where he had access to donated designer dresses and coats that he modified and sold alongside his own designs. After graduating high school in 1972, he briefly attended Mississippi's Jackson State University before moving to Atlanta, Georgia. His interests in fashion surfaced in high school, when he learned to sew.
After his father's death in 1969 his grandmother assisted with his upbringing. Kelly, a home economics teacher and cab driver, respectively. He was raised by his mother Letha Mae Kelly and father Danie S. Patrick Kelly was born on Septemin Vicksburg, Mississippi. Kelly's designs were noted for their exuberance, humor and references to pop culture and Black folklore. Among his accomplishments, he was the first American to be admitted to the Chambre syndicale du prêt-à-porter des couturiers et des créateurs de mode, the prestigious governing body of the French ready-to-wear industry. Patrick Kelly (Septem– January 1, 1990) was a celebrated American fashion designer who came to fame in France.
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