The Story of the African Diaspora, Told Through Its Fashions

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An NAACP flyer campaigning for the Dyer Anti-Lynching Bill, which passed the U.S. House of Representatives in 1922, but was filibustered to defeat in the Senate. Dyer, the NAACP, and freedom fighters around the country, like Flossie Baily, struggled for years to get the Dyer and other anti-lynching bills passed, to no avail. Today there is still no U.S. law specifically against lynching. In 2005, eighty of the 100 U.S. Senators voted for a resolution to apologize to victims' families and the country for their failure to outlaw lynching. Courtesy of the National Association for the Advancement of Colored People (NAACP).
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By Sandra E Garcia, New York Times

By examining the work of designers of African descent, a new exhibition in Manhattan finds common threads and, more interestingly, divergences.

Elizabeth Way wearing thick-framed glasses and a white button-up shirt tucked into dark trousers poses with hands tucked into her pockets. In the background is a mannequin wearing a bright yellow animal print ensemble.
Elizabeth Way, the show’s curator, wanted to explore how designers used “their artistic practice to define what it means to be a Black citizen in this international world.” (James Estrin/The New York Times)

In a darkened gallery, a dress designed by Madame Willi Posey bedecks a mannequin standing under a spotlight. Notably, Ms. Posey, who worked as a fashion designer in Harlem in the 1950s, ’60s and ’70s, is the person who taught Faith Ringgold, a venerated multimedia artist whose story quilts have hung in many of the great American museums, how to sew. She was her mother.

The Posey ensemble, which includes wide-leg pants and a long-sleeved tunic in a gold fabric that combines zebra and leopard print, is part of “Africa’s Fashion Diaspora,” a new exhibition at the Museum at FIT in Manhattan that examines works from designers of African descent.

The 60 looks included in the exhibition, which opened last week, were created by designers from Africa, Europe, the United States, the Caribbean and South America. The show aims to draw out a mosaic of stories from the African diaspora — a term for the patchwork of global communities of people descended from Africans. From Denim Tears to Balmain to Telfar, the show seeks to highlight connections across the Black experience through fashion.

“For this exhibition, I think one of the hidden themes is that fashion is storytelling,” Elizabeth Way, the show’s curator, said. “All of the designers really use fashion to tell stories, and they, as Black people, tell stories about themselves and about their cultures. I think that through fashion we can understand other cultures a bit better.”

Finish the article to see examples of her work.

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