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Conversations about fashion are never just about clothing. They are about identity, history, and culture, woven into the very fabric of society. Sitting down with Tonya Blazio-Licorish, MCS, for the second time on the iNNOVATION Insights podcast was a reminder of that truth. As we delved deeper into her book, Black in Fashion: 100 Years of Style, Influence, and Culture, co-written with Women’s Wear Daily (WWD) and Tara Donaldson, we uncovered the intricate narratives of Black designers, models, and cultural icons who shaped the fashion industry.
Tonya and I have known each other for several years, and every conversation with her is a masterclass in the intersections of fashion, history, and culture. This episode was no different. Our discussion picked up where we left off, continuing the exploration of the next 25 years of Black fashion. As we unraveled these decades, we recognized patterns—migration cycles, cultural exchange, and artistic innovation that continue to shape the global fashion landscape.
The 1970s: A Watershed Moment for Black Fashion
As Tonya noted, the 1970s were an explosive period of creativity for Black designers and the fashion world. It was a decade of boundary-pushing style, where Black models were no longer just walking the runway—they were defining movement and emotion on the catwalk. The cultural influence of Black designers extended far beyond their studios, impacting everything from high fashion to streetwear.
We reflected on the legacy of designers like Willi Smith, whose influence on sportswear and street fashion was unparalleled, and Scott Barrie, whose name often goes unrecognized despite his pivotal role in the industry. Another important figure, Jon Higgins, brought elegance and a new perspective to American fashion. These designers and Highland Booker—who reestablished the House of Worth in London—laid the groundwork for future generations.
Tonya pointed out that just as Josephine Baker and Ada "Bricktop" Smith migrated to Paris in the 1920s, we saw a similar trend in the 1970s and beyond. Black artists, writers, and designers were heading to Europe for creative freedom and opportunity. That movement, she suggested, seemed to be happening again today, with artists like Pharrell Williams and the late Virgil Abloh making their mark internationally.
The Power of Cultural Icons
Beyond the designers, we discussed the cultural figures who shaped perceptions of Black fashion. The book highlights icons such as Maya Angelou, Cicely Tyson, and Diahann Carroll, whose elegance and presence in the media challenged industry norms. Figures like Barbara Chase-Riboud, an acclaimed sculptor and writer, were also central to this historical moment, though their contributions have often been overlooked.
Tonya recalled how WWD had captured rare images of these figures, preserving moments that might have otherwise been lost. WWD's photographic archives provided a rich, visual history of Black fashion, documenting how Black influence was not just part of the conversation but often drove it.
Retail and Representation
A crucial part of our discussion revolved around the evolution of Black representation in retail. Black designers and buyers created fashion and entered leadership roles in central retail spaces. Tonya shared insights about figures like JJ Thomas, one of the first Black executives at Bloomingdale’s, and Veronica Jones, who made her mark at ANS before moving to the prestigious I. Magnin.
Despite these strides, the struggle for full inclusion persisted. Many Black designers and professionals had to create opportunities for themselves and others, knowing that if they did not open the doors, no one else would. Organizations like the Black Retail Action Group (BRAG), founded in the early 1970s, played a critical role in pushing for representation in the industry.
The Artistry of Accessories and Beauty
While clothing often dominates discussions of fashion history, we took time to reflect on the contributions of Black jewelers, makeup artists, and hairstylists. Figures like Bill Smith, the only Black jeweler to work with Cartier, brought unparalleled artistry to the industry. Similarly, Barbara Walden founded Walden Cosmetics in Hollywood and created beauty products that filled a much-needed gap for Black consumers.
Even within the realm of hair, pioneers like Frenchie Kashmere, the Haitian hairstylist behind some of Hollywood's most iconic looks, were essential to the broader fashion narrative. These individuals were part of a cultural movement redefining beauty and luxury standards.
The Shift in Language and Identity
One of the most thought-provoking moments of our conversation was Tonya's mention of how Black designers in the 1970s resisted the label of “Black designer.” They wanted to be recognized for their talent without being placed in a separate category. This insistence on being seen as simply "designers" rather than “Black designers” was a defining moment in the industry.
Yet, as we moved into the 1980s and 1990s, fashion created new categories—notably, “urban fashion” and “streetwear,” which often pigeonholed Black creativity into niche markets rather than integrating it into the broader fashion conversation.
Looking Ahead
As we wrapped up our discussion, I reflected on how much I wished a book like Black in Fashion had existed when I was growing up. As a young person in southeastern Colorado, I was fascinated by fashion but had limited access to information. My parents, recognizing my obsession, did their best to provide resources, but there were still so many gaps in mainstream fashion history. This book fills those gaps, offering a comprehensive and visually stunning tribute to Black contributions in fashion.
Tonya’s depth of knowledge and passion for this history were palpable throughout our conversation. Every name she mentioned and every anecdote she shared reinforced how deeply Black creativity is woven into the fabric of fashion. It is not an addendum to the story—it is the story. And with projects like Black in Fashion, we finally see that story in full.
Keep innovating!
Eulanda
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