Beyoncé's Stylist Breaks Down the Fashion in Black Is King
magazine, has been working with Beyoncé for the last six years. Growing up in Landover, Maryland, she used to test her fashion knowledge by flipping to a magazine page and identifying the designer credits without looking. Theinternship led to jobs assisting stylists like Camilla Nickerson, Lori Goldstein, and B. Akerlund. It was on a shoot with B. Akerlund that Akers first crossed paths with Beyoncé.
I was really happy to see a lot of Black designers and Black-owned businesses utilized in the styling. How important was that for you? How did you choose the Black designers you worked with? I called in a lot of her pieces for “Formation,” but it didn’t end up on Beyoncé, so I’ve been trying every now and then to include her. So this piece, interestingly enough, started out as pants, and we turned the pants into little hot shorts, because Beyoncé wanted to dance in them. Typically, a lot of West African fabrics don’t stretch, so we had to create these gussets under the arms, so she could have some freedom of movement. It's about being able to evolve these looks.
I just paired the two together and took the extra fabric. I always have designers send extra fabric, because I like to cover shoes or need them for alterations. I also like to have extra fabric to play with if we have to make a bodysuit to go underneath. We created a turban to go on top of the mask. I then took these heels, put strings on them, tied them up [Beyoncé’s] leg, and tied flowers onto the string.Sarah [Diouf] is very near and dear to me.
So after the “Spirit” video, we had stayed in touch. She had started making these bras and more constructed garments. She was kind enough to send us practically 20 pieces. She sent us her entire collection to sort of use and abuse, and we did just that. And it really contributed in multiple points in the film and gave it the texture. The use of the cowrie shells was a nod to when they were used as currency.
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