Black Creativity and Self Expression Through Fashion
February is Black History a month, a time to recognize and celebrate the achievements and contributions of Black people who have shaped culture across the world. ISAIC being a pioneering nonprofit national resource for the manufacturing of soft goods in the center of a Black mecca—Detroit, we’re fortunate to witness Black history in the making.
Students in our Fundamentals of Industrial Sewing and Production program usually fall into two categories: entrepreneurs or job seekers. We interviewed a Flint, MI native, Lemuel Fisher, a budding entrepreneur and cognitive and dialectic behavioral therapist to learn about how Black creativity and self-expression has been expressed through fashion and in his own life. Read the Q&A below for the full interview:
What does Black History Month mean to you?
L: It means future. It means awareness of self and remembering all the sacrifices people have made to give me a shot at the base of life, what's deserved.
How would you describe Black excellence in your personal life?
L: It’s a two-tiered thing: I’ve always been taught I have to work ten times harder, never make mistakes but my black excellence is trying and failing and not extending myself past what I need to do to meet white mediocrity... I allow myself grace to make mistakes; The people before me allowed me a chance to make those mistakes. It gives me a chance to truly reflect and grow at the rate that I would like to.
How are you currently contributing to Black history through your personal, professional, or creative endeavors?
L: I am a cognitive and dialectic behavioral therapist; I work with black youth almost every day and being able to be aware and open and be receptive to younger black people who are still facing some of the things I faced when I was a youth, and being able to give them alternative ways to deal with issues that they face and give myself alternatives for how I deal with things in my own life, using black love truly as a way to escape a lot of the hardships that we face no matter what age we are at.
Also, just being a decent man, not the greatest, but I’m trying—being aware of myself and being aware of the things I do and how that makes people feel.
How is ISAIC/ FISP a part of your journey to advancement and prosperity?
L: It gives me an opportunity to learn a whole new skill that I dreamed of learning for a long time. It has given me the tools to teach people around me the skills I learn which will then grow and help not only the people around me but the extended communities that people may move to.
What inspired you to take a sewing class, and how has it influenced your appreciation for Black history and culture?
L: When I was younger, I got to see the Dior show: ‘02 summer/spring collection. The lead designer was a real tall black man, like the “when I talk all eyes on me”; he gave that, and the designs of the suits were so beautiful and crisp and I wanted to learn how to make that. I majored in fashion technology, so when I saw FISP had the opportunity to learn hands on—it excited me and gave me a chance to go after the dreams that I had when I didn’t have the tools to achieve them. With completing this, I have the chance to be impactful in Detroit and help restorative folks.
Can you tell us about a notable Black figure in the fashion industry and what they have done to shape the industry?
L: Dapper Dan for being able to not only force major fashion houses to completely rebrand themselves, but also almost 40 years after his initial designs they are still timeless and still being able to be used in everyday modern fashion. Someone being so ahead of their time and using what is available to them and repurpose and recreate a whole new couture is really cool.
How has Black creativity and self-expression been expressed through fashion and sewing throughout history?
I think if there is any point of documentation with Black people in America, our imprint on fashion was at the mainstage for a lot of pivotal moments in time. Ann Lowe was a seamstress and dress maker, made all the dresses for the Whitneys, Rockefellers, all of the elites in the golden age of America from the 1930s to 80s; She was creating dresses. All these looks that were being created, white house looks, the modern-day wedding dresses were all influenced by hard Black work that goes unrecognized.
How does learning about the history of Black fashion and sewing contribute to your understanding of Black culture and history more broadly?
L: With every other facet of history black people are invisible characters who are major shifters of culture. It is important to know history to be able to share that these people are forgotten and their contributions are very important. Their contributions shouldn’t be forgotten. Learning about different facets of fashion you will run across these names and give people the recognition that they deserve.
In what ways do you see the intersection of Black history, culture, and creativity in your sewing projects and designs?
L: I like to work with textiles from Black owned creatives, not just Black Americans, Black South Americans, Africans, because Black culture is so wide. It doesn’t just stop at what we have here in America or the transatlantic slave trade. We have so much more to show. In my life I want to represent Blackness in its entirety and respectfully give Black people of the world the eye on them and own their garments.
How can sewing and fashion be used as a tool for promoting and preserving Black cultural heritage?
L: Anytime a Black design or a Black model is used, the recognition should be given, continuously be given, not just for a talking piece. It shouldn’t just take Black History Month.