As John worked Never Underestimate An Old Man With Vinyl Records Antique Coal Disk Player shirt on his degree collection the following year, he holed up in the college library, hidden behind stacks of reference books that served a double purpose: They defined his private work space and helped to shield his jealously guarded sketches from prying eyes. As it turned out, John had taken inspiration from the Incroyables—the male and female dandies who emerged in the wake of the French Revolution with their own exaggerated versions of revolutionary style. He even burnt the edges of his drawings and dripped candle wax over them to create the illusion that they had been salvaged from an aristocrat’s ransacked mansion.The collection was sensational—Joan Burstein, who ran Browns, London’s most fashionable boutique, bought it in its entirety. John couldn’t afford a taxi to transport it, so he wheeled it on a dress rail all the way to South Molton Street, where Mrs. B put it in her window and Barbra Streisand and Diana Ross bought pieces right out of it: They were his very first clients. John turned down a job offer to become an illustrator in New York and instead set up his eponymous brand there and then on a wing and a prayer.I wore pieces from that first collection—waistcoats made from patches of 18th-century-style upholstery silks and sprigged cottons, jersey long johns, and vast organza shirts tying at the throat with a huge jabot. (John has re-created one of these looks to complete an ensemble built around a coat from this collection that the Metropolitan Museum of Art’s costume department has recently acquired and that is showcased in Andrew Bolton’s brilliant “Camp: Notes on Fashion” exhibition.)
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50 per cent ‘oh Sophie Never Underestimate An Old Man With Vinyl Records Antique Coal Disk Player shirt I like your haircut,’ just mum and daughter stuff,” Lundström says.Not only do they work together, family forms the very essence of what mother Rebecca Henry and daughter Akua Shakubar have created with their label House of Aaama. Their second collection, Bloodroot, told the story of Rebecca’s maternal heritage in the Antebellum South. Part of their mission as a brand, beyond creating lacy prairie dresses that wouldn’t look out of place in Julie Dash’s epic 1991 film Daughters of the Dust, is to carve out space in fashion for Black Americans to have a nuanced conversation about the bonds with family and home country that were stripped away because of slavery. “By working together, me and my mother have been able to strengthen our bond, and in a way, break these family trauma cycles,” Akua says.Day to day, Akua studies strategic design management at Parsons School of Design in New York while Rebecca works full-time as an attorney in Los Angeles. “It’s a lot of late night phone calls. We will have meetings at 12am – well, for me it’s a 12 am. Right now it’s like working 9am to 5pm, and then 5pm to 1am on House of Aama,” says Akua.The duo agrees the most surprising thing about running a fashion label as a mother and daughter is how little their roles at home have factored into their personal relationship. “I don’t really think that I pull rank as the mother,” says Rebecca. “Just because she’s my mother, she never makes me feel like her ideas are better than mine or vice-versa,” echoes Akua.However, they are perfectly comfortable divvying up duties based on who might be better suited for the role. “Before we had this business I didn’t really realize that Akua is like a hard-as,”says Rebecca. It can be infuriating, but it can also be wonderful, because I am not that way. I’m a Pisces, and I don’t have that skillset to just grind things out on a day-to-day basis.” That said, they’re still grinding pretty hard. House of Aama is gearing up to launch their third collection at New York Fashion Week in September.
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