Patrick Kelly was a celebrated African-American fashion designer who rose to fame in Paris, France in the 1980’s. Among his many accomplishments, he was the first American to be admitted to the Chambre syndicale du prêt-à-porter des couturiers et des créateurs de mode, the prestigious governing body of the French ready-to-wear industry. Patrick's designs were noted for their exuberance, humor and references to pop culture and Black folklore. However, representing the so-called Black race in America in pursuit of his dream was the problem. Like his idol Josephine Baker, Patrick had to leave America in order to recognize his own American dream.
Patrick Leroy Kelly was born on September 24,1954 in Vicksburg, Mississippi. He was the second of three sons born and raised by Danie Kelly Jr and Letha Mae Kelly, a home economics teacher. After his father’s murder in 1969, his maternal grandmother, Ethel Rainey, stood in the gap and assisted her daughter in the raising her three boys. Patrick’s interest in fashion surfaced in grade school, when he learned to sew, which was a skill nurtured by his grandmother. After graduating high school in 1972, Patrick briefly attended Mississippi's Jackson State University before moving to Atlanta, Georgia in 1974. During his time in Atlanta, he volunteered to design window displays for a Yves Saint Laurent Rive Gauche boutique and set up his own vintage store.
In 1979, Patrick moved to New York and enrolled in the Parsons School of Design. Unfortunately his time in both Georgia & New York were short lived due to growing frustrations of the lack of support for black creative talent and minimal opportunities that existed for black designers as a result of the hostile, racist climate in America. However his time in New York did pay off in dividends as Patrick met various influential people who convinced him to go to Paris, France where racism and colorism wouldn't prohibit opportunities to showcase his talent and creativity. The decision to make the trans-Atlantic move later that year would change the trajectory of Patrick’s career forever.
Patrick’s early beginnings in Paris were not necessarily easy. To earn money for survival and to purchase fabrics for his designs, he would often cook and sell fried chicken dinners. He began to sell his designs at the trend-setting Victoire boutiques in Paris. In an interview, the store's buyer said, "Patrick landed like a bomb in my shop in 1985. He was so gay and so full of energy, and so were his clothes. Also in 1985, the French edition of Elle Magazine covered Patrick with a six-page spread in its February issue. During this period, he began to acquire celebrity couture clients, including Bette Davis, Paloma Picasso, Grace Jones, Madonna, Cicely Tyson and Princess Diana of Wales. He also participated in a notable collaboration with jewelry designer David Spade, one product of which was one of Patrick's most famous designs, a Josephine Baker-inspired ensemble with a banana skirt now in the collection of the Philadelphia Museum of Art.
In 1987, the Warnaco fashion conglomerate signed an agreement to manufacture Patrick’s clothing. With Warnaco's backing, his designs were soon available in stores throughout the world. That year, his sales approached $7 million. By 1989, Patrick was at the height of his success, producing his line for Warnaco in addition to other contracts—including one for Benetton—while developing plans for lingerie, perfume and menswear lines. That August, Patrick became ill and was unable to complete preparations for his October show, which soon resulted in the cancellation of his Warnaco agreement. He was sick with AIDS, but the hope of his partial recovery and business considerations kept the nature of his illness secret until after his death. Patrick Kelly died on January 1, 1990. He was survived by his mother Letha Mae, his older brother Danie and younger brother William. At his memorial service, his friend and client Gloria Steinem concluded her remarks by saying, "Instead of dividing us with gold and jewels, he unified us with buttons and bows.
Patrick was an avid collector of Black memorabilia, with an affinity for items depicting racial stereotypes that many people find challenging,offensive or demeaning. He deployed this material ironically in his designs, which feature cartoonish watermelon wedges, black baby dolls and specifically the controversial black face image (golliwog) which would become immortalized as the Patrick Kelly Paris trademark. Patrick’s choice in selecting a female golliwog served as a nod to his southern roots and tribute to his mother and grandmother who taught him to follow his heart and pursue his dreams despite facing the challenges of being black and gay in America. Additionally, he desired to change the narrative given the derogatory history of the blackface image in reference to blacks in America. To Patrick, the golliwog represented happiness, love and joy which were the cornerstones of his brand. Any lasting contribution that Patrick Kelly made to fashion's vocabulary is dominated by the singular significance of his ethnicity. He was African-American and that fact played prominently in his designs, in the way he presented them to the public and in the way he engaged his audience. No other well-known fashion designer has been so inextricably linked to both his race and his culture.
