Be Yeezy??: Kanye, Telfar, & What In The Black Capitalism?

Yeezy x Gap logo. June 2020. Hypebeast.

 

Telfar Clemens for The New Yorker. March 2019. Photo by Justin French. 

In recent news, Gap announced that they would be partnering with the most diabolical of all Gemini’s Kanye, at the expense of the anticipated collaboration with reborn NYC-based Nigerian-American designer Telfar Clemens. 

Just today, another Nigerian brand, Mowalola, has posted on their Instagram a photo of Kanye and Darthr Becky Kimberley Kardashian dressed in a treacle brown leather snakeskin print triangle corset top and flares by the brand, cradled by her Black King in neck to toe black in the same reptilian print. 

Is this dual appearance in what sparse news in fashion we’re  privy to these days a sign of a greater reemergence of Yeezy, if not two of more for us to have shoved in our noses? 

And if so, what does that say about the power of Black celebritydom at the expense of smaller independent Black-owned designers and businesses (with more ethics and less distance between us their patrons and them ?) 

Following a hiatus period, Telfar’s resurgence with the now signature tote bags with two sets of handles which come in three sizes stamped with a raised logo of the brand, a partially encircled stylized “T” has catapulted the brand to Instagram notoriety. The formula is streamlined: Millions of young Black consumers have eaten up these bags, most of which sell out shortly after a restock is announced (waiting on you blue ), posting selfies and videos while tagging the brand, while being their Black ass selves living their Black ass lives, to then be featured in the brand’s daily stories and receive a brief moment of gratuitous clout in return. 

The scene largely responsible for breathing new life have been Queer Black and Brown artists-raver communities alike. 

So what could killing off this collaboration before it even had the chance to breathe mean for Telfar, and other emerged independent Black designers?  What is the message that major companies like Gap are sending out to these often one or few person-run businesses, who strive for quality craftsmanship over rapid-fire machine (and mountainous waste) production, and oppressive labor conditions? 

Gap‘s audience is everyone, and the limitations that Clemens has demonstrated in aesthetic, in branding and signature pieces, as well as in clothing and gender elements, this cancelled collaboration could also have. been a missed chance for Telfar to stretch itself to newer dimensions that consider everyday wear for bodies and people atypical to restrictive runway standards. 

I don’t think Gap truly understands what a missed opportunity this is. Although I wonder if this just wasn’t meant to be, will Telfar continue down the same path? Will it break out of the mold that it’s cast for itself and regenerate anew on its own accord or by applied pressure?