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Black Style, Made to Measure

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Black Style, Made to Measure

Once all the spilled champagne has been mopped up from this year’s Met Gala, the exhibition that it’s toasting, “Superfine: Tailoring Black Style,” will examine Black dandies, bespoke suiting and the Black men who so often set the standard of what it means to be stylish.

Black fashion lovers may feel the celebration is long overdue, but the show provides an opportunity to consider all that “tailoring” can mean — especially to Black people in the United States.

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Ahead of the Costume Institute show, Black craftspeople across the country — a milliner in South Carolina, men’s tailors in Chicago, a jeweler in Los Angeles — reflected on the power and joy that can be found in tailoring.

Custom Clothiers

Christopher Brackenridge and Milton Latrell

Two sons of seamstresses help men look their best at Agriculture, a boutique in Chicago.

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Photographs and video by Nolis Anderson for The New York Times

“We’d both seen how confident the clients of our moms became when they wore custom clothing. They had confidence. They walked a certain way. Their posture changed. And we was like, ‘If that makes a Black man feel good, why not be a part of that?’” — Milton Latrell

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The boutique’s clients include famous Black actors, pastors and musicians, as well as local students getting outfitted for prom.

Mr. Brackenridge said he especially loved working on pieces that clients have had in their families for generations and finding new ways of updating them so they feel modern. A 60-year-old jacket that once belonged to a client’s grandfather was a particular highlight.

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“I love when a client is able to come in and bring a piece that their grandfather may have worn and we are able to update that style to now.” — Christopher Brackenridge

“We like to put things like hidden watch pockets and coin pockets” for a little surprise, Mr. Latrell said.

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“When you’re wearing something custom or just customized to you, you feel debonair — extraordinary, even — like you can accomplish anything,” said Milton Latrell, co-founder of Agriculture, a Chicago boutique specializing in custom suiting and styling for men.

For many Black people, having a tailor is not an extravagance, but a necessity. The right tailor can take an ill-fitting pair of pants and make them flatter every contour of the body. The right tailor can transform scraps of fabric into a treasured dress, skirt or jacket — all while leaving customers looking and feeling their best. And when customers feel their best, they exude a swagger and confidence that feels like a natural part of being Black.

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Cheryl A. Lofton

A third-generation tailor in Washington initially wanted nothing to do with the family business.

“My niche in the business was alterations. I wanted to make sure that women knew that they could come in and have the same treatment that the men got in a tailoring business.”

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Scissors originally belonging to JC Lofton, Ms. Lofton’s grandfather who started the business in 1939. Black Tailors

J.C. Lofton, left, in Washington D.C. in the 1940s, who founded Lofton Custom Tailoring in 1939.

“My mom dressed up to go to the grocery store. She did not go out of this house without a nice, well-fitted dress, her makeup done, and her high-heeled shoes. Never, ever did my mom go out without being dressed up, as did all of the grown-ups in our family. They were always well dressed.”

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Cheryl A. Lofton and her grandfather, Joe Cephus (J.C.) in the 1970’s.

Like Ms. Lofton, I have family in the business. For most of my own childhood my mother was a tailor, making wedding gowns, bridesmaid dresses and suits in a room in the back of our house in Harare, Zimbabwe. Her customers, a mix of friends, family and strangers, always seemed to leave her de facto studio feeling joyful. It was in that back room that I found an affinity for tulle and feathers, and learned just how special clothes made just for you could make you feel.

When my family arrived in the United States, my mother stopped sewing professionally, but she always made time to ensure that my clothes — most of which were thrifted or hand-me-downs donated by our new community — felt one of a kind. She would swap out a plain black button for a fun mismatched pink one, extend a hem on pants that were a tad too short, use extra fabric on a skirt that was too big to create pleats and ruching. Even when my clothes weren’t new, they felt special.

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Costumer

Laron Nelson

The owner of Opulent Designs in New Orleans says his goal is to make outfits that are “more costume than fashion.”

Photographs and video by Camille Lenain for The New York Times

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“I use a lot of sequined fabrics — a lot of velvet, satins, lamés, lace, brocade, rhinestone fabrics — because for Mardi Gras, everything is all about the glitter and the shine. The glitz.”

Locally, Mr. Nelson is best known for his custom wire working and feather collars, worn by participants in New Orleans’s famed second lines and pageants.

“I started creating it so I wouldn’t have to spend the type of money it cost to buy from other people,” Mr. Nelson said.

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Mr. Nelson’s mother and sister help with the business, whose studio is in the Gentilly neighborhood of New Orleans.

“A lot of men are deterred from wearing what they want to wear because they may feel like something is not masculine. But my thing is, if you’re masculine, it doesn’t matter who you are, what you are and what you wear.”

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For Mr. Nelson, more is more.

At 18, I moved to Rome for school, and within days of arriving, found myself wandering through the Termini neighborhood in search of a barber and a tailor. I was tight on cash, but I wouldn’t be caught in clothes that were too tight or too loose. I found a student tailor who shared a studio space with other young designers.

Years later, as a graduate student in New York, I often hauled a bag of thrifted clothes to a Harlem dry cleaner for alterations. The store was next to my barbershop and a few blocks away from the market where I bought fabric for scarves and head wraps — which, of course, was walking distance from my cobbler. In my late 20s in Atlanta, I made sure to find a tailor, a barber and a jeweler to repair my most beloved pieces before I signed an apartment lease.

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Jewelry Designer

Maggi Simpkins

A Los Angeles artist who doesn’t want to make earrings or bracelets “just for the sake of making pretty things.”

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Photographs and video by Bethany Mollenkof for The New York Times

“We’re creating these pieces with the intention that they’ll be passed down throughout generations and continue to tell the stories of the people that once wore these pieces.”

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“I used to have a locket growing up and I loved it and I thought it was magic because you would open up and there’d be a little photo inside of it,” Ms. Simpkins said, “but I never understood why the photos were hidden.”

“My earliest memory of jewelry is my mom going through her jewelry box and taking out pieces and telling me stories about ‘Your grandfather gave this to your grandmother on their 25th wedding anniversary,’ or ‘Your grandfather got this when he was 16 years old during communion.’ So I grew up hearing stories about family members that were no longer alive.”

Ms. Simpkins in her Los Angeles studio.

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Although Ms. Simpkins makes all kinds of jewelry, she’s best known for her nontraditional engagement rings.

“From an early age, jewelry was just magic to me because it had the ability to hold these stories from past loved ones.”

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You can find Black artisans almost anywhere: on main streets in the bustling part of town, or tucked away in studios in basements, attics, spare bedrooms or even garages. In these spaces, they are constantly experimenting and creating.

I first met Natalie Simmons, a hat maker born and raised in Charleston, S.C., at her store in the West Ashley district of the city in 2019. I explained to her that I was in town for a wedding that called for a hat, but I didn’t know what to get. Days later, she handed me a fascinator with a long black and white feather.

Milliner

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Natalie Simmons

A hat maker in Charleston, S.C., who sources materials from Italy and parts of Africa.

Photographs and video by Donaven Doughty for The New York Times

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Molds and a measuring tool that Ms. Simmons uses to make all types of hats: fedoras, cloches, boaters, bowlers, sun hats and more.

“My grandmother had hats in every color. If you walked into her closet, her closet was just lined with hat boxes. There were hat boxes up on the shelves. There were hat boxes on the floor. They were just her coveted thing. She had a hat that matched every outfit. She had gloves and handbags, but the hats were something to be cherished.”

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“We don’t just take a hat off the rack and just plop it down on our heads,” Ms. Simmons said. “We add a curious little tilt or a feather, or add a pin, or a special detail that just makes it stand out.”

“A hat that perfectly fits your face and fits the structure of your body can bring something to life. It’s the one thing that can really make an outfit stand out and really tell a story.”

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In her Charleston studio, Ms. Simmons makes custom hats in addition to restoring older ones.

Designers shared similar early memories of falling in love with their craft at home, where they were surrounded by moms, aunts and grandmothers. Their work allows them to continue to tell their family’s stories.

Western Wear Designer

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Dymond Taylor

Dating a cowboy opened her eyes to an opportunity in Houston.

Photographs by Arturo Olmos for The New York Times

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“It’s really easy to design for our people because they don’t want to look like anybody else.”

Ms. Taylor loves to design with leather, denim and — of course — fringe.

“When I started this brand, I wasn’t seeing what I wanted in stores. We always set the trends. We always create uniqueness. It’s just deeply rooted in us to do that.”

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Sometime around her rodeo-going days, Ms. Taylor realized that the disproportionately white images of cowboys and western life that she encountered weren’t reflective of what she knew to be cowboy culture and history. B Stone was born out of that frustration.

“People might not instantly associate Western wear with suiting and tailoring, but when you go back to the root of it, Western wear has always been presented as a suit — the pant, the hat, the boot and the guitar.”

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Ms. Taylor describes her brand as melding “cowboy style and urban style, mixing streetwear with country.”

In shops and studios scattered across the country, the American designers and tailors I spoke with represented exactly what this year’s Met exhibition and gala hope to honor. Each one takes some element of an outfit and elevates it, empowering their Black clients and celebrating their collective history in the process.

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For U.S. figure skating, grief over the D.C. crash makes for a bittersweet Olympics

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For U.S. figure skating, grief over the D.C. crash makes for a bittersweet Olympics

Maxim Naumov performs in exhibition after being named to the 2026 U.S. Olympic Figure Skating Team at the Enterprise Center in St. Louis on Jan. 11.

Brian Munoz/St. Louis Public Radio


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At the U.S. Figure Skating Championships in January, almost exactly a year after he lost his parents — who were also his coaches — Max Naumov won a bronze medal and a spot on the Olympic team.

“Fulfilling the dream that we collectively had as a family since I first was on the ice at five years old … It means absolutely everything,” Naumov, now 24, said from nationals in St. Louis. “And I know they’re looking down, smiling, and proud.”

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Last January, when Naumov placed fourth at nationals for the third year in a row, he joined his parents, Vadim Naumov and Evgenia Shishkova, for a heart-to-heart in their hotel room in Wichita, Kan. to talk strategy. He remembers not being able to hug his mom. She was sick and did not want him to fall ill so close to his next competition.

“It was a very productive, emotional and just inspiring conversation,” said Naumov. “My dad said that we have to change our mindset, we have to get more consistent in the areas that we talked about and just overall have a resilient attitude to the entire approach of the season.”

That was one of the last times they spoke.

Naumov flew home to Massachusetts after the event ended. His parents — renowned Russian-born pairs skaters who coached at the Skating Club of Boston — stayed a few extra days in Wichita for an invitation-only development camp for promising young skaters and their support systems.

Many of those skaters, relatives and coaches, including Naumov’s parents, were among the 67 people who died on Jan. 29, 2025, when a U.S. Army Black Hawk helicopter collided with an American Airlines regional jet on its landing at the Ronald Reagan Washington National Airport. The tragedy killed 28 members of the tight-knit figure skating community, many of them based in the Boston and D.C. areas.

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The loss of the rising skating stars, beloved parent volunteers and longtime coaches is felt acutely at their home rinks and throughout the entire skating world, especially as the anniversary of the crash approaches. It comes just a week before the start of the Winter Olympics, when Naumov’s story — and the sport itself — will come under an even brighter spotlight.

Maxim Naumov holds a photo of his parents while he waits for his scores after competing at nationals in St. Louis in January.

Maxim Naumov holds a photo of his parents while he waits for his scores after competing in the men’s short program competition during the 2026 U.S. Figure Skating Championships in St. Louis on Jan. 8. His parents were killed last year when an American Airlines regional jet collided with a U.S. Army Blackhawk helicopter over the Potomac River, near Washington, D.C.

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“They were truly just really good people that we respect, family of choice,” said Doug Zeghibe, the CEO of the Skating Club of Boston, which lost two teenage skaters and their moms, in addition to Naumov’s parents. “And I think we’re at the point now where missing them is turning into: what can we do to honor them and remember them and make sure we carry them forward.”

Many in the skating community told NPR that, a year on, there is a continued focus on honoring the victims’ legacies both on and off the ice. Tributes include makeshift memorials and poignant performances, as well as financial and mental health resources for other young skaters — many of whom have Olympic dreams of their own.

“We’re all feeling a greater sense of purpose,” Zeghibe said.

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How skaters are channeling their grief

Those interviewed recalled the days after the crash as a painful blur.

“We were all just in shock and nobody knew what to do,” said Heather Nemier, president of the Washington Figure Skating Club, which has some 1,400 members at roughly half a dozen rinks across the D.C. area. “A lot of kids came to the rink and left because they just felt like they couldn’t skate.”

Heather Nemier, president of the Washington Figure Skating Club at the Ashburn Ice House in Ashburn, Va., where a number of the figure skaters trained who were victims in the DC air crash last January.

Heather Nemier, president of the Washington Figure Skating Club at the Ashburn Ice House in Ashburn, Va., where a number of the figure skaters trained who were victims in the air crash last January.

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The Washington Figure Skating Club lost seven members: three skaters — Franco Aparicio and sisters Everly (Evy) and Alydia (Liddy) Livingston — their coach, and three of their parents. Nemier said the unofficial spots at the Virginia rink where those skaters usually left their stuff sat empty for weeks, since no one wanted to occupy them.

But over the course of the year, she said, their fellow skaters have found ways to process that grief, with help from mental health counselors, therapy dogs, friendship bracelets, letter writing, public memorials and quiet spaces for reflection.

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And many have returned to the ice with a newfound motivation. (That was also the case for Naumov, who was unsure if he would skate again until he returned to competition in the summer.)

“I’ve heard a number of [D.C.-area skaters] say, ‘You know, Evy can’t skate anymore but I can, and I’m going to get out there and do my best,’” Nemier said.

At the Ashburn Ice House, a memorial was created with photos and information honoring the skaters who died in the crash. Names include three skaters — Franco Aparicio and sisters Everly (Evy) and Alydia (Liddy) Livingston — their coach and three of their parents.

At the Ashburn Ice House, a memorial was created with photos and information honoring a coach, three skaters and their parents who died in the crash.

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Sofia Bezkorovainaya, now 15, did just that. The Virginia-based skater moved the crowd — and the internet — at January’s U.S. Figure Skating Championships in St. Louis with her “Over the Rainbow” short program, a tribute to Everly Livingston, her best friend of nearly a decade.

“If there were flies on the ice, she’d pick them up and bring them to the heater so that they could come back to life,” Bezkorovainaya told NPR after competing in St. Louis. “She always cared about everybody, and she was such an amazing skater.”

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For months after the crash, Bezkorovainaya said she was “sad all the time” and feared she would never feel better. She even switched to another Virginia rink because of how empty her old one felt without the familiar faces.

Then she decided to learn Livingston’s choreography and compete with it in her memory.

In the opening and closing moments of the program, Bezkorovainaya said, “I look up to the bright lights up there and I hug myself and I imagine her hugging me.” Her long program is dedicated to her late longtime coach, Inna Volyanskaya, whose distinctive corrections she says she can still hear in her head while practicing.

“Doing these programs was like having them with me this season,” she said. “And before I got on the ice, I could always pray to Inna and Evy and everyone else who I was friends with on that plane … like, ‘Please help me do a clean program today.’”

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Bezkorovainaya was one of three skaters at nationals whose program explicitly paid tribute to loved ones lost in the crash. Others, including Naumov, held up photos as they waited for their scores.

Sofia Bezkorovainaya skates during the "Legacy On Ice" U.S. Figure Skating Benefit at Capital One Arena in Washington, D.C., on March 2, 2025. She one of three skaters at nationals whose program explicitly paid tribute to loved ones lost in the crash.

Sofia Bezkorovainaya skates during the “Legacy On Ice” U.S. Figure Skating Benefit at Capital One Arena in Washington, D.C., on March 2, 2025. She one of three skaters at nationals whose program explicitly paid tribute to loved ones lost in the crash.

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“I think it’s admirable that they’ve come up with ways of coping with such a terrible loss that is meaningful to them and is meaningful to other people, too,” Nemier said. “And to be able to share that with the public and with the skating community, I think is really important.”

Boston-based Patrick Blackwell, 17, skated to honor his friend Spencer Lane, even including a clip of the music Lane had planned to compete with this season. Blackwell ultimately won gold at the junior level, which he said was “not just for me but the ones who passed a year ago.”

“It’s kind of my gift to Spencer, his dad and every other family member, being able to bring gold home to a place where a lot of lives were lost,” he said.

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Clubs look to keep legacies alive 

Local and national figure skating organizations are working on more permanent ways to honor the victims’ memories.

And in early March, the U.S. figure skating community came together in Washington, D.C. for “Legacy on Ice,” a benefit show that raised $1.2 million for first responders and victims’ loved ones. It featured moving performances by a huge roster of Olympians, past and present, as well as several young skaters directly affected by the crash, including Naumov.

More recently, the focus has shifted to the next generation of skaters: making sure they remember those who were lost, and making it easier for them to pursue the dreams they shared.

The Skating Club of Boston, for example, has created the “Always Champions Campaign” to fund two permanent scholarships, one in honor of each of the two skaters it lost, with criteria set by their families.

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The campaign also aims to rename one of the rinks in Boston and create a memorial wall in honor of the six victims.

Flowers and remembrances are displayed for the six athletes, coaches and family members who perished in a plane crash, at The Skating Club of Boston in Norwood, Mass., on March 25, 2025. A plaque that reads "Forever in our hearts" displays photos of figure skaters Spencer Lane and Jinna Han along with coaches Evgenia Shishkova and Vadim Naumov. Parents Christine Lane and Jin Han are also named.

Flowers and remembrances are displayed for the six athletes, coaches and family members who perished in a plane crash, at The Skating Club of Boston in Norwood, Mass., on March 25, 2025.

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“They were all examples — the skaters, the parents, the coaches — of people who we saw, if not six, seven days out of the week,” said club director Mia Corsini Bailey. “Their commitment to the sport on multiple levels is something that we’re carrying forward.”

In the D.C. area, the Washington Figure Skating Club has endowed trophies in memory of the three skaters it lost, with plans to add the winners’ names to a ringside plaque updated every year.

The club is also using its existing foundation to support young figure skaters through the “Livingston Family Dream Fund,” which was set up by relatives of the family of four. The club used the money to give $1,000 grants to the skaters who participated in this year’s national development camp, according to Nemier. There were eight of them, she said, compared to about a dozen last year.

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Another painful dimension of the tragedy, one increasingly top of mind in an Olympic year, is where the skaters returning from last year’s development camp were in their careers: right on the brink of making it to nationals, and beyond.

“Those were some of the kids that could have made it to the next Olympics or the Olympics after that,” said Bezkorovainaya, the junior skater.

Corsini Bailey, of Boston, recalls sitting down with 16-year-old Spencer Lane and his parents to talk about that very prospect just before the national development camp last year, and said she saw a similarly bright future for 13-year-old Jinna Han.

“The talent was there, the star power was there, and they truly were that next generation,” she said. “And now we look to: how are their legacies inspiring that next generation … whether they were their peers or they were the younger skaters who were looking up to them. Again, we carry them with us every single day.”

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How Jewellery Houses Aim to Stay Ahead In 2026

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How Jewellery Houses Aim to Stay Ahead In 2026
High jewellery brands including Boucheron, Chaumet, De Beers and Dior showed new collections at Haute Couture week in Paris as they manage so far to ride out geopolitical tensions which have sent gold and silver to new highs while the dollar sinks.
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More staff shakeups at the Kennedy Center

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More staff shakeups at the Kennedy Center

A recently installed sign at the Kennedy Center in Washington, D.C., as photographed on Jan. 10. The center’s name change has not been approved by Congress.

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Two senior staffers have departed the John F. Kennedy Center for the Performing Arts in Washington, D.C. — one of whom was officially on the job for less than two weeks.

Kevin Couch had been announced as the Kennedy Center’s new senior vice president of artistic planning on Jan. 16, at which point he was hailed as a “visionary entertainment leader” with “over two decades of experience in artist management, global booking and high-level brand partnerships,” including booking live events in San Antonio, Tulsa, Little Rock and Springfield, Mo.

Couch, who is a drummer, confirmed to NPR on Wednesday evening that he had resigned from the federally funded center, but declined to share any details.

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Meanwhile, the Kennedy Center’s senior director of artistic operations, Sarah Kramer, confirmed to NPR on Wednesday evening that she had been fired after a decade working there.

The Kennedy Center did not respond to NPR’s multiple requests for comment.

Since President Trump became chair of the performing arts complex and later moved to change its name to the Trump Kennedy Center, several prominent artists have canceled their planned performances and presentations of their work. Cancellations announced this month include the composer Philip Glass, opera star Renée Fleming, the banjo player Bela Fleck and the Seattle Children’s Theatre. The Kennedy Center has told NPR in prior statements that the artists cancelling have been doing so under pressure from “leftist activists.”

The center’s name change did not receive the required approval from Congress. Last month, Rep. Joyce Beatty (D-Ohio), an ex-officio member of the Kennedy Center’s board, filed a lawsuit against President Trump, the center’s president Richard Grenell, and others over the name change.

Jennifer Vanasco edited this story.

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