Press \\ Press Release

New exhibition celebrates the brief creative life and legacy of a self-taught designer who challenged fashion

Released March 24, 2022

Patrick Kelly: Runway of Love
On view at PEM June 25–November 6, 2022


SALEM, MA
– The Peabody Essex Museum (PEM) presents an exhibition celebrating the life and legacy of the late fashion designer Patrick Kelly, whose meteoric rise in fashion remains unprecedented and unmatched today. Rooted in expressions of love and joy and inspired by his experiences growing up in the American South, Kelly’s fearless yet lighthearted designs pushed racial and cultural boundaries. First presented by the Philadelphia Museum of Art in 2014, and reconstituted for presentation at the de Young, Fine Arts Museums of San Francisco in 2021, Patrick Kelly: Runway of Love is on view at PEM from June 25 through November 6, 2022.

Born in Vicksburg, Mississippi in 1954, Kelly was primarily self-taught and drew inspiration from his Black heritage, his days in the New York and Paris club scenes and his personal muses. Drawn from the collection of the Philadelphia Museum of Art, the exhibition – which features footage from the designer’s exuberant and groundbreaking fashion shows and over 75 fully accessorized runway ensembles created between 1984 and 1989 – situates the artist and his work in the broader context of fashion history by exploring the provocative objects and lived experiences that inspired his clothing. Patrick Kelly’s promising career was cut short by his premature death from complications related to AIDS on January 1, 1990.

“Since his passing more than 30 years ago, Patrick Kelly’s vibrant aesthetic has become part of the lexicon of global fashion,” said Petra Slinkard, PEM’s Director of Curatorial Affairs and The Nancy B. Putnam Curator of Fashion and Textiles. “Kelly’s short but inspiring career produced fourteen collections in just six years. He promoted powerful messages of joy and love, while addressing important cultural and social issues head on. Kelly and his work have subsequently become touchstones for a number of established and emerging designers.”


Southern Upbringing and Impressions

Patrick Kelly, Woman's Dress (detail), Fall/Winter 1986-87, Wool and spandex knit, plastic buttons Philadelphia Museum of Art: Gift of Bjorn Guil Amelan and Bill T. Jones in honor of Monica Brown, 2015-201-124, Image Courtesy of the Philadelphia Museum of Art


Kelly credited his grandmother for introducing him to high fashion through Vogue and Harper’s Bazaar. The designer quickly observed that no Black women were featured, which sparked a young Kelly to proclaim that he would design fashionable clothing for all. With strong Black women as his supportive foundation, Kelly took exceptional pride in his Southern origins, even once declaring, “At the Black Baptist church on Sunday, the ladies are just as fierce as the ladies at Yves Saint Laurent couture shows.”

Kelly’s grandmother was one of his greatest muses. As a child, she would replace his missing buttons with those of many different colors, a look that Kelly later adapted for his fashion designs. To keep wholesale costs down, he often featured dresses sold with separately packaged buttons, bows, and hearts that wearers could pin on themselves. He began by designing clothes for his friends at University and later after moving to Atlanta; he styled store windows and opened a vintage clothing shop.

Portrait of Patrick Kelly. Photograph by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Scan by Randy Dodson / Fine Arts Museums of San Francisco

The designer’s work unflinchingly explores charged imagery drawn from Kelly’s life and his personal collection of racist memorabilia. These include the image of the golliwog adapted as his brand’s logo. (A golliwog is a fictional and racist Black character that first appeared in a British children’s book in 1885.) Kelly’s adaptation of this cartoonish symbol would prove controversial in the United States, as the golliwog was (and still is) widely known to be a symbol of racism. Yet for Kelly, there was power in taking control of these images to share his own story. Kelly even extended the conversation to his own signature look, a pair of oversized, bibbed denim overalls, which harkened back to the laborers, tenant farmers and civil rights activists of the American South.

“Patrick Kelly’s collecting of objects and reimagining of imagery inherently racist and anti-Black into a sartorial critique is evidence of his belief that ‘nothing is impossible’,” said theo tyson, Advising Scholar and the Penny Vinik Curator of Fashion Arts at the Museum of Fine Arts, Boston. “His astute understanding and command of fashion as a language allowed him to innovate and transform the lived experiences of his youth in a Jim Crow sanctioned South intolerant of Blackness and queerness into an entrepreneurial expat in Paris exalted for that very Blackness and queerness. Kelly’s colorful, joyful designs fashioned with DIY flair embodied his sensibilities of freedom and epitomized the glamorous, ballroom, camp-inspired drag of ‘80s fashion — anything was indeed possible.”


Meteoric Rise to Stardom

While attending New York’s Parsons School of Design, Kelly channeled his creativity into dressing ‘club kids’ in his latest designs but became stymied by a lack of opportunity. In 1979, with the gift of a one-way ticket, Kelly moved to Paris and began selling his designs on the street. Kelly’s early ready-to-wear designs embodied 1980s “fast fashion” which, at that time, referred to simple, narrow silhouettes paired with interchangeable pieces that ensured maximum impact for minimal cost. Fast fashion of the 1980s responded to fluctuating trends and allowed designers to be experimental in their use of fabrics. With little money, Kelly bought fabric at local street markets and did the sewing himself with a borrowed sewing machine, turning out a number of items a day. Kelly dressed his model friends in body-conscious knits, which they would wear around the city, becoming living advertisements of his vision. These dresses quickly caught the attention of an editor at French Elle magazine, which featured Kelly’s fashions in a six-page spread in February 1985, as well as the Paris boutique Victoire. Bergdorf Goodman, who found Kelly’s designs fun, chic, affordable and Parisian, purchased this first collection. The New York–based department store displayed them in their 57th street windows reserved for new designers.

Kelly spent several years as a freelance designer and, in 1985, he founded Patrick Kelly Paris with his business and life partner Bjorn Guil Amelan. By 1987, he signed a multimillion-dollar contract with the American apparel giant Warnaco. Moreover, by 1988 Kelly became the first American and the first Black designer elected into the elite Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode. Membership in this exclusive group allowed Kelly to present his ready-to-wear collections in the Fashion Week tents at the Musée du Louvre. The exhibition section titled Lisa Loves the Louvre features designs from this Spring/Summer 1989 collection, for which Kelly imagined that the museum’s most famous resident, Mona Lisa, invited him to show his latest designs.

Patrick Kelly, Fall/Winter 1988–1989 advertising campaign. Photo by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Scan by Randy Dodson / Fine Arts Museums of San Francisco


Lasting Legacy

Kelly’s originality and distinctive vision came through in his exuberant runway shows, which opened with the designer spray-painting a heart on the back wall of the stage in the spirit of urban street art. In the exhibition section called Hot Couture, a playful tribute is made to Kelly’s muses and to fashion history. Many of Kelly’s own presentations parodied fashion-show traditions and riffed on the work of famed couturiers such as Yves Saint Laurent, Gabrielle ‘Coco’ Chanel, Elsa Schiaparelli and Madame Grès, a designer whom Kelly held in highest regard. A master at draping and manipulating fabric into Greek goddess–like gowns, Madame Grès inspired Kelly’s much more practical knitted jersey dresses with wraps that tied around the body in various ways.

Portrait of Patrick Kelly. Photograph by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Scan by Randy Dodson / Fine Arts Museums of San Francisco

After Kelly debuted his Fall/Winter 1988–1989 collection in Paris, he presented it in Atlanta for Heart Strings, a touring fundraiser held by the Design Industries Foundation Fighting AIDS (DIFFA). During the 1980s, AIDS decimated the fashion community. Although Kelly was diagnosed with HIV in July 1987, the stigma at the time prevented Kelly from revealing his illness publicly. The exhibition’s final section, Two Loves, is a tribute to America and France, which were also embraced by Kelly’s greatest muse, Josephine Baker. The designs in this section come from Kelly’s final collection, which pay homage to cultural icons from both countries.

“We hope our visitors are inspired by the life and work of this incomparable, prolific artist,” said Slinkard. “Despite the personal and professional challenges he endured and his premature death, Kelly made a lasting impact on the fashion world through his belief in the power of love and joy, and his unapologetic use of fashion as resistance.”


Publication

The exhibition is accompanied by a generously illustrated catalog with hundreds of images of runway photography, garments on mannequins, and never before-published archival materials. Published by the Fine Arts Museums of San Francisco in association with Yale University Press, edited by Laura L. Camerlengo, Associate Curator of Costume and Textiles and presenting curator at the Fine Arts Museum of San Francisco, Patrick Kelly: Runway of Love is an unprecedented exploration of Kelly’s influential career. More than 80 of Kelly’s most beloved works are featured alongside thoughtful essays examining his work in relation to French fashion, Queer identity, Black identity, and his exuberant runway shows. Also included is a detailed timeline illustrated with archival photographs and drawings, making this volume the definitive resource on Kelly’s life and work. Hardcover, 256 pages. Available for purchase in the Museum Shop.

PRESS PREVIEW
Save the date: June 22 at 5 pm – Please join us for a reception and curator-led tour of the exhibition. Invitation to follow.

PUBLICITY IMAGES
High-resolution images are available upon request.

SOCIAL MEDIA
Share your impressions with us on social media using #PatrickKellyatPEM.

IMAGE CREDITS

  • Patrick Kelly’s Fall/Winter 1989–1990 advertising campaign. Photo by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Scan by Randy Dodson / Fine Arts Museums of San Francisco.
  • Patrick Kelly, Woman's Dress (detail), Fall/Winter 1986-87, Wool and spandex knit, plastic buttons Philadelphia Museum of Art: Gift of Bjorn Guil Amelan and Bill T. Jones in honor of Monica Brown, 2015-201-124, Image Courtesy of the Philadelphia Museum of Art
  • Portrait of Patrick Kelly. Photograph by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Scan by Randy Dodson / Fine Arts Museums of San Francisco
  • Patrick Kelly, Fall/Winter 1988–1989 advertising campaign. Photo by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Scan by Randy Dodson / Fine Arts Museums of San Francisco
  • Portrait of Patrick Kelly. Photograph by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Scan by Randy Dodson / Fine Arts Museums of San Francisco

EXHIBITION CREDIT

Patrick Kelly: Runway of Love was organized by the Philadelphia Museum of Art in collaboration with the Fine Arts Museums of San Francisco. The organizing curator is Dilys E. Blum, the Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles, with curatorial support from Monica E. Brown (1949–2015), Senior Collection Assistant for Costume and Textiles, and Laura L. Camerlengo, former Exhibition Assistant for Costume and Textiles, at the Philadelphia Museum of Art and currently Associate Curator of Costume and Textiles and presenting curator at the Fine Arts Museum of San Francisco. The presenting curator at the Peabody Essex Museum is Petra Slinkard, the Director of Curatorial Affairs, The Nancy B. Putnam Curator of Fashion and Textiles.

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The exhibition is made possible by the generosity of Carolyn and Peter S. Lynch and The Lynch Foundation, Angus and Leslie Littlejohn, and Susan and Appy Chandler. Additional support was provided by individuals who support the Exhibition Incubation Fund: Jennifer and Andrew Borggaard, James B. and Mary Lou Hawkes, Kate and Ford O'Neil, and Henry and Callie Brauer. We also recognize the generosity of the East India Marine Associates of the Peabody Essex Museum.

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PROTECTING HEALTH AND SAFETY
The health and safety of PEM’s staff and visitors is our highest priority. PEM has increased its safety protocols, including the frequency and intensity of its sanitation and disinfection efforts across the museum. Face coverings are encouraged. To learn more, visit pem.org/safety.

ABOUT THE PEABODY ESSEX MUSEUM
Over the last 20 years, the Peabody Essex Museum (PEM) has distinguished itself as one of the fastest-growing art museums in North America. Founded in 1799, it is also the country’s oldest continuously operating museum. At its heart is a mission to enrich and transform people's lives by broadening their perspectives, attitudes and knowledge of themselves and the wider world. PEM celebrates outstanding artistic and cultural creativity through exhibitions, programming and special events that emphasize cross-cultural connections, integrate past and present and underscore the vital importance of creative expression. The museum's collection is among the finest of its kind boasting superlative works from around the globe and across time -- including American art and architecture, Asian export art, photography, maritime art and history, Native American, Oceanic, and African art, as well as one of the nation’s most important museum-based collections of rare books and manuscripts. PEM's campus offers a varied and unique visitor experience with hands-on creativity zones, interactive opportunities and performance spaces. Twenty-two noted historic structures grace PEM’s campus, including Yin Yu Tang, a 200-year-old Chinese house that is the only example of Chinese domestic architecture on display in the United States. HOURS: Open Thursdays, Saturdays & Sundays, 10 am–5 pm, and Fridays 10 am–7 pm. Closed Thanksgiving, Christmas and New Year's Day. ADMISSION: Adults $20; seniors $18; students $12. Members, youth 16 and under and residents of Salem enjoy free general admission. INFO: Call 866-745-1876 or visit pem.org.

Media Contacts
Whitney Van Dyke | Director of Marketing & Communications | whitney_vandyke@pem.org | 978-542-1828
Amelia Kantrovitz | Exhibition Publicist | amelia_kantrovitz@pem.org | 617-794-4964