Shelby Ivey Christie talks about the impact of blacks on fashion

Shelby Ivey Christie is a historian of the digital age. Online, she is known for her meticulous and informative Twitter feeds that tell and document the impact of black Americans on the fashion industry.

It is, as she said, to ensure that the contributions of blacks are widely recognized and appreciated, especially when they are often overlooked. His work has led to notable partnerships, including one with the streaming service Tide where she was able to interview a legendary fashion designer Dapper Dan. She also worked with Netflix for the release of the special "Homecoming" of Beyoncé 2019.

But Christie is not only "famous Twitter" – she is also an academic. Originally from North Carolina, she attended North Carolina State Agricultural and Technical University where she obtained a B.A in race, class and culture. She then worked for some of the biggest companies in the fashion world, including a stint at Vogue as a marketing and digital sales planner.

She is now a master's candidate at New York University for costume studies. In an interview with Business Insider, Christie spoke about the diversity in the fashion industry, what has changed and where we still have to go.

"I was born in New York."

I was born in New York and lived there until I was three. And then my mom and I moved to Denver, Colorado. I grew up (in Denver) until I was 10, and then moved to Charlotte, North Carolina. Growing up, I (would) bounce back between wanting to be a lawyer and a fashion designer. I've always loved fashion … (but) when I got to high school, (my passion) was more about journalism.

"I went to the North Carolina State Agricultural and Technical University."

I entered as a fashion merchandising student. But at the time, I had a boyfriend who went to another school and he was a major in history, and I loved talking to him about black history. I was like, & # 39; wow, I think I really like this. & # 39; So I secretly slipped and changed major. (But) I was confused (about my career path) – I took two years of school leave (and) at that time, I returned to New York to do an internship for (W magazine) and I took online community college courses … I went back to college (at North Carolina State Agricultural and Technical University) at Age 21. I entered as a major of race, class and culture.

"When I came back to fashion again in 2015, I moved to New York to do an internship for InStyle magazine."

It was just at the time (back then) when you heard whispers about the closing of magazines. I love fashion and I thought to myself, “ Okay, the editorial sounds like it might not be that hot. & amp; # 39; But at the time, the fashion closet was right next to the marketing manager. I thought, "Oh, what is he doing?" and someone said, "Oh, he's a marketing manager." And I knew marketing as a business function, but I never knew that these business roles (overlapped) in fashion … I knew there was had more job security there.

"I think a lot of fashion operates on white patronage."

Many people who have occupied this space, they may not have had to fight their way to the top, or they come from some type of pedigree or background. So they probably didn't spend much time with people of color. You are sort of the only person they interact with throughout the day who is not white. So there is a lot of pressure that comes with this from a performance standpoint, always having that extra look at you. And then just the thoroughness of the work.

"Vogue has been one of the most difficult jobs I have ever done in my life."

In the past two years since I left (Vogue), I started Instagram stories and Twitter feeds, and they took off. I could only do it because I was no longer at Vogue – because I was no longer technically working in fashion, so I could be more vocal.

(Finally) I wanted to understand: “ Okay, I like fashion, I want a higher degree. What does it look like for someone who doesn't want to get into design?

"I am a fashion historian and curator, but I wear a lot of hats."

I always like to look for opportunities where I would lead discussions with brands. I just worked in partnership with Tide, sitting with Dapper Dan for them … And I partnered with Netflix to make a thread on the "Homecoming" costumes of Beyoncé. I try to make myself available for all opportunities … I want to be the authority when it comes to costume and fashion from a cultural, societal and racial point of view.

"I want (people) to understand that fashion is not just this frivolous thing."

It's not just clothes. It’s political. Textiles can tell us how (the economy) is doing … I think the more people learn about (fashion and its history), the more they can inform decisions and help people make better decisions and understand the times in which we live. Just watching fashion.

"Black people have given the fashion landscape so much flavor, color and depth that it wouldn't be here without us."

Watch Bootsy collins and the funk movement. And the whole camp that they injected into the atmosphere and changed the way black masculinity was perceived. Busta Rhymes, Andre 3000, Lil Uzi Vert, Young thug – the work they have done to change the way masculinity is perceived in hip-hop from a cis masculine perspective. And we go all the way up – Zelda Wynn Valdes designed the Playboy bunny costume, (who was) the standard of sexy.

"(Blacks) have always been impressed with luxury, because that's where we come from, right?"

Luxury is a symbol of rising from the ashes in a way. We have caught up with our (white) counterparts in the past 400 years (since the end of American slavery). It took them centuries to do what we did. The concept of "The best of Sunday"is something that is true to African American culture – and this thread stayed with us. We love to dress.

Fashion is both societal and political … For many years, black women wore uniforms – something that was a maid uniform or a maid uniform. And so when you finally didn't have to wear your uniform, or you were finally off work on Sunday – you were with your own family after being with the white family during which you worked all week , and you finally arrive on Sunday, and you can wear your own clothes.

"The black elite definitely dress differently (in the past)."

The furs would have been a thousand marker, white gloves, different types of hats. Now we are focusing less on pearls; it's more about individuality. Affluent blacks have moved away from these key indicators by wanting to homogenize in white society. Now we are at a point where being rich is being able to express yourself in the truest and purest form. Wearing a black designer on a red carpet or in a very important appearance … this is more like a display of power and allegiance for black people on the move.

"I don't think streetwear is dead."

There has been a dramatic return to female silhouettes. But I don't think it means streetwear is dead; I think people are watching this (shift) and they might think, okay, there is definitely a shift away from (streetwear) when it comes to, you know, whole collections dedicated to streetwear. But I don't think he will ever be dead because he is grounded in a black way of dressing, and one cannot be separated from the other.

When you see a sneaker, whether on a track or on the street, it comes from a certain type of hip hop culture. There is culture in it, whether it is intentional or not.

"I am passionate about ensuring that our footprint (and) the contributions of blacks to the fashion landscape are documented and more widely known."

As a black woman who worked in fashion, we worshiped the YSL, we worshiped the Dior – and I love (Dior) and I love its heritage – but we don't hear or hear often see someone who looks like us, even though they did exist.

I hope people who are passionate about fashion – even those who are already more familiar with the black footprint and black impact of fashion – know that we were there at the start and that there are all these great fashion pioneers who were black too.