“Patrick Kelly: Runway of Love” at the de Young museum in San Francisco. Fall/Winter 1986-1987, Chez Patrick Kelly collection, Dress: wool and spandex knit with plastic buttons, Coat: printed and quilted rayon. However you think of Kelly’s work, he cleverly integrated the cultural dynamics of his time into his work with wit, humor, joy, and desire. Others remember his bold, courageous, and, arguably, controversial designs and branding on racist tropes, such as the golliwog used as his logo. When many think of Kelly, they think of his artistic use of buttons in his designs. Kelly was innovative in storytelling, taking what existed in society, whether it was within the arts, the community, or behavioral tactics within society, and mix it up, giving it a new meaning.
I’d say all the above, but, if he were here today, I wonder what he would think of all the attention, conversation, study, and presentation(s) of his body of work, how would he brand the history of “Patrick Kelly”. And if you can stick a button on something or funny hat, I’m the one for you.¹ījorn Guil Amelan, Patrick Kelly’s former business and life partner said in an interview “Remembering Patrick Kelly”, from the book, Patrick Kelly Runway of Love, “I think Patrick was painfully branded by his youth in Mississippi and all forms of categorization.”² How shall we categorize or label Patrick Kelly (1954-1990) today, if that is even fair? As a Black designer born in the segregated south who made it big in Paris as an American-born artist, creator of all things beautiful, whimsical, and innovative or as the happy, exuberant designer who had boundless ideas and creativity. I hope when they think about me, they think of being happy.
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