“The collection was about uplifting black women and the idea behind the campaign was for women to have a seat of the table. The Last Supper offered a reflection that everyone in the community can have a seat at the table but too often people of colour don’t. We have to build our own chair and sometimes our own table.” Feben Vemmenby is talking to us about It’s Not Right But It's OK, the CSM graduate’s MA collection, which she dedicated to strong black women. “And when I say strong, don’t forget that there is depth behind that word, embracing your vulnerability is strength,” she adds.

The reference to Whitney Houston doesn't run much deeper than the title, instead it's other inspirational women who can be found depicted in this young talent’s work. Alongside Vemmenby’s mother, who you can spot depicted on a beaded bag, there is a nude of Nina Simone printed on an artfully draped dress, while Harlem ballroom legend Dorian Corey finds expression in an executive realness trompe-l'œil print. “The essence of Whitney is there but so is the essence of Eartha Kitt and Nina,” she explains. “Really the collection is about reclaiming displacement for a surrealistic approach to black identity.”

While she shows love to all of these icons, her design process is a deeply personal one. “It starts from within me, my experience navigating through the world as a black woman. I then use these feelings to explore topics in my work,” she says. “I think it’s really important to be able to use whatever platform you have to voice your own journey as we can all learn from each other. We all matter and we all deserve to be heard. It’s imperative to educate others whether in fashion, art, politics, or just a simple conversation.”

The resulting collection brings together outlandish pockets, beautiful ruffles and strong shoulders with classically feminine silhouettes and an electric colour palette. By juxtaposing unexpected textiles such as stretch mesh with wonkily striped wool, and mashing up family photos with famous artworks, Vemmenby has created a delightfully awkward look. Hence the Whitney song nod. “It started off as a word play to do with how I was reworking my fabrics but developed into how I approached my research when designing,” she reveals.

“Looking into pop culture and music that shaped my own identity. Creating my own sources of history as I was struggling to find existing ones that I could relate to,” she adds. “Being black and strong is hard so I wanted to express that in a surrealist way by incorporating trompe l'oeil techniques with fabric manipulations. Every piece tells a story overplayed with layers of humour and memories. In life, one must laugh through the pain.”

The designer’s work also draws on the Japanese aesthetic philosophy of Wabi Sabi - the art of finding beauty in imperfection and impermanence - as a means of addressing her upbringing. She was born in North Korea and raised by her Ethiopian mother in Sweden before relocating to the UK to study (see her LCF BA collection here). “I think I’ve always liked to experiment through this subject [perfection] - as I always felt displaced,” she says. “I was never going to fit into western ideals of womanhood, but at the same time I wasn’t as connected to me Ethiopian roots as I wished. This forced me to dig deep to figure out who I am. It’s about reclaiming my displacement instead of seeking something I’m not. Fashion started off as an escapism and then developed into a tool for me to express myself as a designer.”

While centring black women voices, Vemmenby also possesses an acute ability to find fresh ideas and frames of reference everywhere. Hence looking as much to Renaissance paintings as pop stars. And to effectively communicate her far reaching inquiries for this collection, she assembled a stellar creative team for her decadent film and imagery. “I wanted to work with people who inspire me such as Ib [Kamara], Virginie [Moreira] and Liz [Johnson Artur], who is one of my favourite photographers. Working with people who understand and can translate what you’re trying to achieve is a dream.”

Photography Liz Johnson Artur
Styling Ib Kamara
Hair Virginie Moreira
Make-up lookbook Ammy Drammeh
Make-up campaign Quelle Bester
Casting Chloe Rosolek
Words Miriam Bouteba

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Published on 20/06/2020