FASHION & CULTURE

PhotoS KEVIN SINCLAIR

MCMLXXIX 

Looking Back with Kevin Sinclair

Article and interview by Stacy Stewart Smith

Baby Boomers, particularly those born at the tail end of the demographic cohort (1959 to 1964), have an absolute cultural advantage over other groups. They were around when the world began to unravel its cultural taboos and therefore witnessed firsthand the change from the old ways governed by religious morals—morph into new freedoms discovered through civility. With these changes, there have been highs and lows and both good with bad from all angles. However, change is always a work in progress. 

In hindsight of those things mentioned above, we must note that somewhere between the rise of Pop art and Disco’s fall, society reached its cultural peak. Inarguably, the phenomenon of fashion culture for a privileged society, in this case, “ladies who lunch,” maintained purpose throughout the 20th Century but began a distinct decline that appeared sometime before the dawn of the 1980s. Before this time, everything held a mirror to the eras of the past. However, the late 1970s yielded an excellent vision of the future present. And if you were “of age” in 1979, then you lived through the cultural change that revolutionized everything and ushered in what may have been the final international design style.

When this story was presented to me by our Editor-in-Chief, Kevin Sinclair, we spoke of it casually as being 1980s inspired. Still, in the weeks that have passed the holidays and the shocking realities of 2020, I have realized that these photos of Madisin Rian in high fashion also magnify a moment in the Diaspora when African-Americans finally felt a sense of personal style and belonging. Therefore, before we waft into shoulder-padded power suits, feathered hairstyles, Flash Dances, and cut-up Tees—let’s instead take a moment to pause and identify this moment that preceded the transition to the 1980s.

I’m sitting before my computer imagining Kevin shooting Madisin, and my thoughts run wild. In these poses, we see the faces of Billie Blair in 1970s ads for Virginia Slims. We can also visualize Grace Jones wearing a record on her head—running onto the stage of American Bandstand. And if you close your eyes and think about it, you’ll see stills of Diana Ross from her films, tours, or just dancing at Studio 54. We have been here before; it is transitional disco-era styling, which is still right today. It is as well picturesque of many symbols from the past where the fashion industry struggled with inclusivity. Madisin’s look in this photoplay focuses on the portrayal of ostentatious extravagance and sets the stage to mirror a time when the sexual revolution had reached its peak. It was a time before super viruses and the appearance of postmodern pandemics. Most of all, the photos expose us to a subconscious thought about glamour and style that reminds us that the experience of true fashion should be a bit above normalcy. A portion of apparel must remain an uninhibited art form, all-inclusive, and without pedigree; otherwise, it will cease to exist.

And I recall how beautiful African-American women wore clothing at this moment before Prince Charles married Lady Diana Spencer and when there was finally a large Black middle-class in America. This collector’s edition of Vestal magazine brings with it an epiphany that such a cultural shift was just a glimmer forty-two years ago. At the time, there were few opportunities for Black models and fashion designers in America, but a ray of light did show through the Ebony Fashion Fair. The traveling fashion show was the product of Mrs. Eunice W. Johnson, wife of John H. Johnson of famed publications Ebony and Jet magazines as well as others, and including Fashion Fair cosmetics. At one time, the Johnson Publishing Company was the largest privately held, African-American owned publication and a significant force behind improving the image of people of color (particularly African-Americans). The 1978-79 tour of Ebony Fashion Fair presented “Back to Glamour.” Fashion desperately revisits such a moment, and Vestal plays a pivotal role in generating excitement through its staff’s vision. We took a moment to ask Kevin his thoughts on these subjects and more.

Stacy Stewart Smith __ Hi Kevin, I want to thank you for this opportunity to write for Vestal. I am coming up on my first anniversary with the magazine, and what a year that has been. I am incredibly proud of your vision and our staff. I know that we usually interview other types of celebrities, but I think that as a photographer and entrepreneur, you also are an essential person that our readers should know. You are so humble, though, that I bet you didn’t see this one coming? 

Kevin Sinclair __ Thank you, Stacy. I am so grateful and happy to call you a dear friend, and I respect the passion and professionalism you bring to the table at Vestal. I feel like we have been working together for ages. I mean that in the sincerest way. When I presented this shoot to you of Madisin to write about, I knew it would be something you would enjoy. But yes, I was actually surprised and honored when you reached out to ask if you could interview me for this piece. I was definitely thrilled!

Stacy Stewart Smith __ I migrated to the Big Apple from Chicago to become a fashion designer many years ago. I have known you and admired your work for several decades, but I never asked if you were a native New Yorker?

Kevin Sinclair __ I am originally from Guyana (South America). My family and I left when I was eight years old, and I spent most of my childhood in Toronto, Canada. I later transitioned permanently to NYC, where I studied graphic design at the School of Visual Arts, and then I transitioned into photography.

Stacy Stewart Smith __ The School of Visual Arts is also my alma mater. How did you get your start as a fashion photographer? Did you study photography? 

 Kevin Sinclair __ I actually did not study photography. It was mostly self-taught, you can say. I have always had an interest in fashion photography. On days when I was not studying for exams or working at my retail job, I would rent out a friend’s photo studio for the day, where I would do test shoots to perfect my style and lighting. I first started shooting people off the street to create a portfolio to show modeling agencies in the hope of shooting real working models. At first, I was laughed out by a few modeling agencies because the subjects I was shooting did not fit the early 2000s standard of beauty. I met a great model agent, Stephen Lee, who saw my potential. He began sending me models that were seasonal new face exclusives for Calvin Klein, Balenciaga, and other prominent designers. My name was always credited on the models’ composite cards sent to magazines and designers to promote them. Luckily one of them landed on the desk of Joanna Coles. At the time, she was the Editor-in-Chief of US Marie Claire. I was invited to come in to meet the editors. They were impressed by how I could capture the models’ movement on camera without a huge production team behind me. To make a long story short, I began shooting monthly fashion spreads for the publication for a couple of years, and my career took off after that.

Stacy Stewart Smith __ Because you are so talented, and you must have had some significant opportunities come your way tell us about work for a few of your prestigious clients.

Kevin Sinclair __ I am always so grateful for any opportunity to work with the creatives in my field. When it comes to shooting for any clients, whether prestigious or not, I try to deliver the best quality work I can. To be honest, some of my most exciting shoots are with clients developing their brand. I find that working with newer companies allows the members and myself to collaborate more openly. Maybe it’s because nothing is restricting us in terms of presenting fresh creative ideas.

Stacy Stewart Smith __ What prompted you to start Vestal magazine? What is your vision for its success? Why does this magazine need to exist?

Kevin Sinclair _ I created Vestal to give a voice to photographers. As a photographer myself, I understood the challenges of being published. As it evolved, I understood the publication would reach a diverse group of talents from all over the world. Vestal’s main objective is to focus on culture. I want the magazine to be a place where talented people have a platform to express their creativity.

The police kill 1 in every 1,000 black men in the United States, and if I could not talk myself out of that situation, I could have endured that same fate. This year (2020) filled me with all sorts of emotions. I even considered seeking counseling via Zoom because of everything that was going on. I felt helpless because the media kept telling us to stay indoors in fear of contracting COVID-19. I can firmly say 2020 was not the best year but it has educated me to find more positive ways I can use my influence. This issue of Vestal is a testament of that. In this Collector’s Edition you will find that 95 percent of the talents featured are of color and LGBTQ+. I want to bring awareness to issues that are important to me. We must all do our part in finding ways to educate others on the importance of gender equality and end systemic racism. I want Vestal to be a place where inclusivity is our main focus going forward. 

My aim is to make the photographer understand Vestal’s aesthetic. I want the photographer to be able to express their vision without losing their focus. I always say to each photographer I am working with, “It is your shoot so, please have fun with it.” This encourages them to create their best quality work without me interjecting my vision upon theirs, which in so many ways is a rewarding feeling knowing I am nurturing these amazing talents.

Stacy Stewart Smith __ What do you think about current fashions? Who are some of your favorite designers to shoot? Whose clothes would you love to shoot for Vestal or otherwise? 

Kevin Sinclair __ I think Fashion has been moving into producing designs with closer attention to ethics and sustainability. I think JW Anderson, Acne Studios, Sharon Chox + YOOX, and Marine Serre are doing a fantastic job creating exciting looks and also being mindful of the environment. These are collections that are anything but boring, so I am looking forward to shooting these brands.

Stacy Stewart Smith __ This particular spread with your shots of Madisin Rian seems to have an elevated look from some of the laid-back and austere editorials for which Vestal is known. What was the idea behind this story?

Kevin Sinclair __ Madisin inspired me. Her agent James Tinnelly, a dear friend of mine, sent me over her portfolio, and instantly I was taken by her beauty. She embodies the models from the late 1970s leading up to the 1980s. These are eras I love, so I wanted to step back in time with her. It was a risk I was willing to take. Vestal, out of caution, typically doesn’t approach these types of themes. In the end, Madisin was a genius, and there was no question that all the ingredients worked well in the development of the story. It was a blast!

Stacy Stewart Smith __ Vestal focuses a lot on nostalgia and vintage digs. What do you think of the late 1970s as current fashion inspiration? Were you of age during this period, or are you more of a 1980s person? 

Stacy Stewart Smith __ (Laughing) Thanks Kevin, but I think that you might have to ask both Diana Ross and Berry Gordy for permission first! This has been a great talk; again, thanks for everything!

Kevin Sinclair __ Thank you for taking this time to interview me. I hope our conversation will provide an insight into my vision for Vestal.

Photography Kevin Sinclair Styling Martin Gregory Jerez Fashion assistant Mateo Palacio and Steve Karas Make up Berta Camal Production designer Missy Papageorge Set producer Suhayb Ibn Zarroug Model Madisin Rian