Editor-in-Chief Clay B. Morris reflects on the inspiration and ethos of the Spring 2023 edition of Coulture.
Author: Clay Morris
Clay Morris is a member of the style team and a sophomore double majoring in Journalism and Political Science. His writing focuses on the intersection of fashion and race as well as the “hard news” of fashion. Morris’ fashion mindset comes from his mother who says: Style is not what you wear it’s how you live.
“You’ve committed to being Tami. And I love that.”
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The Cobbler
The Cobbler is a short film written and directed by Tyson Edwards, produced by Keller Huffman and starring Dillon Cavanagh and Caroline Cochrane.
Ahead of its premiere at the Carolina Film Association showcase on April 23, Coulture’s editor-in-chief Clay Morris spoke with some of the film’s cast and crew about the process of making the film and what viewers can expect to see in the horror-comedy.
The theme’s usage of the word lexicon is ironically apt, considering that the majority of the looks that ascended the Metropolitan Museum of Art’s steps require some sort of tool other than fashion as language to decode their substance and raison d’être. Perhaps a better theme for the amalgamation of fabric and stitches donned that night would be: “In America: A Lexicon of Confusion and Calamity”.
Increasingly though, since his death, I have begun to associate him with my clothing infatuation, and some of my most vibrant memories connected to clothing come from during his battle with stomach cancer.
The conversation between my style identity as a Black person and my political identity as a Black person have not always come into contact. But these identities have consistently been in conversation, as they both have an indelible impact on America’s broader sociopolitical context.
Here’s my conversation with one-half of Fashion For All, Ali Richmond, on Blackness, fashion and America’s racial complex
The reasoning behind Wintour’s sudden sympathy for Black people is allegorical to what some claim is the bedrock of fashion: trend.
Beyond my superficial connections to the former creative director of Vogue, my admiration for Talley comes from the respect I owe him for existing in an industry that has historically had little-to-no room for men who look like me. However, what is even more important to me is Talley’s permanence as a cautionary tale about the whims and woes of the fashion world for Black people and, more specifically Black men.