How Zelda Wynn Valdes reinvented fashion

This designer you’ve never heard of was the go-to designer of the midcentury freakum dress, and made sure every Playboy Bunny’s seam was pressed to perfection.

 

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Love it or hate it, the infamous Playboy bunny suit — iconic strapless corset, bunny ears, pantyhose, bow tie, collar, cuffs, and fluffy cottontail — will forever be immortalized in popular culture as a symbol of female seduction and allure.

But what you probably didn’t know was that Zelda Wynn Valdes, a black woman, sewed the original costumes — and that the late Hugh Hefner personally commissioned her to do it.

“Fitting curvaceous women was what Zelda did, so it was a perfect fit,” says Nancy Deihl, author of “The Hidden History of American Fashion: Rediscovery 20th-Century Women Designers” and director of New York University’s costume studies program. “Even though she’s [often] erroneously credited with the costume’s [original] design, it’s been the key thing that’s led to the rediscovery of her.”

But of course, there’s so much more to this incredible woman’s legacy than Hefner’s vision and Playboy lifestyle. The eldest of seven children, Valdes (born as Zelda Christian Barbour) was raised in Chambersburg, Pennsylvania, where she learned to sew from watching her grandmother’s seamstress. Her first attempt at design came when she offered to create a dress for her grandmother. “She said, ‘Daughter, you can’t sew for me. I’m too tall and too big,'” Valdes recalled in a 1994 interview with The New York Times, but the dress she created was a perfect fit. After graduating from Chambersburg High School in 1923, her immediate family moved to White Plains, New York, where Valdes worked at her uncle’s tailoring shop. In the 1930s, she worked as a stock girl at an upscale boutique, where she eventually became the first black sales clerk and tailor. In 1948, Valdes opened her own boutique, called Chez Zelda, making her the first black person to own a store on Broadway in Manhattan.

In her store, Valdes sold her signature low-cut, body hugging gowns, which unapologetically extenuated a woman’s curves. Valdes’ sexy-but-sophisticated dresses were worn and adored by Josephine Baker, Diahann Carroll, Dorothy Dandridge, Ruby Dee, Eartha Kitt, Marlene Dietrich, and Mae West, to name a few. She even designed Maria Ellington’s “Blue Ice” wedding dress when she walked down the aisle and tied the knot with jazz singer Nat King Cole in 1948.

Read more of my latest piece for Shondaland [here]. 

10 Years Later: Mariah Carey’s ‘E=MC²’ Tracklist, Ranked

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Credit: Apple Music

Following a massively successful album would be a daunting task for most artists. But in 2008, musical icon Mariah Carey eagerly accepted the challenge when she released the long-awaited E=MC².

The 14-track LP felt like a continuation of The Emancipation of Mimi, which was dubbed as Carey’s comeback album. Earning a whopping 10 Grammy Award nominations, TEOMwas a pivotal career moment, and it went on to produce the smash hits, “We Belong Together” and “Don’t Forget About Us.” Selling an upwards of 10 million copies worldwide, MC silenced naysayers and proved that she was capable of achieving commercial success after experiencing a mini career slump in the early 2000s.

As acts like Beyoncé, Lady Gaga and Taylor Swift started to hit their prime respectively, critics foolishly pondered Carey’s lasting power when E=MC² arrived on this day in 2008, claiming that it offered no new feels from its predecessor. During that time, R&B became stagnant and was experiencing somewhat of an identity crisis, but Carey working with people like The-Dream helped keep the genre fresh. The album was also another step in her journey to creative freedom.

“Basically, I’m freer on this album than I’ve ever been. Some of the songs on the last album were cool but maybe not quite as neat as this album,” Carey told The Sun’s “Something for the Weekend,” explaining the album’s physics-inspired title, which can also be seen as a not-so-subtle nod to the singer-songwriter’s musical genius. In a separate interview, she said, “This album is so much about fun and freedom and just the continuation of me feeling emancipated … people ask me all the time, ‘How do you stay relevant? How do you stay current? How do you make music that people continue to respond to?’ You just keep being real, keep being you, stay true to who you were from the beginning.”

Read my latest piece for VIBE [here].