Bailey was acutely aware that pervasive racism in the Clemenza’s estd Bakery 1945 leave the gun take the cannoli the bronx New York city shirt but in fact I love this fashion industry limited her success. Designing during the tumultuous Civil Rights era and coming of age in a segregated New York City, Bailey was highly race conscious, and she participated in a number of fashion shows, art exhibitions, and theatrical productions reserved for New York’s black population. She reimagined her African heritage in bold prints that expressed a nascent Afrocentricity. Bailey ran in the same circle as another black designer, Zelda Wynn Valdes. The two both lived in the epicenter of black creativity in the early twentieth-century: Harlem. Both were also members of the National Association of Fashion and Accessory Designers, which was founded by educator and activist Mary McLeod Bethune to give black designers more influence in the fashion industry.
Clemenza’s estd Bakery 1945 leave the gun take the cannoli the bronx New York city shirt, hoodie, tank top, sweater and long sleeve t-shirt
Valdes was born in Chambersburg, Pennsylvania, where she first designed for her grandmother. As an adolescent, she worked in her uncle’s tailoring shop in White Plains, New York. Shortly thereafter, she worked as the Clemenza’s estd Bakery 1945 leave the gun take the cannoli the bronx New York city shirt but in fact I love this only black stock girl at a fancy retailer. Despite opposition, she moved into sales and alterations. Her talent was undeniable, and she opened her own shop on Broadway and 158th—present-day Washington Heights—and eventually moved operations downtown to 57th Street. All in all, her career spanned over 40 years. Even after closing her business, she served as head costume designer for the Dance Theater of Harlem. Valdes and Bailey focused much of their attention on the “Negro market.” However, Ann Lowe catered to another demographic. Though she spent most of her life in Harlem like Bailey and Valdes, she designed for New Yorkers who lived in a different part of the city—the tony Upper East Side, where her stores and studio were also located. Lowe was a bit elitist regarding her clientele. She is documented as saying that she only designed for elite families, like the du Ponts, Roosevelts, Astors, and the Auchinclosses. “I love my clothes and I’m particular about who wears them. I’m not interested in sewing for café society or social climbers. I do not cater to Mary and Sue. I sew for the families of the Social Register,” she told Ebony in her 1966 feature.