Why there are so many Asian-Americans in fashion, and how they changed the industry.



IF THERE CAN be said to be a single group of people who have most effectively counteracted the monolithic idea of what it means to be Asian-American — a label that encompasses people with ancestry from countries in East Asia, the Pacific and South Asia — it might be the several dozen Asian-American designers who began to shape the fashion industry in New York beginning in the early ’80s. Their collective presence corrects at least some of the tokenism that has often defined the fashion world, where diversity can often be a one-dimensional gesture.

The very first Asian-American fashion designers were pioneers such as Anna SuiVivienne TamVera Wang and Kimora Lee Simmons — women who launched their labels in a market dominated by Calvin Klein, Bill Blass, Ralph Lauren, Michael KorsDonna Karan and Marc Jacobs. Each had their own aesthetic: Sui with her peasant blouses and flouncy skirts; Tam with her updated takes on the traditional cheongsam; Simmons with her body-conscious velour tracksuits; and Wang, who built a new bridal vernacular with her clean, minimalist gowns. By the aughts, a new vanguard of Asian-American designers (here, we use the term to include both American citizens of Asian descent and Asians who work in America) were launching their own labels, including Phillip LimRichard ChaiAlexander WangPeter SomBibhu MohapatraDerek Lam and others. Their clothes shared no unifying aesthetic aside from being contemporary — a rebuke to the Orientalist belief that there is one particular Asian mode of expression. (Lim recalled early on being asked by reporters why he didn’t use dragons and red silk brocade in his designs.) Their arrival also added depth to the notion of who, exactly, could be an American fashion designer while also announcing a more organic age of inclusion — these designers, for example, made a point to cast Asian and other nonwhite models for their shows and campaigns. As they gained acclaim, their presence was bolstered by the success of more conceptual designers such as Jade LaiYeohlee Teng and Mary Ping. After the 2008 recession, many independent designers were unable to sustain themselves alongside luxury conglomerates. Still, those who have continued — Jason WuJoseph AltuzarraPrabal Gurung, to name a few — have ushered in the next generation. Jin Kay, Dylan Cao and Huy Luong of the label Commission, which was created in 2018 and inspired by the stylish Vietnamese and Korean women of the late ’80s and ’90s, spent time at Lim’s and Gurung’s labels as well as at bigger European brands like Gucci. At around the same time, Peter Do, who used to work with Phoebe Philo at Celine, launched his own label in New York. There’s also now ’90s-grunge inspired designers such as Jenny Cheng, of Gauntlett Cheng, as well as Sandy Liang, whose label features raver-like cargo pants for the club kids of the Lower East Side, among many more.

The rise of these designers can be explained, in part, by the professionalization of fashion — the School of Fashion at Parsons and the Fashion Institute of Technology in Manhattan are incubators for talent (in 2010, The New York Times reported that roughly 70 percent of Parsons’s international students came from Asia; 23 percent of F.I.T.’s students were Asian or Asian-American). Their achievements have also helped Asian parents accept that fashion design can be a replicable pathway to success. And if many come from families with backgrounds in the garment industry, much like the Jewish-American designers who preceded them (the grandparents of Lam, who is of Chinese descent, owned a large bridal-gown factory in San Francisco; Lim’s mother, who emigrated from China, worked as a seamstress in Los Angeles), many also found their way into fashion through other arenas: Lim cites the music videos he used to watch on MTV as a teenager growing up in Southern California as being more of a direct influence on him than anything else. “I wanted to be part of that tribe,” he said.

BUT NONE OF this explicitly answers why so many Asian-Americans have gravitated toward fashion. Asian-American representation in the broader glamour industry — not only on the red carpets and in fashion shows but also in film and television — has been slow to come. There are still too few actors and models of Asian descent to accurately reflect the diversity of this country, one where Asian-Americans are approximately 6 percent of the population, according to the 2018 census. Whatever lingering resistance exists to seeing Asian-Americans speaks to a persistent invisibility — in part because Asian-Americans don’t neatly fit into the black-white racial dynamics of America, and also because our own history in this country is easily diminished or, worse, often left unacknowledged. The success of these designers is very hard won, as the funders, buyers and editors in fashion are still essentially the same as they were decades ago, and because building a brand takes years of dedication along with significant investment.

Perhaps one reason there are so many Asian-American designers is that fashion values the concept of presentation — design is a way to connect to the cultural values of craftsmanship and use of luxury materials so historically prevalent in East and South Asian countries. Perhaps, too, the stereotypes surrounding assimilation (especially the model minority) have made it easier for gatekeepers to accept and take risks on them (today, 48 of the more than 500 members of the Council of Fashion Designers of America identify as Asian; by comparison, only 19 identify as black and 31 as Latinx). More commercially, the popularity of these American designers translates abroad, as brands such as Lim’s or Alexander Wang’s proved to be viable in not just the European markets but in China, South Korea and Japan as well, where consumer spending power has increased in the last two decades.

Finally, there’s also a less tangible factor, which is that the last half century of these designers’ work (as well as that of Japanese designers such as Rei KawakuboYohji YamamotoJunya Watanabe and Issey Miyake) has aligned designers of Asian descent with the avant-garde. Asian invisibility may still persist, but these designers have become an indelible part of our collective consciousness when it comes to what we wear and how we choose to wear it. And that can only grow over time. Yet when you ask Gurung why there are so many Asian-American designers, he replies, “Are there, really?” There is always, he was pointedly saying, room for more.

Thessaly La Force is a features director at T Magazine. Renee Cox is a Jamaican-American artist. Her work focuses on feminist theory and black womanhood. Set design: Todd Knopke. Hair and makeup: Laura de Leon at Joe Management using Chanel Les Beiges. Hair and makeup for Prabal Gurung: Van Truong at MAC. Hair and makeup assistants: Robert Reyes and Anna Kurihara.

Jalyn’s Top Ten Trends for Spring 2020

While the Coronavirus has taken over our lives, it seems a bit frivolous to be thinking about fashion. But perhaps this is precisely when we need some welcome distraction and a reminder to appreciate what is beautiful in life. It is in this spirit that I offer my take on the trends for spring, realizing that it will be a long time before we will be able to socialize and go about our lives freely. Stay home, stay safe, stay healthy!

  1. Button Down Shirts and Dresses

The button down shirt is an eminently wearable staple, equally comfortable paired with a suit for a chic tailored look or with jeans for a cool casual look. Patterns and luxe fabrics add interest.

2. Denim

Denim comes in a wide range of washes, cuts, colors, and iterations. The high waist is still trending, as well as various cuts besides the skinny. The straight shape, flared, boot cut, or wide legged may be the ticket. Pair pieces together for a denim on denim look, or as an alternative, a denim boiler suit makes the look easy to achieve.

3. Waistcoats

A fitted waistcoat can add a dapper look and be a versatile addition to your wardrobe. Wear it alone, over a fitted shirt or as part of a three piece suit. The waistcoat can rock a ‘70s look or be polished and elegant.

4. White Dresses

White dresses evoke purity and innocence. This season featured feminine dresses of simplicity and minimalism, but also white dresses embellished with lace and trims.

5. Neon colors

Neon colors say, Look at Me! But neons also play well with neutrals like black, tan, and white. For the less bold, neons can be incorporated into a wardrobe through an accessory or two.

6. Shorts suits

Suits take a shorter route this season as Bermuda shorts and short shorts are paired with jackets for a new take on the power suit. Bermuda shorts are not a universally flattering length, so proceed with caution, and short shorts are for the young and fashion forward.

7. Polka Dots

Polka Dots are fun and breezy, no matter if on clothing or accessories. So have some fun with them, large or small!

8. The Slouchy Handbag

The slouchy handbag, with its soft shape, is easy to incorporate into any wardrobe. Sizes range from the clutch to the capacious.

9. The Trench Coat

Trench coats are timeless, practical and the perfect weight for spring and summer showers. Besides the usual beige versions, Trench Coats sported interesting details, artful draping, fresh colors, leather accents, and metallic and glossy finishes.

10. Tropical Florals

With enviable aplomb, Jennifer Lopez closed out Versace’s runway show wearing an iteration of that famous Grammy dress from 20 years ago. Tropical prints are resurgent once again and a welcome burst of boldness and color.

The Coronavirus will have a lasting impact on our lives, with so much unknown and still unfolding. So please remember to be kind to one another, as we face this terrifying adversary together.

Meghan Markle’s U.K. Farewell Tour is a Master Class in Revenge-Dressing

Not since Princess Diana herself has a royal sent such an exquisitely powerful message with her clothes.


A dress is never just a dress when you’re a woman in the British royal family. Sometimes it’s sartorial diplomacy, like Kate Middleton wearing Ireland’s signature emerald-green while sipping a Guinness in Belfast last week, or Meghan Markle choosing Australian designers like Karen Gee and Martin Grant for her 2018 royal tour-drobe. Other times it’s for function. Queen Elizabeth is known to wear monochromatic Easter Egg shades so her subjects can see her in a dense crowd.

But the royals are also experts in the exquisite art of revenge dressing—showing up to an event looking like pure fire, in an outfit so stunning and show-stopping, it elicits instant regret from any opposing party. Revenge dressing hinges on looking so good, it hurts anyone who dared to doubt you. See: Brad Pitt stopping time when he arrived at the recent Golden Globes in a Brioni tux and Ray-Bans, like a modern-day Cary Grant; the sheer Alexander Wang catsuit Bella Hadid wore to the Met Gala after splitting from The Weeknd in 2017.

But no one quite pulls off the practice like the royals, who seldom grant interviews or otherwise speak in public, and rely on their clothes to send secret, or not-so-secret messages. Over the past few days, Meghan’s spate of bright, body-hugging, almost-achingly glamorous looks during her and Harry’s proverbial “farewell tour” are a master class in revenge dressing—except instead of an ex-boyfriend, the entity that should be sad to lose her is the British monarchy.

Not since Princess Diana emerged in an iconic black, off-the-shoulder Christina Stambolian cocktail dress and pearl choker on the very same day in June 1994 when her ex-husband, Prince Charles, admitted on national television he’d cheated on her, has a royal woman in transition sent such a potent message: you’re going to miss me when I’m gone.

In a crescendo of see-you-later, Meghan saved the best dresses for last: the striking green Emilia Wickstead worn to Monday’s Commonwealth Day service—her last ever event as a senior royal—elicited audible, near erotic gasps from this writer. The swish of the cape called to mind Saturday night’s electric-red Safiyaa, worn at Harry’s side to the Mountbatten Festival of Music. It was the color of the carpet at Buckingham Palace, where she will no longer hang out with people who wear racist brooches. Another day, another triumph: on Thursday night, Meghan chose turquoise Victoria Beckham—plus a bold, berry lip—for that magical under-my-umbrella-ella-ella moment with Harry, en route to the Endeavor Fund Awards. Somewhere, Jessica Mulroney must be cheering.

I fancy this fashion hot streak a most gracious dig at the British tabloid press, which seemed to skewer Meghan for sport. The dazzling recent head-to-toe photos of her are the kind they would have loved to publish for years to come; perfect for garnering clicks and selling newspapers… if only they hadn’t lobbed so much abuse her way. The Los Angeles Times’ Meredith Blake likened it to the Pretty Woman scene when Julia Roberts returns to that snobby boutique in a snazzy suit, just to say : “Big mistake—huge.” Showcasing their special brand of subtly sexy, modern-royal magic in recent days, Meghan and Harry also reminded the monarchy that it is losing two superstars who felt they had “no choice” but to step back.

Meghan’s farewell tour fashion was rife with sweet revenge messaging. As a senior royal, the duchess favored black, navy, or a muted palette of buttery mauve and taupes. But in recent days, the colors turned unapologetically bold—like her critics never wanted her to be. It can’t be a coincidence that Meghan opted for not one but two capes, whether for superheroine vibes (some credit her with rescuing Harry, after all) or to symbolize the couple’s flight. After being criticized for not wearing enough British designers, Markle notably took her bow wearing three (in Beckham, Safiyaa, and Wickstead).And while Meghan’s farewell looks were revenge dressing as its best, the Sussexes’ beaming smiles may have been the accessories that spoke the loudest: neither looked like they regretted the decision to step back from royal life, no matter how much controversy and drama and opposition the choice provoked. They projected a united front right down to their coordinating colors: Harry’s blue tie matched Meghan’s Wickstead dress on Thursday night; the red Safiyaa complemented his military dress on Saturday; eagle eyes pointed out that on Monday, the liner of Harry’s suit blazer was, like, Meghan’s Wickstead dress, a glorious green. They may no longer be senior royals as of later this month, but they still rule.