Coloring Outside the Lines

How many times have you read that the perfect strand of pearls, pair of smooth gold hoop earrings and paisley print scarf are all any woman needs? For years, most professional women have been taught that these Anglo classics should be a part of every wardrobe.

But “StyleNoir: The First How-To Guide to Fashion Written With Black Women in Mind” (Perigee, 1998), by New York Times style reporter Constance C.R. White, challenges the notion that Anglo accessories are right for everyone. The result is an insightful read for any African American woman looking to put together a look that is modern, elegant, fun and expressive of African culture.

A 10-year veteran of the fashion industry who has worked at Elle and Women’s Wear Daily, White talked about “StyleNoir” and shared tips in an interview last week.

White noticed she never saw diverse faces in style books or magazines, she said.

“African American women are not represented at all or they are not represented well. This book is a response to a growing interest I’ve seen among black women in expressing their culture through clothes. I wanted to give them some affirmation, as well as how-tos that bear in mind their complexions and preferences,” she said.

White decided the time was ripe for a black woman’s style book.

She heralds the 1990s as a renaissance in black street fashion, crediting Olympians Florence Griffith Joyner and Jackie Joyner-Kersee with helping to establish the new athletic aesthetic of beauty.

At the same time, one of the biggest black designing successes came in 1990, when Carl Jones and T.J. Walker introduced the first hip-hop clothing line, Cross Colours.

Slowly the fashion establishment caught on. Calvin Klein found a white rapper in Marky Mark, Chanel paid homage to hip-hop, and Tommy Hilfiger saw a gold mine.

The fashion world’s interest in African culture reached an all-time high in 1997, when high-end designers including John Galliano, Jean Paul Gaultier and Ralph Lauren presented collections with African motifs.

White believes the next movement in the marriage of Anglo and African style will not be on the runways, but on the streets. So, the mission of “StyleNoir” is to provide a head-to-toe blueprint for adding African touches to any look, from weekend wear to a wedding gown.

Adding African flair can be as easy as pulling together a few accessories, or “the new classics,” as White refers to them in the book:

“Start with a pair of earrings made from cowrie shells [once used as currency in some African countries]. And instead of the Anglo classic pearl necklace, try a Tutsi triple-strand pound necklace. The beads can be white, but they also come in a huge selection of colors that can be worn with a simple suit to give a lift to your face, or if your style is funkier, with an African print sarong skirt and a tunic top.”

White offers the Ankh ring as an African counterpart to the Anglo classic signet ring.

“It’s a classic clean shape that can work with anyone’s wardrobe,” she said. “You can put it with full African dress or with a navy suit for work.”

An entire chapter is devoted to integrating African touches into work wear. Since this can be difficult in conservative settings, White recommends assessing the tone of your workplace first. In a creative field, it’s likely your office has gone the way of the casual-work-wear revolution--a trend amenable to the relaxed African mode of dress.

Although blue jeans even on casual Fridays are a no-no for most professional women, white or black jeans with a Rastafarian-inspired red, green and black colored belt, a black shirt and a choker of multicolored glass beads are a great alternative.

African prints in Western shapes also add spice to a career wardrobe.

“Instead of a blazer, substitute a shirt jacket of a waxed print African cloth for a softer but still polished look,” she said. A kente print vest worn under a jacket, or a dress with float-weave aso oke trim on the sleeves or collar are also professional looks.

White recommends starting with a little before progressing to a lot. A shirt jacket of kente cloth may work better in the office with a solid pant or skirt. Carved faux ivory buttons on a coat, or a leopard print miniskirt or handbag can be chic, modern expressions of African culture appropriate for most any workplace.

The of-the-moment hip-hop look can work in today’s casual office--provided it’s done right.

“There are a lot of fabulous clothes in a hip-hop vein from menswear designer Maurice Malone to Tommy Hilfiger. And we’re not talking blue jeans dropping off your butt here,” White explained.

“Instead, take a baggy pair of khakis or black denims with top stitching and big pockets and pair them with a stylized T-shirt. Put that look with high-tech sneakers or a modified hiking boot for a man, and it’s great.”

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But African American women need not limit themselves to Western shapes.

“A djellaba [long tunic] is great if you work in a creative field. You might try one in cotton damask over tailored trousers. Or, try a longer length djellaba with leggings, and cinch it with a hipster belt for a more tailored look.”

Aprons, worn by many African tribespeople, are another option.

“You see it on the runways all the time,” White said. “Put a bagolan cloth apron that hits you mid-thigh over pants. Or, try a jersey caftan gown for a 1970s-inspired evening look.”

Hairstyles, too, are a way to express pride in a culture.

“The popularity of braids has exploded,” White said. “In almost any urban city there are tons of braid shops. Women can choose micro-braids, goddess braids or even a bob. They are wonderful for the workplace.”

Besides being Afrocentric, braids are an easy style to care for.

“Women don’t have to go from A to Z every morning. You can spray the scalp with water or a moisturizer, wrap your head at night, and the style will last for weeks,” White said.

Hair accessories can be as simple as beads and cowrie shells or as elaborate as a full turban (think singer Erykah Badu).

“StyleNoir” pays particular attention to an area White believes is often mishandled by beauty magazines: cosmetics for African American women.

“When you pick up a magazine and read about the latest colors, they are not often demonstrated on black women,” White said. “It’s not that the trends won’t work; it’s just that African American women are not shown how to incorporate them into their look.”

Say the trend in eye shadow is blue metallic, for example.

“It can work on black women, but maybe they should try darker metallics, like navy. Or maybe the same bright blue will work over a base coat,” White suggested.

“StyleNoir” includes a nationwide reference list of makeup and hair-care lines for dark complexions, as well as shops that carry African-inspired clothing and accessories.

Above all, White hopes the book will inspire African American women to experiment.

“There is a lot to do in terms of mixing things up, tops and bottoms, jewelry, putting a head wrap with a pair of jeans and a white shirt. More experimentation will yield more looks,” White said. “The most common mistake women make when they are putting African clothes and accessories together is being too tentative. Have confidence and have fun!”