Willi Smith had a problem. Even as a fashion pioneer he suffered from “the problem of getting dressed”, which he categorized as a disconnect between fashion and control. Smith sought to remedy this dilemma, and did so by outfitting fashion with the capacity to deliver individuals from stereotypes. In an attempt to reclaim control of perception Smith created the basis for contemporary streetwear, redefining what American art truly looked like.
Considered to be one of the most commercially successful 20th century African American designers, Willi Smith was an artist by definition. Even as a young man he understood the intricacies of fashion, combining sportswear with high fashion tailoring and taking inspiration from across social and physical borders. He championed the deep-set influence of black culture in Harlem while simultaneously paying homage to traditional African prints, connecting the black diaspora through his garments. His work, while heavily inspired by black America, was also vaguely reminiscent of traditional Americana, with an admitted interest in what he referred to as the “romanticized cowboy” and the consistent appearance of utilitarian workwear.
In an earlier article I posed the question “Is Art for Everyone”. While I feel its a question I personally have not answered in its entirety, Willie Smith had, saying “Fashion is a people thing and designers should remember that. Models pose in clothes. People live in them.” I believe it is significant that he merely says people. He makes no greater specification outside of humanity itself, embodying his own vision — creating a bridge for all from all through him. This vision was apparent in his brand “WilliWear” which was noted for being reasonably priced and highly accessible. However, despite his pricing, he was grossing approximately 25 million dollars per year, making his brand one of the most lucrative black-owned brands in America.
Willi Smith was, by all definitions, a visionary. Not just in his physical construction of garments, but also in his perspective. He acted as a catalyst to contemporary fashion methods, with brands acting as messengers to broad scopes of people instead of exclusive clientele. He understood art for what it was, and disseminated it as it was meant to be — in its raw form, only distorted for the sake of communication, never for the sole purpose of creating a commodity. He used his experiences to inform his work, but never directly commodified his life or his culture, successfully celebrating what is often ignored. He categorized his own work, proclaiming himself as a simple designer, one meant to be interpreted instead of flaunted. He admired thrifters, who represented creative consumption, and helped him break the predictable bonds of fashion.
Unfortunately, there is very little doubt that most people do not know who Willi Smith is. While many know the names of Virgil Abloh, Jerry Lorenzo and Shawn Stussy, they do not know the name of their predecessor. While this is unsurprising considering Smith ultimately died as a product of pneumonia and a weakened immune system caused by AIDS, it is tragic that a man so genuinely full of creativity has been lost to time. Despite his death at age 39, history is beginning to honor his legacy, with the Cooper Hewitt, Smithsonian Design Museum unveiling the Willi Smith: Street Couture installation in 2020. While it is critical that we acknowledge the impact of Smiths work, it is also crucial that we facilitate the continuation of his philosophy. While he heavily influenced contemporary streetwear, his work heavily inspired the methodology of fashion and marketing today, with many brands seeking to reach a large audience with diverse perspective, while making social statements simultaneously. And while of course many brands hide behind the facade of inclusivity, a rise in conscious consumerism is incentivizing honest production and true creativity — the true legacy of Willi Smith.
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