Kirk Pickersgill, creative director of Greta Constantine, studied the not-too-distant Black American past for his resort collection. The inclination struck him during Black History Month. “I wanted to do a deep dive not just into Black people in fashion, but people who’ve created something in the industry,” Pickersgill said.
His research brought him to businesswoman Eunice Walker Johnson, co-creator of the influential Black-centric publications Ebony and Jet in the 1940s and ’50s. Later, she capitalized on the success of her family’s household-name status with the Ebony Fashion Fair, a nationwide traveling show that brought upscale and luxury fashion directly to Black consumers. It was a shining example of the inspiring resourcefulness, ingenuity, and self-determination Black entrepreneurs often showed when faced with fanged exclusion and segregation.
“Black people weren’t allowed into fashion shows at the time,” Pickersgill said, sharing tidbits gleaned from his research. “Mrs. Walker was one of the few Black people allowed to see the shows. But then, she wasn’t allowed to borrow the clothes. So she said, ‘You know what? I’m just gonna buy them and show them myself.’” Responding to challenges with positivity is something Pickersgill can probably connect with—he’s built a global fashion brand from Toronto, which, he hints, has not always been easy.
The regality, class, and power embodied by Mrs. Walker served as the basis for Greta Constantine’s resort 2023 woman. “I imagine her vacationing in St. Tropez,” Pickersgill said, as a model showed off a little black dress decorated with dramatic, asymmetrical white ruffles. Inspired by the roses that populate his native Jamaica, the collection’s many ruffles were crafted in teals, creams, “antique pinks,” and—slightly surprising from a designer so in love with color—a deep black. Pickersgill played around with shapes and silhouettes, which often featured big sleeves, big pants or, sometimes, both. “I used to be afraid of volume, but not anymore,” he said. “I love shooting it, I love the way it looks and feels.”
The standout pieces include small bits of metal sewn onto delicate tulle. From a distance the embroideries resembled chipped-and-cracked paint. Up close, however, the bits of metal reveal themselves to be cut in the shape of daisies. It’s a fabulous play of the eye, a mix of hard and soft.
After over 15 years in business, Pickersgill knows what works best for his brand—hence the recurring appearance of dresses crafted in practical and comfortable stretch microfiber. “That’s our bread and butter,” the designer said. But there are also gentle, considered steps into new directions. One highlight: Greta Constantine’s first-ever prints, which star colorful flowers.
