タンディ・ニュートンのインスタグラム(thandieandkay) - 2月7日 07時38分

“Clothes should be fun and easy to move in. To me they’re like toys for adults to play with,” Stephen Burrows.
His earliest playthings consisted of patchwork, studded leather, and fringe, all in part inspired by nights at New York’s legendary rock mecca, Max’s Kansas City. It was just across from the tiny O Boutique where Burrows sold his work in the ’60s.
However, by 1970 he had built up a following and caught the eye of Geraldine Stutz, then-president of Henri Bendel, a famous department store. The luxury emporium gave Burrows his own in-store atelier, exposing him to a wider market. And while studded leather remained a staple, slinky, fluid, body-skimming silhouettes in jersey worked their way into his design lexicon in the form of dresses that begged to be taken to the dance floor.
"The influence was the music of the time. My friends and I went to Studio 54 every night except Monday. It was fun and everything was free! They loved designers. I remember the opening night was jam packed. Everyone was there including Halston, Alva Chin, Elsa Perretti, Bianca Jagger, Jerry Hall, Marissa Berenson... among ’70s fashion style princesses. His kaleidoscopic riot of colors could put a Crayola box to shame. Fans also flocked to his fluttery “lettuce edge” tailoring technique, a happy accident resulting from an overstretched jersey hem. This would become one of his signature touches. Pictured: Norma Jean Darden in two-piece wrap dress. #stephenburrows #africanamericanfashiondesigners

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