Culture, Fashion, and Community – St. Louis American

Saint Louis Black Fashion Week 2025 affirmed what the style industry has always known: Black fashion doesn’t follow trends—it defines them. This year’s runway experience was a marvelous blend of culture, craftsmanship, and community. 

The Palladium event space was nearly unrecognizable Sunday evening as it transformed into a glamorous, high-fashion runway for the week’s culminating show. Soaring white columns, sleek leather seating, and beams of light slicing through the air like searchlights gave the venue a Hollywood shimmer. Yet beneath the opulence, the night was rooted in something far deeper.

From the opening gospel medley that filled the room with soulful harmonies to the hip-hop and R&B beats that pulsed throughout the evening, this was more than a fashion show. It was a cultural statement—a celebration of artistry, identity, and the creative spirit of St. Louis’s Black community.

The evening opened with BPLR (Born Poor Live Rich), led by creative director Ashley Jackson, who continues the legacy of her late husband, Quinton Jackson. She keeps his mantra, “It’s not about how you start, it’s about how you finish,” alive. Models strutted to Chris Brown’s “It Depends” and Don Toliver’s “Attitude,” wearing black-and-white ensembles sparkling with diamond embellishments. From bomber jackets and hoodies to polos and sweatshirts, each piece radiated confidence and resilience—streetwear that speaks volumes.

Darrius Whitfield, founder of Syrus Klothing, brought an urban edge to the runway. Inspired by his late brother and a mission to uplift others, Whitfield’s models marched to YC’s “Racks” and Louisiana Cash’s “Walk Wit a Dip” in oversized jackets, letterman bombers, and T-shirt dresses. Described as “up and coming, urban, and personal,” the collection was raw, authentic, and full of heart.

Designer Kasey Harvey, founder of Kyo-C—which translates to the Japanese word for “community”—took the audience on a journey of reinvention. Her grunge streetwear collection celebrated sustainability and upcycling. Models walked with intention to Victoria Monét’s “Take Me Thru Dere” and “On My Mama,” wearing cheetah prints, denim patchwork, and inventive pieces like shirts made from men’s ties. Harvey called them, “classic pieces reimagined.” And they were.

Energy soared as Lillian Tiner introduced her children’s brand, LAHA Clothing. A coach to young models aged 5 to 16, Tiner filled the room with color and joy. Her models twirled to Cardi B’s “Hello,” sporting bright wigs in blue, pink, and green. Outfits layered with ruffles, tulle, and faux fur radiated playfulness. The little models beamed with pride, embodying the growth and confidence Tiner nurtures in her pupils.

Designer and model Pierre McCleary brought sophistication and empowerment with her brand, 1026 Styles. Models walked to Victoria Monét’s “Alright” and Beyoncé’s “Cozy” in structured silhouettes, pleated details, and bold pastels. From sharp blazers and power blouses to satin gowns and statement gloves, McCleary’s collection captured a modern boss-girl aesthetic—feminine, fierce, and self-assured.

Karla Burgett’s KB Made It added a luxurious twist. A St. Louis native, Burgett channeled the sophistication of fashion houses like Dolce & Gabbana with a contemporary flair. Models glided to Lil Baby’s “My Dawg” and Chief Keef’s “Fanito” in maroon satin gowns, fur bombers, tweed skirts, and leather corsets. The standout piece—a silver ruched satin gown with a sweetheart neckline—shimmered under the lights, marrying elegance and boldness in one unforgettable moment.

Designer Julius Evans, founder of Wej, continued the theme of reinvention with a refined streetwear collection. Dreaming of department store shelves, Evans showcased tailored cotton-duck fabrics reminiscent of Carhartt, elevated with high-fashion finesse. Models strutted to Drake’s “Hotline Bling” and Glorilla’s “I Love Her” in patchwork denim, fur-trimmed coats, and oversized hooded jackets—a blend of rugged utility and polished sophistication.

The grand finale belonged to Beeombi, the couture brand by celebrity designer Derron Cherry, whose clients include Oprah Winfrey and Nia Long. As a soft lo-fi jazz orchestra played, models sashayed in breathtaking creations of feathers, sequins, and satin. From asymmetrical cuts and pearl accents to flowing chiffon skirts, every detail exuded refinement. One showstopper—a jewel-encrusted corset with a high slit and cascading pearl strands—drew audible gasps. Cherry’s designs weren’t just garments; they were moving works of art.

By night’s end, the applause was thunderous. The show was more than a display of style—it was a celebration of Black artistry, resilience, and unity. From emerging voices to seasoned creators, each collection reflected the richness and diversity of Black expression in fashion.

Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.

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