On Cramton Auditorium’s stage, models outfitted in eclectic clothing and bulky accessories emerged from towering scaffolding camouflaged as an industrial warehouse to the sound of heavy rock and rap music, last Thursday night for the annual homecoming Student Fashion Show.
The show was brought to life from the collaborative efforts of the Howard University Elite Models, The Genesis Models, and Models of the Mecca. Emceed by the 48th Mister Howard Gregory Allen Jr. and Mister School of Business Ahmad Edwards, the event featured three categories: Afropunk, Jordan Brand Streetwear, and Afrofuturism. Rappers Monaleo and Stunna 4 Vegas made a surprise performance as well with their single, “Passenger Princess”.
According to the Met Museum, Afrofuturism is a cultural movement centered on Black history while incorporating elements of science fiction, technology and futuristic speculation. It uses current social movements or popular culture to connect with people and foster pride amongst Black people.
Head of styling, Arielle St. Amand said she drew inspiration from the theme and previous fashion shows when planning how to make the centennial show one to remember.
“Once the theme was given to me, I looked back to old homecoming fashion shows to study their techniques and see how I could incorporate it now while mixing in modern elements to make the show our own,” she said.
As the auditorium darkened, screens hanging from both sides of the stage flashed the word “Afropunk” in jagged silver lettering. Afropunk, according to the British Council, is a cultural movement and festival of black people’s participation in the underground punk scene. The festival began in 2004 to celebrate art, activism and black punk culture and was inspired by the movie “Afro-Punk” which documented the lack of racial diversity within this subculture.
Red, blue and purple lights pulsated through the auditorium while the room vibrated with the heavy bass of songs like “Rockstar” by Rihanna and “Roof” by Rico Nasty with shadows of dancers hidden behind the scaffolding dancing to the music.
Jaimon Washington, a junior interdisciplinary studies major and assistant chair for the show, hit the runway of the Afropunk portion in a black ripped tank top and black denim jeans secured by a leather black belt with silver eyelets. His maroon braids intricately cornrowed into a zig zag pattern, hung down to his knees. Washington, while getting his hair braided that morning, gave insight into the behind-the-scenes of the show.
“Everything started in August where we were trying to figure out the theme and eventually Afrofuturism was decided on. We explored what other Howard fashion shows did and made sure our theme was different so that it could pop,” Washington, a model coach for Models of the Mecca said.
The Afropunk portion of the show was closed out by an electric guitar solo of “Delusions of Saviour” by Slayer. Emcees Allen Jr. and Edwards ran onto the stage to warm up the crowd by leading a series of “HU, you know!” calls and responses for the next segment; Jordan Streetwear.
Jordan Brand, a sponsor of the university’s athletics department, was woven into the looks of each model. Some wore Jordan Retro 3 sneakers almost completely covered by baggy denim jeans while others wore durags and football jerseys with the Jordan Brand emblem on the front. Varsity jackets with “100th Year Homecoming” on the back and “Howard” on the front marked the occasion.
Monaleo surprised the crowd as she walked out onto the stage performing her single “Don Who Leo” during the Jordan streetwear segment. She was joined by Stunna 4 Vegas for their song, “Passenger Princess.” As the models and Monaleo performed on stage, Stunna 4 Vegas made his way through the crowd, revving up the already present cheers and screams.
The last segment of the night, Afrofuturism, began with a performance by Omoge Dance Ensemble, a student Afro-fusion dance team. Purple and yellow lighting shone from the stage as “Break My Soul (The Queens Remix)” by Beyoncé played.
The models’ looks ranged from heavy fur coats to lightweight metallic fabrics flowing behind them. Some pieces were from student-owned brands like Reticent Society. The outfits were finished with statement jewelry, Bantu knots, gravity-defying hairstyles and the occasional flash of a gold grill.
Bray Pridgen, a senior honors TV and Film major, served as the co-head of modeling. He sauntered down the stage in an open white blazer with flashy buttons and silver flowy pants and his hair braided back in a looping pattern. Before the show, he shared the inspiration behind the theme.
“The theme is a comparison between different aesthetics. There is the comparison of a darker aesthetic and lighter aesthetic which will be shown through the color and material of what that model wears,” Pridgen said. “The same goes with some wearing grungy clothes and others wearing more flowy clothing.”
Jonathan Logan, an alumnus from the class of 2022 and curator of the 1924 Project, an archive of Howard’s homecoming over the past 100 years, shared how this tradition came to be.
“Based on our research, the fashion show first made an appearance around 1958. While it is not explicitly documented, we can infer that there were conversations made around showing student fashion and creativity,” Logan said. “Once we land in the 1970’s we see the fashion show begin to take hold and in the 80’s they begin to branch out more and become more creative.”
The show closed with a procession of models followed by the behind-the-scenes staff including make-up artists, designers and stylists. The audience, still on their feet from cheering on the closing model, gave a round of applause as the lights dimmed and “Waves” by Normani and 6Lack played to close out the show.
Brayden Austin, a sophomore architect major, attended the show to support friends and left impressed by the looks of the night.
“I enjoyed the theme, the walks, and the clothing of the show. As someone who enjoys fashion, I liked how the stylists and designers put together the looks and it was something that I really enjoyed and appreciated to see,” he said.
Copy edited by Anijah Franklin
