In the heart of Mt. Vernon, there is a small, cool, dark room that holds the history of Maryland fashion. It is, essentially, a large closet, with metal shelves stacked with boxes of all shapes and sizes, and multiple rolling racks hung with muslin-wrapped uniforms and ball gowns.

“This is Tench Tilghman,” says Allison Tolman, touching the arm of a mannequin dressed as a Revolutionary War officer. “He’s going to the State House next week.”

Through the Maryland Center for History and Culture’s lobby, past its exhibition galleries, around a construction zone, beneath an exposed wood ceiling, sits the institution’s bona fide treasure trove—the Fashion Archives.

This impressive collection includes more than 15,000 items, from women’s, men’s, and children’s clothing to accessories like shoes, hats, and underwear spanning four centuries. The oldest item is a 1724 wedding apron, but there are also 19th-century horseback riding garments, embellished Roaring ’20s dresses, and designs once sold at the Hutzler’s department store.

There are pieces worn by iconic local figures, like Duchess of Windsor Wallis Simpson, politician Helen Delich Bentley, and mid-century American fashion trailblazer Claire McCardell, plus those made by rising designers Christian Siriano and Bishme Cromartie.

“Every day we get up and pick out what we wear and that says something about us and helps us learn about each other in interesting ways,” says Tolman, the MCHC’s vice present of collections and interpretations. “Clothing is such a powerful tool. It humanizes history.”

“Clothing is such a powerful tool. It humanizes history.”

 

The MCHC was founded as the Maryland Historical Society in 1844, but it wasn’t until 1919 that clothing would join the collection in earnest, with the purchase of the historic Enoch Pratt House, where the apparel was put on display.

But in the 1970s, the society shifted its focus toward other parts of its collection, and every shirt, hat, and ribbon was transitioned into long-term storage. All but forgotten, these pieces would not resurface until 2011, and under the tutelage of then-chief curator Alexandra Deutsch, the Fashion Archives were reborn.

“Alexandra started putting costumes into every exhibition, because it’s easier to see history with a person in front of you,” says Tolman, who co-curated 2019’s Spectrum of Fashion with Deutsch. “Seeing a woman’s mourning dress from the Civil War changes how you think about it. It’s not just the facts you were taught in school. People were here. They lived in this moment. And through them you can learn a lot about what happened.”

But for historic fashion to be exhibited in the first place is no easy feat, and it has taken several years to rehouse five floor-to-ceiling rooms’ worth of attire. Each item is cleaned, wrapped or padded with acid-free tissue or Tyvek, then transferred into archival blue-board boxes or hung on specialty hangers and wrapped in unbleached cotton, with the curators meticulously minimizing folds, which weaken fabric. All are researched and recorded in a digital database before moving into storage, which is climate-controlled for temperature and humidity to prevent mildew and dry rot, and later displayed for no more than one year at a time to reduce light damage, ensuring their survival for future generations.

With state funding, the MCHC is now transforming a former gallery into a new state-of-the-art facility devoted to storing textiles, which will hopefully be finished by their fall exhibit, showcasing one of the largest collections of clothing by McCardell, which caught the attention of New York fashion designer Tory Burch. Her current line is inspired by the Frederick-born designer, and her foundation has funded a new fellowship under Tolman, pictured right above with fellow Robyn Levy.

It’s hard for the curator to pick one favorite piece from the archives, but a red wool McCardell dress, currently donning a mannequin next to the tricorned Tench, is up there.

“Claire was a designer who wore her pieces for years,” says Tolman, pointing to hand-stitched mends. “She said some clothes earn the right to survive. I love that.”

OPEN

Skincado Expands to Baltimore: One of Washington, DC’s top organic beauty brands has finally made it’s way to Baltimore. Owner Sara D’Amelio began her beauty journey back in 2013 after revolutionizing her beauty routine to include only natural ingredients and training as a holistic esthetician. In 2018, she brought organic beauty to DC with Skincando. This year, she announced her plans to join Baltimore’s beauty scene, exclusively selling her products at Mint & Major.

Brightside Opens New Location: This just in: one of Baltimore’s beloved boutiques is branching out. Brightside Boutique’s humble beginnings as a small shop in Federal Hill is now a nostalgic memory. The boutique then expanded to Fells Point in 2014, Hampden in 2017, Annapolis in 2018, and now, in March 2020, a fifth location will open in the Shaw neighborhood of Washington, D.C. “Shaw is one of the last neighborhoods in D.C. that has a local, neighborhood feel to it,” says Rachel Cooper, Brightside’s director of operations. “It’s home to so many up-and-coming breweries and restaurants with emerging chefs, craft-cocktail bars, and amazing venues like the 9:30 Club and Howard Theatre. We’re really excited to be a part of it.” Stay tuned for more from Brightside Boutique’s own brand Brightside The Label, as well as upcoming events.

EVENTS

Boxing & Beauty Event @ Knockout Fitness: Need an reason to workout and an excuse to splurge on beauty products? This might be the collaboration you’ve been dreaming of. Knockout Fitness is hosting Boxing & Beauty, an event that offers a one-hour workout followed by an afternoon of all things beauty and style. Shop for spring essentials with Arrow Clothing, experience The Loft’s newest Nanofusion treatment, and even try botox from Belcara Health. And if this isn’t enough, there’s also going to be makeup demos and styling from Manty Makeup and Corbin Salon. Perhaps the best part? It’s the day after Valentine’s day—a perfect way to treat yourself.

Self-Care Sundays @ The Loft: One thing we love about The Loft? There’s always something new going on. This time it’s a can’t miss weekend series: Self-Care Sundays. One the first Sunday of every month, customers can indulge in champagne, light bites, and 20 percent-off all skincare services. Though known for her stellar lash and brow treatments, owner Natalie Sams has been a licensed esthetician for more than 15 years and has introduced some of the hottest skincare treatments out there—including hydrafacials, dermaplaning, and nanofusion. If doing more for yourself is among your New Year’s resolutions, this is your chance.

SHUT

Bishme Announces Move + Gala: It’s a bittersweet goodbye saying farewell to local designer Bishme Cromartie. After watching his designs lead him to the final four of Project Runway to kicking off his label here in Baltimore, it’s with sadness but even greater excitement that Cromartie has announced his relocation to Los Angeles. “I’ve had the pleasure of constructing a lot of magic while working out of my hometown and my work will forever have a piece of Bmore in it,” Cromartie posted onInstagram. As a last hurrah, fans will have a chance to celebrate the designer and say “Bon Voyage” at The Bč Exhibition Gala on February 8.

New York City might be America’s fashion capital, but Baltimore has quite the fashion-forward history itself. This October, delve into the archives of the Maryland Historical Society with Spectrum of Fashion: Celebrating Maryland’s Style. And for a little sneak-peek into the new exhibit, here’s a timeline of trendsetting styles from local icons and designers.

Street Style
1925

Lavish with velvet and fur trim, this coat was sold at Hutzler’s, the iconic downtown Baltimore department store in operation from 1858 to 1990. Not only did Hutzler’s pave the way for future department stores, they also brought luxury fashions from Europe to Baltimore at an American price.

Ready-to-Wear
1945

Hailing from Frederick, designer Claire McCardell helped define modern American fashion. Transitioning away from corseted waists and structured bodices, her “monastic” dress (this one in wool plaid and pleats) was made to be a versatile day-to-night look that would flatter most body types.

Power Suit
1960

A nationally recognized reporter at the Baltimore Sun, a producer, director, and writer of the TV series The Port That Built a City, and a Maryland congresswoman from 1985-1995, Helen Delich Bentley affirmed the strength of the “power suit” when wearing this wool outfit.

Crop Top

1970

Wallis Simpson may have been a sophisticated duchess, but that didn’t stop her from staying hip to the latest fashions, as evidenced by her vibrant silk and linen set—a classic look of the ’70s. And the story goes, Simpson had it made when she was 73 years old.

Bare Shoulder
2009

In one of his earliest designs, local designer Bishme Cromartie appears to have taken all of the trends we loved from the early 2000s and made them timeless. Who knew that ruffled skirts and a one-shoulder sleeve could come together so elegantly?

Color Block
2018

Baltimore’s got a knack for being home to great designers, and Christian Siriano is a prime example. Pairing red and fuchsia and topping it with a shoulder cape? Brilliant! It’s no surprise that Siriano has stunned the red carpet for over a decade.

Calling all fashion lovers—Baltimore Fashion Week (BFW) is back and (literally) bigger than ever. For the first time since its inception in 2008, BFW will be living up to its name with a full week of events (last year, the “week” only ran for two days).

For Sharan Nixon, former model and founder of BFW, it was about time. “If we’re doing fashion week, we need to do a week—not three, not two—but seven days,” she says.

You can still expect to see up-and-coming designers from as close as Greenmount West to as far away as Nigeria flock to the Columbus Center catwalk, but there’s a whole lot more.

“I wanted to do something different,” Nixon explains. So instead of the traditional seven days of collections, BFW will reserve the runway shows for the final two days, hosting events throughout the week to garner anticipation. Be on the lookout for industry parties and meet-ups—including lunch with ELLE magazine’s fashion and technology editor Jenna Blaha.

As always, Nixon will use her connections in the fashion industry to mentor Baltimore’s designers, even securing spots for standouts to show during New York Fashion Week.

“People are watching what we do here,” Nixon says, “our [Baltimore showcases] are always sold out in New York.” And with alumni success stories such as Greenmount’s own Bishme Cromartie (see his profile in our August issue, on newsstands now), who was introduced on the BFW runway in 2008 and has since become a Project Runway fan favorite, we might start needing two weeks of events.

At a young age, Baltimore native Bishme Cromartie had a knack for fashion and spent most of his time cutting up his own clothing to making miniature outfits for his G.I. Joes.

“Where I grew up it was weird for a 13-year-old to want a sewing machine,” Cromartie says. “My friends accepted me but it was just funny to see the things I got excited about versus the other guys in the neighborhood.”

While attending Reginald F. Lewis High School, he created popular hoodies and prom dresses for his classmates and dreamed of a career in fashion, but considered giving it all up when he was rejected by the prestigious Fashion Institute of Technology in New York City. It was his mother who snapped him back to reality.

“She sat me down and told me that you can’t always expect things to go your way and you have to learn to maneuver around problems,” Cromartie recalls.

Through much determination—and with a little help from his social media accounts—Cromartie landed one of his first designs on a Good Morning America segment. Since then, his accomplishments have been nothing short of remarkable, with his pieces gracing the pages of Vogue Italia and Elle Vietnam, and seen on celebrity clientele like Mel B and Andra Day, to name a few.

Though his talents have taken him to L.A. and New York and back again, Cromartie believes that relocating isn’t necessary if your designs are good enough. The majority of his collections have been inspired by Baltimore and he takes great joy in seeing how far the city has come.

“Exploring new places makes you realize that there really is no place like home,” Cromartie says. “It’s been amazing to be proud of coming from Baltimore.”

On the second Saturday in October (aka this Saturday, October 13), The Walters Art Museum will host its annual gala, this year celebrating a year of transformation with their theme “Metamorphosis.” While this isn’t exactly the Met Gala, The Walters and executive director Julia Marciari-Alexander enlisted local design prodigy Bishme Cromartie to make her outfit and encourages patrons to dress to the nines as well. We talked to Marciari-Alexander and Cromartie about the design process, their inspiration, and what to expect from this year’s event.

How did this collaboration come about?
Julia Marciari-Alexander: He did a photo shoot at the Walters for Bmore Art and I loved it.

Bishme Cromartie: It was just so weird. I did a collection called “The Chrysalis” because I felt like I was going through the process of being a caterpillar and coming out of my chrysalis as a designer. So, when I got the information about this event I kind of teared up because it felt like the universe letting me know that I am going in the right direction.

JMA: I was so nervous meeting you, I was like, “Oh my god, I’m going to meet a real-life designer. He is going to be all stiff and art-y.” But you just were so awesome and put me at ease immediately, and your collection is just so beautiful.

BC: I appreciate it. I’m prolonging the fittings because I don’t want it to end.

JMA: You can just be my personal stylist forever.

Why did you choose to have a local designer make your outfit?
JMA: We have such a commitment at the museum to Baltimore and the ways that the collection inspires Baltimore, and to have someone for whom that is 100-percent true being the star of the evening is just awesome.

BC: Don’t make me cry again. My mascara is not waterproof.

JMA: Fashion is art and we have a lot of examples throughout our collection of fashion throughout the ages, so this collaboration is just another piece of that.

What inspired the garment?
JMA: Well first, we walked through the museum with Bishme. Our collection is really about design, and I think that most of the works in the collection were used as inspiration in some way. Walking around with Bishme was just amazing because I was seeing the collection through his eyes and seeing his mind click in terms of what he was interested in and how it would fit with his development as an artist.

BC: I got chills walking through because we were standing in the museum talking and I realized we were standing there looking at one of my favorite artists’ paintings. I love Sir Lawrence and his work as far as draping and stuff. To see one of my favorite artist’s paintings for the first time in person was amazing and has been an eye opener to keep going and how things come full circle.

JMA: Seeing you looking at the Lawrence Alma-Tadema paintings and knowing the way this painter treats fashion and treats fabric has been a guiding force in your creativity and to have that happen right here, that made me cry. That was a moment of wonder. You had a moment of wonder and we got to experience that with you.

How much input did you have on the piece Julia?
JMA: The most interesting conversation that we had about the outfit—and I say outfit—was whether it was going to be a dress or pants. I saw myself wearing a dress, but Bishme really wanted to put me in pants.

BC: When you guys came to me, I was told you were open to different styles, so pants were a thought. But then when I got to meet Julia and got to know her, I thought she needs to stand out. A dress would’ve been expected, so for me I really just wanted to create a moment that reads well with the theme of the night. And then once I saw the invitation, I wanted the fabric to sort of mimic how the invitation looked with the detailing.

How is this event different from others in the city?
JMA: We don’t have any auctions, it’s really just a beautiful party in an extraordinary setting. This isn’t about an exhibition, it’s about the museum and celebrating the opportunity for everyone to have access to creativity. The money from tickets goes straight into our operating budget and covers a lot of our education programs.

BC: I love the fact that the theme of this event has a message behind it that I and other people can connect with. It’s about transition in our lives and growing. It’s not just a theme, it’s something that everyone experiences. Everyone is developing, and I think that’s why this experience has meant so much to me.

I’ve heard you want this to be sort of the Met Gala of Baltimore. Do you think people will get that and incorporate the theme into what they choose to wear?
JMA: Absolutely! We saw it last year with a lot of people you could tell thought about what they put on. Our theme last year was Egypt and I felt like our patrons got it and really stepped up their game in bringing their most beautiful clothing to reflect the collection well without being culturally inappropriate. I’m really interested in connecting our collections with contemporary artistic practice primarily through the lens of people in Baltimore and what better way to do that then through what we all are wearing.

This year I think we’ve been really intentional about how we’ve presented the event and I think people will understand even just from a feeling level the theme and what kind of event they are going to. It’s elegantly fun. But it does make you think.

What are you most excited for at this year’s event?
JMA: Sitting with Bishme. It is such an honor to be wearing something of yours because there is no one else that could’ve made something like this for me. Plus, we just really like each other.

BC: My fittings with Julia. I don’t want them to end.

JMA: Also, there is no one in this town that cares more about fashion than our Mayor [Catherine Pugh] and the opportunity to sit you right next to her and to let her see the amazing creativity that lives here in Baltimore all the time and to talk about your work and mentorship with the Baltimore Design School—the school she set up. That’s just so exciting. That’s what a museum can do.

Every September, Fashion Week comes to New York, and the city is filled with glitz, glamour, and attitude. This NYFW, Baltimore musician Hunter Hooligan brought his signature dance floor-ready grooves to the runway with the debut of his new song “Pink,” which served as the backdrop for designer Stevie Boi’s collection by the same name. We sat down with him to talk about the process of writing a song for the runway, how style and music intersect, and Baltimore’s unique creative scene.

Tell us a bit about yourself as an artist.
I started writing original music when I was 12 or 13, and never really stopped. Music has been so many things for me over my life: It’s been like therapy, it’s been the place that I put all my hopes and wishes and fantasies, and it’s been the thing that has guided my life. I didn’t question it a lot. I’ve taken inspiration from my family, who have always been really supportive of me as an artist. My parents both had a very deep love of music. There were always all different kinds of music being played in the house when I was young.

When did you and Stevie Boi decide to collaborate on a song for his show?

The song came about because I spent time with Stevie Boi at TT the Artist’s film shoot for “Dark City.” He had brought several pieces from the collection to wear in the film. I was looking at them and asking him what was the message of the line, what had inspired it? By the end of the day I was like, “You know, I really feel like I could make something for you to use as a musical component for this line.” And he was really open to it.

What was the concept for the song “Pink?” What was your inspiration?

The first time I heard the song that became “Pink,” I knew it was the one. I had reached out to several different producers and wound up going into the studio with Will Lederer to fill out an instrumental he’d sent me. The lead synth in the song was this very golden pink for me—it was very joyous and effervescent. It was bubbly, light, all the things I associated with the line after talking with Stevie.

Before writing the lyrics, I went down a rabbit hole on the history of pink in fashion, and that took me to the idea of timelessness and recurrence, of pink going in and out of fashion and what that has meant in the broader cultural landscape through time. I was also thinking about pink being this intimate color, and I had the idea for the lyric “we’re turning pink.” That took me to researching the act of blushing. That universal feeling of blushing is so warm, and it can be so innocent, or it can be sexual, it can be multifaceted, it can be exciting, it can be scary, it can be embarrassing, and it can be vulnerable.

It gives away your emotions.
Exactly. I was thinking about vulnerability, recurrence, and timelessness. Then this whole story popped into my head and everything I’d been researching became clear. This story of reincarnating through time and experiencing this intimacy, and the common thread of that being this biological act of blushing. I recorded a demo and sent it to Stevie, not really knowing what he would make of it, and he replied almost instantly saying, “It’s perfect.”

Was the process of writing and recording “Pink” any different than your other songs?
Yes, I actually did something I’d never done before on a song, which was talking the verses instead of singing them. Every melody or lyrical approach I’d taken up until that point felt too wholesome. I was very cognizant of the fact that this was ideally going to be on the runway, so there needed to be this attitude or this sort of cool to it. The turnaround from writing to recording the song to getting it out was also very quick compared to my usual process. I usually get to sit with a song for longer, but this was very exciting, and I felt so grateful to be a part of the wider vision for the line and to experience the show itself.

What was it like being present at the fashion show?
It was really fun. I have a deep love for style, and fashion is sort of the “fine art” of style. Seeing a show that was about fashion as an art, taking clothing and elevating it to the position of an art object was really fun. It was wonderful to be there and to see the clothing presented, there’s a performative aspect to it. It was gorgeous.

Did you blush when your song played?
Immediately the nerves kicked in when the song started, but I just had to check in with myself and be like “this isn’t about you,” you know? It’s not about the music—the music is an accessory in the atmosphere in the wider experience of the show. The show was very much about the clothes and very much about Stevie and his artistic vision, and I was just glad to be part of that and to contribute in some way.

How would you describe the correlation between fashion and music?
The two to me are intrinsically linked. I saw an interview with Nicholas Cage, of all people, and he said something that really struck me. He was talking about the rhythm of his performance in a film, and he said, “I think all great art aspires to be music.” That to me rings true, not because I’m trying to put music above other art forms, but there is an immaterial aspect of music. All you need to make music is your voice and a sense of rhythm. I think that gets at a very pure sense of creativity. It’s literally just the manipulation of sound, which is not a material thing, it’s energy. As someone who makes music, all other art forms funnel into that for me. Fashion for me, is really style, and style is storytelling, and storytelling is magic. And that is so essential to the music, because it’s a physical embodiment of it.

Can you describe your personal relationship with style and fashion?
For me, fashion and style are transformative. It also acts as a place for me where a lot of my other influences, not necessarily musical, find a home in expression. My number one rule for style is give yourself permission to try on anything, because fashion can be a way to explore your identity. And when used for that, it can be extremely healing, it can be extremely validating, it can be extremely personal and spiritual. Because that is the sort of power of fashion when utilized in its most noble pursuit, is the expression and the exploration of identity.

What is your favorite thing about being an artist in Baltimore?
There is such a wealth of creativity, art, excitement, and passion here. And it’s pure in a way, because we don’t have that external pressure that “hubs” like New York or L.A. or Chicago put on artists to make money for other people. There’s no one looking over our shoulders. It can be a double-edged sword to not have that kind of attention on our city’s art scene, there’s the good and the bad with that, but because of that I think there is so much pure intention.

Baltimore is an incredibly fertile place. It’s full of inspiration, it’s full of stories, full of every ingredient you need for creativity—beauty, mystery, enchantment, and struggle. I think that Baltimore is very much so the rose growing in the concrete. And everybody wants to focus on the concrete for some reason. The rose is much more beautiful.

How would you describe Baltimore’s style scene?
Adventurous! Uninhibited, unhinged. There is a sort of disregard for convention, which I think is essential to personal style. There is also an adventurousness to the designers here. Stevie Boi is incredible, and Bishme Cromartie is absolutely divine. Baltimore style is personal, it’s expressive, it’s adventurous, and it’s not lost in its own performance. Because there is a performative aspect to fashion and style, but the expression is not lost in that. I think that there is enough distance between style and fashion here. That they’re not absolutely devouring each other. Baltimore hasn’t traditionally had access to the fashion houses and big brands, and we’ve proven that we don’t need that. We’ve shown that our natural sense of style trumps all of that noise.

What else can we look forward to from you? Any upcoming projects people should know about
Yes! There is a project that I’ve worked on for a very long time with DJ James Nasty as the executive producer, called “Child of Venus,” which will be a multi-part musical narrative. Part one will be here soon.

Full disclosure: The author’s husband produced “Pink.”

On a chilly Thursday evening, people lined the street outside of Common Ground Bar in Manhattan’s meatpacking district to see “The Chrysalis,” a fashion presentation by Bishme Cromartie. The designer and Park School grad has recently gained popularity from LA Fashion Week and bevy of celebrities he has dressed.  

But this was his first time showing at the legendary New York Fashion Week, and what Cromartie had in store did not disappoint. Common Ground was filled with stringed lights, tree silhouettes, and lush hanging plants that brought the natural state of the outside in.  

“The name came from the transitional state of the butterfly,” says Cromartie. “The last two years have been my transformation. I wanted this collection to show beauty effortlessly. The chrysalis is about breaking free, being more connected with yourself, and understanding the new person you are becoming.”
 

Evolution was certainly the theme of the night with the 14 total looks showing the architectural design and shape Cromartie is known for mixed with a new-found touch of femme glam accentuated by patent leather vinyl belts. 

“I’m learning to become more subtle and that I can be that way while still incorporating bold shape,” says Cromartie. “I still love the hardcore look and making women look strong, but I’ve been tapping into a place showing a softer side. I’m making my designs more of a slow song.”  

Cromartie kept the show in the family, bringing along hairstylists, makeup artists, a videographer, and a DJ from Baltimore to complete his vision.  

“Once I have my people that I work with and we develop that rhythm, we become like family,” he says. “As much as this is a big opportunity for me, I want it to also be an opportunity for them. I always want to make sure I’m allowing people to represent Baltimore in a different, more positive light.”  

Backstage, the models kept it low key with a more natural look for both their hair and makeup. Shy Watters—who has a salon space in Mt. Vernon and in Fells Point—headed up the hair styling with a timeless ’20s-inspired look. The team opted for a left part with soft waves that mimicked the wings of a butterfly and relied on each model’s natural beauty to allow the emphasis to be placed on the clothing.  

The makeup was kept as simple as possible with Alana Johnson—makeup artist for the Baltimore Ravens Cheerleaders—leading the team. “We wanted the skin to be very soft and glowy,” says Johnson. “We did a glossy lid, highlighted cheek bones, and a stained lip that we saw a lot of last fashion week, so we are bringing it back.”  

Cromartie’s vision aligned perfectly with the venue—the color palette complementing the garments, the music energizing the crowd, and the intimacy making the collection come alive. The event was a fitting next step in his journey as a designer.  

“I’ve learned so much,” he says. “And I still have more tricks up my sleeve.”