Kevin A. Roberts
For Brandin Vaughn, a self-taught seamster who describes himself as a “very structured, tailored designer,” the pandemic forced him to rethink his approach.
Since opening shop in 2018, Vaughn and his boutique at 2604 Cherokee Street have become a hallmark of St. Louis’ fashion community, known for women’s evening and ready-to-wear apparel. The taut clothes are created with flair, and Vaughn is known to add a bell sleeve or hood for drama. But this year, he created his first line of sweat suits, custom tie-dyed to keep them fashion-forward. And for his next collection, after finally getting out to Los Angeles this spring, Vaughn designed looks for travel and leisure using stretchy and transitional fabrics, textiles that he says he would not have previously considered if not for the extra time at home.
During the past year, with few fashion shows or in-store events, designers haven’t been constrained by seasonal schedules. For Vaughn—who spontaneously released new pieces because he didn’t want to drop an official fall or winter collection amid the uncertain times—this freedom provided an opportunity to evaluate the type of clothing that he wanted to produce once the world returns to a bit of normalcy.
“I got into design for the cool fabrics,” says Vaughn. He fills his workspace with them, and also with music, creating a froth of inspiration. “I can look at a fabric and know what to do with it. It almost speaks to me.”
Phillip Hamer
A recent trip showcased just that skill. Earlier this year, Vaughn felt confined after many months in his St. Louis city home. “I am a country boy,” he says. “I love the outdoors.” So he packed up some of the past year’s one-off creations and invited his team of stylists and models to visit his friend’s home in rural Arkansas for the weekend. Although hunting for fabrics in L.A.’s Fashion District is his favorite part of being a designer, Vaughn had to rely on the textiles already in his stockpile to create new and vibrant garments. Photographer Phillip Hamer later shot the designs, modeled in the pastoral vacation setting. The resulting photo series features “a lot of contrasting fabrics, because, at the time, I had to use what I had,” Vaughn says. “I had to bring it back to basics and get resourceful.”
A new collaboration with L.A. garment manufacturer Shon Simon Co. will also give him the chance to return to the part of the job that he loves most: draping, sketching, and imagining where to add more pockets or fringe. Shon Simon will help oversee the production of Vaughn’s bestsellers, such as his denim collection and wrap dresses.
This also means more time for extracurricular projects: Vaughn is a part of the wardrobe and styling team for musical group The Isley Brothers’ upcoming productions. He will also judge the next installment of the Missouri History Museum’s “Threads” exhibit, in which local designers create pieces based on artifacts in the museum’s collections. After that, Vaughn, who had his first jaunt into costume design last year for The Black Rep’s Spell #7, will dream up the duds for a new production from the Center of Creative Arts, set to hit the stage next winter.
“I’m getting calls from people I wouldn’t have thought I’d get calls from,” Vaughn says. The community’s recent spotlight on Black artists, makers, and creators is bittersweet, he adds. “But it’s a good thing to start the conversation on who are the real leaders in fashion—and include those people.”
