As stereotypes go, fashion is probably less likely expected out of Louisville, Kentucky, than, say, New York or Los Angeles. Nor is theater and PR and marketing. But for Louisville native Kenneth Courtney, that’s exactly the foundation that propelled him into the American fashion industry.
Courtney studied theater at the University of Cincinnati College-Conservatory of Music (CCM) followed by a transfer to Western Kentucky to pursue an education in PR & Marketing.
Limited access and resources can prevent individuals from chasing their dreams, but not Courtney. His is a story of perseverance. Growing up in Louisville, a place Kenneth somewhat considers a cultural desert, pushed him to Nashville, a city that offered exposure to art. It was in the capital of country music, at CMT, where he interned and was introduced to an opportunity to provide him a life in New York.
A midafternoon conversation with Kenneth regarding his trajectory from Kentucky to Ohio back to Kentucky to Nashville unveiled a world of fond memories about the excursion that drove him to the place he’s always wanted to be: New York City.
How did you break into fashion?
I would say I burst into fashion via the music industry. My first internship was at Country Music Television, better known as CMT in Nashville. It was about an hour away, and the only place close enough to my hometown that offered any sense of culture. As an intern at CMT, I worked on PR for “Sweet Home Alabama” and a few red carpets. My boss asked me if I had any interest in interning for MTV, and I told her, “Yes, that had been the plan all along.” I spent the summer of 2012 interning at MTV and ended up graduating from college that December. I officially moved to New York at the start of 2013, on New Year’s Eve, and it took me about three months of applying for fashion roles before I landed my first position in fashion at Factory PR.
What has been your most noteworthy achievement up to this point?
Working and surviving on my own since 2015 outside of the agency world. Back then, I felt suffocated by the industry, and I wanted to be somewhere where I would feel valued and where I felt I had more of a voice. First, I am proud of helping to launch the MOBI “Mobilizing Our Brothers Initiative” in September 2017, which curates’ events for queer people of color. In 2018, I officially started my own PR company, Courtney Creative PR, which is my most noteworthy achievement. I had been freelancing between leaving Factory PR and a stint at PR Consulting, so launching on my own is a big feat.
Have you felt celebrated in your present job or any of your past positions?
I would say no, I did not feel celebrated, and that’s part of the reason why I was eager to freelance and find my own way. I was excited to work with MOBI and launch this brand. I knew what I was capable of contributing to the industry. A lot of my experiences were not favorable, and it led me to not want to work in the industry directly anymore. The hierarchy and difficult personalities were something I was tired of dealing with. I just wanted to work and be around good people, and for some reason, there were many obstacles in the way of that. I actually felt othered, and I didn’t like that feeling.
Have you felt ignored or left out of an employment opportunity because of the color of your skin?
By the time my resume had been built up, I was getting a lot of interviews and opportunities to speak with people about positions. I would say it was more the industry’s culture, even with some of my black peers, which was quite off-putting. I was being judged based on things that weren’t important. If I had a lot of money, dressed a certain way, and hung with certain people, I probably would be a lot more successful in the fashion industry. I wasn’t welcomed with open arms at some places I worked, and in a situation like that, you need a little guidance and a little help.
What should be done for Black individuals in this industry, or what might you want to see for Black individuals in fashion?
One, hiring more diverse people, personalities, and voices in the industry is essential, especially in editorial. I can’t tell you how many friends I have who are in editorial and who want to write or become editors, and they’ve been shut out. One, because of budgets but also just not having an opportunity; two, having more initiatives and programs that hold the industry accountable.
In your opinion, what is the nature of fashion like for Black people or People of Color?
I want to say it’s changing and there’s been a lot of movement and growth which is exciting. I think what Lindsay Peoples Wagner and Sandrine Charles are doing with the Black in Fashion Council is fantastic and spot-on, and I wish there was something like this around when I entered the industry. Today, there are more emerging and even established Black designers driving conservations surrounding the Black experience and tying it with fashion like Kerby Jean-Raymond from Pyer Moss, which has been exciting to see. There is an elitist undertone in the fashion industry that prevents a lot of growth for Black people. If there isn’t enough representation or diversity in the industry to build a network of people to mentor Black people or people of color, then we’re left out.
How have you given back to your community through your position?
I’ve committed my whole organization to customers and causes that focus on LGBTQ issues, or clients that are from the LGBTQ community. I feel that is my little part. My work with MOBI and all that we do is for minorities, our initiatives, and the entirety of our occasions. Utilizing the knowledge, I’ve garnered working in fashion and bringing that understanding and taste level to my community is how I give back. The collaborations with Scotch & Soda are amazing, and I want to express gratitude toward Kevin.
Are there any Black Designers known or unknown that you would like to bring to the CFDA attention?
I would like to highlight Sunni Dixon of Sunnisunni, who is creating fantastic art with footwear and Nana Quagraine the Founder and CEO of 54Kibo, which curates the best of African home goods and fashion.
What are some of the things you think the CFDA should do to improve diversity & inclusion?
More networks, programs, or incubators for Black people – because we don’t have the same access to wealth and funds to start businesses or a fashion brand. What mentorships do they have for designers of color to allow them to learn about resources to start a brand? It’s a known fact that we don’t have the same level of wealth overall compared to our white counterparts, so how can they help with that?
