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- I think one of the things that we
don't talk about as black creatives often

2
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is how much we seek...

3
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white validation to bring back
to the black community

4
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so the black community can accept us.

5
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[uplifting music]

6
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♪ ♪

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[calming music]

8
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- Just jumping around,
hanging out on the ceiling,

9
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waiting on my next guest,

10
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Mr. Kerby Jean-Raymond,

11
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who's the creative director for Pyer Moss.

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He's one of those people that uses

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fashion as his medium

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as he makes his artwork.

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Kind of like me using flowers

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as my medium for artwork.

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[woodwind scales]

18
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[upbeat organ music playing]

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♪ ♪

20
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- Welcome to "Centerpiece."
- What's up? Make myself comfortable.

21
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- Please do.

22
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- You just go straight into, like...

23
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- [laughs]
- Laying down.

24
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[both laugh]
Beautiful chair, though.

25
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- Right?
- Beautiful chair, beautiful chair.

26
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- Ease into it.
- Yeah.

27
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- And now
let's take a journey to the center.

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[laughs]

29
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There's something that, like,
I want you to talk about,

30
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which is, like,
how you've navigated your own access

31
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and how you try to share that access
with others.

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- Pyer Moss is one
of the few brands that, like, actually

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goes out of its way
to create safe spaces for black people.

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- Mm-hmm.

35
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- It's also
to usher in a whole new wave of designers

36
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that look and feel like you and I.

37
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Till I see, like, a plethora of creatives

38
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that look, feel, and talk this way
and are also ushering other people,

39
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it's not safe for me to leave.

40
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- You seem like a very...

41
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in-tuned, sensitive, grounded...

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person.

43
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Have you always been that way?

44
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- You know, in 2016,
somebody very close to me,

45
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I watched pass away.
- Mm.

46
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- I had always avoided death,
'cause I never went to my mom's funeral.

47
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You know what I mean? I never knew
because my family hid it from me, so...

48
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I dealt with everybody's death
in the sense of,

49
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I didn't go to my mom's funeral,
so why should I go to yours?

50
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I had to clean up my own act,
and, like, really, like,

51
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start to appreciate life
and stop feeling so entitled

52
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to happiness.

53
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Happiness is something
that you have to work for.

54
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it's something you have to earn.

55
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- Where do you go
to source your inspiration?

56
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- A lot of our inspiration
comes from, like, historical stories.

57
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So, like, for the past three collections
we've done,

58
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they've been called "American Also."

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The American flag, for a lot of us,
feels like something

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that's, like, not ours.

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So we focused
on things that were traditionally

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American populist,
like, pop-culture items,

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like the cowboy,

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the American family, rock and roll,

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and showed how they're actually black.

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Yeah. Yeah.
- I love that.

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I love everything about that.

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[woodwind scales]

69
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And now let's go deep.

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[calming music]

71
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[chime sounds]

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- Here we go.
- [chuckles]

73
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Get back into my therapy pose.
- Yeah, this is very important.

74
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- British Knights or "Boogie Nights?"

75
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- British Knights.

76
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[musical sting]

77
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- Jean-Michel Basquiat
or Jean-Paul Gaultier?

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- Basquiat.
[musical sting]

79
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- Reeboks with the straps
or Reeboks with the pump?

80
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- Straps.

81
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[musical sting]

82
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- "Fresh Prince of Bel Air"
or "Family Matters"?

83
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- "Fresh Prince" all day.

84
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[upbeat music]

85
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- And, lastly, most importantly...

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[clears throat] Who knows,
this may be happening, it may not.

87
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We don't know.

88
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But if I were to go to the Met Gala,
how would you dress me?

89
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♪ ♪

90
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- The theme is time,

91
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and it revolves around Virginia Woolf,

92
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who has displayed

93
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lots of racism in her writings
and her actions,

94
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and I would be counterculture
as it pertains to her,

95
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and that's as far as I can say.

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But I'll see you there.

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[bells jingle]
- Perfect.

98
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[woodwind scales]

99
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Girl, it's time to process.

100
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My boy Kerby had to master
the rules of fashion

101
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in order to be able to subvert them.

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He reclaimed what it's meant
to be an American designer

103
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as a black man
with his own deep-rooted traditions.

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My centerpiece for Kerby pays tribute
to an artist

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who stands proudly and beautifully
in his chocolate skin

106
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and knows how
to turn some shit upside down.

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[drumroll]

108
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Was one of the most inspiring interviews
that I think I've had

109
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as a small business
trying to grow what I'm doing

110
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and trying to do, like--
You're actually building something.

111
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Thank you for your grace,
your beauty, your excellence.

112
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[drumroll]
Cue the curtain!

113
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[cymbal crashes]

114
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[laughs] Join me.

115
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- [laughs] Amazing.

116
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- So the idea around this...
- Whoa.

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[gentle music]

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MAURICE:
Is centered around...

119
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your ability to take a traditional medium

120
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and, like, put it in your own hands
and make it...

121
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black as hell...
- Yeah.

122
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- And make it you as hell

123
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And just to literally turn that
on its head is, like...

124
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I wanted the floor to be dirt,

125
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because I feel like you're rooted,
you're grounded.

126
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You keep it raw, actually...
- [chuckles]

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- Which is, like, so bomb.

128
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When I look at how you use color,

129
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it's, like, bold but sophisticated
and refined.

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JEAN-RAYMOND: The reason
why I use yellow so much in the collection

131
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is because it's my mom's favorite color.

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It's almost the exact same shade
of, like, saffron.

133
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I love this. This is amazing.
- Yeah.

134
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So...
- How do I get this on the plane?

135
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- We have another surprise
for you, though.

136
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- Okay.

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- When I heard about

138
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the Pyer Moss Tabernacle Drip Choir
Drenched in the Blood of Jesus,

139
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I was like, "Well, I've got a root.

140
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My sister's got a root."

141
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And I think we would like to audition

142
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for the choir, if you would allow us.

143
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- Go ahead.

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[hip-hop beat]
BOTH: ♪ Nobody knows ♪

145
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♪ The trouble I see ♪

146
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♪ Nobody knows ♪

147
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- Try it, Jazz!

148
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- ♪ Kerby and his team ♪

149
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♪ Out here dripping in the sauce ♪
- Hot sauce!

150
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- ♪ These haters and these hustlers
don't be wanted, get lost ♪

151
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- Bye!
- ♪ We do it for the culture ♪

152
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♪ That's all facts and no pretend ♪
- Fake asshole!

153
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- ♪ Pyer Moss is a brand,
and he getting... ♪

154
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[Maurice shouts indistinctly]

155
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♪ Hey, you see us now? ♪

156
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BOTH:
♪ Do you see us now? Hey! ♪

157
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- ♪ You see us now? ♪

158
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BOTH:
♪ Do you see us now? Hey! ♪

159
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- ♪ You see us now? ♪

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BOTH:
♪ Do you see us now? Hey!

161
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- I want to commend you, because your...

162
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your Milly rock was sturdy.
- [laughs]

163
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- Thank you very much.

164
00:06:57,793 --> 00:07:01,713
- Your rap was original.
I heard the shout-outs.

165
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I just think you do this really well.

166
00:07:05,759 --> 00:07:06,639
- Oh.
- Mm.

167
00:07:06,677 --> 00:07:10,557
- Yeah. And I think
the world would miss you...

168
00:07:10,597 --> 00:07:11,427
- Oh.

169
00:07:11,473 --> 00:07:14,523
- If you were to come over
to the Drip Choir.

170
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But I love you guys.

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- And cut.
[laughter]