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16 Jun

“It’s Full Self-Expression At Its Maximalist Best”: Harris Reed On Creating Beyoncé’s Club Kid Cover Fashion (British VOGUE)

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Harris Reed’s party trick is performing Beyoncé’s “Single Ladies” dance. He learnt – and perfected it – as a youngster, and doesn’t care that it might be considered basic now. The song, like all of Queen B’s work, hits home. “As a young queer kid who came out in quite a conservative environment, hers is the music I’d play on the bus to school, when I was alone in the playground and eating my lunch by myself, dreaming of more of a glittering, romantic, fabulous world,” says Reed.

His deep connection to the spirit of the Beyhive reached new heights when Vogue’s Edward Enninful called the creative and asked if he could make a bespoke look – and an edit of club kid couture accessories – for Mrs Carter to wear in her July cover shoot. “I was literally speechless,” continues Reed. “She just means so much to me and my heart.”

 Enninful, it transpires, had bookmarked the standout look from Reed’s 60 Years A Queen collection, inspired by Sir Herbert Maxwell’s book of the same name, back in February, during the London-based designer’s biggest show to date (check out the emotionally devastating videos of Sam Smith singing Des’Ree’s “I’m Kissing You” for proof). The regal-queer-disco fusion of non-binary fashion resonated with something that had been percolating in Enninful’s mind for Beyoncé, and when Team Carter’s retro-futuristic references aligned with his own vision, he knew Reed was the designer for the job.
 Who else could create a statement spherical headdress for Bey to wear while astride a horse? Or monster platforms to rev up a motorbike in? “I got into fashion because I was obsessed with performance, alter ego and being a heightened version of the best version of yourself,” muses Harris on the stylistic parallels between his own work and that of the pop powerhouse he idolises.

The peacock feathers used to fashion Beyoncé’s dramatic headpiece, in fact, were leftovers from the fantastical headpiece Reed painstakingly made for Iman to wear to the Met Gala 2021. He bleached, re-dyed and then hand painted each plume a vibrant white colour during a 300-hour process that required him and his milliner Vivienne Lake to fasten them to a wire structure hand wrapped in silk thread. “The hats are a full-circle moment because they are how I started my career,” explains Reed. “The white hat, for me, is opulence. I wanted people to look at me and give me the space that is so well deserved.”

The other message of his fluid, romantic clothes is sustainability. Beyoncé’s look is made from upcycled 150-year-old tapestry and upholstery fabric, gifted to Reed by the Bussandri family after a fateful encounter on holiday in Italy. “It was incredibly validating as an artist,” notes Reed of having the Vogue stamp of approval for his ethically-minded and out-there work. “In the past, people have been quite nervous about taking something that’s so dramatic, opulent or extreme. This look embodies the whole Harris Reed 60 Years A Queen vision. It’s full self-expression at its maximalist best.” On one of the biggest performers in the world, this communicates a powerful message.

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Beyoncé’s July 2022 British Vogue cover.

 Rafael Pavarotti

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Originally posted from “British VOGUE” by Alice Newbold

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