Brandon Blackwood Is At The Forefront Of The Guardian Of New Fashion

Brandon Blackwood has a self-described love-hate relationship with handbags that put her brand on the map. I don’t want to be ostracized, and I don’t want to just be a one-trick pony, said the Brooklyn-born fashion designer as we sat down to talk all things career. Of course the bag in question is ESR Totesthe style launched in 2020 with the words End Systemic Racism scrawled across the front, as seen on celebrities from Kim Kardashian to Chloe Bailey.

The ESR tote was no longer in production, and Blackwood’s fears of being seen as a one-hit wonder also died out. Over the last three years, the brand has broadened its offerings to go beyond just gatherings chic handbag silhouette that Kendrick rod is the most popular, but Nia’s bag owns my heart but dives into footwear, sunglasses, outerwear, and more.

With so much to share, it’s hard to believe that Blackwood ever had the fear of going beyond his first successful chapter. Now, he and a group of experts from fellow designer-changed-friends create a new guardian fashion, excited to start the new year not only shape the trend, but also the industry itself.

Below, a conversation with Blackwood about her first retail job, boosting her self-financed brand, and how her generation plans to change fashion as we know it.

What did you do before launching your own brand?

I went to school for neuroscience and American studies. After graduating, I went straight into retail because I had no real fashion experience or any sort of connections. I work at Crossroads Trading, which I don’t know if you are familiar with. This is like Buffalo Exchange only buy, sell, and trade clothes.

That’s when I made my first bag, and I made it myself. I literally just Googled “handbag manufacturers one day. I don’t know what got into me but I just wanted to do it with no intention of selling it.

From there, everyone would praise the backpack I made now mine Portomore backpack. That’s why I know I need at least try create a brand. I made a lot of connections with stylists and editors at Crossroads because they would all sell their gift items there. I’d show them my backpack, and they’d be like, “Oh my God. Wait. That’s you? You have to make it. You have to sell it.”

I found out about the brand on social media. It sounds like you’ve had a few fashion guys in your corner since the jump, but how long will it take for brands to gain a following?

From [working at] A crossover into 2020, it was five years of slowly building the brand. I think I started 2020 with $12,000, and at the end of 2020, I had $350,000. That is entirely through social media. Obviously, I create ESR Totes, and nothing really like that at the time just a bag with a statement on it. It really exploded.

The first time I posted it, it was crazy. So many influencers and bloggers bought and used it, and so many people protested. I didn’t realize how much influence the bag had. I think a lot of people know about me through that bag. Then they saw the suitcases and other stuff I made, and then my suitcases started selling out. Then my backpack started selling out, and then I started constantly letting go and letting go, trying to keep up.

You have grown a lot since then. Do you have a vision to become the brand you want to be?

I want it to be the next big accessory moment in general. But I will always be a little more affordable. I want to make a good product, and if it’s good, people will love it.

My goal is not to be one of those designers who have what I call a museum, they have a really good collection, but you don’t see it in the store. You just see it online and in photos, and that’s it. I want to be a brand that exists in a world that is owned by black people. It doesn’t exist, and I feel like I’m this close to making it happen.

Who is your favorite designer?

Y/Project. I love Loewe. marni has a very simple yet built shape, but higher texture. I love that crazy, flashy tapestry moment Gucci is with Alessandro [Michele]. I know he’s leaving, but I like him [collection] because it was so out of my comfort zone.

Do you think the old guard is open to embracing new designers in the space?

I think the old way of riding fashion is almost ancient now that it’s so guarded. Everyone needs connection. Now, we have social media. If no one in the fashion world takes notice of me, I still have an audience and a customer base. I feel like with brands now, we do it backwards normally, you want to impress everyone in fashion, then they help you get customers.

Now, you get your own customer, then [the fashion world is] like, “Okay, you can come in.” No one will know my brand if I have to do it the traditional way, because I don’t know anyone. I like that because it equalizes.

It used to be more about connecting than being creative.

I think the new brands also build community, whereas the old brands don’t really do that. It’s more like having a fan base.

Brands that are emerging now really have a community around them that is much more personal because they really care about what you do, what you stand for, and what you produce.

The strength in that community makes budding designers difficult for the industry to ignore.

Fashion even seen cooler this way, because nobody thinks, “I hope X, Y, or Z like this. People build for their true customer base, not for two or three people.

This interview has been edited and condensed for clarity.