How Ceci Styled ‘Sister, Sister’ And Other Black Sitcoms

The glitz and glamour of leisure is nothing with out the individuals who costume at this time’s greatest stars. For “Who’s Behind the Clothes,” HuffPost spotlights stylists and costume designers who’ve delivered a few of our favourite celebrities’ or characters’ most memorable appears to be like.

“A Completely different World.” “Residing Single.” “Sister, Sister.” These Black ’90s sequence outlined the fashion of a technology, thanks to 1 costume designer: Ceci.

Born and raised in Los Angeles to her Panamanian mother and father, Ceci’s potential to vogue clothes was extra about survival than creativity. Rising up, she couldn’t afford the most recent, trendiest outfits; she acquired a job on the age of 12 simply to purchase college garments. By age 4, Ceci had already realized how one can sew by watching her mom. These abilities would later translate into her skilled profession.

“That factor about Black exhibits again then,” stated Ceci, “Black exhibits didn’t get the identical price range as white exhibits. There was a giant disparity and other people have been all the time caught. You have been pressured to be extra inventive, which as soon as once more goes again to my upbringing. I believe it had so much to do with how I grew up, and that informs my fashion, tastes and sensibility.”

Though she had a penchant for vogue, Ceci double-majored in economics and social welfare on the College of California at Berkeley, later touchdown a six-figure company job at Xerox. “I used to be getting cash, however I used to be depressing,” Ceci stated, on reflection. Her self-expression was stifled as her colourful work apparel was dubbed “unprofessional,” and didn’t essentially match the tradition there.

So, she packed her baggage and trekked to LA, the place she would create a legacy that spans far past a cubicle — to almost each tv in America.

Within the ’90s, Ceci’s pulse on fashion captured the eye of numerous Black younger adults and the generations to observe. We envied Whitley Gilbert’s blazers and pearls, wanted Khadijah James’ classic African-American Faculty Alliance sweatshirts, and wished for twin sisters like Tia and Tamera Mowry simply so we may have somebody to coordinate outfits with.

With over 30 years of expertise as a dressing up designer, Ceci has confirmed that she’s nonetheless acquired it, from her work on Season 1 of “The Marvel Years” reboot to Netflix’s “Expensive White Folks” and extra. On the twenty fourth anniversary of the “Sister, Sister” sequence finale, Ceci talked to HuffPost about her intensive profession for “Who’s Behind the Clothes.”

What does it imply to you to have your legacy styling iconic Black sitcoms celebrated and preserved on-line? Though it’s now been renamed, do you know there was an entire Instagram page called “@everyoutfitinlivingsingle?”

Are you severe? I didn’t even find out about that! It’s actually bizarre. While you’re working and also you’re in the midst of your profession, you’re not fascinated by constructing a legacy — a minimum of I wasn’t. I imply, perhaps some individuals are actually. I’m attending to the age the place it’s like, sure, you need to have a legacy or have any individual be capable to say one thing at your funeral. So, you begin fascinated by that and also you’re like, “Oh, effectively, did I do sufficient?” I’m actually simply coming to full consciousness of the truth that individuals had such admiration for the exhibits. With social media now, you have got excellent strangers DMing you all types of loopy issues like, “The place can I discover this specific outfit?” I’m like, “In a time capsule, as a result of that was 35 years in the past!” It’s very odd to me that individuals actually have an appreciation; I’m grateful. I believe it’s superb that I used to be in a position to be part of these exhibits that are actually iconic, they usually have such a following and new audiences. To be part of it, it was actually an honor. On the time, I wasn’t fascinated by it like that, however on reflection, for positive.

How have been you fascinated by it and approaching your work on the time?

I believe I used to be approaching it from the standpoint of eager to be inventive, introduce some appears to be like that have been issues that I innovated, make the most of designers who have been making one-of-a-kind items and approached me and stated, “What do you concentrate on this or that?” I believe most of these exhibits, if not all of these exhibits, have been actually enjoyable to work on when the manufacturing workforce, the administrators and the actors gave me the area to be expressive, and to do what I assumed was greatest creatively. While you’re in a position to do this is once you’re in a position to actually flourish and actually step into your objective and your inventive being-ness.

One of the vital necessary vogue touchstones of Black ’90s tv was the visibility of HBCU sweatshirts and attire, particularly on Khadijah James (Queen Latifah) in “Residing Single.” Was that an intentional costume design alternative? And what does it imply to you to see the impact that “A Completely different World” has had on later generations opting to enroll in traditionally Black faculties and universities?

Oh, completely. I believe throughout these occasions, Afrocentricity, like proper now, was robust. It was nice as a result of there have been a number of alternatives: individuals doing clothes with African materials, hats, jewellery. All of these issues have been occurring, and since I used to be on a present that had a number of viewership, they got here to me. I needed to saturate the present with Black tradition, Black vogue and every thing that represented all issues Black. I nonetheless attempt to do this, however I believe there’s been a shift. I don’t know if it’s simply perhaps individuals don’t find out about me, they usually don’t know that I’m nonetheless working, however individuals will name the workplace and make an appointment and are available proper in and present me their wares. Each week, I’d have somebody who would fly in from New York, fly in from Atlanta to point out me what that they had. I used to be all the time so comfortable to have the ability to use something that I may that represented Black tradition and Black politics, and it was simply my pleasure to have the ability to do this.

On the be aware of Afrocentricity, nearly all of the tv exhibits you’ve executed are Black sequence, from “The Marvel Years” reboot on ABC to my private favourite, “Half and Half.” Did you intentionally pursue these tasks or have been these the one exhibits that have been open to Black costume designers on the time? Furthermore, what does infusing Afrocentricity into your work imply?

Sure, these have been the alternatives that have been offered to me. These have been the alternatives that have been accessible. Typically, that also exists. Sadly, some designers have pushed again they usually don’t need to be referred to as a Black costume designer. I don’t have an issue being referred to as a Black costume designer, as a result of that’s who I’m.

By way of Afrocentricity, I take a look at all the diaspora. I’m Panamanian; my mom and father are from Panama, so I deliver a few of that sensibility. I grew up in 14 completely different areas in Los Angeles, principally Black areas. The creativity got here from an absence, since you couldn’t afford one thing new the following day. That’s why I began with stitching at age 4. My mom sewed all our garments, so I used to be in a position to take the scraps, begin stitching for myself, and be very progressive with vogue. To me, that’s a part of the cultural expertise, too. That’s a part of the cultural nuances that I deliver to my work, with the ability to be uncovered to materials, and be tactile about it at a younger age.

So, I’ve an enormous appreciation for textures, colours, vibrancies, and ethnicities, and I’m not so pigeonholed into considering, “OK, this one factor is the Black expertise,” or “This one factor has to come back from Africa; it has to come back from the continent to ensure that it to be a Black expertise.” I establish as a Black lady. Though the ship might have stopped in Panama first, I’m nonetheless Black. Rising up, culturally, I used to be grounded in a extra Latin tradition, and so most of the issues that I realized at residence have been helpful when it comes to me stepping into the business.

I used to need to iron my dad’s shirts, and that was simply the factor. Once I was trying to get into the business, I had the chance to interview for a stylist, and she or he was searching for an assistant. That talent was the factor that acquired me began, but it surely was additionally the factor that was the connectivity of my roots and the tradition during which I grew up in. What Afrocentricity means to me is inclusiveness. It’s not simply saying that it has to come back from Nigeria or Ghana, but it surely can also come from Panama, the Dominican, and all of the locations the place we exist. And I’m open to that.

Your styling has actually withstood the check of time. What was your costume design course of like? Did you storyboard outfits, and the place did you draw inspiration from?

Folks all the time ask that query. I don’t understand how different designers do it, however as a result of tv could be very fast-paced, you don’t have an choice to do all that fancy pre-production storyboarding. There wasn’t that on the time to dive in, so essentially the most you can do is take a look at magazines — and early on, I ended that. Taking a look at different individuals’s designs didn’t serve me. Finally you need to simply overlook all these issues and give you no matter your individual hand is, no matter your individual perspective is. I discovered myself considering, “Oh, yeah! I do not forget that Patrick Kelly factor,” or no matter, then I used to be like, “That’s not what I need to do.” It was form of stifling my very own creativity.

Even at this time, I do know some designers rely closely on labels and what’s the peak of vogue. I couldn’t care much less about any of that. I like what I like. I belief my viewpoint. I belief my instincts. Once I do this, it provides me the liberty to pick any rattling factor I would like. I can combine one thing from Neiman Marcus with one thing from a classic retailer, one thing from Goal with one thing from Saks. I do know what I like, I do know high quality, I do know what I’m searching for. Something that was made pre-2023 is truthful recreation; I can select an unlimited number of silhouettes, fabrications. There’s so many issues you can select from, slightly than limiting your self to what’s in fashion at this time.

My method is having a well-defined character. Every of these characters that everyone finds memorable or finds just a little little bit of themselves in is as a result of they’re effectively outlined. They usually’re well-defined as a result of the writers have outlined them when it comes to the scripts. So it’s my job now to take that, amplify that, provide you with a visible illustration of who these persons are, and layer that and make them extra actual, not so costume-y. As an individual, this represents Régine, this represents Khadijah, this represents Max, they usually all have their very own lane. I believe that’s in all probability among the purpose they’ve lasted the check of time, since you don’t all the time take a look at them and say “Oh, that’s 1998 once they wore that.” It’s simply, “That appears nice.”

Talking of Régine (Kim Fields), whereas I do know you is probably not on-line, there’s been some discourse from followers alleging that the costume designer behind “The Nanny” pulled the very same outfits for Fran Wonderful (Fran Drescher). Have you ever seen the commentary and if that’s the case, how do you’re feeling about it?

They’ve despatched it to me, and it’s so silly. [Laughs] I don’t know what the designer of “The Nanny” was doing. I like “The Nanny.” That was an excellent present. It’s enjoyable to look at, and the garments have been enjoyable. However, I imply, you possibly can’t get away from the truth that costume designing for TV, largely, is buying and pulling from garments which can be in shops.

Régine the character and Fran Wonderful the character, I suppose when it comes to a profile, are comparable in that they’re fashionistas. If we each are engaged on a present in Los Angeles — and there’s a crimson jacket, for instance, at Neiman’s, Saks or wherever we store — it’s inevitable that I’ll have come throughout it and stated “Oh, that’s superb. I adore it. It’d be excellent for Régine!” and whoever that was on “The Nanny” thought, “Oh my god, that will be excellent for Fran!” I don’t know the way it occurred, but it surely’s inevitable. Identical to at this time, I’m positive you possibly can activate the TV and say, “Oh my god, I noticed that on such and such present.” On “Abbott Elementary,” there’s a costume that Quinta has on, and I’ve the black-and-white model of it, and she or he’s acquired the green-and-white model of it. As a result of we each purchased it at Zara, proper?! It doesn’t imply that I’m ripping off Quinta’s costume. It’d be good if she was appreciating my work; that sounds actually OK! However I can’t say she wasn’t or she wasn’t. I believe it might simply be a coincidence.

We’ve talked about how your upbringing has knowledgeable your work and profession, however how has it formed your private fashion? How would you characterize or describe it? What are some belongings you gravitate towards?

It’s attention-grabbing that you just’re asking that query as a result of I really feel as if simply in the previous couple of weeks, I’ve formulated a solution. I’m very eclectic, and I believe typically persons are; however the way in which I design, I design a lane for my characters. There’s a variety inside their lane, in order that they’re not all the time sporting the identical factor. They undoubtedly have a definite look, however inside their lane. I’ve requested myself, “What’s your fashion, Ceci?” and I believe that in each character that I’ve ever designed, together with males, it’s part of me. I’ve expressed just a little little bit of me onto every of those characters, even the lads. I like dressing in males’s vests or males’s suitings; I’ll do a Kyle look simply as shortly as I do a Régine look. It’s like just a little little bit of me has been mirrored in all of those characters. My lane is so doggone broad. I like classic. I like modern. I like couture. I like all of it. I don’t assume that there’s anyone look or vibe that I can say simply completely describes me. By and enormous, I believe I’m very eclectic. I don’t know you can pinpoint my look. I do know I gravitate to textures so much. I like layering, however a lot of my characters do this.

What does it imply to you to see the resurgence of ’90s and Y2K fashion in tv and widespread tradition?

I don’t pay an excessive amount of consideration to it! I believe it comes up with interviews, it comes up typically once I’m perhaps interviewing for a specific job, they usually’re like, “Oh, you’re excellent for this as a result of we need to do a ’90s factor!” and I’m going, “OK, I imply, I’m unsure if within the ’90s, I used to be doing ’90s.” To a level, sure, however then I really feel like I used to be all the time placing my very own spin on it. So, was it “the ’90s”? Or was it simply that I did it within the 90s?

Might 23 marks the sequence finale of “Sister, Sister” in 1999. Trying again on the present, what was the inspiration once you have been styling Tia and Tamera Mowry? I keep in mind envying the matching outfits they wore throughout their youthful years.

With Tia and Tamera, it was attention-grabbing as a result of I can all the time inform the distinction between the 2 — and I used to be shocked that individuals couldn’t inform the distinction. The producers needed to guarantee that the viewers may inform the distinction between them, however additionally they nonetheless needed to have some similarities as twins. So what I wanted to do every wardrobe change was to attach them ultimately, whether or not it was with colour stylistically, fabrications, textures. One can be extra saucy, spicy and form of on the market, whereas the opposite one can be just a little bit extra conservative, however I all the time needed to play with that dichotomy of constructing positive that Tia appears to be like like Tia and Tamera appears to be like like Tamera, however they nonetheless seem like twins. In order that was tough, but it surely was actually enjoyable to do.

Within the later seasons of “Sister, Sister,” we noticed the theme track change and most significantly, we noticed their fashion change as they matured. America’s favourite twins went from sporting hats, berets, plaid and overalls to spaghetti strap tops, bell bottoms, leather-based boots and straightened hair. How have been you in a position to mannequin Tia and Tamera’s progress and evolution as characters whereas they have been navigating adolescence?

Properly for them, as a result of they have been so younger, it was actually necessary. I do not forget that we couldn’t even curse round them. Just a bit anecdote, I ended up working with Tia on “A Black Girl Sketch Present.” That was the primary time I had seen her since “Sister, Sister.” We simply laughed and I simply stated, “Oh, my God, I keep in mind all the time being on pins and needles round you [and your sister]. Like, I can’t say this, we will’t curse round you. Now, you’re a grown lady, you had infants — oh, my God!” [Laughs]

Again to your query, when it comes to their evolution, I simply needed to guarantee that they grew up appropriately when it comes to being modest, however not being too revealing, not issues that have been too significantly low-cut. I keep in mind being like, “OK, issues don’t need to be all buttoned up; we will present just a little little bit of one thing.” Issues is usually a little bit extra form-fitting, the skirts is usually a little shorter. So, issues that will signify the conventional development of an adolescent to a teen. I keep in mind with the ability to put a classic slip costume [on the girls], and that was the thumbs-up. By then, they actually trusted me. It was form of like dressing my very own daughters. It’s like, “OK, I need to put you on Entrance Avenue, so I’m gonna just remember to’re modest, however you continue to look cute and fashion-forward.” There’s methods to do this with out being sexualized.

Now, Tia and Tamera weren’t the one sisters you dressed; you costume designed Mona (Rachel True) and Dee Dee Thorne (Essence Atkins) on “Half and Half,” one among my all-time favourite sequence. How did you juxtapose these two as fictional half-siblings, and who was your favourite to decorate? Folks beloved to rag on Mona again then, particularly her chunky boots.

Are you kidding me?! Mona’s superb! She was extra of the classic eclectic, layered, chunky jewellery, discovered objects woman. To me, she was extra attention-grabbing to take a look at. Then, Dee Dee was enjoyable to take a look at as a result of she had cash. So, she was extra coiffed, I’d think about. Dee Dee was extra put-together, extra modern, extra straight-out-of-a-boutique form of look. To not say that Mona was sloppy, however for those who have been to make use of an analogy: If Dee Dee had a T-shirt, hers in all probability had some chiffon trim and she or he’d tuck that into her pants. Whereas Mona may need a rock-and-roll graphic print and have her T-shirt out over a suede skirt from the ’70s. It was undoubtedly distinctly completely different and simple to make a distinction as a result of the characters have been so completely different.

Earlier than the UPN-Warner Bros. merger that created The CW, earlier than the TV writers strike of 2007, it appeared like there was a golden period of Black sitcoms on TV, with exhibits like “Moesha,” “Girlfriends” and extra. How do you assume that period compares to the state of Black sitcoms now? And what did the lack of these exhibits imply for you as a dressing up designer?

It represented a giant loss, since you make your relationships with government producers and writers which can be on the present that you just’re engaged on. I had the good fortune of doing these lengthy, five-year stints with these exhibits. I used to be in a position to transfer to “Half and Half” as a result of Yvette Lee Bowser [creator of “Living Single”] was in a position to create that present — and that’s the way you get your subsequent job. There was a powerful feeling of this hierarchy. However again then, TV was probably not the top of leisure. I keep in mind going by means of this interview course of with these two white ladies, and I may inform what they have been trying down on the breadth of my expertise.

What I’ve been noticing is with the entire Black Lives Matter motion, studios are all making an attempt to verify the field of variety. Nevertheless, I don’t assume it’s going to totally return to the way it was within the ’90s. What I’m seeing now’s extra inclusion when it comes to Black actors within the ensemble; typically there’s exhibits which have majority black actors, however not 100% all-Black actors, prefer it was within the ’90s. However I don’t assume that’s sufficient in any respect. I believe that there’s a lot dialogue about variety, however I believe a number of occasions it’s simply lip service, and it’s simply not sufficient. There’s motion pictures and TV exhibits which can be being executed proper now with the bulk Black actors, however the below-the-line crew doesn’t mirror what’s in entrance of the digicam.

Lastly, what would you like your legacy to be? What do you hope to do subsequent?

Proper now, I’m engaged on a remake of “Don’t Tell Mom the Babysitter’s Dead.” It’s been rewritten with a Black household. However that may be a actually good query. As a result of can you intend your legacy? It’d be very nice to have the ability to say, Yeah, me being right here on this planet was impactful. That’s actually the legacy that I need to go away. I did one thing that made a distinction, and that moved us as Black individuals just a bit bit additional and that helped us in some kind of manner. Even with my crew, I’ve such a dedication for hiring individuals of colour, and I need to be recognized for that additionally. That’s necessary to me.