Pat Cleveland on Struggle, Beauty, and Life as a Performance

In the late 1960s, Pat Cleveland was a star. She worked with the greatest photographers of her time – Irving Penn, Richard Avedon, and Hiro. Her photographs were destined for covers, editors were thrilled, but then, at the last moment, the same thing would happen: her face would be replaced by that of a white model. After the umpteenth time, her patience ran out. In 1971, she made a decision that would become part of fashion legend. She packed her bags for Paris with a single vow: “I will not return until a Black model is on the cover of US Vogue.” It was not just a statement of frustration, but a quiet, yet powerful act of revolution that would forever change the industry.

Decades later, with an energy that still captivates, Pat Cleveland remains one of the most important figures in the world of fashion. She spoke with author Constance C.R. White for Vogue Adria about her incredible career, her struggles, the lessons she’s learned, and her unstoppable optimism.

Full Look Thom Browne, photo: Tom Marvel

Patricia Cleveland, preens for the camera, carefully tilting her head upwards to ensure her face catches the light, just so; her hips thrust forward, back arched, she strikes a pose as she teeters on lofty heels. You can easily imagine this grand dame of fashion, conducting a master class in modeling. At 74, Cleveland has lost none of her pizazz or the rare allure that got her scouted on the New York City subway at 15, and landed her in Vogue – not only as a model, but – little known fact – as a designer. 

Lagerfeld was not yet the designer for Chloe when she met him in Paris. She danced the night away with Halston at Studio 54 in New York. Mugler “made me feel like an angel,” she said. She swept down Calvin Klein’s runway. And Stephen Burrows, well Burrows, “opened all the doors,” she recalled. Cleveland means a lot to people in fashion, those who’ve followed her for decades as well as newbies fresh to her charms. She is perhaps even more precious to a global community of people of color and to African Americans, who recognize the hurdles she overcame to become one of the first Black models to scale fashion’s loftiest heights.

“She embodied something that was very special,that made her stand out from the other girls,” said Burrows. She’s had an unusually long and successful career. “And she’s still having it.”   

Top Simone Rocha, Cape CD Greene, Earrings Erickson Beamon from Showroom Seven, Photo: Tom Marvel

When she’s not modeling, Cleveland paints, she sings, she designs little capsule clothing collections and she’s working on an original album of songs. Her creativity stretches back to childhood. Cleveland’s home life in New York City where she grew up, was free-flowing and artistic. “My mother was a painter, my Dad was a jazz musician and my auntie was a dancer with Katherine Dunham,” she recalled. Creative expression was in her pores and she would make her own clothes and dress in ways that drew attention. One day she was on the train when an editor spotted her and struck up a conversation, asking her who she was. Where did she get that black and white herringbone look she was wearing?

“I made it,” Cleveland answered. What followed was the improbable New York tale. Cleveland was whisked up to Vogue and introduced to Henri Bendel, given a generous order to design her own collection for the tony specialty boutique and was photographed for a spread in the magazine. “You have dreams,” said Cleveland. “You think you’re going to be the fastest car in the race, but find out otherwise because of the society you’re growing up in.

“Growing up in the Sixties there were many obstacles for people of color,” she said. “The ideas society had, they had to be changed a bit. More humane. Who represents beauty? “I had a difficult time being accepted. Seeing that, it gave me a lot of energy to think that maybe I could represent someone.”

Full Look Thom Browne, Earrings Verdura, photo: Tom Marvel

While things didn’t continue skyward perhaps in the way Cleveland expected, it wasn’t long before another  window of opportunity opened even as her collection sold in Bendels for another year or two. Ebony came calling. Cleveland built her popularity and her expertise, one bus-trip at a time, modeling for the popular traveling fashion show Ebony Fashion Fair, from age 16. It was a brand extension of Chicago-based Ebony magazine that reflected the emerging Black middle classes’ hopes and aspirations beginning in the Fifties and early Sixties.

Pre-internet, little access existed for people, Black or white, to see models strutting runways in luxurious outfits from the world’s top designers. Ebony Fashion Fair and its traveling haute caravan of style, would go from city to city: Miami, St.Louis, Detroit – wherever there was a sizable or affluent Black community waiting to be dazzled. They attracted high society and strivers alike.

These entertaining shows, comprised an important part of the social calendar. They entertained and educated on the subject of  international fashion. More significantly, the shows affirmed the pride and cultural expression of a community that had fought its way out of the shadows of exploitation and degradation into the light of equality and civil rights. A portion of event sales went toward a magazine subscription and a share typically funded scholarships or social causes in the Black community. 

Ebony Fashion Fair birthed several stars like Cleveland herself, Richard Roundtree (the original “Shaft”), B. Smith, the late New York restaurateur and Audrey Smaltz (the fashion maven). Cleveland is a connoisseur of experiences and she left Ebony and buses to take on Paris, New York and airplanes.

In 1970, she met Burrows, who was about to open his own boutique in Bendel’s. He and Carrie Donovan, the legendary fashion editor, had requested Norma Jean Darden, another trailblazer, for the shoot. But Darden was already booked and couldn’t come. “So they sent Pat instead,” said Burrows. He’ll never forget that moment when she breezed in. “It was like one of my sketches walked off the page,” he said. “And we’ve been friends ever since. Cleveland, said Burrows, is the most positive person he knows. And indeed, just a few minutes into any conversation with her, she exudes good vibes. 

Full Look Thom Browne, Earrings Verdura, Photo: Tom Marvel

With her gentle, sing-song voice, expressive arms and ready smile, she reminds you of the goodness of living and the sweetness in all of us. “Her attitude about life, and love and happiness, she’s effervescent. She’s very strong with it,” says Burrows. “She sees the good in everything.”

Her positivity helped her befriend many designers who were or would become household names.  I met everyone through Stephen,” recalled Cleveland. “He introduced me to Giorgio San’t Angelo, to Halston.” She worked regularly with another legendary editor Diana Vreeland, doing the dress fittings for her September issues.

Later, she left for Paris at the invitation of the influential illustrator Antonio Lopez. “We were like a little family,” she recalled. “We slept on sleeping bags on the floors. “I’ve had so many wonderful  adventures,” she said. “Thierry Mugler made me feel like I was coming from heaven in his shows.  I loved Kenzo. I worked for Claude Montana.” At times, she was doing 30 shows a week. Though it may be hard to fathom, Cleveland is a wife and mother. She’s been married to Paul van Ravenstein since 1982. They are parents of two children, one of whom, Anna, followed Cleveland into modeling, and now lives in England.

Dress Jason Wu Collection, Earrings Alexis Bittar, Shoes Gianvito Rossi, Photo: Tom Marvel

Cleveland, who survived cancer in 2019, became a grandmother recently and enjoys spending time with her family in the UK. “You can definitely have it all if you want it,” Cleveland believes. “ If you put your arms out. Open your arms to what can be. You just need a little determination.” She credits her husband with being an important part of her ability to do so.  “My children were basically raised backstage thanks to my husband Paul, who took care of the children while I was on stage. “You owe it to the people who brought you to this planet to do something with your life and don’t stand still and worry too much,” said Cleveland. “Have a dream. Go through the journey and find yourself. It’s going to be ok. Don’t be afraid,” says this sunny fashion queen.

“It’s all about everybody trying to live their best life. I have learnt from the people of style how to live the best life I want to live.”

Talent: Pat Cleveland @patcleveland with Muse Management NYC @musemodelsnyc
Photographer: Tom Marvel @tommarvelphotography
Creative Director: Cannon @thecannonmediagroup at Atelier Management @theateliermgmt
Author: Constance CR White @officialcwhite
Lighting Director: Murat Ozdemir @1muratozdemir1
Director of Video: Edsta @edsta
Production: Winnie Noan @winnie_noan
Lead Stylist’s Assistant: Max Reid @lu3alo at She Is Maia @sheismaia_agency
Digital Tech: Olivia Wohlers @wohliviaa
Digital Artist: Theresa Hong at Cosmic Pixels @cosmicpixels_nyc
Custom props by: Paul Romano at R&M Manufacturing Inc.
Photographer’s Assistants: Michele Swain @michelewihelminaphotography, Eric Wallace @polymathicwallace, Karim Chehimi @phillyk215 & Helen Chi @MissHelenChic
Grip: George Pepe @gspepe

BEAUTY TEAM:
Hair Stylist: Linh Nguyen @linhhair at SEE Management @seemanagement using Fenty Beauty by Rihanna @fentybeauty
Make Up Artist: Mark Williamson @markwilliamson45 at Artist Management @artistmanagement using Makeup by Mario @makeupbymario & Bdellium Tools @bdelliumtools
Manicurist: Casey @caseynails at The Wall Group @thewallgroup using Olive & June @oliveandjune

Fashion Team: Priscilla Martinez @priscillamartinez____, Alice Chan @_alisss.c_, Sofia Sinzmeyer @sofiazinsmeyer, Hailey Hendershot @haileyyhendershot & Mario Rubino @mariorubinoo

Shot at The Untitled Studio NYC @untitledstudionyc
Special Thanks to Connor Kennedy
Special Thanks to Jason and everyone at The Untitled Studio