wearAble art

Beau McCall, MAD Ball: Jeffrey Gibson, 2022. Denim, assorted clothing buttons (plastic, metal, rhinestone, Swarovski crystals, and custom ceramic buttons by Glaze Girl Designs), embroidery thread, 41 x 5 inches. 

Commissioned by Museum of Arts and Design.

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Beau McCall, MAD Ball: Cristina Grajales, 2022. Denim, assorted clothing buttons (plastic, metal, rhinestone, Swarovski crystals, and custom ceramic buttons by Glaze Girl Designs), pins, glow-in-the-dark embroidery thread, 32 x 5 inches. 

Commissioned by Museum of Arts and Design.

For the MAD Ball 2022, I created two sashes embellished with decorative clothing buttons. Sashes are often worn to mark ceremonial occasions and this choice of body ornament complements the event’s festive atmosphere as we honor two outstanding art figures. Each sash is a unique one-of-a-kind creation reflecting each honoree’s personal affinities and interests.  

For the Jeffrey Gibson sash I wanted to celebrate various aspects of his Native American culture. I included turquoise buttons since this color holds spiritual meaning for many Native Americans. The buffalo horn shaped buttons (silver and made of metal) are a modern interpretation of horns which have been used in Native American culture to make a variety of items. Button feathers and the silhouette of a Native American headdress are included to symbolize honor, strength, and bravery. Finally, a handful of rhinestone and Swarovski crystal buttons and numerous star buttons illuminate this celebratory sash.

For the Cristina Grajales sash I created a bucolic-inspired piece reflecting some of her favorite hobbies of sitting in her country house and watching the birds. For Cristina landscaping is a significant part of her cultural background. Therefore the sash includes an array of floral buttons against a white button backdrop. Also included are buttons in the shape of books to convey her love of reading. A sprinkling of buttons and pins from Cristina’s personal collection are found throughout the sash, reflecting her values and cherished memories. Finally, the heavy embellishment of rhinestone and Swarovski crystal buttons adds a shimmer to this serene button landscape.

Included on both sashes are custom ceramic buttons with the event’s title/year: “MAD Ball 2022.” Plus, both sashes include the initials of the honorees and my unique signature, consisting of two fish buttons representing my Pisces zodiac sign.

Lead image: Jeffrey Gibson and Cristina Grajales. Photo credit: Matteo Prandoni/BFA.com

Beau McCall, The Revolution, circa 1995. 

Denim jacket, buttons, and embroidery thread. Medium. 

Permanent Collection of The Museum at FIT.

Beau McCall embellished a classic denim jacket with buttons in the colors of the Pan-African flag (red, black, and green). Created in 1920, the flag represents people of the African Diaspora. African Studies professor Michael Hanchard states that it symbolizes the membership of Black people "in a world of communities, a world of nations."

Description credit: The Museum at FIT.

Beau McCall, Sole Power, 2018. 

Upcycled Adidas sneakers with raffia and buttons, Men’s Size 11.

Permanent Collection of the Museum of Arts and Design.

In this select image from my button sneaker collection I upcycle Run-DMC-inspired Adidas. The 1980s hip-hop group helped increase the popularity of the shell top sneakers and famously wore them with no laces. The Adidas versions I use include a built-in sock (to create the no laces effect) and I embellish the tongue to form a narrative. 

For Sole Power, I was inspired by the film Black Panther and its fictional city of Wakanda. Drawing from that theme I used African button masks, raffia (a popular material in West and Central Africa), and Maasai tribe-inspired decorative buttons to bridge the fictional with the historical for a unique celebration of African culture.

The title is a play on popular slogans in Black culture such as “soul power” and “Black power.” Here, “power” is preceded by the word “sole” referencing how style--footwear, in particular--can be a source of empowerment through its activation of self-expression.

Beau McCall, Button Yoke: Motherland II, 2020. 

Upcycled denim yoke, buttons, fasteners, brooch, medallion, ornament, and embroidery thread. Small. 

Permanent Collection of the Museum of Arts and Design.

During the pandemic, I began to add yokes to my button denim collection. With yokes, I cut away the jacket--removing the sleeves and the body of the garment. I am then left with armholes, chest pockets, and the yoke area which is a back panel and two front panels (left and right). 

A past trip to Johannesburg inspired this piece. It was my first time in the Motherland and I was amazed to see so many people of my culture and race in one place as the majority population. There was an abundance of kindness, creativity, and history that I experienced during that trip. This yoke celebrates my African heritage as well as universal pop culture references that I found during my time in Johannesburg.

Beau McCall, Button Armor, 2014. 

Buttons and colored wire. Dimensions variable.

Permanent Collection of the Museum of Arts and Design.

The initial concept for Button Armor was to create a necklace that could be worn to distinguish myself and my work in public settings. I wanted to create a conversation starter and an entry point for viewers to learn more about my craft. However, as I began to work on the piece, it became larger in both scale and concept.   

Eventually, the piece became more than a necklace. It became a piece of armor that could also be morphed into various styles such as a headpiece, arm bracelet, shawl, skirt, and a poncho.

Through the creative process, Button Armor has now evolved to be a statement on how jewelry can be used as a form of protection and declaration for oneself. The armor simultaneously gives one a sense of security and confidence while making a bold statement about self-expression and creativity.

Beau McCall, Button Apron: Gantalism Remix (Tribute to Jerry Gant), 2021.  

 
Upcycled denim jeans, plastic buttons, embroidery thread.  Medium. 

In this select image from my button apron collection I upcycle a pair of denim pants--from Jerry Gant's collection--into an apron. The button pattern mimics the original pattern Jerry created on the denim using a bleaching technique. The apron can be worn on the top or bottom of the body. 

This work is a tribute to the artist, Jerry Gant who inspired me and countless others.

Photo Credit (bottom image): Lisa DuBois

Beau McCall, Hood Classic: The Ice Durag, 2021. 

Cotton, clear plastic buttons, glow in the dark buttons, custom ceramic buttons by Glaze Girl Designs, and embroidery thread. Crown: 23.5 in. + Train: 77 in. 

Commissioned by Souleo. 

In my “hood classics,” collection I reference an array of objects, food, and miscellaneous items that have historically been stereotyped as “hood.” This terminology has been depicted by the mainstream as synonymous with “low-class, ghetto, and unsophisticated.” Yet, within Black culture “hood” is also a term of endearment. 

Thus, I attempt to subvert the negative connotations attached with labeling these items as “hood.” My goal is to offer a more balanced perspective on these items as I both celebrate and call into question the role they play within our culture.

Hood Classic: The Ice Durag celebrates Black hair, and in particular, durags--fiber scarves used in the maintenance of black hair and to accessorize one’s outfit. To tribute this material, The Ice Durag features a train--extending 6+ feet--and a crown, both embellished with a base layer of clear buttons. In addition, the crown includes custom made ceramic buttons. The latter captures an array of Black hairstyles including the afro, locks, and waves (created by using durags); along with hair tools such as an afro pick with a Black Power fist, a comb, barber clippers, and of course, a miniature durag.