In this scene from the exhibition, three mannequins are propped in front of chain link fence painted a light grey, in front a wall painted all grey. On the left, the mannequin wears matching red top and skirt with red flower perched on the right side of her head. In the center, the mannequin wears a blue and white striped vest and brown pants with a red scarf. On the right, the mannequin wears a white skirt and pink checkered top and scarf tied on her head.

Willi Smith Street Couture

The digital exhibition accompanies the exhibition installed at Cooper Hewitt from March 13, 2020 to October 24, 2021.

During his twenty-year career Willi Smith (1948–1987) united fashion and American culture, marrying affordable, adaptable basics with avant-garde performance, film, art, and design. Smith hoped to solve what he called “the problem of getting dressed,” or the lack of control fashion afforded the everyday person, by using clothing as a tool for the liberation of stereotypes around race, class, sex, and gender, and bringing art into the mainstream. In the wake of the 1974 recession and Vietnam War, Smith founded WilliWear Ltd. with business and creative partner Laurie Mallet to produce clothing, events, and experiences with a wide range of collaborators who used new technologies and progressive ideas to transform their creative fields and instigate social change. At the time of his sudden death from AIDS-related illness, Smith was considered to be the most commercially successful Black American designer of the 20th century and a pioneer of “street couture”—fashion inspired by the creativity of people from the cities to the suburbs that captured the egalitarian spirit of the age. Willi Smith: Street Couture surveys Smith’s pathbreaking imagination of an inclusive, collaborative, and playful new society.

SITE, in collaboration with Sam Chermayeff Architects, designed this exhibition to recall the WilliWear showrooms and boutiques, like the one seen in the image above. Conceived by SITE partners Alison Sky and James Wines from 1982–1987, these retail experiences were composed of construction materials and objects salvaged from the sidewalks of New York City, bringing the improvisational energy of the street indoors as a framework for sales, events, and installations. SITE’s streetscapes embody WilliWear’s emphasis on the power of art to transform daily life.

This exhibition would not have been possible without the guidance and support of Willi Smith’s family, friends, and collaborators including Jeffrey Banks, Anthony Barboza, Martine Barrat, Alvin Bell, Bill Bonnell, Mark Bozek, Stephen Burrows, Ruth E. Carter, Christo, Pat Cleveland, Peter Gordon, Bethann Hardison, Kim Hastreiter, Laurie Mallet, Peter McQuaid, Bill T. Jones, Les Levine, Alma Luna, Linda Mason, Dianne McIntyre, Veronica Jones, Maira Kalman, Steven Meisel, Miralda, Rosemary Peck, Robert Risko, Edwin Schlossberg, Alison Sky, Audrey Smaltz, Norman Smith, Toukie Smith, Jorge Socarras, Kim Steele, Jeff Tweedy, Max Vadukul, Sylvia Waters, Veronica Webb, and James Wines.

Willi Smith: Street Couture is made possible with principal support from  red bullseye logo
Major support is provided by 

Additional support is provided by the Ehrenkranz Fund and Edward and Helen Hintz. Funding is also provided by The Coby Foundation, Ltd., the Esme Usdan Exhibition Endowment Fund, The Keith Haring Foundation, the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and the Cooper Hewitt Master’s Program Fund. In-kind support is provided by the National Museum of African American History and Culture, Cargo, and the Hirshhorn Museum and Sculpture Garden.

 

Digital platform design: Linked by Air

Installation Views

Installation view for the Willi Smith: Street Couture exhibition in the Great Hall at Cooper Hewitt showing items on grey chain-link fencing, wooden pallets, and industrial piping. On the left of the entrance is a gray folding security gate and box television with WilliWear graphics projected resting on wooden planks. Below these items are another box television displaying a fashion presentation and a board with text reading, [I don’t / design clothes / for the queen / but for the / people who / wave at her / as she goes by.] On the right of the entrance, a grayscale portrait of a dark-skinned man with round glasses (Willi Smith) rests against a gray metal ladder and chain link fence. To the right of the portrait, a long board of printed text reads, [/Willi Smith/ Street Couture/]. Beside the board, a pair of multicolored shorts and a long red nylon coat hang from the chain-link fence.
On our right of the entrance in Cooper Hewitt’s Great Hall, a grayscale portrait of a dark-skinned man with round glasses (Willi Smith) rests against a gray metal ladder and chain-link fence. To the right of the portrait, a long board of printed text reads, [/Willi Smith/ Street Couture/]. Beside the board, a pair of multicolored shorts and a long red nylon coat hang from the chain-link fence.
Close-up of a gray board with text reading, [I don’t / design clothes / for the queen / but for the / people who / wave at her / as she goes by.] The board sits atop a gray wooden pallet with gray broken cinderblocks in front. On another tier, above the board, part of a gray folding security gate is seen.
Close-up of a gray folding security gate that sits atop gray wooden planks in a dark wood-paneled room. Gray wire hangers hang from the folded security gate.
Installation view of the Willi Smith: Street Couture exhibition. The image shows a box television, six illustrations from the WilliWear Street Couture collection, a large grayscale publicity portrait of a model wearing garments from the collection, and an ensemble composed of a lavender scarf, plum sweater, button-up striped shirt, long brown pants, and a long black coat. To the right of this display to a second display showing part of a long white skirt and a white blouse with colorful squares hanging beside a box TV and a black-and-white poster the reads, [City Island].
Installation view of the Willi Smith: Street Couture Exhibition. Three sets of box TVs display runway presentations. Three fashion presentation posters are displayed in a large room at varying heights and read [City Island], [Sub Urban] and [Sightseeing.] In between each poster is a garment from each collection. Two large grayscale publicity portraits of models wearing garments from the Sub-Urban collection and the Sightseeing collection are seen. Six sketches are shown next to the Sub-Urban collection poster displaying sketches for menswear by Will Smith. Five sketches from the Sightseeing collection are displayed beside a ensemble from the collection. A large sign Stands on its own in the gallery and reads in large text [Runway] with smaller text describing WilliWear runway presentations.
An ensemble hangs against a gray wall with two large overlapping grayscale photographs of models in thick fall clothing to the right. The ensemble is comprised of a white loose-fitting cowl neck dress, paired with a light purple jumper tied at the waist and a charcoal and gray wool coat. To the lower right of the ensemble is a black-and-white poster that reads [SUB-Urban]. Six menswear illustrations are displayed to the right, our right, of the poster.
A long white skirt and a white blouse with multicolored squares hang in a wood-paneled room beside a box TV and a black-and-white poster the reads, [City Island].
Image of *Willi Smith: Street Couture* exhibition installation that shows items from the WilliWear Sightseeing collection. A yellowed black-and-white poster that says, [Sightseeing/ Spring/ ‘85] is displayed against a gray iron fence. Above the poster is a large black-and-white publicity photograph of a model wearing garments from the collection. To the right of the poster and photograph is an ensemble from the Sightseeing collection that is comprised of a hot pink button-up shirt, striped white and yellow shorts, and a multicolored plaid button-up jacket with hot pink buttons. Next to the ensemble are five illustrations showing designs for the collection. A folding paper runway invitation and a sewing pattern are displayed in a plexiglass case on a gray wooden crate below these items.
Image of *Willi Smith: Street Couture* exhibition installation that shows objects from two WilliWear collections. To our left is a display for the WilliWear SUB-Urban collection. A black-and-white poster with overlapping graphics of bold text saying, [SUB-Urban] is displayed. Next to the poster are six menswear illustrations. Below the illustrations, in a plexiglass case, are pages from the press kit for the SUB-Urban collection in black-and-white. The items in the Plexiglass case are displayed on top of gray cinderblocks. To our far right is a display for the WilliWear Sightseeing collection. A yellowed black-and-white poster that says, [Sightseeing/ Spring/ ‘85] is displayed against a gray iron fence. Above the poster is a large black-and-white publicity photograph of a model wearing garments from the collection. To the right of the poster and photograph is an ensemble from the Sightseeing collection that is comprised of a pink button-up shirt, striped white and yellow shorts, and a multicolored plaid button-up jacket with pink buttons. Next to the ensemble are five illustrations showing designs for the collection. A folding paper runway invitation and a sewing pattern are displayed in a plexiglass case on a gray wooden crate below these items. A box TV plays a portion of the fashion presentation to the right of the encased invitation and pattern.
Seven graphic T-shirts are displayed hanging in a T form on metal rods. Between two graphic T-shirts, a projection board displays a film showing a person dancing. Sheets of paper displaying images and text related to the T-shirts and film are encased along with a graphic T-shirt to the right of the projected film. Below the projection board are two framed objects; one white T-shirt with screen printed black text and two pieces of paper bearing the same text. To the far left of this installation is another installation that shows two ensembles hanging from a gray chain-link fence beside another projection board that displays a different film.
Three gray mannequins wearing clothing, face us. The mannequin on the far left wears a bright red long sleeve shirt with a V-neckline and a knee-length red skirt; a red flower is pinned onto the figure’s head. The mannequin in the center wears a light blue button-up vest with pockets, a red neck scarf, and long brown pants. The mannequin on the right wears a pink and white gingham headwrap, a tied pink and white gingham shirt with rolled short sleeves, and a white knee-length skirt. Beside the three manikins are fashion illustrations of the garments from the same production, Deep South Suite.
Five gray mannequins are positioned together on a two-tiered platform. Three mannequins are on the lower platform, facing us; two are on a higher platform behind the three and are positioned at three-quarter view. Two mannequins wear aviator jumpsuits in neutral colors with black goggles. Three mannequins wear plaid garments in white and gray, yellow and gray, and blue and white. A grayscale photograph of two dancers wearing the same jumpsuits and goggles is on display beside the mannequins.
A large sign stands on its own reading [Dance.] On a faux-concrete platform, a tent depicting dancing figures is displayed surrounded by a brightly colored tarp with painted phallic flowers, a box television on a wooden crate displaying a dance performance, and a bright yellow poster with stylized dancing figures reading [Secret/Pastures.] The poster is displayed on a piece of chain-link fencing, which also is a backdrop behind the tarp and tent.
Close-up view of Keith Haring tent for *Secret Pastures* showing black and red line drawing figures seemingly in motion. A brightly colored tarp displaying phallic flowers is behind the tent, hanging across a gray chain-link fence.
A blue uniform is hung on chicken coop wiring beside a pink long-sleeve shirt and white hat, a poster, and a publicity photo of a woman and man with megaphones seemingly instructing a group of people. To the right of this display is another that shows a large black-and-white photograph of a dark-skinned man and woman dancing closely together, a red shirt with a red skirt on a gray mannequin, a box TV, and three illustrations of medium dark-skinned figures wearing costumes shown on mannequins.
A uniform comprised of a light blue shirt and pants with a graphic T-shirt underneath hangs on a chain-link fence. To the left of the uniform is another light blue shirt with a screen-printed image of a bridge displayed on the back. The shirt is paired with jean shorts and hangs from a mounted gray security gate. Beside the second ensemble are two large printed images displaying a bridge wrapped in gold fabric. A sheet of paper with a printed poem is positioned next to the images. Gray milk crates and bricks are positioned below.
A light blue shirt with a screen-printed image of a bridge displayed on the back. The shirt is paired with jean shorts and hangs from a mounted gray security gate. Beside ensemble are two large printed images displaying a bridge wrapped in gold fabric. A sheet of paper with a printed poem is positioned next to the images. Gray milk crates and bricks are positioned below.
Installation view of two gray stacked milk crates positioned beside loose gray bricks on a faux paved brick walkway. Part of a light blue uniform consisting of a long sleeve shirt and pants is in view displayed along a gray metal fence.
A pink long-sleeved shirt and a white hat with a transparent veil sewn to the back hang from a gray wall with an artificial aesthetic hole partially covered by a gray metal ladder. The shirt and hat both display text that says, [Surrounded Islands] in cursive. On the wall to our right is a poster of the Biscayne Bay, covered in pink fabric, that says [Christo: Surrounded Islands]. Above the framed poster is a large photograph of a woman wearing sneakers, long pants, and a long-sleeved pink shirt. The woman holds a megaphone in her hand and seemingly gives instructions to a group of men and women around her. A man is seen standing next to the woman with his back facing the camera. Below the photo and the poster is a sheet of paper displaying a poem.
Installation view of a gray traffic cone positioned beside stacked loose gray bricks on a faux paved brick walkway. Part of a gray cage, ladder, and pink long sleeve shirt are captured in the image.
Installation view of two gray stacked milk crates positioned beside loose gray bricks on a faux paved brick walkway.
Two ensembles hang against a chain-link fence with a projection board to our right and a large grayscale photo to our left of a theater marquee that reads [Ziegfeld/ WilliWear/ Willi Smith/ Expedition/ Spring ‘85]. One ensemble is comprised of a fuchsia shirt and skirt with abstract smiling faces, paired with a pale green wrapper. The other ensemble is comprised of a white duster coat, beige shorts, and a pink turban. Press materials and a film slate are encase below the garments.
Two ensembles hang against a chain-link fence with a projection board to our right, displaying two men interacting at an airport, and a large grayscale photo to our left of a theater marquee that reads [Ziegfeld/ WilliWear/ Willi Smith/ Expedition/ Spring ‘85]. One ensemble is comprised of a fuchsia shirt and skirt with abstract smiling faces, paired with a pale green wrapper. The other ensemble is comprised of a white duster coat, beige shorts, and a pink headwrap.
Installation view of the *Willi Smith: Street Couture* exhibition. A wall of gray chain-link fencing lines part of a gallery wall and holds two ensembles and a projection screen with a film actively projected. Along the same gallery wall, gray pipes and gray wooden frames hold up multiple articles of clothing, prints, and another projection screen that displays a second film.
Seven graphic T-shirts are displayed hanging in a T form on metal rods. Between two graphic T-shirts, a projection board displays a film showing a young person with dramatic face paint. Sheets of paper displaying images and text related to the T-shirts and film are encased along with a graphic T-shirt to the right of the projected film. Below the projection board are two framed objects; one white T-shirt with screen printed black text and two pieces of paper bearing the same text. To the far left of this installation is another installation that shows two ensembles hanging from a gray chain-link fence beside another projection board that displays a different film.
Image of two ensembles hanging from a gray folding security gate in a dark wood paneled room. One ensemble to our left is comprised of a red jumpsuit with a graphic T-shirt overtop and a brown blazer with rolled up sleeves. The second ensemble is comprised of a yellow jumpsuit with a graphic T-shirt underneath showing an illustrated eye and orange paint strokes. A black beret is above the yellow jumpsuit ensemble. Graphic T-shirts appear in partial view around these ensembles.
A black-and-white long skirt with a repeating map grid is displayed on a hanger in a wood-paneled room, beside gray corrugated sheeting and a faux gray window. A large framed black-and-white poster with two inverse standing figures is displayed to the far left of the skirt. A framed newspaper article is displayed to the far right of the skirt. Below the skirt is a large glass desk partially surrounded by gray bricks, then encases a sketchbook and magazine foldouts of [WilliWear News.] A light gray vintage telephone rests on the desk.
A black-and-white long skirt with a repeating map grid is displayed on a hanger in a wood-paneled room, beside gray corrugated sheeting and a faux gray window. A large framed black-and-white poster with a figure shown standing upside-down is displayed to the far left of the skirt. A framed newspaper article is displayed to the far right of the skirt.
Installation view of Willi Smith: Street Couture exhibition, displaying a grayscale photograph of a group of people posing for a photograph and holding giant letters spelling out “FRIENDS”.
Installation view of Willi Smith: Street Couture exhibition showing five Illustrations of showroom and retail store designs for WilliWear. A long board stands on its own and reads [Design] with smaller text describing design contributions to WilliWear. Underneath the illustrations is a light gray three-dimensional model of a retail space with chain-link fencing and planks as a part of the design; the model sits on a gray wooden crate. Beside the illustrations and model is a ladder that is painted gray and holds a projector that displays an image on a board across from the device. A colorful image of a interior space is seen printed on a corrugated gray metal sheet. Below this are two drawings of geometric, almost robotic, devices with small flags on top that say [WilliWear | Willi Smith].
Image of three framed illustrations of interior spaces mounted on a partially destroyed gray wall. Above the drawings is a gray flower pot that holds gray flowers. To the right is a gray ladder holding a gray projector.
A gray ladder holds a projector that displays an image on a board across from the device. A colorful image of a interior space is seen printed on a corrugated gray metal sheet. Below this are two drawings of geometric robotic devices with small flags on top that say [WilliWear | Willi Smith].
A doorway in a dark wood paneled room is intentionally blocked by a tall gray ladder, gray wooden beams, crates, and various assortments of gray metal fencing. Part of a gray mannequin is seen standing on top of one of the wooden crates.
Image displaying a wooden plaque that provides information about the installation and surrounding objects. The plaque is mounted on a gray rectangular cage with a cinder block enclosed. A gray ladder stands above the plaque.

Objects from the Exhibition

Grayscale caricature illustration of Willi Smith with exaggerated features and large circle-framed glasses

Caricature of Willi Smith for Invitation

, 1985
Lithograph on paper
Courtesy of Mark Bozek
Drawing of four dark-skinned dancers modeling costume designs for Deep South Suite

Costume Design Drawing

, Ca. 1975
Pen and ink, marker, graphite on paper, cotton swatches
Courtesy of Alvin Ailey Dance Foundation, Inc.
Drawing of a dark-skinned dancer modeling a beige unbuttoned shirt, red pants, and red belt for the dance production Deep South Suite

Costume Design Drawing

, Ca. 1975
Pen and ink, marker, graphite on paper
Courtesy of Alvin Ailey Dance Foundation, Inc.
Drawing of three medium-dark skinned figures modeling costume designs for the dance production Deep South Suite. The costume designs include a striped white and gray jumpsuit, a striped blue long-sleeve shirt with white high-waisted pants, and a red fitted dress with two side slits.

Costume Design Drawing

, Ca. 1975
Pen and ink, marker, graphite on paper
Courtesy of Alvin Ailey Dance Foundation, Inc.
A khaki brown aviator style jumpsuit with a double ring belt. The jumpsuit features two overhanging panels on either side of the button placket that wrap around the waist to form a faux jacket from the side and back views. The mannequin is styled with a pair of black aviator goggles worn on top of the head

Costume for Take-Off from a Forced Landing, Jumpsuit

, 1984
cotton
Although the first pilot’s license was issued to a woman in 1911, women were not accepted as commercial pilots until the early 1970s. Bessie Coleman was the first Black American woman and Native American to be issued a pilot’s license, which she received in 1926. It is credited Courtesy of Dianne McIntyre.
Drawing of a black pyramid with a square containing a photograph of a man in profile on a red platform with wheels, a black banner in placed at the top

Drawing

, 1987
Black and red marking pen, crayon, collage on tracing paper
Gift of Ken Friedman
A minimalistic drawing of geometric sculpture. In the center, a solid white box with rounded edge, has the "Willi Wear" logo in the bottom left. On top is a black and white flag that reads "Willi Wear" is perched on a grey platform with scientific equipment surrounding it. The white form sits on a grey base, atop a red platform.

Drawing

, 1987
Black and red marking pen, crayon on tracing paper.
Gift of Ken Friedman
Invitation depicting a faux brown suitcase opened to reveal an illustration of a black, white, and brown African mask

Film Screening Invitation

, 1985
Lithograph on paper
Courtesy of Mark Bozek
White ticket with black text with details for admission to a screening of the Expedition Spring 1986 Presentation

Film Screening Ticket

, 1985
Print on paper
Courtesy of Mark Bozek
Navy blue men's suit jacket and trousers paired with white dress shirt and pale yellow tie

Groom’s Suit

, 1986
Linen
Courtesy of Ed Schlossberg
A gray mannequin, facing us, wears an off-white belted jumpsuit with black goggles

Jumpsuit

, 1984
Cotton
Courtesy of Dianne McIntyre
Three-quarter view of a gray mannequin wearing a brown belted jumpsuit with black goggles

Jumpsuit

, 1984
Cotton
Courtesy of Dianne McIntyre
Sketch of a figure in an oversized trench coat with a black belt and pinstripe trousers

Menswear Illustration

, 1984
Pen and ink, graphite on paper
Courtesy of Bill Bonnell
Sketch of a figure wearing a trench coat, scarf, pants, and harness belt

Menswear Illustration

, 1984
Pen and ink, graphite on paper
Courtesy of Bill Bonnell
Sketch of a figure wearing an oversized collared shirt, trousers, black belt, and hat

Menswear Illustration

, 1984
Pen and ink, graphite on paper
Courtesy of Bill Bonnell
Sketch of a figure wearing a busy-patterned trench coat, trousers, a vest, collared shirt, black tie, and sunglasses

Menswear Illustration

, 1984
Pen and ink, graphite on paper
Courtesy of Bill Bonnell
Sketch of a figure wearing an oversized sweater, pants with large pockets, a hat, and sunglasses

Menswear Illustration

, 1984
Pen and ink, graphite on paper
Courtesy of Bill Bonnell
Sketch of a figure wearing a textured cardigan over a turtleneck with wide-leg pants, a beanie hat, and sunglasses

Menswear Illustration

, 1984
Pen and ink, graphite on paper
Courtesy of Bill Bonnell
A room with light green walls, filled with abstract furniture and wooden shelves stacked with clothing

Photograph

, 1987
Digital print on paper
Courtesy of Ken Friedman
Photograph of a coffee table, pottery, and an abstract folding room divider in Willi Smith's Lispenard Street loft

Photograph, Humanoid Folding Screen

, 1982
Wood
Courtesy of Rosemary Peck
Film poster for SUB-Urban collection featuring a black-and-white collage of hastily-ripped showtimes

Poster

, 1984
Offset lithograph on newsprint
Courtesy of Bill Bonnell papers, Vignelli Center for Design Studies, Rochester Institute of Technology, Rochester, NY
Black-and-white collage-style poster with graffiti-esque writing stating “CITY ISLAND"

Poster

, 1983
Offset lithograph on newsprint
Courtesy of Bill Bonnell
Black-and-white poster with bold graphics for invitees of the 1983 Street Couture collection

Poster

, 1983
Offset lithograph on newsprint mounted on board
Courtesy of Bill Bonnell
Yellowed poster with bold black text and graphics detailing show credits for the Sightseeing Spring ’85 Presentation

Poster

, 1984
Offset lithograph on newsprint
Courtesy of Bill Bonnell
Cover of press folder featuring an illustration of a black, white, and brown African mask

Press Folder

, 1985
Lithograph on paper
Courtesy of Mark Bozek
Print of various gold, blue, and red collaged images and green Chinese characters. Final proof for Robert Rauschenberg’s artist T-shirt

Print

, 1984
Screenprint, pen and ink on paper
Courtesy of Laurie Mallet
Cutout pieces of paper in a wooden frame listing various Truisms by Jenny Holzer

Print, An Elite Is Inevitable. . .

, 1984
Screenprint on paper
Courtesy of Laurie Mallet
Final print designs of Barbara Kruger’s "I can’t look at you and breathe at the same time" T-shirt

Print, I Can’t Look at you and Breathe at the Same Time

, 1984
Screenprint and collage on paper
Courtesy of Laurie Mallet
A gray mannequin, facing us, wears a sleeveless lavender check shirt with matching striped pants

Shirt and Pants

, 1984
Cotton
Courtesy of Dianne McIntyre
A gray mannequin, facing us, wears a sleeveless aqua and white check shirt with matching striped shorts

Shirt and Shorts

, 1984
Cotton
Courtesy of Dianne McIntyre
Pink and white tied gingham shirt with white A-line skirt

Shirt and Skirt

, Ca. 1975
Synthetic fibers
Courtesy of Dianne McIntyre
On a gray female mannequin, a red v-neck long-sleeved shirt, circle skirt, and flower headpiece; front

Shirt and Skirt

, Ca. 1975
Synthetic fibers
Courtesy of Dianne McIntyre
Three-quarter view of a gray mannequin wearing a striped yellow and gray short-sleeve shirt with a matching check skirt

Shirt and Skirt

, 1984
Cotton
Courtesy of Dianne McIntyre
Illustration of Black female figure in dramatic pose wearing patterned plunge leotard and grass-like tutu skirt

Sketchbook, Cotton Club Gala Costume Designs

, 1985
Pen and ink, collage, fabric swatches on paper
Courtesy of Mark Bozek Smith’s sketchbook is opened to a spread of costume design drawings for The Original Cotton Club-Gala presented by La MaMa Experimental Theater and WilliWear Ltd. in 1985. Smith’s designs for the costumes were inspired by his travels in Senegal and the costumes Black American entertainers wore when performing at the original Cotton Club in Harlem from 1923–1940.
Light blue cotton ensemble consisting of a long sleeve shirt and pants. The ensemble is photographed from the back and a screenprint drawing of a bridge with text stating [Christo / 1985] is displayed on the shirt.

Uniform Shirt and Pants

, 1985
Cotton
Courtesy of Mark Bozek
A gray mannequin, facing us, wears a light blue vest with buttons and light brown pants. The mannequin holds a piece of red fabric in its right hand

Vest and Pants

, ca. 1975
Cotton twill, acetate
Courtesy of Dianne McIntyre
Round tortoiseshell glasses

Willi Smith’s Glasses

, ca. 1985–87
Polycarbonate
Courtesy of Rosemary Peck
Two pages from WilliView magazine mockup; one page depicts two models posing dramatically for a black-and-white photograph in matching oversized trench coats; the other page displays text layout for content page.

WilliView Maquette

, 1985
Collage on board
Courtesy of Bill Bonnell
Side view of a black-and-white skirt with a repeating grid map screenprinted throughout. The skirt has four visible white buttons.

WilliWear Map Print Skirt

, 1986
Cotton
Cooper Hewitt
Cotton T-shirt with text of various Jenny Holzer Truisms wrapped in cellophane

Wrapped T-shirt, An Elite Is Inevitable. . .

, 1984
Screenprint on cotton; offset lithograph on paper, plastic
Courtesy of Laurie Mallet