For this issue, I spoke with Chanel Kennebrew, Founder and Designer of junkprints , an indie design label that expresses more than just good color combinations. Through her creative, eye-catching, and thought-provoking pieces, Kennebrew combines politics with pop culture worth exploring far beyond a quick glance. Known for causing the occasional controversy, Kennebrew is not afraid to address touchy subjects with humor and fashion know-how. Kennebrew was kind enough to take time out of her busy schedule to discuss her designs and inspiration with us. Here's what she had to say:


The Coup: Chanel, can you tell the readers a little bit about yourself? Where were you born and/or raised?

Chanel Kennebrew: My name is Chanel Kennebrew and I've been living in Brooklyn for about 2.5 years. Before BK I lived in Toronto and had the opportunity to study Photography and Graphic Arts at Ontario College of Art & Design and Ryerson University. Before TO, I was in Denver, CO and I spent most of my 'formative' years in Pomona, California. I've been working since I was 13 years old, so you know I've had a billion jobs, (especially to get through school) from Hooters (just imagine a hooters girl with an afro, that was me) to vintage store buyer to newspaper photographer you name it I worked there...and usually 2 or more jobs at a time. It was crazies, but I guess it shaped me. Now I make my living off being creative, making my junk and doing art direction for some big-o-companies and some itty-bitty companies.

Coup: What was your upbringing like?

Chanel: I spent most of my youth with my grandmother and then bounced around between other members of my fabulously disjointed family, parents, step-parents, relatives, friends [of the family], etc. It was fantastically eclectic and amazing because I had the chance to spend a lot of time with diverse people who loved me very much.

What, during this time, inspired you to go into fashion and the arts?

Cartoons...talk about the ultimate 80s baby! I always wanted to make cartoons. I use to draw the Smurfs and the Chipmunks off the television all the time. But when I found out that I'd have to draw the same image with slight variations over and over again I thought, why not just make 1 or 2 and sell them for a million instead of drawing a billion and making a lame salary....I'm still working out the 'sell them for a million' part but I think I was on to something ;)

I never intended to go into fashion and it's kinda ironic that I taught myself to sew because my mom use to design clothing, but I was convinced that I was going to make cartoons. To this day I don't consider my self a fashion designer, I just use fashion to display my work.

How did you turn something that began as a personal interest into a career move and what are some of the business and/or publicity methods you used to get your start?

I just organized myself and jumped in. About a year ago was working for a design firm and the company decided to split. Instead of going with one partner or another, I decided to work freelance and use my free time to make what ever I felt like making. I found myself revisiting some of the topics that I was exploring while in University. While I was in school I did a series of 12 large prints called Good Housekeeping for the New Negro Woman. It was a surface exploration of race and gender in the media.

I was interested to revisit those topics after having a bit of professional experience in the media industry and dealing with the fact in the mainstream media doesn't represent the actual populous, it represents the 'ideal' populous.

What is it like working as an independent artist in the era of H&M, Forever 21, and other larger chain stores that sell unique wares at a low price?

I don't have competition. I had to throw out the notion of competition in order to dive into my work. H&M, Forever 21 don't bother me. I wish they used more domestic manufacturing or at least started to encourage a fair global currency, but I also understand that North America's consumers just want a cheap disposable garment. As long as people have a desire, someone will benefit in fulfilling that desire. Who's to say that I'm not part of that? I do run a business and I have to eat, but there's a thin line between comfortable and glutinous . . . but that's a whole different story. Basically I make stuff that represents my influences and things that are on my mind...ya like it or ya don't and that's the end of it.

If art is for the people then it needs to be where the people are. Most people are not in galleries, so art for the people doesn't belong in the galleries. I've decided to make art on fabric that people wear. Just as a garment eventually wears out I hope that the ideas represented on the garment are being transformed and manifested into more comfortable situations.

How would you explain your art and clothing designs to someone who has never seen it?

See it! You have to see it! I've spent all this time developing my visual language, so I would encourage them to see it. If they were blind, I'd sit and have a conversation with them over tea and we'd talk about whatever came up. My work is visual and the only thing it requires is sight and a head's up on current issues.

Are you more inspired by current events, personal experience, or both? What, if anything, pushes you to cover some of the topics you discuss through your designs?

I'm inspired by the past and the present. I'm a salvager and duplicator who is super fascinated with propaganda and how we as people relate to our social environments. The thin division lines between social separation are what push me to cover the topics I address in my work.

In the past, I have termed your work as "anti-racist" and artistic activism, as many pieces openly mock and/or criticize racism in pop culture and history (i.e. the Jena 6 shirt or the Madonna "colorblind" shirt). Would you characterize your work as such? Why or why not? If not, what definition, if any, would you use?

I'm just trying to balance out the playing field and approach social matters from a varied perspective, so if that falls into 'anti-racism' or 'art activism' then so it goes. But one thing I try to stress in the work is that discrimination based strictly on being unfamiliar is harmful to communities as a whole and the results can [range from] absurd to just sad. The specific topics are just tip. The core of the problem is lack of understanding. As simple as that sounds, that lack of understanding affects the victim and the oppressor and causes strange spin offs such as over compensation by power holders and self segregated communities built strictly on visual appearance. I rarely come to conclusions in my work; I'm just presenting my audience with some healthy options.

Considering I met you at the Bust Magazine Craftacular, where the consumer audience is predominately white and female, how were you received? Is the response from potential buyers different depending on the location of the show and/or the ace/race/class/gender demographic of the buyers themselves? Do you find that some are more receptive of your work than others? If so, what do you think compels the connection or affinity they have toward your work?

junkprints has been extremely well received by the craft community. I believe in encouraging communities based on common interest, not common visual appearance. My people are not black, nor white. They are like minded people.

This is what the craft community and I share interests in: D.I.Y. practices, hand made/locally manufactured products, [and] sustainability through shared information. I don't see much of a difference between that and getting one's hustle (utilizing entrepreneurial skills) on to feed a family and strengthen a community. My background or experiences may be varied from the majority of my craft peers, but they may be equally varied from people who share my complexion. I choose to concentrate on the similarities, not the differences.

Of course the response will be varied from one demographic group to the next, but, so far, I've been encouraged in all the ones that I've had the opportunity to share my junk with. One third of my orders are international and the majority of the stores that carry my line are in other countries from Russia to Japan. It's larger than a black and white thing. I'd like to think that the appeal is that the work deals with complex issues in an ergonomic fashion.

Have you ever dealt with hostile/angry/offended consumers based on the content of your work?

Not as much as one may think. Every once in a while, I receive a complaint about my "What Would Jesus Do" tee (http://www.etsy.com/view_listing.php?listing_id=6714862), but I like that people have strong views. We need to discuss these things, and I'm glad that what I made encouraged that. This is the way I see it, Jesus was a man (some say a prophet), but all religions encourage reproduction....and how does that happen? Sex. I guess I just don't take it that seriously. Just gotta stay open and roll with the good and the bad.

What would you say is the ultimate goal or message you wish to convey through your designs?

Ultimate message? I don't have one of those, I'm just exploring the world around me and junkprints is the result.

What is/are your favorite piece(s) thus far?

I don't really have one. I like each piece differently. I started making clothing and designing tees for myself, so basically I make stuff that I want to wear.

What are you working on right now? Is it as political as the collection you had at the Craftacular?

Right now I'm working on some stuff inspired by romance novels, mostly focusing on the absurdity of desire and exoticism. It's in the prenatal stages though.

Where do you plan on taking your line from here? Would you like to remain as an independent artist or do you see yourself taking the designs mainstream? If the latter, how would you change your line, if at all, to accommodate the new exposure to a broader audience base?

Mainstream is a trend. I've done design for the sake of exposure to the masses, but it's time for me to design based on love and integrity. I'd like to keep my work indie. Indie doesn't mean a one (wo)man show, but locally-made and created in limited editions. I may do some licensing or collaborations. If the mainstream embraces it, then that's great, but it's not the main objective.

What are some of the challenges you have faced?

One of my main challenges is getting enough sleep. junkprints is beyond my full time job...all junk all the time. Forget 9-5, I'm usually up at the butt crack of dawn and lucky if I end my work day at [midnight]. No complaints, but I've got to find some balance as the demand increases.

What advice would you give other young artists and designers?

BE CONFIDENT about what you do and stick with it. I've learned in a really short amount of time that it is futile to wonder if what I make is 'good enough', The best I can do is 'own' my skill set, do the very best I can in all aspects (even the parts that seem mundane or painfully numerical) and practice excellent business etiquette.

Where can interested buyers find your pieces for viewing and purchase?

Get yer fill of junk at

ONLINE:
junkprints.com
Crablab.ru

IN PERSON:
Invert Inc. in Coney Island Brooklyn
Cake Fight in Alamo Texas

Thanks, Chanel! We look forward to seeing more from you in the future!


For more on Chanel Kennebrew and junkprints, check out the following links:

junkprints Site

junkprints Shop

junkprints on Myspace

junkprints Blog

"Anti-Racism You Can Wear" by Wendi Muse, on Racialicious

"Bust Holiday Craftacular" on Youtube

by Wendi Muse