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Pat Cleveland - Walking with the Muses: A Memoir

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An exciting account of the international adventures of fashion model Pat Clevelandone of the first black supermodels during the wild sixties and seventies.
Taking her reader through fifty years of fashion from the intersection of the Civil Rights Movement, the disco eras decadence, and the grandeur of Hollywoods late 70s renaissance, Cleveland provides a glimpse at some of designs most important momentsand her own personal history. Vogue
Pat Cleveland is to fashion what Billie Holiday is to the blues; a muse for all ages. Essence
Chronicling of the glamorous life and adventures of Pat Clevelandone of the first black supermodelsthis compelling memoir evokes the bohemian lifestyle and creative zeitgeist of 1970s New York City and features some of todays most prominent names in fashion, art, and entertainment as they were just gaining their creative footage.
New York in the sixties and seventies was glamorous and gritty at the same time, a place where people like Warhol, Avedon, and Halston as well as their muses came to pursue their wildest ambitions, and when the well began to run dry they darted off to Paris. Though born on the very fringes of this world, Patricia Cleveland, through a combination of luck, incandescent beauty, and enviable style, soon found herself in the center of all that was creative, bohemian, and elegant. A walking girl, a runway fashion model whose inimitable style still turns heads on the runways of New York, Paris, Milan, and Tokyo, Cleveland was in high demand.
Ranging from the streets of New York to the jet-set beaches of Mexico, from the designer drawing rooms of Paris to the offices of Vogue, here is Clevelands larger-than-life story. One minute shes in a Harlem tenement making her own clothes and dreaming of something bigger, the next shes about to walk Halstons show alongside fellow model Anjelica Huston. One minute shes partying with Mick Jagger and Jack Nicholson, the next shes sharing the dance floor next to a man with stark white hair, an artist the world would later know as Warhol. In New York, she struggles to secure her first cover of a major magazine. In Paris, shes the toast of the town. And through the whirlwind of it all, she is forever in pursuit of love, truth, and beauty in this riveting, celeb-drenched account of her astonishing life in fashion (Simon Doonan, author of The Asylum).

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about the author

Pat Cleveland was born and raised in New York City She has worked in the - photo 1

Pat Cleveland was born and raised in New York City. She has worked in the fashion industry for fifty years, splitting her time between the U.S.A. and Europe. She has collaborated with Antonio Lopez in his work for Karl Lagerfeld at Chlo. She has modeled for designers as diverse as Halston, Valentino, Oscar de la Renta, Stephen Burrows, Yves Saint Laurent, Kenzo, Thierry Mugler, Zac Posen, Tom Ford, Lanvin, and Christian Dior, and has been photographed by artists ranging from Richard Avedon, Bert Stern, and Irving Penn, to Steven Meisel and Bruce Weber. Cleveland lives in New Jersey with her husband, Paul van Ravenstein. They have two children, Noel and Anna.

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acknowledgments

I want to thank my editor, Dawn Davis, for having faith in me; you are magic. Also, thanks to all the teachers who have kept my spirits high: Amma Sri Karunamayi for your hugs, Swami Satchidananda for the Hatha, Abraham Hicks for the Vortex, Burt Goldman for the Quantum Jumping, and Gurumayi Chidvilasananda for being my guru.

Gratitude from A to Z to the many friends, photographers, and designers who have inspired me; you are all my muses.

Matt Zipin, Im indebted to you for saving all my files. Maja and my Siddha Yoga friends, thanks for listening to my stories. Thomas Eubanks, you kept me moving forward. Paul Caranicas, I cherish you and your loyalty to our Antonio Gang. Mauricio and Roger Padilha, Im so lucky to have youand MAO PRon my side. Roxanne Lowit, you magically turned the beat around for me. Zac Posen and Christopher Niquet, you spoke up for me when I needed an agent; Im thrilled youve kept my family and me on your list of friends. Karl Lagerfeld, well always have Paris. Antonio, I feel your spirit still; it lives on in everyone who knew you. Kevin Arpino, you are like a brother, and Massimo Cuviello, I owe you so much for getting me started on this book.

Thanks to David Kuhn, my wonderful literary agent, for taking me under your wing, and to Becky Sweren, for being the bridge between myself and the publishing world. Your patience should be trademarked. Thank you, Lorraine Glennon, writer and vegetarian cook extraordinaire (those lunches were terrific). Your talent, enthusiasm, and dedication to making my life story a great read mean everything to me.

Simon Doonan, you are so witty, so quick to help. I feel your joy. Joel Schumacher, we did follow the yellow brick road and discovered something like Oz. My dear friend Stephen Burrows, you wrapped me in your colorful creations and put me on the map of fashion. There are no words to express my gratitude. And a huge shout-out to the always-elegant Andr Leon Talley. You are a constant inspiration. Finally, a profound thank-you to my husband, Paul van Ravenstein, for helping me every day in every way, and to our two beautiful children, Noel and Anna. You are my world.

chapter 1 EXILE ON MAIN STREET Me at nine months on a good hair day 1951 - photo 4
chapter 1
EXILE ON MAIN STREET
Me at nine months on a good hair day 1951 My mother drew pictures of me - photo 5

Me at nine months on a good hair day, 1951.

My mother drew pictures of me before I was born. The pregnancy was an accident, and as was her habit from the time she was a small child, Mom turned to art and her own imagination to escape an unpleasant reality: At twenty-three, she was about to become a single mother. (Her lover, Johnny Johnston, had gone back to his home country of Sweden after his visa expired, without even knowing I was about to show up on the planet.) Mom had just purchased a ticket to Paris on the Queen Mary . When she realized she was pregnant, she gave the ticket to her older sister, my glamorous Auntie Helen, a dancer whod been living with Mom in an apartment on East 100th Street that functioned as a kind of nighttime salon for the African-American creative class in New York City.

As Auntie Helen danced her way across the Atlantic, my mom, alone in her apartment, drew picture after picture of the baby whom, ready or not, she would soon welcome into her life. On June 23, 1950, she felt the first pangs of labor. She dressed up in her best high heels and a satin maternity dress shed sewn for herself and walked halfway across the Queensboro Bridge to a little elevator that took her to Welfare Island (as Roosevelt Island was then called), a sliver of land that was home to the citys charity hospital. The hospital complex had been designed by James Renwick, Jr., the architect of Saint Patricks Cathedral, in a grand neo-Gothic style, but it had been allowed to fall into disrepair, and the surrounding buildings were abandoned and being used by the fire department as a practice location for firefighters to learn their trade. So my first glimpse of the worldinto which, Mom always told me, I came barreling feetfirstwas this glorious ruin just outside the hospitals windows.

A week later, with me, Patricia Lee Ann Cleveland, in her arms, Mom put on those same high heels and took me home to the 100th Street apartment. The place was so old that one day, while I was asleep in my crib, the ceiling over my head started to crumble. Luckily, Mom whisked me away moments before the whole thing caved in. A few weeks later, a rat jumped into the crib to get milk from my bottle. Mom managed to kill the rat, but that was the last straw. She moved a few blocks south, to a high-rise on Lexington Avenue, on the edge of Spanish Harlem.

Picture 6

I wasnt yet two when my father came back to America. He found out where my mom was living and paid us a visit. Mom dressed the two of us in our nicest outfits, and in walked a tall, handsome, long-limbed blond man carrying a can of Carnation evaporated milk (a request from my mother). He kissed my mom, looked at me, and sat down on the sofa. My mom placed me on his knee for the first and last time, saying, This is your father. All I remember were his starched white collar, his deep blue satin tie, and his incredibly long legs, a physical characteristic he bequeathed to me. He handed me back to my mom and they chatted for a few minutes. Then he stood up and was gone forever.

Later, Mom told me hed gotten married in Sweden soon after leaving New York, and that hed come back only to tell her he had a son. From that day forward, my mom knew she was on her own when it came to raising me.

Mom continued the jobs shed been doingpainting neckties that looked like regular ties from the front but inside featured naked women in the style of Vargas pinups; decorating store windows; and designing subway billboardsbut her earning potential was limited by the racial discrimination of the era. She was forced to take drastic measures. When I turned two, my mother sent me to live with her brother, Randolph, out in western Michiganin other words, in the middle of nowherein a little house hed built by hand. My uncle, a World War II air force officer, and his wife, a stern former WAC (Womens Army Corps), had no children of their own yet, so they agreed to take me in until my mom saved up enough money to get on her feet. My uncle loved children; my aunt, less so. Nevertheless, these two provided me with my earliest experience of family life.

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