Patientce Foster’s Suite XVI creates fashion for real bodies

Often times when we work for big brands, celebrities or companies, our identity is tied to title, job or responsibility. It’s easy to get carried away by the hype, especially when booking big names and buying Birkins, but it’s important to remember who you are, what you want and where you’re going at the end of the day. Patient Foster isn’t a celebrity publicist – she’s more than that.

As a woman who has worked with celebrities such as Migos member Offset and groundbreaking rapper Cardi B, brand strategist and public relations expert has made her way into entertainment making sure you know their names and saw their faces. Now as the baby chef in charge of Cream Laboratories, LLC, Foster leaves a legacy far beyond the names of those she rubbed shoulders with as she ran her fashion brand called Suite XVI. “The legacy I want to leave behind is simple,” Foster told For (bes) The Culture. “I want to leave behind a legacy that looks like a plan. I want a trip that can be referenced for any black woman or black man who wants a lifestyle with intention, purpose and ambition, no landmarks, no limits. I want to be remembered for having the power to do whatever I choose to do and win. “

Who started as an HBCU graduate from the University of Maryland – Eastern Shore with the intention of majoring in business has grown into one of the most reputable names in the entertainment industry. “I 100% feel like I’m beyond resources when it comes to strategy, going to places I’m not invited, or finding a way to make things happen that they say they don’t. can’t happen, ”she said proudly. That, Patientce Foster, you are – resourceful, a catalyst for branding and entertainment, and a force to be reckoned with and recognized.

Patience is a virtue

Hailing from a small town in Delaware, Foster didn’t have much of a network to draw on when she first ventured into her career in public relations and brand architecture. Almost everything she has learned has been self-taught through research or the imitation of public figures such as public relations specialist Kelly Cutrone. Needless to say, when she and famous rapper “Bodak Yellow” collaborated creatively, Foster was on a wild ride because she was his first client.

“Before her, I was an intern for a fashion PR firm which gave me the ultimatum that I could either continue my internship there or take the job with her because they feared that by association, people may think they are the representative too, “Foster revealed to For (bes) The Culture. Unfortunately, this is not the only reluctance she received while representing the Love and hip-hop: New York former student. Foster cited one of her biggest challenges: getting her client to attract a more fashion-oriented community while allowing her to stay true to her individuality, humor and natural charm. “I had to make her authenticity appealing and without changing who she was, I had to make her comedic side super accessible to the masses,” she explained.

Foster continued, “I had to take someone that the masses think they didn’t understand – she’s urban, she’s loud, she’s a ghetto and she’s not a universal talent. The second challenge was to be able to secure opportunities for the press while uplifting who they are without changing who they are. While his early years as a publicist weren’t a piece of cake, rejections and shortcomings ultimately fueled his fire to prove the industry wrong. Unlike most newcomers to communications, she was not easily swayed or turned around at the sight of the word “no”.

An amicable break-up

As she established herself in her career, Foster began to examine the meaning of intellectual property and fairness, to assess the definition of true property. Unfortunately, the more she dug, the more she accepted her own position in the race. “It has become more and more overwhelming and more difficult to accept that all of my invested time and energy does not result in any real equity or ownership. Building a legacy that I really want for myself and the legacy I want to leave for my child involves changing the lens through which the world and the industry see me, ”explained Foster. “I have to be honest with myself and what is this lens through which they see me. That is, my identity, as it stands today, reflects that of another woman.

As she led major campaigns, was responsible for marketing deployments, and killed alongside the artist during New York Fashion Week, Foster knew it was time to elevate her brand and apply the same pressure. that she has for others. She is proud of everything she has accomplished and expresses the utmost gratitude for the rooms she has been able to step into but as a 31 year old black woman, businesswoman and mother her priority is to make it her own her ideas and to diversify what she can bring to her own table when she builds it. “I think that’s why I felt allowed to go away because I know the legacy I want to leave. I know there are more things I want to do, and I understand the power of owning and building my own identity, ”she explained.

Contrary to popular belief and the weight of the headlines, the professional start was friendly, respected and understandable. Foster now has a full roster at CREAM Labs, including a rising artist Pia mia and South African media correspondent Bonang Matheba. Ending his nearly six-year tenure with the international rap phenomenon in 2021, Foster ended his reign on a high note. In addition to being promoted to Vice President of Public Relations at Washpoppin ‘, Inc. in 2018, Foster finally expanded into talent management and creative direction. Most notably, she was Creative Director for Cardi B and Megan Thee Stallion’s “WAP” and Executive Producer for “Cardi tries” produced by Jesse Collins Entertainment.

Successful sequel

“83% of my followers are women and a lot of these women are not your standard average body type. They are beautiful, round and voluptuous women, ”Foster told For (bes) The Culture about her demographics. Constantly receiving comments below her photos about where she buys her clothes and the confidence she exudes wearing them, she has always found herself giving advice and hooking up other brands. But why do this when you can direct that energy to your own fledgling brand? In the words of Foster herself, “Why not create my own fashion outlet and take advantage of it? “

Foster sheds light on what the fashion industry is perceived to be, as opposed to who the audience actually is. “We are taught to believe that the average body is a size four or six while the average body of a woman in America is a size 16. Think how much a woman who is a size four or six is ​​supported compared to to a woman that’s a size 16, “she hypothetically posed to For (bes) The Culture.” You design a dress in a size zero, then you scale up; you think of us after the fact. Don’t tell me that you think of me because you took a Small and made it a 3X. That doesn’t mean it was made for me or for my body, but it sounds good for your narrative.

She revealed that the brand originally had to go down the wholesale route, but knew there was even some work to be done when it came to the sample sizes of the pieces they created. “Where the design begins is on the body of the average height woman,” she said, specifically noting a size 16. As a brand manager, curator, designer and producer, but above all else A publicist by trade, Foster emphasizes the importance of telling positively and truthful stories that fit black culture, especially when blacks are the faces behind and in front of the story.

“We cannot deny the power of being represented in high spaces and at high levels because we not only need to see people who look like us being high and being benchmarks for levels of achievement. We need other people to know the levels of success for us, we are just as capable of doing that, ”she said forcefully. “People can only talk about what they know, and people can only be impressed by what they see. I have to remember these same types of elements and characteristics to be able to represent you correctly, because there is representation and then there is appropriate representation. I can’t talk about involving that person and raising the standards for that person if I couldn’t do it myself. “

About Carl Schroeder

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