Jeffrey Laurence Banks knew from an early age growing up in Washington, D.C. that he was going to be a fashion designer. "I was only 10 years old when I designed an Easter suit for my mother," he told Black Enterprise magazine. "The dress was raw silk and it had a banana-colored, wool jersey coat that buttoned to one side. I picked out the fabric, went to the dressmaker with my mother and even picked out the accessories."By the time Banks was a design student at Pratt Institute in Brooklyn, New York, he had already proven his ability to rise in the professional ranks. While still a student there he worked as a design assistant to Ralph Lauren. Next he honed his skill as an assistant to the president of another fashion giant, Calvin Klein, while completing his degree at the prestigious Parsons School of Design in New York City.
Successful at both the creative and business ends of the design world, Banks established his own firm in 1978 at the age of 25. According to Lloyd Gite in a 1997 issue of Black Enterprise, millions of people around the globe were wearing designs by Jeffrey Banks at that time. "From Bloomingdale's in New York to fine shops in Japan, his name appears on everything form shirts and suits to neckwear and small leather goods, even sunshades and prescription eyewear."
Banks cashed in on his increasing visibility in fashion by creating his own design firm in 1978, with himself as president and chief designer. He continued building on his reputation as a designer of furs for both men and boys. According to Andre Leon-Talley in Ebony, by 1980 Banks was creating furs for males "so smart and tailored that some women want to wear them." At this time he was also designing outerwear for L'Aiglon,
and men's clothes for Glanzrock. Perhaps he made his biggest mark as a designer with his line of so-called "spectator sportwear" for men, women, and children for Merona Sports.
Despite receiving frequent praise for his design vision and creativity at such a young age, Banks has never harbored any illusions about what it takes to be successful in the clothes universe. "Fashion is not art," he said in Black Enterprise. "It comes very close, but at the end of the day it's commerce. The more you know about business, the better designer you'll be. Many young designers don't realize that they can't go to a bank or the investment community without a business plan. They just think that everyone will look at their sketches and see their talent shining through."
Banks himself struggled on the business end during the mid 1980s, but then got a shot in the arm by Japanese businessman Tomio Taki. In 1988 Taki, who already owned a successful design company in New York City, agreed to invest in a new business with Banks that would give him a one third share in the company. Banks claimed at the time that Taki's infusion of money would "free me up to design after spending the last three years so enmeshed in the business side of my company," according to the Wall Street Journal. Various ups and downs were also experienced by Banks during the 1990s. He was beset by legal difficulties in 1994 when he was sued by the artist Gloria Fox Lynn, who said that he had produced shirts using her copyrighted paintings without her permission. In 1995 Banks bounced back by signing a licensing agreement with Neema Clothing Ltd, granting them permission to manufacture and market clothing that had the Banks label on it.
By 1996, Banks was heading two companies --Jeffrey Banks Ltd. and Jeffrey Banks International. Between them, they boasted sales of almost $20 million a year. And he continues to be a force in the fashion world after nearly a quarter century of active designing.
Awards
Special Coty Award for Men's Furs, Coty Fashion Critics Award, 1977; Excellence in Men's Wear Design, Harvey's Bristol Cream Tribute to Black Designers, 1978-80; Special Coty Award for Menswear, 1982; Cutty Sark Award for Outstanding U.S. Designer, 1987.
Reference 1, Reference 2
