Fashion Foreword featuring Kim Fields & Ceci

Summary

ReLiving Single Podcast: Episode Summary – "Fashion Foreword featuring Kim Fields & Ceci"

Release Date: June 4, 2025

Welcome to a detailed summary of the "Fashion Foreword" episode from the official unofficial ReLiving Single rewatch podcast. Hosted by sitcom legends Erika Alexander and Kim Coles, this episode delves deep into the iconic fashion of the beloved 90s show Living Single, featuring special guests Kim Fields and costume designer Ceci. The conversation explores behind-the-scenes stories, character styles, and the lasting impact of the show's wardrobe on television and culture.

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1. Introduction to the Episode

Erika Alexander and Kim Coles kick off the episode by reminiscing about their wardrobe experiences on Living Single. They discuss the diverse and sometimes challenging outfits they donned, highlighting the creativity and dedication required to bring their characters to life.

Notable Quote:

• Erika Alexander [00:12]: “I had a melange of fashion. I had hats and florals and polka dots and a vest with moon on it for no particular reason... it was a lot. And I would sometimes get a headache, but who's complaining?”

2. Hosts Reflect on On-Set Fashion Challenges

The hosts humorously recount the physical discomforts and wardrobe mishaps they endured, such as elaborate hats and hairpieces. They also touch on the show's courage to showcase natural beauty despite network restrictions.

Notable Quotes:

• Kim Coles [00:42]: “I had the nipples of life, Kim.”
• Erika Alexander [08:19]: “I was always in my head about it. So I was never comfortable in Regine's skin.”

3. Special Guest: Kim Fields on Character Styles

Kim Fields joins the conversation to discuss the fashion dynamics within the show. She praises the authenticity and individuality each character's wardrobe brought to the ensemble cast, emphasizing how costumes helped define personalities and storylines.

Notable Quote:

• Kim Fields [02:48]: “What's worse is we actually texted each other last night, and I said, hey, guys, is it dressy or what? And you were like, oh, it's casual dressy. If that's a thing.”

4. Iconic Episodes and Signature Looks

Erika, Kim Coles, and Kim Fields delve into specific episodes that showcased standout fashion moments. They reminisce about memorable outfits, such as Regine’s dramatic transformations in quick-change booths and the show's tribute to 60s and African-inspired designs.

Notable Quotes:

• Erika Alexander [05:16]: “The power suits, all of that stuff. And then when she wanted to use it as a weapon and ammunition, they would put in the sexy dresses.”
• Kim Coles [11:12]: “It was a whole February celebrating love in... it was so clean and cultural.”

5. Behind the Seams: Interview with Costume Designer Ceci

The episode transitions to an in-depth interview with Ceci, the mastermind behind Living Single's diverse and vibrant wardrobe. Ceci shares her passion for fashion, influenced by her Panamanian heritage and her family's creativity despite limited resources.

Notable Quotes:

• Ceci [33:32]: “I learned how to sew at the age of four... making my clothes, I did my homework, and then went to our sewing room.”
• Erika Alexander [36:12]: “I have learned from you the art of translating the character to the garments that they wear.”

6. The Art of Costume Design

Ceci elaborates on her design philosophy, focusing on individuality, cultural representation, and practicality. She discusses the challenges of working within budget constraints, promoting diversity in costume design, and the importance of upcycling and sustainability in fashion.

Notable Quotes:

• Ceci [37:21]: “So when I do that for each character, there's not gonna be a lot of cross-pollination.”
• Ceci [58:06]: “Fast fashion has really done a number to the... we're killing the planet. Yeah, we are killing it.”

7. Influencing 90s Fashion and Beyond

The discussion highlights how Living Single set fashion trends in the 90s, with costumes that transcended the screen to become cultural icons. Ceci reflects on the show's legacy in shaping perceptions of black beauty standards and empowering diverse body types through thoughtful wardrobe choices.

Notable Quotes:

• Ceci [53:46]: “The visual lexicon of what it meant to look like a black attorney or even now, if a costume designer wants to research, they're going to be looking at my stuff.”
• Erika Alexander [42:58]: “Your whole life or even the standards of beauty... I can celebrate everyone's size and maximize everybody's size.”

8. Sustainability and Ethical Fashion Choices

Ceci passionately advocates for sustainable fashion practices, emphasizing upcycling and thrift shopping as alternatives to fast fashion. She underscores the environmental and ethical implications of the fashion industry and encourages listeners to make mindful clothing choices.

Notable Quotes:

• Ceci [55:37]: “The thrill of the hunt... it's really like a high when you just go in there and it seems like you can't find nothing.”
• Ceci [56:19]: “Fast fashion has really done a number to the... we're killing the planet.”

9. Q&A Session with Listeners

In the latter part of the episode, the hosts and Ceci address listener questions about current designers they admire, the importance of supporting black designers, and how they would approach costume design with unlimited resources.

Notable Quotes:

• Ceci [63:20]: “I am not, you know, a label whore. And I could care less about the designer name now. I do care about promoting black designers for sure.”
• Ceci [65:11]: “I would fly to other countries and get textiles from all over Africa, Indonesia, Marrakech, Egypt, Dubai.”

10. Closing Thoughts and Acknowledgments

Erika and Kim Coles wrap up the episode by expressing gratitude to Ceci for her invaluable contributions to Living Single. They reflect on the enduring legacy of the show's fashion and its influence on both the industry and audiences.

Notable Quotes:

• Erika Alexander [62:31]: “Thanks to wardrobe. Cecy.”
• Kim Coles [66:41]: “And that's that... Thank you, Ceci.”

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Conclusion

The "Fashion Foreword" episode of ReLiving Single offers an insightful exploration into the fashion world of Living Single, highlighting the creativity, challenges, and cultural significance behind the show's iconic wardrobes. Through engaging conversations with host stars and their talented costume designer, listeners gain a profound appreciation for the artistry that defined a generation and continues to inspire fashion and television today.

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For more episodes and to engage with the ReLiving Single community, visit heartbeat.com.

Transcript

[Erica Alexander]

Erica, did you have any outfits on the show that you now regret?

[Kim Coles]

Well, you know, I didn't dress myself. I didn't dress Max, so, no. No regrets. I was just serving with the wardrobe. Gods gave me. Thank you, Ceci.

[Erica Alexander]

She was our God, our gods. I actually have no regrets either. I had a melange of fashion. I had hats and florals and polka dots and a vest with moon on it for no particular reason. I had all this whimsical realness, boho foolishness, and all the hats. And I had a lot of hair that wasn't my hair, a lot of extra hair added onto my head that I had to put the hat on top of the hair. And it was a lot. And I would sometimes get a headache, but who's complaining?

[Kim Coles]

Hey, we all suffered, too, because, you know, I had the nipples of life, Kim.

[Erica Alexander]

I remember.

[Kim Coles]

Yeah, I know. And the wardrobe tried to hide them with band aids and padding and prayer and all these things, because they didn't want nipples, apparently, on primetime tv. But they were like, no, we're here.

[Erica Alexander]

We're proud.

[Kim Coles]

Too black, too strong. And they just kept coming out. All right, here they off the chain.

[Erica Alexander]

I don't know how we're gonna transition, but we got to transition off your nipples right quick. Let's just.

[Kim Coles]

Wouldn't it be the first time I.

[Erica Alexander]

Say that we call in a professional? Since we're talking about fashion, we're talking about the queen of costumes, the character who did the most, wore the most, and even played a costume designer on a show. Within the show, Palo Alta is our fashionista, our diva, our girl, Kim. Kim Victoria Fields, back with us again.

[Kim Coles]

Come on.

[Erica Alexander]

Come on. Now. What is daddication?

[Ceci]

The thing that drives me every day as a dad is Dariona. We call him Dae Date for short. Every day, he's hungry for something, whether it's attention, affection, knowledge.

[Erica Alexander]

And there's this huge responsibility in making.

[Ceci]

Sure that when he's no longer under my wing that he's a good person.

[Erica Alexander]

I want him to be able to sit back one day and go, we worked together.

[Ceci]

We did a good job.

[Erica Alexander]

That's dedication. Find out [e-mail], brought to you by the U.S. department of Health and Human Services and the EDGE Council. Welcome back to Reliving the official unofficial.

[Kim Coles]

Living Single Rewatch podcast.

[Erica Alexander]

Our special guest is falling right in live. We have the one and only Kim Fields here with us today again.

[Kim Fields]

Smooches.

[Erica Alexander]

Well, here's what we want you to take over right now. We're going to talk about fashion, the fashion of living, of this show, the fashion of that era. And I just want to call out that you and I are both wearing kimono.

[Kim Fields]

Yes, we are wearing.

[Kim Coles]

And you and I are both tangerine.

[Kim Fields]

Yes.

[Kim Coles]

Yes.

[Erica Alexander]

No phone calls before the.

[Kim Coles]

No, not at all.

[Kim Fields]

What's worse is we actually texted each other last night, and I said, hey, guys, is it dressy or what? And you were like, oh, it's casual dressy. If that's a thing.

[Ceci]

If that's a thing.

[Kim Fields]

And no one still discussed, like, what we were doing. And here we are.

[Kim Coles]

And here we are.

[Erica Alexander]

Here we are.

[Kim Coles]

So that's osmosis. It's synergy and chemistry.

[Erica Alexander]

So we're not gonna talk about a specific episode, just the fashion in general. Right. All fashion all the time.

[Kim Coles]

Nice. We had a lot of fashion going on. We were trendsetters. There were characters that were doing their own thing. Kim Regine carried the whole fashion sort of, you know, narrative. Narrative. Yeah. And good you did, because you didn't mind it. I didn't want to be changing all those clothes.

[Kim Fields]

I. It's not that I didn't mind it. I just understood the assignment like they said. I understood that that was part of. It was par for the course for the character.

[Kim Coles]

Yeah.

[Kim Fields]

I couldn't stand. I don't like buying clothes. I don't like changing clothes. I don't like shopping. Again, just a lot of non. Kim stuff that Regine was, you know, the embodiment of.

[Kim Coles]

That's amazing. You don't like shopping. Oh, you never did, did you?

[Kim Fields]

Oh, no.

[Kim Coles]

You know. Is it funny? You know? Yeah.

[Kim Fields]

So it's wonderful, though, that you guys are doing this episode because people do talk so much about the fashion of living single for the men and the women. Yeah. I mean, even when Overton would get dressed up, you know, in his, like, casual vibes. But, I mean, TC remember when he was. When he introduced Michoud.

[Kim Coles]

Yeah. The Brooklyn.

[Kim Fields]

The Brooklyn designer.

[Kim Coles]

Yeah.

[Ceci]

Chaka Key.

[Kim Coles]

That was out of Brooklyn. All those Chicago designers.

[Kim Fields]

Yes, yes, yes. The Negro League.

[Erica Alexander]

Come on.

[Kim Coles]

All of the league stuff. And the jerseys and John rocking with the hats and all that.

[Erica Alexander]

Yeah.

[Kim Fields]

Yes. That was kind of the hip hop sort of aesthetic. Yeah.

[Erica Alexander]

These were personal fashion pieces that we wore on the show and then requested that they be on the show more.

[Kim Fields]

And more and more. Yeah.

[Ceci]

Right.

[Erica Alexander]

Michoud and all those.

[Ceci]

Yeah.

[Kim Coles]

Wow.

[Erica Alexander]

I wish I still had some of those pieces. What did I do with that?

[Kim Coles]

Yeah, me too.

[Erica Alexander]

Storage somewhere.

[Kim Coles]

Max had a ton of great suits. Yeah.

[Kim Fields]

And you had the Greatest frame not had. You have and had for those looks. The greatest frame. I mean, you were built like you were, you know, like someone from the 1940s.

[Erica Alexander]

Yeah.

[Kim Fields]

Because you had those great suits, those pencil skirts.

[Kim Coles]

Yeah, the pencil skirts.

[Erica Alexander]

Oh, my goodness.

[Kim Coles]

Yeah. The power suits, all of that stuff. And then when she wanted to use it as a weapon and ammunition, they would put in the sexy dresses.

[Kim Fields]

You know that one when you were. What was it? The tango and that white.

[Erica Alexander]

Come on, girl.

[Kim Fields]

I wanted to stab you in that quick change booth.

[Kim Coles]

In the quick change booth.

[Kim Fields]

In the quick change booth.

[Kim Coles]

Yeah. We turned into a whole murder booth.

[Erica Alexander]

Quick change booth.

[Kim Coles]

Yeah.

[Erica Alexander]

What's a quick change booth?

[Kim Fields]

So instead of going to your dressing room or your trailers, away from the soundstage and going to change your clothes while we were actually filming, they had these little, like, booths set up, you know, and that's where you would go in. And it was on the curtains and drapes and things. And nothing in it, including people. And so you would go in there and they would have your outfits in there for you to change into so that they could keep the pacing going of filming. So that's a quick change booth.

[Erica Alexander]

And sometimes it was quick and sometimes it wasn't. Because some of us had a little sofa in our room and an ash chair. Latifah and I were sitting.

[Kim Coles]

Y' all made it like a lounge.

[Erica Alexander]

We made it a lounge. Cause it was.

[Kim Fields]

You had to be comfortable.

[Erica Alexander]

Quick change left. Yeah. Had little plants in there. And we had, like, little smoke. We'll be right out.

[Kim Coles]

We'll be out shortly. Kim and I had, like, a folding chair in there. Exactly.

[Kim Fields]

And a towel on the floor.

[Ceci]

Towel on the floor.

[Kim Coles]

And we got it done.

[Erica Alexander]

We got it done.

[Kim Fields]

Yeah, exactly.

[Kim Coles]

So we know everybody was looking really good, but we were, like, dressing in hunger, you know, Truly.

[Kim Fields]

Didn't we do a beach party?

[Kim Coles]

Yes, Jen.

[Kim Fields]

I was so excited. My stomach was out in a good way. Because the quote unquote bathing suit look that I did, we just did little cutouts of the parts that were okay for public consumption.

[Erica Alexander]

And it was cute and again, sexy without being sexual. It looked great with your little belly. Little piece of it. So extreme.

[Kim Fields]

I had worked out for so long. I was so excited, y' all, to.

[Erica Alexander]

Have just them look, like no carbs. No carbs for three weeks.

[Kim Fields]

Freaking crunches and everything. So I was happy about that.

[Kim Coles]

I mean, we talk about fashion, but the thing that it's on the body. Were you feeling body conscious at all inside of this stuff? Or you felt really comfortable in the way they dressed you.

[Kim Fields]

I was self conscious every time I was on camera.

[Ceci]

Really.

[Kim Fields]

Because that was so not Kim. I was so Regean was so not me. So all the clothes and the wigs and the makeup and all. So it was really great because again, as an actor, that's what I love doing, is being and portraying someone else. But I was so self conscious of being pulled up and sucked in and do this and do that. And I was just so in my head because I, you know, towards the end of Facts of Life, it was a whole different journey, you know, And I can only say, thank God I wasn't coming of age in this climate. Oh, my goodness. Because that was enough.

[Kim Coles]

Yeah.

[Kim Fields]

So I was always in my head about it. So I was never comfortable in Regine's skin.

[Kim Coles]

It's a shame. Do you look back now and say how beautiful you were? Because you know when you in your head and so you go, my God, why didn't I really enjoy it? Because you're such a little doll.

[Kim Fields]

Well, thank you. I look at it now and I was like, oh, bitch, you snatched.

[Erica Alexander]

You look good.

[Kim Fields]

Listen, I'm like, okay, okay.

[Erica Alexander]

It's possible.

[Kim Coles]

That's the thing to young women out there, to enjoy yourself right now because you're gonna look back and wish you had.

[Kim Fields]

Yes.

[Kim Coles]

It's. It's not as bad as you think. And in fact, you're like at the top. You're at the bloom of the rose. You're as beautiful as you're ever going to be in terms of what your body can sort of hold it together.

[Erica Alexander]

Without even going forward.

[Ceci]

Yeah.

[Kim Coles]

Because you go more beautiful in different ways.

[Erica Alexander]

Appreciate what you have.

[Kim Coles]

Appreciate what you have.

[Erica Alexander]

It's time for the rewind where we watch and relive living single with you. Oh, that's amazing. Why don't we look at some of the fashion?

[Kim Coles]

Hey. Wow.

[Kim Fields]

Yes.

[Kim Coles]

So that's early Latifah.

[Erica Alexander]

That's early Latifah. And doing a shout out to the great Howard University.

[Kim Coles]

That's true. So Khadijah is still in her sort of collegiate thing, you know, the chill outs with the jeans and whatnot.

[Erica Alexander]

Nice.

[Kim Coles]

Yeah. Very Dana.

[Erica Alexander]

Very Dana.

[Kim Coles]

If you're looking at that, with the Howard University stuff, even if you didn't.

[Kim Fields]

Go to nhbcu, you know, the fashion of it and like you said, that awareness, but the cool logos and the colors and things like that. So it was very popular trend. Absolutely.

[Kim Coles]

It made people want to go to college.

[Ceci]

Right.

[Erica Alexander]

And celebrating, you know, we were celebrating our own in that way.

[Kim Coles]

Yeah.

[Erica Alexander]

Love that.

[Kim Coles]

Where does this fit in the ratings?

[Kim Fields]

I think, like, I think it's such a super casual look. I mean, it's, you know, she's got the head piece, she's got the jeans going. So I think in terms of. If you're categorizing it in the genre of casual.

[Kim Coles]

Okay. Yeah.

[Kim Fields]

Let's put it, you know, hanging out and stuff like that. Yeah. I think that's a strong four.

[Ceci]

Okay.

[Kim Coles]

Wow.

[Kim Fields]

I think it's a strong four.

[Kim Coles]

You know, I was thinking of, you know, a tight three, and that's why I started.

[Kim Fields]

Cause I knew what you were going to do. That's why I went first.

[Erica Alexander]

And for the meaningfulness of it, I'll give it a 4.2.

[Kim Coles]

Okay.

[Erica Alexander]

Okay, good.

[Kim Coles]

You know, don't get mad at me, Howard. It has nothing to do with Howard. I don't want these people to, you know, accosting me on the streets.

[Kim Fields]

Right, right.

[Kim Coles]

I love Howard. Hey.

[Ceci]

Oh, yeah.

[Kim Coles]

Wow.

[Kim Fields]

I remember that.

[Erica Alexander]

I remember that, too.

[Kim Coles]

That's a good vibe, Danny. Right? All that denim.

[Kim Fields]

You know, the culture of that 90s vibe with the overalls and the shirt around the waist.

[Kim Coles]

Yes. It was beautiful.

[Kim Fields]

It's a beautiful shoe. That's one of my favorite shoots for us as a cast. It's just iconic. It really is. It's so clean and cultural. Our chemistry screams at you from this photo. I mean, just jumps off of the page 100%.

[Kim Coles]

It does. We're leaning into each other. We're relaxed. There's a real beautiful thing about our skin tones, too. Look at that. Yes.

[Kim Fields]

Yeah.

[Kim Coles]

You know, the caramels into the. Yeah.

[Erica Alexander]

You know Latifah wearing her brother's motorcycle.

[Kim Coles]

Yeah.

[Erica Alexander]

Chain there, which is a staple for her, you know.

[Kim Coles]

Yeah.

[Ceci]

It's beautiful.

[Kim Coles]

So Minky died in a motorcycle accident. Did she put that key on a chain and kept it there? And so there it is.

[Kim Fields]

Yeah.

[Kim Coles]

Making his debut.

[Erica Alexander]

I rate this five out of five.

[Kim Fields]

Five.

[Kim Coles]

Yeah.

[Kim Fields]

That's a 500.

[Kim Coles]

That's a five in the cash.

[Erica Alexander]

100 out of five.

[Kim Coles]

Definitely.

[Erica Alexander]

And this has been recreated a thousand times.

[Kim Coles]

So what shoot is this?

[Kim Fields]

This was essence, and it was a whole February celebrating love in.

[Kim Coles]

And we were in a mausoleum, too, right?

[Kim Fields]

Yeah.

[Erica Alexander]

We went somewhere.

[Kim Fields]

Yeah. We were at this mausoleum near the Forum in la. And we had these beautiful African looks, basically.

[Kim Coles]

I don't think any cast has ever looked that good. Come on now, stop playing.

[Kim Fields]

Sorry. I'm gonna say it, but I'm sorry. Not sorry. We weren't the COVID We never had the COVID of essence.

[Kim Coles]

We sure didn't.

[Kim Fields]

We never.

[Kim Coles]

We sure did. We sure didn't.

[Kim Fields]

We never were on the COVID of Essence.

[Kim Coles]

And that should have been on the COVID of essence.

[Erica Alexander]

Look at it.

[Kim Coles]

Look at it. We were the number one show in America for black and Latino households.

[Kim Fields]

So created by a woman with four women of color and two strong male leads of color.

[Ceci]

Never.

[Erica Alexander]

The creator's also black. Did you say that?

[Kim Fields]

Oh, yeah, yeah. I got stuck on female, but yeah.

[Kim Coles]

To think about.

[Kim Fields]

But let's go back to the beauty show.

[Erica Alexander]

Yeah, that's true.

[Kim Fields]

So stunning.

[Kim Coles]

Yeah.

[Erica Alexander]

Beautiful colors.

[Kim Fields]

Yeah, yeah.

[Kim Coles]

Plus, you know what? I think it was the first time that to me, I felt that the show was sort of giving a nod to the African diaspora.

[Kim Fields]

Yeah, very much so.

[Kim Coles]

Yeah.

[Kim Fields]

Except for when I came in to work one day rehearsal and I had on a different non. Photo shoot.

[Kim Coles]

Yeah.

[Kim Fields]

African outfit and just totally casual, just with the, you know, daishiki. Yes. And I had on this beautiful African dress and a little head wrap. And I came into work and you guys started improving this whole wonderful.

[Erica Alexander]

And that was really your outfit.

[Kim Fields]

That was really my outfit. And I came. And then. There you guys go. Yes. And they put it in the show.

[Kim Coles]

That's the spirit of Shakazulu coming. You know what I mean? To impregnate me and I lift my leg in honor.

[Erica Alexander]

Right. There you go.

[Kim Coles]

I'm sure the spirit of Africa is still within me and it grows every day more powerful.

[Erica Alexander]

It was a beautiful day.

[Kim Fields]

You know, that's not considered the fashion of Livingston single. However, in that moment, we were for sure a hit. In that moment, we were for sure trailblazers and trendsetters.

[Kim Coles]

For sure, for sure, for sure, for sure. And we looked good.

[Erica Alexander]

Gorgeous.

[Kim Coles]

Come on.

[Kim Fields]

My God, I'm.

[Kim Coles]

I wish we could have kept those clothes.

[Ceci]

Me too.

[Kim Coles]

You know. Wow.

[Kim Fields]

So what to say.

[Kim Coles]

You look cute.

[Erica Alexander]

Adorable.

[Kim Coles]

Adorable.

[Kim Fields]

Yes. So Regine came in wearing it's like a patent leather vest with all these buttons on it and a red T shirt, long sleeve shirt, a long straight wig and then a bandana and big old earrings. Big old earrings. Yes.

[Ceci]

It's.

[Kim Fields]

It's very rock.

[Kim Coles]

Yeah, it's a little Janet Jackson in there, too. That's the way love goes.

[Erica Alexander]

Remember her with that, okay?

[Kim Fields]

Oh, yes, yes, yes. Yep, I can see that. Yep. And speaking of Janet, one of my favorite looks was when we did that flashback episode with how we all came together and they put me in the rhythm nation look.

[Kim Coles]

It was fabulous.

[Kim Fields]

And I mean, you know, we've always. I'VE always been told I favor her, you favor her.

[Kim Coles]

You do.

[Kim Fields]

To be able to honor my friend. It was really cool to do that. And the military jacket, did it have efits and everything? Absolutely.

[Erica Alexander]

She wasn't wearing you, you were wearing it.

[Kim Fields]

Yeah, very much so.

[Kim Coles]

You know what? I love how she drops, my friend. I like to drop that, too. About the Jackson, my friend Janet. I'd like to honor my friend and her wonderful talents. And I had such a crush on her, really, if I ever was probably gonna. Yeah, girl crush, you know, whatever. Definitely. We would have, you know, you know, had copilation.

[Erica Alexander]

Wow. The revelations are coming out on nonstop.

[Kim Coles]

It's either that or Michelle and Diggio. Chilling.

[Erica Alexander]

Okay.

[Kim Coles]

Yeah. Feast of famine.

[Erica Alexander]

Okay.

[Ceci]

What's the name of fame?

[Kim Coles]

You know what I'm saying?

[Kim Fields]

So the guys. I mean, they always brought the thunder, you know, that was one thing we always correct.

[Kim Coles]

Can we describe this thunder? Cause, I don't know. Are we rating them still?

[Erica Alexander]

I think Overton wore colorful.

[Kim Fields]

Or the prince.

[Erica Alexander]

The prince.

[Kim Coles]

That was oogly to me, though.

[Kim Fields]

But in the 90s, button up to the neck. Sure.

[Kim Coles]

Paula Deen lost her apron. Put it on his back. Is that a tomato on there? It is.

[Erica Alexander]

It might be.

[Kim Coles]

Or sunshine beet and. Or cabbage. I mean, that's nuts. You know, along with the shock, let's.

[Kim Fields]

Go to TC with the colorful vest. TC Always wore a lot of textures as well. And I think he brought the African fashion sense with accents and things. And he really brought back the fedora. You know, I love that he did that.

[Kim Coles]

You know what? I didn't think about the only person.

[Kim Fields]

On TV rocking that very much so. Yeah. Yeah.

[Erica Alexander]

And I think he brought in some of his own pieces.

[Kim Fields]

Oh, he absolutely did. Especially, like the jewelry and things. And that's. Guys, when we're talking about Eric and a lot of those beautiful things.

[Erica Alexander]

And a Clea would come to set and bring her wares. And I don't know about y' all. I've shopped so much of her stuff just for bringing her necklace to her.

[Kim Coles]

Of course.

[Erica Alexander]

Me, too.

[Kim Fields]

Absolutely.

[Kim Coles]

I rate John Hinton, Unfortunately. Sorry, Brother 1. And the great T.C. carson is a four for him because he does so well. He can only go well.

[Kim Fields]

Yeah, yeah.

[Kim Coles]

And I don't know exactly what he's wearing here. Anyway, I think just by the way, we gotta talk about his twists.

[Kim Fields]

Yes. The twist. With the. With the fade.

[Kim Coles]

With the fade.

[Kim Fields]

With the fade. A nice clean fade. Yeah. I think for Overton on this, I'm gonna have to at least Go a two and a half for effort. You know, his comfort zone was his work clothes, you know, as the handyman. So you get some points with me for coming out your comfort zone over time.

[Kim Coles]

Yeah. And he looks like he's been hit by a Mardi Gras parade, you know, float.

[Erica Alexander]

Oh, God. Oh, gosh.

[Kim Fields]

You're gonna make it after all.

[Erica Alexander]

Wow. The hats. The hats. So 90s and the hats. As the seasons went on, I lost some of, you know, the hats, moved on.

[Kim Coles]

So what kind of hat is this? Cause it's a witchy pool velvet hat.

[Erica Alexander]

Sort of a witchy pool velvet, you know, flip. Paddington Bear.

[Kim Coles]

Yes. You got a ton of hair underneath this.

[Kim Fields]

Yes. So the hat is black, but it's got that. Where the flip up top, the front is. Has that really pretty, like. Like. Like colorful. Is that like a scarf or accent?

[Kim Coles]

Look at that.

[Kim Fields]

Of some kind of splashes of color up there.

[Kim Coles]

Is that a choir robe?

[Erica Alexander]

I think it's like a fake shearling jacket is what I would say, because maybe I brought that from Minnesota where it's cold.

[Kim Coles]

But for sure that's right. Yeah, that's what I' no, it just all frames your face. But this is a one for me. Sorry. Sinclair didn't have the best stuff. It's not your fault.

[Erica Alexander]

But her stuff was very Sinclair, so I. It was very Sinclair, so I'm going to give it a five because it is Sinclair.

[Kim Coles]

You can't give it a five because it's. We're looking at fashion.

[Erica Alexander]

It's undeniably Sinclair. Nobody else.

[Kim Coles]

It's like you're Eliza Doolittle in a Pygmalion story. You know what I'm saying?

[Erica Alexander]

I got kidnapped.

[Kim Coles]

Oh, I'm Larissa Delittle. How are you? Can you buy my flowers, please, sir? Alms for the Pooh? I mean, give me a break. That's not a five. It's the truth. Are you kidding? Let's be honest with ourselves.

[Erica Alexander]

It's a five. Cause I'm committed.

[Kim Fields]

I'm not weighing.

[Kim Coles]

Moving on, y' all make sure she know the truth.

[Kim Fields]

My snort is my way in. Oh, that's just rude. Regine did Khadijah wrong, picking this costume out.

[Ceci]

Look at how you look at how you look.

[Kim Fields]

Halloween episode when Regine was in charge of getting the costumes, and this is what she got for Khadijah. A little Bo Peep.

[Ceci]

A little Bo Peep.

[Erica Alexander]

Bo Peep with so much ruffles, so many ruffles.

[Kim Fields]

Layered in the worst way in a tight purple. A fitted Purple bodice.

[Kim Coles]

Yeah. Oh, and a chin strap right around her gigantic breasts. And the hat.

[Erica Alexander]

The floppy hat.

[Kim Coles]

The floppy hat.

[Kim Fields]

The floppy hat.

[Kim Coles]

And the staff.

[Kim Fields]

The staff of Moses.

[Kim Coles]

The staff of Moses.

[Erica Alexander]

But here's what you all miss if you watched. Here's an ode to comedy. As Latifah descended the stairs, if you notice, she walked so that the flounces would flounce.

[Kim Fields]

Yes, she did. Yes, she did.

[Erica Alexander]

So it really like, she understood the assignment there. And if you remember, she danced in this episode. She danced.

[Kim Fields]

Her and Scooter.

[Erica Alexander]

Right, her and Scooter. And she danced so that the flounces.

[Kim Coles]

It was brilliant.

[Erica Alexander]

She looked at what she was wearing.

[Kim Coles]

And decided to work it and work it. It was.

[Kim Fields]

She's five from me for the comedy. Because it takes a certain strength of character to just not give a good God darn about how you look. Because it's about the comedy.

[Kim Coles]

Right.

[Kim Fields]

And the truth of the matter is, she's kind of adorable in this.

[Ceci]

She is adorable.

[Kim Fields]

She's adorable in this. Oh, and let's not forget the curls.

[Erica Alexander]

Oh, please.

[Kim Coles]

Look at the. You know, she looks like d' Artagnan from the Three Musketeers. I mean, those kind of curls you can't come back from. But, you know, by the way, she's the only one in costume because Kim is in that golden outfit, Egyptian looking like Cleopatra. Cleopatra something looks gorgeous. Absolutely gorgeous. With the hair. She's got the hair. You've got the.

[Kim Fields]

It's doing the lame. Oh, and I got to meet Bride of Frankenstein. Yeah.

[Kim Coles]

So that's definitely a one in my book. And you look like a five for.

[Kim Fields]

The comedy queen of Egypt.

[Erica Alexander]

And I give her a five because.

[Kim Fields]

I give her a five for the comedy.

[Kim Coles]

Five for the comedy. But y' all judging everything but how fast it's supposed to be the outfit and she gets a one.

[Kim Fields]

Well, it's a Little Bo Peep costume. So if we're going for that, then, I mean, that's a three. She is Little Bo Peep.

[Kim Coles]

She's got the bloomers.

[Kim Fields]

She's got the bloomers.

[Erica Alexander]

I'm gonna say a five. Cause she pulled it off. She pulled it off.

[Kim Fields]

And the wig and the wig and the bloomers.

[Ceci]

It was complete.

[Erica Alexander]

It was complete.

[Kim Fields]

Yes, yes.

[Kim Coles]

Okay, now we have to describe this stuff. Oh, my God.

[Ceci]

Gosh.

[Kim Coles]

Are we wearing with the kente cloth?

[Kim Fields]

There's no fashion cloth.

[Kim Coles]

Okay, so this is the setup of T.C. carson, Kyle and Max's their first love.

[Erica Alexander]

First tryst.

[Kim Coles]

Love tryst.

[Kim Fields]

Yes.

[Kim Coles]

And they've got to be a morning after.

[Kim Fields]

Yes.

[Kim Coles]

And it's the second season. Is it the second season? First show?

[Erica Alexander]

Yeah, maybe so.

[Kim Fields]

Second season.

[Kim Coles]

It is second season, first show, and we are not wearing much of anything, but we are wearing this kente cloth blanket. You hear me?

[Kim Fields]

I'm wearing it.

[Kim Coles]

Let's talk.

[Kim Fields]

And that beautiful, beautiful melan.

[Erica Alexander]

Melanin popping.

[Kim Coles]

Yeah, we had melanin for real. Like, look at TC I could almost lick him right here.

[Ceci]

You should.

[Kim Coles]

He's like a chocolate God.

[Erica Alexander]

What were you wearing underneath, Erica?

[Kim Coles]

Oh, wouldn't you like to know? I was definitely wearing a panty liner and maybe some panties, but that's it.

[Erica Alexander]

No brassiere?

[Kim Coles]

Nope.

[Erica Alexander]

No top.

[Kim Coles]

I let him have it.

[Kim Fields]

So the necklaces is. That's a clea, right, guys?

[Kim Coles]

That's a clea. That's a clea.

[Kim Fields]

Yeah, that. That also reminds me of. Keith, could you turn it?

[Kim Coles]

Oh, man, I love that Erica loves.

[Kim Fields]

Being naked, y' all. Let me tell y' all, when I was dating Khalil Kane and he was the artist, and he sat under my skin to pose for him. Because she was new, right? Because she was testing our relationship. And she had pretend belly ring, and she says, keith, could you turn up the heat?

[Erica Alexander]

Yeah.

[Kim Coles]

And I put little nuggets all around.

[Erica Alexander]

Yes. Right.

[Kim Fields]

But anyway.

[Ceci]

Yes.

[Kim Coles]

Let me tell you something. I rate this a five out of five. If you get any more, you're not.

[Erica Alexander]

Even wearing any clothing, and you give yourself a five.

[Kim Coles]

Damn right. Because that skin is perfect.

[Erica Alexander]

Yeah, it is. It's glowing.

[Kim Coles]

What's divine?

[Kim Fields]

And the body is perfect.

[Erica Alexander]

Body. Yada yada.

[Kim Coles]

Or there was Wakanda.

[Erica Alexander]

Okay, so we're in our apartment. We are a married, loving married couple. And Sinclair wants to get into a theater group, but they have no more room to cast any women into this theater group. And so she decides to dress up as a man and name herself James Overton so that she can get into the theater group. And I am wearing. I think I look like Sinbad because of my sideburns. And so I'm James. I'm Jimmy. You can call me Jimmy. Hands g down one of my favorite episodes to play. One of my favorites.

[Kim Coles]

You were excellent. And you look like Shirley Hemphill in Light Skin with a damn Fu Manchu. You dig what I'm saying? I had so much Fu Manchu with mutton chops.

[Erica Alexander]

Mutton ch. I asked for the mutton chops. I was like, don't just give me side. Of course I did.

[Kim Fields]

Of course you did.

[Erica Alexander]

They had to take me back and bind my My. My breast, I had to be bound.

[Kim Coles]

That's massive.

[Erica Alexander]

But they kept popping up, so I had to. They had to take me. Me out back and keep binding me down.

[Kim Coles]

Out back, out back.

[Erica Alexander]

Out to the quick change booth.

[Ceci]

I love this.

[Erica Alexander]

I love this.

[Kim Coles]

You did a great job.

[Erica Alexander]

I had so much fun.

[Kim Coles]

And you call him a junior. Great as a dude. I'm a handsome man.

[Erica Alexander]

It's a handsome. I'm a handsome man.

[Kim Coles]

Dude. Definitely a five.

[Erica Alexander]

You looking at me deep in my eyes. I don't want to hurt your feelings. I wouldn't date you, but I was a handsome man.

[Kim Fields]

You were a handsome man. I'mma go five.

[Kim Coles]

A five for the outfit. Yep.

[Kim Fields]

Like you said with Dana, the commitment, you went there and you were committed for the comedy.

[Erica Alexander]

I was grabbing my stuff a lot that episode.

[Kim Fields]

Okay, first of all, this episode was so great when they had to create two different. Two or three different looks for us. One or two was the casual looks in the 60s vibe. And then our performance looks.

[Kim Coles]

Listen, this is now a clip of us when we debut. And we're just getting to see the group for the first time. And so we're in our characters. And what maxi is. I look like a damn red hot chicken in this. I look nuts. I look like a crackhead. My lips are pink.

[Erica Alexander]

Frosted lipstick.

[Kim Coles]

Frosted lipstick.

[Kim Fields]

That was the order of the day.

[Erica Alexander]

And you're like, I'm with it. Absolutely, I'm with it. The way you pranced in this episode, it was your look at the white hookah.

[Kim Fields]

It was like watching Billie Holiday and Nino Brown.

[Kim Coles]

You are wrong for that.

[Ceci]

You are wrong.

[Kim Fields]

No, because of how you was strutting across when Wesley Snipes was walking through Harlem in that crack building.

[Kim Coles]

Oh, I thought you were talking about when he was doing the Queen of whatever down in Australia. I did look like Tuwang Fu.

[Erica Alexander]

Tuang Fu. Yep.

[Kim Fields]

And then you came with your Afrocentric. Afrocentric.

[Kim Coles]

And you were looking Angela sweet. Like butter wouldn't melt in your mouth.

[Erica Alexander]

I just want to put some butters in the oven.

[Kim Coles]

Well, let me tell you something. This was the week from hell.

[Kim Fields]

Yes, it was.

[Kim Coles]

It was the week from hell choreography.

[Kim Fields]

The singing, the pms.

[Kim Coles]

That's for me. Kim Fields. You would get the choreography on immediately. Like she was 1, 2, 3, Fred Astaire. She got it. And then she would sit down and read. And Kim was read. Yes. And then Kim Coles was like, so you don't need it again, Kim. You don't need it because I needed.

[Erica Alexander]

You to need it again. So that we could run it. So we all could run it. Cause I needed it again. You're like, no, I got it.

[Kim Coles]

I got it.

[Erica Alexander]

It's like, 1, 2, 3.

[Kim Coles]

And she didn't even ask. She didn't even bother to answer you. She was like, whatever.

[Erica Alexander]

Cause I was PMSing that week, and I couldn't remember the steps. You were miserable. I was too left.

[Kim Coles]

That movie Misery was made off of you. I literally was like, I wish if I could beam myself up, Scottie. And then Dana wasn't there. Cause she was filming, remember? Yeah, she was filming. So we were. Yeah, we were all trying to get through it. And we went to the studio recording. We did all of these dances.

[Erica Alexander]

We had to go sing.

[Kim Coles]

We had to go sing, Lay down the tracks. And we had to do it in three days. Meanwhile, look at. This is brilliant. Look at this. Kim dressed like a freedom fighter.

[Kim Fields]

Yes.

[Erica Alexander]

My favorite thing. He takes off my glasses. And I decided to cross my eyes when he took off the glasses. And John was trying not to laugh, and I was like, ooh, I cracked him up. It was a good thing.

[Kim Coles]

It was brilliant.

[Erica Alexander]

It was so good. Well, they really did a good job of recreating the fashion of that time. But then all these 60s outfits and then the. The performance outfits, and then our alter eco. They just did an incredible job.

[Kim Fields]

They really did.

[Kim Coles]

Yeah. And we had three days. Remember, tape day is Thursday.

[Erica Alexander]

And then also, this is an episode where we had the great Tom Joyner, who opened the door and said, all right, two minutes, ladies, two minutes. So he got to come and do a special on our show, which was beautiful.

[Kim Coles]

And so they've transformed from the neighborhood group to these Flavorettes, because John Hinton character, as a manager, is taking them from, you know, small time to big time. But the outfits they have us on, we make us look like Bozo the Clown. We've got all sorts of sequins on and feathers all around our head and feathers around our hands, but that was.

[Kim Fields]

The order of the day, really. Yes, absolutely.

[Kim Coles]

I felt like we looked like chickens.

[Kim Fields]

No, not at all.

[Kim Coles]

Absolutely.

[Kim Fields]

If you go back and look at a lot of the performances and photo shoots from, like, the Supremes, Martha and the Vandellas, all of the girl groups which this episode was based on looked at the rise.

[Erica Alexander]

Look like chickens.

[Kim Fields]

They all look like, why do I try? Why do I try?

[Erica Alexander]

We look great, though.

[Kim Fields]

It's time for me to leave. Y' all told me half this damn episode.

[Kim Coles]

No, no, no, no, no. Not.

[Erica Alexander]

I think we look like beautiful chickens.

[Kim Fields]

No, I'm not. I'm not co signing that. I'm giving this whole episode fives for all of the 60s fashion fives all around.

[Erica Alexander]

Oh, I'm giving it five.

[Kim Coles]

Definitely fives.

[Erica Alexander]

I'm giving it five.

[Kim Fields]

Absolutely. Because they also were true to the period that they had to capture and not just in the performances, the ca. And all of the atmosphere. That's a lot of looks to create and be true to it. And we definitely embodied that whole atmosphere of the ride, the come up of the 60s girl group.

[Kim Coles]

That's true. And it was one of the hardest ones to film for all the sort of logistic things. But it is the fan favorite.

[Erica Alexander]

Oh, and it should be.

[Kim Coles]

It's one of up there, like with the fan favorites. So we should be proud of ourselves. And say thank you to wardrobe. Cecy.

[Kim Fields]

Yes.

[Kim Coles]

And hair and costume and Demita Jo.

[Erica Alexander]

Freeman, who was original Soul Train dancer who came and choreographed that all the dance.

[Kim Coles]

And Clay Vaughn, the writer who wrote that episode.

[Erica Alexander]

It was so, so good.

[Kim Fields]

Is that in your notes? How do you know that?

[Kim Coles]

Because I saw her in Philadelphia not too long ago when they honored me with the street naming. And we played this episode and play Von Kame. Cause she's from.

[Kim Fields]

Ah, okay.

[Kim Coles]

Yeah, we talked about this episode. Kim, thanks for being our fashionista. I mean, you led the way with fashion in the show. You continue to be a trendsetter and an icon and an influencer in the best way. And of course, you do it unconsciously. And so we appreciate that and we love talking to you about all of this because you had so much to do with it.

[Kim Fields]

Yeah. Thank you. It was a lot of fun.

[Erica Alexander]

I'm excited to talk to Ceci, who was our costume designer for most of our episodes, about this. She, in my opinion, is the queen of dressing the characters so that the minute you walk in the room, you know exactly who they are, even if you've never watched the show before. And distinct. Not one of us looked like any one of us. Any other one of us. I think she's the best at that. So I'm excited to talk to her.

[Kim Fields]

Give her my love.

[Kim Coles]

Oh, we will.

[Erica Alexander]

We will.

[Kim Fields]

This has been so much fun, guys. Thank you.

[Erica Alexander]

This is the reverb. Our time to reflect on the episode's themes and how they still echo throughout the culture.

[Kim Coles]

Kim, this whole episode has been about the fashion and the costumes and just the look of the show. But here we have to speak to us is the woman herself, Ceci. Ceci is the costume designer and the genius behind all Those looks. And she was doing it at a time when there were very few people who looked like her, if at all. And so she is not only a trailblazer and a trendsetter, she is a legion. A legion. How would you say it?

[Erica Alexander]

A legion.

[Kim Coles]

Yes. Yes. Here she is.

[Ceci]

Oh, stop.

[Kim Coles]

Cecy. She's a costume designer for Living Single and other shows like Sister, Sister in a Different World, Half and Half, Mixed Ish, Wonder Years, the Reboot, a black lady sketch show. Here she is, our friend and I love our sister. Cecy, we love you.

[Kim Fields]

I love you too.

[Erica Alexander]

Erica Kim, you talk to everybody. Talk about that.

[Ceci]

Oh, pshaw. Great.

[Erica Alexander]

Let's begin with your love of fashion. Where did this come from?

[Ceci]

I've always had a love of fashion. I grew up in a family where my father was very dapper and charismatic and, you know, handsome and fly. And my mother was always elegant and well put together. And I didn't. We didn't have a lot of money, but they did a lot with what they had. And I, out of necessity, learned how to sew. I learned how to sew at the age of four.

[Kim Coles]

Wow. What was I doing it for? You know, picking boogers. I love it. Good for you.

[Ceci]

And my grandmother taught me how to knit and crochet and embroider, and I even made my first day of school, first grade outfit, some turquoise wraparound culottes with white polka dots. And all throughout middle school and high school, I made my clothes, I did my homework, and then went to our sewing room. My father had fashioned a sewing room, floral to ceiling fabric, shelves of fabric. And I would make something new every day for school. And, you know, I just being the youngest of five and not having a lot of money, you know, wanting to be creative and wanting to stand out. And my father said that, ooh, being an individual is so important. You don't want to follow the leader. I think he said that because he couldn't afford to give us what everybody.

[Kim Coles]

That's what dads do. But you're Panamanian, so you're coming from a whole, you know, we're talking about American TV shows, but you have a very worldly sort of, you know, palette.

[Ceci]

Well, yes.

[Kim Coles]

That you're drawn to.

[Ceci]

Well, culturally, yes, in my household, for sure. You know, we definitely, you know, ate the food. The culinary experience was certainly different. And I think that, you know, Panama itself is, you know, a conglomeration of African culture, Spanish culture. Indigenous culture.

[Kim Coles]

Indigenous.

[Ceci]

Yeah. Caribbean culture. So all of that, you know, kind of informed me seeing it, you know, on the walls in a mola or seeing, you know, the color choices that my mother would buy because she made our clothes also for us. So all of that just kind of bakes in and informs who you are and your perspective. I mean, I didn't spend a whole lot of time thinking about it, per se, but, you know, all of that becomes embedded in your style DNA, your vision, your point of view.

[Kim Coles]

And you speak Spanish.

[Ceci]

Claro que si ermi PI Mera lengua.

[Kim Coles]

Well, fantastic. Because people need to know that there's an Afro, like Latina and the helm making this type of history. But also, we were the number one show for African Americans and Latinas, Latinos. Thank you.

[Erica Alexander]

I want to say, for the record, it's really fun to hang out with you when we're out and about and someone says something in Spanish and you will let me know. And, you know, I speak un poco.

[Ceci]

And so you know more than un poco.

[Erica Alexander]

So it's really fun to watch the turn like, oh, she speaks Spanish. Pull it up. Don't say nothing you're not supposed to be saying. So thank you for translating all the time. What? I think you do beautifully. And listen, Erica, you and I have both been dressed by many a costume designer, and some of them translate beautifully, but you do masterfully. And I learned from you the art of translating the character.

[Kim Coles]

Yes.

[Erica Alexander]

To the garments that they wear. Everything is infused. And nobody does that better.

[Ceci]

I think. So I would have to agree.

[Erica Alexander]

Okay. I think I learned from you that when the character walks in the room, you'll know exactly who they are, not only by the words that are. That are on the page, that they're. That they've memorized, but by the way that they look. So you can just talk about how you.

[Ceci]

No lies detected there.

[Erica Alexander]

Okay.

[Kim Coles]

I know that's right.

[Erica Alexander]

This is an easy interview.

[Ceci]

This is an easy interview. It's my understanding that actors, for the most part, will find themselves in that role. Right? Yes, you can. Like, okay, this is the character of Sinclair. This, you know, and this is what she's about. Well, as a costume designer, I do the same. So I find myself in each of your characters, even the male characters. And I have to do that because, you know, like, describe your character.

[Kim Coles]

Maxine Shaw, lawyer, power broker, feminist, says what's on her mind.

[Ceci]

Bam. So when I go shopping, I shop with an eye of power broker, feminist, says what's on her mind. And that quickly filters out all the other stuff. Got it. And it carves out your lane. It carves out. This is Your lane. And so. So that when I do that for each character, there's not gonna be a lot of cross pollination. You know, even if it's denim, even if it's a pair of jeans, like yours is gonna be more sophisticated, sleek, you know, on pointe.

[Erica Alexander]

Maybe tailored.

[Ceci]

Maybe tailored. Whereas Regine's is gonna have some diamonds and pearl studs on it. They're the same jeans. But hers is gonna have some chains and it's gonna be, you know, out there. Yours might be some brands, some bellware troll on it. Exactly. So everybody has their own length. But I shop with adjectives. So however, you know, they're described in the script or however we. In a collaboration. Cause we always talk, you know, before. What do you think about this scene? And so I'm already equipped with the marching orders, as it were.

[Kim Coles]

But let's talk about what you're wearing right now. Let's describe this. This is off the chain.

[Erica Alexander]

She's giving us a jaunty hat.

[Kim Coles]

Yes. A felt, you know, ivory fedora with a snake print band around it.

[Erica Alexander]

Right.

[Kim Coles]

Just a very thin shape print. And then these earrings, these white. White sort of. What are they?

[Erica Alexander]

Like rattan. Rattan, Right.

[Ceci]

But you know what? It goes back to how I grew up. Youngest of five. I look at pictures and I was like, girl, you had on a plaid skirt in a whole different color way with a striped blouse and a bandana and a floral. I was like, what were you doing? But that's how, you know, we. We put on things that we had.

[Erica Alexander]

Was it like hand me downs and you were mixing the hand me downs plus what you were making for yourself.

[Ceci]

100 and making it.

[Kim Coles]

Mixing somebody's hand me down with some.

[Erica Alexander]

Right, right.

[Ceci]

Ding, ding, ding, ding, ding.

[Kim Coles]

In the right hands, though, that means you had a gift.

[Ceci]

And then you saw it early. Exactly. And I would make different styles out of it. You know, I remember our kids, if my toe. If I got, you know, my. My foot got bigger and my toe poked out the front. I'd cut the front of it and make a sandal and cut out the sides. And then that would be a little cut out. It would be a whole. It would be a whole sandal. I'd take it from a sneaker to a sandal and let my big toe just have some freedom.

[Kim Coles]

Yeah. Dragging on the cut.

[Ceci]

Exactly. But that's the kind of creativity that has held me in good stead. Because budgetarily, you know, they don't do black shows like they do white shows. Even on Living Single, I was Aghast. When I found out that friends had multiples and multiples of thousands of dollars more than we had, I was like, say what now? It was insane. And it hasn't really changed much. It hasn't really changed much, unfortunately.

[Kim Coles]

Yeah. Talking about what hasn't changed much. What hasn't changed much. That really is something that has been an obstacle that you wish could be.

[Ceci]

You know, it's my deepest desire that those who are in power, black people who are in power, people of color who are in power, begin to focus more on the. What we're called below the line or behind the scenes. I think that there is a lot of celebration about having in front of the camera roles that are given to black actors. But the same is not being considered behind the camera. So you'll have a black show, a black movie. Great. And then you go, you know, on location and it's white, white, white, white, white, whitey, white, white, white, white, white, white. Why? Why? I'm like, how are you rapping now?

[Kim Coles]

I mean, whitey, white.

[Ceci]

It's really egregious to me and I don't understand why it's not top of mind to more people.

[Kim Coles]

Because you're saying there's something you're saying about diversity that's sort of maybe not as obvious. The diversity of how you think is also what you're hiring when they get you, as opposed to somebody who might be Eurocentric and can't. Has to research us, but bring all.

[Erica Alexander]

Your cultural knowledge and being nice, that.

[Kim Coles]

Coalition in your mind that you. That you've had to pay attention to.

[Ceci]

Your whole life or even the standards of beauty. I mean, look at, look at living single. Everybody was a different body size and shape before. I never once said, oh my God, look at this person. How am I going to dress that person? It's because that's not even part of the thought process or the visual process. Because, you know, we grow up in a culture of all different shapes and sizes. And I don't have a Eurocentric idea of what beauty. And so I can celebrate everyone's size and maximize everybody's size and make them look the best they can possibly be.

[Erica Alexander]

I want to say that's one of my favorite things about you is I have never felt that I was too this or not enough this in order to be dressed well. Right. And that you are. And, and you know, we've done personal things together. Like, let's what. What do you want to wear? What do you want to look like? Let's go find that in Your size for your proportion. I've never once felt like, ooh, do I need to fit into that? You know, we'll find the one that fits for you in the color, the size, the proportion, and the way it makes you feel. I credit you as setting the bar for me in that. Not only in the way I want to wear my own clothing personally, but I judge every other costume designer by that. Like, oh, you just have a rack of clothes for me. You didn't even think about this. You don't know that my bosom should be. You don't know that I want to hide. I want to explain situation. You don't even know you're not sexy in my head, like, oh, good luck. Well, just throw on those shoes.

[Kim Fields]

Really?

[Erica Alexander]

Really. Oh, because it color matches. Really? So that you bring that.

[Ceci]

And even what's more, is not just what looks good on you, but what works in the scene. Because sometimes people really don't understand the depth of what a costume designer does. And so not only do I have to, you know, what's happening from the beginning of the episode through the middle, through the end. Where are you traveling? What are you doing? Are you sitting? Are you standing? Are you laying down? Is this gonna be comfortable? If you gotta kick the box in the alleyway, I mean, you know, is that dress gonna. Is it too short? Is it too tight? Can you lift your legs? Is it gonna look, you know, crazy when you lay down and wanna watch the magazine? Is this gonna rumple right here? Cause you crushed up? I mean, there's so many things that you have to think about, but that's what I mean in terms of becoming the character. I'm listening to what Erica Alexander likes, what Kim Coles likes but Sinclair likes and what Max likes, what the studio likes, what the writers likes, what the directors likes, and then finally, maybe what Ceci likes. So I have nothing to prove to that. Exactly. It's a big soup of, you know, voices in my head, because that's what happens. Literally. I look at something, I'm like, okay, is that. First of all, does it match the adjectives of that character? First and foremost. Okay, now let me look at it. Is it the right style? Is it the right size? Is it the, you know, right for that scene? Is it gonna do what it needs to do in that scene? Is it gonna convey that message? Because wardrobe is not just wardrobe by itself. It's also supporting the story.

[Kim Coles]

That's right.

[Ceci]

So it has to make sense.

[Kim Coles]

Well, speaking of which, the studio, did they ever have a mandate for you about. Did they ever talk to you?

[Ceci]

I do remember there was a big, big to do. Do you remember that episode when Dana was dating who was in the basketball player? Who was it? Grant Hill. It was Grant Hill. And she was. She was going to the basketball through the. Through the gymnasium. And it was a red dress. Oh, my gosh. There was so much back and forth. Well, can you. It was a sleeveless red dress. Donna Karen. I remember it looked great on her. It was beautiful. And the whole conversation, well, can she have a shawl? But what about her arms? But what about her breasts? Is this the thing? There was always a thing with trying to minimize her. And I used to go to bat for Dana, like, what's wrong with how she looks like right now? Well, can you just, you know, maybe just a little something something so that her arms are not so bare? What's wrong with her arms? And I'm like, well, what is wrong with how she looks now? I literally would say that. And they would not just come out and say, okay, we think she looks too big. But that's what they were saying. And it was very uncomfortable. And it was on more.

[Erica Alexander]

Especially if she wasn't coming with, like, I think I look. Cause I. I've said to you, oh, I think this makes me look a little heavy. Well, then let's get you a little shawl, a little Blair, a little thing. It's different. If she was asking for that, but she wasn't even asking that I look great.

[Ceci]

She looks great. She looked great. She felt great. Exactly. And it was very. I just distinctly remember that experience. It was very uncomfortable.

[Kim Coles]

Wow. You know, I think about that a lot because as four women of color, black women on television, how they were judging us was based on people who were tiny.

[Erica Alexander]

Yeah.

[Kim Coles]

You know, if you look at our kind, we like very much and were very talented, from Alec McBeon to even the friends people, they were like size zero, too. And then so we all looked huge next to them. And you didn't feel that way because we were all together. But I know when I went to other shows to do guest spots and I was like a size 6, 8.

[Ceci]

Yeah.

[Kim Coles]

You know, and meaning curvy too.

[Erica Alexander]

Right, Right.

[Kim Coles]

For many of the young women on there, they were like children.

[Ceci]

Exactly.

[Erica Alexander]

I had a kids designer say, well, where do I shop for you?

[Ceci]

Oh, my God.

[Erica Alexander]

I was like, I'll bring some things for my closet. Is it really that hard because you made it so easy? Or that they didn't even have the realm? They didn't have to think about that because they were shopping for only. Only zero.

[Ceci]

Exactly. That was not even in their wheelhouse. That's exactly correct. That's not even anything that they had to consider. And, you know, back then and even now, I mean, I think that the. The. What was considered plus size. I mean, I think 10 and above.

[Erica Alexander]

Right.

[Ceci]

You know, most of these boutiques, like, you know, after. Oh, we don't even really carry size 10. I mean, maybe one, but after. After that, it's gone. So it was really challenging even for Dana. You know, I'm the type of costume designer that I'm like, nothing is off the table. So when I discovered that I can alter men's suiting. When she. The times that she would wear pantsuits and stuff, I would go and get those fly ass pants. Can I say ass? I guess. Like, I remember traffic. There was during. There was a period of time that some of the European tailoring were a little bit more feminine and something that I can rock with with Dana. And I was like, okay, bam. I would take that and tailor it to her. That was amazing. Looked amazing. Yeah. So that was, you know, outside of the. Dana Buckman. Remember that? You know, there was those.

[Erica Alexander]

But then Dana Buckman, Eileen Fisher.

[Ceci]

Right. Who carried the larger sizes. But it was limiting. It's like, okay, you have two styles this month. I need six choices for this woman. Where am I going? So it forces you to be so much more creative. And same with the. You know, I wish I had the budget that friends had. I only wish. But I don't besmirch that experience at all because it's made me a fantastic designer. I'm resourceful as I don't know what. I don't know anybody who can do what I do with the meager budgets that I get, honey.

[Kim Coles]

But that shouldn't always be the experiment. It would be great to see what you could do with your mind and your experience with a Not only a.

[Ceci]

Full on budget, like an appropriate budget.

[Kim Coles]

Yeah, go and do your.

[Erica Alexander]

Do you have any favorite looks of ours that you enjoyed putting together?

[Ceci]

You know what my most favorite episode included? Everybody was a raisin. Harlem.

[Erica Alexander]

Oh, it's. Yeah.

[Ceci]

I mean, that was my biggest joy because it really was able to showcase what I can do. It was a period piece and everybody was so extra and over the top and glamorous. Plus all the background people.

[Erica Alexander]

We talked about that.

[Ceci]

If you have to.

[Erica Alexander]

Everyone, everyone.

[Ceci]

It was, oh, my God. I was in seventh heaven. I was like, look at the cause, you know, of course you Know what? My ability is contemporary, but then, you know, to showcase period, I was like, this is amazing.

[Kim Coles]

And period, through character, too.

[Erica Alexander]

And characters.

[Ceci]

Yes.

[Erica Alexander]

And also now you have to filter who we were and who we were playing through that period. Oh, my goodness.

[Kim Coles]

And you basically have just a few days to do it.

[Ceci]

Oh, yeah.

[Kim Coles]

I mean, you know, the episode is coming.

[Ceci]

Yeah.

[Kim Coles]

But still, it's like, again, everything gets pulled into this brutal schedule. How do you do that?

[Ceci]

You know, I learned early on that my temperament is. I work best under pressure. I learned that in college. You know, anytime that I would prepare for a paper and do all the research and do it all in advance, but if I do it the night before. Ooh, A plus, plus, plus. Fabulous. So the cadence. There's about the cadence of television that I'm well suited for. It's like, hit it, quit it, hit it, quit it. You get the script, read it, go shop it, you know, fit it, alter it, break it down, shoot it. Like, it's like a three day thing. And, you know, my entire career, I've worked Saturdays and Sundays with my child in tow. Of course not paid, and people don't even know. No, they don't know. Honestly, that's the level of integrity that I had. It's like I want to make sure that everything is on point. And if that meant that I worked longer hours, unpaid hours, did you know, was stitching something at home, whatever I had to do to make it look amazing, I was committed to doing that, so. But that. A raisin. Harlem. Oh, my God. And even Kyle. Kyle. Ooh.

[Kim Coles]

Let's talk about the guys, though. We gotta talk about the guys.

[Ceci]

We gotta talk about the guys.

[Kim Coles]

Because, yes, you had Overton was dressed like a straight gangster, right? And then. Yeah, and then TC was dressed like a waiter.

[Ceci]

And then later on, later on, in.

[Erica Alexander]

The suit that and that trench coat you gave him at the end, it was, you know, to the ground.

[Ceci]

I have a special affinity for menswear. And I think because my father. My father, you know, father, daughter, time was to go to this little store downtown LA called California Tie Shop. It was this little, little alley of a place and it was just me and him. And he'd go through it and he says, okay, this is a French co cuff. And this is this right here. Feel this fabric. Okay, this is crap. This is cheap. Now feel this here. This is elegance. See this tone on tone, stripe. You see how this one is soft and this one's not. This one's too bold and garish. No, you don't want that. Look at this pocket square in this tie. Do you see this?

[Kim Coles]

Dad gave you a fashion sense, huh?

[Ceci]

He gave me an appreciation for menswear.

[Kim Coles]

Okie dokie.

[Ceci]

And again, I'mma toot my own horn. There ain't nobody that can select a man's tie better than I can. Or the whole dang gone look. But I have spent for te. For Kyle, let me tell you. I spent hours looking for just a tie, looking for just the right perfect tie. I mean, I'd be in Neiman's and Saxon Blooming Nails and all the place. I'm like, no, no, no, no. And then when I saw it, when I see anything that works, it's like Christmas morning, it's like, oh, my God. And then you take it to the fitting and it's on. We all like, ah, ah, ah. You know, that's why I like, you know, in a black. A black show. Cause, you know, you can.

[Kim Coles]

Everybody dances when something happens.

[Ceci]

Like, exactly when it hits.

[Erica Alexander]

How much was TC allowed to collaborate with you? And what about all of us? Did you allow us to collaborate?

[Ceci]

Everyone, I believe. I hope I did a good job of listening and collaborating because I think everybody really was invested in their wardrobe and invested in the look. He truly was invested and he truly appreciated my attention to detail. Cause his vest were otherworldly. I mean, the suits, the pinstripes, the hats, the fedoras, the top. Come on now.

[Kim Coles]

He was always bragging about you because he wanted to showcase his friends. And it wasn't just always about. I mean, he has an innate love for fashion and design, but he also wanted to put them down, you know, and give them some sort of platform. And he really did. And through you. Cause you allowed it.

[Ceci]

Yeah, exactly. Which, you know, I don't know that people do it to too much these days, but I remember being able to use the platform for a lot of black designers, you know, was it Fubu Walkerwear and one Shaka King. Shaka King. All of them. All of them. So that was like, really, you know, I was very proud of that. I was like, you know, everybody had an opportunity to rock something, you know.

[Erica Alexander]

So you obviously had such a strong influence on 90s fashion that we were watching on television. And being on television.

[Kim Coles]

How does it feel? Basically created the whole template for it.

[Erica Alexander]

How does it feel?

[Ceci]

It's kind of surreal and a little weird because part of what my vision and my creation has now become a part of the visual lexicon. If there were. Did I just make that up? Is that a word?

[Kim Coles]

The visual lexicon, something with it.

[Ceci]

The visual lexicon of what it meant to look like a black attorney when I'm gone. Or even now, if a costume designer wants to research, oh, this period, they going to be looking at my stuff.

[Erica Alexander]

Yes.

[Ceci]

You cannot escape that. You cannot escape that. So when I think about that, I'm like, oh, you did that. I have to do this because I always think I haven't done much in life. You know, sometimes it's just like.

[Kim Coles]

You want to know why you think that? Because it was your avatar doing all that. You were two places at once. I don't even think she's here right now.

[Erica Alexander]

Maybe not.

[Kim Coles]

This is a hologram.

[Ceci]

Exactly. Yes.

[Kim Coles]

You know, when you're in doing that and the amount of work you're talking about, you have time to sort of see, you know, and reminisce. But I think that's why people need to lay back a bit and also to get their flowers. And frankly, you deserve so many of them. You did such a fantastic job. It's magnificent.

[Ceci]

I appreciate that.

[Erica Alexander]

I also want to thank you on behalf of all the boho black girls. So we're talking Freddie on Different World, me on Living Single, Rachel True on Half and half. And yet we all had our own version of that. And you managed to make it look completely different. Like if you put the three of us next, you go like, oh, they sort of are doing this boho mixing a little bit hippie. But that you did this look that now we get to embrace, which I.

[Ceci]

Love creating those looks because I get get to access the resources. That is my happy place. That's vintage stores. Vintage and thrift shopping is my thing.

[Erica Alexander]

Why do you love it?

[Ceci]

I don't care what it is that I'm doing. You hire me for a futuristic sci fi something, somebody gonna be in vintage.

[Kim Coles]

That Jabberwocky's gonna be in vintage fur.

[Erica Alexander]

What do you love about it?

[Ceci]

Because it's the thrill of the hunt. It's like a high. It's really like a high when you just go in there and it seems like you can't find nothing. Oh, there's nothing there. Then you start to find something like, oh, my God, this. And the light bulb goes on and.

[Erica Alexander]

You'Re like, oh, that's it, that's it, that's it. Oh, my God.

[Ceci]

The most amazing, fantastic, phenomenal.

[Kim Coles]

For anyone shopping, they probably think you're climaxing several times.

[Ceci]

Probably so. Exactly, exactly. It's almost like that, that thrill right there, I mean, it's coupled with my passion for what I do. I'm so passionate about my work. I mean, I go to bed thinking about. About, you know, like, I'm working now with Ruth Carter on a couple of her clients. Ruth Lee Carter. Let's have a moment.

[Kim Coles]

By the way, it was you, Ruth Carter, and who else who were like, almost basically the.

[Ceci]

Michelle Cole.

[Kim Coles]

Michelle Cole.

[Erica Alexander]

Michelle Cole.

[Kim Coles]

The trifecta doing this at that time.

[Ceci]

Exactly.

[Erica Alexander]

Something we were talking about before we start the show. There's another reason why you love vintage and upcycling. That's a personal planetary experience.

[Ceci]

Well, you know, fast fashion has really done a number to the. You know, I would venture to guess that anybody's listening does not need another T shirt, another pair of shoes, another jacket, another pair of jeans.

[Erica Alexander]

I'm hanging my head.

[Ceci]

Another pair of anything. Quite frankly, unless you got really big or really small, I think you probably have all that you probably need for many years to come. And what's happening with fast fashion is that they are exporting the jobs to, like, places like Bangladesh where there is, you know, of course, they're being exploited, getting paid pennies, and insufficient working conditions. So what ends up happening to all this fast fashion? They're not well made. So you wear it once or twice and then you dump it. So then you think, oh, well, I'm gonna donate it to the Goodwill. Well, when the Goodwill cannot sell it, it ends up on the shores of Africa. When you throw it in the trash, it ends up on the shores of Ghana. It's literally mountains. It's time for us to just stop the madness. Madness. Like, stop. Just take accountability, everybody. And I'm not saying don't go out and shop ever, because that's unrealistic, but maybe consider shopping from a thrift store. Shopping in your own closet.

[Kim Coles]

Shop your own closet.

[Ceci]

Upscaling something. If you got a. A jacket and the sleeves a little bit too tight, cut the. Cut the sleeves off and make a vest.

[Erica Alexander]

Change the buttons on something to look.

[Ceci]

Yeah, exactly. Consider doing something to it or giving it to a friend who, you know, will wear it, a family member who will stop making, you know, Amazon rich and making, you know, shopping and just for what, like, people. Oh, that's my therapy. But we are killing the planet. Yeah, we are killing it.

[Kim Coles]

We're in an addiction.

[Ceci]

The severity of it is so high right now, and a lot of people need to understand that. Please make an effort to. Don't run out and just knee jerk. Oh, I need. You probably don't need whatever you think it is that you need Go in your closet.

[Kim Coles]

That's actually deep. We didn't know we'd go there, but we need to go there.

[Erica Alexander]

But I thought it needed to be said. And just something that, you know what's interesting, though.

[Ceci]

And when I started reading about and learning more about it, unbeknownst to me, I've been upcycling my entire career, my entire life, and I just didn't call it upcycling. I've got a fancy name before. When I was doing it, you know, and creating these characters, I was always shopping vintage. I was always shopping thrift stores. I was always having characters that are, you know, accessing things that are gently used or worn. When I did Dear Wife, Dear White People, all those characters, that was a huge ensemble cast. And 80% of them wore things that were not from a mall. They were from a thrift store or a vintage store. And they all had their distinct look. They look like they, you know, were shopped from a mall. But I really don't like shopping from a mall. It's so boring. It's like it's uninspiring. I can't. I don't like shopping high level stores. I don't want to go down Rodeo Drive. Not, not interested. That'll not give me no orgasms.

[Erica Alexander]

But also, all the characters begin to look alike. Because if everybody. If every costumer is shopping from those stores, then everybody looks the same.

[Ceci]

Then everybody looks the same.

[Erica Alexander]

I want to highlight a collaboration that you allowed me to have with Sinclair's wedding gown.

[Kim Coles]

Oh, yes.

[Erica Alexander]

And so when it came time for this wedding, not only did I get to help. Sorry, Erica, Sorry, not sorry. I got to choose what the bridesmaids wore. And so you had, you know, we had to choose a bridesmaid's dress that would look beautiful on everybody. And you let me collaborate. Wedding dress. And thank you for that. It wasn't just like, here, put this on.

[Kim Coles]

I was so into it.

[Ceci]

I know.

[Erica Alexander]

Was I?

[Kim Coles]

Yes, yes.

[Ceci]

But it was like your wedding. Like, why wouldn't I let you collaborate? That's just crazy not to.

[Erica Alexander]

It could have been a rack of dresses. Pick one. You actually made that?

[Ceci]

Yeah, we had it made. Yes, honey, it was a couture bespoke.

[Erica Alexander]

It was a bespoke, bespoke wedding dress. Sinclair couldn't have afforded it.

[Kim Coles]

It was beautiful.

[Ceci]

Exactly. But it was beautiful on the right timing. And that was so important. I mean, it's. Even though it's just, you know, on tv, it's still you.

[Erica Alexander]

Yeah.

[Ceci]

You still have to be fabulous and feel comfortable and beautiful and all the things any bride wants to be on their wedding day.

[Erica Alexander]

Right.

[Kim Coles]

Right now.

[Ceci]

You're welcome.

[Erica Alexander]

I always ask, is that. Is that in the. In the archives somewhere? Is that dress somewhere in the archives?

[Ceci]

So after a show is gone, done, canceled, wardrobe goes to the costume house on the lot. In this case, Warner Brothers. And from time to time, Warner Brothers has to clear decide what they gonna sell or give away, you know, whatever they do to get rid of it, to make more space. So all costume houses do that same thing. And the people who choose to do that don't look at. And so they don't understand our fashion. They don't understand our style. And, you know, I think, you know, everybody was up in arms about Hollywood. So white. Well, that kind of thing filters down on every level of the industry. So if there were black people working in the racks in the. In the studios, they would be going, oh, my God, I remember this. When Sinclair wore this. We gotta keep this. We gotta keep this Mac suit. Oh, my God. That lavender suit with the mint grit. Oh, they would be freaking out and keeping it. And today it would be there. So it's really important for diversity to happen on all levels. In front of the camera, behind the cameras, in the studios, all over. Cause there's repercussions.

[Erica Alexander]

Ceci, this was refreshing. It was enlightening.

[Kim Coles]

Thank you.

[Erica Alexander]

It was delicious. We thank you for all the work that you do, all the work that you continue to do.

[Kim Coles]

And so much of what's on that screen is told through the story of costume. And so people to understand your story and understand how it's connected to so many other stories that you put out there in the zeitgeist. It's beautiful. So bravo.

[Kim Fields]

Bravo.

[Kim Coles]

Bravo.

[Ceci]

I received my flowers with great gratitude and thanksgiving and love and joy, and.

[Erica Alexander]

I appreciate both of you. Thank you. Don't go anywhere. Don't go anywhere. Cause we're about to answer some fan questions.

[Kim Coles]

We had True blue. True blue.

[Erica Alexander]

She's true blue and tight. Like, what do you remember? Look at that. So, Amber, you have the question from our wonderful person out there.

[Ceci]

I actually have two questions.

[Kim Fields]

First one is from Deontay from Oakland, and he asks.

[Ceci]

Hi, Erica and Kim.

[Kim Fields]

I heard you were looking for a general fashion question. So what current designers would you have used for Living Single if you could.

[Ceci]

Use any current designers now?

[Kim Coles]

I'm glad Ceci's here. My quick thing is telfar.

[Ceci]

I mean, here's the thing. I'm unique in that I don't have an allegiance to any designer. And I am not, you know, a label whore. And I could care less about the designer name now. I do care about promoting black designers for sure. So, you know, I would definitely, you know, look and see what, like you said, telfar anyone else has. But, you know, I don't like to be beholden to any specific designer because I'm married to the look, the aesthetic of. The aesthetic of whatever it is. And what I found throughout the years, you know, a lot of people are, oh, it's Gucci. You know, it's ysl. It's. I don't really care. And those labels are not necessarily consistent. I would probably do some deconstructive wardrobe on Sinclair. I would do, you know, some of the more men's suiting on, you know, some like, you know, Tom Ford is having a big moment with, you know, his deconstructed looks and whatnot. I think I would do a version of that that would be more thrifted versus, you know, off the rack.

[Kim Coles]

So you're still recommending to take pieces that you already own and. Or find ways to put together.

[Ceci]

Exactly.

[Kim Coles]

Because that is the look of living single.

[Ceci]

Exactly. And to veer away from, you know, specific designers. While I would like to, like I said, enhance and support them, I think people need to start thinking less so of the designer as being the end all, be all, but trust their eye and their instinct to choose what's good for them.

[Kim Coles]

I love it. That's a new age.

[Ceci]

Thank you.

[Kim Coles]

You got another question?

[Ceci]

Well, this other question was from Amber W. From Chicago, which is me.

[Kim Coles]

I was like, that sound familiar?

[Ceci]

If you had an unlimited budget, what.

[Kim Fields]

Is the fashion story that you would.

[Kim Coles]

Tell with an unlimited budget for anything? Unlimited budget, My Lord.

[Ceci]

I would fly to other things, countries and get textiles from all over Africa, Indonesia, Marrakech, Egypt, Dubai. I would be flying and scooping up all the things, honey. The accessories, the jewels, the beads. Everybody would be so textured and layered and faceted and, oh, my God. Have things made in India. Oh, come on.

[Kim Coles]

Come on.

[Erica Alexander]

Come on now. Come on now.

[Ceci]

Come on.

[Kim Coles]

Like a line. We need to see. Ceci.

[Ceci]

Oh, my gosh.

[Erica Alexander]

See it through my eyes.

[Ceci]

Oh, I would be beyond. Because there's. We don't see enough of that. And, oh, my gosh. Textiles around the world. Japan. Oh, my God.

[Kim Coles]

Oh, Lord. Come on. Oh, my God.

[Ceci]

So there you have it.

[Kim Coles]

Bravo.

[Erica Alexander]

And there you have it. Thank you for coming. Thank you. And having this conversation. You know, Ceci and I always finish things with. And there you have it.

[Kim Coles]

And introduce everyone to a person that we love that is, you know, inside of our lives in a way that can't even be really told because we spent all those years and you saw us nude, naked, you saw us vulnerable. You made us feel good. You told the story, but you also had to hold space for us to be ourselves and tell you our secrets. You know what I mean? And know our secrets.

[Ceci]

Is that part of the show where I tell the secrets now?

[Kim Coles]

No. You evil bitch. You evil bitch.

[Ceci]

Thank you.

[Kim Coles]

And that's that.

[Erica Alexander]

That's that.

[Ceci]

Thank you again.

[Erica Alexander]

Thank you, Kitchen.

[Kim Fields]

Yay.

[Erica Alexander]

Yay. Well, that's our show. And there you have it.

[Kim Coles]

That's our show.

[Erica Alexander]

And thank you, Kim Fields and talking about fashion and fun and fabulosity. Thank you.

[Ceci]

My pleasure. It was so much fun.

[Kim Coles]

It was fun. It was. Thank you.

[Erica Alexander]

I'm coming to shop your closet, Cecy.

[Kim Coles]

And by the way, send us your questions if you want us to try to answer them. Reliving single pop podcastartbeat.com and that's spelled H A R T beat dot com. And make sure you catch this and listen wherever you listen to your podcast and check us out next week, we're gonna have all sorts of new stuff to talk about.

[Erica Alexander]

New stuff.

[Kim Coles]

And you never know who's gonna pop up.

[Erica Alexander]

That's right. See ya. Reliving Single is hosted by Erica Alexander and me, Kim Coles. Reliving Single is a production of Heartbeat in association with Color Farm Media, Executive produced by Kevin Hart, Jeff Clanagan, Eric Eddings, Leslie Guam, Erica Alexander and Ben R. Nan. This show is produced by Kim Coles. Amber Watson is our senior producer. Our associate producer is Kenny Jackson. Our video editor is Shannon Joy Rogers. Our sound engineer are Eric Hicks and Cedric Wilson. Production supervision by Razak Boykin. Additional production support from Alex Atkins and Z. Taylor, and a Special thanks to Dr. E.J. johnson.