With support from ICA Fund and JPMorganChase, founder Courtney Smith is strengthening his supply chain, creating jobs and expanding local production, and positioning the Oakland-born brand for long-term growth

When Courtney Smith founded Courtsmith in Oakland in 2014, he was building more than an athletic apparel company. A lifelong basketball enthusiast, Smith saw an opportunity to create performance wear that reflected the culture of the game—its style, community and sense of belonging.

From the beginning, Courtsmith was rooted in the idea that basketball is not just a sport, but a lifestyle and a community. The brand set out to make athletes look and feel good on and off the court while building partnerships that give athletes a stake in the products and stories they help shape.

“As Courtsmith grew, scaling wasn’t just about selling more—it was about building the infrastructure to deliver consistently, with a strong supply chain and production process,” said Courtney Smith, founder of Courtsmith. “We needed the right kind of capital and partners to help us expand without losing the Oakland authenticity that made us who we are.”

As the company grew, Smith faced a common challenge for small businesses: maintaining quality, reliability and authenticity of products while scaling—and having the resources to do so. The next move was not simply about expansion; it was about building the infrastructure to last.

That is where ICA Fund—a Bay Area impact investor, small business support organization and long-time partner to Courtsmith—came in. ICA’s relationship with Smith began in 2017 through its Growth Strategies advising program, and over time, the organization paired mentorship, technical assistance and capital to help the company grow with intention. More recently, philanthropic support from JPMorganChase helped ICA expand the range of capital products it can offer entrepreneurs like Smith, including options designed for companies that are ready to scale but may not be a fit for traditional debt products or equity investments.

“Too many great businesses stay stuck small without access to fair and flexible capital— ICA Fund’s role is to change that,” said Allison Kelly, CEO of ICA Fund. “With support from JPMorganChase, we’re able to provide founder-friendly financing alongside long-term partnership, giving entrepreneurs the tools they need to grow stronger businesses that create opportunity in their communities.”

The right kind of capital for a new stage of growth

ICA recently provided Courtsmith with a loan to help it buy a local manufacturing business, a major step toward bringing more of its production process closer to home, strengthening its supply chain, reducing costs, continuing its growth and creating local jobs.

The transaction also marked a milestone for ICA: the first time the organization approved capital for a merger-and-acquisition transaction. It reflects a broader expansion of the financing options it offers, supported by JPMorganChase’s American Dream Initiative, which aims, in part, to help power 10 million small businesses—up from seven million today—over the next several years with the capital, coaching, tools and practical policy support they need to thrive. It’s also an example of the kind of tailored support—delivered through trusted local pathways and the firm’s own relationships—that JPMorganChase provides to small businesses in the Bay Area, including our more than 295,000 small business clients.

“Small businesses are the backbone of our economy, and Courtsmith’s story shows how access to the right capital at the right time can unlock growth,” said Gwyneth Galbraith, Vice President for Global Philanthropy at JPMorganChase. “By supporting organizations like ICA Fund, we’re helping expand access to the kinds of financing and guidance entrepreneurs need to strengthen operations, create jobs and build lasting businesses across the Bay Area.”

Building with staying power

For small businesses, access to financing that fits their stage of growth can determine whether expansion is sustainable. A one-size-fits-all approach does not always work for companies with distinct cash-flow cycles, customer demand and operational needs. In Courtsmith’s case, the ICA loan gave the company a path to invest in its future while preserving the founder’s vision and control—and reflected the kind of flexible financing JPMorganChase is helping expand through its support of local community and mission-driven lenders.

Courtsmith’s trajectory reflects that momentum. The company reports that revenue grew 259% from 2021 to 2025, while its workforce expanded from four employees in 2017 to 13 in 2025, including growth in full-time roles from one to 11.

Behind those numbers is a company deepening its roots in Oakland through local partnerships, community presence and a model built to last.

“Courtsmith is about Oakland, representing the culture that raised us and creating opportunity for the next generation,” said Smith. “With ICA Fund and JPMorganChase in our corner, we can keep turning that mission into something people can see and feel in our community.”

Courtsmith’s next chapter is still being written, but the path is clearer: a founder-led brand with deeper local production capacity, a stronger supply chain, and a larger role in Oakland’s small business economy.

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Author: Amena Brown, Copyright: c.2026, Publisher: Tiny Rep Books, SRP: $30.00, Page Count: 320 pages

Some things can really make you cross.

People telling you your business, for instance. People asking questions they have no reason to know the answers to. Folks who criticize your hair or clothes or life. These things would set anyone off; they’d be the last straw for anybody. As in the new book, “Never Tell a Black Girl How to Black Girl” by Amena Brown, some folks just cross the line.

In a way, it’s a matter of grammar.

Depending on how you say it, “Black Girl is a noun and a verb,” says Brown. A Black Girl can be a Black Girl… and she can Black Girl. Brown herself has done it “in six countries.”

Growing up in North Carolina, she Black Girled her hair her entire life. Her grandma made her sit for box braids when she was small, telling Brown that she was “tenderheaded.” Later, Brown had relaxed hair until she “went broke” and couldn’t afford the process anymore. That was when she got acquainted with her natural hair – although she returned to box braids at least once, and loved them all over again.

As the child of a strict Pentecostal mother, Brown was a “late bloomer.” She didn’t drink alcohol until she was in her twenties. She was chaste while dating and a better church girl than a party girl. After she left the church, she began experimenting with wine first, then cocktails. She learned to cook, reasoning that the path to finding love started in a kitchen, one that happened to be her grandmother’s. And yes, love did eventually come in the form of a red-headed White man who was her friend before he became her boyfriend — and before he became her mother-sanctioned, grandma-approved husband.

Overall, says Brown, there is no single right method for doing this.

“There are so many ways to Black Girl, which means the way you Black Girl is beautiful, and the way I Black Girl is beautiful too.”

Looking for a collection of addictive, can’t-read-just-one essays that’ll make you laugh but that also feel like author Amena Brown is peeking at your life? Want a book that speaks to every corner of your existence?

Yeah, then you want “Never Tell a Black Girl How to Black Girl.”

You know how it is when you spot something so profound, so right, that you just have to call your friends and read it out loud to them? That’s what you’ll find here: truth told with humor that’s also oozing with warmth. Add honesty that’s smart and bold and practically begging for a “Heck, YES!” and you’ve got your new favorite book.

The essays here are short enough to read in a few minutes, but compelling enough to make you want more, so give yourself room.

This is a book for twenty- and thirty-somethings, but also for their mothers and grandmas who can handle respectful irreverence and surefooted playfulness. Can men enjoy “Never Tell a Black Girl How to Black Girl”? Sure, but it’s more for women, cross your heart.

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By Tamara Shiloh

Ann Cole Lowe, born Dec.14, 1898, was a pioneering American fashion designer whose extraordinary talent shaped some of the most widely recognized and celebrated gowns in U.S. history.

Although she designed dresses for society’s wealthiest families and created masterpieces worn at historic events, Lowe spent much of her life in the shadows — uncredited, underpaid, yet unmatched in skill. Today, she is celebrated as one of the first nationally recognized African American fashion designers and a true visionary in American couture.

Lowe was born in Clayton, Alabama, into a family of gifted seamstresses. Her mother and grandmother were well-known dressmakers who created exquisite gowns for women in the area. By the time Lowe was a young girl, she was already showing extraordinary talent — cutting, sewing, and decorating fabric with a skill that far exceeded her age. When her mother died unexpectedly, Lowe – only 16 years old then – took over her mother’s sewing business, completing all the orders herself. This early responsibility would prepare her for a lifetime of professional excellence.

In 1917, Lowe moved to New York City to study at the S.T. Taylor Design School. Although she was segregated from White students and forced to work separately, she, of course, excelled, graduating earlier than expected. Her instructors quickly recognized that her abilities were far above the typical student, especially her skill in hand-sewing, applique, and intricate floral embellishment – techniques that would become her signature.

Throughout the 1920s and 1930s, she designed gowns for high-society women in Florida and New York, operating boutiques and working for prestigious department stores. Her reputation for craftsmanship, originality, and elegance grew increasingly. She was known for creating gowns that moved beautifully, featured delicate hand-made flowers, and looked sculpted rather than sewn. Many wealthy clients specifically requested “an Ann Lowe gown” for weddings, balls, and galas.

Her most famous creation came in 1953: the wedding gown worn by Jacqueline Bouvier when she married Massachusetts Sen. John F. Kennedy. The dress – crafted from ivory silk taffeta with dozens of tiny, pleated rosettes – became one of the most photographed bridal gowns in American history. Despite this achievement, Lowe received no public credit at the time. When a flood destroyed her completed gowns 10 days before the wedding, she and her seamstresses worked day and night to remake everything – at her own expense. Her dedication and perfectionism never wavered.

She eventually opened “Ann Lowe Originals,” her own salon on New York’s Madison Avenue. She served clients such as the Rockefellers, DuPonts, Vanderbilts, and actresses like Olivia de Havilland. Yet even with her wealthy clientele, she struggled financially, often undercharging because she wanted every dress to be perfect, even if it meant losing money.

Lowe’s contributions were finally recognized later in life. Today, her exquisite gowns are preserved in museums, including the Smithsonian National Museum of African American History and Culture and the Metropolitan Museum of Art.

In the last five years of her life, Lowe lived with her daughter Ruth in Queens, N.Y. She died at her daughter’s home on Feb. 25, 1981, at the age of 82, after an extended illness.

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