the exchange stories

CONTENTS

India x Tuvalu

Malaysia

Bangladesh

Sri Lanka

Brunei Darussalam x Singapore

Pakistan

South Africa x Lesotho

Kenya x Zambia + Kenya

Rwanda x Uganda

Botswana x Swaziland

Cameroon x United Republic Of Tanzania

Nigeria x Malawi

Sierra Leone x Ghana + The Gambia

Mozambique x Mauritius

Samoa x Papua New Guinea

Tonga x Nauru

Fiji x Vanuatu + The Seychelles

New Zealand x Cook Islands

Australia x Solomon Islands

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

Cyprus x Kiribati

UK

Malta x India

UK x India

Jamaica x Belize

Canada x Namibia

St Kitts and Nevis x Grenada

St Vincent and The Grenadines x Saint Lucia

Trinidad and Tobago x Dominica

The Bahamas x Barbados

Guyana x Antigua And Barbuda

Canada

22

23

24

25

26

27

28

29

30

31

32

33

Shivam Punjya had an unlikely education for the creative director of a fashion brand. The founder of behno, the womenswear label designed in NYC and ethically manufactured in Asia, studied politics and global poverty, and was leaning towards a career in academia, when he began to research his thesis on the textile industry in India. “There were two learnings from my research; first there was a massive disparity between what the workers were earning and what they were producing; and second there was a very negative global perception of ‘made in India’.”

THE EXCHANGE

behno has originated a signature style for the brand that combines innovative textiles with strong masculine tailoring. For the Fashion Exchange, behno has created a repurposed wool coat (Woolmark certified) featuring Indian mirror-work and border and grid beadwork, and a sheer dress made from remnants of blue silk organza, embellished with Swarovski upcycled crystals, and scattered with black crochet ‘kolose’ panels. Five women from Tuvalu, artisans from a cooperative called Fafine Niutao I Aotearoa, spent a month creating the panels, using a crochet technique that is particularly intricate and popular in the region.

From the fourth smallest country in the world comes a craft that arrived in the Pacific islands of Tuvalu in the early 20th century, and quickly became a national craft. ‘Kolose’ is a form of intricate crochet that encourages self-expression. The Kolose artists adopt a freestyle approach to each design, making patterns up as they go along and choosing colours while they work, to portray their love of their island, community and culture. Fafine Niutao I Aotearoa is a collective of women artists who work together to create Tuvaluan crochet in the form of fashion and wall hangings. This cooperative of women is part of a Tuvalu community that has migrated to New Zealand. They keep alive their memories of island life by meeting every Thursday to crochet together while singing songs and telling stories. Taking their lead from behno, five of the finest Kolose artisans spent a month crocheting 100 square panels for behno’s design.

BEHNO DES IGNER

IND IA

TUVA LU

FAFINE NIUTAO I AOTEAROAART I SANS

3

Bernard Chandran was born in Kuala Lumpur, Malaysia, grew up in an Islamic country and comes from a mixed parentage background of Indian and Chinese. He received a bachelor’s degree in Fine Arts from the Paris American Academy and Pattern Making at L’Union Des Chambers Syndicales Parisiennes, Paris. Bernard Chandran was the first non-European designer to win both the coveted Silk Cut Young Designers Award and the Open European contest for Look of the Year 2000. In 2007, he was conferred Dato (the Malaysian equivalent of a knighthood) by the Sultan of Pahang for his outstanding contributions to fashion design.

Chandran says, “traditional craftsmanship, that may be deemed mundane, dull to some, must be given a new lease of life, a whole new perspective. We can create a ‘nouveau’ sense of modernity with these artisanal ideas, which would be sought after on an international scale.”

THE EXCHANGE

Bernard chose to create his design in fine ‘songket’ – a royal Malay brocade, handwoven and patterned with gold and silver threads. He drew inspiration from Malay ‘kerawang’ – a style of traditional embroidery that involves cutting away the base-cloth to create a lace effect, contemporising the look with a geometric feel. The strapless dress is carefully structured and the floor-length coat is embroidered with wool yarn.

bernard chandranDES IGNER

MA LAYS IA

4

Bibi Russell opened the fashion house Bibi Productions in 1995, fusing indigenous Bengali cultural elements into her line. As of 2004, her company employed 35,000 weavers in rural Bangladesh. Bibi strongly believes that fashion can create sustainable development and a better livelihood for craftspeople. She started the ‘Fashion for Development’ initiative in 1996 at the Unesco headquarters in Paris with the support of then Director General Federico Mayor. She has since dedicated all her time and work to support craftspeople around the world and in her native Bangladesh.

BIBI RUSSELLDES IGNER

BANGLADESH in houseART I SAN

THE EXCHANGE

Bibi Russell has designed a simple formal outfit consisting of a skirt, jacket, and scarf with matching accessories. The look is made from hand-woven Jamdani cloth, which is unique to Bangladesh, and is considered an ‘Intangible Cultural Heritage of Humanity’ by UNESCO. Red has been used to emphasize happiness and joy, the beauty Bibi sees in the villages of Bangladesh. Through this outfit Bibi Russel wants to give her tribute to incredible Jamdani weavers for their magical work.

5

Darshi Keerthisena was surrounded by fabric from an early age, as her family began Buddhi Batiks back in the 70s. When she took on the company in 2005, her mission was to continue the work that her parents begun, by supporting the local batik artisans, many of whom have worked for the company from the start. The Buddhi Batiks workshop can be found in the village of Koswadiya, in north-western Sri Lanka, and has a reputation for providing some of the most intricate and delicate batik patterns. Darshi has received a ‘Women on Top’ award from ‘Equal Ground’, an organisation promoting equality, and the British Council Young Fashion Entrepreneur of the Year in 2008.

THE EXCHANGE

Darshi has created a wrap coat dress using Seacell™ fabric made from algae and silk which has been hand pleated and batiked by Buddhi Batiks’ team of craft women in the village of Koswadiya, and lined with peace (Ahimsa) silk from India. The sleeves are detachable for greater versatility, and the obi belt is made from Piñatex, a pineapple-based leather alternative. The look has been embellished with laser cut sequins made from Piñatex, and Swarovski upcycled crystals.

BUDDHI BATIKsDES IGNER

SR I L ANKA

6

Farhanna Pura is the designer behind Brunei brand Na Forrér. Her demi-couture fashion line, inspired by women’s empowerment, translates ‘Girl Power’ into strong silhouettes with contemporary styling that remain true to her Malay culture.

This evening dress for this project, is traditionally known as a “Baju Kebaya” – a common traditional womenswear worn by Malay women such as those from Brunei and Singapore during formal events and festivities.

THE EXCHANGE

To celebrate this collaboration between Singapore and Brunei, the focus is on the evolution of the modern Malay woman, as it is a symbol of a shared history and identity. For this project, Na Forrér created an evening dress known as a “Baju Kebaya” – a common traditional womenswear worn by Malay women from Brunei and Singapore during formal events and festivities. The traditional corset crafted from traditional Bruneian Songket fabric is normally worn by brides and grooms for marriage ceremonies and on royal and state occasions. The boxy and high shoulder represents womens’ empowerment and modernity. The dress is made from a 100% wool crepe, featuring a hand-painted Euca silk designed by Lully Selb, and Bruneian Songket, a traditional material woven out of silk and cotton gold and silver threads. Historically, the textile of choice of Malay elite and royalty, Songket was often handed down from father to son or mother to daughter, as prized family heirlooms to be treasured and worn only for the most special of occasions. To exhibit the collaboration between Brunei and Singapore, the Brunei emblem Panji-Panji is featured in the custom textile design.

Lully Selb, a contemporary modestwear brand, was launched in 2015, synergizing the strengths of both co-founders – Selb, who graduated with a Fashion Design degree from a joint university partnership between NAFA (Singapore) and Huddersfield University (UK); and Lully, a creative artist and Fine Arts graduate.

Lully Selb believes “in challenging the status quo and expressing our unique individuality. Being Muslim creatives, we have a modest approach to our dressing. Who’s to say that modernity and tradition are mutually exclusive.”

NA FORRERDES IGNER

LULLY SELBART I SANS

BRUNE I DARUSSA LAM

S INGAPORE

7

Rizwan Beyg’s design philosophy is, and always has been, ‘Pakistan Modern’. Shooting to fashion fame in the late 80s, the young architecture student had a determination to take the essence of Pakistani style, and modernise it for a contemporary audience. Pakistan Modern loses none of the traditions that are the hallmarks of the country’s culture. The chogha, achkan, lehnga and farshi are cleverly reinvented by Rizwan, experimenting with volume and structure, and often showcasing Mughal embroidery and embellishment. In 2013, Rizwan created the first collection inspired by ‘truck art’ – the style of design found on Pakistan’s rickshaws, inspired by nature, and painted by rural artists. Rizwan continues to work with ‘truck artists’ who design the colourful motifs for his collections, which are then embroidered onto jackets, waistcoats, skirts and accessories.

RIZWAN BEYGDES IGNER

PAK I S TAN

THE EXCHANGE

Rizwan has created a skirt and coat for the Commonwealth Exchange project, featuring motifs designed by the ‘truck artists’ of Pakistan. The pattern of the garment was first worked on by original truck artists and digitally printed on silk after which it was embroidered by the village women of Bhawalpur.

8

Born in Zimbabwe, Clive grew up in South Africa where he studied fashion design in Johannesburg. He opened his first store in 1989, and launched his first ready-to-wear collection, Clive by Clive Rundle, in 2014. Clive has shown at the SAFW since its inception in 1997 and in major global fashion capitals. Clive says that “the voice of African Fashion is not only powerful but also inspires many of the subsequent trends we see all around the world. It’s a very original and unique voice – and I’ve made it my life’s work to express that and this garment is no different.”

THE EXCHANGE

House of Thethana in Lesotho worked under Clive’s direction to design a custom textile print, achieved by superimposing one print onto another - welding two images together to create a visual to print onto silk for the final garment construction. The fabric was then screen-printed using water-based inks on to a silk ‘sandwich’ of organza, georgette, and habotai. The look consists of a wool and organza coat with Swarovski upcycled crystals, accompanied by wool and organza shorts and a woollen collar accessory. Lucilla Booyzen of SAFW facilitated the exchange.

Named after a fibre used for traditional beaded skirts, textile design company House of Thethana was set up in 2016 in Lesotho. Maleeto Monyau specializes in producing innovative prints for familiar Basotho accessories and wanted to bring some cool creativity to local fans. House of Thethana is inspired by Lesotho’s beautiful culture and dynamic landscape, and hopes to expand economic development in Lesotho through reaching a global market.

CLIVE RUNDLE DES IGNER

SOUTH AF R ICA

L ESOTHOHOUSE OF THETHANA

ART I SAN

www.cliverundle.com

9

Born in Nairobi, but raised in Canada, Dosaja set up her own company back in Kenya in 1991, determined to celebrate the vibrant culture and diversity that surrounded her through her unique design aesthetic. But her ebullient, sophisticated designs also speak volumes for the creative abilities of her homeland, and Dosaja is held as instrumental in changing the perceptions of Kenyan fashion. Her couture show “My Flowers” met critical acclaim in New York in spring 2017.

THE EXCHANGE

Deepa Dosaja’s Deepa Flower Garden Gown is both hand-embroidered and hand-painted, constructed from organic silk produced in Kenya, with elements of upcycled leather scraps and Swarovski upcycled crystals fashioned into floral embellishments. The embroidery and beading has been crafted by Deepa’s in-house team, women who have been trained by Dosaja herself. The gown is also lined with remnant silk pieces, reflecting the brand’s ethos of reducing waste. To finish the look, Dosaja worked with Artisan Fashion, a social enterprise based in Kenya that connects over 1,000 artisans to international fashion. “Deepa’s Flowers” are crafted from sustainable cow horn and recycled brass. The neckline and the beaded belt of the gown is traditional Maasai beadwork. Also collaborating on the look is Mumwa Crafts Association in Zambia, who have created a shoulder purse made from Zambian palm leaf. The purse has been embellished with Deepa Flowers crafted from recycled leather, Zambian Shitenge Fabric from Mumwa Crafts and sustainable cow horn along with a recycled brass Deepa Flowers shoulder strap from Artisan Fashion. The look is completed with a woollen shawl.

The 3500 artisans of the Mumwa Crafts Association, Zambia, create a range of high-quality handicrafts, made entirely with local, natural materials, and by traditional methods passed through many generations. The cooperative enables its community of artisans to generate income through traditional crafts, and therefore improve the standards of living.

DEEPA DOSAJA DES IGNER

KENYA

ZAMB IA

MUMWA CRAFTS ASSOCIATIONART I SANS

ARTISAN FASHIONART I SANS

Artisan Fashion is a social enterprise of African artisans handcrafting over 100,000 bags and accessories for some of the most recognisable fashion houses in the world. It employs and engages communities and artisans right across Kenya, from beading groups in the Masaai Mara to urban artisans in the Kibera slum. It provides international market access to the continent’s talented artisans and in doing so, promotes social value for the industry.

10

Haute Baso is an ethical fashion brand established in February 2014 by two young Rwandan designers. Linda Mukangoga, one of the founders, had a background working in product development in collaboration with traditional female artisan cooperatives to produce handicrafts for the international market. Having worked on lines that were carried by international retail brands like Anthropologie, Mukangoga recognised the economic and social potential “Made in Rwanda” creates. The training and employment opportunities paired with a transparent value chain are a vital part of their ethos. The Haute Baso aesthetic is underpinned by Rwanda’s vibrant culture and history – placing pattern on pattern, with clashing colours and bold stripes, fine embroidery and layers of lace. Pierra Ntayombya now serves as the CEO as the brand grows into new markets.

THE EXCHANGE

Pierra Ntayombya, the creative director of Haute Baso, has created a look using wool and upcycled mosquito nets, embellished with upcycled beads from traditional accessories such as necklaces and bracelets, and handmade beads from Ugandan jewellery maker Ihato. The beads are made from recycled paper, which is then cut into triangular shapes, rolled and glued, and finished with varnish. The top is made from a locally sourced mosquito net, naturally dyed grey using fermented cassava. Conventional insecticide treated mosquito nets last between 6 to 12 months therefore thousands of mosquito nets are disposed of annually to protect people from Malaria.

Ihato translates to ‘internal determination and resilience’ and was the name chosen by Ugandan sisters Sandra and Sohia Muhwezi for their brainchild Ihato, a platform that showcases the talent and craftsmanship of East Africa.

Using their natural surroundings and tribal traditions as inspiration, the Ihato craftsmen create jewellery pieces and fashion accessories using locally sourced materials, from sawdust to sand, recycled glass to clay mixed with cowhorn beads, Ashanti blackbeads, hornbeads and ostrich egg shell.

HAUTE BASO DES IGNER

IHATOART I SANS

RWANDA

UGANDA

11

After mentorship from Botswana’s best loved fashion house, Mpho Kuaho, Mothusi Lesolle set up his own brand, iZAURA.

Lesolle’s big break came in 2013 when one of his designs appeared on the cover of Lifestyle magazine, and he created a gown for Rosemary Keofitlhetse, who went on to become Miss Botswana. Soon after that he was featured in Macy’s ‘Celebration of World Fashion’ in 2015. Lesolle also uses his fashion label to lend a helping hand to the less fortunate. His program, ‘Donate a Prom Dress’, gives local girls from underprivileged families the opportunity to wear designer clothes to their prom parties.

THE EXCHANGE

Mothusi Lesolle of Botswana and Doron Shaltiel of Swaziland collaborated on a design that symbolised principles important to both countries: The white linen fabric represents purity, an expectation of young women in Swaziland. The red recycled paper beads raise awareness of HIV/AIDS, while the black beads signify the power in the culture of the people of Swaziland and pay tribute to the power of women. The corset is in the shape of a shield, and symbolises the protection afforded to the Commonwealth by the Queen.

The big idea behind Quazi Design was found in some discarded magazines. Realising the potential of the brightly printed pages, the managing director of Quazi, Doron Shaltiel, turned the paper into tiny beads and set up her business in 2009. From just one artisan, the company now employs several artisans, each of whom specialise in creating miniature works of art out of paper. Doron’s plan was always to provide much-needed employment in Mbabane, the capital of Swaziland, giving full-time contracts to the artisans who on average have seven dependents.

IZAURADES IGNER

QUAZI DESIGNART I SANS

BOTSWANA

SWAZ I LAND

12

Bringing traditional African fabrics to New York’s vibrant fashion scene was a lightbulb moment for Cameroonian designer Kibonen Nfi. A fusion of cultures, New York turned out to be just the springboard Kibonen needed for her quirky designs, which take inspiration from tribal regalia worn by the Bamileke and Bamenda Regions of Cameroon.

A degree in fashion and an internship at Donna Karan equipped Kibonen to return to Douala and refine her aesthetic; mixing tribal and global trends by reinventing the ‘Toghu’, a colourful fabric, most commonly black, gold and orange, that is finely embroidered and previously reserved for royalty.

Since her earliest collections, Kibonen has been a poster girl for Africa’s burgeoning fashion scene, selected as one of the 12 designers by the ITC Ethical Fashion Initiative. She was also chosen to be included in Vogue Talents 2015 Fashion Designers, showcased in Vogue Italia.

THE EXCHANGE

The gown designed by Kibonen is made from lightweight Woolmark certified wool, trimmed with Maasai beading from Mgece Makory in Tanzania. Intricate embroidery features on the patterned Toghu cloth, traditionally worn by rulers of the North West region of Cameroon.

Using materials like khanga, batik and kitenge, Mgece created her own fashion label, working alongside local artisans that celebrate Tanzanian culture.

But it is the intricate Maasai beadwork that most captures the collective imagination, and Mgece uses it often to create modern interpretations of the traditional Tanzanian craft. Beaded pieces accompany the lifecycle of each member of the tribe, indicating age, social and marital status. Red represents the Maasai’s relationship with cattle, their primary source of sustenance; blue is for energy and the sky; green is the land and health; orange and yellow symbolise hospitality; white refers to purity, and black represents the Maasai people. All the jewellery is created by the women of the Maasai tribe, who consider it their duty to continue their tradition.

Mgece says,“My mother gave me courage to never be afraid of doing what is on my mind, which would shape me as an independent personality.”

KIBONEN NEW YORKDES IGNER

MAKORY MGECEART I SAN

CAMEROON UN I T ED R E PUB L IC OF

TANZAN IA

13

Such is the power of Nkwo Onwuka that she sits at the forefront of the emergence of a new African fabric called Dakala Cloth, developed in the Nkwo studios as a means of textile waste reduction. Stemming from a childhood obsession with dolls and sewing and with a plan to make traditional African hand crafted textiles relevant to a new generation of fashionistas, Nkwo Onwuka launched her artisanal brand NKWO in 2012. The idea was not just to be ‘fashionable’ for its own sake but also for the benefits it would bring to her own country by working with small scale manufacturers and producers, enabling the growth of sustainable businesses. Nkwo has a lot to say about Africa, both through her clothes and the media and her energy is derived from a desire to explore and experiment with innovative techniques as a way of preserving traditional craft skills. Nkwo’s first African print collection was sold on ASOS, the biggest online fashion store in the UK and she now focuses on producing collections using modern interpretations of weaving, beading, hand-dyeing and embroidery that celebrate the richness and diversity of African culture.

THE EXCHANGE

This look was created with organic British wool and embellished with Swarovski upcycled crystals. The look was designed by Nkwo and named ‘Spirit of the Dance’. It is made from asooke, a hand-loomed cloth woven by a group of women based in Kogi state in central Nigeria, according to a traditional craft of the Yoruba people. The piece was inspired by a secretive religion indigenous to Malawi, called Nyau. During a special ceremony, attendees wear wooden masks and act out spirits of the dead, in order to communicate with them. Avec Amour’s Angela Fuka Mpando sourced an expert wood carver from Blantyre, the second largest city in Malawi, and home to the country’s commercial industries. Carving is a traditional craft in Malawi, skills being passed from father to son. The carver produced 12 miniature masks that have been sewn into the dress and tiny upcycled mirrored embellishments are scattered over the skirt.

Angela Fuka Mpando of Avec Amour is a connector of like-minded souls. She works with craftspeople throughout Malawi, both designers and artisans, bringing them to the attention of international retailers and consumers. Her belief in her country’s rich heritage is matched only by her desire to bring economic empowerment to her homeland. Joel Suya is a Malawian wood carver, who hand carved 12 exquisite traditional masks for this collaboration. Joel’s wood carving journey began when he joined his brother selling wood carvings, later teaching himself to sand and polish, and eventually being guided by an established craftsman who taught him to chisel, file and carve. From difficult beginnings selling his crafts through others, Joel is now growing his own independent business.

NKWODES IGNER

JOEL SUYA ART I SAN

N IGER IA

MA LAWI

14

Mad pattern and dazzling colours run through the veins of Eumphemia-Ann Sydney-Davies, the Sierra Leone designer currently piquing the attention of the international fashion world. Sydney-Davies was a child refugee during the brutal civil war, and now works tirelessly to be a positive representation of her country by creating edgy looks that are also ethical and sustainable. For the past two years she has been producing some of her pieces in Sierra Leone, supporting local creatives and artisans. She is currently working on her new collection to debut at London Fashion Week 2018.

Sydney-Davies says, “Sierra Leone is a place largely avoided by the fashion industry although skills and needs are plentiful. I wanted to create a fashion brand that would not only change my life but also the lives of many, by providing education and jobs for local people. This is my dream. I hope I inspire others to follow suit. I hope I will give them confidence, by seeing that it is possible to produce high quality fashion that’s both affordable and ethical.

THE EXCHANGE

Sydney-Davies and Big Dread Kente have worked together to create a natural raffia-fringed hand-woven kente cloth midi skirt with recyclable plastic blocking, and a bralet top embellished with Swarovski upcycled crystals in queen bee motifs. The outfit is completed with an oversized bardot wrap jacket made from hand-woven gold kente cloth, hand-woven country cloth, and 100% wool, and a handmade necklace and bracelet crafted by Ousman Toure in The Gambia. The necklace is made using glass beads and wooden Malawian trade beads which were traditionally used as tender. Sydney-Davies “came across Big Dread Kente on Instagram and immediately fell in love with kente cloth and its rich history.”

The Ewe people from southern Ghana have been wearing kente, a vibrantly striped woven, fabric for centuries. Originally only worn by royalty, with special meaning woven through the horizontal and vertical patterns, today kente is worn by all, often on special occasions like weddings. Big Dread Kente is a kente weaving company in Ghana, founded in 2015 and run by husband and wife team, Gideon and Julia. The workshop aims to train young boys and girls to learn the beautiful and ancient craft of kente weaving.

SYDNEY-DAVIES DES IGNER

BIG DREAD KENTEART I SANS

S I E R RA L EONE

GHANA | THE GAMB IA

Continent Clothing designs are made in The Gambia with fabrics sourced from merchants across West Africa. Their aim is to provide full time and sustainable employment to as many people as possible, so they work on a micro scale and work directly with local Gambian tailors, seamstresses and fabric merchants in West Africa. Ousman Toure designed this jewellery in collaboration with Continent Clothing. Osman comes from a long line of jewellers, and lives and works in Sukuta, The Gambia. His work is often influenced by the Maasai Tribe.

OUSMAN TOURE, CONTINENT CLOTHING

ART I SANS

15

Born in Maputo in 1987 with a Dutch background, Zinzi de Brouwer grew up surrounded by Mozambique’s unique landscape and culture. After completing a fashion design degree at Amsterdam’s Fashion Institute in 2010, Zinzi worked as a designer in Bali, Rome and latterly New York, where she interned for Proenza Schouler. A Masters degree in Fashion Strategy at the Institute of the Arts in Arnhem soon followed, before setting up her own multi-disciplinary design studio Stories of Near. Her ever-evolving design aesthetic draws much from her multi-cultural background, for example finding inspiration in traditional Mozambican cloth: the ‘capulana’. Her strong African roots have drawn her back to Mozambique, encouraging an ambition to enable empowerment to people, especially women, through craftsmanship, heritage and design by building bridges between cultures through shared ethical values.

THE EXCHANGE

Inspired by Maputo’s best-loved architect, Pancho Guedes, who shaped much of the city’s post-modernist buildings, Zinzi has created a dress that represents the juxtaposition of past and present in the urban landscape of the city. The fabric nods towards the Maasai tradition for checks and the grid-like structure of the city, while the ruffles and gathers symbolise the lush vegetation and the warm sunshine dappled through palm leaves. Beautiful Local Hands’ artisans, James Warren (aka Pop) and Dany Couyava, created a necklace and bangles to accessorise the look, made from locally sourced polished coconut sewn onto beige canvas.

Beautiful Local Hands owes its beginnings to the charitable arm of Beachcomber Hotels, the FONDATION ESPOIR DÉVELOPPEMENT (FED). Thanks to this foundation’s principled approach to helping educate, train and mentor businesses local to its properties, a cooperative of 55 artisans came together in Mauritius to form Beautiful Local Hands. Experts in pottery, textiles, basketry and beadwork, the craft workers have benefitted from the careful structure of the business, allowing homeworkers who may struggle with conventional enterprise to work from home at their own pace. Those disadvantaged members of Mauritian society, including older women and disabled people are given new skills, escaping their isolation by meeting other craft workers and gaining confidence through their ability to earn an income. The promotion of traditional Mauritian handicraft techniques, using indigenous plants and recycled materials, maintains biodiversity and preserves the environment.

ZINZI DE BROUWERDES IGNER

MOZAMB IQUE

MAUR I T I USBEAUTIFUL LOCAL HANDS

ART I SANS

16

Afa Ah Loo was born in the Independent state of Samoa, where he grew up and spent most of his life. He was first introduced to fashion and sewing by his late mother Amioga, who he refers to as a very kind, happy and stylish woman. He has been a fashion designer for several years now and is passionate about making women feel beautiful, and also confident in their own skin. He has shown his designs at Fiji Fashion Week, LA Fashion Week, Pacific Fusion Fashion Show, Utah Fashion Week and Pacific Runway to name a few. He was also selected as the winner of the Pacific Fusion Fashion Show 2017 and has been published in many fashion magazines.

THE EXCHANGE

Afa designed his Commonwealth Fashion Exchange gown based on his love of traditional Samoan materials. The gown itself is made using linen for the central section, and a floral print from Afa’s archive, then accessorized with a sash made from the traditional Samoan material Afa, which is a yard/rope made out of coconut husk. The gown features handmade and painted flower embellishments, made by Margie Keates of The Lovely Avenue using recycled paper, and by Ofeira Asuao of AliiRas Backdrops using upycled foam. The look is completed with an original Papua New Guinea curved necklace of brown braided rope, decorated with four bands of cream coloured curled shells. The necklace is fastened by two groups of braided cord bands, each decorated with a small white shell pendant.

AFA AH LOO DES IGNER

SAMOA

PAPUA NEW GU INEA

17

Bou has been designing her elegant signature dresses for some time, winning the approval of the South Pacific Islands, and as far as America and London for the high quality of her fabrics, and the flattering drapes of her creations to enhance the female form. Bou’s designs feature traditionally inspired hand painted prints placed onto rich, regal palettes of cotton and silk. Bou draws inspiration from her Tongan roots and ensures that each piece carries her signature motifs. Bou revamped the traditional Tongan Puletaha, giving it a modern interpretation. Showing at Milan Fashion Week in 2017, Bou’s deeply pigmented eveningwear, embroidered with geometric borders in golden threads, attracted the attention of an international clientele.

THE EXCHANGE

Bou selected Feta’aki for her design, a papery material made from the bark of the Mulberry tree, and lined with raw silk. The Feta’aki represents the cultural wealth of Tonga, dating back many centuries, and used as a sign of respect in gift-giving. The silk is also made from the mulberry tree and signifies wealth and prosperity. The look has been completed with traditionally inspired hand-made jewellery made by Rendina Edwards from Nauru.

Rendina Edwards is from Nauru is a tiny island country in Micronesia, northeast of Australia.

BOU FonuA DES IGNER

TONGA

NAURURENDINA EDWARDS

ART I SAN

18

Drawing on his Rotuman heritage, Hupfeld Hoerder captures the culture and beauty of his paradise islands home of Fiji, in his richly patterned fashion collections. The islands and islets that make up Fiji are tiny specks in the vast Pacific, and carry cultural references from neighbouring Tonga, Samoa, Tuvalu, Solomon Islands and Papua New Guinea. Hoerder, whose career spans 25 years, replicates the cultural diversity of the islands through vibrantly coloured prints, natural fibres and traditional motifs. His designs have won him many national fashion and business awards in the Pacific.

THE EXCHANGE

Hupfeld has created an off-the-shoulder, corseted blouse from Vanuatu fibre, with a peplum finished with Fijian magimagi (coconut fibre), barkcloth and mother of pearl shells embroidered into a geometric flower pattern. The skirt is made from recycled Fijian Masi cloth (a traditional cotton fabric) that is hand-printed with geometric designs representing various parts of the region and embellished with appliqued flowers. The look has been completed with jewellery created by Rolan & Anna Payet, using shells from the Seychelles.

Pentecost Island is one of the 83 islands that make up the nation of Vanuatu, in the South Pacific. The three designers that exchanged their artisan skills with Hupfeld are Tousong Kalsong, Liza Garo and Marie Rorou, each living on Pentecost and maintaining cultural decoration used in ceremonies for many centuries. Beadwork from Tousong, uses shells previously reserved for ceremonies such as marriage, death, circumcision and chiefly rankings. Liza worked on necklaces fashioned from seeds and sand according to a custom known as Bwati Pani while Marie wove leaves and grasses to make a white mat.

HUPFELD HOERDER DESIGNS DES IGNER

F I J I

VANUATU | S EYCHE L L E S

TOUSONG KALSONG / LIZA GARO/ MARIE ROROU

ART I SANS

ROLAN & ANNA PAYETART I SANS

Husband and wife team Rolan and Anna Payet are craftspeople from the Seychelles. Rolan designs the jewellery and cuts, and Anna helps with the finishing touches and with designing. Everything is handmade, using broken, dead and found shells from the Seychelles to create their products.

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Karen Walker’s eccentrically elegant style has established a stellar international following for her ready-to-wear, eyewear, jewellery, bags and fragrance. Karen’s signature energy and optimism define the label. Her designs cleverly play with cultural subtext, juxtaposing luxe and street, masculine and feminine, folk and utility, creating pieces that are both directional and wearable. The brand is available at retail in 42 countries, 200 cities and 1020 stores including Barneys New York, Liberty London and Harvey Nichols.

THE EXCHANGE

Karen Walker worked with a community of tivaivai craftswomen from the Cook Islands, now resident in New Zealand. Her dress is made from dusty pink Italian wool flannel and is covered in claret-coloured tivaivai embroidered flowers. The flowers are iconic flora of the Māmās’ island home and include gardenia, jasmine, orchid, fruit salad plant, hibiscus, fringed hibiscus, red ginger, frangipani and the Cook Islands national flower, Tiare Māori. Added to these are the beloved Karen Walker daisies. The 10 plant varieties are brought to life with 12 different traditional stitch styles.

A cooperative of women originally from the Cook Islands, Kūki ‘Airani Creative Māmās are expert in the craft of ‘tivaivai’ – a part-patchwork, part-embroidery tradition that is intrinsic to their island culture. Depicting designs that represent age-old legends, sea life and flowers, and often taking many years to complete, these bedspreads are rarely bought or sold. Instead they are given as special gifts, demonstrating love and patience, between family members, close friends and the community. The Kūki ‘Airani Creative Māmās work on tivaivai collectively, each given a part of the process to complete, in a spirit of togetherness.

KAREN WALKERDES IGNER

kUKI AIRANI CREATIVE MAMASART I SANS

NEW ZEA LAND

COOK I S LANDS

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Since 2015, Kit Willow and her eponymous label KITX has been at the forefront of sustainable, positive impact fashion. KITX consciously sources and produces luxury womenswear with an eye to ensuring supply chains are both ethical, and environmentally sound. KITX seeks to preserve and nurture artisanal tradition and protect our planet’s natural resources, through conscious sourcing of every material and component.

THE EXCHANGE

The gown created by KITX has a bodice and skirt made from lightweight GOTS certified organic crepe wool sourced from a Woolmark approved mill, overlaid with a traditional straw skirt from the Solomon Islands and embellished with trochus shell beads made by hand by a cooperative of women expert at this ancient craft.

When Pacific islander Alfred Samasoni tried to buy arts and crafts from his homeland, he discovered it was quite hard to search and purchase these online. Knowing the quality and unique cultural crafts available from the island nations, Alfred set himself the task of connecting Pacific island artisans with consumers in the rest of the world. Pasifik Creations is a online marketplace, aiming to showcase and promote the art and craft produced by these unique artisans and connect them to buyers like himself who live overseas. Through Pasifik Creations, the Commonwealth Exchange discovered a group of artisans to help on this project: Chriscentia, a weaver, and Anna, who leads a team of ladies talented at creating these shell beads. Shell beads can be used for adornments but also certain shells are used as a form of currency. These beads have been made by hand for centuries. In Malaita Province (part of the Solomon Islands) shell money remains a fundamental part of their culture, used ceremonially in dispute resolution and weddings. The craft of making these beads is usually done by women, but you can find the men involved in collecting and polishing the shells as well. The colours are achieved through the type of shell being used and brought out further in a drying process where the most difficult colours to get (and therefore the most valuable) being red and orange.

KITXDES IGNER

PASIFIK CREATIONSART I SANS

AUSTRA L I A

SOLOMON I S LANDS

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Launching her Afroditi Hera label in 2001, Afroditi uses fashion to showcase her love of prints, weaves and colour. To this end, her designs are timelessly classic, loved across the world for bold yet classical patterns on shimmering sheaths of silk. Also commissioned to create heavenly wedding dresses of more traditional designs, she is best-known for the simplicity of her kaftans juxtaposed with the complexity of her colour palettes.

THE EXCHANGE

Afroditi has designed her signature kaftan in blue silk overlaid with a printed chiffon of her own design. Through the use of buttons the look can be worn in three different ways, and has been completed with traditional ornamental beading created by artisans in Kiribati using grass, paper and shells.

Made up of 33 atolls and reefs including Christmas Island, in the central Pacific, Kiribati is dispersed across 1.3 million square miles. The indigenous handicrafts of the Pacific are manifold, with Kiribati specializing in ornamental beadwork and grass-weaving. The association is part of a larger group of artisans working out of the region, known as Pacific Artisans, who are all working to increase women’s economic standing through preserving traditional crafts, and giving them an international platform.

AFRODITI HERA DES IGNER

CYPRUS

K I R I BA T ITHE KIRIBATI HANDICRAFT ASSOCIATION

ART I SANS

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Showing all over the world, as well as in Malta, Charles & Ron’s eponymous brand has a distinctive signature style that’s often described as Mediterranean. That translates to sunny, carefree and fully dedicated to having a good time, but what also comes guaranteed is a playful elegance and unfaltering quality. A fascination for fashion was learned by Charles van Maarschalkerweerd when he was a child, from his family of Maltese dressmakers. Ron van Maarschalkerweerd, on the other hand, had a background in economy and human resources management, but that didn’t stop him joining forces with Charles in Malta to set up their label. Maltese culture is integral to the brand DNA; national motifs are often used in fabric designs and embroidery, and traditional craft, like Maltese lace, appear regularly in the duo’s creations.

THE EXCHANGE

Charles & Ron have created a look of Woolmark certified wool crepe, with a full, floor-length skirt embellished with beaded appliqué Maltese door-knockers. The coordinating blouse features Maltese lace, and a Maltese hand-tooled leather belt completes the look.

The Maltese doorknockers were designed by Charles & Ron, then sent to Khushboo in Mumbai. Khushboo is a 24-year-old woman who oversees the creation of beading and embellishments through her network of local artisans. She will select the craftsperson most suited to the various projects commissioned by Charles & Ron, then ensure that the quality is in keeping with the brand’s high standards.

charles & ronDES IGNER

Khushboo helps to run a charity for homeless children, through a café / library set up by Amin Sheikh. The pair, who were previously street children themselves, use the café as a way to help feed and educate the kids. Charles & Ron have been supporting the venture for some time, and gave Khushboo an internship at their Maltese HQ last year, to teach her about the various crafts employed in their atelier. Back in India, Khushboo sources artisans to create bespoke pieces for Charles & Ron’s collections.

The Commonwealth Fashion Exchange gown is scattered with beaded motifs that were supervised by Khushboo.

KHUSHBOOART I SAN

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MAL TA

IND IA

Founded in 1856, Burberry is a global luxury fashion house with a distinctive British identity. Heritage, craftsmanship and innovation are at the heart of the Burberry story, as embodied by the iconic trench coat, which over the years has been continuously reinterpreted, be it through fabric, colours or lengths.

THE EXCHANGE

Burberry has designed a look created using the highest quality Oeko-Tex certified Australian Merino wool to create a reimagined trench coat, accompanied by woollen trousers made with Oeko-Tex certified yarns, and knitwear made with non-muelsed wool. The suppliers and manufacturers involved in creating the look are part of Burberry’s 2020 project, involved in capacity building programmes encompassing training relating to ethical performance, audits, chemical management practices, and adhering to Burberry’s code of conduct.

burberryDES IGNER

UK

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Stella McCartney is a keen advocate for fair trade and female empowerment. The designer and the Oshadi fasctory in Southern India share an aligned value of environmental principles and social business practices. It is through her appreciation for Oshadi’s skill, craft and their commitment to working with a community of weavers that helps in bringing employment to the region that has brought forth this collaboration for the Commonwealth Fashion Exchange.

THE EXCHANGE

Stella has created a gown using Oshadi’s peace silk, produced using ancient hand-weaving techniques, and naturally dyed by local skilled craftsmen in Tamil Nadu. Peace silk is reeled from empty cocoons, meaning that silkworms are left to hatch into moths before the silk is spun from the cocoons in a way similar to spinning wool.It takes a weaver one day to create 5m of hand woven peace silk using a hand loom, compared to hundreds that can be produced by machine.

It takes a weaver one day to create 5m of hand woven peace silk, compared to hundreds that can be produced by machine, but Nishanth Chopra and Richard Malone believe there’s a difference. Launched in 2016, the pair created Oshadi, a womenswear brand.

From a factory in Tamil Nadu in southern India, Oshadi’s collections are made with minimum impact on the environment, using hand woven and naturally dyed organic cotton, peace silk and linen. Ensuring that collections are ethically produced through the supply-chain is also key to the brand, but it is maintaining skills that would otherwise be lost to industrialisation that sets Oshadi apart, working with local artisan communities to reinvent their age-old weaving and dyeing processes with modern fabric-design manipulations using innovative and sustainable materials. The highly skilled workers in this local artisan community are retaining the culture of the region for generations to come.

STELLA McCARTNEY DES IGNER

UK

IND IAOSHADI

ART I SANS

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The creative brain behind drennaLUNA belongs to Arlene L. Martin, a native Jamaican whose shows are the most eagerly awaited at Caribbean Fashion Week. Named after her grandmother, drennaLUNA is a line of day, evening and swimwear. Vibrant colours, fluid draping and elegant silhouettes are trademark to the drennaLUNA brand.

THE EXCHANGE

The skirt portion of this dress is made of individually cut flowers featuring six petals, folded together in three stages and attached to the core fabric of the garment. Fabric for the jacket and bodice has been created from the selvedge offcuts of the fabric that was used for these flowers, by sewing rows of selvedge together for a subtly manipulated textile. The look is completed with a hand-made bag from MayaBags, an artisanal company in Belize working to preserve and enhance traditional Maya handwork skills. The “uh tok” or in English “Moon Spark” basket purse is made from a coiled and stitched basket frame woven of plant fiber (Jippi Jappa), covered with a Maya hand-woven fabric, lined with Dupion silk, and fastened with a coconut button and macramé loop closure.

DRENNALUNADES IGNER

JAMA ICA

BE L I Z E

MayaBags is a handmade, design-driven accessories collection, inspired by nature and crafted with the artisanal skills and spirit of the Maya. The driving motivation behind the business was a desire to save and in fact enhance the quickly vanishing Maya handwork skills, and in doing so empower Maya women as income producers in their households, to encourage them to send their girls to high school along with their boys, to preserve their traditional hand skills, and to build a business—not just a charity. The bag featured in this look was handwoven by Maria Ack, and the basketry coiling was done by Faustina Choc.

MAYABAGSART I SANS

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Lucian Matis is a Toronto-based womenswear designer whose eponymous label features elegant daywear and eveningwear with couture-quality embellishment. Born in Romania, he perfected these intricate hand-sewing techniques working alongside his mother in her tailor shop. Matis studied fine arts in Europe before immigrating to Canada in 2007, where he attended Ryerson’s fashion design program in Toronto. Since the launch of his first collection in 2007, his designs have been featured in national and international publications, including FASHION and WWD, and worn by celebrities and VIPs like Nelly Furtado, Iman and Sophie Grégoire Trudeau. Among his many industry accolades, Matis has been nominated three times for the CAFAs Womenswear Designer of the Year award.

THE EXCHANGE

Lucian Matis has created a gown made with a wool blend fabric, and embellished with black Swarovski upcycled crystals, inspired by the most recent oil spill in the East China Sea and the destruction caused to our oceans and ecosystems. To accompany the gown, a classic roll necklace was created by three Ju/’hoansi groups living in the eastern region of Namibia. The method for creating the beads is believed to date back 60,000 years, using ostrich eggshells that are broken in to small pieces, clipped into circles and pierced with a hole. The beads have been heated to create different colours, from a pale grass tone through to black.

Founded in 1991, Omba Arts Trust is an NGO that supports sustainable livelihoods in marginalized communities, through craft development and marketing. To create the Fashion Exchange look, the Trust looked to the San community, living in the eastern region of Namibia, living on either government managed ‘Resettlement farms’ or in ‘Communal conservancy’ areas. The San are indigenous hunger-gatherers representing the first nation of Southern Africa, which spans Botswana, Namibia, Angola, Zambia, Zimbabwe and South Africa. The San used to be semi-nomadic, moving seasonally to find water and food, but have adapted to various livelihood options today that include agriculture, livestock, craft, tourism and harvesting devils claws. Omba facilitates local and international fair trade through its mentoring with artisans, helping them with product development, marketing and supply chain management.

LUCIAN MATISDES IGNER

OMBA ARTS TRUSTART I SANS

CANADA

NAMIB IA

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“It’s time for the world to know that the Caribbean can produce the next Alexander McQueen.” So say Keeanna Ible and Shavaniece Lake, a pair of young female designers behind Iridescent, a fashion brand based in St Kitts. Keeanna and Shavaniece had a very good year in 2017, when they were asked to create an Oscar gown for Nevis native Petula Skeete, the award-winning hair stylist.

THE EXCHANGE

This Fashion Exchange gown was a meeting of minds and cultures. Keeanna, Shavaniece and Neisha explored their overlapping cultures to create “Sugar and Spice”, relating to a two day carnival in each country that showcases the large troupe costumes for the festivals of Sugar Mas and Spice Mas. The gown is an explosion of colour – pink, red, orange and yellow, with gold highlights, represented by bold bursts of Swarovski upcycled crystals across the bodice and finished with a plume of feathers.

Neisha La Touche is a Grenadian born designer, stylist and artist, renowned for her effortless designs in fashion and carnival costume design. Neisha inspired and advised on the design of this “Sugar & Spice” look, representing the carnival culture of both islands through the flamboyantly embellished bodice.

IRIDESCENT FASHION DES IGNER

NEISHA LA TOUCHEART I SAN

ST K I T T S AND NEV I S

GRENADA

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Native to St Vincent and the Grenadine Islands, Jeremy Payne is interested in all aspects of art and design, working with many local talents to explore the native culture. He is a great believer in the transformational quality of fashion, bringing a little Caribbean sunshine into the lives of the wearers.

THE EXCHANGE

Jeremy chose hemp and organic cotton jersey for his Fashion Exchange gown, tie-dyed with locally grown turmeric. The hand-painted motifs, chosen to connect to indigenous ancestors, reflect the imagery found in local rock carvings, believed to be up to 5000 years old. Nadia Jabour from Saint Lucia completes the look with a custom necklace fashioned from copper and carved coconut shells.

Guyana-born, Saint Lucia-living, Nadia Jabour combines silver and gold with pieces of nature for her Designs by Nadia jewellery collections. Seeds, wood, sea glass, stones and in fact any natural material placed in Nadia’s skilled hands will be elevated into a precious, miniature work of art. Ensuring that the raw materials she works with come from Guyana and across the Caribbean region, her designs spread a little Caribbean magic throughout the world.

fashion is payne DES IGNER

designs by nadiaART I SAN

ST V INCENT + THE GRENAD INES

SA INT LUC IA

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For the last thirty years, Meiling has dedicated herself to her brand Meiling, Trinidad’s favourite fashion brand, and has won many accolades over the years culminating in the Chaconia Silver Medal, a national award given to the designer for her long and meritorious service to Trinidad & Tobago’s business sector.

THE EXCHANGE

Meiling has designed a hand embroidered gown of organdie, silk and leather, matched with a leather corset belt, tooled with butterflies made in Dominica by Vanessa Winston, and a pair of trousers made from upcycled Indian fabric. Meiling says about her experience in this project that “collaboration in the Caribbean is natural. In fact, the region itself is born out of a melding of various cultures, each bringing its own traditions and techniques. My partnership with Ms. Vanessa Winston of Dominica is very much a representation of this. Due to the region recently uniting to endure a tumultuous hurricane season, the spirit of fraternity has never been more relevant. Since I am known for my hand-detailed and embroidered garments, it felt natural that I worked with Vanessa who is an expert in handmade crafts and leather goods. As a result of designing the actual garment, I led the creative process. Although we maintained our positions on our respective islands throughout the design phase, technology greatly facilitated communication…I hope to collaborate again with Vanessa in the near future.”

Dominica born Vanessa Winston works hard to keep the craft industry in Dominica alive and strong by undertaking regular training programs to teach craft from natural and recycled materials and promoting other local crafts. It is from this passion that the New Beginning Craft Workshop was set up, as a social-economic project for experienced craftsmen and artisans teach craft modules to at risk and unemployed youth.

Vanessa is part of the Dominica Arts & Crafts Producers Association, a cooperative that helps local artisans produce the best possible quality, and sufficient quantities for international export and to meet local demand. Working alongside Meiling, Vanessa has created a leather corset belt, tooled with butterflies.

MEILING DES IGNER

vanessa winstonART I SAN

TR IN IDAD & TOBAGO

DOMIN ICA

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THE EXCHANGE

Theodore has created an evening gown that represents the flora and fauna of the island nations. The cotton voile bodice is silk screen printed with leaves and palm trees while the skirt depicts seashells, turtles and sand dollars native to the region, representing the precious aquatic life and environment of Barbados, the Bahamas, and surrounding islands. The fluid skirt reflects the waters that flow around the islands and is embroidered with Swarovski upcycled crystals. The look is completed by bespoke jewellery, handmade by Catherine Rocheford in Barbados, designed to mirror the almost circular motifs of the textile design. The jewellery was made using beading, and hammered sterling silver circles with soldered silver dots, softened with an eyelash ribbon that adds additional volume.

Theodore Elyett catapulted into the fashion world when he was thirteen. Thanks to access to his mum’s garment factory and an early interest in sewing, a young Theodore won a competition to design a dress for Miss Bahamas. Fast forward 20 years and today Theodore has established himself not only throughout the Caribbean, but also in Europe and China, having shown at both London Fashion Week and in Beijing. Known for his bold prints, innovative textures and dramatic silhouettes, Theodore’s design aesthetic is very sophisticated.

Catherine trained as a textile designer, and has over 25 years experience in the business. She started creating accessories as a hobby but they were so popular that she started a business designing and creating her accessories line. Her brand combines indigenous leather, Sea Island cotton and mahogany with semi-precious stones, metals and fresh water pearls, all traditional materials that she crafts into bold innovative styles.

Of their exchange, designer Theodore Elyett says of Catherine Rocheford, “When I was introduced to her pieces by the Commonwealth Fashion Exchange organisers, I was immediately blown way. I fell in love with the clean and elegant aesthetic of her brand. We began exchanging ideas via email and the process was actually a fairly easy one. Early in the dialogue she agreed to give me free artistic and creative expression when creating my gown and in return she would be tasked with creating beautiful pieces to accessorise the gown. I am hugely satisfied that our presentation will provide the audience with a breath-taking showcase which will make both Barbados and The Bahamas proud.”

THEODORE ELYETTDES IGNER

CATHERINE ROCHEFORDART I SAN

THE BAHAMAS

BARBADOS

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Keisha Edwards is the owner and Creative Director of Shasha Designs. She launched her career in fashion by participating in the Guyana Fashion Week in 2008, where her designs received rave reviews, motivating her to launch her first fashion show in 2010 under the name Fierce Expressions. Keisha has showcased collections in Guyana, Haiti, Curaçao, St. Vincent and the Grenadines, and the USA.

Keisha believes that education is key to national and regional development. She holds a Bachelor’s Degree in Sociology from the University of Guyana and has completed a certificate program in Fabric Selection and Design Style at The New School – Parsons School of Designs in the USA. She is currently enrolled at the Caribbean Academy of Fashion and Design, pursuing her Bachelor’s Degree in Fashion Design.

THE EXCHANGE

This look is inspired by Antigua and Barbuda National Costume and their Indigenous people, fusing elements of their Arawak tradition with their National wear. The neck of the dress is made with Burlap and is covered with seeds from the shac shac (flamboyant) tree. It is in the shape of a stick figure which represents one of the creatures that their shaman transforms into. The bodice is made with hand dyed Madras which is Antigua and Barbuda’s national fabric for their National costume. The centre of the bodice is made with palm leaves and fibres woven into a plain weave. Shac Shac seeds, jumbie seeds and buck beads create a triangular form on the front bodice of the design. The architecture of the Arawak Ajoupa (home) specifically the roof, inspired the full skirt of the dress, which is made with brown cotton and dyed burlap. The centre of the skirt is tie-dyed using natural onion skin and beetroot. Buck beads were sewn on the red panels of the skirt. Tibiseri straw (a fibre extracted from a Mauritia flexuosa found in Guyana) was woven with the palm leaves from Antigua (date palm) to create the plain weave used along the bodice of the dress as well as the front panel of the skirt. All other materials for this garment have been found in Antigua.

SHASHA DESIGNS DES IGNER

A recent graduate with a Bachelor of Fine Arts in Fashion Design from the Caribbean Academy of Fashion Design (CAFD) under the University of Trinidad and Tobago (UTT), Launesha has actively pursued her passion in the creative sphere for years. She showcased her first collection in the National Independence Fashion Show in Antigua, 2010, again in 2011,and upon her return from studying abroad in 2017. She has also participated in several regional and international fashion events including Carifesta, Suriname, 2013; Cameron University Fashion Week, Oklahoma, USA, 2014; Designer Critic competition in Trinidad, 2016 under the mentorship of Sean Griffith Perez, a Trinidadian designer; and finally her thesis fashion presentation, “Voices” in Trinidad and Tobago, 2017. She is presently working on building and establishing her brand TAOTM as well as co-chairing a budding Non-Profit Organisation for the development of the Arts set to launch in 2018.

LAUNESHA BARNESART I SAN

GUYANA ANT IGUA AND

BARBUDA

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Canadian Designer, Tanya Taylor, brings modern, feminine shapes to life through an artful use of color and original prints. Each print begins as a hand-painting done by the Tanya Taylor team in their New York design studio. Playing with texture and movement, the brand lends a new desirability to ready-to-wear. Bold in color yet soft in silhouette, the collections promote a lighthearted attitude for women who celebrate the art of dressing.

Launched in 2012, Tanya Taylor is available at retailers such as Bergdorf Goodman, Saks Fifth Avenue, and Neiman Marcus. The collections have been worn by a diverse range of inspirational women such as First Lady Michelle Obama, Tracee Ellis Ross, Beyonce, Kristen Wiig, Gigi Hadid and Olivia Munn. Tanya Taylor is an inclusive brand defined by a point of view, not a range of sizes. After collaborating with Aidy Bryant and Glamour Magazine on a red carpet look in 2017, Tanya recognized the need for a feminine and joyful voice in the plus size market and the brand is now proud to offer extended sizing each season.

THE EXCHANGE

Using a silk hand tie-dyed technique to create a print, Tanya has created a gown for the Fashion Exchange with a silk printed bodice encrusted with Swarovski upcycled crystals and a multi-colored pailette embellished skirt, using fabric from her archives.

TANYA TAYLOR DES IGNER

CANADA

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CONTACT

Chloe Page

chloe@eco-age.com020 8995 1070

www.eco-age.com