#carnival – Travel With A Purpose

Before I proceed with my review for The Lost Tribe Carnival 2017 I would like to set the record straight on my thoughts about our Carnival fashion. I want to reiterate that Trinidad Carnival remains a haven for “creatives”. This means there is always room for more design aesthetics, creativity, new directions and new concepts that resonate with or even challenge the traditional ideals. Of course our Carnival fashion is embedded in our history and we owe all of this that we have today; our creativity, our skills, our talents to the foundation that gave the present day mas’ men and mas’ women their jump off into the Carnival scene. There are so many niches in the present and there is still room for more. As “creatives” we are entitled to critically examine art forms but we must not judge and bash each other for being too traditional or too modern because this is Trinidad Carnival. All the different facets of Trinidad Carnival encompass our Carnival fashion landscape and neither is wrong for bringing to fruition their contribution to Trinidad Carnival fashion.

Photo Credit: The Lost Tribe

The Lost Tribe Carnival had its debut in 2016. The Creative Director Valmiki Maharaj and Co – Creative Director Anya Ayoung Chee sought to expound upon a mas that was missing from the Carnival. They felt it was time to deliver the people from the lack of theatre, drama and storytelling on the Carnival road. They intended to bridge a gap between traditional mas and modern day. The Lost Tribe Carnival brands itself as an alternative concept band.This year their presentation awakens the creatives in dance, music and theatre yet again as they bring forth “The Riddim.” The cast of designers include Shawn Dhanraj, JP Richardson, Keegan Simon, Nadya Shah, Shari Cumberbatch, Simon White, Jeri-Lee Alexander & Lauren Baccus and Aaron Schneider. “The Riddim” in my words would describe the sound of Trinidad Carnival.

The Areito Section

Areito is a traditional, Amerindian based prayer ceremony. The female costume includes head piece, bra and bottom piece, full-body chain and backpack. The male costume includes head piece, chest piece, sharwani pants and backpack.

Photo Credit: Laura FerreiraPhoto Credit : Laura Ferreira

The Bamboo Section

This section was inspired by the sound of the tamboo bamboo musical instrument and was designed to produce the sound off the moving Bamboo Cathedral. The female costume features head piece, bra and bottom piece, cropped top, hip chain, leggings and backpack. The male costume includes head piece, sleeves, long pants, satchel and backpack.

Photo Credit: Laura FerreiraPhoto Credit: Laura Ferreira

The Cutta Section

The Cutta Drum from The Laventille Rhythm Section heavily influences this section of The Riddim. The female costume features hoodie, bra and bottom piece, leggings, bracelets, foot pieces and necklace. The male costume includes turban, dhoti pants, Indian Drum and backpack

Photo Credit: Laura Ferreira

Photo Credit: Laura Ferreira

The Djun Section

This costume is described as being an inspiration from the “Djun – Djun” drum from the Laventille Rhythm Section. This drum also fits into the category of traditional war drums. The female costume consists of headpiece, whole piece, cuffs, neck piece, necklace, cape and backpack. The male costume consists of headpiece, arm pieces, pants, neck piece, backpack and Djembe Drum.

Photo Credit: Laura Ferreira Photo Credit: Laura Ferreira

The Dudup Section

This section bears influence from the Dudup pan or as The Lost Tribe considers it; the forefather of the steel pan. The female costume includes head piece, monokini, bangles, neck piece, cape and standards. The male costume includes neck piece, belt, pants, backpack and standard.

Photo Credit: Laura Ferreira Photo Credit: Laura Ferreira

The Iron Section

This theme has connotations of the first strike, heartbeat and soul of The Laventille Rhythm Section. The female costume entails tiara, bra, monokini, cuffs, collar and backpack. The male costume includes head band, collar, khaki pants, leg pieces and backpack.

Photo Credit: Laura Ferreira Photo Credit: Laura Ferreira

The Jab Section

The Lost Tribe Carnival defines The Jab as a spirit. They believe The Jab is a profoundly dark and inspiring story rooted at the core of local culture. The Jab costume is inspired by the sounds, visualization and movement of the J’Ouvert experience. The female costumes highlight headphone head piece, bra, monokini, Obi belt, bangles and backpack. The male costume showcases headphone head piece, neck piece, joggers, Crix tin, whistle and backpack.

Photo Credit: Laura Ferreira Photo Credit: Laura Ferreira

After previewing these costumes I understand and appreciate The Lost Tribe Carnival’s contribution for 2017. I am fully aware that the creative process was carefully planned and executed. The costumes are synchronized with their “behind the scenes” meanings and relate to the design production. This is a revolution in Trinidad Carnival fashion and it is coherent. Their efforts to introduce theatre, drama, and storytelling are on point. There is zero mismatching of concept to creation. The cast of designers under the stewardship of the creative directors has managed to capture their stories in the essence of the costume design. However, this does not stop here as this group used the modern day facilities and technologies to make their impact and etch their brand identity in the hearts and minds of all who are interested in being part of their tribe. You can contact The Lost Tribe Carnival at 2017.losttribecarnival.com or you can take my Carnival Fashion tour which will be offered this Saturday 11^th February 2017 to learn more.

In closing my words of advice for the creative community and the spectators of Carnival Fashion are, “Embrace who we are and the bigger picture of what we are and the direction for Trinidad Carnival rather the greater vision for Trinidad Carnival, respect each others work, focus on the task at hand, at “getting it done” and to consistently and continuously work together because united we will stand and divided we will fall.”

International fashion gurus better stop the clock and change their calendar as there is a new fashion season in town. Although Carnival Fashion has been here a while its stamp is further embossed this year as it has grown to accommodate new fashion niches. Fashion is at an all time high during this time of the year! Carnival in Trinidad and Tobago is very different from the fashion weeks or fashion shopping months of other destinations. In this twin island state, Carnival may be perceived as two days of celebration but really it is a year round production as the cycle never ends. There are various genres of fashion as well as different concepts of “fashion houses” as they are mostly known as “mas camps” . Regardless, there is almost a certainty of some degree of creativity and expression reflected in design. This sentiment is transferred to the client who wears the item and immerses himself or herself to become one with the costume to play the role of masquerader.

(Photo Credit: http://www.redbullmusicacademy.com/magazine/moko-jumbies )

Trinidad Carnival has come a long way with wire bending, mental works and craft cutting skills that even require some knowledge of aerodynamics for some innovations. The evolution of Carnival has spanned many decades since the inception of emancipation. The freed colony donned shorts, skirts, blouses, head ties and t- shirts to play mas. The face mask was also popular. Even when they got banned from Carnival attire the emancipated people engineered a way to use the face mask as handheld masks. They would more often than not put them on in the event of the casual riots that took place after Carnival. But the creative people could only dream more fascinating costumes and decidedly crafted Sailor , Blue Devil, Moko Jumbie costumes to connect with African culture and reenact it in their newly adopted homeland.

(Photo Credit: http://www.tntisland.com/carnivalcharacters.html )

After World War II, Trinidad become home to many military folk. Hence, the inspiration to design military couture; gladiator style costumes, Grecian combat gear were inventive and spurred the design evolution on further. Pioneers like Peter Minshall came on the scene and used imported equipment and technology to speed up production for the demand or the output turnover of costumes in the mas camp . He continues to remain an icon for his contributions and portrayals that reflected the art of theater depiction and narrator style story telling in his Carnival mas concepts and productions.

(Photo Credit : https://www.facebook.com/pages/Peter-Minshall-Mas-Fans/477738325205 )

Over the years, a greater majority has pushed the Carnival artisans to their limit of filling this costume demand. Hence, the packaging of Carnival experience and costumes became prevalent. Today, there are younger masqueraders and designers. Nonetheless, the design has shifted to a ” less is more “ type of costume for some Carnival bands which are more popular with the young and upwardly mobile demographic who are concerned with their image.

( Photo Credit: https://www.facebook.com/PassionCarnival)

(Photo Credit: https://www.facebook.com/pages/KIRK-THOMAS-MAKEUP-ARTISTRY/57188897348 )

There are a few designers who still contribute to avant garde costuming. Another evolution is the idea of Carnival Monday Wear. Designers found a new niche to satisfy clients who do not have the time to sift through boutiques or cut up t-shirts and create their own wear for Carnival Monday or simply “fete couture”. Notwithstanding, the colour of Carnival resonates throughout this type of apparel as it did for decades. Yet, now more than ever embellishments and accessories such as ear cuffs, nail glam, make up even hair dyes and hair cuts are speaking volumes of style by their far from evanescent hues.

(Photo Credit: https://www.facebook.com/k2kcarnival )

(Photo Credit: http://instagram.com/p/yZ9oGTMT7V/?modal=true )

(Photo Credit: https://www.facebook.com/chandramaharajswimwear )

A spin off from all of this is the fitness fixation to get that body ready for the two day Carnival Street Party. Again another fashion niche is well put together for this arena. Colourful leggings and fitness gear customized to enable flexibility, comfort and confidence for the masquerader who is sweating off those Christmas carbohydrates and fatty tissues at the gym.

(Photo Credit: http://instagram.com/chandramaharaj/?modal=true)

Overall, Trinidadian designers have creativity pulsing in their blood and passion for the arts as their veins. So whilst change continues in Carnival fashion the number of Carnival participants increases annually and the desire to create, differentiate and celebrate is still burning at the heart of every artisan. There is no doubt that Carnival fashion is the new season of this year’s fashion calendar for local and regional “fashionpreneurs” and experts. It won’t surprise me if international fashion associations, designers, stylists, models and entrepreneurs flee their snow ridden countries for a chance to capture a glimpse of the ethereal fashion experience of Trindad Carnival Fashion (often celebrities and socialites are welcomed to participate in the festivities every year). After all who would pass up embracing this opportunity up close and personal in the sunny isles of paradise!

Photo Credit:

( http://www.ncctt.org/new/index.php/media-centre/news/56-downtown-carnival-celebrations-events.html )

The Lost Tribe's Riddim

Trinidad Carnival: The New Fashion Season