#creativedesign – Travel With A Purpose

Laura and Veer's Love is in the Tropical Chic Air

Posted on April 2, 2017by admin

After a nine year relationship Veer Lakhan- Joseph proposed on April 18th 2016 to Laura Narayansingh, local architect ( to view more on Laura’s work visit http://lauranarayansingh.com/ ) . Of course Laura said yes to her longtime sweetheart. Notwithstanding her creative spirit soared into ethereal bliss as she immediately dove into the creative design process for her designer wedding with her fiancé in tow!

The Rings:

The engagement was a complete surprise. She had no idea that Veer was planning to propose to her nor did she know that her best friend, an architect Amanda Bonvecchio was consulted by Veer to design her engagement ring. Amanda’s work can be viewed at http://www.amandabonvecchio.com/ .

Mapping the Wedding

The couple decided that if they were to describe the personality characteristics of their relationship they would earmark the words fun, light, playful and magical. They kept these key elements consistent and as a guide for every phase of the wedding.

Laura & Veer’s Wedding Theme: “Love is in the Tropical Chic Air”

This couple’s wedding was sculpted at the backdrop of the natural beauty of this island paradise. The couple chose a theme that best surmised their relationship. It was as though one were to look back on the wedding day one should be able to identify that they experienced what love is in the tropical chic air of Trinidad.

The date was set for Saturday 18^th February 2017 (the Saturday before Carnival Saturday)

Invitation:

After deciding on their design concept Laura consulted her cousin, artist Daniel O’ Brien to do an invitation suite post for the wedding. Each illustration in this suite was designed to be released in different phases for the wedding. It was Laura’s intention to bring to life each illustration at her wedding: The RSVP Card for the church, Details Card for the stage/ dance floor, the Invitation for reception dining and the Save the Date for the dessert station.

Save the Date Card

Illustrated by Daniel O Brien

https://www.thebasementmonster.com/

RSVP Card, Invitation Card, Details Card

Illustrated by Daniel O’ Brien

The Wedding Dress:

Laura is in love with silk. Her mother wore silk on her wedding day so it was natural that Laura wanted her wedding dress to be made from silk. Laura is a huge Berta dress fan girl and her heart was set on saying yes to at least one Berta dress but fate intervened and sent Laura in another creative direction. Laura stumbled upon ostrich feather lace by Sposabella Lace at a fabric store whilst dress shopping in New York City. Needless to say the trip ended in Laura purchasing all her fabric there. Laura began to sketch her wedding dress. She designed a cape for her dress because she wanted her own wings. She also wanted to create an illusion of floating. She approached Nissa Hanooman of The Little Black Dress TT for design consultation on the dress. The dress was sewn by Sharmela Persad, seamstress from San Fernando. Her crown was bought at Ilmes by Anna Sabga and gifted to Laura. Her mother also wore a similar headpiece. Laura marveled at the idea that she would be creating a memory in the likeness of her mother’s image. Laura’s wedding change outfit was designed by Nissa Hanooman and sewn by Timothy Chin Fat.

Laura in her wedding dress with crown and bouquet

Photo Credit: Julie Charlet

Laura tossing the bouquet in her wedding change outfit

The Groom’s Attire:

Veer wore a tuxedo by Ainsley in Long Circular Mall. He opted for his outfit in navy blue and black.

Veer in his tuxedo with his newly wed bride

Photo Credit: Julie Charlet

The Groomsmen:

The groomsmen wore navy blue suits from Zara with rose boutonnieres by Drew Manor Flower Bar.

The Ring-Bearers:

These toddlers donned matching hues to the groom’s outfit. Their attire included suspenders, trousers, white shirts, sunglasses and bow ties. They were James Bond “minis” who saved the day. They safely escorted the rings under tight security.

The ring-bearers delivering the ring package safely

Photo Credit: Nicco Quiñones

The Bridesmaids:

White was chosen as the colour for the bridesmaids. Laura felt this was a timeless look. They all wore the same dress silhouette and these were bought at Misguided.com for USD$40 each.

The pretty bridesmaids all in two rows with their bridal bouquets

Photo Credit: Groomsman

Cake:

The Wedding Cake was designed by Jaime Gerard. This cake connoisseur was chosen by the couple because they knew her sugar artistry game was quite strong. They also felt that she would have been able to achieve the whimsical and fantasy elements of the wedding; installing 3 dimensional balloons on the cake without distracting from their classic “Love is in the Tropical Chic Air” theme. Visit http://www.jaimegerardcake.com/ to view more of her work.

Cake by Jaimie Gerard

Photo Credit: Jaimie Gerard

Photographer:

Julie Charlet was booked by Laura because of her impeccable creative direction and vision for snapping special moments and her ability to capture and edit those surreal vibes. However due to unforeseen circumstances Samantha Jackson filled in for Julie on the “big day”. Go to https://www.samjacksonphotos.com/ to reach Samantha. Notwithstanding Julie still put her magic touch on the photographs with her editing. The pictures above with the watermark “Julie” are samples of her work in photography editing. Go to http://www.juliecharlett.com/ to view more of Julie’s work.

Wedding Planner:

Tricia Ng ‘A’ Mann was hired as the designated wedding planner for Laura and Veer. They noted that she saved them thousands of dollars. Her ability to micromanage and coordinate vendors for the wedding was incredible.

Rate: The couple highly recommends Tricia.

Laura’s Wedding Planning Tips

Laura does not consider herself as a traditional nor an unconventional bride. She reserves that she just flows with her instincts undisturbed. Her mantra for planning on a budget, “where there is a will there is a way”. She noted that they were able to save on décor by sourcing and supplying some things on their own such as umbrellas and balloons. She further added that they decided to go with foliage rather than flowers for the table settings. Laura surprised her groom with a “shot for shots” drink station. Her Maid of Honour organized this element of the event. She borrowed a football goal post, footballs and set up the station with shot glasses and more than sufficient tequila and punchy punch for guests to refill.

Ceremony Location:

The Church of Assumption in Maraval was chosen for the wedding ceremony.

The Church of Assumption in Maraval

Reception Location:

The couple used the Drew Manor’s field as their blank canvas to stage their wedding reception. It was the first time a Drew Manor wedding was done on the field. The couple loved the unique location and the flexibility of the contract which allowed them to hire their own food and bar services. Also the reception took place on the Saturday before Trinidad Carnival so the timing and setting was perfect for hosting their own all inclusive fete/reception for their 400 guests. The reception venue can also be viewed at http://www.drewmanor.com/

Rate: The couple recommends this venue.

Laura and Veer Reception (3D Model)

Details , Layout and Design by: Laura

Laura and Veer Plan For Seating Chart (3D Model)

Details, Layout and Design by: Laura

Laura and Veer Seating Perspective 1 (3D Model)

Details, Layout and 3D Perspectives by: Laura

Laura and Veer Seating Perspective 2 (3D Model)

Details, Layout and 3D Perspective by: Laura

Laura and Veer Seating Perspective 3 (3D Model)

Details, Layout and 3D Perspective by: Laura

Laura and Veer Head Table (3D Model)

Details, Layout and 3D Perspective by: Laura

Laura and Veer Dance Floor (3D Model)

Dance Floor Details, Layout and 3D Perspective by: Laura

Laura and Veer Dessert Station

Dessert Station Details, Layout and 3D Perspective by: Laura

Laura and Veer field with balloons (3D Model)

Tent Details, Layout and 3D Perspective by: Laura

Caterer:

Chef Khalid Mohammed was able to capture the personalities of the two individuals in the menu he created for them. The menu included popcorn chicken and waffles as well as salted caramel popcorn cheesecake. In addition he was able to create the menu within the budget requested.

Rate: The couple recommends Chef Khalid .

Reception Music:

DJ and Hypeman; Kern and Aaron Fingal, Laventille Rhythm Section, The Triplets from Naparima Boys High School.

Ceremony Music:

Francis Pau and wind quintet, Singer; Dominique Akal, Guitarist; John Hussain

Videography:

Rize Above Productions ( https://www.rizeaboveproductions.com/services)

LED Stage Design:

Now Concepts ( http://www.now.tt/contact-us/ )

Event Consultation:

Laura is an architect and planning is her forte. Although she had been working on 3D modeling for this event for a month. Laura had been inspired by an installation of umbrellas at a site in Europe. A true architect Laura was fascinated by the design of the umbrella and its unparalleled aesthetics coupled with its quintessential functionality. Laura described her experience of this umbrella vision as , “An object whose beauty is overdone by its ordinary practicality floated so magically above me. It was incredible in its simplicity. I knew I wanted to remember that feeling in our wedding day.” She wanted to get another expert’s opinion on her wedding design concept . Event consultation took place with Ultimate Events Ltd. to discuss whether Laura’s design inspiration for the umbrella installation as a focal point could be executed without ruining the charm of the simple and classic wedding set up.

Tablescape with Umbrella Installation

Umbrella Installation Details, Layout and 3D Perspective by: Laura

Umbrella Installation

Photo Credit: Drew Manor

Design Execution Team:

Ultimate Events Ltd.: Installation of umbrellas above dance floor, outdoor kitchen for Chef Khalid, all other infrastructure related items; lighting and port a potties. Go to http://ultimateeventstt.com/ to reach Ultimate Events Limited.

Bouge Events: Supply of glass top, LED bottom tables, installation of balloons, seating chart and other fine details

Drew Manor Flower Bar (DM Flower Bar): The bride chose a mix of local anthuriums and roses because she wanted the classic and eclectic look. DM Flower bar supplied the bride’s bouquet, bridesmaids’ bouquets, bouquets for mother and mother in law, floral arrangements for church and table arrangements.

Laura and Veer Reception on Drew Manor’s field at night

Photo Credit: Drew Manor

Close up on Tablescape at Laura and Veer’s Wedding Reception at Drew Manor

Photo Credit: Drew Manor Flower Bar

Tablescape with flowers and foliage at Laura and Veer’s Wedding Reception at Drew Manor

Photo Credit: Drew Manor Flower Bar

Executed Seating Plan at Laura and Veer’s Reception

Photo Credit: Ultimate Events Limited

Executed Seating Plan at Laura and Veer’s Reception

Photo Credit: Drew Manor Flower Bar

Balloons at Dessert Station for Laura and Veer’s Reception

Photo Credit: Drew Manor Flower Bar

Laura and Veer on the Dance Floor

Photo Credit: Kyannah Andrews

Love was in the chic air that light, fun Saturday night full of playfulness and magic. Yet it did not stop there nor at 1 a.m. when the 400 guests attending Laura and Veer’s all inclusive wedding party departed for their homes. It manifested into the beginning of another phase of Laura and Veer’s love in the most beautiful design that is known to us all as life.

All Inclusive Wedding Party

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Soca Smallies Kiddies Carnival Band

Posted on February 15, 2017by admin

The beautiful thing about Trinidad Carnival is that everyone gets to experience part of it. This year I highlight a Kiddies Carnival Band named, “Soca Smallies”. This year their presentation is called “Rainforest Romp.” This band participates in the Junior Parade of the Bands. This is also an all inclusive band as the children are provided with snacks and drinks on the road. The Soca Smallies band invites parents to enjoy this “one day fun day” with their children. Masqueraders meet with the band on Carnival Saturday morning.

Photo Credit: Rachel De Nobriga

This small band is unique because the band leader actually provides a concept and a design for a costume. A detailed list of design instructions and materials will be provided to guests. This means the parent and the child can make the costume together. This gives the parent/child relationship a further boost as they get to create and learn together whilst improving their team building skills and scoring some major relationship goals. Of course if parents are super busy they can always consult the band leader who will refer them to someone who can get the job done!

Registration for “Soca Smallies” takes place at Caboodle on Long Circular Road.

Photo Credit: Rachel De Nobriga

You can find more about them on their Facebook Page at

https://www.facebook.com/Soca-Smallies-Kiddies-Carnival-Band-431704253706779/

You can also call them at 1.868.477.3091

Brian Mac Farlane's Cazabon The Art of Living

Posted on February 9, 2017by admin

In 2017 designer Brian Mac Farlane has taken to his mas camp his plight to advocate to the authorities the restoration of the country’s indigenous heritage and architecture. His presentation this year is called Cazabon: The Art of Living. It is his intention through the designs that he can call to action the “powers that be” to do something to preserve the wealth of the nation’s national heritage particularly the architecture from the artist, Jean Michel Cazabon’s era ( late 1800’s and the early 1900’s). His expectations would materialize in the form of haute couture costumes displayed on persons owning roles from that era in a spectacle bound by a unanimous magnitude of architectural inspiration. This presentation would convene several artisans from costume to fashion designers. Brian Mac Farlane even took under his wing top graduates of The University of Trinidad and Tobago: Caribbean Academy for Fashion and Design.

Voyage de la Mode by Claudia Pegus

Photo Credit: Mac Farlane Carnival Mas Camp

Cazabon’s paintings are colourful and resemble snapshots of the period the artist existed in and its immediate society. The people during that time wore colourful clothing because they were free to do so (post emancipation era). However, the designers took an all white disposition with several shades of white, hues of gold and brown. Since this is art one has to question the artist’s intention and the message he wants to communicate (which one will only know when one asks the creative director because art is subject to multiple interpretation). I am under the impression that these characters are cast in white because they are souls of the people of that time. Cazabon’s art featured stills of life paintings whilst Mac Farlane and his cohort of designers depict this time capsule through creative costume design and movement of haute couture clothed masqueraders.

Monsieur Mille Fleur and Madame Mille Fleur by Brian Mac Farlane

Photo Credit: Mac Farlane Carnival Mas Camp

The regalia, glitz and glamour of Cazabon’s era via this band were launched at one of the Magnificent Seven buildings late last year. Again highlighting Brian’s fixation with the conservation and restoration of architecture that served its prime during Cazabon’s time. In an interview Mac Farlane was noted for saying that his intention is to use unity to break silence and present splendor, beauty and revelry with a purpose via acknowledging profoundly rich heritage and culture. Designer icons and the local fashion industry’s rising stars occupy the band’s creative cast. Their names include Claudia Pegus, Peter Elias, Dale Angus, Dianne Hunt, Adrian Foster, Heather Jones, Dhisha Moorjani, Fazaad Mohammed, Charu Lochan Dass, Harvey Robertson, Kaleen Sanois and last but not least Brian Mac Farlane.

Le Belle Creole by Peter Elias

Photo Credit: Mac Farlane Carnival Mas Camp

Aristocratic Aura by Heather Jones

Photo Credit: Mac Farlane Carnival Mas Camp

The sections include names like The White Hall Affair (designed by Adrian Foster), Apna Desh (designed by Dhisha Moorjani), Citizens for Conservation ( designed by Harvey Robertson), Felicity (designed by Charu Lochan Dass), Gang Gang Sarah and Tom (designed by Dale Angus), Messenger of Change (designed by Kaleen Sanois), Le Belle Creole (designed by Peter Elias), Mademoiselle Boissierre (designed by Dianne Hunt), Madame Boissierre (designed by Dianne Hunt), Ministress of Hope (designed by Dianne Hunt), Madame Mille Fleur ( designed by Brian Mac Farlane), Monsieur Mille Fleur (designed by Brian Mac Farlane), The Gate Keepers (designed by Fazaad Mohammed), Aristocratic Aura (designed by Heather Jones) and Voyage de la Mode (designed by Claudia Pegus).

Madame Boissiere by Dianne Hunt

Photo Credit: Mac Farlane Carnival Mas Camp

The White Hall Affair designed by Adrian Foster is already sold out. The White Hall was formerly owned by Joseph Leon Agostini. Following his death it was then occupied by Robert Henderson and his family. However an account of the interior design, architecture and atmosphere of social events at the White Hall from the author of “The Great Eight”, Mr. Anthony De Verteuil seemed to inspire designer Adrian Foster. He took reference from this 19^th century Edwardian era. He believes that the spirits of Henderson’s guests remained within the walls of the magnificent building. He believes they merged with the Corsican, Moorish architecture forming silhouettes from French style windows and fretwork trimmings to large coral stone pillars that support the structure. He believes their trapped souls continue to roam the hallways and main ballroom as their haunting presence continues to preserve the rich history of time.

Photo Credit: Adrian Foster

The White Hall Affair by Adrian Foster

Photo Credit: Mac Farlane’s Carnival Mas’ Camp

Apna Desh is designed by Dhisha Moorjani of House of Jaipur. The costumes from Apna Desh- Our Land/Our Country reflect the conservative fashion and cultural design of traditional mas. These costumes feature a full collection of ethnic inspired Indian accessories detailed in silver. The female costumes come in several options. These include Sari or Gharara and top (skirt and top). The Apna Desh costumes are investment pieces as they can be worn again at a non Carnival occasion. Dhisha Moorjani (House of Jaipur) states, “It was Brian’s idea to use this theme and I followed the guidelines for colour scheme; beige and sepia tones. I used lots of cotton. In 1886 Cazabon’s painting of Indo Trinidadians was displayed at The Colonial Exhibit in London (renamed politically by Geofferey Maclean “The East Indian Group and The East Indian Women”). It depicted an Indo Trinidadian family; a mother, a father, a daughter. They are seen standing in their thatched roof house. The men are in their Kurta and Dhoti pants and the women in their flowing saris. The costumes for Cazabon The Art of Living feature options of Sari or Gharara which are sewn and easily arranged especially for anyone who never wore a sari. There are lots of silver pieces as accessories to reflect the heavy adornment of their bodies in jewelry. They did not trust banks during that time and converted their gold coins into jewelry.”

Apna Desh by Dhisha Moorjani (House of Jaipur)

Photo Credit: Mac Farlane’s Mas Camp

Citizens for Conservation is designed by Harvey Robertson. He affirms, “The conceptual stages of design and learning about the work of Citizens for Conservation inspired my design. The group is most known for its recent efforts to keep historical architecture alive. The demolition of the Greyfriars Church on Frederick Street in Port of Spain also inspired my designs. This church was built in the 1800’s during the Cazabon era. The materials for this costume consist of 100% cotton with shades of white and hues of brown.”

Greyfriars Church

Photo Credit: Joshua Lue Chee Kong

Citizens For Conservation by Harvey Robertson

Photo Credit: Mac Farlane Carnival Mas Camp

Citizens For Conservation by Harvery Robertson

Photo Credit: Mac Farlane Carnival Mas Camp

Felicity is designed by Charu Lochan Dass for the brand CLD. In her words, “ Felicity is the bringing together a mix of pleasures and stylishness. It depicts both mid 1800’s fashion and the sobering yet intricate Victorian architecture. It exchanges historical extravagance for modern mobility, keeping the traditional trims; gloves and head scarves to bring to life an era so filled with presence and sophistication.”

Felicity by Charu Lochan Dass (CLD)

Photo Credit: Mac Farlane Carnival Mas Camp

Gang Gang Sarah and Tom is designed by Dayle Angus from Tobago. This costume is detailed using lots of natural materials such as cowrie shells to represent the cotton from the silk cotton tree. The designer had a vision for a rugged, strong look for this costume. She collaborated with Dwayne Trim of Mudern Mud in Tobago to include this neutral colour element in her design aesthetic. Designer Dale Angus says ” The whole idea around Cazabon is his representation of all aspects of society during that time period. It translates to what was happening in Tobago at that time, you would’ve seen a rise in the folklore. Gang Gang Sarah is a folklore that originated between the late 1800’s – early 1900’s. When we talk about architecture of that time period and the use of nature, I approached him ( Brian Mac Farlane ) with Gang Gang Sarah. The main focus was the silk cotton tree. The tree stands today in Tobago and it is seen as a historical treasure. “

Gang Gang Sarah and Tom by Dayle Angus

Photo Credit: Mac Farlane Carnival Mas Camp

Messenger of Change is designed by Kaleen Sanois. The battymamzelle or dragonfly is used as the symbol for messenger of change. The base of the costume was inspired by this creature. The designer drew inspiration from common details of colonial houses seen in the lace work and the light weight cottons. Despite being a representation from the Cazabon era more flare was added to the look with gems, piping and gold accents. Designer Kaleen Sanois reiterates, ” The Messenger of Change is the mascot of the band. The message is that we need to come together as a people, to be united and to enjoy the country that is our own, and celebrate what we have left of our culture. Anybody can be The Messenger. I believe we’re all artists in some way and should use our art to promote positive change in any way. The Messenger of Change falls into the Cazabon era as a reminder that we are beautiful and unique people just like the battymamzelle.”

Messenger of Change by Kaleen Sanois

Photo Credit: Mac Farlane Mas Camp

The Gatekeepers section is designed by Fazad Mohammed. In his words he describes the characters’ portrayal, “I am majestically unyielding and a grand sight to behold. My magnificence lives on through the traditions that now unfold. I stand guard at the treasure’s place centuries apart, defy me and to this day you shall know my wrath. We defy the ravages time and stand among the chosen few, we are the gatekeepers of the Estates and our presence beckons to you!” – Fazad Mohammed 2016.

The Gate Keepers by Fazad Mohammed

Photo Credit: Mac Farlane Carnival Mas Camp

He goes on to say that he was always fascinated by the grand opulence of our heritage sites and their presence, which gives people a peek into a period in history that shaped their existence today. The Cazabon era set the tone for inspiring their creations for 2017 carnival and the design team saw it fit to present a collection that reflected the periods fashion and trends as well as stimulate discussion on the preservation of local heritage monuments. Through the portrayal of “The Gatekeepers” Fazad presents a look at the Grand iron and metal designs that adorn the magnificent structures. He also wanted to pay tribute to the men and women that contributed to its preservation. To this day he feels there is a sense of ethereal presence within these structures that stimulates one’s curiosity about life on the other side of the grand gates.

The Gate Keepers by Fazad Mohammed

Photo Credit: Mac Farlane Carnival Mas Camp

He believes that The Gatekeepers therefore, are those story tellers that brings to life this period in today’s modern world. Furthermore, he asserts that he would like to take the opportunity to celebrate the grand architectural magnificence and craftsmanship of the wrought iron artists. He feels that their creations adorn and protect our heritage estate houses and is a source of great inspiration to our current masterminds and architects. In this collection Fazad confirms that he maintained a strong connection with the actual fine fashionable fabrics of the period, ie cotton, silk, satin, lace and chiffon. He states that the accessories mirrored the opulence of the fine jewelry crafted from pearls, gold and other gems. Fazad feels that the greatest significance is the wire work done by our local craftsmen to tell the story of the grand wrought iron artisans of the period.

The Gate Keepers by Fazad Mohammed

Photo Credit: Mac Farlane Carnival Mas Camp

If you would like to know more about the presentation of Cazabon: The Art of Living then please review the information below.

Brian Mac Farlane’s mas camp is located at #49 Rosalino Street Woodbrook.

Telephone Contact: (868) 625-8931

Email Address: macfarlanecarnival@gmail.com

Facebook Page: https://www.facebook.com/macfarlanecarnival/

Website: www.macfarlanemas.com

The Mac Farlane Carnival Mas Camp is one of the featured stops on my Trinidad Carnival Fashion Tour this Saturday 11th February 2017. If you would like to take the tour then please contact me at letsgotrinidadandtobago@gmail.com

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The Lost Tribe's Riddim

Posted on February 6, 2017by admin

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.”