[Not Yet Available in Japan] Celebrating Caribbean Traditions with "The Cloth": Weaving a Post-Colonial Narrative with the World's Rarest Cotton

This September, "TRANOÏ," the only officially recognized joint exhibition during Paris Fashion Week, made its debut in Japan. Among approximately 150 brands showcased at "TRANOÏ TOKYO," the standout was the brand "The Cloth," deeply rooted in Caribbean traditions.

Founded in 1986 by Robert Young, the brand saw a new company established in 2017 when anthropologist Sophie Bufton joined Robert and took over as CEO. Since then, it has grown into one of the premier design brands representing the Caribbean.

The brand uses rare Sea Island Cotton, unique to the Caribbean, blending traditional "anti-fit" techniques with their distinctive appliqué style. It carries forward the Caribbean tradition as wearable art that reflects the culture of refugee communities.

In this interview, CEO Bufton shared insights into the brand's aesthetics and distinctive appliqué techniques.

Encountering the Caribbean—From Anthropologist to Fashion

How has "The Cloth" evolved?

"The Cloth" was born in 1986, long before I came on the scene. In 2014, I was invited by Professor Crystal Brown, head of the dance department at a small liberal arts college in the U.S., to conduct anthropological research on "masking" in dance and performance. She encouraged me to study anthropology at the New Waves! Institute, founded by Makeda Thomas in Trinidad and Tobago.

As a white woman from the UK, I was profoundly shocked by the colonial history of Britain, which I had been unaware of, and this experience resonated deeply with me. It ignited a strong desire within me to make a meaningful contribution to the region, going beyond mere research.

During my stay, I met Robert Young, the founder of "The Cloth," and we exchanged ideas about the material of cloth, especially Sea Island Cotton from the West Indies, and the theme of "The Cloth" as a decolonized brand.

Although the Caribbean is the only place in the world capable of producing this superlative and rare cotton, the local lack of infrastructure for spinning and weaving means that all fabrics must be imported.

This situation, coupled with our aspiration to build a fairer future, led to the relaunch of "The Cloth" as an enterprise focused on solving these issues in 2017.

We aim to bring together our respective resources, under the name "The Cloth" established by Robert, not just as a fashion brand, but to create new value in "Made in the Caribbean."

How is the perspective of anthropology utilized in brand management?

Since 2017, this vision has been at the core of our corporate strategy. At that time, being a young white British person involved with traditional brands of Black Caribbean heritage in a state of serious poverty came with significant responsibility and challenges.

Through this process, Robert and I learned the importance of "dialogue with the community" and came to value third-party perspectives when faced with difficulties. I thought I was prepared at first, but the actual scale of the challenges far exceeded our expectations.

However, we are now supported by wonderful partners, including the Seven Sisters of Martha's Vineyard and Afreximbank, which positions the Caribbean as Africa's 55th state.

Our mission is to create a future using ethnographic insights through the making of appealing clothing. While understanding our oppressive history, we aim to build a fairer future with creativity and cultural power. This vision has given us and many others the courage to pursue realization.

Key Elements of "The Cloth"

Can you tell us about the iconic applique techniques of your brand?

The technique of applique was born as a way for designer Robert Young to tell stories through fabric. Camille Servon, an early collaborator, possessed screen printing skills, but after her departure, Robert needed a new way to convey narratives.

He developed a method of stitching fabric pieces together to create images that can express multiple colors in a single cut. This technique became synonymous with "The Croth," and in its early stages, appliques were sewn onto newspaper, hiding the date of that time beneath satin stitches.

Today, the applique technique has evolved using low-edge methods and linear stitching, resulting in softer and more wearable fabrics. These creations are rich in texture, imbued with storytelling, and each piece conveys the richness of the Caribbean.

What specific design techniques do you employ for "anti-fit" and "anti-tailing"?

Our "anti-fit" and "anti-tailing" are based on the traditional British belief that "the higher the fit, the greater the value." In the Caribbean aesthetic, there is not necessarily a focus on formal tailoring but an emphasis on spacious comfort.

Our collection is offered in five silhouettes that progressively move from body-hugging garments to more relaxed fits.

One significant influence is the "Moko Jumbie" seen during Caribbean carnivals. These are spirit dancers that dance on tall stilts, and their free and daring appearance serves as the foundation for our designs.

Silhouettes distancing from the body encapsulate a rebellious sentiment against individualistic British culture, channeling the Caribbean spirit of freedom. Through clothing, we express Caribbean cultural values.

How do historical events in the Caribbean, such as the Cuban Revolution and the Haitian Revolution, influence your designs?

The revolutionary spirit of the Caribbean is central to our brand's philosophy. The Haitian Revolution was the first successful slave revolt in human history. We pay homage to this history and subtly reflect it in our designs.

For instance, we use various historical references, such as military-style epaulettes worn by revolutionary leaders and integrating the decorative Vévé patterns of Haitian Vodou into our appliques. This pursuit aims for a more just and equitable world through clothing.

Could you elaborate on the design of "Vévé" inspired by Haitian Vodou rituals?

Vévé is a symbolic pattern that represents spirits in Vodou rituals. It is drawn on the ground using cornmeal or flour, demonstrating respect and invitation to divine entities. Each geometric design is linked with unique characteristics of different deities, carrying deep cultural and spiritual significance.

Vodou is often misunderstood in the West, but it is fundamentally an eclectic faith combining diverse African traditions. It also shares commonalities with other Caribbean religious cultures.

Our designs pay homage to the spirit of the Haitian Revolution and its cultural sophistication by incorporating geometric elements from Vévé.

The Response from TRANOÏ

What kind of reactions did you receive at the “TRANOÏ” exhibitions in Tokyo and Paris?

In Paris, we had the opportunity to handle West Indian Sea Island cotton, leading to a partnership with “Exclusive Caribbean Cotton.” This rare cotton is not widely known in women's wear yet, but it naturally captivates people who touch it in stores.

The most impressive response came from Tokyo. Japan is known as the largest producer and consumer of West Indian Sea Island cotton, and I learned that our “The Cloth” appliqué technique evokes memories of Japanese “Boro” and “Sashiko.”

While the techniques are different, our works, which extensively use natural colors and indigo, seem to resonate with the Japanese audience. I am also pleased to announce that this spring, the debut exhibition of “The Cloth” in Japan is confirmed at M-Two in Fukushima.

Lastly, could you share your future outlook?

“The Cloth” is building connections and relationships with international buyers who appreciate our works, silhouettes, stories, and mission. For the upcoming fall-winter and spring-summer seasons, we plan to return to Paris and Tokyo to further develop our achievements.

We aim to merge West Indian Sea Island cotton with the creativity and design of the Caribbean, establishing a unique niche in the luxury market. This story deserves to be told, and we look forward to meeting partners who will help drive this mission forward.

Additionally, we have many exciting projects in progress with Creative African Nexus, so be sure to follow us on Instagram to keep an eye on future developments.