Get ready to immerse yourself in a vibrant celebration of local and Caribbean fashion, design and culture! MoDA Market, where fashion, art, and commerce meet in a shopping playground for the stylish, is gearing up for its highly anticipated 10th anniversary. Taking place from Friday, November 22nd to Sunday, November 24th at the iconic #ThePinkBuilding, 4 Holborn Road.W
A Decade of Championing Caribbean Creativity
MoDA Market has become a beloved annual event, not just for its curated selection of unique and stylish offerings, but for its unwavering commitment to showcasing the exceptional talent that resides locally and in the Caribbean. Attracting both local and international shoppers, this year’s anniversary celebration is set to be even more spectacular, with a diverse range of artisans and fashion designers showcasing their latest creations.
The Future Looks Bright: A Look at Locale’s Next Chapter
This anniversary is more than just a celebration of the past 10 years; it’s a testament to Locale’s ongoing commitment to fostering relationships with local and regional artisans and designers and shining a light on gifted talent, community and well-being. Locale plans to continue to support and elevate local and Caribbean creatives and small businesses, ensuring that their voices are heard and their work is celebrated.
This 3-day extravaganza promises an unforgettable experience. From exquisite jewellery and handcrafted home goods to cutting-edge fashion and trendy accessories, MoDA Market has something for everyone. Prepare to be amazed by the creativity and talent of the participating artisans and designers, who have travelled from near and far to share their passion with you.
Beyond shopping, MoDA Market offers a vibrant atmosphere filled with delicious food, refreshing drinks, and exciting entertainment. Take a break from browsing and indulge in culinary delights from local vendors, or simply relax and enjoy the festive ambiance.
Experience the Caribbean at MoDA Market
Artist Gavin Jordan [mixed media painting]
Photographer Marina Burnel [archival prints]
Photographer Marina Burnel [archival prints]
MoDA Market is a unique and exciting event that offers something for everyone. Whether you’re a fashionista, or simply love to discover hidden gems, you’re sure to have a memorable experience. So don’t miss this opportunity to celebrate 10 years of MoDa Market and experience the ultimate shopping extravaganza. Mark your calendars and get ready to shop, eat, and drink, at #ThePinkBuilding!
HANDCRAFTED vs MASS PRODUCED
There was a point in my life – and I may still be in that era – where I’d conflate luxury with quality, custom with handmade, and costume with lesser.
A thing wasn’t good or worthy if it wasn’t substantial – maybe I’m stuck in a quality vs quantity conundrum? I’m not sure, but there was always an underlying scepticism that would either encourage or deter my urge to shop.
I have this innate ability to tell if something’s worthy by touching or observing the way it moves. Chiffon when it glides, varying cuts of linen in the way its wrinkles crease, sturdy hemmed trousers that maintain form as the wearer struts.
BY KADEEM RODGERS @thekadsmeow
Okay, it’s a gift, but as many times as I’ve been right about this, I had my doubts because I know it’s not an infallible indicator of good or not-good things. I was even more sceptical about one-of-a-kind pieces. Take for example, a crescent moon charm necklace I bought at MoDA Market yearsss ago, I still think about it to this day – years after it was tarnished, because it was well made.
Custom holds sentimental value because it feels as if the maker sought you out in a sea of thousands just to give you this one thing they’ve made for you. It’s an extremely special feeling, especially if it’s jewellery, proving to the receiver that it’s not just a cut above, but slow to make, there was attention to detail, and it was made with the desire to please its wearer.
And the demand for custom is growing. Late October it was announced that Jamaican jewellery designer Symoné Currie, founder of Metal x Wire was nominated among 10 of her peers for the inaugural Council of Fashion Designers of America Tiffany & Co x CFDA Jewelry Design Award.
Currie’s ‘Hummingbird Brooch’, which was a bespoke project designed for the High Commissioner of Jamaica in London, is a study in precision and detail. The 14-karat yellow gold, sterling silver brooch with black diamond and freshwater pearl is a symbol of Currie’s perseverance and a timeless classic with subtle-not-so-subtle undertones steeped in Jamaican history.
For many Jamaicans, custom jewellery isn’t just an accessory; it’s a statement of identity, style, heritage, and status.
And though the practice of customizing gifts is as old as time, it remains one of the most sentimental forms of gifting. One example of custom art is the #loverocks; pebbles hand-painted with whimsical images by visual artist Claudia Porges-Beyer. How could something so simple be packed with such sentiment? It’s the thought that counts.
Nowadays, talks of custom have shifted to include economic impact and sustainability efforts, which, in turn, affect the materials that are used for each design. Makers are conscious, they want to find ways to reuse material and reduce waste. Some find it to be counter-productive – the loss outweighs the gain, financially – but in the same breath will tell you that custom is far more rewarding.
Makers like Jasmine Thomas-Girvan, Girl and The Magpie’s Veronique Lindard, and Peace-is Of Bianca by Bianca Bartley are some of the foremost fellows of fine handmade local jewellery.
Whether it’s a piece of jewellery made from local materials like wood, bone, precious metals, bamboo or even human hair (à la Girl and The Magpie), the artisanal nature of a custom design offers more than meets the eye. It’s most often imbued with an artist’s POV with hints of the client’s personality. Costume jewellery, on the other hand, lacks the same cultural or sentimental value, while maintaining elements of artistry.
Mass-produced costume jewellery may be more affordable and accessible; handmade jewellery resonates with culture and celebrates craftsmanship, durability, and individuality — values that continue to shape Jamaican style and identity. I still believe that whether it is custom or costume, if something is well-made, it will stand the test of time.
Symoné Currie’s Hummingbird Brooch. [Photo: courtesy of Metal x Wire]
THE M FACTOR: SHREDDING THE SILENCE
“There is a gap in the way healthcare information is transmitted to us in Jamaica. We want Jamaican women to understand menopause as a natural progression.”
- Dr. Baugh
A night of empowerment and education. Tuesday, October 29th, #ThePinkBuilding played host to a groundbreaking event: the first international screening of the documentary film, ‘‘The M Factor: Shredding the Silence on Menopause”. This special occasion was a collaboration with The Heart Institute of the Caribbean, DB Glow MD and, sponsored by Harbour Wines and Spirits, Likkle More Chocolate and Hylton Salts.
The evening was a whirlwind of elegance, education, and empowerment. Hosted by the dynamic duo of Dr. Dainia Baugh MD, FRCP, Edin and Rose Tavares-Finson. The event featured a stellar panel of experts: Dr. Sara Lawrence Lewis, Dr. Norissa Haynes, Dr. Raejean Porter, and contributors, Karla Henry, Jodi Mair, and Angelie Spencer. Starting with a delectable cocktail hour, featuring wines from Harbour Wines and Spirits and treats from Flame in Thyme, the tone was set for an evening of camaraderie and inspiration. Guests were not only enlightened but also pampered, with each attendee receiving a thoughtful
gift bag filled with treats. This event was not just about education; it was also about celebration. The screening itself was a cinematic experience. Aiesha Panton and her Pussbackfoot team transformed Locale’s parking lot into an intimate outdoor cinema, adorned with elegant white decor, plush seating and an enchanting floral chandelier. As the film unfolded, the audience was captivated by the honest and insightful exploration of menopause, its symptoms, and its impact on women’s health.
Following the screening, a lively panel discussion moderated by Dr. Baugh, Consultant Internist, Menopause Specialist at HIC, delved deeper into the complexities of menopause. Panelists shared their expertise, addressing questions from the audience and dispelling common myths.
By hosting this event, Dr. Baugh and her team have taken a significant step towards breaking the stigma surrounding menopause and empowering women to take control of their health.
For those who missed this exclusive screening, mark your calendars for the HIC Masters of Medicine 2025 conference, co-hosted with Yale University. This two-day event will feature renowned speakers from around the world and offer a wealth of knowledge on a variety of health topics.
Photography by Tiffany Lue-Yen
RETURN TO FASHION
BY ANYA AYOUNG CHEE @anyaayoungchee
Anya Ayoung Chee is a fashion designer, entrepreneur, activist, and winner of Project Runway Season 9. In 2008 she competed at the Miss Universe pageant in Vietnam for her native country Trinidad and Tobago, during which she had the opportunity to design some of her wardrobe. In 2009 she launched her first collection Pilar, named after her younger brother. Several years later, Anya inspired millions when she won the 9th season of the popular US television series, Project Runway. She then launched her eponymous womenswear line geared toward the resort wear market.
In recent years Anya retreated from designing her own clothing line in order to open and manage a co-working space (HOME), boutique (Exhibit A) and cafe (HOME Cafe) in Trinidad. The Anya Ayoung CheeLimited Edition brand, marks her return to designing a line of her own.
COAL caught up with Anya, and this is what she had to share:
Q. What inspires your designs the most—art, nature, culture, or something else?
I’d say it’s a dynamic mix, but what really tugs at my heartstrings is our culture. There’s an undeniable spirit in our region—a certain rhythm, color, and resilience that is constantly inspiring my work. I’m endlessly fascinated by the stories we hold in our collective culture and by the beautiful contrast between our natural landscapes and urban environments. That blend of history, nature, and the carnival essence of Trinidad fuels so much of what I create. And of course, I’m always inspired by the people I encounter and the stories they share. Fashion, for me, is storytelling, so every piece is my way of capturing and honoring that essence.
Q. Can you walk us through your design process from initial concept to final product?
My design process is highly organic—it starts with a spark, a feeling, or even a fragment of a memory. I often begin by immersing myself in the textures, colors, and scenes that resonate with the story I want to tell. From there, I sketch out ideas, exploring how the piece can come alive not just visually but also in terms of movement and experience.
Once I have a vision, I think about how it aligns with functionality and sustainability. I work closely with local seamstresses and artisans, and we bring that initial concept to life, step-by-step. I love collaborating with them; they bring such skill and creativity, and it feels like we’re weaving our shared energy into each piece. The result is a blend of personal expression and community craftsmanship, making each product feel like a celebration of both art and purpose.
Q. How do you approach sustainability in your collections?
Sustainability is central to my approach—it’s not just a consideration but a priority. I’m committed to supporting local production, working with artisans and seamstresses within the Caribbean to ensure we’re building a truly circular economy. This commitment drives me to constantly explore materials and methods that honor the planet and minimize waste.
My focus on sustainability also extends into social impact. Through projects like Spool, we’re training women from both Trinidad and Venezuela in fashion production. It’s about giving back and creating a pathway for economic empowerment. For me, true sustainability means that each piece I create isn’t just responsible environmentally but also contributes meaningfully to the lives of others.
Q. Do you have a signature style or recurring theme in your work? Yes, there’s definitely a strong Caribbean influence in everything. I love bold, playful pieces that make you feel like you’re at a festival, pieces that mirror everyday living, the man or woman on the street. . But beyond that, my work often explores the dualities of life: joy and sorrow, tradition and modernity, personal and collective. I’m drawn to creating pieces that reflect our collective resilience and vibrant history, yet feel effortless and wearable. I also love working with fabrics that flow and move, as if they’re alive, which brings a certain energy and dynamism that’s a big part of my signature style.
Q. What has been the biggest challenge you’ve faced in your fashion career?
One of the biggest challenges has been navigating the lack of infrastructure and resources for fashion in the Caribbean. It’s no secret that the journey has been far from linear—there’s often limited access to the materials, financing, and networks that many international designers take for granted.
Another significant challenge was the transition from being a designer to embracing the role of a social entrepreneur. Balancing creative work with the operational demands of business was a steep learning curve, but each challenge shaped my perspective and strengthened my resolve to build something lasting for the Caribbean creative community. Every setback is an opportunity to innovate, and that resilience has become a fundamental part of my journey.
Q. Have you collaborated with other artists or designers? If so, how did that influence your work?
Absolutely, and each collaboration has brought such richness to my work. I’ve
been fortunate to partner with incredible creatives across fashion, carnival, and social impact. Collaborating with others opens up a new world of ideas, methods, and inspiration. It pushes me out of my comfort zone and into spaces I might not have explored alone. My recent work with Spool, for example, alongside Hasani of Caesars Army, merges carnival culture and fashion production in ways I hadn’t previously imagined, adding depth and cultural relevance to each piece we create.
Q. What do you think is the future of fashion in the next decade?
I believe the future of fashion is both digital and deeply sustainable. We’re seeing a shift towards digital wearables, NFTs, and a virtual marketplace that lets people express themselves without producing physical waste. But equally important is a return to thoughtful, slow fashion where pieces are cherished, valued, and built to last.
For the Caribbean, I see tremendous potential for technology to open doors, bringing local designers to global audiences while honoring our unique heritage and commitment to community. We’re creating a space that isn’t just about fashion—it’s about legacy, impact, and authenticity. In the next decade, I hope fashion becomes less about fleeting trends and more about meaningful stories, crafted with care and designed to endure.
Q. What advice would you give to someone looking to break into the fashion industry?
Be prepared to bring your whole self into it and stay true to your unique voice. The scene’s tough, but your unique flair—that’s your superpower. Always be willing to learn—never assume you know it all because this field is constantly evolving, especially now with the rise of digital and sustainable fashion. And don’t be afraid of failure. Every setback is part of the process, shaping you into a more resilient and capable designer. Seek out mentors, build relationships, and above all, stay connected to your purpose. If you’re passionate and driven, that will shine through, and people will be drawn to your work because it’s a genuine extension of who you are.
A field guide to Contemporary Art of Jamaica
MAPPING THE TERRITORY
Artist Ebony G Patterson is co-curating the cutting edge Triennial ‘Prospect.6’ in New Orleans, USA, opening in November and including an array of Caribbean artistsAda Patterson, Ewan Atkinson, Tessa Mars, Jeffrey Meris, Joiri Minaya, Ronald Cyrille, Nadia Huggins, Didier William, Myrlande Constant, and Jamaican Kelley Ann Lindo. The Honoree Spotlight has been awarded to Jamaican Krista Thompson, Professor of Art History at NorthWestern University, and author of ‘An Eye For The Tropics’ and ‘Shine: The Visual Economy of Light in African Diaspora Aesthetic Practice’, which earned her the prestigious Charles Rufus Morey Award in 2016, for her outstanding contribution to the arts.
MOVERS + SHAKERS USA
Tiana Webb Evans of Jamaica Art Society @jamaicaartsociety, a collective of art professionals and patrons missioned to preserve Jamaican art history and support contemporary artists and emerging art leaders. Programming includes the In Focus Art Fellowship program, and a Critical Art Writing workshop in partnership with Contemporary &, and taught by writers Annie Paul and Seph Sees.
Rosie Gordon Wallace of Diaspora Vibes Cultural Arts @dvcai, an incubator programme for emerging diaspora Caribbean artists, and host of podcast series ‘Art of Black Miami’
BAHAMAS
An interesting regional development in the arts ecosystem is the FUZE art fair in Nassau in October which recently staged its second year. This capacity is down to private sector support by way of the host hotel Baha Mar and the Bahamian customs duty ‘luxury status’ which allows art in and out of the country with relative ease. Reports are of good sales, strong gallery participation, good collector engagement and diverse audiences. We hope this will continue to develop and Jamaican gallerists can engage within the region to present Jamaican artists work within a regional context and to an international audience.
PART 3
RECENT EXHIBITIONS
In 2022 Venice Bienniale, Simone Leigh @simoneyvetteleigh represented the USA, and now the ‘Simone Leigh’ travelling exhibition, organised by Institute of Contemporary Art Boston, is showing at California African American Museum (CAAM). The show features works over the last 20 years of Leigh’s practice in ceramics, bronze, video, installation and social activation. Together these works index a web of Black feminist theory, archival excavation, infrastructures of mutual care, and African art and architecture.
2023 ‘Surrealism and Us’, curated by Maria Elena Ortiz @contemporarychica at Fort Worth Museum, including sculptor Jasmine Thomas Girvan, Simone Leigh and Kim Dacres.
2023 ‘Forecast Form’, Institute of Contemporary Art Chicago, curated by Carla Acevedo Yates @carlaacevedoyates featured Jamaican artists Cosmo Whyte and Ebony G. Patterson, with regional diaspora Caribbean artists Firelei Baez, Teresita Fernandez, Denzil Forrester, Tavares Strachan to name just a few.
Kim Dacres @kim_bo915, sculptor, is now represented by Charles Moffat gallery and will be showing new work with the gallery at Art Basel Miami this year.
Simone Leigh, Installation view at Institute of Contemporary Art, Boston, 2023
When we think that Jamaica’s Diaspora is said to be twice the population of the island, its inevitable that the steadfast nature of Jamaican diaspora artists and the commitment to their artistic practice and thinking, will shine through. It might feel like its recent and an ‘eventual’ truth, due to the host countries art establishment marginalisation of most, for all these decades but today, so many are finally getting their deserved institutional attention and inclusion, and commercial success. There are blue chip artists, such as Hurvin Anderson (UK) and Simone Leigh (USA) that have risen to stellar heights, and a host of others too many to name who have a life’s artistic practice now being recognised and appreciated. There are also curators, writers, organisations and collectives in the Diaspora who are committed centring those from and of the Caribbean in the mainstream art establishment, market and discourse.
An important regional art exhibition looms on the horizon - the Kingston Biennial opening at the National Gallery of Jamaica on December 15th. This year Ashley Graham @ohashuhlee, diaspora Guggenheim Associate Curator, is leading the curation of ‘Green X Gold’, exploring the many meanings, ideologies and mythologies articulated visually through the land and the sea, and excavating the conceptual mappings, enmeshments and multiplicities that lie therein. The exhibition will centre artists of Jamaica and the Caribbean and its Diaspora and is set to be an exciting and revealing exhibition.
UK
MOVERS + SHAKERS
Lisa Anderson @lisaandersonaa - Independent curator, Director of the Black Cultural Archive, Founder of Black British Art and Black Blossoms lecturer. Recently curated ‘Soulscapes’ at Dulwich Picture Gallery.
Black Curatorial @black.curatorial - the ‘Fly Me Out Fund’ which funds inter-exchange between Barbados, Jamaica and the UK for black artists and curators, and diverse programming.
Rianna Jade Parker @xaymacans - Author of the Tate publication ‘A Brief History of Black British Art’, Contributing Frieze Editor, Artist essayist, and curator of ‘War Inna Babylon’ at the Institute of Contemporary Arts, London. Her most recent offering is her article in Frieze magazine Summer issue- ‘The Inward Yearning of Jamaica’s Intuitive Artists’.
UK
PRIZES + AWARDS
Photographer, media artist and researcher Ingrid Pollard @pollardingrid, won the prestigious Hasselblad Award, and after her solo exhibition at the Courtauld Institute in 2023, painter Claudette Johnson @claudartuk is on the short list for the Turner Prize 2024 and has just unveiled a mural series ‘Three Women’ at Brixton Underground station as part of the Transport for London’s ‘Art on the Underground’ programme.
2024 Barbara Walker’s @barbarawalkerstudio first institutional survey ‘Being Here’ at Whitworth Museum in Manchester, after her winning the prestigious Turner prize in 2023.
The National Gallery of Jamaica’s National Collection has loaned works to both ‘O Quilombismo’, curated by Bonaventure Soh Beijing Ndikung @bonaventurendikung, at House of World Cultures in Berlin 2023 by Everald Brown and Mallica ‘Kapo Reynolds, and works by Osmond Watson, Barrington Watson and Edna Manley, for ‘Foreigners everywhere’ at the Venice Biennale, 2024.
Canada ‘Fragments of Epic Memory’, curated by Julie Crooks @julie_zacfilms for the Art Gallery of Ontario, now travelling and showing at Columbia Museum of Art, Ohio.
UK
2024 - A major Retrospective ‘Sculpting Life’, is centred on the life and work of Jamaican sculptor Ronald Moody and his contribution and impact on British and international art history at the Hepworth Museum, comprised of over 50 sculptures, his poetry, his writing and audio broadcasts. An important Monograph has been produced, and research and curation by Ego Ahaiwe Sowinski, and the exhibition is showing at the Hepworth Museum in Wakefield.
ILLUSTRATED BY CHELSEIGH BUCHANAN
Cosmo Whyte, ‘Beyond the Boundary’, 2022, Forecast Form- Art in the Caribbean Diaspora, 1990s–
WRITTEN BY,
Ronald Moody, Savacou’, 1964
Barbara Walker, ‘Being Here, 2024
CRAFTED KINSHIP
Excerpted from Crafted Kinship by Malene Barnett (Artisan Books).
APRIL BEY
THE BAHAMAS + LOS ANGELES, CA
AN INTERDISCIPLINARY
VISUAL ARTIST WHOSE WORK EXPLORES THEMES OF AFRICAN DIASPORIC SPECULATIVE FUTURISM AND ALIEN IDENTITIES
COAL received an excerpt from the Crafted Kinship book by Malene Barnett. This teaser provides an insight into the voices that are present in the book which aims to encourage artists of the Diaspora to create meaningful work. See the words below of a conversation between Author Malene and Artist April:
My practice combines speculative futurism with environmental worship and Black opulence to illustrate fictitious lands and places where diasporas can thrive.
No matter where we are in the world, we return to our Caribbean homes as a source of inspiration for our work identities and spiritual belonging. How have you crafted a kinship with the land, people, and culture of the Caribbean?
When I was little, I would get in trouble for picking flowers from other people’s gar- dens. But I would do it to give the flowers to people I loved, and I was fascinated by the fact that plants grow with pigment in them. Now I make a lot of large tapestries with plants in them, specifically plants like calatheas and other tropical plants that grow in the region where I grew up. Those plants represent a means of transport from Earth to Atlantica, so they’re in everything. The flower part of the plant, the fruit part, is always a Black woman’s fist with acrylic nails. That becomes the thing that you have to sniff to see if the plant is ripe or that you have to look at to make sure it’s the plant you want.
The Caribbean is a small place that significantly impacts the world. What part of your Caribbean identity or art practice do you think speaks to what is needed in the world right now?
Broughtupsy! Broughtupsy! That’s been the biggest thing. I still struggle with that. I’ve been in the United States for a very long time, and people just don’t have the same courtesy. America is so individualistic; people don’t care about whether their neighbor has heat or not. You get lost, and nobody knows who you are. I grew up on such a small island that I couldn’t do anything wrong without Miss Roll seeing me out the window, calling my mummy at work, and being like, “I just saw April going to the lodge. She’s supposed to be in school.” People looked out for you. It’s simi-lar in Ghana, where we say, “Good morning,” “Good afternoon,” and “Good evening” to people we pass along the street. It’s to acknowledge that I see you, and if something goes wrong, I will be there for you because we’re all in this together.
In my work, I’m creating a planet where we’re all genetically linked and don’t have the ability to approach each other with anything but love. It creates a collective understanding. Just because it’s not a small island doesn’t mean we don’t have a responsibility to look out for each other.
What does community look like for you as a maker living and working in the diaspora?
Financial proceeds going to the people in my community who are represented in the work. I was intentional about whom I worked with and where my funding went when I sourced fabric in Ghana. It’s the idea of leaving something better than you found it and being able to fund your own community, and of creating a self-sustaining community by using whatever currency you have and disseminating it.
What feelings are you trying to evoke through your work, and what do you hope viewers will do as a result of their interactions with it?
In my work, I like to show people what reality is. Sometimes they start questioning things, like, “Why do you have a three-hundred- pound Black woman in a bikini? That’s really provocative.” Why? And how? We’re thinking this way because we have these preconceived notions, but what if we didn’t even know what fat was? I present my work as if I’m an alien. As if I’m learning all these things for the first time because I’ve never experienced them before. I don’t even know what the word fat means. I think it makes people question where and how they’re approaching the work. Once they accept the fact that the work is by an alien and they have to start thinking that way, it frees them up to be a little bit more creative. So that’s what I hope people get out of it.
A joint interview talking about how It Girl came to be, what to expect from the CaribbeanCurated package that will be available at Locale, and why it’s meaningful for BSB’s first brick-and-mortar launch to be in the Caribbean.
In our first two editions, we introduced you to two talented ladies: Maekaeda Gibbons and Kayla Greaves who have combined their passion for beauty and the richness of Caribbean culture to create exceptional beauty oils—It Girl Nourishing Body Oil and It Girl Perfume Oil. Their journey from individual creators to collaborative entrepreneurs is one rooted in shared values, a deep respect for nature, and a commitment to enhancing natural beauty.
Q: What inspired you to collaborate? Was there a specific moment or idea that sparked your partnership?
Kayla: It really just happened naturally. Maekaeda had scheduled a consulting call with me and asked how the brand could grow more in the New York market. I told her it would be great if she could do an event, invite editors and other influential people, and maybe do a scent-layering activity. I randomly stumbled upon a venue I thought would be perfect and when I was there with the event planner, she suggested I do a custom oil. I already knew what I wanted it to smell like, so she sent me some samples, we agreed on the formulation and It Girl was born!
Maekaeda: Collaboration with Kayla was a no brainer. Once the idea was presented to me, I felt so honored. She is a wealth of knowledge and the perfect partner to launch anything really. The process of ideation was even greater. We had great conversations about what we wanted the creation to smell like and how we wanted the people to feel while wearing it.
Q: Can you walk us through the process of creating one of your beauty oils? What makes it unique compared to other beauty products?
Maekaeda: My creative process is so unique. In the beginning Brown Sugar Babe was a hobby and a very selfish project so I really started out just creating fragrances that I loved. However, now I do listen to the fragrance community that we’ve built to guide some of my decisions on how and what we formulate. I am really inspired by how different fragrance notes make people feel and
because of this, quite a few of our fragrances are inspired by popular perfumes. What makes our products stand out from other fragrances and body oils on the market is I intentionally amplify the most revered notes in our formulations so that the fragrances last longer and project more than the average body oil.
Q: How do you ensure the quality and effectiveness of your oils?
Maekaeda: Quality and effectiveness is the foundation of our brand and is one of the reasons that we are experiencing such tremendous growth at the moment. Here are two things in our production process that we do to ensure our oils are of the highest quality, which will in turn result in maximum effectiveness. 1. Our raw ingredient sourcing process is of the strictest standards with no room for compromise. 2. We conduct rigorous testing for efficacy and potency. Prior to any new product launch we ensure each batch satisfies our internal standard of quality.
Q: Are there any specific beauty concerns that your oils address? (e.g., hydration, skin repair, hair growth)
Kayla: Maekaeda can speak more to this, but each Body Oil contains five organic carrier oils—avocado, castor, grapeseed, olive, and sweet almond—which nourish and lock in moisture, and will give you glowing skin with regular use.
Maekaeda: Absolutely. Echoing Kayla here, our formulation of these five carrier oils creates the perfect recipe of skin health and enrichment. Avocado oil is rich in vitamins and fatty acids and moisturizes deeply. Castor oil is known for its antiinflammatory properties. Grapeseed oil adds in the antioxidants the skin needs. Olive Oil provides deep hydration. With Sweet almond oil, this was added to the formulation for a healthy skin barrier.
Q: What has been the most rewarding part of working together? Any memorable milestones?
Kayla: Knowing that this all came together by chance. I don’t think I’ve ever told Maekaeda this, but was so nervous to put this It Girl out into the world—it felt like a huge risk and I didn’t want it to fail or let her down. Scent is so personal, and each person has their own unique preferences. But everyone who has bought it loves it. There are so many positive reviews, it has a near 5-star rating and has sold out a few times. In fact, the first time it sold out was
about two weeks after we launched. I was in Paris and woke up to the news—I nearly fell over, I was so happy. Product aside, Maekaeda and I have built a really beautiful and supportive friendship. We want to see each other win, and that in itself is wonderful.
Maekaeda: Working with Kayla has actually made me so much stronger than I was before our collaboration. I have learned so much about the beauty industry and PR space because of our talks and even just her support. Connecting with her and her trusting me to bring something that she loves and is so special into fruition feels like I won a game of chess. I am forever indebted to her for believing in me and the brand.
Q: What’s one thing you’ve learned from each other through this collaboration?
Kayla: Not to give up—I’ve learned that both from Maekaeda’s incredible founder’s story, and this collaboration. Social media may tell a different story, but this has been a really difficult year for me. Having Maekaeda believe in me the way she does and pour into me how she has completely shifted my mindset and let me know I’m capable of a lot more than I thought I was. I’m so grateful to know her and to be able to pour back into her and this amazing company she’s built.
Maekaeda: Kayla has taught me the confidence of being myself in the beauty industry will have a significant impact on how my audience will view the brand. This nugget was not even through her words but just through her actions and how she moves. She’s like a majestic swan that you can’t help but admire.
I am really not a public person and I am super uncomfortable in situations where I have to speak publicly and she makes it look so easy and effortless. I have taken pages out of her book and I am proud to call her friend.
Q: How do you hope to inspire other women, particularly in the Caribbean, through your journey?
Kayla: Just by letting them know it doesn’t matter where you start from or where you come from—you can make things happen for yourself. It is not easy by any means, but be diligent and don’t give up!
Maekaeda: As a proud Trinidadian, I want to remind women in the Caribbean that we have so much “sauce” that’s built into our DNA. The Caribbean human experience is very influential and we inspire the world. I would like for Caribbean women to hear my story of how I overcame poverty and be assured that their potential and destiny is only capped by their imagination and willpower.
Q: What advice would you give to other aspiring entrepreneurs interested in beauty or natural products?
Kayla: If you can find a niche in the market—go for it! There’s enough room for all of us.
Maekaeda: Start with lots of research about the niche that you would like to enter then follow through with passion and consistency which is an explosive combination to almost guaranteed wins.
Photograph of Kayla Greaves and Maekaeda Gibbons
THE ART OF STYLE: WEARING vs STYLING
By Cecile Levee @cecilelevee
Is style subjective?
Or, is there a blue print of defined style?
Is there a style syndicate that sits in judgement of us all in a padlocked, air conditioned room designed by Michael Smith; a room that has Chanel no. 5 wafting through Dyson vaporizers? A room where the syndicate spokesperson communicates the decision by announcing “You are In!” and “You are out.”
Is your particular style really an individual decision?
Or, is it communal property to be the subject of public debate even when you are not asking for style advice? I was recently told on my IG page that sunglasses with big frames (my personal favourite) were no longer in vogue. Please keep in mind that I was not conducting a poll. I truly believe that individual expression trumps the opinions of others…every time!
“Dress shabbily and they remember the dress; dress impeccably and they notice the woman.”
Coco Chanel
Getting dressed says: “I have to put on clothes.”
Having style says: ‘‘Since I have to get dressed, let me put it on.” … highlighting the difference between simply putting on clothes and expressing an individual sense of style.
“I want people to see the dress, but focus on the woman.” Vera Wang
Getting dressed says: “I don’t have the time to get dolled up.”
Having style says: ‘‘Since I have to go out, let me show who I am.”
“Style is a way to say who you are without having to speak.” Rachel Zoe
Getting dressed says: “I am too busy to worry about how I look.”
Having style says: “In a world of limited interaction how I dress is how I will be remembered.”
“What you wear is how you present yourself to the world, especially today, when human contacts are so quick. Fashion is instant language.” Miuccia Prada
Getting dressed says: “I am too smart to worry about frivolous things like clothing.”
Having style says: “There is nothing frivolous about standing out and being remembered for opportunities that await.’’
‘‘Clothes makes the man. Naked people have little or no influence on society.”Mark Twain
True story - Years ago I attended an event that had the prospect of opening up an incredible opportunity. However I was required to submit an application and I decided not to do so. I thought there were too many others applying and besides, I had other options under consideration.
A week after the event, I received a phone call. The caller asked why I had not applied. It turned out that the person conducting the interviews remembered me by name, because of how impeccably I was dressed. Upon hearing that I had made such an impact, I decided to apply and was indeed successful. It also turned out to be a life-changing opportunity.
“Dress shabbily and they remember the dress; dress impeccably and they notice the woman.” Coco Chanel
Getting dressed says: “Let me put on a pants and top.”
Having style says: “Let me add a scarf or a string of pearls, or a cowry bead choker, or a hat, or a blazer, or a belt. Let me tie the scarf on my bag, or place an oversized flower in my hair or on my lapel.”
Getting dressed says: “Let me wear sneakers for comfort.”
Having style says: “Let me find a pair of shoes that is as comfortable as it is stylish.”
“Dressing well is a form of good manners.” Tom Ford
Getting dressed is a necessity, a grab and go.
Having style prioritizes flair over function, comfort and practicality.
Style is a road map of our personalities, and values.
Style is a cheeky way of presenting ourselves to the world.
Style transcends trends.
Style shouts self-assurance.
Style is about telling a story - Our story.
Style is a way of life.
“Style is the only thing you can’t buy. It is not a shopping bag , a label, or a price tag. It’s something reflected from our soul to the outside worldan emotion.” Alber Elbaz
