This is The Cloth, founded in 1986 by Trinidadian designer, Robert Young. And now, almost 40 years later, this label remains one of the most defining emblems of Caribbean fashion. Everything by The Cloth lies so close to the raw bone of Caribbean culture and history. It regularly references the things that made us (and continue to make us) who we are.
The Narrative…
The narrative of this work is a meandering, non-stop stream of social justice, mas, ethnicity, and spirituality. With a tendency toward extremes, The Cloth has carved out a stylish niche. It goes beyond the world of sharp tailoring and perfect fit. Oh, but it is so perfect. One minute, you’re carried away in capacious swirling gowns of West Indian Sea Island cotton. The next, you’re enveloped in sheaths of paper-thin linen. Out of his fertile imagination we get a patchwork of variegated indigo. We get frocks that wrap and wind with compelling versatility. His signature applique technique decorates swollen sleeves found atop layered mini dresses that offer an ageless, seductive exuberance for any wearer.
We Love…
I love how anti-fit The Cloth is. With relaxed contours, inventive simplicity, and adaptable sexiness, it is all-purpose fashion done very well. Also, it is a deeply expressive label that is intentional with every piece, creating playful combinations that exude a type of devil-may-care sensibility; channeling a persistent doing and undoing of clothing as we know it.
I’d place The Cloth’s sartorial cadence somewhere between griot and conduit; a wearable tome that speaks to the social swells, falls, decadence, and movement of the Caribbean diaspora. Inspired by “Caribbean people who have decided not to settle – like Orishas and Spiritual Baptists, CLR James, and Peter Minshall,” Young is a self-trained designer. The son of a trade unionist, his oversized, slouchy pieces feature daubs of revolution and Caribbean folklore.
Along with starched epaulets and massive cargo pockets, Young has woven the memories and tensions of the region into brilliantly coloured garbs and Cuban Guayabera shirts, stitching together mementos of Haitian vèvè and West African deities with meticulous craftsmanship. His pieces have been seen on David Rudder, the late Andre Tanker, Etienne Charles, Mia Mottley, and Shala Monroque, to name a few.
