December 7, 2023 |
FASHION FORWARD IS OUR ONLINE SERIES WHERE WE SPOTLIGHT THE DESIGNERS WHO ARE TRULY MOVING FASHION INTO THE FUTURE; WHETHER THAT’S THROUGH SUSTAINABLE PURSUITS, PHILANTHROPY, CHAMPIONING DIVERSITY OF CLASS, RACE, AGE, GENDER ETC, OR CONDEMNING SOCIAL INJUSTICES.
For Haitian-born designer, Ouigi Theodore, the circus represents more than just a form of entertainment. Running away, travelling and finding community on the margins are the pillars of Theodore’s varsity-chic brand The Brooklyn Circus. Moving from his birthplace of Port-au-Prince to Brooklyn when he was the tender age of eight, he was thrown into the madness of New York life, exposed to both weirdness and wonder. After his mother’s untimely death, he was taken in and raised by his grandmother Rose Nicolas, with the support of his aunt Maude. Maude’s sophistication, style and her penchant for travel worked to inspire Theodore, coaxing him to seek out adventure and to learn about other cultures and styles outside of the that surrounded him in Brooklyn.
As a young man, Theodore spent time travelling across Europe and Asia, however, he eventually found himself back in New York, setting up The Brooklyn Circus in 2006. Returning to New York, Theodore had gained a new perspective on the idisyncracies in society and thus, the ‘Circus’ was founded on an ethos of embracing these differences and working to craft community through fashion. Theodore explores Black American history through his designs, and he allows us as both the viewer and the wearer to be transported across seminal moments.
The future of fashion, while regularly discussed, is not considered in practice nearly as often. A few years after founding The Brooklyn Circus, Theodore pondered the concept of the five-year plan. How was he going to navigate his five-year plan? What would his craft look like in five years time? And of course, what happens after those five years? Theodore knew that he wanted to build something that would last; something consolidated enough to be able to withstand changing times and trends; something to tell the tales of American history through Black and Brown people’s perspectives, even when he would no longer be around to tell that story. Enter, the 100-year plan. Formed on the basis of wanting to extend the tapestry of what he had already created, Theodore’s 100-year plan places the preservation of the history of marginalised communities at the centre of the future of The Brooklyn Circus. Understanding the value in the community he’s already crafted and the stories he’s already told, Theodore shows no signs of slowing down and isn’t necessarily thinking about his legacy, but instead, a solid continuation of his already accelerating progress.
The Brooklyn Circus is rooted in elevation, both for Theodore himself, and for Black Americans. Inspired by his aunt Maude and the Civil Rights Act of 1964 – which allowed Black students access to a university education – the Maude varsity jacket is a key piece in The Brooklyn Circus identity. Crafted from Melton wool and leather, the Maude jacket tangibly tells the story of a fairer distribution of education for Black people, but also of the care that Maude provided the young Theodore prior to his glittering career as a designer. Most recently, BKc (The Brooklyn Circus) have collaborated with American eyewear brand, Randolph on a capsule collection that honours the Haitian aviators that served in the second world war. Aptly released on Veteran’s Day, the Randolph collaboration blends expert craftmanship with Theodore’s community driven sense of design. Paying homage to the Haitian pilots, who despite their noble service, were still on the periphery of praise due to racial discrimination.
Ouigi Theodore has noticed that those on the fringes, those pushed out by society, those forced to “join the circus” because of their differences are in themselves a community. United by difference and elevated through design, Theodore builds upon the typical idea of community. In weaving often forgotten Black American history through his designs and settling them within a brand, Theodore’s BKc crafts community in tandem with crafting truly beautiful clothes.
ON FASHION’S VALUE AS A STORYTELLING MEDIUM
Theodore: “Fashion is a story telling medium for those interested in telling and sharing an honest story. Most in this industry are simply interested in making an honest living – full stop. If we are waiting for fashion to teach us about inclusivity and community, we are looking in the wrong place. The fashion industry is networked on the business of fashion – we as a brand are unicorns in trying to do more than just business in this space. We truly want to make a difference and have a story to share. Learning inclusivity and community should start at home – what are we teaching our kids about others and the world they live in? How are we being mindful of transferring our fears and biases to our kids. And are we ready to lose money and power over it? We know our leaders, major corporations and politicians are not.”
ON HIS DESIGN PROCESS
Theodore: “We design and create product around untold stories. Our creativity is a vehicle to carve new paths and share our history with the world. We understand the power of creativity and use it wisely. I don’t think there is one moment that has impacted my design ethos. It’s a series of moments, good and bad decisions, lots of research, gallery visits, studio visits, museums, traveling and looking into history to see what our true purpose is in this space.”
ON MAKING A DIFFERENCE
Theodore: “For me, making a difference is longevity and building institutions. My approach to the industry may not interest someone who wants to win an industry award voted by a panel of people fighting to stay relevant. In short, I’d say Research, Research, Research. Know who you are and what you represent before you walk into the room.”
ON THE FUTURE OF FASHION
Theodore: “The future of fashion – hmmm let’s see. If I had the answer to that I think I would keep it to myself and build a trillion-dollar empire and retire in Haiti. I love cold weather clothes and layering, but I am done with the daily grind of cold winter months. I need sun and space. Maybe the future of fashion is in a sunny place. Not in cold places like NYC, Paris or London. What are your thoughts on that?”
Photography courtesy of The Brooklyn Circus.
