Meet GFF BAME Talent, Tamika Nembhard Martin, a fashion and textiles graduate from University of Portsmouth. Tamika’s collection is a unisex exploration of black history through the ages. She has brought together elements of black culture across generations to educate and inform. “The purpose is to enlighten the uneducated on the history of culture they are none the wiser to. Pieced together the collection translates the story of black oppression throughout history told in a way never seen before,” she says. Read on below!
What is the most valuable thing you have learnt at university?
Finding confidence is something that I have struggled with especially when it involves my work. University has taught me to stand firm in what I believe in and I have learnt that stigmas are not confinements to what I can achieve but are in fact drivers to go above and beyond. The most important attribute I have developed is only I can push myself to be the best I can, teaching myself to appreciate what I have accomplished in the short time of my life and be grateful for the future I have ahead of me from the foundations that I have set myself. I have learnt to listen to my head as that is truly the one that matters the most, being confident and content with the work that I am producing is where the greatest of all satisfaction comes from.
Tell us about your current projects and work, what have you been working on?
Lost in translation is a collection that visually articulates the power of black fashion and how it makes social & political statements. This collection explores many social & political issues frequently faced by the black culture, dating right back to the slavery era. Further showing how struggles and oppression have influenced fashion choices to this date as a means to communicate and express emotion. Initially inspired by the ever so controversial topic of cultural appropriation within the industry.
The purpose focused much rather on becoming a celebratory piece for an oppressed culture promoting empowerment, unity and readiness for taking a stand for change in the system. Taking a step back in time, adopting silhouettes, fabrics and colours from black history; from the organic hemp fabrics to the denim overalls worn by slave captives. Reminiscent of the solid, urban, military leather jackets and large coiled, kinky afros of the 70s black panther activists with the vibrant, baggy clothed youngsters of the 90s. A colour palette comprised of strong defined tones that compliment complexions pigmented rich with melanin.
The solid, harsh black; subtle, pastel pink; radiant orange and nostalgic 90s denim blue all enhance the richness and beauty of the wearer’s skin. As well as being a unisex collection, it also collectively campaigns for the admiration of natural beauty and embracing the glory of black beauty in its purist form. The purpose is to enlighten the uneducated on the history of culture they are none the wiser to. Pieced together the collection translates the story of black oppression throughout history told in a way never seen before. With a better comprehension of one’s culture allows room for appreciation.
What form does your work take?
Lost in Translation is a Fashion collection comprised of 6 outfits. The project consists of garments, photoshoots, digital content and a portfolio exploring the process leading up to the final outcome. The purpose of it is to be more than just aesthetically pleasing to the eye but to actually educate a society on a community they know very little about. ‘Our clothes speaks volumes that are mouths are unable to articulate’ is a saying that I go by which was part of my inspiration to produce a project that was more than just a project but instead a campaign with a broader message.
How have you evolved as a young creative while studying / working?
The younger generation are undoubtedly the future of fashion with the power to bring the change that the industry desperately needs. The innovative ideas that us young minds posses hold great capabilities. As a young black creative in an industry that lacks diversity, my eyes have really opened more to the ways in which I need to present myself so that I am acknowledged.
I feel as though I have found some what of a purpose in the industry I am about to step into and that is to use my voice, my knowledge and my skills to raise awareness on the lack of cultural diversity and bring in the importance of self-identity through a form that is identifiable if not by all then by most. Authenticity is something that makes every individual unique and for me that is a keynote that I remind myself of to motivate me to be greater in world that is so competitive in everything that you do.
What are the messages and themes behind your project that you want people to take away? Do explore any topics like diversity, sustainability or politics in your work?
As my collection explores how black fashion makes social and political statements it educates the observers on the systematic oppression that we face in society which is explored and highlighted in the textiles throughout the collection. From the embroidery patches to the appliqued tweets, from the choice of colours to the selection of fabrics, every small detail has a powerful meaning behind it. Glow in the dark thread has double meaning, we choose what we want you to see, whatever you put in the dark will eventually shine bright .The phrase “the statement we make” I feel is very important in my collection and I wanted to highlight that. It’s a powerful statement that emphasises and expresses that the fashion choices that we make, makes statements that shouldn’t go unnoticed.
The PVC pockets have a powerful meaning and significance behind them. As my collection is based on how black fashion make social and political statements, I wanted to do something that was innovative and different. As police brutality is a major problem amongst black youths in America and in the UK, a lot of the time it is your words against the police. The black lives matter movement encourages having video evidence to support against accusations for their safety also.
The pockets enable the wearer to put a phone in the pocket where the back facing camera is visible and is positioned in a way that when it is on and recording it captures everything that is going on in front. Another bonus is that the material also allows audio evidence to be captured as well as visual. It’s done in a semi discreet way what even though you can see it you may just think that it serves as a fashion purpose, but it doesn’t. ‘hand ups don’t shoot’
What’s an aspect of the fashion industry that you’re passionate about fixing or having a positive impact on?
Not only does the fashion industry lack diversity but so does the teaching institutions and I would like to be a voice to help bring culture and diversity to a world that needs it the most as fashion succeeds off of culture. The system needs to be adapted to be more inclusive as the current system is clearly not built for everyone. I want to be more than a designer; I want to be part of a movement that can encourage and inspire change.
What is your plan for the future?
My course at university was quite broad in what it contained, allowing me to take forward skills in more than just strictly making garments and generating textiles but it also incorporated fashion marketing, organising and conducting shoots and the business side of fashion. I have a keen passion for creative directing as I have a strong interest in researching and coming up with concepts of projects.
When I am captivated by a small seed like inspiration my brain is instantly bursting with all of these creative ideas that could potential transpire into a beautifully executed project. I would like to explore the idea of working in an international environment and hopefully obtain a international internship where I develop my sense of cultural identify further to establish what my ethos and my identity in my future endeavours.