The audacious designs of Kambe the Brand
Written by: JOEY BARTLETT
As the first Monday in May settles into the global consciousness, the Met Gala once again transforms even the most casual observer into a self-appointed fashion critic. Social media feeds, television panels, and group chats are flooded with “Who Wore It Best” debates and hot takes on who truly embodied the theme.
But while the world fixates on the steps of the Metropolitan Museum of Art, a quieter, yet no less deliberate, fashion movement is unfolding much closer to home.
Within Trinidad and Tobago’s growing fashion landscape, one name is steadily cutting through the noise: Kambe the Brand, the avant-garde vision of designer Kambe Lovelace.
To understand the brand is to understand patience.
While its foundations were laid years ago, Kambe the Brand’s entry into the retail space was anything but rushed. “In 2015 I’d say [the brand was created],” Lovelace reflects; “however, I officially started retailing in 2024.” That near decade-long incubation period speaks to an approach rooted in intention rather than impulse.
For Lovelace, fashion was never a fleeting interest; it was something inherited, something inevitable. “It was always a dream of mine. I grew up with fashion, and I believe I have a unique perspective that could be impactful.”
Still, turning that perspective into a functioning brand required more than vision. Like many independent designers, Lovelace faced the structural challenges that define emerging fashion industries. Moving from a bedroom studio to a retail presence demanded not only creativity but also capital, access, and infrastructure. Production and funding were the primary obstacles.
In a region where fashion is often undervalued as an economic driver, producing high-quality, polished garments becomes an act of persistence as much as design.
Asked to define Kambe the Brand, Lovelace avoids over-explaining. His answer is concise: “cool, fun, polished and street.” It’s a description that reflects both accessibility and edge, clothing that feels intentional without losing its sense of play.
“Don’t be afraid to challenge, stand out and be excessive.”
That commitment to standing apart is what anchors the brand in an era dominated by fast fashion and algorithm-driven trends.
“My unique voice and storytelling translate to model selections, campaigns, content creation and branding. It portrays a cool but very ‘fashion’ perspective.”
Collaboration also plays a critical role. Rather than operating in isolation, Lovelace works with emerging creatives, photographers, videographers, and models, who align with his aesthetic. The result is a brand rooted in shared creative energy.
So, does the region influence his work? Lovelace doesn’t hesitate. “It 100% does!” But his interpretation moves beyond the expected. Rather than leaning into stereotypical tropical motifs, he draws inspiration from everyday life: everyday people in the street, the unfiltered reality of Caribbean style.
His references reflect this layered approach. From the theatrical storytelling of Peter Minshall, particularly Under The Mas by Jeff Henry, to the global influence of designers like Alexander McQueen, Thierry Mugler, and Vivienne Westwood, Lovelace’s aesthetic exists at the intersection of local identity and international fashion language.
Inspiration, however, doesn’t just come from icons. It comes from observation. Whether it is his sisters and their circles or a stranger across the room, Lovelace is constantly reimagining the ordinary.
“How can I create the most fashionable version of an outfit a random person at Starbucks has on?’”
As an independent designer, he is also transparent about the realities of the creative process. Building a collection is rarely linear, and Lovelace embraces that uncertainty. Currently in the early stages of a new body of work, he hints at a direction that may push the brand even further.
“The end result might be different from where I’m at now, but the one thing I know is I intend on making the pieces versatile for different body types.”
For him, inclusivity is not performative; it is structural. His upcoming collection draws from an unexpected mix of influences: “Sculpture, basketball, and pattern clashing.”
Despite the concepts, the wearer remains central.
“I want it to be comfortable to wear, and I want the wearer to feel special when it’s on their body; they must always stand out.”
So who is the Kambe customer?
“Someone comfortable in their skin, unafraid and comfortable with compliments.”
Lovelace adds his customers are confident, expressive, and willing to take risks, but not without intention. At the same time, he maintains an open-door philosophy.
"I am welcoming to anyone who wants to wear my designs. Fashion is for everyone, and if you like what I make, we can work together.”
Balancing artistic experimentation with wearability is where the technical side of his craft comes into play. Fabric selection and construction act as the bridge between concept and reality, grounding his more unconventional ideas.
“You like jeans? Here’s a pair of jeans with frayed edges in a place you’d never think to have frayed edges. You like a mini skirt? How about one made of bandanas?” It’s this balance that allows the brand to feel both daring and wearable.
Although still in its early retail stages, Kambe the Brand has already found its way onto notable figures, including Miss Environment 2025 Rebecca Baptiste, Natasha Hackett, and international model Crystal Noriega. Yet Lovelace’s dream collaborators remain at home. Whom would he most like to dress? His answer is immediate: “Lady Lava and Wendy Fitzwilliams.”
His designs often begin in his bedroom, evolve in his studio, and are produced by local manufacturers, though Lovelace still contributes directly to certain pieces. This hands-on approach results in limited runs, adding a sense of exclusivity to each release.
Lovelace's made-to-order services are currently paused; his work is available at two local boutiques: 36 Cornelio in Woodbrook and Poshh Collections in Grand Bazaar.
For all the effort behind the scenes, the most rewarding moments come from the audience.
“The reactions I get when someone tries on a piece… getting the messages about the reactions they got when wearing it… even the models, seeing them enjoy wearing my pieces for photoshoots or runway shows,” he says. “It makes me feel like I’m doing a good job.”
Running an independent brand also means navigating the balance between creativity and business.
“Well, a budget helps,” he laughs. “Every creative who owns a business should have one. Also, it’s important to be discerning about what creative efforts you want to invest in. The creative should bring returns into your business.”
Looking ahead, his ambitions stretch far beyond local recognition. He plans to expand across Trinidad and Tobago before taking the brand onto the international stage.
His advice for emerging designers “Be sure this is what you want to do because it’s a lot of work.” As for his definition of success, it reflects the same boldness that defines his designs.
“$5 billion in revenue for the year, much like Gucci, yunno?”
Comments