My Caribbean Fashion Archive came out of my PhD research: Inna Style and Fashion. Fashioning Jamaica 1950- 1970 which explored the ways that Jamaicans used fashion in the construction of Jamaican identities between 1950-1970. Despite Jamaica's rich design history, little is known about its vibrant fashion and textile industry during this period, evident in their absence in the archives. This silence sparked a personal and academic journey that began with my father's three-piece suit and that would became the foundation for what would evolve into the collection of garments, textiles, and accessories that I have today.

​

The process of building this archive has revealed complex dynamics in how Caribbean fashion history is valued and preserved. Many of the pieces in my collection were purchased from North American vintage dealers, who often unknowingly hold these treasures, unaware of their historical and cultural significance. While this presents opportunities for recovery, it also highlights the challenges of recovering Caribbean fashion history—particularly as these items are frequently marketed at premium prices for their 'exotic' appeal rather than their true historical value.

​

Despite these constraints, the archive became a vital repository for my research. Each garment, textile, and accessory helps reconstruct narratives of Caribbean design innovation, craftsmanship, and cultural identity that might otherwise be lost to time. Through this collection, we can begin to understand how fashion played a crucial role in articulating Jamaican identity during the transition from colonial rule to independence.

​

The digitisation of this archive was made possible because of the hard work of BA Fashion Design students at Middlesex University: Adiba Sroya, Max Sonu, Ziggy Austynas & Arek Karpa.