Tremaine Emory: Denim Tears

Tremaine Emory’s latest Denim Tears project is everything the world of fashion needs right now. The cream-colored sweater with the Union Jack and elements of the Pan-African flag was the first visual cue the icon gave to reveal the new project. Just like the other projects, this one, too, had a story behind it.

The name “Empire Windrush Nineteen Forty-Eight,” unveiled at the London Fashion Week, tells us about 1948. This was when the cruise ship called Empire Windrush brought to London the first few immigrants from Jamaica to fill the labor shortage after the war. This collaboration consisting of 20 pieces is Emory’s and Stavros Karelis’ work along with an artist from London, Khalid Wildman.

However, the way Karelis describes Emory is pretty accurate “The man always follows his vision. I see him as a multidisciplinary artist, and there’s honesty and inspiration in his vision, which is something I don’t find a lot these days.” Wildman is also all praises for Emory’s Denim Tears project, calling it a storytelling platform with the ability to bring forgotten stories to the forefront again through garments.

Emory’s work depicts the story of British Colonialism when slavery had become quite the norm. The dark roots of the heinous crimes that took place in the era could have long been forgotten if it wasn’t for the work of art that kept bringing it back to the limelight.

However, the idea did not plant itself randomly inside Emory’s head. It was the long exploration and observation of the work of fellow artists that somehow let Emory create the concept himself.

He was majorly inspired by Wildman’s concept that shed light on the African diaspora and the agony of Black artists in general. Blown away by the idea, Emory couldn’t stop himself from working with the gifted Khalid Wildman for his upcoming project.

Both Wildman and Emory foreground their work in politics and race. They wish to create an atmosphere where people can ask difficult questions about the past that sometimes easily tends to get forgotten.

Karelis believes that the message both Tremaine Emory and Khalid wish to communicate to the masses is very important. While some people do not think of it much, but clothing is also a form of art, and it is also one way for people to connect and stay informed.

Moreover, since Emory’s target market is mostly young consumers, his message also resonates with them quite well.  Therefore, by using the weapon of fashion and art, he wishes the young audience to become aware of African history and the roots of slavery and for them to connect and ask more questions about those subjects.

In the end, for Emory, the Denim Tears project is a way to use clothing as a bridge to tell stories. Even though he isn’t too sure about what the future holds for him and his line of work, he’s confident that he’s doing the right thing today.