As promised in my previous edition, I am delighted to dedicate this newsletter to the enriching discussions I had with three remarkable Latin American designers who showcased their collections at London Fashion Week in February: Jennifer Droguett Espinosa, the creative force behind Anciela, who is of Colombian and Chilean descent; Genaro Rivas from Peru; and Nicole Zisman from Venezuela.

Their experiences navigating the challenges of life in London deeply resonated with me and likely echo the common struggles faced by many Latin Americans living abroad.

Latin Americans are not officially recognised as a minority group in the UK, despite being one of the fastest-growing communities in the country. Being classified in the 'other' category in censuses, diversity and inclusion questionnaires further complicates visibility for artists and designers in the creative scenes.

I welcome your thoughts and reactions to their stories, so please feel free to reply or comment! Now, without further delay, let us delve into their journeys.

Fashion Designer Genaro Rivas Weaves Peruvian Heritage into London's Fashion Fabric

Rivas is the first Peruvian designer to show at London Fashion Week.

As soon as you get on the phone with Genaro Rivas, you immediately sense the young designer's eagerness, brimming with hope. Before I could fully introduce myself, Rivas assured me his brand harboured a business story deserving of attention. One can tell he's struck by the palpable freshness of someone still at the outset of navigating the intricate tapestry of city life in London.

To his credit, Rivas had recently debuted a collection at London Fashion Week, becoming the first Peruvian designer to achieve such a feat; it's no wonder he's excited. What made him more enthusiastic still, was to share how he had harnessed the skills of East London's local artisan communities to bring his vision to life. His ambition wasn't just to showcase his work but to forge a locally-focused industry with the potential to "positively affect over 100 people through a fashion collection,” he says.

Manufacturing in London presents a considerable challenge for an emerging brand like Rivas's, due to the higher costs of supporting local artisans and reducing the environmental impact of shipping. Rivas, while not the first to take this path, stands out by using Peruvian alpaca wool in his collection, uniquely combining East London’s edge with Peru's rich textile heritage.

Following this ethos, Rivas aimed to replicate the success of a similar project he had previously launched in Peru, 'Tejedores por la Esperanza' (Knitters of Hope), where he collaborated with local artisans to manufacture a range of products, including fashion, textiles, rugs, and installations. "I strongly believe in fostering a collaborative environment to boost neglected economies," he says.

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Jennifer Droguett's Anciela Is a Stand Against Cultural Appropriation

By weaving stories into every design, the Chilean-Colombian designer aims to amplify Latin American visibility in fashion.

Meeting Jennifer Droguett Espinosa, the designer behind Anciela, gives you that sensation of immediate familiarity, as though you are reconnecting with an old friend. Her distinctive style, marked by a sleek bob and a strikingly printed tailored shirt, naturally drew a compliment from me.

In response, she unveiled the story behind her shirt's unique print—a captivating blend of 1920s Colombian newspapers, capturing scenes from banana plantations, and pastel butterfly sketches. It was reminiscent of the banana massacre—a theme also present in Gabriel García Márquez's renowned novel, "One Hundred Years of Solitude". "Because I came up with it during the pandemic, it alluded to how we continue to make the same mistakes generation after generation," she says.  

This insight captures the essence of Anciela's allure; Droguett's Chilean-Colombian heritage not only shapes the broad themes of her collections but is also intricately woven into every detail, enriching the narrative and depth of her designs.

During the latest edition of London Fashion Week, Droguett set up a pop-up shop in Shoreditch to mark the brand's fifth anniversary. The venue reflected the brand's intimate ethos and showcased "Latin Notes", her Spring Summer 2024 collection, first unveiled in September, alongside a selection of previous work.

The collection features vibrant printed fabrics sourced from Allegra Hicks’ deadstock, a thoughtful blend of style and environmental consciousness, which are cornerstone values of the Anciela brand. Droguett also collaborated with Alice Timmis Studio to create experimental jacquards, incorporating raffia, recycled yarns, and Tencel jerseys. Additionally, Droguett teamed up with Mariana Leyva from Studio Kuhu to bring traditional Mexican dyes like English Madder and the historic Cochineal dye to the collection.

Intrigued by her brand's philosophy, I couldn't resist asking about her motivations. With a sigh, she expressed, "It's so difficult? Why bother setting up a brand, right?" However, after graduating from the Amsterdam Fashion Institute and working in various studios as a pattern cutter and assistant, she noticed something that made her uncomfortable.

"Ten years ago, cultural appropriation wasn't a topic that was discussed much," she recalls an experience where she saw all-white teams trying to reference a particular design that was trending.

She noticed the behaviour was prevalent across all levels - from up-and-coming designers to well-known names.

For this reason, it was essential for Droguett to establish a brand that sought sustainability, cultural respect, and diversity. "But I didn't have a fashion degree from a famous school, the finances, or the connections," she recalls. With a limited network of only her design team and a few London workshops— she felt constrained. Still, she decided not to overthink it and asked herself, "What can be done?"

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Through Her Personal Story, Venezuelan Designer Nicole Zisman Defies the Clichéd Expectations of 'Latin' Fashion

Favouring symbolic patterns and deconstruction as storytelling tools, the Central Saint Martins graduate explores the complexities of immigrant experiences in the UK through her collections.

Photos courtesy of Nicole Zisman

Upon catching wind of Nicole Zisman's accent, it struck a chord of familiarity, unmistakably from Caracas. My remark about it surprised her, as she believed that so many years living abroad—16 to be precise—would have dulled that distinctive cadence of speech.

Our common Venezuelan background made it simple for us to bond over the distinctive experiences of being a Venezuelan living in London. An experience that requires resilience and navigating the stark cultural contrasts.

For example, she shares a story of her aunt urging her to forgo homework for an impromptu family trip to the beach, contrasting against London's more reserved and often dreary atmosphere. "You feel constantly broken here," she observes.

This sense of "brokenness" and the resilience required for daily life as a "Londoner" is what Zisman sought to address in her Autumn Winter 2024 collection.

For instance, she used tape as a motif to symbolize the need for adaptability and quick maintenance of appearances, like affixing makeup to skirts or tops. Meanwhile, a skirt-over-trousers look emerged from her personal experience: "When I'm super busy, I can't stand wearing tights," she explains.

The 28-year-old designer graduated from Central Saint Martins in 2019 with a degree in Fashion Design in Print. But it wasn't until last year that she launched her wholesale fashion brand. She had primarily been working as an artist, focusing on sculpture and installation projects for galleries, and produced clothing pieces mainly on commission.

Her delay in entering the fashion industry had a substantial rationale.

She recalls fashion internships were marred by endless overtime and negligible compensation, all within a hostile atmosphere.

However, a passion for print and a desire to delve into personal narratives propelled her to venture into ready-to-wear. "I love print, and the type of images I always look for are very much about storytelling," she explains, indicating a preference for symbolic patterns over obvious prints.

A great example of her approach to print is Zisman’s 2019 BA graduate collection, which focused on the theme of assimilation. Here, she played with styling, creating a character that existed solely on Instagram. “I would take her garments and conduct styling experiments with pieces that represented my reality, turning the prints into collage-like mishmashes of garments.”

Another prevalent theme in Zisman's designs is the exploration of “the beauty of imperfection.” She achieves this through a technique known as "shattered glass," originally developed for an art project at a London gallery. This method has become a signature of her work, evident in her graduate collection and subsequent lines, including her recent AW24 collection.

The process involves meticulously assembling fabric panels and hand-sewing hundreds of sequins onto them. The careful placement of each sequin, akin to solving a puzzle on fabric, transforms the dress into a wearable work of art. "I often speak about the state of being broken, and there's a certain beauty to that. There's huge potential for growth and strength."

Navigating the cultural differences that lead to that state of emotional "brokenness" is one thing, and conforming to Latin American clichés and stereotypes is quite another. "People have an idea of what Latin American fashion is," says Zisman, acknowledging the contributions of countless designers dedicated to handicraft and locally sourced materials, "but having not lived in Venezuela for a long time, my experience differs from the typical idea of "Latin fashion", and sometimes, people don't understand.”

Like Droguett, Zisman feels that, despite a vibrant Latin community in parts of London, there needs to be more awareness and engagement with Latin American stories and identities.

Yet, as a Sarabande Foundation alumna, Zisman does recognise the substantial support system available for emerging talent in London. “Sarabande has been incredibly supportive, offering space and assistance along with a fantastic team of mentors. The artist community is truly exceptional,” she says.

This nurturing environment has been instrumental in her development, yet Zisman remains focused on a broader goal: deepening her connection with her audience. This will only become clear once the collection is released," she explains. Currently engaged in discussions with potential buyers, Zisman is exploring the market's response.

“Knowing oneself is crucial, but the essence of art lies in its ability to connect with others. I'm actively working towards this," she asserts."