Before a Jamaican designer cuts the first pattern or makes the first stitch, there is the fabric. And more often than not, that fabric started its journey somewhere else. Jamaican designers rely heavily on imported textiles. Bulk fabrics generally come from Asia, while speciality fabrics and smaller quantities of higher-quality material may be sourced from the United States and other markets.
But growing Jamaica’s fashion industry does not necessarily mean building large textile factories. For JBDC Fashion Designer Robert Hall, the bigger opportunity is deciding which parts of the textile value chain Jamaica can realistically own, and where Jamaican creativity can create greater value.
“The key element that we have to concentrate on is the issue of exclusivity,” Hall said.
That could mean developing original prints, digitally printing smaller quantities of customised fabric, producing hand-dyed textiles or incorporating Jamaican craft techniques and materials into garments.
In other words, fi wi fabric does not have to mean producing every fibre locally. It could mean more of the design, creativity and value behind the textile is Jamaican.
ORIGINALITY OVER VOLUME
Hall does not believe Jamaica needs to replicate the massive textile industries found in larger manufacturing economies.
Textile manufacturing is heavily dependent on economies of scale, and Jamaica may not have the domestic market to absorb the output of large factories. Hall also points to the industrial, labour and environmental demands involved in conventional textile production.
“What really is more important is about us designing original fabrics,” he said.
Modern digital technology could make that increasingly possible.
Direct-to-fabric and direct-to-garment printing allow digitally created designs to be printed directly onto materials. Hall noted that businesses in Jamaica are already using versions of the technology on a small scale.
“For us here, it’s really about expanding that layer where you can do a lot more custom smaller ones…that would fit into that kind of boutique perspective that I think works for the Jamaican space,” he explained.
Mauritius offers a useful international lesson. The small island economy developed a significant textile and apparel sector but did not attempt to produce every input locally. Manufacturers invested in areas where integration improved quality, flexibility and delivery, while avoiding areas where competing internationally made little commercial sense.
The lesson for Jamaica is similar: the goal does not have to be producing everything. It is identifying where Jamaica can compete.
THE VALUE OF THE HAND
Technology is only part of that opportunity. Hall also sees potential in specialised, handcrafted production.
Jadire´, an African-Jamaican batik technique developed through collaboration between Jamaica and Nigeria, provides one example of how smaller batches of distinctive textiles can be created.
Hall believes Jamaica can embrace these “hand technologies” alongside newer digital methods, creating shorter production runs that are specialised and difficult to replicate through mass manufacturing.
But the possibilities extend beyond dyed fabric.
Crochet, weaving, macramé, handmade trims, buttons, clasps and other accessories could bring Jamaica’s existing craft sector further into the fashion value chain. Hall also points to artisans working with materials such as coconut shell and basketry as potential producers of garment details and accessories.
That means a stronger textile ecosystem could create opportunities not only for fashion designers, but also textile designers, printers, dyers, weavers, craft producers and other creatives.
WHEN FABRIC INSPIRES FASHION
Perhaps one of the most interesting possibilities is greater collaboration between the person creating the textile and the person designing the garment.
Hall describes a relationship where original prints can inspire the shape and direction of a collection, while the theme of a collection can influence the fabric created for it.
There can be a “talk back conversation” between the textile designer, the fabric and the clothing itself.
That relationship could give Jamaican fashion another layer of identity.
Jamaica has participated meaningfully in apparel manufacturing before. At its peak in the 1990s, the clothing and textile sector employed tens of thousands of people and generated hundreds of millions of US dollars in exports.
The next version of the industry, however, does not have to look like the last.
Jamaica may never compete with the world’s largest textile producers on volume or price.
But it may not need to.
The opportunity could lie in original prints, limited textile runs, digital technology, handcrafted techniques and collaborations that make the fabric itself part of the Jamaican fashion story.
Not necessarily making all our fabric.
But making more of it fi wi own. Visit the JBDC’s Incubator & Resource Centre for expert guidance and to explore opportunities in textile development, fashion design and manufacturing. Start your journey at www.jbdc.net.
