After displaying some 2,000 pieces over four shows between Friday and Saturday last week, Caribbean Fashionweek (CFW) came to a seamless pause.

The controversy, however, has just begun, and will, we suspect, continue until June 2004 with CFW's next staging. Nothing new here. For, with several Caribbean people together -- and creative ones to boot -- there'd be a lot wrong were there not animated discourse. So let's go!

The exhibitors were not as many as one would have hoped for. Indeed, many designers had names displayed and nought else. Pity, since much thought went into the design of the booths, and there's nothing worse than seeing empty space in prime show areas. The public was absent too. Not enough publicity? No interest? I think not.

For Mark Daniel of Barbados, one-half of the design team Avark, the seminars were informative and left him wanting more. "I need to know how to get to the next level. I need to know what next to do," he told Hilary Phillips of Pulse last Saturday afternoon.

For French/Trini, St Martin's school of design (UK) honours graduate, Katia Camps-Campins, Caribbean Fashionweek was all about observing. Her designs are themselves pretty impressive and she plans to exhibit next year. She feels positive about Fashionweek and did her best to solicit feedback from the many designers.

"I didn't learn anything new from the seminars," she told SunDay, "but they served as a refresher course. Subtle reminders of what still needs to be done. Perhaps we need to examine why the Caribbean Fashion Council failed and look at revising it."

We heard from JAMPRO's Michael McMorris about the 50 per cent funding to Caribbean Fashionweek for those designers deemed suitable. And like him, many are happy that the private sector has hopped onboard, thus reducing government spending. But there's need for further

dialogue with local designers so that less time is spent sulking.

"Government must back local talent, not when they have made a mark on the international scene, but when there's obvious potential," said Amba of Mutamba.

"Government must be much more supportive," agreed a group of frustrated local designers. "With so many persons on our shore from the region and the hype about Caribbean integration, one would have hoped to have seen more government officials both at the shows and the seminars."

SunDay took away lots of 'designer advice' from Caribbean Fashionweek:

Designers need to stop being so negative, get together and strategise for 2004.

Fact is, some Islands came strong, much stronger than others. This is how it is when you're up against your peers. For designers to be quoted as saying that they were unaware of the dates of Fashionweek is a clear indicator that the craft is not taken seriously.

Marketing and visibility are essential. Being aware of Fashionweek, not just in Jamaica but elsewhere, will give designers the competitive edge.

Fledgling designers have it hard everywhere. At London Fashionweek 2003, designers, according to the British press, created wearable pieces. "They are no longer prepared to starve," noted many fashion editors in their summary.

"We have to look at creating unique Caribbean designs," was a common expression throughout Caribbean Fashionweek, for it's an open secret that for many, an order for 100,000 garments would be an impossible task. It's rather shallow to dismiss the region's designers as mere sample players.

The upscale men's line presented at CFW 2003 by Trinidadian designer Claudia Pegus (which, by the way, is completely sold), is clearly for a niche market and it would reduce its cache were it repeated en masse in the same way that Puma, Cooyah or Yardman can be. There are millions waiting to wear the cool, casual look. Millions of people who do not mind looking like millions of others. Homer Bair of Cooyah understands this and has added more clothes for the female to his already popular Bob Marley and Peter Tosh T-shirts. Bair believes strongly in marketing, and positioning.

"Tosh encouraged me," he told SunDay. "I have an exclusive deal with the Marleys to distribute the Marley image throughout the region (Caribbean). I speak to them almost daily."

He is also quick to point out the importance of patience. "It never happens overnight", and understands that Rhaj Paul (a Bajan designer) would want celebrities, like Shaggy and Sean Paul, on the show, to wear the clothes. However, he is more than aware that the big names -- Armani, Gucci, et al -- would get to them first with bigger bucks.

Andrew Cocking, group president of Capital and Credit Financial, attended the shows out of curiosity and was very impressed. "I was curious to see where we are, where we are heading, and how we look," he said. "I saw high quality, high-class designs. I thought that the Bajan contingent was excellent, as was Trinidadian Claudia Pegus."

Cocking noted that for others there was definitely room for improvement, but is convinced that it's an area of potential that we should exploit.

"With the millions of people visiting the region, and with the link between fashion, tourism, and entertainment, the possibilities are tremendous," he said.

The question now becomes 'How do we stop the malaise? How do we, here in Jamaica, pique the interest of our own designers?

And the bigger question, what about upscale Caribbean boutiques on every island? Yes, Caribbean boutiques just like those swanky ones found in every metropolis. Shoppers from around the world can jet in, the way we hop across to the States to find something for that very special function. The boutiques would naturally stock the very best of each country.

The Shows

Those persons who attended Caribbean Fashionweek (all the shows) are still glowing from the aftermath of high-quality designs. For many, the weekend was all about the extraordinary work from Trinidad and Tobago, and Barbados.

On Friday night, Guyanese designer, Michelle Cole of Cole Facts design house, emerged as a hot new talent. Her white collection cleverly accessorised with straw sandals worn on one foot, and wooden beads used to create hoops, asymmetrical lines, and hoops, was "inspired by nature" she said, adding: "I wanted to portray fresh, new, complete innocence."

There was the Latin influence too, with her tight bodice. Her designs found favour with Miss Universe 1998, Wendy Fitzwilliam, who was just one of many to have made a purchase after the show.

Theo Hunter, a Jamaican designer, gave us his take on street funk, while Sonia Mack unearthed her rich French, Morrocan, and Trinidadian heritage. Her stitches embraced Africa, Latin America, the Caribbean and Europe.

Her range as a designer (she dresses brides, pageant contestants, the sexy diva, and the carnival masquerader) was evident as models paraded in designs for every occasion.

It was to Bali that we looked at CFW 2002 with Mutamba. This year, according to Amber, "we brought them all here. We pay tribute in our collection to the mothers of Afghanistan". This they did with floating chiffons, glorious colours, the use of lace, and a formidable jewellery collection.

Nefertari, came once again, saw and totally conquered at first in white, and then in hand painted splashes of silk. Call it upscale resort wear if you absolutely must put a name to the designs. Models held wire-looking handbags, also created by Nefertari.

Pegus gave a whole new meaning to Caribbean male chic. And presented males deliciously packaged in opulent threads.

Saturday: Day 2 -- The first show:

Wayne Smith opened strong with his macrame and burlap designs, followed by swimsuits from Zero Gravity, and three distinct fashion sections by De Cher. Of note here were the denim reconstructions.

Wright Style worked magic with linen and cotton executing 'simple' designs in white, red, and black for the Caribbean male and female.

Rene Luke from Barbados presented a safari collection that revealed her versatility, range and amazing eye for detail. Her name is definitely one to note.

The vocal threads of Robert Young, of The Cloth, closed the show with vibrant colourful designs, worn with trendy bags and designer-cool Caribbean attitude. Quite significantly, a white cloth with 'The Cloth' inscribed in black, declared the show open.

It was the second show, however, that would leave us all fashion traumatised. For with Roger Gary opening the show with an unapologetic tribute to glamour sexy swimwear cum evening wear, worn with opera gloves, azure chiffon stoles and stilettos, the pace of the show was as breathtaking as the designs.

When it was over, the master left us completely breathless and wanting more, lots more. It took the cool, earthy vibes of Yardman to bring us all back to terra firma.

SIIM held her own, showing no sign of intimidation, and eased into a classic repertoire of skirts, trousers and dresses. "My clothes are not trendy pieces," explained Michelle Simone Clarke after the show. "The designs go straight from my head to the fabric. There's no dilution. What we presented were combination, very structured pieces."

Biggy and Stazzia Leather delivered edgy chic. With Stazzia Leather opening up a whole realm of possibilities with fur, suede, tassles and tweed-detailed jeans and jackets.

Uzuri took glamour up a couple of notches, and guided by the sultry voice of Eartha Kitt, models paraded in stunning gowns.

Pegus, who closed the show, established herself as the Haute Couture queen of the region with designs of dupioni silk, viscose boxer shorts with opulent turn hems, and a formidable range of that little black dress.