Sekani Bramothe-Taylor

Sekani Bramothe-Taylor is a bright and bubbly person whose work reflects exactly that. Her background in classical ballet allows her to understand the body and the way that it moves; allowing for garments that play with contour, movement and dimension.

Bramothe-Taylor often writes poetry that goes hand in hand with her designs, as storytelling is integral to this artist's point of view; doing this through words, silhouettes and movement is how she expresses herself. Bramothe-Taylor brings her positivity and open-minded nature to everything that she does, through giving voice to themes about gender equality and her identity as a British-Caribbean woman, she uses her art as an outlet to inspire change and to allow her audience to leave thinking about a point of view that they might not have otherwise.

Bramothe-Taylor is always making the effort to expand her creative abilities and prides herself with having a “can do attitude” often stating; “If I'm not good at something I'll keep doing it until I am!”

“Inscriptions of Growth”
“Inscriptions of Growth”To grow we must stretch we have lots to give, shapes formed and forming; souvenirs of experiences to us fused permanently We’re so lucky that Our flexibility moves us along with the wind Through the creases, what we are, were and could be Mouldable, changeable, actually Free Nothing in nature is ugly it’s how it’s supposed to be, so why is a wrinkle just a detail on a petals complexity But a mark, slash or scar’s a mar on me If smooth; synthetic curated unnaturally I need to see the impressions of life’s inconstancies We can connect with time through the prints on our skin Personal etchings with every growth or shrink
“Caribbean Maximalism”This project is a love letter to Bramothe-Taylor's Caribbean heritage and family. At the very heart of Caribbean culture lies community and connection, and maximalism is a key form of outward expression. Bramothe-Taylor reclaims the stereotypes often used to diminish Caribbean identity — if they are called loud, they respond by getting louder; if told they are too much, they give even more. Drawing inspiration from Bauhaus architecture, carnival costumes, and incorporating family heirlooms directly into the piece, Bramothe-Taylor employed techniques such as hand beading, laser cutting, and sublimation printing to create this garment.
“Reclaiming Womanhood”
“Reclaiming Womanhood”This project is titled 'sustainable white project'. Through my research into sustainable natural materials such as cotton lead me to consider the connotations of the material cotton, this thought evolved into my concept in which I explored the origins of the dehumanisation of black female bodies, and in response I created a garment that feels empowering and feminine; decolonising connotations of femininity. This is a bra made out of old cotton socks for the cub and an old cotton vest for the band, and the skirt and bloomers are also made out of old 100% cotton shirts making my outcome 100% up cycled.
'Dark Nature'
'Dark Nature' This concept explores the dark environmental impact of artificial intelligence, with a particular focus on the immense water consumption of services such as ChatGPT. Bramothe-Taylor created this blazer, placing it in a dystopian setting where all the Earth's water has vanished, and the only remnants of nature are dehydrated, decaying foliage. The blazer is made from 100% wool and hand tea-stained using a stencil inspired by the patterns found on dying leaves. Additionally, by tea-staining and burning old recycled lace — featured on the right lapel — Bramothe-Taylor was able to mimic the texture and appearance of a dehydrated leaf, highlighting the dangers of a world left with nothing but brittle, dried remnants of once-thriving plant life.