Trinidad Carnival is more than just feathers, beads, and music—it’s a centuries-old tradition rooted in resistance, resilience, and cultural pride. Originating from enslaved Africans who used masquerade as a way to reclaim their identity, the festival has evolved into one of the most anticipated cultural spectacles in the world. It is here, in the heart of this ever-evolving tradition, that Solange Govia has made her mark, blending heritage with innovation to redefine the art of mas.

“Trinidad Carnival is often imitated but never duplicated,” Govia says, her voice carrying both pride and conviction. “You cannot recreate the essence of what we have—moments like Kambulé, stickfighting, ole mas, and steelpan are memorialized in our history as a people. This is something we must continue to maximize, protect, and preserve.”

For over 15 years, Govia has been at the forefront of Carnival design, not only as a creative force but also as an Operations Manager for HARTS and Lost TRIBE, two powerhouse bands under the TRIBE Group. But her entry into the industry wasn’t planned—it was pure serendipity.

“The old story goes that I completed university in Canada and returned to Trinidad because I wanted to be close to my family,” she recalls with a smile. “I figured I’d find a ‘real job,’ but before I started looking, someone needed help at a Mas camp, so I said okay. I figured I’d help out for two to three weeks. Then a month passed. Then two months. Now, 15 years later, here I am.”

Govia’s work is more than just costume design—it’s storytelling. She has heard the misconceptions, the dismissive remarks about masquerade being nothing more than sequins and feathers, but she knows better. Every costume, every detail, carries history, culture, and purpose.

“We started the journey of Carnival storytelling because of the uninformed comments,” she explains. “Some people would say, ‘You just throw some blue gems on a costume, and that’s it.’ But there’s a deeper meaning behind the work I do as a costume designer. It’s not just about beauty; it’s about preserving our identity and sharing our story with the world.”

That philosophy has earned her global recognition, with her work featured in Essence, Allure, and The New York Times. But for her, the most rewarding part is the ability to introduce Trinidad Carnival to new audiences.

“I see this recognition as an achievement for Carnival as a whole,” she says. “The main aim is to introduce Caribbean culture to the world. These press features aren’t just about me—they represent a team effort and a movement. They open doors for collaborations, like my beauty partnership with Brown Sugar Babe for Trinidad Carnival 2025. It’s an honor to be featured, but it’s even more important that the world knows about the magic of Trinidad Carnival.”

Women have always been the heart of Carnival, from the early days of traditional folk characters like the Dame Lorraine to today’s frontline costumes that celebrate confidence, sensuality, and strength. For Govia, designing costumes isn’t just about aesthetics—it’s about making women feel empowered.

“I’ve always been a huge advocate for empowering women in masquerade—it’s the cornerstone of my life’s work,” she says. “Women are the driving force behind the Carnival experience. I design for them to feel good about themselves when they are on the road. It’s hard work, but it’s done with a purpose.”

Her costumes cater specifically to the modern woman, ensuring that each design isn’t just visually stunning but also makes a statement about confidence and inclusivity.

“There’s nothing more beautiful than a woman taking up space in the most powerful way on the road for Carnival,” she emphasizes. “My masqueraders play mas to feel beautiful, empowered, and free. That’s why the process takes months of brainstorming and preparation—because it’s about more than just looking good. It’s about feeling good.”

Her upcoming collaboration with Brown Sugar Babe, a beauty brand founded by a fellow Trinbagonian, is an extension of this mission. With more international audiences becoming interested in Trinidad Carnival, particularly from markets like the U.S. and the UK, she sees this partnership as a celebration of women, beauty, and self-care.

Creating a Carnival costume is a delicate balance between artistic vision and practical execution. Govia begins her design process as soon as a band’s theme is revealed, setting off a chain of creativity—sketching, mood boards, material sourcing, and countless hours of brainstorming.

“I start by brainstorming, sketching, and making mood boards. Then I hit the road to source materials—nothing inspires me quite like walking through fabric stores in New York. I touch, I feel, and sometimes, a single piece of fabric or jewelry will spark an entire costume concept.”

But creativity alone isn’t enough. Mass production must always be considered, as each design must be replicated hundreds or even thousands of times without losing its intricate details.

“Functionality is a major consideration because you want to do something intricate but must factor in the reality of mass production,” she explains. “I ask myself, ‘Can anybody do 300 or 1,000 of these?’ My masqueraders deserve quality and comfort, and I refuse to compromise on that.”

Despite her success, Govia admits that every new season brings fresh challenges.

“Every year, I think, ‘I can’t do it again,’” she confesses. “It’s always a hurdle, especially as a woman in this industry. But I’ve stayed the course, and I’ve built strong relationships with customers and masqueraders. I wouldn’t be here without my support system.”

Looking ahead, she sees sustainability and technology playing increasingly significant roles in Carnival costume design.

“In the next decade, we’ll see a shift towards eco-friendly materials. Advances in technology will allow us to mass-produce intricate designs with less waste. But while technology will play a role, the soul of Carnival must remain rooted in cultural significance.”

Govia’s impact stretches beyond Trinidad, with her designs gracing Carnivals in Jamaica, Barbados, St. Vincent, and the UK’s Notting Hill Carnival. Adapting to different cultural influences has been an ongoing learning process, but one that excites her.

“Every island has its own aesthetic. What works for Trinidad may not work for Jamaica, and that’s okay. I’m always researching, always learning what masqueraders want in different markets.”

One of her proudest career moments came when she was commissioned to create a Fancy Sailor costume, a character with deep historical ties to traditional ole mas. Unlike her usual work, this project did not require mass production, allowing her to fully embrace ornate, intricate detailing. That same costume was later worn by Miss World Trinidad and Tobago, Aché Abrahams, for her national costume presentation—a moment that felt like a perfect blend of the past and present.

“That was such a special experience,” she recalls. “It allowed me to go all out, honoring ole mas traditions while adding my creative flair.”

As she prepares for Trinidad Carnival 2025, with four sections in TRIBE and HARTS, she remains committed to her mission—uplifting women, preserving culture, and pushing the boundaries of design.

“Women’s empowerment has been the theme running through my work for 15 years,” she reflects. “If I could design a costume inspired by my personal journey, it would embody the power of the female form—how beautiful, strong, authentic, resilient, and diverse we are. That message will always be at the heart of what I do.”

Through her artistry, Solange Govia isn’t just designing costumes; she’s shaping the future of mas, ensuring that the legacy of Trinidad Carnival shines brighter with every passing year.