With a career that spans womenswear design, fashion education, and cultural research, Deborah Carnegie brings a rich, multifaceted perspective to the evolving landscape of fashion. After launching her own label in the late 1990s, Deborah transitioned into education, where she’s spent over a decade shaping how the next generation of designers engage with the industry. Since joining London College of Fashion (LCF), UAL, in 2014, she has developed placement-based curricula that bridge classroom learning with real-world experience. Most recently, Deborah completed a master’s degree in Academic Practice, focusing on the styles and trends of Black British women - an area of fashion history she is now passionately archiving.
In this Q&A, Deborah reflects on her journey, current work, and why preserving and celebrating Black women's fashion is a vital act of resistance, memory, and cultural affirmation as part of LCF’s Fashioning Frequencies exhibition.
From an early age, I was captivated by the styles I saw around me, particularly the influence of my mother and the vibrant mix of fashion within my family. I loved experimenting in front of the mirror and styling outfits with my sister for Saturday night outings. That playful curiosity soon became a deeper passion, nurtured by fashion magazines like ‘Vogue’, and ultimately led me to formal studies at the University of Westminster, London College of Fashion, UAL, and Surrey Institute of Art and Design, University College. Those experiences not only refined my eye for design but also equipped me with the technical skills to create garments professionally for clients.
Launching my own label was an exciting and rewarding chapter, but like many creatives, I faced financial constraints that prompted a reassessment of my path. Teaching became a natural transition; it allowed me to bring my industry experience into the classroom and help guide others on their creative journeys. I found it incredibly fulfilling to foster a space where students feel supported and inspired. Education offered me a chance to give back, to share what I’d learned, and to encourage the next generation to embrace both resilience and innovation in their own pursuits.
I’ve always been drawn to environments where creativity is a collective force, and LCF is exactly that. At LCF, as a Diploma in Professional Studies Coordinator I support students in gaining real-world experience and in developing the key skills needed to succeed in today’s fashion industry. A major focus of my work has been developing an innovative online platform that blends academic and practical learning. This platform helps students chart their personal and professional development, making their growth more visible and empowering. What excites me most is the opportunity to bridge the gap between theory and practice, and to be part of such a vibrant, dynamic community of creatives.
Pursuing my master’s was a transformative step that deeply enriched my role as an educator. It reignited my passion for research, particularly around cultural heritage and its expression through music and traditional dress. This exploration helped me understand how deeply culture informs fashion, and it gave me a new lens through which to teach. By reflecting on my own heritage, I was able to bring fresh, culturally grounded perspectives into the classroom, ones that invite students to see fashion not just as style, but as a narrative deeply woven with identity, history, and meaning.
Black British women’s fashion, especially the pride and creativity shown through Saturday night styling, is rich with cultural significance, yet it remains underrepresented in mainstream narratives. These women use fashion as a form of self-expression and empowerment, but their stories are often misrepresented or entirely overlooked. Through collecting and researching imagery, I’ve come to appreciate how vital it is to document these stories with care and respect. It’s about giving voice to a community that has long used fashion as a tool for identity, pride, and resistance.
I want to spotlight the unique synergy between fashion and music, especially reggae and dancehall, and how it shapes the style and identity of Black British women. These genres aren’t just music; they’re cultural touchstones that inform how women present themselves, celebrate themselves, and connect with one another. Through the archive, I hope to highlight how these sartorial choices reflect deeper narratives of heritage, community, and individuality.
I encourage students to approach fashion with curiosity and cultural sensitivity. Exploring traditional dress and cultural practices beyond their own backgrounds helps them appreciate the diverse values and histories embedded in what we wear. It also sparks meaningful dialogue and fosters empathy. My goal is to inspire students to contribute to a more inclusive fashion narrative, one that acknowledges our interconnected histories and celebrates the richness of global perspectives.
Fashioning Frequencies is open until 21 June 2025 at LCF’s East Bank campus.