If there were a best dressed list compiled for the recently-held Caribbean Music Awards, Terri Lyons would no doubt be on it. Her custom gown caught instant attention on the red carpet at the National Academy for the Performing Arts on September 19, where the event was staged on local soil for the first time.
Plot twist: designer Angel Griffith of Angel Glow Designs had only 48 hours to pull it off so Terri could stand out while presenting to Calypso Rose. Armed with over 12 years of experience specialising in bespoke fashion, she said yes to the challenge. Couture and a two-day window are never supposed to be in the same sentence, but Griffith nailed it. “I told her straight up, ‘Well, you came to the stand-out boss, so don’t worry, I got you!’’
Between remote fabric shopping chaos, numb and cramping fingers from cutting heavily embellished materials, sewing through the night, and dropping the finished gown off just two hours before showtime without a final fitting, it was a test of pure grit, estimation, and faith.
In this one-on-one with WE Life and Culture, Griffith shared all the raw emotions about how she survived the ultimate workshop hustle to create a show-stopping masterpiece.
WE: Congratulations on your creation. What was the concept behind the design?
AG: I have worked with Terri before, mainly through Calypso, so we already had a level of trust. But this was different; it was my first time creating a red-carpet gown for her. When she came to me she had a few ideas in mind. l am aware that she loves movement and fullness. She also likes layers. I am always open to working with my clients’ ideas. At the end of the day, they have to feel beautiful and comfortable in what they are wearing. I took some of the elements she wanted and then said, ‘Okay, leave the rest to me.’
When you hear the word red carpet, this can mean different things to different people. But for Terri, l believe she’s our Caribbean diamond and she’s definitely in her queen and glow season. She is naturally beautiful and really doesn’t need much. I wanted this dress to carry glam, sophistication, elegance and a little bit of drama. The final concept became this black, embellished, sculpted gown with the dramatic layered skirt. I wanted her to walk into that red carpet and have people stop and look. Mission accomplished.
WE: Take me through those hectic two days — what did the process look like?
AG: The first thing was getting the materials. I couldn’t go fabric shopping with her, so I guided her exactly where to go and what to look for. She ran to the store and was sending me pictures and videos; I was basically shopping remotely with her.
I grabbed that bag and threw open the fabric on the table and started to cut. Thursday morning l was cutting the top part of the dress, attaching the boning to the illusion spandex. I was determined to get a fitting by 12 midday, or we would have run into problems. She came in and fitted with not many adjustments. It was literally a race against time: cutting the embellished fabric, working with the stretch, putting in the lining, building the structure and creating those dramatic layers in the skirt.
And let me tell you, my fingers paid the price! After hours of working, they were numb and cramping. My palms were sweating; the adrenaline was pumping. I cut and sewed all night Thursday. l had to cut all the ruffles out and do the layout and lap on the lining so it will fall evenly. At this point, it was estimation and experience because l had no time to meet her again to measure anything. I sewed till my body told me, ‘ok, time to sleep.’ Friday afternoon, I was back to finishing up the ruffles and trying to get a fitting that night. I messaged her at 5 pm telling her I will message her when I’m heading to the store and then it was basically, ‘keep sewing.’ l reached the store at 9 pm. l was back to the dress all Saturday morning. I dropped it off about two hours before the show. We didn’t even get a final fitting. I just had to trust the work, most importantly, trust God. He has never failed me yet.
WE: What were the key design details you wanted to get right to make the dress stand out?
AG: For me, the silhouette was very important. The mermaid dress is considered timeless and iconic in formal wear. I wanted the skirt to have drama and movement. Those layered ruffles were intentional; I wanted the dress to have that entrance when she walked. Then there was the contrast between the sheer, heavily embellished bodice and the more structured, fuller skirt. The black-on-black gave it a very sophisticated feel, but the embellishment brought the glamour. I also wanted the detailing around the waist to really define her shape and create that beautiful transition into the dramatic skirt. Everything had to work together - the sparkle, the structure, the volume and the movement. I wanted it to photograph beautifully but also look spectacular in person.
WE: How did you approach blending Terri’s style with your creative vision?
AG: Terri was involved, but she also gave me the freedom to do what I do. I listened to what she envisioned to feel like on the night. Before l do anything with a customer l always sit with them pen to paper and ensure we are both moving in the same direction. If her ideas were off l would simply tell her in the most pleasant tone and throw in a laugh and change it. But everything was so smooth in the few seconds we met.
Terri has a very strong personality, so she had to wear the dress, not the other way around. The embellishment gave us the glamour, the fitted bodice gave it that sexy element, and the dramatic skirt brought the couture and red carpet moment. And Terri knows how to carry a garment. She has that stage presence.
WE: What went through your mind when you finally saw Terri wearing the finished dress on the CMA red carpet?
AG: Honestly? Relief first! Because remember, I dropped off that dress two hours before the show and there was no final fitting! So when I finally saw the pictures, I was like, “Yes! Thank you, Jesus!” Then I was just proud. She looked like she belonged exactly where she was.
It was also a beautiful reminder of why I love what I do. People see the finished gown, but they don’t see the two days of pressure behind it. It also gave my brand the opportunity to shine. She was confident that Angel Glow Designs would deliver. She ripped up that carpet! And I was one very happy designer.
