From Dominica to Guyana, and now rooted in the UK, Lia’s carnival journey is one of reclamation, identity, and artistry. Growing up, she wasn’t the child pushed through Notting Hill’s streets in a pram, nor raised on a steady diet of bouyon and steelpan. Instead, her connection came later — a teenage discovery with friends that blossomed into a modelling career representing some of the Caribbean diaspora’s most vibrant designers and bands. Today, whether performing at Glastonbury, on set with UCOM, or radiating energy through a Cropover lens, Lia brings more than beauty to the costume. She channels the spiritual grounding of her Dominican heritage, the resilience of her Guyanese roots, and the authenticity of a diasporan determined to embody both culture and self in every step, pose, and performance.
Where does your carnival heritage stem from? Was it something you grew up with, or did you discover it later?
My mum was born in the UK, but she spent a lot of her younger years going to more French Caribbean events. She was also a dancer and used to feature in Congolese artists music videos, so being in touch with carnival was not something I grew up with. I actually recently asked my mum why I have no photos or memories of me attending carnival as a child, and she said it wasn’t really her thing growing up. She said that one of the reasons for this was that when she was younger, the Dominican music genre, Bouyon, was not often played by DJs in events, so Dominicans created their own event spaces with other French Caribbean people living in the UK.
It was only when I was 14-15 years old that I started going to carnival with my friends. I think this is just an example, though, of how diverse the Caribbean experience is; not everyone has memories of being pushed in a pram through carnival crowds, but through unity, we all come together and celebrate our culture in the present moment. I think it’s beautiful.
What traditions or memories from home (and community) influence how you approach carnival costume modelling?
The two experiences of being back home are memories for me that influence my approach. By that, I mean Dominica has such a surreal, spiritual energy when you spend time in nature. Being back home is such a grounding experience where I can just switch off when I’m at the beach, in the jungle at a waterfall, or driving around the island. Dominica is so serene. But when we free up, it’s also the same spiritual energy being channelled in a different way. There is definitely less serenity under our rum! But there is also something in the background that reminds us of who we are, and so we express and embrace our culture with all our heart, no holding back.
So when I am modelling, yes, I want to look good, but I also want people to feel my energy, and I try to radiate this in my work. I think the perfect example of this is the Anansi for Cropover 2024 shoot, where people have said they can feel my energy through that photo. That is what I want to create every time I’m on set.
Do you feel your cultural background enriches your creative vision? If yes—how?
Dominican people are themselves wherever they go; we have no filter. And we are unapologetically so. As much as I am a diasporan, I go home often, and I don’t think I have ever met a Dominican who does not wear their heart, lungs, personality, chest, tout bagay, on their sleeve! So, when I am approaching carnival costume modelling, I am inspired to be myself. It reminds me that who I am got me to this place at this time, which allows me to adopt a mindset where the focus is on me creating art, and others around me are doing the same.
Which carnival traditions or icons inspire you most when you’re preparing for a UK-themed event?
I’ve performed at Glastonbury three times in a row now with the Notting Hill Carnival team, and there was one year when everyone was making beats by banging on random things whilst we were getting ready backstage. I loved that it felt like a lil warm up before the bass kicked in and we started the parade! However, other than this, a lot of events I attend are Caribbean-themed, so I have very little experience of going to UK-themed events.
How did you first get into modelling carnival costumes? Was there a pivotal moment that inspired your journey?
I was first interested in modelling for carnival costumes when I was studying at university away from London during my undergraduate years. So, I was seeing everyone model, but my university life was too busy for me to be travelling back and forth to London.
After my master’s degree, however, I joined @rockitentertainment, run by the amazing powerhouse, Rhona, and I remember thinking it would be a long way until I could find my feet in carnival modelling after joining the agency. But it was less than a week after my audition that Rhona called me and said a band saw a snippet of my audition video and wanted me to model. That felt like a moment where I knew this was going to be a space where people wanted me for who I was, so I continued showing up and being who I am, and here we are, a few years later!
Walk us through your prep process for modeling.
I always have a booking bag ready with all the essentials, so my prep process doesn’t always involve much. I always pack “just-in-case” items and make sure I have maximum comfort on the day. For example, packing loungewear and sliders so I can be cosy on set when waiting around or doing make up is a must. I don’t always eat before a shoot/ launch, so I bring a snack for when I get hungry later. I also try to remember to bring water as some locations don’t always have nearby shops. Lastly when I arrive, I approach the team to introduce myself, ask if there is anything additional that I need to be aware of, or ask questions that I may have.
What’s the most memorable costume you’ve modeled, and what story does it tell?
The UCOM costume for the Jaguar 2025 teaser. Firstly, Santana (@looksbysanty) on the makeup killed it. She did my make-up for my wedding, so that just shows how much I trust her art. She did this jaguar print on my eye, and the beat was amazing as usual. Next, as I was at the camp and put on the bodywear, as always, Paul’s (@eccdesigner) costume felt like a dream to wear. The details of the fur trimming, the reflection of the colours from the gems, the bodywear, everything came together perfectly.
Then for the shoot. This was my first outdoor shoot, and it was in an enclosed area surrounded by trees. I was with the UCOM team, who feel like the F1 pit stop team. Once it’s time to put on the costume, they are on it – accessories, headpiece, backpack, all on in moments, so I always feel well-supported by them. Then shooting with my fave photographer, Dwaine (@d.tobierre), who I’ve always felt comfortable shooting with from day one. So, the creativity was all around me; the lighting, the makeup, the costume, and the whole concept was my inspiration when modelling that costume. I was so caught up in that shoot that I didn’t even see the final look until months after!
Overall, I’ve mentioned names of people who I’ve worked with over the years, not only to show appreciation for their art, but to highlight and acknowledge that there is a community of people who are so talented, and come together to produce and create the most amazing costumes, photos, concepts etc. Their hard work and creative process is the story. So, when I am on set, it’s my turn to show up for that community and showcase their art/ creations.
What are the most challenging and rewarding aspects of modelling costumes in the carnival scene?
Challenging:
Not much, other than having to sit still with my eyes closed whilst getting my make-up done when there are things happening around me!
Rewarding:
Noticing my own growth and development when looking at launches and photoshoots. I can look back at my photos and know there have been things that I have wanted to work on, and to see that change happen along the way can really feel like you are perfecting your craft.
Other people complimenting you on shoots, or saying they recognise me from other shoots – it isn’t just about being memorable, but it feels like I am being recognised for my art, which I appreciate.
As someone based in the UK, how do you see carnival culture evolving here?
I see carnival as a way for Caribbean people to embrace a reclamation of their culture. I feel like there is a current drive in carnival culture now for Caribbean people to learn about the history of carnival, and they are actively creating a modern twist on this, which I appreciate. It feels like there are more purposeful intentions when merging the past with the present as it narrates the story of who we are. In our history, there have been many moments when our culture has been taken away from us, stolen, exploited, or erased, so I think the evolution of carnival culture has been, and continues to be, a reflection of what generations before us have already been doing that is, keeping history alive to remember our story.
How do you balance traditional Caribbean elements with your expressions of UK and diaspora identity?
In my main job, I do a lot of research on acculturation and biculturalism, so this is something I can talk about forever! But in short, my experience of being part of the diaspora in a diverse part of London has meant that from a young age, embracing my identity as a Caribbean person has always been encouraged. I remember international evenings and times in school where everyone painted their country’s flag, and not once did I ever feel that being Caribbean was separate from me. In addition to this, those experiences are what make me British, memories of a community that lives life together and shares our culture.
In my daily life, balance therefore feels like being able to appreciate the culture of others and be curious and interested in how this shapes their daily experiences, whilst being strongly grounded in my own.
How do you maintain mental and emotional balance amidst the demands of modelling and creative expression?
There is something about not taking modelling and creative expression too seriously. From a young age, I’ve loved being on stage and performing; from dance to gymnastics, drama to cheerleading, there is something I find so important about bringing yourself into the space. I always enter a creative space with the question of “what do I want to achieve today?” and “how do I do it in a way that is authentic to me?” and that feels so important for my mental balance.
Emotionally, I can honestly say I always get butterflies in my stomach when entering a creative/ modelling space because there are a lot of unknowns – who is going to be on set, what are you going to wear, what is the theme or idea etc. I don’t try to change the feeling of nervousness as I go in, I just acknowledge this and as I focus more on the question above around what I want to achieve, it serves as a reminder of my purpose on set for that day.
What support systems or self-care rituals help you stay grounded?
My husband! He is so supportive and has seen my journey over time, and my confidence building over the years with modelling. He is often either with me at shoots/ launches, or dropping me off/ picking me up, so it’s always very refreshing after a job to decompress with my person on our way home.
My beautiful little sister, as well, she is always supporting my modelling on social media. She’s away at university at the moment, but I can always depend on her to share my posts of photos online. Also, as an older sister, I have always felt the need for me to set a good example for her, so going after what I want to show her that you can achieve whatever you put your mind to gives me the push to keep growing.
Lastly, I feel like answering these questions has been a self-care ritual. It feels really grounding to be able to document my journey and remind myself of my purpose. I haven’t reflected much on my modelling journey, so it has been helpful to do it for this feature.
Have there been moments when your mental health influenced how you engage with your art—positively or otherwise?
Mostly positive experiences – I love being on set and at launches and catching up with people who I haven’t seen for ages. In my professional life, people do not know much about carnival or my culture, so it has been nice to form connections with people who share a similar background.
I also love a supportive model on set with me, where both me and the model can give each other constructive feedback or advice to help us grow. Creative industries can easily feel like competition is everywhere, but working as a model is exactly what the question says, it’s an engagement with your art, so I don’t spend time on set getting distracted by comparing myself to others.
Negative experiences – I think in the beginning of modelling I felt like Bambi on ice – my nerves were stopping me from reaching my potential. I was also super aware of being at an early stage in modelling where everyone knew each other, how to pose, what to do etc., so that feeling of being out of sorts felt quite isolating. Hence why I feel like once you embrace the process and bring yourself into the space, this becomes less important. Your focus and purpose will get you through.
Who inspires you most—whether within carnival, modelling, or beyond—and why?
Rianna (@riannanaomi). As a model, Rianna’s commitment to her craft and dedication is *chefs kiss*. I’m always looking forward to what she creates. On top of this, she is so down to earth and kind when we speak, so I am always surprised by what she delivers on set/ at launches.
I’ve just opened my NHC2025 costume for the road, so this has been inspired by that moment, but Kenny (@kenvee_design). His attention to detail always leaves me so excited to see what he creates next. But in addition to this, Kenny has been super supportive with me in my modelling journey. Being on set with him, you can see that he has a standard that he wants to meet, so you naturally want to make sure that you also meet that expectation. Those moments have pushed me as a model, and I appreciate him for the opportunities I’ve had to grow.
Lastly, those in the Caribbean community who educate about our history through many forms, and work tirelessly to maintain the spirit of carnival. For example, I learn so much about my history through @knowyourcaribbean, and it is easy to get caught up in the present experiences of carnival. However, knowing about those who came before me reminds me to recognise carnival as a space where I can honour their legacy.
What personal or professional goals are you working towards in the next few years?
I will be finishing my doctorate soon, and I am passionate about developing ways to promote the mental health and well-being of Caribbean people, so I would love to form connections with others from the region/ diasporans with similar interests.
How do you hope your modelling and costume work might influence or inspire others in the future?
I hope that others can see my personality through my carnival modelling, as I believe it’s so important to be yourself. It can be easy to be in your own head- someone is taking pictures of you, others are watching, and there is little time to really climatise yourself to feel comfortable enough to be yourself. It can, therefore, be easy to lose yourself due to worrying about how you are perceived and all the other noise.
However, I hope that my work and presence on set/ at launches continue to encourage others to be themselves. My main focus is to work towards my purpose, both immediate and long-term, and that is what you see in my modelling and costume work.
If someone were stepping into carnival modelling today, what advice would you share with them?
Be confident in asking for help when you need it. If you feel nervous, unsure, or less confident about something, my experience of carnival modelling has been that there is always someone around to support you. I remember asking an experienced model on my first shoot to support me with my poses, and I still use all her tips and advice until this day. It’ll add to your development. If you ever see me in any creative space, I am more than happy to be that person if you want any support or help!
What’s your vision for the future of UK soca and carnival culture? What does the next chapter look like?
I hope for it to look like a community of Caribbean people who embrace the multi-faceted nature of what it means to be Caribbean. For example, I hope the next chapter continues to depict the resilience that we hold, the experiences that we all share, and the spirit and energy of a collective who are proud of their cultural identity.
From a personal and cultural standpoint, what does carnival represent to you at this point in your life?
Reclamation and narrative reshaping. There is something about Caribbean people paving the way for the future of carnival. Be it through education, carnival bands, events or otherwise, there is an energy that shows a real dedication to passing on the baton for the next generation.
I am also at that pivotal stage where I am (finally!) nearing the end of my education and will be working as a clinical psychologist. I hope to continue to find ways where I create a version of myself that I can look back at and know that I am proud of who I am.
For Lia, carnival is more than sequins and feathers — it’s a living narrative. It’s history carried forward, energy transformed, and a celebration of being unapologetically Caribbean in every space she enters. As she nears the end of her doctorate in clinical psychology, her mission extends beyond the stage: to advocate for the well-being of Caribbean people while continuing to inspire through her artistry. Whether reclaiming carnival’s story in the UK or standing tall in costumes that reflect an entire community’s creativity, Lia reminds us that carnival is about much more than what we see — it’s about the spirit that we feel.
Contact/Social: @Lia_aross
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