Imagine the streets of Trinidad and Tobago transforming into a kaleidoscope of colours, where costumes dance to the heartbeat of the island. At the centre of this vibrant chaos is Aaron Schneider, a maestro of Trinidadian Carnival costume design, who blends heritage, art, and soul to create moving masterpieces. His story is a journey through passion, tradition, and innovation, symbolising the Carnival’s spirit.
The Roots of Passion
Aaron’s fascination with costume design was kindled in his childhood in Paramin Village, a place where traditional Carnival celebrations are still fervently observed. The kinetic sculptures parading through the streets captivated him, “From a very young age, I recognized costume as a means of artistic effort..I just thought I really like that I want to do that,” Aaron reflects. This sparked a lifelong quest to explore and elevate this art form. His journey reflects a deep-rooted connection to his cultural heritage, where each costume narrates a story of Trinidad’s vibrant history and resilient spirit.
Challenges and Triumphs
His path was not without obstacles. His aspirations to study in England were thwarted when his educational loan was withdrawn. “I left Trinidad at the age of 18 to pursue a degree in theatrical costume design in England. However, when I got to England I found out that the bank who approved my educational loan then decided that they would not be giving me a loan anymore.” Yet, this setback led him to an invaluable internship at London’s Oval House Theatre, where he honed his craft and deepened his understanding of costume design, transforming challenges into stepping stones.
The 360 Effect of Trinidad Carnival
During his time in England, Aaron engaged deeply with costume design, contributing to a Caribbean-type Carnival project and travelling across Europe to bring Caribbean Carnival to various cities. During this period, Aaron had an enlightening conversation with his professor about the complexity and depth of Carnival costume design compared to theatrical design. He explained to his professor that unlike theatre, where costumes are often designed for a one-sided almost 180-degree view and can be more restrictive, Carnival costumes require a 360-degree design perspective. They need to be visually captivating from all angles, withstand various elements, and be comfortable enough to wear all day. This conversation was a significant moment for Aaron, as he articulated the unique challenges and intricacies of Carnival costume design.
Despite his successes in England, Aaron felt a compelling pull towards his homeland. He realised that to truly master and innovate in the realm of Carnival costume design, he needed to be immersed in its authentic environment. “Aside from a relationship that didn’t go too well, I realised something was missing, and that my heart was at home,” Aaron reflected. This revelation led him to return to Trinidad, where he believed the true essence and authenticity of Carnival costume design could be fully embraced and expressed. His return marked a crucial turning point in his career, one where his creative vision would be rooted in the rich cultural tapestry and vibrant energy of Trinidadian Carnival.
Returning to the Carnival Roots
Upon returning to Trinidad, Aaron embarked on a quest to find a mentor who could further his understanding and skill in carnival costume design. His journey led him to the legendary Wayne Kenneth Berkeley, a master in the field. Working with Berkeley was a transformative experience for Aaron. He recalls Wayne saying to him early on, “Let’s start a studio, drop everything you’re doing, we’re doing this,” and being welcomed with open arms. This collaboration marked the true beginning of Aaron’s career in creating masquerade for the Trinidad Carnival.
At the age of 25, Aaron played a pivotal role in designing for Wayne’s band and the portrayal of Rome, which triumphantly won the Band of the Year. This achievement was a monumental milestone in his career, filling him with a profound sense of accomplishment and pride. “We got first place. We won Band of the Year, and it was the first time I’ve ever done a band. I was on cloud nine,” Aaron shared, reflecting on this momentous occasion.
In addition to his work with Berkeley, Aaron had candid conversations with another carnival icon, Peter Minshall. These discussions were not just about design and aesthetics but also about the deeper meaning and cultural significance of carnival costumes. These interactions further fueled Aaron’s passion and dedication to the art of carnival costume design, propelling him to new creative heights. Aaron’s journey under the guidance of these mentors not only refined his artistic skills but also deepened his connection to the cultural heritage of Trinidad Carnival.
Artistic Philosophy and Design Process
Aaron’s design philosophy is deeply rooted in his cultural heritage and personal rituals. He emphasises the importance of ridding himself of external influences during the creative process, often finding solace in classical music. “My personal ritual in the creative process is that I need to rid myself of any external influences so that whatever the Carnival spirits are trying to get me to bring to life can do so without hindrance.” he shares.
This process and his theatrical background has shaped him as a carnival costume designer with a philosophy which is deeply rooted in his commitment to preserving the traditional elements and rituals of his culture, while also innovating within the art form. His approach to costume design emphasises the significance of kinetic sculptures over commercialised, mass-produced costumes, which he believes lack the soul and authenticity of true carnival spirit.
Aaron’s design aesthetic is characterised by a dynamic interplay between tradition and modernity, creating costumes that are not only visually stunning but also culturally meaningful. He strives to infuse each piece with a sense of movement and life, embodying the essence of kinetic art. His costumes are designed to be experienced in 360 degrees, ensuring that they are captivating from every angle and can withstand the elements and the energy of the carnival.
He defines kinetic art as making costumes which depend on motion for its effects. This movement can be produced by various means, including natural forces like wind or water, motors, or even viewer interaction – all of which is present in the on the road experience of Carnival. A defining characteristic of kinetic art is its dynamic nature, which sets it apart from traditional, static art forms.
In the context of carnival costume design, like the work of Aaron Schneider, kinetic art takes on a unique form. The costumes are designed to move with the wearer, creating a dynamic, visually captivating experience. They are not just meant to be seen but experienced in motion, often incorporating elements that flutter, sway, or spin as the wearer moves. This integration of movement transforms the costume into a living, breathing piece of art, embodying the spirit and energy of the carnival.
Cultural Advocacy and Innovation
Aaron’s journey in the world of Trinidadian Carnival costume design is marked not only by his artistic achievements but also by a deep concern for the erosion of traditional elements in the carnival. He is particularly troubled by the diminishing rituals and craftsmanship surrounding iconic characters like the Blue Devil. Aaron describes the Blue Devil not just as a costume but as an embodiment of ritual and tradition, lamenting, “A lot of the Blue Devils today don’t know that there are certain praise rituals and rights that have to be performed before you take on a devil, it’s an invocation.”
His concern extends to the broader theme of carnival bands. Aaron reflects on the lost art of theming bands, noting the shift towards mass production and commercialization. He observes, “The commercialization and the watering down of the theme is creating a sort of monotonous display.” This, in his view, not only diminishes the cultural richness of the carnival but also impacts tourism, as visitors seek authentic, culturally rich experiences.
He is also a staunch advocate for sustainable practices, Aaron voices his concerns about the commercialization of carnival and the environmental impact of costume materials. Looking ahead, Aaron envisions a future where carnival costumes reflect sustainable practices and honour tradition. “My goal for 2025 is to move away from the elements of Carnival that I don’t find feeds my soul nor does it feed Carnival and to move more into the aspects of Carnival that I feel passionate about,” he reveals, underscoring his ambition to transform the landscape of carnival costume design.
To cement the future of the carnival, Aaron is asking stakeholders to prioritise and respect the traditional aspects of the carnival. He advocates for stricter regulations against environmentally harmful practices, and calls for a renewed focus on creativity over commercialization. He urges a return to more authentic and traditional expressions of the carnival, which he believes are essential not just for maintaining cultural integrity but also for attracting tourists seeking genuine experiences. His insights and advocacy highlight the need for a balance between innovation and tradition, ensuring the carnival’s vibrancy and relevance for future generations.
Entering His Carnival Alchemist Era
As Aaron embarks on his next chapter as more than a carnival designer and more as a Carnival Alchemist, he is driven by a vision for the future that is both personal and transformative. Aaron is not just about creating costumes; he is weaving a narrative of cultural preservation and artistic innovation. He says, “I wake up every single morning, and it’s on my mind every single day, every single breath I take – it’s about manifesting my visions for Carnival.”
Looking ahead, Aaron aims to redefine the landscape of Trinidadian Carnival. His goal for the coming year and beyond is to steer away from elements of Carnival that do not resonate with his soul or the spirit of the festival. This includes moving away from the use of materials that contribute to environmental degradation. He is quietly and subtly encouraging his clients to embrace traditional kinetic works, cultural work, and alternative materials. “By the end of 2025, I want to be able to say that I was able to successfully change the mindset of the masses,” he asserts.
Aaron’s aspiration is not just about changing design aesthetics; it’s about rekindling the emotional connection people have with Carnival costumes. He dreams of a future where costumes evoke deep emotions, where people are moved to tears by the beauty and meaning of the attire. His ambition is to see a new generation of Carnival enthusiasts, inspired and transformed by what they witness, just as he was as a young boy.
In essence, Aaron’s future as a Carnival Alchemist is about more than creating costumes; it’s about reigniting a passion for authentic cultural expression and leading a movement towards sustainable, impactful art that resonates with the soul of the Carnival and its patrons. “It’s my life’s work and it will be the only way I’ll be able to rest peacefully in my grave knowing that I did what I came on this planet to do,” he concludes.
Express Article
“Carnival Alchemy: The Art and Soul of Trinidadian Costume Design”
By Ian Royer, AnansiTales.com
In the heart of Trinidad and Tobago’s vibrant Carnival, a spectacle of pulsating rhythms and vivid colours, stands Aaron Schneider. A maestro in carnival costume design, Aaron melds heritage, art, and soul, crafting moving masterpieces that symbolise the spirit of Carnival.
Raised in Paramin Village, known for its passionate Carnival celebrations, Aaron’s fascination with costume design was sparked early. “From a very young age, I recognised costume as a means of artistic effort. I just thought I really like that and I want to do that,” Aaron recalls. This early exposure to Carnival’s kinetic sculptures laid the foundation for his future.
Aaron’s journey wasn’t without challenges. Dreams of studying theatrical costume design in England were dashed when his educational loan was withdrawn. But resilience led him to an internship at London’s Oval House Theatre, a critical turning point where he refined his skills and deepened his understanding of costume design.
In England, Aaron realised the unique demands of Carnival costume design, which required a 360-degree perspective, as opposed to the often one-sided view of theatrical costumes. He explains, “Carnival costumes need to be visually captivating from all angles, withstand various elements, and be comfortable enough to wear all day.” This revelation underscored the unique intricacies of his craft.
Feeling an undeniable pull towards home, Aaron returned to Trinidad, driven by a conviction that to master and innovate in Carnival costume design, he needed to immerse himself in its authentic environment. “I realised something was missing, and that my heart was at home,” he reflects. Back home, Aaron sought mentorship and found it with Wayne Kenneth Berkeley, a legend in the field. This collaboration marked a significant chapter in Aaron’s career.
At 25, Aaron played a pivotal role in designing for Wayne’s band, leading to an award-winning portrayal of Rome. “We got first place. We won Band of the Year, and it was the first time I’ve ever done a band. I was on cloud nine,” Aaron shared. His work with Berkeley and discussions with carnival icon Peter Minshall further fuelled his passion and creativity, deepening his connection to the cultural heritage of Trinidad Carnival.
Aaron’s design philosophy is deeply intertwined with his cultural heritage and personal rituals. He stresses the importance of ridding himself of external influences during the creative process, often turning to classical music for solace. “My personal ritual in the creative process is to rid myself of any external influences,” he says. His approach emphasises the significance of kinetic sculptures, favouring these over commercialised, mass-produced costumes. Concerned about the erosion of traditional elements in Carnival, Aaron is a vocal advocate for sustainable practices, he asserts his commitment to ethical practices and cultural preservation.
Looking to the future, Aaron envisions a Carnival that reflects sustainable practices and honours tradition. He aims to move away from elements that don’t resonate with his soul, steering towards traditional kinetic works and alternative materials. “By the end of 2025, I want to be able to say that I was able to successfully change the mindset of the masses,” he asserts, aspiring to rekindle the emotional connection people have with Carnival costumes.
Aaron’s vision transcends costume design; it’s a narrative of cultural preservation and artistic innovation. His dedication to his craft and his passion for authentic cultural expression are paving the way for a future where Carnival costumes not only dazzle the eyes but also touch the heart. “It’s my life’s work and the only way I’ll be able to rest peacefully in my grave knowing that I did what I came on this planet to do,” he concludes.
