Little Haiti, Big Impact

Solution to NYC’s Dying Garment District

Garment Worker Career Fair at The New School, New York, NY on May 11th, 2024. All images – photographed by Gerold “Shellbair” Picard.

My mother, the daughter of a skilled seamstress, and my father, the son of agricultural entrepreneurs who sold their produce across the border in the Dominican Republic, migrated to the United States in the early 1980s from Haiti. This legacy of resilience and creativity is woven into the fabric of my own identity, fueling my passion for fashion, sustainability and community. It has shaped my commitment to using fashion as a vehicle for self-expression, cultural preservation, and social impact, inspired by Haiti’s rich history of craftsmanship and revolutionary spirit.

Now I see the opportunity for others to use this craftsmanship to revive a dying industry in New York City.

The garment industry in New York was built on the backs of immigrant families from all over the world. Many of these migrants fled political unrest and economic instability, seeking opportunities to build a better future for their families. Yet in recent years, the industry has declined due to a shift to overseas production, cost of labor and skilled labor shortages, with it, a vital economic ecosystem has been lost. In contrast, as the city now welcomes thousands of new refugees under the Biden-Harris administration’s parole program, an untapped potential exists within these new arrivals, many of whom possess valuable skills that could be redirected towards rebuilding the industry. In particular, there is potential for Haiti’s skilled garment workers to play a pivotal role in reviving the struggling garment production industry in the United States and abroad.

A Vision for Change: Rebuilding Through Garment Work

My journey began as a fashion designer navigating the high costs of garment production in New York City. Unable to afford a studio space or factory, I became acutely aware of the challenges faced by garment workers—both in the exploitation they experience and in the declining number of family-owned factories. Simultaneously, I observed the growing refugee population in New York, many of whom lacked clear paths to economic integration. As a Haitian-American, I began reflecting on how my cultural heritage, particularly Haiti’s strong history of craftsmanship, could be a bridge between these two worlds.

Haiti, once known as the jewel of the Caribbean, holds a complex and rich history, from its early days as one of the wealthiest economies to its present challenges of political instability and economic hardship. Haiti was not only a major economic power but also the first Black republic and the first Latin American nation to fight for and win its independence. Today, amid the turmoil and gang violence, there lies a unique opportunity to revive Haiti’s role in the global garment industry—an opportunity that could not only rejuvenate Haiti but also offer a solution to the decline of garment manufacturing in cities like New York.

Inspired by my personal experiences and professional background in environmental science, social impact and fashion, I envisioned a program that could leverage Haiti’s historical strengths in textile production to provide opportunities for today’s migrants. This vision materialized in my social impact initiative, “Sewing for Refuge.” The project rests on the belief that, despite current political challenges, refugees —particularly women—can be empowered to create sustainable livelihoods through garment work both in the Global South and the United States.

Historically, Haiti was an agricultural powerhouse exporting to the United States and Europe., Its cotton, in particular, played a significant role in global textile production during the 18th and early 19th centuries. Haiti continues to contribute to the textile supply chains of major American brands, and its workers are highly trained.

Therefore, “Sewing for Refuge”  aligns with the current influx of migrants, many of whom, like their predecessors, are seeking safety and opportunity. However, unlike previous waves of immigrants who shaped the garment district, today’s refugees and asylum seekers are often funneled into domestic work, overlooking their potential in industries like fashion manufacturing. “Sewing for Refuge” aims to change that by employment in fashion production, access to resources like education and training, and fashion design exposure.

An Opportunity for the Global South and Beyond

Learning to sew is an ingrained cultural practice in much of the Global South, including Haiti. Sewing is often more than a skill—it is a cultural tradition, an art form and a cultural expression. By equipping Latin American refugees with advanced training in sewing, pattern making, and garment construction, we can unlock an underutilized labor force with immense potential to rejuvenate the U.S. garment industry.  A large percentage of those arriving are skilled garment workers who have worked in factories across the world, with over 10 years of experience.

In 2016, I sought to create a fashion hub in Haiti, a space where seamstresses could work for major fashion labels while honing their skills. Though that project was not realized at the time, the growing refugee crisis and the continued decline of New York’s garment district have made this period in time ripe for action. This summer, with monetary support from Parsons School of Design and volunteer support from the New York City’s Workforce Development Coalition, I organized two successful career fairs matching refugees and asylees with fashion brands seeking skilled labor.

More than 120 new arrivals attended these career fairs, interviewing with more than 10 fashion studios and manufacturers at The New School campus, where Parsons is located. The success of these fairs has demonstrated the clear demand for workers with sewing expertise, and more importantly, the willingness of refugees and asylum seekers to fill these roles. This initiative placed five garment workers in fashion studios in New York City and provided a few opportunities during New York Fashion Week. One of our garment workers was contracted by the renowned handwoven crochet brand, Diotima, to assist with sewing for three days in the lead-up to their NYFW presentation in September. Having migrated from Jamaica herself, founder Rachel Scott was deeply enthusiastic and supportive of this project, recognizing its potential and the promising direction it could take.

A Model for the Future

I have gained significant recognition for the project’s innovative approach to empowering refugees and asylum seekers through the fashion industry. This project was featured in the Council of Fashion Designers of America (CFDA), newsletter, which highlighted my focus on sustainable fashion, showcasing how the project provides employment opportunities and fashion design exposure to people who are displaced. Additionally, the Haitian Times and Getty Images celebrated the initiative’s cultural and economic significance, particularly for the Haitian community, emphasizing my vision of blending traditional craftsmanship with modern fashion production.

This project is not only about jobs—it’s about dignity, empowerment and sustainability. By integrating sustainable business practices, regenerative design, circularity and upcycling (the process of transforming waste materials into new products of higher value), the project aligns with the growing movement towards environmentally conscious fashion. Beyond sustainability, it emphasizes the economic independence of migrants and refugees, providing them the skills to support their families, contribute to their communities, and reclaim their futures while here in America.

By embracing the skills of refugees and asylum seekers, we can not only revive the garment industry but also create a more inclusive, equitable economy that honors the contributions of immigrant communities. In this way, Haiti can once again emerge as a beacon of resilience and innovation, leading the charge in transforming the garment industry, both in New York and globally. What began as a small island’s fight for freedom can now be a rallying cry for economic empowerment, social justice and sustainable fashion in the 21st century.

Naika Colas is a Sustainable Fashion Designer, Assistant Professor of Fashion Design and Associate Director of MPS Fashion Management at Parsons School of Design, and Head of Sustainability at a retail merchandising brand. Her teaching centers on empathic modeling, sustainable production, and inclusive design. A proud member of Alpha Kappa Alpha Sorority, Incorporated, Naika also serves on the boards of two non-profits, Kay Tita and Impact Hub in Port-au-Prince, Haiti.