As part of the twentieth edition of the International Poor Film Festival. The children’s project Gibara Wears demonstrated that fashion can be much more than an aesthetic expression. It is a vehicle for building confidence, showcasing talent, and transforming realities from the community’s roots.
The presentation of the Reciclarte and Vestir la Luz collections, held in El Boquerón Park. It was not just another fashion show, but the staging of an empowerment process. That has been developing for more than two years in this White City of eastern Cuba.
Coordinated by journalist Yudy González, director of the Gibara Visión television station. And designer Yailen Maricela Gómez, the project emerged in 2023 with a clear purpose. To use circular fashion as a pretext to equip girls with tools that allow them to face the challenges of their environment.
“Fashion is the pretext for empowering girls with confidence,” summarized González. Along with Gómez, has created a network of workshops that combine crafts, acting, and modeling.
The Reciclarte collection, made entirely from recycled materials, and Vestir la Luz (Dressing the Light), a work by local artist Pedro Silva León “Perucho. Also were the highlights of a day that brought together families, artists, and cultural managers in the heart of Gibara.
Regarding this latter project, González explained: “Gibara is the White City, so the light of Gibara is reflected in the artwork.” Thus establishing a dialogue between the local landscape and the artistic creations that emerge from it.
Behind the runways and the garments made from scraps and reused materials lies a deeper commitment. Gibara Wears, as envisioned by its coordinators, seeks to draw attention to gender violence and promote female empowerment from an early age.
In a context where circular fashion is presented as a sustainable alternative. The project also transforms it into a space for learning and personal growth for the participating girls.
Also the choice of the International Poor Film Festival as the venue for Gibara Wears presentation is no coincidence. This festival, which for two decades has brought creators from around the world to Gibara. It has historically been a space for art born from precarity and creativity.
The children’s project found not only an audience there, but also recognition for its community work.
Gibara Wears is part of a larger ecosystem of community projects flourishing in Cuban neighborhoods. Often on the margins of major headlines but always at the heart of daily life. Local journalism, like that practiced by Yudy González at Gibara Visión, plays a fundamental role in highlighting these experiences and building bridges between communities and institutions.
The Cuban regional press, despite its limited resources, has proven to be a key player in promoting initiatives like Gibara Wears. Working closely with communities allows journalists to identify stories. Beyond their news value, reflect the collective effort to build a better future from the ground up.
Also the Project focus on women’s empowerment resonates with the social development policies promoted in Cuba. Where gender equality and women’s participation in all areas of social life are fundamental principles. The project not only works with girls but also places them at the center of its narrative. Recognizing them as agents of change capable of transforming their reality.
The presentation of Gibara Wears at the Gibara Film Festival is a reminder that art and culture, when placed at the service of the community, can generate profound transformations. The project, coordinated by women committed to their environment, demonstrates that circular fashion is not only an aesthetic or environmental option, but also a way to build social fabric, foster self-esteem, and project a more inclusive future for new generations.
Gibara, the White Village that inspires the Dressing the Light collection, continues to illuminate the path for those who, through creativity and collective work, are committed to development with a human face. Gibara Wears is, ultimately, an invitation to also clothe the horizon of Cuban childhood with hope and dignity.
By: Daimy Peña Guillén
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