Tremaine Emory is once again using fashion as a vehicle for storytelling—this time through a striking public activation tied to his brand, Denim Tears.
Over the weekend, Denim Tears commissioned Brooklyn-based stilt dancing collective Kaisokah Moko Jumbies USA, Inc. to perform throughout SoHo and Brooklyn. Dressed in custom Denim Tears pieces, the performers appeared ahead of the brand’s Spring/Summer 2026 campaign, which features Lauryn Hill and her family. The activation was visually bold, but rooted in deeper cultural meaning.
The Kaisokah Moko Jumbies, founded in 2010 by Trinidad and Tobago native Jason Edwards, are based in East Flatbush. Their practice traces back to West African traditions, where Moko Jumbies—figures on stilts—were believed to protect villages from evil spirits. The tradition traveled to the Caribbean through the transatlantic slave trade, evolving into a staple of carnival culture.
Emory framed the collaboration as part of a broader mission. “Denim Tears is a bridge over the algorithm to tell Black stories that aren’t often told through, but not limited to, clothing,” he said. “Working with this Moko Jumbies crew is another instance of that.”
While storytelling rooted in Black culture is not new to streetwear, Emory’s approach emphasizes historical depth and context. His work often explores what he has described as the “plight and glory of the African diaspora,” symbolized by Denim Tears’ recurring cotton wreath motif—a reference to the legacy of slavery and the cotton industry.
That symbolism took on added resonance in the activation. In folklore, Moko Jumbies are seen as spiritual guardians, watching over communities—a role that aligns with narratives of survival and resilience within the African diaspora.
Emory’s commitment to confronting history has surfaced in past projects as well. During his tenure as creative director at Supreme, he spearheaded a collaboration with artist Arthur Jafa that included a photograph of Peter Gordon, an enslaved man whose back bore the scars of whipping. Though the collaboration was never released by Supreme, Emory later revisited the concept through Denim Tears. The image has since become part of broader cultural debates, including reports that it was considered for removal from a national park display.
Through projects like these, Emory continues to engage with complex histories, often sparking conversation around representation, memory, and cultural preservation within fashion.
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