Melody Uyanga Ramsay is a Postcolonial thinker who specialises in the re-evaluation of the cultural legacy of Colonialism in art, fashion, history and theory with a particular interest in British heritage collections and archives.
Previously working in Concept Design at Ralph Lauren in New York City, Ramsay hones her mixed-cultural upbringing as a key reference in her work and thinking. She dissects the politics of aspiration, informed by objects of adornment and conspicuous consumption as an intuitive means to understanding identity constructs in (Post)Colonial Britain.
Receiving a 1stclass Honours degree from the Glasgow School of Art, and a distinction in her dissertation: A Postcolonial Critique of Modern Luxury Heritage Brands, now permanently on the recommended reading list for the Schools Design History & Theory department.
Her excitement for heritage and craft has enabled her to facilitate at the FENDI Roma; Artisans of Dreams exhibition at the MoMA Moscow, her craft and words have been exhibited at solo and group shows including the The 75thRoyal Open, The Rozelle Estate, 16 Nicholson Street Gallery, The McLennan Galleries, COLAB and The Art School. Her work and writing has appeared in editorials of publications such as Vogue Italia, LOVE Magazine, The Skinny, Glass Magazine, The National, The Metro and The Guardian.
As you start to figure out her visual language; her rigorous process of historical research becomes evident as a form of figurative expression, transporting you with a play on surreal heritage narratives and a homage to British design.
Her work is described as a melting-pot of culture which ‘forces to overwhelm and define you’. Her critical theory research in Postcolonial ethics and curation is the foundation for her design process, involving a rich cross-pollination of sources, bringing together historical, material and literary charms.
Her graduate degree show was highly commended by academics and art historians as ‘an incredibly poignant meditation on heritage narratives’; drawing upon the history of authoritarian dress in a transnational dialogue through mixed textiles, she moves across time and space by bringing these references under the global lens today.