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Antoninus Thomas, a revered figure in Saint Lucia’s cultural landscape, has proudly worn the crown as La Marguerite King for four decades. His unwavering dedication to the Dennery Marguerite Society and his advocacy for the recognition of cultural royalties have made him a national icon. On October 17, during the Grande Fete La Marguerite in La Ressource, Dennery, Thomas marked his 40th anniversary as King, reflecting on his profound love for the festival and Saint Lucian culture.

The community of Vieux Fort is grappling with profound grief after a devastating three-vehicle collision on October 25, which claimed the life of a young kindergarten student, Rikki Samuel. The tragic incident occurred along the Vieux Fort-Laborie Highway, near the Hewanorra International Airport and the Marine Base (Il Pirata), shortly before 11:00 a.m. Rikki, born on Christmas Eve in 2020, was described by his mother, Alister Antoine, as a joyful and car-loving child. He had accompanied his father, Jonard Samuel, a taxi driver, to refuel their vehicle when the accident occurred. Disturbing footage from the scene showed the child lying on the ground, having been ejected from the vehicle. The collision involved three minibuses, including a public bus with a route band. While Rikki is the only confirmed fatality, 11 others sustained injuries. The Royal Saint Lucia Police Force and Saint Lucia Fire Service responded promptly, but no official statement has been released. The tragedy has sparked intense social media debates, with calls for stricter driving regulations and heightened road safety awareness.

A devastating incident occurred in Vieux Fort on October 25, as a three-vehicle collision resulted in multiple injuries and the tragic death of a young child. According to reports from St. Lucia Times, several individuals were rushed to the hospital for urgent medical care. Eyewitnesses recounted the harrowing scene, describing the child as motionless at the crash site. Tragically, it was later confirmed that the child succumbed to his injuries. The deceased was identified as a student of Banse La Grace Combined School, leaving the local community in profound grief. The aftermath of the collision, captured in images and videos circulating on social media, has ignited widespread sorrow and anger among residents. Many Saint Lucians have taken to social media to express their frustration, calling for immediate action to enhance road safety measures and stricter enforcement of traffic laws. One Facebook user emphatically stated, “High time they take the necessary actions to deal with these drivers.” The incident has reignited urgent discussions about the need for improved road safety protocols to prevent such tragedies in the future.

The concept of geographical authenticity in cultural products has gained global recognition, with examples like tequila from Mexico, champagne from France, and now Kente cloth from Ghana. In October, Ghana’s Geographical Indications Act officially classified Kente cloth as a product of specific regions like Agotime and Adanwomase, safeguarding its authenticity and value. This development has sparked a broader conversation about cultural identity and authenticity in fashion, particularly in Saint Lucia, where national and Creole wear reflect a complex history of cultural blending. Across the Caribbean and the Americas, fabrics and garments often serve as cultural emblems, tracing their origins to centuries of interwoven identities. In Saint Lucia, Madras—a colorful, checkered fabric originating from Chennai, India—has become dominant, though floral cotton prints were once the fabric of choice. Designer and cultural advocate Sean Greaves notes that floral material was historically associated with the Wòb Dwiyèt, worn by the less affluent, while French brocade, imported from French Guiana, signified wealth. Madras, initially used for hair ties, gradually became central to Saint Lucian attire. The evolution of national costumes in the French Caribbean, including the douillette and chemise-jupe, reflects a blend of African, Asian, East Indian, European, and Indigenous American influences. Saint Lucia inherited these styles, with the chemise-jupe evolving into the Madras-based national dress. Greaves attributes the shift to Madras’s accessibility, as most fabrics are imported from Trinidad and Tobago. Unlike Ghana’s Kente, which remains rooted in its origin, Saint Lucia’s national wear embodies a layered history shaped by the transatlantic slave trade and indentured labor. Entrepreneur Anselm Mathurin’s Calabash Wear print, showcased at New York Fashion Week, highlights the ongoing quest for a distinctly Saint Lucian identity. The question remains: Is authenticity about origin, or the reinvention of historical legacies?