The ImPossible Family Reunion in RPG Space Chapter 4: Looking Back to Look Forward to Look Back Again

“In Afrofuturism, we’re always talking about using the imagination to create new futures. But what makes  Afrofuturism different from other takes on futurism is an emphasis on using imagination to also reimagine  the past … It engages alternative views of looking at time, with the future, past, and present being one.”  (Ytasha Womack, 2018)

‘The ImPossible Family Reunion in RPG Space’ series is a narrative of hope and belonging, a product of  Afrofuturism. Through this lens, I reimagine my family members as characters in limitless realms, visually  guided by the fantasy worlds I immersed myself in as a young person.  

In the 18 months since the series’ debut, it has become increasingly important for me to dissolve the delicate  veil between the outwardly hopeful narrative and the darker past that often fuels the need for hope. By  weaving in more of my personal experiences and my family’s shared history, I aimed to provide deeper  context and offer a more authentic reflection of reality. As a result, this collection wasn’t just an exploration  of fantasy and futurism but a deeper inquiry into the reasons behind why these themes exist —

the  underlying pain, the drive for escape, the scars left behind, and the hope for healing. This synthesis of past  and future, reality and fantasy, pain and hope, defines the essence of this collection, offering both a vision  and a reflection, a dream and its roots.  

Previously in the ‘The ImPossible Family Reunion in RPG Space’ series, for the Challenge the Fabric Award  in May, we presented Elliot — a character based on my older brother — who had just returned from a  journey back in time. Bloodied, distressed, and battered, he had confronted and reconciled with his past self.  The collection we’re showing today shifts focus to the rest of the family, now ready to follow in his  footsteps, united by the necessity to face their own histories and preparing to embark on their own journeys  of self-discovery and reconciliation.  Throughout the development of this collection, our visual references have expanded, drawing from both  prehistoric and present natural life. This shift is reflected in our fabric choices, with garments feeling more  naturally fluid than in previous collections; though still primarily made from white deadstock fabric, revived  through in-house manipulation and dyeing. Though the collection began with a darker narrative, the  construction outcomes are often both strange and humorous; as improved pattern cutting allowed for more  realistic character-to-garment conversions. This season, we’ve also introduced womenswear, emphasising  freedom of movement and expression that is in the line with the menswear world we’ve built so far.  

Up until now, we’ve only been able to share our ideas in 2D, on a screen. This time, we aimed to design this  presentation as a complete experience, thoughtfully exploring every element that could help to bring our  fantasy to life. Take RuneScape — on the surface, it may seem like just a game with dragons and shields, but  reveals a whole rich world to explore once you’re immersed. We wanted our presentation to have that same  depth in going far beyond what you see of us on the screen. It’s not just about the clothes; every aspect has  been crafted to convey the world we live in every day as we create. The floors, ceilings, and walls of the  space are all made from textiles we developed in-house, using deadstock fabrics hand-dyed, sewn, and  distressed by our team, which will later be repurposed into garments. The sets, too, were designed in-house,  with details like toucan fish in the Forest set, mythical creature hides in the Learning set, and weapons made  from studio waste in Combat — all carefully considered to bring our world to life. Accessories and footwear  are uniquely designed for each character, while the sound design is beautifully crafted to reflect the feeling of  each set and the overall story. We collaborated with talented actors and a wicked theatre director to bring  these characters — inspired by real people — to life. Watching them interact with each other and the set,  expressing childlike joy as they explore our world, has been a truly special aspect of this project.  

What makes this collection most special is the team behind it. Designing versions of my family members  with a team has been an unusual experience, with each person forming their own relationship with the  characters, causing the story to evolve along with them. The immense care and attention given to each  character are a testament to the team’s dedication. This collection, born from many minds, backgrounds, and  techniques, represents a refined evolution — from the research to the patterns, materials, and presentation, it’s a constant progression, balancing my vision with many brilliant minds that are creating by my side, and it  feels like the beginning of something strong. A foundation we’ll continue to build upon. We are incredibly  proud to share this Chapter with you, and if it inspires even one person to create and express themselves  freely, we’ll consider it a success.

Words Courtesy of YAKU
Images By: Ines Bahr 

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