Hope Bolden (formerly Maye) 

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During my PhD research, I came across a collection of photographs in a Montreal archive documenting a fashion show held during the 1967 Montreal Expo, "A Man and His World". Throughout my research, I frequently encountered gaps in institutional archives, so uncovering this collection was exciting for me. When I found these images, I never imagined I'd connect with one of the original models. Yet, by chance, after posting a photo on social media, Hope Bolden (formerly Hope Maye) recognised herself. I reached out because archives alone only reveal so much; personal memories and stories can truly enrich a collection, bringing history vividly to life.

 

Sharing her experiences here is valuable not only because her story is fascinating, but also because she generously donated two garments she wore as a performer to my collection. I am deeply thankful to Hope for the time she spent sharing her story with me and am extremely grateful for her generous donation to my collection. Her contributions have significantly enriched my research, and understanding of Jamaican fashion history, particularly in relation to the activities of the Jamaica Fashion Guild Ltd. 

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Hope left Jamaica at the age of 17 to study at Sir George Williams University (now Concordia University) in Montreal. During her second or third year, she and other Jamaican students were recruited to staff the Jamaican pavilion at Expo '67. Hope explained students like her were chosen because they were inexpensive labour: ‘I mean, we would work for nutin’ (Bolden, 2022).

She vividly recalled her first day at the Expo: ‘myself and about five or six of my friends, including three of my roommates, went and got our uniforms and whatever and got trained’ (Bolden, 2022). This training mainly involved learning about Jamaica so they could answer tourists’ questions, usually about activities on the island. The pavilion itself was designed to resemble a typical Jamaican home, furnished to evoke authentic Jamaican hospitality.

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She fondly recalled the pavilion’s bar area: ‘You came in and got a taste of fruit punch. Then you sat down and could order a patty and a rum punch or whatever, all based on Jamaican products’ (Bolden, 2022). The balconies showcased baskets, clay art, and paintings, creating what Hope called an ‘organic exhibition.’ A small three-piece band played Jamaican music several nights each week, and hosts like Hope danced casually while serving guests. The pavilion quickly became a popular gathering place for ‘cool Canadians,’ who would relax, watch the dancing, and enjoy drinks, providing Hope and her friends valuable tips (Bolden, 2022).  The longer visitors stayed, the more the hosts earned in tips—a big incentive for a ‘broke 18-year-old student’ in Canada  (Bolden, 2022). 

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Montreal Expo ’67 Fashion Show

The Jamaican fashion show at the Expo wasn't officially scheduled, but when asked to participate, Hope eagerly agreed, saying ‘count me in, because I was getting whatever it was an hour’ (Bolden, 2022). Although she doesn’t recall the designers' names—admitting she didn't fully understand the show's significance at the time. She later realised this event marked Jamaica’s first major international fashion exhibition since independence. It wasn't until she saw the photo I posted online decades did she even think about the show and her time at the Pavilion. 

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Reflecting on the show, Hope recalled that when the garments arrived, she fitted into at least five of them: ‘I was tall and skinny, as you can see in the picture’ (Bolden, 2022). She described the excitement of dressing up professionally and receiving makeup from a Montreal company, noting it was around the time the "Black is Beautiful" movement emerged, and makeup for Black skin tones was finally available. Interestingly, she also remembered that models received makeup samples afterwards.

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Sunrise to Sunset: Jamaica's Expo ’67 Uniform

Hope also provided significant insights into the specially made uniforms for Expo '67. She recalled:
 

“The dress was made by the Jamaicans. And I remember thinking, wow, I’m so glad they didn’t use the usual bandana print. Because what I discovered then was that bandana plaid is common across the Caribbean. At the Expo, I noticed ladies from Trinidad, Dominica, Grenada, and Barbados all had different variations of bandana. I was glad ours was different—the subtle sunrise and sunset tones of orangey-pink and yellow felt like genius. Now, thinking about it, it probably was something the Fashion Guild created” (Bolden, 2022).

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Hope’s reflections illustrate how Jamaica strategically sought to visually differentiate itself from other Caribbean islands, selecting colours evoking the island’s sunrise and sunset to create a distinct, memorable image for potential tourists.

 

Conclusion
Hope’s memories highlight how essential personal narratives are in filling the gaps left by institutional archives. Her vivid account emphasises the importance of capturing these lived experiences while we still can, ensuring voices like hers continue to enrich our understanding of Jamaican fashion, culture, and identity. 

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