Katia Fitzpatrick Carey spent years training to become a dentist, but it was during a pause in her professional career after the birth of her daughter that she discovered an unexpected calling—transforming Indigenous stories, symbols and traditions into hand-painted garments that are now attracting attention well beyond Guyana’s borders.
The founder of Matapee Designs, whose freehand clothing celebrates the cultural heritage of South America’s Indigenous peoples, says she never imagined that stepping away from dentistry would lead to the creation of a fashion brand whose pieces are now being worn by customers from diverse backgrounds and are set to be showcased internationally.
“Ever since I gave birth to my daughter, I haven’t practised dentistry,” Fitzpatrick Carey told Kiskadee Watch in an interview.
“It was during that quiet, transitional time of early motherhood that I felt this strong pull to reinvent myself, which is how Matapee was born.”
She added, “A lot of people don’t have the courage to step off a set path and follow a dream. For me, it was a dream I didn’t even realise I had until I stepped away.”
“My days are completely filled with looking after my home, raising my baby, and pouring my heart into Matapee. I know it surprises some people, the fact that I could walk away from such a respected profession just to ‘paint dresses,” the young mother said.
Although dentistry remains on hold, she says she hopes to return to the profession when her daughter is older. For now, however, her focus is on raising her child and building a business rooted in Indigenous identity and craftsmanship.
Fitzpatrick Carey grew up in Lethem and St Ignatius in the Rupununi, where she was immersed in the traditions of her maternal grandparents, who were Patamona and Macushi.
“My world was shaped by the stories, crafts, and deep traditions of my grandparents,” she said.
“They are the main inspiration behind Matapee Designs. I wanted to find a modern way to celebrate and reintroduce the beautiful skin paintings, traditional patterns, and narratives we grew up with.”
The brand’s name itself reflects that heritage. A matapee is the woven cylinder-shaped tool traditionally used by Indigenous communities to extract juice from the cassava before it is processed into farine and cassava bread.
“It represents community, resilience, ancestral wisdom, and practicality,” she explained.
What began as what she describes as “a quiet dream” officially became a business during Guyana’s Heritage Month celebrations in September 2024.
“The overwhelming response made me realise that the world was hungry for authentic, sustainable cultural storytelling,” she said.
Traditions
While Fitzpatrick Carey has Arawak ancestry through her father, she says the strongest cultural influence on her work comes from the Patamona and Macushi traditions she experienced growing up.
“My designs are really a mix of all these different parts of who I am,” she said.
Rather than simply creating clothing, she sees each garment as a way of preserving stories that have been passed down through generations.
“Every single pattern we paint has its own history and meaning. By putting them on clothing, I’m hoping to bring awareness to our traditions and share our stories with others.”
Her garments begin not with fabric but with storytelling.
“My process always begins with a story,” she said. “I draw inspiration from ancestral tales, geological wonders of Guyana and the traditional skin-painting motifs of South American tribes.”
The company primarily uses linen and other organic fabrics selected for their sustainability before each garment is individually painted by hand.
“We don’t use digital printing. This means no two pieces are ever identical,” she explained, noting that some designs require three to four days of painstaking brushwork.
She describes each finished garment as “wearable art.”
Maintaining authenticity has not been without challenges.
One of the biggest obstacles, she said, was understanding the meanings behind hundreds of tribal patterns, many of which differ from one Indigenous nation to another.
“It was a lot to take in, but I refused to give up,” she said. “I’ve had to do a lot of listening and researching to make sure we honour these stories correctly and respectfully.”
Sourcing fabrics that met both the brand’s quality standards and its environmental values also proved difficult during the company’s early years.
“It took a lot of trial and error,” she said.
In producing a piece, the designer said the process always begins with a story.
And once the concept is clear?
“Material Selection: We prioritize sustainability, which is why we primarily work with high-quality linen and organic fabrics. We always look for eco-friendly, biodegradable, breathable materials to work with.
“The Cut: We design silhouettes that allow the fabric to drape naturally, acting as a canvas.
“The Painting: Every single pattern is painted freehand. We don’t use digital printing. This means no two pieces are ever identical. Some garments require three to four days of meticulous brushwork.
“The Assembly: We treat every garment like a piece of wearable art, ensuring that the finish is pristine and designed to last a lifetime”, she explained.
Origins Fashion
The brand reached a significant milestone when it exhibited at the Origins Fashion Festival, where every piece sold.
“It was such an incredible, surreal experience,” Fitzpatrick Carey recalled.
What left the deepest impression, however, was the diversity of those purchasing the garments.
“So many non-Indigenous people were genuinely eager and excited to wear my designs,” she said.
“Knowing that our art can bridge cultures and that people of all backgrounds and heritage want to wear a piece of our story—and wear it with respect—means the world to me as a designer.”
Earlier this year Matapee also introduced a collection made from treated elephant ear leaves.
The material, she explained, is produced by transforming Alocasia macrorrhiza leaves harvested from reforestation areas into a durable, flexible, water-resistant vegan material that retains the natural veins and texture of the original leaf.
“When you look at it closely, you realise you are wearing a literal piece of our forest,” she said.
She believes the innovation demonstrates that Indigenous brands can compete internationally while remaining environmentally conscious.
“It is our way of showing the world that an Indigenous brand can absolutely work with exclusive, noble, and cutting-edge materials.”
The next chapter for Matapee will take Fitzpatrick Carey beyond Guyana.
She plans to relocate to the United Kingdom, where she hopes to introduce the brand to English and European markets.
Before then, she has accepted an invitation to exhibit at a fashion show at the National Museum of the Republic in Brasília, Brazil, this October.
“Showing our designs in such a prestigious space is an absolute dream,” she said.
Despite the international ambitions, Fitzpatrick Carey says the mission remains unchanged.
“My heart for Matapee is very simple: I just want to continue showcasing our beautiful culture and make people feel happy and proud when they wear my work.”
She also hopes her own experience will encourage other Guyanese, particularly Indigenous young people, to pursue their creative ambitions.
“When I started Matapee, I had nothing but a single brush, a plain dress, and my living room as my studio,” she said.
“If you have a story inside you, tell it. Start small, use whatever you have around you, and focus on being completely yourself. The world doesn’t need replicas of what already exists; it needs your unique voice, your roots, and your truth.”
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