LEIDY BEIBI
- Milan Tanedjikov
- Nov 8
- 2 min read
The new LIGNES DE FUITE studio runs quiet — fabric sliding, low music, someone on a Zoom call. Kadisha Hernández Canett works inside that hush. Then Leidy Beibi shows up — and the room goes full reggaetón. Now she’s taking that same energy to Fashion Art Toronto (FAT).
“Leidy Beibi isn’t a persona,” Kadisha says. “It’s how I survived when being polite didn’t work.”
Sometimes you gotta be un poco loca just to stay seen.”The name started as neighborhood slang — lady baby, stretched through accent and laughter — but the sound stuck.
Her pieces look like diary pages made wearable, “I like when things look too much,” she says. “Because that’s when they start telling the truth.”
Her line leans toward the intimate and the campy — thongs, corsets, pieces that sit close to the skin. “Bien suelta,” she laughs. Then: “I’m not trying to be tasteful.” A pause. “Taste is just fear wearing white.” She says it like a joke, but she means it.
She flips imported standards of taste on themselves — rhinestones where pearls should be, thrift lace sewn like couture.
The reference points are all wrong on purpose: a six-stripe skirt — “more expensive than Adidas,” she says, not even blinking.
“People think glitter means cheap,” she adds. “But what’s cheap about time?”
And speaking of time — at home, production is a family affair. “I sell direct,” she says. “I pack orders. My mom helps with sourcing, my husband with eyelets, my sister with photos.”
Her world isn’t built against something — it’s built from something: the sound of her tías doing hair in the kitchen, gossiping over telenovelas, hips moving to perreo without shame.
“They were always my first reference,” she laughs, then gets back to work. Bad Gyal loops in the background.
LEIDY BEIBI — Presented at Fashion Art Toronto (FAT)Friday, November 14 · 7 PM · Toronto Fashion Week
Credits:
Images Liedi Beibi Words Milan Tanedjikov
RISING is a feature series by LIGNES DE FUITE, spotlighting designers in the midst of their ascent — when ideas are still raw and everything feels at stake.Each piece captures the moment a practice becomes visible: part encounter, part record, part news. More than coverage, RISING is an acknowledgment — that something vital is taking shape, that a voice is forming, and that becoming is worth remembering.
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