Charity or PR Stunt? The Real Story Behind My Cancer Support Initiative – Sawe Catherine

Uganda’s fashion industry is brimming with potential, yet it remains overshadowed by imported second-hand clothing, a lack of structured support, and a deep-rooted cultural hesitation to embrace local talent. Despite the country’s rich textile heritage and an abundance of creative minds, Ugandan designers often struggle for visibility and recognition. Sawe Catherine is one of the bold voices challenging this narrative. A designer, entrepreneur, and philanthropist, she has spent years advocating for a stronger local fashion identity while simultaneously leading a heartfelt initiative to support cancer patients in Uganda. In this eye-opening conversation, she pulls no punches speaking on the failures of the industry, the misconceptions about fashion as a career, and why Uganda must reclaim its creative power. Whether you love fashion, care about local industries, or are simply intrigued by the raw truths of an often-overlooked sector, this interview is a must-read.

The Early Years: Sawe Catherine Discovering Her Passion for Fashion

FAB: Let’s begin with your background and personal journey. How did it all start, and what inspired you along the way?

Sawe Catherine: I’m originally from Kenya, but I moved to Uganda 18 years ago to study Industrial and Finance (Industrial and Fine Art) at Makerere University. After graduating, my first job was as a full-time painter. I exhibited in art galleries and later transitioned into managing an art gallery. From there, I ventured into tourism and then the cosmetics industry.

While managing a cosmetics company, a friend of mine became pregnant, and we had to organize a baby shower. I wanted to find African-based baby gifts like clothes but couldn’t find anything locally. Since I had taken a short course in fashion, I decided to make a set of bibs and booties as a gift. When the gifts were unwrapped at the shower, people started placing orders. A few months later, I left my job and started Sawe Creations to meet the demand. That’s how the brand was born.

Now, Sawe Creations has expanded into both kidswear and adult wear. Our adult wear is mostly custom-made, including uniforms and tailored outfits. Meanwhile, our kidswear line is continuously produced with a strong focus on organic materials, recognizing how sensitive children’s skin can be. All our fabric is organic and locally sourced in Uganda. Uganda produces a lot of cotton, but 99.9% of it is exported before being milled. Only two factories in the country mill cotton, and even then, most of their output is exported.

However, about 5% of their production goes to waste; that’s the fabric we purchase and repurpose for our kidswear. We have quite a variety of kids who are different ages, and then we also have our own unique prints, which are actually done by children. We invite kids of different ages to sketch what makes them happy. I then combine their drawings into a pattern, which we print using ethical dyes. Each print is named after the child who created it. For example, this one (shows product) features a print designed by a four-year-old, named Rothomeo Prints. And so, we’re going to continue profiling different children, and we’ll name the prints after them.

FAB: With all the production processes, sustainability efforts, and attention to detail, how do you maintain profitability while still delivering top-notch products that meet both your standards and your customers’ expectations?

Sawe Catherine: I founded the brand in 2018. Having been in the industry for almost six years now, I’ve learned a lot about quality control in comparison with the international market standards. While I have someone who handles quality checks, I personally do the final inspection.

In terms of market visibility, we actively collaborate with other creatives and participate in different markets to expand our reach. Right now, we’re selling in Kenya and on a small scale in the UK. We’ve also done some business in the Netherlands and are looking at expanding into Tanzania and hopefully Austria. There’ve been some sales in the US as well, and we’re working toward growing that further.

To strengthen our operations, I’ve taken courses in branding, quality control, and fashion marketing, which has helped me to identify problems that might arise that I probably wouldn’t have identified before, but now I can. I also have a solid team behind me, and I ensure they are well-trained to recognize defects, whether it’s straight lines or threads hanging. So, I’m glad that we’ve been able to filter and get a good team.

FAB: Some people say that fashion is just fabric, while art is emotion. Given your background in fine art, do you agree with this statement, or do you believe that fashion can be a powerful medium for storytelling and creating impact?

Sawe Catherine: Yes, I absolutely believe that fashion can tell a story. Take, for example, the design I showed you earlier, which was created from a four-year-old’s sketch. I simply asked the child to draw what makes them happy, and from their drawings, I combined different elements to create a unique, fashionable piece. Never miss a beat in fashion, arts, beauty, and lifestyle, follow FAB L’Style Magazine.

Even looking at Africa’s traditional attires, patterns, and markings, they all tell a story. For instance, cattle herders often wore and slept in cowhide. In Uganda, the Baganda people, who were primarily farmers, traditionally wore bark cloth, a fabric found in the country, and so it tells a story. Everything dates back to telling stories; it was never just fabric; it always told a story. So, I don’t think there’s a big distinction between art and fashion. Fashion is a form of art, and art can be transformed into fashion. It embodies emotions, creativity, and storytelling. All of it is encompassed in fashion.

To add to that, this is where the debate between fast fashion and slow fashion comes in. Fast fashion is all about mass production, whereas slow fashion takes time to create, includes art, tells a story and makes it long-lasting. The focus of slow fashion in the fashion industry is, from what I can tell, art, or I can say it’s art.

Philanthropy and Fashion: Using Design to Support Cancer Patients

FAB: Excellent submission there. And I’m just going to take you a little bit further on impact. You transitioned into healthcare support; what’s that all about?

Sawe Catherine: Yes, let me share a bit about the impact of my work. It all started with a school I still work with, one that supports children with special needs. The sketches you saw earlier came from a child in this school. I’ve been working with them for some time, making waterproof bibs for the kids and organizing fashion shows to raise awareness about children with special needs.

Beyond that, my partner and I launched a feeding program last year for cancer patients at the MULAGO HILL HEALTH FOUNDATION. We provide one free meal daily to over 200 patients, and it’s entirely self-funded; we cover the costs ourselves. A portion of my earnings also goes toward this initiative. So far, we’ve served about 80,000 meals in the past year. But it’s not just about food. We also donate clothing, wigs, and shoes. I’ve hosted fashion show fundraisers featuring cancer survivors, and we organize guidance and counselling sessions on breast cancer and prosthetic breasts.

Additionally, I design and donate waterproof underwear for women with cervical cancer, as radiation treatment often leads to heavy discharge that regular pads can’t absorb. Another initiative I run is a clothes-swapping event at my shop, usually at the end of the month or every two months. People can bring clothes, shoes, and bags that are in good condition but no longer fit or suit them and swap them for something else. Any unclaimed items are then donated to cancer patients in need.

FAB: That’s incredible, 80,000 meals served! You initially started by providing food for cancer patients, and over time, you expanded your impact by designing reusable waterproof underwear and even donating wigs. That’s truly inspiring. I’m curious, was there a personal experience that motivated you to start this initiative? Do you have a loved one who has battled cancer, or was there a specific moment that sparked your passion for this cause?

Sawe Catherine: Yes. So, my grandfather passed away from throat cancer, and my partner’s father also died of cancer. But beyond that, we had a friend who was diagnosed with breast cancer, but she fought it and is now a survivor. She introduced us to an organization of women who were also cancer survivors, and through them, we learned about a camp at the Uganda Cancer Institute, where outpatients were staying.

Let me take you back a bit: before 2022, the main hospital’s cancer care, Uganda Cancer Institute, had patients sleeping in the corridor because the ward that they had could only accommodate 200 patients. And yet it’s the only referral hospital for the whole country. So we had patients that were sleeping in the corridors, and some were dying from that. After people complained, the hospital moved outpatients to a separate camp, which was basically an old director’s house from the 1970s that had been left empty. They set up tents there, but that was it – no beds, no mattresses, no food.

Meanwhile, inpatients in the hospital still received three meals a day and had proper beds. When we visited this camp, we found out that many patients weren’t just dying because of the disease but also because of lack of nutrition. Chemotherapy is very strong on the body, and you need very good nutrition. Many of them had traveled from different parts of the country, so they had no financial means to buy food or return home.

At first, we started small, bringing fruits and little bits of food on weekends. Then we sat down and said, “Let’s at least try to provide one meal a day for a month.” We hired a cook and an assistant, and that’s how it began. The Uganda Cancer Institute was kind enough to give us a small space, where we built a simple outdoor kitchen using firewood. They also provided a storage area for dry food supplies. That one month turned into a full year, and now, a year and a month later.

Beyond meals, we also assist with medication for those who can’t afford it. Many patients are already struggling financially, so we step in when possible. Over time, more people and organizations have learned about what we’re doing, and we now have well-wishers who donate, volunteer to cook, or come to spend time with the patients, whether to sing, talk, or just offer emotional support. We’re always open to anyone who wants to help in any way.

FAB: Many people struggle to turn empathy into action. What gave you the courage to take that first step and personally provide for 200 patients daily?

Sawe Catherine: I believe that once you come face-to-face with human suffering, it changes everything. Most of the time, people hear about it or see it from a distance, like looking through a glass; you’re on one side, and the suffering is on the other. But when you’re right there, seeing it firsthand, talking to the people, feeling their pain, you will empathize. If you have any sense of humanity, you’ll want to do something. That’s what gave us the courage to act, because when you truly put yourself in their shoes, you realize that one day, it could be you. It could be your mother, your neighbour, or your sister. Cancer is everywhere.

Knowing that reality, knowing that it could happen to any of us, made us feel like we had no choice but to do something. It’s not just about encouragement; it’s about duty. When you witness suffering up close, it feels like an obligation to step in and make a difference. That’s why I always tell people who ask, “What is it you are doing?”—just come and see for yourself. When you visit, you’ll understand the need. You know, I could tell you, Oh, we need this; we need that, but you could go there, and you will see something else that I don’t see. So, yes, it is the need that really inspired us to try and reduce human suffering.

FAB: Over 80,000 meals served and still counting. And, countless lives saved. Have there been any heartfelt moments or stories from patients that have stuck with you?

Sawe Catherine: There have been numerous. I mean, one is if we look at the statistics of the number of patients that actually die at the camp, if you compare last year to the previous years, it has really reduced.

One of the challenges many women with cervical cancer faced was traveling back home after treatment. After completing chemotherapy, they’re supposed to return to their villages, and most of the women who had cervical cancer could not travel because they could not afford to sit on the bus for eight hours or six hours with the discharge, which smells a lot. When we discovered this issue, we developed waterproof underwear with a removable soaker pad. It has really helped many women.

Many women are now able to travel across to go to the village and stay there. We’ve had many now who feel stronger after knowing they have food. Of course, the nutrition becomes better. They’re able to save money for medication that could have gone to food. There have been a lot of success stories.

Also, the wigs we provide help restore dignity. We’ve taken before-and-after photos of women who have lost their hair due to chemotherapy, and the transformation is incredible. The moment they see themselves in a wig, their whole happiness is restored. The happiness, the confidence – it’s something you can’t put a price on.

At the core of it all, the most powerful thing we’ve witnessed is the restoration of human dignity. When people are suffering, they often feel like they’re at a dead end, like they’ve lost a part of themselves. But when you give them the right support, whether it’s food, clothing, or even just reminding them they are still beautiful, you see the light return to their eyes. That’s what keeps me going, knowing that dignity, hope, and life itself can be restored. There is truly nothing more precious than that.

Challenges in Uganda’s Fashion Industry: What’s Holding Designers Back?

FAB: Let’s go back to the time before the Academy for Women Entrepreneurs (AWE). You were hesitant about expanding your business. What was your biggest fear at that stage, and how did you manage to overcome it?

Sawe Catherine: Okay, for one, in the business section, I had a very hard time with bookkeeping and being like the cottage industry and streamlining. I mean, my business was registered, but I wasn’t consistently filing taxes or keeping track of financial records the way I should have. So with the Academy for Women Entrepreneurs, I was able to sit down and look back at my bookkeeping. That also led me back to looking at the pricing of my products because before I would just price the fabric and the cost of labour, and that would be it. Learning how to break down pricing correctly helped me ensure that I was actually making a profit rather than running at a loss.

Another major shift was gaining the confidence to open a physical store. I had run a shop before but eventually moved my business online, which led to a lot of logistical challenges. The academy encouraged me to reconsider, and opening a store again turned out to be a great decision; it saved costs and provided a space where clients could see the products firsthand and appreciate their quality.

Networking was another key benefit. Engaging with other creatives and like-minded women, learning from their experiences, and receiving professional advice, especially in areas like taxation from an accountant I met, was invaluable. Now, I also sell for different labels. Google organic products also help to promote products, and that way we grow together.

It has really helped in saving and proposal writing. I used to be very shy, especially when it came to public speaking and presenting my ideas. Like many creatives, I was more introverted and focused on my work. But when you ask someone to express what their idea is, it becomes a bit difficult. So through AWE, I was able to improve on my public speaking way of expression, and I’ve met very good people, I have to say.

FAB: Many creatives struggle with the business side of things: pricing, registration, and bookkeeping, so you weren’t alone. From your experience, what’s your biggest advice for artists who want to turn their passion into a sustainable business?

Sawe Catherine: From my experience, the number one piece of advice is research. To stay competitive and hit global targets, it’s essential to keep up with the ever-changing trends. Sustainability wasn’t a priority 20 years ago; no one cared about fast fashion, slow fashion, or what is ecological or not, and now it’s a major focus. So we need to research and learn every day what the trend is. We need to learn what is changing in our industry and to keep up with it.

The second piece of advice is to learn from others and from your own mistakes. Often, we repeat the same actions, hoping for different results. And working alone also doesn’t make you cool, so collaboration, learning from others and being open to criticism is crucial. Also, don’t overlook the importance of formalizing your business. Registering your business opens up opportunities for growth, grants, and support from different organizations. Bookkeeping is essential; without it, it’s impossible to track profits, turnover, or even understand how your business is performing.

Lastly, always strive to make an impact, even if it’s on a small scale. I personally train single mothers and work with Congolese refugees, so I try to at least impact one person in one way or the other. It doesn’t necessarily mean you have to do something big or help 100 people, but the person next to you, or if you see the need, it’s good to give back or make an impact and share knowledge.

Advice for Young Designers: What It Takes to Succeed

FAB: You’ve mentioned research, and I imagine sourcing resources for large-scale production in Uganda can be tough. Through your research, how did you manage to source 30 tonnes of Ugandan cotton by-products and secure wholesale deals with local markets?

Sawe Catherine: It all started with research. When I first began my brand, I was using Kitenge, an African fabric, similar to how in West Africa, people use Adire and Kente. But the problem is, much of this fabric is printed in China, despite being branded as African fabric. I wanted to move away from using something that wasn’t Ugandan. In Uganda at the moment, there’s no real identity. I mean, like, people in West Africa have the Adire and Kente prints you see, and you know, oh, that is from Nigeria or Ghana. South Africa, they have their own prints that you can see; okay, that is from South Africa. Kenya has the Masai Shuka, which is actually Scottish, but that’s another story. Uganda doesn’t have a print or pattern that people could immediately recognize as Ugandan.

So, I began searching for a way to create a truly Ugandan brand, using Ugandan patterns. Through research, I came across a factory that produced Ugandan cotton, and I decided to visit them. I wanted to know about their process and how they worked with the farmers. I also wanted to tell a story about how the farmers benefit from this collaboration.

During my visit, I discovered that the factory had 30 tonnes of unused cotton by-product just sitting there. I negotiated a deal to buy it at a lower price, though initially, it was a bit high. I then brought the factory managers to a fashion designer forum and explained how I was using the leftover fabric from their factory. I suggested that if other designers came together and agreed to buy from this source, we could negotiate a better price.

Through that forum, we were able to bring the price down. So, it wasn’t just me negotiating alone; by bringing together other creatives, we had more bargaining power. This experience taught me the value of collaboration and working together. Now, I’m exploring other materials, such as linen, and looking for other factories that can produce different types of cotton or weaves that can be used for various outfits.

FAB: You’ve brought up some thought-provoking points that I’m interested in. As you mentioned, it’s a story for another day, but it’s fascinating how many things we label as “African” have their roots elsewhere. For example, Ankara, which we often associate with Africa, actually traces its origins to other places. Similarly, our lace, which we proudly wear, actually comes from Switzerland and Austria. And then there’s the Kenyan “ancestral” fabric, the Masai Shuka, which, interestingly, has Scottish roots, but it’s a story for another day.

Sawe Catherine: Personally, coming from Kenya, I can tell you that we take pride in the Maasai shuka, which you will see everywhere in safaris. And there’s even a designer who has adopted it. But here’s the twist: many of the beads we associate with the Maasai, the Turkana, and even the Nylons are actually glass beads imported from China. It’s interesting how these beads made their way into these tribes and became a part of the traditional attire. Traditionally, we used to wear metals like copper and brass, not beads. And I think Nigeria has their own beads that they make, right?

FAB: Yeah, the Yoruba tribe, we call it Ileke Iyun.

Sawe Catherine: But these ones that we have here for the nylons and all that came by the ship. The Scottish gave us the Maasai cloth. Here in Uganda, we have the bark cloth, which is also a royal fabric. It comes from the bark of a tree, but there’s a downside: it can’t be washed because it disintegrates. Traditionally, people didn’t wash clothes, so this fabric would be worn for certain occasions. It’s considered sacred in some cultures. But when it comes to identity, we often get lost. We try to adopt patterns from places like South Africa, Nigeria, or West Africa, and we also have the Ankara trend, but if you look closely, much of it either comes from Holland or China.

In Uganda, there’s also the Kikoy fabric, which has yellow, black, and red stripes resembling our flag. So, even though it’s often seen as Ugandan, it’s actually copyrighted by another country. My goal was to create something that, when people see it, they can instantly say, “That’s from Uganda.” But it’s not that easy. I started with kids’ wear because I thought it would be an easier way to establish a recognizable, African-inspired style. It tells a story.

FAB: Speaking of challenges, you’ve touched on identity, but another reality in Africa is that women entrepreneurs often face more scrutiny than men. Have you encountered any bias or resistance in your journey? And how have you handled it?

Sawe Catherine: I think with the current trends or how things are now, especially with bloggers, socialites, and makeup artists, many creative industries are often seen as hobbies rather than serious careers. People tend to assume that fashion, for example, is just about being seen or getting likes. But that’s where we have to create a difference or uniqueness as designers or as creatives, creating something unique instead of just copying big brands like Dolce & Gabbana or Gucci.

 I’ve tackled this bias by making it clear that what I do is a business, not a hobby. This work pays my bills, provides salaries, and contributes to the economy. I can show the numbers, our monthly and yearly turnover, proving that this is a legitimate enterprise. Many women in creative fields face this challenge, but it’s important to stand firm and make it clear: this is a profession, not a hobby. The difference between a hobby and a job is that you’re making money, you’re creating impact, you’re employing people, and you’re able to sustain it without borrowing money from somewhere else. That’s something I make clear to people; it is my full-time job.

FAB: Excellent way to tackle bias and sentiment. Another sentiment is people saying charity work is just a PR stunt for businesses. What’s your response to those who might question the authenticity of your mission?

Sawe Catherine: First, it’s true that some charities exist just for show. However, before making any judgements, it’s important to take a deeper look at what a charity or project is actually doing. Who are they helping? What positive change are they creating? Having the name of a charity is one thing, but real impact is what truly matters. You can only judge by the amount of impact that a charity organisation is making.

Even if a business is contributing to a charity or doing CSR (Corporate Social Responsibility), what is the impact that they’re creating? So there’s a lot of research. So before passing judgement, it’s essential to research and evaluate the depth of an organization’s impact.

FAB: If you had to call out one major issue in Uganda’s creative or healthcare industry that needs urgent fixing, what would it be?

Sawe Catherine: In the creative industry, I believe there should be more umbrella organizations or groups that bring creatives together to expand globally. Working alone can only take you so far, but with other people together, you grow bigger. Right now in Uganda, one of the biggest issues we suffer as creatives, especially in expanding globally, is shipping. Shipping costs are ridiculous. If creatives came together to negotiate with shipping companies or if an umbrella organization existed to support logistics and international exposure, it would make a huge difference. So a bit more collaboration would be quite needed.

For the health industry, that is a hard one because I wish they could reduce the amount of corruption. If the money that is given for certain projects would actually go to help the patients rather than disappear into thin air, I think that would be something. Accountability has to be done in ministries and in health sectors to see what is happening on the ground because many decisions are made up there, of which many of the people making decisions do not know what is happening on the ground. Yeah. So people really need to be encouraged to go on the ground and see what is happening and see that there is accountability, that everything is distributed to where it is supposed to be distributed.

For creatives, I think we should try and break the barriers of being introverted and try to expand and look outside, see what is happening, and try and make connections with other people from outside. Just as I did with FAB L’Style Magazine and the Founder, Harriet Hala, stepping out and networking can open unexpected doors. You never know who you might meet or what opportunities could arise simply by putting yourself out there.

FAB: What is one controversial opinion you have about the art or fashion industry that others might not even agree with?

Sawe Catherine: That fashion is repetition. People say, “Oh, it’s the same thing over and over again,” or “This pair of pants is just like that one, only the price is different.” But if people took the time to understand what truly defines quality, they would see the difference. What is the story behind every cloth or any outfit that is produced? What is the difference between an art piece in fashion and just fashion? And that goes to the difference between fast fashion and slow fashion. Slow fashion is more like art that is meant to last and tells a story.

On the other hand, fast fashion, with its synthetic fabrics and mass production, often wears out within a year or two, forcing people to buy again. It goes a long way. People need to know the difference in quality.

Another misconception is pricing. Many people complain that handmade fashion is overpriced without realizing the amount of work involved. But there is a lot of work; there are hours of people cutting. People need to understand the process that it has taken for someone to produce one piece by hand, as opposed to one that is mass-produced in China. The craftsmanship, labour, and dedication that go into a single handmade piece are often overlooked.

So fashion is not all the same, and fashion is not only just for show. Fashion tells a story. Fashion dates back to history. There is a lot in the background that needs to be shared. Maybe creatives need to talk more about their work so that people can understand. I think that the controversy is that fashion is the same or it is all about the show. It is just overpriced. It is not. There is a story, there is work, and there are people who do not sleep at night trying to brainstorm.

FAB: Like you rightly said, maybe from the creative side, we need to educate the consumers some more about the value of the product we are putting out?

Sawe Catherine: Yeah, I do not know if you have the same in Nigeria, or someone comes and says, you know, I can buy the same in downtown for a tenth of the price.

FAB: Yeah, it happens here. It is everywhere.

Sawe Catherine: I also think the second-hand cloth industry for Africa is a disaster because it has devalued our work as creatives because you have all the things you can buy in the market that are cheap, and somehow when we make our work, it is like, What is the difference? We have really been brainwashed to believe that work that comes from out there, and they use synthetic polyester, somehow because it is the brand, we think, “Ah, this must be better than something that an artist has done in the workshop, and it has taken an amount of time.” So, it is a change of mentality that needs to happen.

As Africans, we need to change our mentality and go back to understanding what it is we are buying. We need to be conscious consumers. We need to know what it is we are wearing, what the impact is, and the ecological impact of this polyester top versus a cotton one done here, and that creates the concept of value. Once you understand what it is you are consuming, then you can be able to value it. It is not only the name, not the brand. Do not buy the brand. Buy the story. Buy the quality rather than just the brand.

FAB: You are looking to tap into international markets and start an NGO. What is your vision for the future of Sawe Creations and the Pink Stripe campaign?

Sawe Catherine: Let me start by explaining the Pink Stripe Campaign, which is linked to breast cancer awareness and the month of October, often referred to as Pink Month. I launched the campaign to encourage every woman to wear a pink strand of hair, whether as a pink braid, a pink highlight, or even a touch of pink nail polish, for the entire month of October. to create breast cancer awareness and tie it back to the work we do at Sawe Creations.

As part of the campaign, I also organized a charity fundraiser fashion show where all the models were breast cancer survivors who shared their stories. So tying it back to storytelling and impact, a creative work has to tie back to telling a story of what we are doing. We have to really show and try and make an impact.

I’ll go back now to Sawe Creations in terms of our vision for global expansion, particularly with our kidswear line. Our goal is to reach eco-conscious parents, not just internationally but also regionally, who are mindful of what their children wear. For kids, of course, we have to be very sensitive to what they wear. When designing for kids, we have to be extremely intentional, right from the fabric we choose to the dyes we use. Sustainability is at the core of what we do, but beyond that, we also want to establish a strong Ugandan identity in our designs. And we’ve seen in terms of research that between a normal dress that we’ve done maybe with Ankara and a dress that is done with the prints that I showed you, children always go for the ones with the prints because it speaks to them.

Children associate with the patterns that they see, and for us, our consumers are children, so we want to create a pattern or an identity. When you see those patterns for kids, they’re from Uganda, and they’re from Sawe Creations. So not only is it to make sales globally, but also to give identity to our kids. When it comes to quality and competitiveness, our goal is to meet international standards while maintaining ethical practices.

Looking ahead, we also want to quantify our carbon footprint, something we’re not currently able to calculate, but we hope to in the future. By using repurposed and organic fabrics, we aim to minimize our environmental impact, especially considering that the textile industry is the second-largest polluter globally. Beyond just creating fashion, we want Sawe Creations to be recognized as a brand actively working toward sustainability and making a positive difference for the environment.

FAB: How do you want to be remembered as an artist, as an entrepreneur, and as a humanitarian? What’s your biggest dream project if money and resources weren’t an issue?

Sawe Catherine: For Sawe Creations, my vision is to establish a brand that goes beyond just providing comfortable and ethically designed clothing for children. I want it to be a platform that promotes creativity in kids, inspiring them to see art and design as valuable skills rather than just hobbies. Right now, we’re working with schools to develop patterns and encourage artistic expression from a young age. Growing up, art was often seen as just a hobby, not something to be taken seriously as a career. While that mindset is shifting, there’s still a strong stereotype that success means pursuing a white-collar profession like law, medicine, or teaching. But by showing children that creativity can lead to real opportunities, we can change that narrative.

For example, when kids see their own drawings turned into fabric prints, it boosts their confidence and makes them realize that their creativity has value.

Eventually, I’d love to expand this initiative across the region. Imagine prints designed by children in Nigeria, Ghana, or Kenya, each telling a unique cultural story. A child’s perspective on traditional houses in Uganda might be very different from one in Kenya, and capturing these differences through fabric prints would be a beautiful way to preserve and share African heritage.

For Mulago Health Foundation, the organization my partner and I founded, our mission is to raise awareness about cancer and ensure people understand the realities on the ground. Beyond awareness, we want to emphasize that even the smallest actions can make a meaningful difference in someone’s life. Helping just one person creates a ripple effect; it impacts their family and their community and inspires others to take action.

Our goal is to inspire individuals to recognize their power to make a difference, no matter how small their contribution may seem. As an entrepreneur, I want to be remembered as someone who encouraged creativity and inspired others, whether my team or fellow creatives, and helped build a strong, supportive creative community. I also aspire to bring creatives together, especially in Uganda, so we can grow collectively and elevate our industry on a larger scale. If money weren’t a constraint, I would bring together fashion designers and creatives to establish a distinct Ugandan identity, whether through patterns or a signature style that truly represents Uganda. Something that, at first glance, people would recognize and say, That is from Uganda. Right now, we lack that clear creative identity, and that’s a gap I’d love to help fill.

FAB: If I got that correctly, you would like to embark on a project of finding an identity for the Ugandan creative sector.

Catherine: Yeah, another major challenge we face is the lack of machinery. For instance, when I need to print on fabric, finding a large-scale printing machine in Kampala that uses eco-friendly dyes is extremely difficult. As a result, we rely on manual screen printing, which is a time-consuming process that takes hours. If I had the opportunity, I would definitely invest in a high-quality printing machine that supports sustainable dyes.

NB: Sawe Catherine has released the second edition of prints since our last conversation. Additionally, the company has started dyeing its fabrics with natural pigments, including turmeric, hibiscus, onion peels, and green cabbage.