This article positions chapter three, "The Dragon", as the crux of Trinidadian novelist Earl Lovelace's postcolonial novel, The Dragon Can't Dance. Chapter three chronicles the ancestral narrative of protagonist and King of Carnival, Aldrick, in and through his carnival costume's construction, demonstrating that the handicraft tradition of Carnival is central to understanding the sense of loss permeating the novel's Afro-Trinidadian space. I use aesthetics and the anthropological concepts of symbolic capital and inalienable possessions to explore the tension expressed by the fact that costumes and clothing exist both inside and outside of capital. I consider why the economy of the fictional Calvary Hill neighbourhood restricts fiscal exhibition but uses clothing and costuming to articulate social condition, and how Lovelace invokes neoliberal economics threatening native costume craft traditions.