Tuesday 10th of February 2026

Nairobi, Kenya

Tag: Africa Fashion

Africa on the Runway: How Fashion and Modelling Are Rewriting the Continent’s Story

Posted on by Oscar Alochi

 

Africa on the Runway: How Fashion and Modeling Are Rewriting the Continent’s Story.

Africa’s fashion and modeling industries are no longer whispers in the wings of the global style conversation. They are a chorus loud, inventive, and insistently original, pulling the continent’s textiles, stories, and faces onto international runways, into glossy editorials, and onto e-commerce storefronts. That rise is not accidental: it’s a product of grassroots creativity, entrepreneurial grit, strategic partnerships, and a growing recognition from international buyers and media that African fashion is not a niche but a market and cultural force. Yet the lift-off comes with persistent friction, structural, financial, and logistical, that the industry is learning to overcome in real time.

The landscape: creative abundance, structural scarcity.

From Lagos to Johannesburg and Nairobi to Dakar, designers are mining local crafts, indigenous textiles, and contemporary sensibilities to produce work that reads modern and memorably African. The continent’s apparel and footwear sector is sizeable and growing: recent industry analyses describe a multi-billion-dollar market driven by a young, urbanizing population hungry for styles that speak to identity and aspiration. At the same time, major gaps remain limited capital flowing into creative businesses, weak local supply chains, high costs of quality raw materials, and underdeveloped intellectual-property protections that make scaling risky for designers. These are not cosmetic issues; they shape whether a designer can move from a market stall to sustainable factory runs and from seasonal shows to year-round international distribution. (Euromonitor)

Models, agencies, and representation: progress and persistent gatekeepers.

The modelling side has made visible strides. A new generation of African faces, not merely tokenized but celebrated for their variety and cultural specificity, has appeared on major magazine covers and in advertising campaigns. Publications and runways have started to reflect a broader beauty code, from British Vogue’s landmark Africa-focused features to boutique agencies exporting talent overseas. Yet pipelines are uneven. There are still too few professional agencies with scouting, training, and welfare systems that match international standards, and many aspiring models lack access to education on contracts, health, and financial planning. Where models and agencies collaborate with reputable fashion weeks and hubs, the speed and quality of career development rise. (British Vogue)

The twin engines: local markets and foreign support.

Growth is being fuelled by two complementary currents. First, robust local demand: middle-class growth, the rise of luxury boutiques across African capitals, and digital platforms are expanding domestic consumption. Second, strategic foreign interest from global retailers in cultural institutions that open distribution channels and funding pipelines. International prizes, retail partnerships, and editorial coverage have helped put designers on global maps and provided practical capital and mentorship. Still, dependence on foreign grants or one-off placements is risky; sustainable scale requires stronger domestic investment, better trade policy, and predictable financing instruments for creative SMEs. (Vogue)

Private sector, individuals, and corporate sponsorship: the new patrons of style.

Where governments have been slow to act, individual entrepreneurs and corporations are stepping in. High-net-worth patrons, local retailers, hair and beauty brands, and multinational sponsors are underwriting runway shows, pop-ups, and incubators. These contributions are catalytic: they offer marketing reach, seed capital, and platform visibility. Corporate sponsorships, when thoughtfully structured, can professionalize events and link designers to logistics, export know-how, and retail distribution. But sponsorships must be strategic and long-term: short promotional spends boost visibility but don’t replace investments in production capacity, digital infrastructure, and skills development.

Nairobi Fashion Hub: a case study in market-making

In Nairobi, one organisation exemplifies how a local initiative can alter industry dynamics. Nairobi Fashion Hub (NFH) began as a digital platform and has since developed into a multifaceted ecosystem builder: promoting designers, staging showcases, profiling models and fashion professionals, and creating networking opportunities across East Africa. By amplifying local talent and connecting creators to commercial and editorial channels, NFH helps convert creative capital into economic capital. Its programming, from runway events to training and editorial features, addresses a key industry bottleneck: visibility. For many Kenyan designers and models, platforms like NFH are the bridge between local recognition and regional or global opportunity. (NFH – African Fashion)

What’s changing the rules of the game

Several converging trends are reshaping possibilities:

  • Digitization: E-commerce, social media, and digital lookbooks let designers sell globally without traditional wholesale deals. The pandemic accelerated virtual showcases and direct-to-consumer models. (Vogue)
  • Sustainability and craft revival: A pivot toward regenerative materials, circular fashion, and elevated craft narratives gives African brands a competitive edge in conscious luxury markets.
  • Pan-African collaboration: Fashion weeks and platforms are increasingly pan-African, pooling designers and buyers across borders to build scale. Lagos Fashion Week, for example, has emerged as a major node linking local talent to sponsors and international buyers, a model that other hubs emulate. (Vogue)

The obstacles that won’t vanish overnight

For all the momentum, friction points remain stubborn:

  • Financing: Creative businesses are often high-risk to conventional lenders; alternatives like creative funds, impact investors, and blended finance are still nascent across the continent. (UNESCO)
  • Manufacturing and sourcing: Without integrated supply chains (from spinning yarns to dye houses to finishing facilities), designers face long lead times and quality variability that deters large buyers.
  • Skills and standards: Technical training in pattern cutting, grading, manufacturing management, and modelling professionalism is unevenly distributed. Bridging that gap requires structured vocational programs and private-public partnerships.
  • Market access costs: Trade tariffs, logistics, and export paperwork add layers of cost that make international expansion expensive and slow.

Practical wins: what accelerates success

A set of practical interventions has proven effective in markets that have moved faster:

  1. Incubation + Market Access: Hubs that combine business training with buyer introductions (like NFH’s programming) shorten the runway to commercial deals. (NFH – African Fashion)
  2. Sponsorships with capacity building: Corporate funding tied to supply-chain investments, training, and production support builds durable capacity instead of one-off events.
  3. Regional trade facilitation: Lowering intra-African trade frictions helps brands scale across borders before taking on far-flung export markets.
  4. Investment vehicles for creatives: Dedicated fashion funds, blended finance, and grant-to-equity structures reduce early-stage risk and help brands professionalize.

The human story that matters

At the heart of every statistic are designers, models, tailors, textile workers, and entrepreneurs turning ideas into livelihoods. For them, fashion is not mere glamour; it is jobs, cultural preservation, and new career pathways. Initiatives that respect that human dimension, offering fair pay, worker protections, and sustainable growth, will create an industry that is both stylish and just.

Looking forward: from creative bursts to a durable industry.

Africa has the ingredients for a globally resonant fashion ecosystem: raw creativity, rich textile heritages, a hungry consumer base, and an increasingly connected diaspora market. To turn that potential into long-term impact requires patient capital, smarter public policy, and more hubs that combine visibility with commercial scaffolding. Organisations like Nairobi Fashion Hub are doing the hard, unglamorous work of shaping markets: cataloguing talent, staging consistent platforms, and building the networks that turn runway applause into export contracts.

If stakeholders, designers, models, funders, governments, and media double down on infrastructure and skills while protecting creative agency, Africa will not just contribute to global fashion: it will help redefine the industry’s aesthetics, ethics, and economy. The continent’s next decade in fashion is not a matter of if but how fast and how sustainably it chooses to run.

Sources & further reading: UNESCO’s report on the African fashion sector (trends and challenges); market analysis on apparel in sub-Saharan Africa; Vogue coverage of African fashion and Lagos Fashion Week; Nairobi Fashion Hub’s platform and programming. (UNESCO)

Content courtesy of NFH Digital Team

Fashion Brand Mulu Evolves From Plus-size Pioneer To Family Lifestyle Label

Posted on by Oscar Alochi

September 2, 2025, Dubai, UAE – MULU, once recognized as a leading plus-size fashion brand for women, is rebranding into a lifestyle fashion label for the entire family. The launch of the new MULU Reborn Collection on September 4, 2025, reflects the personal journey of the founder, Kanessa Muluneh, and a new vision: to dress families with ease, comfort, and togetherness. The Reborn Collection will be available online at www.mulu.world with sizes ranging from baby all the way up to 5XL.

The rebrand was set in motion because of personal reflection, says Kanessa Muluneh. “When I first launched MULU, I was plus-size and designed clothes for women like me. I didn’t have kids, and my priorities were different. Today, I am a mother of three, and I have a family. That was when I realized MULU had to be reborn, too, as a brand catering to the whole family expanding beyond where we started. MULU is about creating fashion that bonds families.”

MULU’s mantra is “unlock ease, unlock MULU” and a design approach focusing on “clothing that moves with you”. The Reborn collection launches with five classic basics (black, navy, maroon, brown, green) balanced with two playful additions (yellow and light blue). All the pieces are made of comfortable, premium fabrics that adjust to all body sizes.

Since moving to Dubai three years ago, Kanessa Muluneh has adapted Arab cultural influences while keeping the brand’s global appeal. Family values are at the heart of MULU, and the new collection includes traditional pieces like abayas with a modern twist. Pricing ranges from 400-600 AED and targets established families across all categories.

MULU’s rebrand tackles what Kanessa Muluneh sees as a gap in family fashion: “We want to make life as a family easier. MULU Reborn is designed for daily activities like school runs, trips to the shop, errands, and all the things we do every day.” The launch on September 4 aligns with the back-to-school season when families set up new routines and look for clothing solutions that suit everyone. The date holds personal significance as well and marks nine years since Kanessa’s wedding anniversary when she started her family.

Kanessa Muluneh, founder of MULU, said: “Life is already full of responsibilities, especially when you have a family, and clothing shouldn’t add to that stress. That’s why we are including everyone in the collection: from babies and kids to teens, moms, dads, uncles, aunties, cousins, and even grandma and grandpa. Think of those traditional Christmas photos where the whole family wears matching sweaters, only this time, it can be MULU.”

 

About MULU:
MULU, established in 2018 by Kanessa Muluneh in the Netherlands, is a premium family
lifestyle brand based in the UAE. More than a clothing line, MULU is a family-first movement
catering to everyday families living their daily lives. The brand creates elevated essentials across
all age groups and sizes from babies to plus-size adults. MULU’s mission is to create fashion
that bonds families. MULU’s products are available in over 15 countries, including the
Netherlands, Germany, Belgium, Denmark, Sweden, Austria, UK, USA, Canada, Ghana, and
Kenya.

Content courtesy of MULU & NFH Dgital Team

Stop Ghana from Becoming Europe’s Textile Waste Dumpsite: A Call for Action

Posted on by Oscar Alochi

Ghana, like many African nations, has become a hotspot for the Global North’s textile waste, particularly fast-fashion items. Each week, approximately 15 million second-hand garments arrive in the country, overwhelming local markets and the environment. This issue, which has drawn increasing concern, is laid bare in the report Fast Fashion, Slow Poison, which uncovers the environmental and health hazards caused by this relentless influx of textile waste.

The Scale of the Problem

Kantamanto Market in Accra, one of the largest second-hand clothing markets in West Africa, receives a significant portion of these items. However, up to 500,000 pieces of clothing waste from the market end up in informal dumpsites or open spaces weekly. Accra’s landfill sites are now overwhelmed, forcing waste to pile up in informal areas, including along lagoons and near beaches. The sight of these textile mountains has become a stark reminder of the country’s struggle with Europe’s waste problem.

Beyond the eyesore, these waste dumps present severe environmental and health threats. The report reveals that 89% of the clothing waste in these dumpsites contains synthetic fibers, which release microplastics into the environment. These fibers are not only harmful to wildlife but also infiltrate water sources, exacerbating pollution. Moreover, burning clothes to heat water in public washhouses has led to alarming levels of air pollution. Benzene levels in these areas exceed European indoor air guide values by nearly 200 times, posing significant health risks to local communities.

Demands for Change

To address this crisis, advocates have made several demands to Ghanaian President Nana Akufo-Addo:

1. Ban the Import of Textile Waste
Ghana must take immediate action by banning the import of “dead waste”—unsellable and unusable clothing items that end up in landfills and dumpsites. These imports are not merely second-hand clothing for reuse but unwanted waste that has no place in local markets.

2. Hold Polluters Accountable
Companies and manufacturers responsible for producing and exporting these clothes must be held accountable. It is essential to implement mechanisms that make polluters pay for the environmental and health damages they cause in countries like Ghana.

3. Extended Producer Responsibility (EPR)
Effective EPR schemes should be implemented to ensure that companies take responsibility for the entire lifecycle of their products, from production to disposal. These regulations will force clothing brands to manage the environmental impact of their products, reducing the burden on countries like Ghana.

4. Invest in Local Solutions
Ghana must focus on developing slow, circular systems for its clothing and fashion industries. By investing in local designers, makers, and upcyclers, the country can create sustainable fashion solutions while mitigating the waste problem. These local innovators have the potential to repurpose unwanted garments and reduce the need for imports of low-quality, fast-fashion items.

The Way Forward

The current situation in Ghana is unsustainable, and immediate action is needed to protect the environment and the health of its people. The country cannot continue to absorb the Global North’s waste, particularly at the cost of its own well-being. Instead, the solution lies in adopting African-led initiatives that prioritize sustainability, innovation, and community resilience.

Ghana’s textile waste crisis is a wake-up call for both the Global North and the Global South. The fast-fashion industry, driven by cheap and disposable garments, has created a global waste problem that cannot be ignored. As the world becomes more interconnected, the responsibility to address these issues must be shared across borders. However, it is clear that the burden of this problem has fallen disproportionately on countries like Ghana.

The time has come to stop the influx of Europe’s fashion waste into Ghana. By banning textile “dead waste,” holding companies accountable, and supporting local circular solutions, Ghana can take control of its future and prevent becoming a permanent dumping ground for foreign waste.

As the Global North continues to offload its fast-fashion waste onto African nations, Ghana must stand up and demand change. The environmental and health impacts of textile waste are too severe to ignore, and the long-term consequences could be catastrophic. It is time to stop treating Africa as the world’s waste bin and put African solutions first. The future of Ghana and the entire continent depends on it.

“Fast Fashion’s Unsustainable Future: The Clock is Ticking for Zara, Forever 21, and H&M”

Fast fashion, a term that describes the rapid production of cheap, trend-driven clothing, has grown exponentially over the past two decades. Brands like Zara, Forever 21, and H&M have capitalized on this model, producing vast quantities of garments at low costs, allowing consumers to stay on top of trends without breaking the bank. However, beneath the allure of affordability and trendy styles lies a system that is increasingly unsustainable both environmentally and socially. The time has come to hold these brands accountable for the damage they cause, and to say to them: “Your time is up!”

The Environmental Toll of Fast Fashion

The environmental impact of fast fashion is staggering. The clothing industry is one of the largest polluters globally, and fast fashion brands are a major contributor to this crisis. The environmental toll begins with the production process, which is heavily reliant on water, energy, and toxic chemicals. Textile production consumes an estimated 93 billion cubic meters of water annually, and the dyeing and treatment of fabrics contribute significantly to water pollution, especially in countries where environmental regulations are lax.

Moreover, the use of synthetic fibers, such as polyester and nylon, compounds the problem. These materials are derived from fossil fuels and are not biodegradable. Every time these synthetic fabrics are washed, they release microplastics into waterways, eventually ending up in oceans where they harm marine life. A 2017 study estimated that around 35% of all microplastics in the ocean come from synthetic textiles.

The waste generated by fast fashion is another growing concern. With trends changing at breakneck speed, consumers are encouraged to buy more and discard items just as quickly. In the U.S. alone, 85% of textiles are thrown away each year, much of which ends up in landfills or incinerated. Zara, Forever 21, and H&M have contributed significantly to this waste cycle by producing garments that are designed for short-term use. Their model thrives on planned obsolescence—where clothes are not made to last but are instead produced with the expectation that they will soon be replaced by newer items.

The Social Impact: Workers Pay the Price

While fast fashion offers consumers low prices, the real cost is often borne by the garment workers, most of whom are based in developing countries. The need to keep prices low and production fast has led to poor working conditions in factories across countries like Bangladesh, Vietnam, and Cambodia. Workers are often paid far below living wages and work long hours in unsafe environments.

Tragic incidents such as the 2013 Rana Plaza factory collapse in Bangladesh, which killed over 1,100 workers, have shone a spotlight on the human cost of fast fashion. Despite promises from major brands to improve safety standards and wages, many of these issues persist. The pressure to meet high production targets and maintain low prices has resulted in a race to the bottom, where ethical considerations are secondary to profit margins.

The Rise of Conscious Consumerism

As awareness of fast fashion’s impact grows, so too does the demand for sustainable alternatives. Consumers are increasingly questioning the true cost of their clothing, leading to a rise in conscious consumerism. The slow fashion movement, which promotes mindful purchasing, quality over quantity, and ethical production, has gained momentum in recent years. Sustainable brands, such as Patagonia, Reformation, and Everlane, have carved out spaces in the market by offering transparency about their supply chains and prioritizing environmental and social responsibility.

In response to growing criticism, brands like Zara, H&M, and Forever 21 have made efforts to incorporate sustainable practices into their business models. For example, H&M launched its “Conscious Collection,” which claims to use sustainably sourced materials, while Zara has pledged to use 100% sustainable fabrics by 2025. However, critics argue that these initiatives amount to little more than “greenwashing” an attempt to appear environmentally friendly while continuing unsustainable practices on a larger scale.

The Clock is Ticking: “Your Time is Up!”

Despite their attempts to adapt, the reality is that fast fashion’s core business model is fundamentally at odds with sustainability. Producing vast amounts of clothing at breakneck speed while maintaining low prices cannot be done without cutting corners, whether in environmental responsibility or labor rights. While Zara, Forever 21, and H&M have enjoyed immense success, the writing is on the wall.

The fashion industry is slowly shifting towards a more responsible and circular approach, and fast fashion brands are being left behind. The demand for transparency, sustainability, and ethical production is no longer niche—it’s becoming the norm. Consumers are calling for higher quality garments that last longer and have less environmental impact. They are also demanding accountability from brands, expecting them to address the systemic issues within their supply chains.

In this context, fast fashion brands must make a choice: radically overhaul their practices or risk becoming obsolete. The pressure from both consumers and environmental advocates is mounting, and simply tweaking around the edges will not be enough. For companies like Zara, Forever 21, and H&M, it’s time to acknowledge that their time is up unless they commit to real, transformative change.

The Way Forward

If fast fashion brands are to survive in a future that prioritizes sustainability, they must move away from the throwaway culture they have helped create. This means not only reducing waste but also embracing circular fashion, where garments are designed to be recycled, repaired, or repurposed. It means investing in new technologies that minimize environmental harm, such as fabric innovations that reduce water and energy use. And most importantly, it means ensuring that workers are treated fairly, with safe working conditions and living wages.

Consumers, too, have a role to play. By making more thoughtful purchasing decisions, supporting sustainable brands, and holding companies accountable for their actions, we can collectively steer the fashion industry towards a more ethical future.

Fast fashion as it exists today is unsustainable both environmentally and socially. The dominance of brands like Zara, Forever 21, and H&M has come at a significant cost, and the time has come for these companies to either adapt or step aside. As consumer awareness grows and demand for responsible fashion increases, the fast fashion industry’s reign may soon come to an end.

The message is clear: the era of wasteful, exploitative fashion is over. It’s time for a new, sustainable chapter in fashion, and for Zara, Forever 21, and H&M, the clock is ticking. **Your time is up!**

Content courtesy of  Green Peace & NFH

Regi Reveals Stunning Chic Collection ‘Rebirth” With Eye-catching Photos!

Posted on by Oscar Alochi

Following the release of a sneak preview of their current collection to commemorate the brand’s rebirth, Nigerian womenswear label Regi has released more gorgeous images of the collection dubbed Rebirth.

“Rebirth can also mean; Renaissance, the emergence of something new, an awakening, a new era,” says designer Olufisayo Dayo-Oyelakin. Just a few words to express the emotion and creativity that goes into creating these ageless, adaptable, useful, and spontaneous creations. All of which are undeniably energizing, energizing, and stunningly appealing.

These pieces offer a preview of what the rebirth collection will include. Trust that it will be the perfect wardrobe refresh.”

The exquisitely crafted outfits have remarkable designs ranging from floral print corset tops with tie-back designs to rare but magnificent skirts to match. They are also available in a variety of colors.
REGI RTW’s latest fashion products are suitable for everyday wear and are ideal for women who value simplicity and comfort.

Content Courtesy of Designer: Rebirth by Regi & NFH

 

 

 

 

 

 

For The Love Of Classic Cars, Vintage Motorcycles & Fashion: Concours D’elegance Kenya 2022.

Posted on by Oscar Alochi

The Golden Africa Concours d’Elegance in 2022 will commemorate the Alfa Romeo Owners Club’s 50th year of hosting the annual Concours (Kenya).


The most upscale event on the Kenya Motor Sports Federation calendar, it is open to all models of vehicles and motorcycles. Additionally, it is a happy family day and a social occasion. The judging of 40 motorbikes and 70 classic and vintage cars serves as the event’s focal




A children’s amusement area, live music from a band, flyovers, a parade of all the Concours automobiles and motorbikes, and a grand finale following the award ceremony are additional attractions.




Gate Tickets: KES 1,500 for adults and KES 750 for children.

The Entries

The field is limited to 70 cars and 40 motorcycles on a first come first served basis. The entries in the Concours are of a high standard. Among the past overall car winners are a 1928 Chevrolet, a 1928 Ford, a 1926 Fiat, a 1934 Alvis Firefly, a 1934 Railton, a 1951 Daimler DB 18 Barker and a 1952 MGTD.

In recent years, the overall motorcycle winners have been a 1941 Indian Scout, a 1937 Moto Guzzi, a 1930 Ivory Calthorpe, a 1925 DKW, a 1922 Douglas 4HP and a 1915 Indian Model B.

Method of Judging

Judging is based entirely on cleanliness and condition and there are bonus points for age. As the Concours is open to all makes and types of cars and motorcycles, it is not possible to assess originality and this characteristic is not taken into consideration. The detailed method of judging is contained in the Regulations.

Future and the Past
The Africa Concours d’Elegance is a yearly event that takes place on the final Sunday in September at the grounds of Nairobi Racecourse. It is now in its 50th edition in the annual series and has established itself as the most upscale competition on the Kenya Motor Sport calendar.

The Alfa Romeo Owners Club (Kenya) celebrated its first birthday in 1971, which inspired the committee to organize an event. The anniversary was a source of great pride for the club’s members.

The committee drew design cues from the late 1960s Giulia coupes and Spider sports vehicles as well as Concours d’Elegance competitions held in numerous nations worldwide.

Content courtesy of Alpha Romeo, Capital Lifestyle & NFH

Rwanda: Rwandese Lady Mugabekazi Lilliane Detained For Inappropriate Attire

Posted on by Oscar Alochi

In Rwanda, a 24-year-old woman is currently imprisoned for wearing “indecent” clothing to a performance.
The woman wearing the See me through dress with her pants completely exposed can be seen in the viral photo that went popular on social media.
As far as one could tell from the picture after noticing her black pant, one could tell she was braless, but it was impossible to tell if she actually wore a bra.
The Rwandan government then detained this woman and accused her of wearing indescent clothing. Mugabekazi Lilliane has been denied bail and will remain in custody as requested by the prosecution in a closed-door hearing.

News of the arrest sparked outrage among some Rwandans, but government officials including former justice minister Johnston Busingye backed the move.

Mugabekazi Lilliane has been denied bail and will remain in custody as requested by the prosecution in a closed-door hearing. She was accused of “Public Indecency,” a crime that carries a maximum 2-year prison sentence under Penal Code Article 143.

A 24-year-old woman named Mugabekazi Lilliane is in court today on counts of indecent dressing.

The image was captured during a concert in Kigali. However, her attorney requested that the matter be heard behind closed doors. The administration has committed to control indescent clothing.

https://www.instagram.com/p/ChcGRB0Kp33/?igshid=YmMyMTA2M2Y=

Prosecutors claimed that she committed a “major criminal” by attending the event in “clothing that disclose her private parts…things that we label shameful.”

“We want the court to remand Mugabekazi for 30 days based on these significant grounds.”

“She may have engaged in public obscenity,” “Faustin Nkusi, a spokesperson for the prosecution, told AFP that the court would decide on Tuesday whether to grant her bail.

Some Rwandans expressed outrage upon hearing of the arrest, but government officials, including former justice minister Johnston Busingye, supported the action.

https://www.instagram.com/p/Chb2hD1oR9Q/?igshid=YmMyMTA2M2Y=

Busingye, who is currently Rwanda’s ambassador to Britain, tweeted, “The current issue of our young men and women who drink and drug themselves unconscious, stand in public literally nude, is unpleasant.

I support the initiatives taken to address it.

Last week, police spokesman John Bosco Kabera condemned what he called “immorality and vulgarity among young people” in a television appearance.

“This problem is getting worse… you see people walking about in just shirts, no shorts, no pants,” he remarked.

Then, wearing attire that resembles nets, these folks enter public spaces.

The first right is to dress correctly, not to wear indecently, he said in response to the program host’s question on whether “such people did not have a right to dress as they pleased.”

Content Courtesy of New 18 , Chimp Report & NFH

Ghana’s Fashion Revolution Is Centered On The Secondhand Market.

Posted on by Fashion Police

The largest secondhand market in Ghana, Kantamanto, is inspiring a new generation of designers to support a local fashion scene.
Tourism is big in Ghana, where I’m from, especially now that more people are coming to celebrate Detty December. The country’s emerging creative scenes, including those in the arts, music, and fashion, have yet to be fully investigated.

Recently, the fashion industry in particular has flourished in this country as more and more young people take an interest in it and work to develop a style culture that is distinctive to their country.

Although they are affected by western media, local fashion creatives have learned to expand on what they observe there. Due to the lack of retail presence of the majority of the glamorized popular American and European brands in Ghana, designers and stylists in Accra have not only drawn on their ingenuity to create something out of nothing, but have also excelled in doing so.

However, the expansion of our fashion ecosystem is not just dependent on the creativity of these individuals but also on a market that existed much before the fashion revolution. Ghana’s largest secondhand market is located at Kantamanto. It is the go-to location for inexpensive clothing and is credited with popularizing the phrase “Obroni Wawu,” which translates to “Dead Man’s Clothes.”

All of these garments rest in Kantamanto Market, which is also a source for designer goods and uncommon fabrics.
Accra now has a strong thrift culture thanks to Kantamanto. Everyone can readily access the market, making it convenient for those looking for trendy accessories to make a quick trip and purchase what they require.
Adom Gee, a self-taught stylist and designer, travels to Kantamanto at least three times every week since he needs to buy fabric there for his clothing line, “Adom Gee The Brand.” “Walking around Kantamanto really gives me the inspiration to produce more,” he says.

He has experience in the fashion industry and is familiar with every corner of this vast market to get what he needs, but even he acknowledges that “you never know what you will arrive and find here.”

“I feel like Kantamanto will forever be a relevant part of Ghana’s fashion ecosystem” – Larley Lartey

As one of the up-and-coming designers, Adom is appreciative of markets like Kantamanto that enable him to design unique items for his business. His style of the Ghanaian rapper Kwesi Arthur and his African-inspired brand designs are starting to gain him recognition.

Speaking with model-turned-stylist Larley Lartey in Accra, she revealed that she first encountered Kantamanto during her school years, when she always aspired to be the coolest person in the room.

I distinctly recall leaving senior high school in the middle of a class to go to Kantamanto and buy some clothes because I wanted to stand out. In her styling job, Larley produces the looks she sees in her head using Kantamanto, whether she buys a specific piece of clothing or makes it from scratch with fabric she finds in the market.
However, as more individuals join her in using Kantamanto for their fashion requirements, she regrets that “the demand is larger than the supply.” Lartley now works with several well-known Ghanaian musicians, including as Stonebwoy and King Promise, and she hopes to work with foreign musicians like Dua Lipa or Kali Uchis in the future.

Nutifafa is a multihyphenate creative who works as a model, stylist, creative director, and environmentalist. She takes pride in having a distinctive viewpoint that doesn’t just follow the latest trends. Young and newly arrived in Accra, she rapidly observed that the majority of locals were simply copying what they were seeing in the west at the moment.
However, she dared to stand out and has distinguished herself in her field. Her unconventional approach to fashion has been the secret to her success in the industry as she has worked on fashion projects in a variety of positions, including styling and creative directing. Because she openly claims that the majority of her clothing is secondhand from the market, Kantamanto serves as the foundation for Nutifafa.

You may discover your sense of style at Kantamanto, she claims. Even while Kantamanto has its advantages, Nutifafa is concerned about the effects the tons of clothing that arrive each week will have on the environment. She promotes recycling and repurposing of clothing through her company Upcycled Ghana in an effort to stop this.
“Kantamanto is the source for all the high-end apparel products we typically wouldn’t have access to,” – Style in Drip Drip
Champagne, 40K Phyll, and Webster are the three buddies who make up the collective Drip Drip Styling, which is swiftly rising to prominence in the field. When they first met at Kantamanto, they shared the aim of earning money by selling used clothing, but they have since become well-known personalities in the styling sector.

The group explains how simple it is for them to locate uncommon apparel in bales. As a fan of Prada bags, 40K displays some merchandise from the high-end company he found while thrifting. When describing some of the difficulties they encounter, Champagne remarks that “the quality of the things that come presently in the bales is declining.” Despite certain difficulties, the lads credit their success in styling in part to the easily accessible sector they operate in.

In addition to styling some well-known figures in the African music industry, the trio is expanding into designing for a brand they have founded called D2 Essentials.

Content courtesy of Dazed Digital & NHF

Lagos Fashion Week And Africa Fashion Week Nigeria Make A Triumphant Return.

Posted on by Fashion Tribe Influencer

As two Nigerian powerhouses, Lagos Fashion Fair Exhibition and Africa Fashion Week Nigeria join forces to host their events together in September at the prestigious Eko Hotel and Suites on the 7th to the 9th of September, fashion lovers, designers, industry experts, and enthusiasts are in for a special treat.

Ayo Olugbade, CEO of Lagos Fashion Fair, and Princess Ronke Ademiluyi, founder of Africa Fashion Week Nigeria, have joined forces in this historic cooperation to jointly stage their events. This unprecedented collaboration is expected to transform the way that fashion shows are conducted in Nigeria. For their eighth edition, both brands are making a spectacular entrance.

The Lagos Fashion Fair Expo powered by Atlantic Exhibition seeks to provide the ideal platform for fashion enthusiasts to interact with fashion suppliers from throughout the nation.

The Lagos Fashion Fair will bring together fashion suppliers and merchants to develop new avenues of distribution for the industry.

In order to highlight the best of Nigeria’s and Africa’s up-and-coming creative design talent, Africa Fashion Week Nigeria was established as a sister event to Africa Fashion Week London, the largest festival of African fashion in the United Kingdom (UK).

This year’s event promises to be at the forefront of promotion of African indigenous textiles, colors, and design with the sole goal of exposing African creatives on a worldwide platform as African fashion continues to dominate the global fashion landscape.
The LFF and AFWN joint event this year will provide fashion consumers, industry experts, trendsetters, stylists, models, and designers with the opportunity to shop at discounted prices, forge business connections, and build networks with domestic and foreign firms.

Some of Nigeria’s top up-and-coming designers, including AdirestylesNG, Ego by Ego, Fashion by Ashani, HardleySeen,

Nivaldo Thierry from Mozambique, YawsCreations from The Gambia, and Hortense Mbea Afroplan from Ethiopia are among the designers joining us this year on the Pan African catwalk in addition to KaffyKreate, PnJofficial, Dushin Craft, and Max Chidera Official.

Additionally, adire workshops by Adire Oodua Textile Hub and celebrity designer Kunle Afolayan displaying his Kunle Kembe Adire line will be included during the three-day event, which will take place at the Eko Hotel from September 7 to 9.

Exciting attractions that have been thoughtfully packaged for the guests anticipated to congregate in Lagos for this year’s event are lined up to light up the fashion runway and exhibition.

Attendees at this year’s event will enjoy a series of non-stop fashion moments, including a masterclass session by serial entrepreneur Toyin Lawani, who will offer a refreshingly different fashion experience to all fashion lovers and enthusiasts yearning for a breath of fresh air in the Nigerian fashion space. The event also serves as a platform for emerging fashion designers to grow their businesses and connect with a global market.

Content courtesy of Business Day & NFH

Attirety Fashion Services and The JW Show: Celebration of Womanhood at Salama Center & Mentorship Hub, Thika

Posted on by Oscar Alochi

Join us for a day filled with positive empowerment as we give back to our fellow women by volunteering our time and talents at a charitable event.

April 16, 2022 | 10 am
Salama center & mentorship hub, Thika
By girl child network
To give in kind, cash or time, WhatsApp 0703620598
Mpesa Paybill: 899790
Account: 1003006000224

In tandem with the JW Show, Attirety Fashion Services is collaborating with the Girl Child Network, a charity. An organization dedicated to empowering the young girls, women, and youth of Kiandutu slum in Kiambu county, who are survivors of gender-based violence and live in poverty.

We’re collaborating with health professionals and other groups to help these mothers and youth. We intend to start a regular program with the help of well-wishers who are in better financial conditions.

We want to reach out to 100 young women and girls. We want them to know that they are not forgotten. The backbone of civilization is made up entirely of women. We honor them because they raise generations of leaders, thinkers, innovators, and doers.

Content courtesy of The JW Show, Attirety Fashion Services & NFH

The UK’s Largest Ever Exhibition of African Fashion is Coming to the V&A this Summer

Posted on by Fashion Police

The V&A’s landmark exhibition will be the UK’s largest of its kind and will showcase the work of 45 designers from over 20 countries.

Designers from the African diaspora are set to be showcased in the V&A’s upcoming exhibition of the continent’s fashion, which will be the UK’s largest ever.

Africa Fashion, which will showcase the work of 45 designers from over 20 countries, will celebrate the irresistible creativity, ingenuity, and unstoppable global impact of contemporary African fashions.

Over 250 objects will be exhibited, with many of the items on the show set to be donated from the personal archives of a selection of iconic mid-20th century African designers, including Shade Thomas-Fahm, Chris Seydou, Kofi Ansah, and Alphadi, marking the first time their work will be shown in a London museum.

“Our guiding principle for Africa Fashion is the foregrounding of individual African voices and perspectives,” Dr. Christine Checinska, senior curator African and African diaspora: fashion and textiles, said. “The exhibition will present African fashions as a self-defining art form that reveals the richness and diversity of African histories and cultures.”

African Fashion will also showcase and celebrate the works of contemporary designers, including Imane Ayissi and Thebe Magugu, who won the coveted LVMH prize in 2019 for emerging talent.

“African fashion is now. It’s not just designers, there’s a whole ecosystem of models, make-up artists, photographers, illustrators – imagine bringing everybody’s work to life season in season out,” says Omoyemi Akerele, founder of Lagos Fashion Week. “Fashion that’s created by our people for our people and for the benefit of growing and developing our economy.

This exhibition is important because, for the very first time, fashion from the continent will be viewed from a diverse perspective which spans centuries.”

African Fashion will open at the V&A Museum on 2 July 2022 and will run until 16 April 2023. Tickets can be booked here.

Content Courtesy of Stylist & NFH

Africa’s Top Fashion Influencers

Posted on by Fashion Tribe Influencer

PARIS – With a steadily expanding middle class, Africa holds plenty of untapped potential for luxury brands. But who are the influencers who are moving the needle on the continent and beyond?

These days, global brands like Louis Vuitton, Prada, and Hermès are competing with a growing number of homegrown labels, as designers like Rich Mnisi, Kenneth Ize, Hanifa, and Thebe Magugu tap into rising demand for African-made fashion.

To succeed, Western brands must harness the power of local influencers, ranging from stars of Nigerian cinema, dubbed Nollywood, to television presenters, singers, and influencers, technology company Heuritech said in a webinar titled “Discover the African Fashion Scene.”

“The narration of African fashion cannot be done without African creatives,” said Amélie Rotsen, fashion analyst at Heuritech, which offers brands fashion trend forecasting using artificial intelligence to translate pictures shared on social media into market insights.

“People are now really quick to call out a brand for cultural appropriation, so stop any narrative based on Western imagery, and try to really call those creatives to create stories that will highlight their culture, the way they know-how,” she added.

Total private wealth held in Africa is expected to rise by 30 percent over the next 10 years, reaching $2.6 trillion by 2030, according to the “Africa Wealth Report 2021” published by AfrAsia Bank. South Africa is home to the largest luxury market in Africa by revenue, followed by Kenya and Morocco.

The bank expects Ethiopia, Mauritius, Rwanda, Kenya, and Uganda to be the strongest-performing wealth markets in Africa over the next decade, with growth rates exceeding 60 percent. Solid growth is also forecast in Namibia, Botswana, Mozambique, and Zambia.

“To enter the African market, it is very important for international brands to really understand the specificity of the markets and have teams directly in the field. This is especially true for influencer communication,” said Jenna McFeely, fashion curator and trend analyst at Heuritech.

“Picking the right brand ambassador requires foreign brands to do exhaustive research on the market, along with the influential figures of a particular country or field. And lastly, it’s important to consider the weight of the diaspora,” she added.

“As a result of colonization, people of African descent are present throughout the world with their heart and their wallet lying between the Western world and their roots, and this will to consume Black[-owned brands] has been reinforced,” she said, noting the power of U.S. beauty influencers like Jackie Aina and Nyma Tang.

Among the top African influencers, she listed was Nigerian actresses Adesua Etomi and Genevieve Nnaji, who have 4.3 million and 8.2 million followers on Instagram.

Nigeria has also produced major music stars such as Burna Boy and Wizkid, who posted a message on Instagram last week saying his concert at the O2 Arena in London, scheduled for Nov. 28, sold out in 12 minutes.

“While the link between film, music, and fashion does not need to be proven anymore, these artists’ global audience and edgy style make them ideal representatives for African and international designers who are hoping to attract aspirational or entry-level consumers,” McFeely said.

Popular TV personalities include Bonang Matheba, known for her catchphrase “Champagne, darling!”, who has launched several fashion lines and her own sparkling wine brand, House of BNG, in addition to starring in the reality TV show “Being Bonang.”

Citing Nigerian public relations firm Redrick, McFeely recommended that brands targeting luxury consumers rely on high-net-worth individuals like the Nigerian writer Chimamanda Ngozi Adichie, who inspired Maria Grazia Chiuri’s first collection for Dior with her essay “We Should All Be Feminists.”

“There’s also the influencer market with entrepreneur women and travel enthusiasts like Boity Thulo, who showcases the lavish side of Africa, which is aspirational, to say the least,” McFeely added.

“And finally, there’s the promise of Afro cyber influencers who might be a new fun outlet, given the success encountered by Lil Miquela, who is another virtual influencer,” she said, citing the example of digital model Ivaany.

In parallel, WWD asked data research and insights company Launchmetrics to compile data on the top five African influencers ranked by media impact value or MIV. Based on a proprietary algorithm, the measure estimates the value of coverage across social networks and in the media.

1. Mihlali Ndamase (@mihlalii_n): 1.4 million followers on Instagram, 59 percent of the engaged audience from South Africa

The makeup artist and content creator, also known as Mihlali N, bills herself as the biggest beauty YouTuber in South Africa with 345,000 subscribers.

She recently generated $143,000 in MIV for a post with Fashion Nova, $112,000 for a post with Revlon, and $80,000 for a post with Dior makeup.

Featured on Forbes Africa’s “30 Under 30” list this year, Ndamase has expanded into luxury and lifestyle content, via paid partnerships with the likes of Radisson Hotels and Protea Hotels by Marriott.

2. Temiloluwa Otedola (@temiotedola): 1.2 million followers on Instagram, 54 percent of the engaged audience from Nigeria

The daughter of Femi Otedola, a Nigerian billionaire active in sectors including energy, and younger sister of music star DJ Cuppy, Temi Otedola established her presence with the launch in 2014 of a blog covering areas spanning fashion, travel, and a book club.

Her Instagram post about Etro’s Forte Dei Marmi pop-up in June generated $113,000 in MIV, while a post with Farfetch in 2020 was worth $68,000, reflecting the progression in her follower count.

Otedola made her acting debut last year as the female lead in Nigerian director Kunle Afolayan’s film “Citation,” the story of a university student who accuses a professor of sexual harassment, which is available to stream on Netflix.

3. Kefilwe Mabote (@kefilwe_mabote): 1.2 million followers on Instagram, 56 percent of the engaged audience from South Africa

Born in the township of Soweto in Johannesburg, Mabote last year published her autobiography “Kefilwe Mabote: Influencer De Luxe – From Soweto to Milan,” which doubles as a guide to becoming an influencer.

Known for her glamorous style, she generated $49,000 in MIV for a post with Ugg in May, but can generally be seen in high-end designer clothing by the likes of Burberry, Tom Ford, and Versace. She even has a dedicated website, kefiscloset.com, to sell her castoffs.

Mabote’s personal life made headlines last year when her then-boyfriend, businessman Edwin Sodi, was caught up in a corruption scandal. She subsequently lost a defamation lawsuit against the weekly tabloid Sunday World.

4. Lesego Legobane (@thickleeyonce): 765,000 followers on Instagram, 66 percent of the engaged audience from South Africa

Photographer, plus-size model and body positivity activist Legobane known professionally as Thickleeyonce also has her own online clothing store, Leebex.

A recent post with Fashion Nova Curve generated $39,000 in MIV; another with Bombay Sapphire was worth $63,000, and a third for Beyoncé’s Ivy Park collection with Adidas generated $50,000.

Legobane revealed last year that she had been selected as an influencer for Rihanna’s Savage x Fenty lingerie line, but last week called out the brand on Twitter for not offering any pay. The tweet was subsequently taken down, but she posted a separate message that read: “Pay Influencers. Creating Content Is Work.”

5. Sarah Langa (@sarahlanga), 579,000 followers on Instagram, 61 percent of the engaged audience from South Africa

A close friend of fellow influencer Kefilwe Mabote’s, Langa landed her first paid gig with South African department store chain Woolworths in 2015. She has frequently countered criticism from haters by highlighting her academic achievements, which she lists on her Instagram biography.

Langa works with a variety of brands including hairstyling appliances company GHD and mobile phone maker Samsung. She generated $31,000 in MIV for a recent post with fast-fashion e-tailer PrettyLittleThing; $26,000 with Nespresso, and $16,000 with Patrón Tequila.

One of her most recent Instagram posts shows her unboxing an Hermès Birkin handbag in a promotion for luxury goods sourcing service Aquarius Luxury Concierge.

Content courtesy of WWD & Nairobi fashion hub

 

 

Creative DNA x Fashion Scout present WAUZINE ‘Matatu’ Cross Cultural Collaborations

Posted on by Oscar Alochi

The first issue of WAUZINE titled ‘Neighbourhood’ came out in December 2020, and it explores Nairobi’s cultural landscape. In this issue, Sunny, with photographer and artistic luminary Maganga Mwagogo, showcase the striking and beautiful work of the designers through models Shekinah Imani, Adhel Bol and Ronnie Nyongesa, against the contrasting architectures of two socially significant parts of Nairobi—Kariokor and Kilimani. The issue is accompanied by a captivating piece by the amazing Awuor Onyango that speaks on the relationship between Kenya’s colonial past and its contemporary artistic output.

The second issue of WAUZINE titled ‘Joy and Rebellion’ is out now, and it explores Nairobi’s CBD through a fashion story by the talented photographer Sarah Waiswa. From Uhuru Park to the streets of Nairobi’s city centre, Sarah showcases the bold and diverse work of the designers through models Janet Muthoni, Chuony and Alex Kirimi.

This issue is accompanied by a fun piece by Abigail Arunga, who writes about the life and heart of Nairobi’s city centre. Issue 002 is also a reflection of the many Nairobians who go against the law to have a good time (enjoyment) and as Sunny puts it in his letter from the editor, “…this issue joins thousands of other funny stories and love letters by defiant Nairobians to their city as part of their overarching super narrative of joy, mischief and rebellion.”

WAUZINE issue 003 titled ‘Matatu’ will be out in February just before the London Fashion Week. In issue 003, Sunny and photographer Edwin Maina showcase the bold and beautiful work of the designers alongside Nairobi’s iconic matatu art. The issue is also accompanied by an insightful piece by Wanjeri Gakuru telling the story of the matatu culture, reflecting on the designs featured of the matatus, and their specific cultural resonance.

The WAUZINE short film was co-directed by our very own Sunny Dolat and Noel Kasyoka. The 5-minute fashion film is an audiovisual accompaniment to the magazine, and features the models and the beautiful work of the designers, moving in, and as part of, the hustle and bustle of the Nairobi city centre.

Photoshoot Creative team

Creative Director: Sunny Dolat
Producer: Njeri Gitungo
Production Assistant: Jane Pauline
Photographer: Edwin Maina
Styling Assistant: Bryan Emry
Make-up Artist: Sinitta Akello
Hair: Richard Kinyua,
Model: Juliet Kiruhi, Steven Juma, Silvia Tonui

Project Manager Kenya
@sunnydolat @zi.ggie @janeywaithera @photoman254 @bryan.emry @sinittaakello @rickykish @kiruhij @stevenjuma_ @eastafricaarts

Designers part of Creative DNA:
@endasportswear  @epicajewellery @favolosobynanu @genteel_ke @ohanaswimwear  @sevaria.ke  @styletech_by_teshie  @suitedbygordon  @thenisisifactory @vintaracollections @we.are.nbo

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