Sunday 2nd of April 2023

Nairobi, Kenya

African Fashion International (AFI) Returns With 15 Iconic Designers

After a two-year absence due to the Covid-19 outbreak, the African Fashion International (AFI) successfully returned to Cape Town last week.
Among the 15 legendary designers that participated in the three-day event were Gavin Rajah, Kluk CGdT, Taibo Bacar, Loin Cloth & Ashes, Habits, MaXhosa Africa, Craig Port, Matt Nolim, Stefania Morland, Shana Morland, Imprint ZA, Hugo Fleur, Kat van Duinen, David Tlale, and Scalo.

The fashion and retail exhibition gave visitors the chance to not only see the clothes that had just come off the catwalk but also to talk to the designers about them.

The Mother City’s legendary ensemble Temple Boys appeared in a variety of performances for the guests. DJ Zinhle and Young Stunna, two luminaries in the industry, also delighted the audience.

The founder and executive chair of AFI, Precious Moloi-Motsepe, stated that the CTFW (Cape Town Fashion Week) is AFI’s platform for presenting Africa’s creative works while also creating avenues of trade interchange that would increase the industry’s economic value.

“The CTFW provides a chance for African designers to network with people in the global market as well as to promote their work. This is viewed as a means of increasing the economic worth of the sector, according to Moloi-Motsepe.

The AFI also revealed the names of the AFI Fastrack 2023 finalists, who will spend a year being mentored and receiving instruction on how to make a difference in the African fashion sector and develop into astute businesspeople.

African Fashion International is happy to report that Cape Town Fashion Week was a huge success, in large part because of the incredible talent and ingenuity of the participating designers.

Over the course of three days, there were 18 shows by 9 designers, making it a true celebration of the best African design talent.

The fact that so many people showed up after a two-year break showed that Cape Town Fashion Week was missed. The addition of the CTFW Fashion & Retail Expo gave visitors the opportunity to connect with the designers and view the clothes as they were still being worn off the catwalk.

The CTFW also provided a venue for presenting African artists’ works while fostering commercial routes. The CTFW Fashion & Retail, Music, and Art Expo featured a variety of expo stallholders, all of which profited from participating.

According to businesswoman Dr. Precious Moloi-Motsepe, the executive chair and founder of AFI, “Cape Town Fashion Week is AFI’s platform for displaying Africa’s creative works while also developing corridors of trade interchange that will grow the industry’s economic worth.”

“CTFW provides a chance for African designers to network with people in the global market in addition to showcasing their work. This is thought to increase the economic value of the sector.

During CTFW, the Cape Town Temple Boys, DJ Zinhle, Young Stunna, and Scorpion Kings all gave fantastic performances for the audience.

A unique exhibition honoring 15 years of African Fashion International marked the conclusion of CTFW. 15 show-stopping outfits from 15 renowned designers who have been a part of the AFI platform since its start were included in this presentation. It was a celebration of both AFI’s work as a platform for outstanding Pan-African designers as well as its function as a catalyst in the global fashion industry.

Gavin Rajah, Kluk CGdT, Taibo Bacar, Habits, MaXhosa Africa, Craig Port, Matt Nolim, Stefania Morland, Shana Morland, Imprint ZA, Hugo Fleur, Kat van Duinen, David Tlale, and Scalo were among the performers on the program.

During CTFW, AFI also revealed the AFI Fastrack 2023, finalists. They will receive mentorship for a whole year, receiving instruction on how to become successful business people and designers who will have an impact on the African fashion sector.

Everything of the clothing displayed at CTFW is retail-ready and is offered at the House of Nala store in Sandton City as well as the AFI Online Store.

About African Fashion International (AFI)
In the past 15 years, AFI has been successful in bridging the gap between African fashion and international markets, launching and elevating designers to status on a global scale.
The goal of AFI is to create the finest business environment and platform for trade in African fashion and brands. Dr. Precious Moloi-Motsepe, an entrepreneur and philanthropist who started AFI, was inspired to work with various talents on the continent by her love of African ingenuity, craftsmanship, and culture.

AFI is regarded as a ground-breaking platform that develops, finances, and supports the best African creative talent. Customers that value custom African luxury and craftsmanship, both domestic and foreign, are the target market for our goods and services.

We help international customers find distinctive, top-notch African luxury goods from established and up-and-coming designers. The best place to find information and news about the fashion business is AFI.

We can provide Events as a Service in lovely physical and virtual places thanks to our extensive talent and expertise in producing stylish events and curated lifestyle experiences.

Content courtesy of  African Fashion International (AFI), Sunday World, MENAFN- EIN Presswire & NFH



A Landmark Exhibition Celebrating The Global Influence Of Modern And Contemporary African Fashions Is Being Presented By The Brooklyn Museum Under The Title Africa Fashion.

The show, which makes its North American debut in Brooklyn, includes over 180 pieces, including apparel and jewelry from the Museum’s Arts of Africa collection as well as works in music, film, visual art, and photography.

On view June 23–October 22, 2023
Africa Fashion is the largest-ever exposition on this topic in North America, honoring the exceptional originality, ingenuity, and worldwide impact of African clothing from the beginning of the independence era to the present. The exhibition highlights how fashion, along with the visual arts and music, played a crucial role in Africa’s cultural renaissance during its liberation years and how those elements laid the foundation for today’s fashion revolution through pieces by renowned designers and artists from the middle of the twentieth century to the present.

The show is run by the V&A, and Ernestine White-Mifetu, Sills Foundation Curator of African Art, and Annissa Malvoisin, Bard Graduate Center / Brooklyn Museum Postdoctoral Fellow in the Arts of Africa, have adapted it for the Brooklyn Museum.
Arts of Africa, Photography, Arts of the Islamic World, Modern Art, and Egyptian, Classical, and Ancient Near Eastern Art are a few of the Museum’s collections that are included in the Brooklyn exhibition.
Brooklyn offers the ideal setting for examining the diversity and depth of the different histories and cultures on the continent.
It is home to one of the nation’s most vibrant African diasporic groups.

“Fashion is a fantastic creative statement that is multi-dimensional. This is captured by African Fashion in stunningly vivid and intertwining ways. To create a rich sensory experience, music, art, cultural identity, and material culture are highlighted, according to Malvoisin.

The exhibition’s immersive exhibits of apparel, textiles, photos, writings, sketches, music, films, and catwalk footage are arranged thematically. Twenty different African countries are represented by more than forty designers and artisans, many of whose creations are on display for the first time in the country. The exhibition features clothing created by mid-twentieth-century designers as well as pieces created by a current generation of African fashion designers, collectives, and photographers.

Africa Fashion starts during the post-independence period, which lasted from the 1950s through the 1990s. At this time, the continent saw a significant political, social, and cultural shift. Pan-Africanism flourished, fostering a shared sense of identity that was centered on fashion and creative expression. In the Cultural Renaissance section, ephemera like protest signs, old magazine covers, and well-known album covers are used to illustrate this period of tremendous change.
Visitors can learn about how the creation and wearing of Indigenous fabric evolved into a calculated political act by visiting Politics and Poetics of Cloth.
Wax prints, commemorative cloth, àdr, kente cloth, and bglanfini are displayed among textiles from the Museum’s Arts of Africa collection.

The Vanguard section features the first generation of African designers to receive widespread recognition.
For the first time in the country, mid-to late-20th century works by Kofi Ansah (Ghana), Naima Bennis (Morocco), Shade Thomas-Fahm (Nigeria), Chris Seydou (Mali), and Alphadi (Niger) are exhibited combined with a vibrant display of fashion photographs from the time.

The images in Catching Change cover the years leading up to independence and show the emergence of a sense of action and African-American pride. Photographs shot in homes and studios increased in number as photography became more widely available.

Its expansion is demonstrated by studio portraits created by Mali artists Seydou Keta and Malick Sidibé, as well as by James Barnor’s (Ghana) fashion photography, family photos, and other works from the Museum’s collection.
Users are encouraged to interact with the content directly by contributing their own individual and family photos that reflect the fashions of pre-independence Africa. The diasporic community will become a crucial component of the presentation thanks to these contributions of self-fashioning.
Through samples of couture and ready-to-wear clothing, embellishment, and creative projects, the section Cutting Edge highlights a new generation of fashion designers and creatives.

Structured around concepts such as “Afrotopia,” “Artisanal,” “Co-creation,” “Provocation,” “Minimalist,” and “Mixologist,” this area shows designs by dozens of current artists and collectives whose trailblazing collections hark back to their rich and specific cultural history. For instance, the Alchemy collection by South African designer Thebe Magugu and stylist and healer Noentla Khumalo focuses on African spirituality and connections to ancestors. By incorporating “feminine” textiles and hues into menswear, Nigerian designer Adebayo Oke-Lawal and his label Orange Culture challenge conventional ideas of masculinity.

The self-portraits of Gouled Ahmed (Djibouti), a costume designer, stylist, and photographer, continue this discussion. Ahmed’s artistic expression also challenges conventional cultural gender conventions, particularly the underrepresentation of nonbinary Black Muslims.

Lafalaise Dion (Côte d’Ivoire) explores the cowrie shell’s history as a symbol of wealth, success, and fertility as well as its modern use as a piece of jewelry.
The artwork A Conversation between Cultures, created especially for Africa Fashion by Moroccan designer Maison ARTC, features the hand of Fatima (hamsa), a lucky symbol.

Through the Photographer’s Vision emphasizes how modern photography and cinema can support creative communities, provide unrepresented artists a platform, and investigate a new African identity. Contemporary photographers like Stephen Tayo (Nigeria), Sarah Waiswa (Uganda), and Victoire Douniama are collection pieces by South African photographers Zanele Muholi and Omar Victor Diop (Republic of the Congo).

Global Africa serves as the exhibition’s climax. This section highlights the global significance of African innovation by examining how the internet era has expedited the growth of Africa’s fashion sector and influence.

Exhibition Catalogue

A specific exhibition catalog produced by V&A Publishing is available to accompany the display. Omoyemi Akerele, Amine Bendriouich, Gus Casely-Hayford, Sunny Dolat, Bonnie Greer, Monica L. Miller, Elisabeth Murray, Njoki Ngumi, Hadeel Osman, and Roslyn A.
Walker contributed to the catalog, which was edited by Christine Checinska. Anne Pasternak, Shelby White, and Leon Levy Director, Brooklyn Museum wrote a new foreword.

Exposition Store

Africa Fashion will make advantage of a collaboration with ALRA, a premium lifestyle concept store located in Lagos, thanks to the efforts of Rachel Shechtman, the Brooklyn Museum’s Entrepreneur in Residence, to create a special exhibition shop experience. ALRA, which was established in 2015 by Reni Folawiyo and created by architect Sir David Adjaye, combines fashion, design, food, and culture.
ALRA, which was established in 2015 by Reni Folawiyo and created by architect Sir David Adjaye, combines fashion, design, food, and culture.
Folawiyo will select the designs for the exhibition shop for Africa Fashion, which will be ALRA’s first international outing.
Over the duration of the exhibition, special merchandise including products by designers featured in Africa Fashion as well as alternating trunk presentations and programs will enhance the shopping experience.

The Brooklyn Museum Store will sell products from Brooklyn, including but not limited to children’s toys, housewares, jewelry, and books, in addition to spotlighting brands and designers from Africa.

Ticketing Details
On April 18, 2023, timed tickets for Africa Fashion to go on sale. Starting on April 11, 2023, Museum Members can reserve their complimentary tickets.
Visit www.brooklynmuseum.org/join or send an email to membership@brooklynmuseum.org to join.

The cost of a ticket is as follows:

Adults pay $20 from Wednesday to Friday; seniors pay $13, students pay $13, visitors with disabilities pay $13, and kids pay $8.
Adults pay $25 on Saturday and Sunday, seniors pay $17, students pay $17, visitors with disabilities pay $17, and kids pay $10.

Exhibition Credit
The Sills Foundation Curator of African Art Ernestine White-Mifetu and Annissa Malvoisin, Bard Graduate Center / Brooklyn Museum Postdoctoral Fellow in the Arts of Africa, along with Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts, and Matthew Yokobosky, Senior Curator of Fashion and Material Culture, are responsible for organizing the Brooklyn Museum presentation of Africa Fashion.

Developed by the V&A and traveling the globe
Sponsor in chief: Bank of America.
Substantial assistance from AL-RA.

Content courtesy of The City Life Org & NFH




Fashion Super Model: Naomi Campbell Knows What She Wants

The world has been attempting to describe her for three decades.
The supermodel and campaigner, though, would rather handle things on her own terms.
Naomi Campbell’s origin story plays a significant role in the mythos around her as a supermodel, activist, fashion star, and occasionally hothead.
I’ll reiterate what you likely already know: Campbell, a 15-year-old schoolgirl from the relatively nondescript streets of London’s Streatham area, was discovered by a model scout while window-shopping in the city’s West End.
It’s a very different narrative from how today’s most successful models appear to be found either via Instagram scouting or being thrust to the head of the line because of their well-known parents.

Together with Kate Moss, another ’90s icon (and close friend), Campbell is to blame for inspiring a generation of British teenage girls to try their hardest to appear “modely” as we browsed the expansive Topshop on Oxford Street in the hopes that we too might be “spotted” while out on a Saturday afternoon.

Campbell’s background gives the impression that a fortuitous encounter is what altered the course of her life as if hers is some type of “right place, right time” Cinderella tale. Then, however, as you’re seated next to her in a hotel suite in a secretive part of Europe, you realize that with a face like hers—those imposing cheekbones reaching upward as though in homage to the celestial entities that must have played a role—there must have been some sort of celestial influence.

Naomi Campbell was destined to become renowned because of how they were made and those full, proportionate lips.
“I’ve been requested to write a book by virtually everyone,” she tells me, sinking into a sofa.
The thought of a Campbell memoir is tantalizing one wonders what her perspective of the countless tabloid headlines that have been published about her would be but so far she’s held off. “It’s time-consuming,” she argues, and anyhow, she doesn’t want to use a ghostwriter. She prefers to tell her own story.

Campbell epitomizes Old Hollywood; she exudes the confidence of someone who has experienced pre-2000 stardom, or legitimate popularity.

She does not engage in the calculated humility or relatability politics that seem to be the norm among today’s rising stars. She constantly mentions the incredibly well-known celebrities and fashion designers she counts among her close pals, and her Instagram is covered in glitz and jet-setting.

She has managed to hang on to her position as the hot spot of fashion for more than three decades, and she will go down in the annals of the business. So of course I agree to quit everything the day after Christmas and board a plane in exchange for just one hour of her time.

Despite her haughtiness, Campbell can also be extremely girlish at times, such as when we sneak outside to her hotel room’s terrace so she may smoke a cigarette. She tells me in a slightly conspiratorial manner, “I’m going to resign on New Year’s Eve.”

Her recent travels included flights from Milan to Miami, Miami to London, London to Egypt (where she sat front row at a Dior menswear show), back to London for the British Fashion Awards, and then on to the Senegalese city of Dakar to see Chanel’s first-ever catwalk show in sub-Saharan Africa.

Saudi Arabia then travels to London. from London to New York. Get back to London.
She will soon travel to the Middle East once again before returning to Senegal for a vacation.

She still puts forth a lot of effort, I wonder why. Most of her countrymen had long since retired, occasionally resurfacing for a legacy campaign but, for the most part, appearing glad to slow down. Campbell, in comparison, is still as booked and active as she was during her heyday in the 1990s; just this past year, she fronted advertisements for Balmain, Hugo Boss, and Pat McGrath Labs. What possible new peaks could she possibly climb?

“I just like what I do,” Campbell claims. “I consider myself fortunate to have the freedom to decide what I do at this stage in my life. And it’s a blessing that I still have access to so many wonderful chances. Why not then?
She goes on to say, “I have nothing to prove. I enjoy doing it, so. Although my work is challenging, I enjoy it.
The fact that you enjoy what you do is crucial. I still find enjoyment in what I do.
For quite some time, that effort has not only involved modeling.

Now, a large portion of Campbell’s time is devoted to activism, philanthropy, and cultural ambassadorship, frequently through Fashion for Relief, the nonprofit organization she established in 2005 to support Hurricane Katrina victims and which has since raised more than $15 million charitable causes around the world.

She introduced Emerge in October with a star-studded gala and fashion show in Qatar, an effort aimed at finding and nurturing the following generation of creative talent from emerging communities around the world. In layman’s words, that refers to internships, coaching, and skill development in the creative industries, which include tech, art, entertainment, and fashion in addition to fashion.

The number of young models Campbell has taken under her wing is another indication of her commitment to supporting the next generation of fashion creatives.
Adut Akech, a doll-faced 23-year-old model from South Sudan who is currently one of the most in-demand faces in the business, is one of those people.

This is large because of Campbell’s backing for her career.

“You know how a mother takes care of her child? I always feel comfortable when I’m around her,” adds Akech. “She’s like a comforter. I feel like I have another mother figure who is raising me even though I’m so far away from my original mother. On the set of Tim Walker’s Alice in Wonderland-themed Pirelli Calendar photo shoot, which famously included an all-Black ensemble, Akech first met Campbell in 2017. That was a “fangirl moment,” according to Akech, “but I was like, ‘Don’t be strange.’ ” A few months later, when she moved to New York City by herself, she contacted Campbell because she had given her phone number. She treats me the same way she would treat her own daughter, says Akech

“She always makes sure I get into my car safely whenever I hang out with her. As soon as you get home, text me. If I don’t SMS her, she won’t go to sleep.
Mothering can be done in a variety of ways. When I bring up the subject, Campbell replies, “I mother a lot of people. She claims that her desire to be one has always been clear. “Always.”

Campbell announced the birth of her daughter in May 2021. It didn’t matter when she claims. “Everyone’s life develops in a unique way. And it’s about who, and it’s a crucial question because you need to be certain that you’re doing that with the appropriate person.

For the rest of your life, you are linked. She takes a momentary pause that seems to last much longer. “For that reason, I decided to go it alone.”
Yet starting out as a single parent at 50 is a big commitment. Was she not afraid of the possibility?
In no way?
“No, no.” After some time, she changes her mind. “Yes, I suppose I might be anxious in the sense of wondering if I’m doing everything correctly. Yet, you follow the flow.
The actress Cameron Diaz (or “Cammie,” as Campbell calls her), who Campbell now consults for parenting guidance, was one of the few individuals Campbell told about her plans to have a kid.

She’s someone I’ve known for a very long time, and I genuinely respect and love her. When I told her, she just said, “Alright,” She’s just a solid, trustworthy friend.

Nevertheless, Campbell is hesitant to talk much about parenting because she doesn’t want it to become the focal point of her public persona—a sentiment that many women who become mothers would understand.

The sun is starting to set while we are still outside on the terrace, where we have moved permanently from the hotel room. It is an impossibly lovely scene, perched high on a hill and looking down at the dazzling lights of a nearby town. In light of this, Campbell relaxes.

Though Campbell frequently describes herself as a “global citizen,” it is obvious that this is the region of the world that genuinely has captured her heart. In the coming days, she will travel to Senegal for a holiday. “I immediately sense the absence of racism as soon as I land in Africa. So that’s a big tick off the box,” she says, noting the psychological weight that is lifted when one can simply blend in with their skin folk and not have to worry about the possibility of a racial microaggression (as much as someone as famous as her can ever truly blend in).

Campbell speaks wistfully of Kenya, her home country, and its breathtaking natural beauty.

She talks eloquently about Senegalese dishes like thieboudienne and yassa as she says, “I’m just happy that people are finally understanding how beautiful the African continent is.
(Sensing a chance, I attempt to prod her into choosing a side in the “jollof wars,” a jocular competition between diasporic Ghanaians and Nigerians over which country makes the best jollof rice, but she politely avoids my attempts to coax her to join Team Nigeria.
I won’t be participating.

Content courtesy of  Hapers Bazaar & NFH





RHON: The Real Housewives Of Nairobi

Nairobi, Kenya will host the first season of the “Real Housewives” franchise, which will feature five of the richest women in the nation.
After successful runs in Durban, Johannesburg, Cape Town, Lagos, and Abuja, The Real Housewives will finally make its way to East Africa. The Real Housewives of Nairobi, which premieres on Showmax on February 23, may have struck reality TV gold by expanding the show to further African nations and ensuring continuity with more seasons.

Fans can anticipate a never-ending amount of drama every Thursday when Real Housewives of Nairobi premieres soon.

The reality television program will follow the opulent lives of five Kenyan women who work in the media, entertainment, and entrepreneurship, orchestrating their own dynamics while taking note of the thread and cues that have come to make the program a subject of obsessive viewing.

The Real Housewives franchise, which has been licensed as a format by NBCUniversal Formats, is represented by this East African edition, which is produced by D&R Studios. Find out which cast members will surely hold our interest for several weeks.

1. Susan Kaittany

Being no stranger to the spotlight, Kaittany originally gained notoriety as a teen model and was named Miss Earth Kenya in 2004. She was able to participate in the Miss Earth pageant in the Philippines with competitors from all over the world because of the title.

She gave up her legal career to pursue a career in hospitality due to her intense enthusiasm for fashion and beauty.

Kaittany has established herself as one of Kenya’s leading beauty entrepreneurs and a socialite by founding Posh Palace, a multimillion-dollar beauty empire including hair salons and spas in Nairobi. Her preference for bold haircuts makes Real Housewives of Nairobi’s arrival suggestive of rich visuals. She also keeps up with runway trends by strutting for Kenyan apparel label Aulgah Nato’s most recent collection.

2. Vera Sidika

Vera Sidika is unquestionably the person the Real Housewives of Nairobi need on the show. Sidika is one of Kenya’s most well-known celebrities, and she enjoys stirring up a ruckus with her viewpoints, which has gotten her included on gossip blogs and in entertainment publications. She gained notoriety the previous year when she had to have her butt implants removed owing to health issues, and she encouraged young girls to value their natural bodies.

The 33-year-old originally gained public attention as a video vixen, despite having a big social media following in Kenya. In 2015, she made her reality television debut when she appeared on the show Nairobi Diaries, which also included celebrities and socialites.

She started her herbal slimming tea Veetox in 2017 and opened a beauty salon in Mombasa the following year as a successful businesswoman.
Sidika, who is married to the singer Brown Mauzo, has a daughter and is expecting a second child.

3. Sonal Maherali

A mother of four, Sonal Mahreali has established herself as one of Kenya’s top luxury vloggers. In 2016, she started a YouTube channel where she posts films on shoes, luxury travel, lifestyle, fashion, and a variety of other topics.
Sonal has a fixation with designer, expensive shoes, as needs to be reiterated. Even though she is composed and soft-spoken, she has admitted that for Real Housewives of Nairobi, she is able to break character when necessary.
Maherali is wed to Aly Maherali, the president and chief executive officer of Executive Healthcare Solutions (EHS), the company that represents Aetna International in Africa.
Simba Maharani is a collection of designer shoes and clothing owned by Maherali.

4. Minne Kariuki

Minne Kariuki’s arrival on Real Housewives of Nairobi won’t come as a surprise to those who remember her as Mariah from the Single Kiasi episode on Showmax.
Her on-screen persona features every Real Housewives tonal beat, including residing in an upscale condo, enjoying champagne, and taking private jets to opulent locations. She will, most importantly, bring snark and sassiness to Kenya’s Real Housewives.

Kariuki, the youngest actor on the cast, is married to musician Charles Miugai, aka Lugz Kenya, and they have two daughters together.

5. Lisa Christoffersen

Lisa Christoffersen, a successful businesswoman from Denmark with ties to Tanzania, works at the nexus of selected luxury safari experiences and interior design.

Christoffersen is the creator of Lioness Rally, the first women-only rally team in Kenya, and Lifestyle Nairobi, an artisanal venue with an art gallery, restaurants, spa, organic stores, and fashion boutiques in Nairobi’s diplomatic district of Gigiri.

Content Courtesy of Showmax & NFH 


How Outterspace is Changing the Definition of Luxury for Black Owned Apparel Companies

Africa has a diverse population in terms of languages, histories, and styles.
Several African-owned fashion firms are adding their distinctiveness to the current metropolitan fashion landscapes, making African fashion in particular a spectacle in the global fashion industry. Outterspace Integrated Luxury is a representative of these brands.

Outterspace Integrated Luxury is positioned to become a worldwide voice that raises awareness of Africa’s growing luxury fashion industry while staying true to its passionate and unusual creative heritage. In the three years since the brand’s launch, some of our favorite celebrities and powerful people have grown to appreciate its originality and youthfulness, making magnificent collectibles from the brand a staple in their wardrobes.

Integration of outer space Indulgence, comfort, prestige, sophistication, and street cred all fall under the category of luxury.

Excellence controls its original thought.
Since fans of high-end premium style and comfort exist all over the world, the brand strives tirelessly and creatively to cater to these customers by producing luxury streetwear.
Presently, the brand’s strongholds are in Nigeria and the United Kingdom, and it is progressively expanding its branches throughout the rest of Africa, Europe, America, and Asia.
Unlike the vast majority of African-owned clothing companies, which are frequently considered quota purchases (purchases meant to show love and support for Blacks)

With a voice that screams class, @Outterspace Luxury is changing the game by putting its distinctive design and aesthetic aspirations to life on people’s bodies all around the world. By doing this, they are not only changing how Africans view luxury but also opening the road for future African-owned fashion firms to compete with other international brands in the fashion industry.

For people who aren’t scared to stand out and utilize their clothing as a form of self-expression, their stunning designs are statement items.

Through their fantastic creations, the brand’s designers hope to bring cosmogenic joy and unwavering quality into their customers’ wardrobes.

A glance through their inventory reveals pieces that ooze style and work for a variety of occasions, such as Sunday brunch, romantic nights, picnics, etc.
Outterspace Integrated Luxury (@Outterspace Luxury) touts itself as a fashion find in the modern urban scene, deserving of all attention and capable of competing with the top names in international fashion.
They remain a high-end, daring, yet adaptable addition to any wardrobe, appealing to fans of comfort and sophistication as well.

Content courtesy of Fashion United & NFH



African Fashion Designer Asya Khamsin, Who Lost Her Luggage At An Airport In 2018, Claims She Recognizes Her Clothes On Former Nuclear Waste Expert Biden.

Just this week, a Tanzanian fashion designer who misplaced her luggage at an airport in 2018 claimed on social media that Joe Biden’s former “nuclear waste guru” Sam Brinton had been photographed wearing one of her distinctive looks.

In December, Brinton was fired from the Department of Energy after being accused of taking women’s bags in two different states. In July 2022, Brinton is accused of stealing a $320 piece of luggage from Harry Reid International Airport, and in September 2022, she is accused of stealing a $2,325 Vera Bradley roller bag from the Minneapolis Airport’s luggage carousel.

In February 2022, Joe Biden appointed the open and unashamed pup fetishist to the position of deputy assistant secretary for spent fuel and waste disposition in the Energy Department’s Office of Nuclear Energy.
Despite the DOE’s repeated refusal to comment to the media on Brinton’s work situation following his run-ins with the law, it was reported that he was put on leave over the summer. On December 12, the Department formally announced Brinton’s termination.

Houston-based Asya Idarous Khamsin said she misplaced her luggage at the Washington D.C. airport in 2018. She later identified her clothing in pictures of the infamous “kink activist” online after reading about the Brinton case on Fox News.

On Twitter, Khamsin stated, “Surprisingly I found his images wearing my custom-created garments that were in the lost suitcase.” She posted an Instagram photo of herself wearing a garment that was missing from the bag along with a picture of Brinton who was ostensibly wearing the same dress.
Khamsin sent images of another of her creations that she had seen on Brinton.

On June 11, 2018, Brinton wore the vivid orange outfit at the Trevor Project’s annual TrevorLIVE LGBTQ Gala in New York City.
At The Beverly Hilton Hotel on December 02, 2018, in Beverly Hills, California, he was dressed just in the voluminous shawl.

On February 22, 2019, Brinton donned the red dress at the UN building in New York City. The Trevor Project’s Director of advocacy and government affairs, Brinton, participated in a panel discussion at the 2019 Global Engagement Conference for the Sustainable Development Goals (SDGs).

Khamsin shared images of Briton supposedly wearing her orange dress in a much-overlooked Facebook post from December 26 when she originally made the discovery over the holiday season.

She commented, “Recently on Fox News, I discovered about Sam Brinton’s luggage problem and I saw the images he wore my custom-made designs that were in the missing suitcase in 2018.”

The designer posted images of Brinton and her model wearing “the same dress made and customized by myself.”
Khamsin made no mention of whether or not she wanted to file a complaint.

Sam Brinton arrives at The Trevor Project’s 2018 TrevorLIVE LA Gala on December 2 at The Beverly Hilton Hotel in Beverly Hills, California (photo credit: The Trevor Project/Getty Images).
(Picture by WireImage user Amanda Edwards)

Content courtesy of Asya Khamsin, American Greatness & NFH




House of Aama Draws on the Fusion of West Indian and African Cultures

The mother-daughter team pays tribute by including a tale about the Anansi spider and its cultural influence in their artworks.
Rebecca Henry and Akua Shabaka, a mother-daughter team, debuted a collection for fall/winter 2023 that draws inspiration from the fusion of their respective West Indian and African cultures.
The atmosphere was created to honor family and an old folktale about a spider that traveled far and endured hardships and, occasionally, his own folly. Just adjacent to the curtain opening, where the models emerged, an altar was placed in the front.
It was a dedication to Akua’s father and Rebecca’s family members, and pictures of them were set out on a table with fruit, coffee, and decorations made of vibrant cloth as though to wish their ancestors well.

Whimsical Afro-Caribbean mixes played in the background as the show got started. First impressions: a model wearing a maxi dress with netting accents.
A luscious, ruffled green dress and a few masculine ensembles including long denim shorts and matching tops stood out. On the shoulders and back pockets of one of them was a bedazzled spider web.
The spider design was also present on mesh dresses in red and black color schemes. The menswear pieces, in my opinion, stole the show this season and may perhaps displace La Siréne, House Of Aama’s flagship item.

A beautiful mix was struck between the sophisticated and playful items; some models wore cropped tops, short skirts with curved button detailing, and mesh dresses, while others wore trench coats, satin suits, and dresses that had an “out for tea” vibe to them.
Ultimately, the show’s fusion of many aesthetics will guarantee its financial success.

Content courtesy of Essence & NFH




African Fashion: Professor Of Social Work Uses Clothes Design To Communicate With His Ancestors

By collaborating commercially with a Ghanaian family, the Fort Mosé 1738 collection, created by VCU’s Maurice Gattis and displayed at DC Fashion Week, complements Gattis’ social efforts.
At DC Fashion Week last fall, fashion model Diamond Minnetta was introduced to the creations of Fort Mosé 1738 LLC, a clothing brand established in 2021 by Virginia Commonwealth University faculty member Maurice Gattis, Ph.D.

Modeling all around the United States, Minnetta remarked, “I was in wonder over the colors and I loved how the cloth felt on me and how it looked.”

It was simply breathtaking. I felt fantastic after it.
On the occasion, Minnetta wore one outfit by Fort Mosé 1738, but she ultimately bought a jumpsuit and matching headband from the brand that she had seen being worn on the runway.

“I found it to be excellent. She said, “I had to have it. Because they were so genuine, his designs stood out. It feels like a celebration when you wear it. I was very impressed by that. I also enjoyed the cultural component.

Gattis, an associate professor at the VCU School of Social Work who has never taken a fashion or design course, claimed he never dreamed he would launch his own clothing company.

However, around a dozen items from Gattis’ clothing business were displayed on the runway the year before, one of which was modeled by a VCU student.
I’ve always been interested in clothing, particularly bright apparel, the man admitted.

According to Ean Williams, executive director of DC Fashion Week Inc., the panel that evaluates designer applications for DC Fashion Week, which is hosted at the Capitol Hilton Hotel in September, decided Fort Mosé 1738 would be a strong fit for the Emerging Designers Showcase.

Williams stated that the collection “boasts vivid colors, the staple of materials found in Ghana.” The fashion industry will undoubtedly be drawn to Gattis’ use of traditional textiles and a new silhouette.

An accidental encounter turns into a business opportunity
It was accidental for me to go into the apparel business. Gattis didn’t think about beginning a clothing business until he traveled to Ghana and met a couple, Nathaniel and Faustina, who was his driver and manufactured personalized apparel for Gattis while he was there.

He thought he and his wife would make the outfits, and I would design them. That sounds like a fascinating notion, I thought to myself,” Gattis recalled. “The universe was in harmony when I met Nathaniel and his wife.”

In order to help the couple, Gattis established Fort Mosé 1738, which he named after the first free Black town in the United States that was established in 1738 for people who had previously been held as slaves in West Africa. Fashion events in Richmond and Washington, D.C. have showcased his company’s designs, which are also available in-store and online via bespoke orders.

The company, according to Gattis, “helps me and Nathaniel connect with our ancestors.”

Cotton or a silk/cotton combination makes up the handwoven material that is utilized to make the clothes. Contemporary West African clothing is designed by Gattis, and Nathaniel and his wife produce the garments before shipping them to the United States.

“I believe in them and the fabric’s quality, which is why I said yes to Nathaniel. The clothing are extremely wonderfully crafted, added Gattis, who also stated he enjoys creating the clothes.
“It’s a fantastic outlet for creativity. It appears to be beneficial for my employment at VCU. I get to connect with individuals who don’t know me or what I do, which I find to be stimulating, so it strikes a wonderful balance.
where academics and creativity converge
Gattis, a native of Daytona Beach, Florida, has always delighted in pursuing his intellectual and artistic passions. He studied sociology at Emory University and danced for the Emory Dance Company.

He earned a master’s degree in social work from Columbia University and a doctorate in social work from Washington University in St. Louis’ George Warren Brown School of Social Work.

Following three years as a tenured professor at the University of Louisville, Gattis joined VCU.
He works at VCU’s Intersections in the Lives of LGBTQIA+ Communities Core as an iCubed scholar. In the fall of 2021, he received the position of senior adviser at VCU’s Q Collective.
He is also a founding member of the VCU School of Social Work’s Center for Youth-Engaged Research to Prevent and End Youth Homelessness.

His research focuses on homelessness, adolescent risk behaviors, and health disparities among LGBT+ (lesbian, gay, bisexual, and transgender) populations in North America, South Africa, and Canada. His primary research focuses on how social environment (family, peers, stigma, and discrimination) affects harmful psychosocial consequences like poor mental health and substance abuse.

Gattis was happy with himself for trying something in fashion and succeeding, he remarked after the D.C. fashion show.

He remarked, “I think it complements my work at VCU with LGBTQ youth and homelessness. Because this was a family trying to improve their financial situation, it complements my field of macrosocial work and community development.

Content courtesy of VUC & NFH


The Company Behind House Of Blueberry Is Bringing Diversity To The Realm Of Online Fashion.

While inclusion is unquestionably vital in the real world, it has only recently started to get attention among individuals in the industry because the virtual world is still in its early stages of growth.
Only a few companies have genuinely implemented inclusion into the core of their business practices, so the value is still filtering through everything from company leadership to product offerings.

House of Blueberry, a brand of online clothing, is one of them. Gizem “Mishi” McDuff started the business in 2012, however, the landscape at the time was very different from what it is today, with regard to digital fashion.
Because she wanted more digital apparel alternatives for the open-world platform Second Life, Mishi originally entered the industry.

where her dissatisfaction with the restricted selection for her avatar was evident. In reaction, she began creating her own clothing, largely using Photoshop, and over time, she developed the brand into what it is now.
But this was not the start of Mishi’s tech career. She oversaw a variety of start-up businesses before joining House of Blueberry, including the marketing and gaming data company Peanut Labs. She also briefly served as Sony’s head of publishing.
She eventually came across virtual concerts and otherworldly avatars, a realm that piqued her interest and inspired her to play a bigger role in this sector.

In an interview with FashionUnited, Mishi remarked, “Before I knew it, House of Blueberry was earning one million dollars in revenue each year from other people buying my creations.
I essentially came onto an underserved market of metaverse users that want stunning, current pieces crafted with the same care as IRL (in real life) fashion.

New funding and multi-platform accessibility
The brand moved from its Second Life home to introduce digital wearables into The Sims and Roblox, an open-world platform where it has already amassed a community of over 13,000 in just a few months, as the industry started to rapidly evolve.
This was the beginning of the true scaling of House of Blueberry, which saw the company grow out of its Second Life home.
The business also disclosed earlier this month that it had obtained a six million dollar finance to support its initiatives.
Direct-to-avatar products, which may be purchased through in-game markets and catalogs on various virtual platforms, are what makes them appealing to customers.

In terms of representation, Mishi has also overcome obstacles. She belonged to a minority group because she founded a company in the tech sector as a woman.
However, her business acumen has only been influenced by her experience, as evidenced by the company’s 20 employees, 90% of whom are women, and the products it produces.
While not entirely on purpose, Mishi continued, she enjoys looking for strong women to collaborate with in order to increase the representation of women in metaverse-related businesses, where just 9% of founders and CEOs are female.

Female representation in tech and gaming
This has also influenced the way House of Blueberry approaches its product selection. Mishi said the following about the subject: “Given that women and girls make up roughly half of all gamers, I think it’s imperative to expand representation in the gaming business, particularly when it comes to female entrepreneurs and leaders.

If women aren’t involved in the development of games, how can we expect them to reflect the interests and desires of female gamers?
One of my key objectives, when I founded House of Blueberry, was to make a brand in the digital industry that was developed by and for women.
The merchandise produced by House of Blueberry reflects this sentiment, as do the partners it chooses to work with.

“I believe that people are embracing or finding beauty in what they might often consider to be a fault and receiving that support from their group.
It is assisting with such insecurities. It is undoing the damage. Customers want to be free to embrace their actual selves and be distinctive, not a flawless appearance, in my opinion.

Self-expression matters
Building a feeling of community is one of House of Blueberry’s distinguishing ideals, as seen by its most recent partnerships with modern streetwear brand Boy Meets Girl and Roblox influencer Leah Ashe, for which the company unveiled a digital clothing line and held a virtual event.
It is noteworthy that traditional fame does not resonate with the digital fashion community as much as those who are already fully involved in this industry, many of whom are gamers.
They prefer to watch entertainment from these kinds of influencers, which encourages more devoted participation.

As a result, Mishi said, “we were able to connect to the Leah Ash community, a group of people that follow her exploits in virtual spaces. People aren’t purchasing into a specific brand or product; they’re buying into a community.” It’s even more personal.
The ties and allegiance to that influencer are stronger.
Customers now view artists as influencers in their own right.

Mishi aims to continue implementing these concepts into House of Blueberry’s virtual world presence in the future by embracing its four core values: creator-led, community-obsessed, data-informed, and partnership-ready.

“Gaming communities and the amazing creators who occupy them are at the heart of what we do,” she said.
“House of Blueberry wants to be present on all digital platforms where self-expression is valued. We intend to strive toward this aim this year while upholding our key principles.

Content courtesy of Fashion United & NFH 




​​African Fashion Foundation: The African Fashion Futures Incubator Welcomes 14 New African Fashion Designers.

14 fashion designers who have been chosen for the African Fashion Futures Incubator’s first cohort and who will be enrolled in the program to receive training and grant money are introduced.

The incubator’s goal is to provide upcoming fashion designers and companies with the knowledge and funding they need to build a company with an ethical foundation for people, place, and profit.

The African Fashion Futures Incubator gives the 14 participating fashion designers a place to test out ideas and business models as well as access to mentors and resources. The incubator will also cover business models, market positioning, comparative advantage, sustainability & impact, and other related subjects.

The incubator seeks to foster cross-cultural learning and peer mentoring among its participants, as well as to future-proof them and provide the groundwork for strong operational and commercial foundations that will support expansion. While enhancing the business skills of fashion designers, the program also aims to create financially sound businesses.

The Impact Fund For African Creatives established the African Fashion Foundation in Ghana as a partner in the African Fashion Futures Incubator, with Seedstars serving as the program’s implementing partner.

“Since it was founded, the African Fashion Foundation platform has fostered employment and educational possibilities in collaboration with well-established actors to assist the growth of the African creative sector. This collaborative program’s goal is to support budding designers by giving them access to resources like workspace, start-up money, training, mentorship, and investment opportunities. Onyinye Fafi Obi, the African Fashion Foundation’s project director, shared.

African Fashion Foundation (AFF) is a non-profit organization that helps Africans and members of the diaspora who work in the creative industries flourish in the global fashion industry.

AFF has been chosen as the aggregator and incubator for fashion designers and brands for the Impact Fund For African Creatives, drawing on their vast experience in offering professional and educational developmental opportunities (IFFAC).

IFFAC will make investments in privately owned small and medium-sized firms in Africa that target the creative, fashion, and lifestyle sectors. The Fund strives to solve fledgling brands’ lack of funding and management expertise.

Following are the names of the 14 fashion designers taking part in the African Fashion Futures Incubator:

1. Omafume Niemogha of Pepper Row (Nigeria)
2. Travis Obeng-Casper of AJABENG (Ghana)
3. Cynthia Otiyo-Abila of Cynthia Abila Studios (Nigeria)
4. Jason Jermaine Asiedu of Jermaine Bleu (Ghana)
5. Orire Aleshinloye of Oríré (Nigeria)
6. Kusi Kubi of PALM WINE IceCREAM (Ghana)
7. Ebuka Omaliko of Maliko (Nigeria)
8. Kelvin Vincent of Anku Studio (Ghana)
9. Abiola Adeniran-Olusola of Abiola Olusola (Nigeria)
10. Jafaru Larry (Ghana
11. Victor Anate of VICNATE (Nigeria)
12. Nadia Eman Ibrahim of TABOu (Ghana)
13. Aline Mukamusoni of AMIKE (Rwanda)
14. George Tetteh of Atto Tetteh (Ghana)

“We’re thrilled to aid designers in their work by fusing commercial knowledge with their creativity.
The network that supports and empowers creatives in all facets of their job, according to Seedstars, is what fuels creativity across all industries. Tom-Chris Emewulu, Program Manager of Seedstars, stated, “In this scenario, from fabric to the runway, we’d like to ensure designers in the incubator are equipped to scale.

Roberta Annan, the founder of IFFAC, said: “IFFAC is eager to begin this cooperation with AFF and Seedstars, with the intention of establishing and capturing value in these brands at their initial growth stages.

In order to develop their businesses and improve their value chains, participants will engage in an exponential and revolutionary program over a 5-month incubation period.
Through a tried-and-true technique, the fashion designers will also receive practical assistance from industry professionals within a global network, grant financing of up to $5,000 apiece, and further fundraising assistance.

Content courtesy Tech Economy of & NFH 



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