Sunday 30th of August 2026

Nairobi, Kenya

Full List of winners at Couture Africa Style Awards 2020

The Gala for the 2020 Couture Africa Style Awards went down over the weekend and Citizen TV Swahili news anchor Lulu Hassan was crowned the Most Stylish TV and Radio Personality of the Year.

Actress Catherine Kamau popularly known as Kate Actress took home two Awards; Most Stylish Person of the Year (Female) and Most stylish entertainer of the year.

Mombasa Governor Ali Hassan Joho won the award for the most stylish Male Public Servant, as Comedian Eric Omondi got recognized for being the most stylish male content creator.

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Full List of Winners 
Most Stylish Entertainer (Famale)

Akothee
Fena Gitu
Catherine Kamau – Winner 
Brenda Wairimu
Teacher Wanjiku
Muthoni Drummer Queen

Most Stylish Content Creator (Famale)

Joy Kendi
Maureen Waititu – Winner 
Maxine Wambosha
Farhana Oberson
Nyawira Mumenya
Fashionable Stepmum

Most Stylish Content Creator (Male)
Chef Ali Mandhri
Vinnie O
Eric Omondi – Winner 
Muriuki Kagiri
Eli Mwenda
Mulanda Kombo

Most Stylish Sports People (Famale)

Emily Muteti
Evelyn Okinyi
Sabrina Simadar
Hellen Obiri
Naomi Wafula
Janet Wanja – Winner 

Most Stylish Sports People (Male)

David Rudisha
Billie Odhiambo
Eliud Kipchoge – Winner 
Ronald Okoth
MacDonald Mariga
George Manangoi

Most Stylish Public servant (Famale)

Nadia Ahmed
Judge Mumbi Ngugi
Hon. Gladys Shollei
Achie Ojany Alai
Hon. Naisula Lesuuda
Hon. Amina Mohamed – Winner 

Most Stylish Public servant (Male)

Hon. Ababu Namwamba
Sen. Joshnson Sakaja
Gov. Hassan Joho – Winner
Hon. Otiende Omollo
Hon. Abdulswamad Shariff
Hon. Najib Balala

Most Stylish Person of the year (Famale)

Julie Gichuru
Catherine Kamau – Winner 
Sylvia Mulinge
Hon. Joyce Lay
Diana Opoti
Sonal Maherali

Most Stylish Person of the year (Male)

Sir. Charles Njonjo
Zeddie Loky
James Maina
Martin Keino
Vinnie O
King Kaka – Winner 

Most Stylish Entrepreneur (Famale)

Michelle Ntalami – Winner 
Carol Kinoti
Rita Muchiri
Dr. Jennifer Riria
Jennifer Barasa

Most Stylish Corporate (Famale)

Rabecca Miano
Carol Ndungu – Winner 
Beth Muthui
Brenda Mbathi
Sheila M’Mbijiwe
Dr. Betty Radier

Most Stylish Corporate (Male)

Kris Senanu – Winner 
Joshua Oigara
Captain Ronald Karauri
Jimi Kariuki
Geoffrey Odundo
Dr. David Wachira

Most Stylish TV and Radio Personality (Female)

Amina Abdi
Beatrice Marshall
Jane Ngoiri
Lulu Hassan – Winner
Talia Oyando
Tracy Wanjiru

Most Stylish TV and Radio Personality (Male)

Jamal Gadafi
James Samart
Mc Jessy – Winner 
Michael Gitonga
Miano Muchiri
Muthee Kiengei

The People’s Choice Award (Female)

Ms Fawwie
Christine Obiero – Winner
Lynne Wangui

The People’s Choice Award (Male)

Kiptala
Amar Jonathan
Mike Mwaura – Winner

Congratulation to all winners 

Content courtesy  of Couture Africa Limited & Nairobi fashion hub

African Inspired ‘Black Panther’ salute gallops into Sunnydale

Jade Williams, an Oakland School for the Arts fashion design student, carefully crisscrossed each strand of hair until the long braid was finished. Turquoise, white and yellow beads were added until the dark mane was filled with decoration, making a gentle clattering sound as they struck together.

Brianna Noble, left, her friend Dale Johnson, and Noble’s sister Brittany Lewis, ride their horses through the Sunnydale neighborhood clad in their “Black Panther” inspired costumes during a socially distanced Halloween event on Friday, October 30, 2020, in San Francisco, Calif. Noble is the founder and owner of Mulatto Meadows, an equestrian business.

Noble brought three horses to the Sunnydale Boys & Girls Club for a socially distanced Halloween event. The horses were outfitted in costumes in tribute to the movie ÒBlack PantherÓ and its Afro-futurist style by students in the fashion design program at the Oakland School of the Arts, where Noble attended high school. Noble was already a figure in the community before her viral fame for bringing her horses to the area, her sister Brittany Lewis is a San Francisco police officer in the Sunnydale neighborhood.

It was the high school freshman’s first time styling a horse, and the animal was surprisingly patient during the hour-long process.

“They’re really well behaved,” Linda Ricciardi, the school’s fashion design chair, said of the three horses her students were grooming, dressing and painting on Friday in a vacant lot above San Francisco’s Sunnydale neighborhood. “We’re excited to be a part of this, it’s been something positive the students have been looking forward to all month since Bri approached us with the project.”

The project was designing and constructing costumes for three riders and their horses in the Afro-futurist style of the movie “Black Panther,” which is as known as much for its Academy Award-winning fashion by Ruth E. Carter as it is for its groundbreaking depiction of Black superheroes. Brianna Noble, founder of the nonprofit horse education program Humble, invited the school to be part of Sunnydale’s Community Day Halloween celebration once she knew this year’s ride would be celebrating the comic book blockbuster and its star, the late actor Chadwick Boseman.

Noble is an alumna of the arts school and is well-known in the community after a photo of her riding her horse ahead of the downtown Oakland protests over the Minneapolis police killing of George Floyd went viral in May.

“When ‘Black Panther’ came out, I watched it five times,” said Williamsthe first-year student. “I knew I wanted to tie Black Lives Matter and Black history into my costume designs.”

For the second year, Noble and her sister, Brittany Lewis, brought horses to the neighborhood for a festive ride down Sunnydale Avenue. They were joined by a third rider, Dale Johnson, with all three equestrians and their mounts decked-out in full Wakanda style. Wakanda is the fictional country where “Black Panther” is set.

“This is the kids show,” said Noble, getting her face painted in a African-inspired design. “It’s all about the kiddos and their vision of what they want this to be. My job here is to help facilitate things for them. If anything, I’m just a horse safety officer: It’s their hair design, their costume designs, their ideas. We want to showcase that for the community.”

Lewis, a police officer in the Sunnydale neighborhood, sat in Noble’s combination horse trailer and RV while getting gold-tipped false eyelashes glued on. The sisters joked that they named their three-rider tribe “Watusi Wakanda” after the muscular African cattle breed.

“I feel so pretty right now,” said Lewis, adjusting her elaborate gold hoop necklace and beaded collar. “I feel like … back to my roots.”

Lewis is part of the San Francisco police housing team in the Ingleside District, which works to build relationships between the police and the Sunnydale community.

It’s “more of a proactive community policing approach,” Lewis said. “Build trust and essentially have fun, show the human side of law enforcement. This is just another level of having fun and bringing people together. Horses, they’re the key to your heart, how can you not be happy?”

Once horses and riders were painted and dressed, it was was time to mount up. The three riders shivered as the wind whipped up: Wakanda-style nods to warmer African climates don’t include a lot of coverage against Bay Area elements. After kicking off their shoes they got on their horses, which were blanketed in colorful African print fabrics in lieu of saddles.

“I feel powerful,” Johnson said of his finished look. As for the cold, all three riders hoped the heat of the horses’ bodies would help keep them warm.

Raising her prop spear, Noble yelled out “Watusi, Wakanda forever!” and began the ride three blocks downhill to the Sunnydale Boys & Girls Club and Willie L. Brown Jr. Youth Center, accompanied by a police car playing the “Black Panther” soundtrack for added ambiance.

Cars halted, people stopped on the sidewalk to watch and others came out of their homes. Some shouted hellos to Lewis, others recognized Noble from her viral photograph and Xfinity commercial. A few shouted lines from the movie and made the hero’s signature crossed arm salute. A little boy in his own Black Panther costume stopped in his tracks seeing the horses, lifted his mask and smiled excitedly as he took the whole spectacle in.

As they rode across the Black Lives Matter street mural painted in front of the Boys & Girls Club, the song “Fight the Power” blasted on a sound system. Dozens of people from the neighborhood gathered around to watch as the riders took position on the lawn so residents could pose with the group for socially distant selfies.

After thanking the crowd and acknowledging the work of the Oakland school’s student designers, Noble led her three-person Watusi Wakanda tribe through the neighborhood before heading back up the hill. Michelle Noble, the mother of Brianna and Brittany, was easy to spot in her shirt and mask emblazoned with the words “Proud Mom.”

“I’m proud of both my daughters,” Michelle Noble said. “Growing up in Oakland, being from a lower-middle-class family, the sport (riding) they wanted to pursue, the things they wanted to do, was so far out from what my husband and I knew that it was hard to embrace this because we didn’t know anything about it. This is a reminder to me that when they have a vision and a dream, support it with everything you got.”

Content courtesy of San Francisco Chronicle & Nairobi fashion hub 

The Black Panthers Powerful & Political Style Is Everywhere In 2020

Between the pandemic and countless protests, this year has forced the world to re-examine its politics and values, and the fashion community is no exception. Just last month for SS21, Louis Vuitton sent a clear message down the catwalk about the power of American democracy with its ‘Vote’ sweatshirts, and this year’s virtual Emmys saw a number of celebrities honour the victims of police brutality with their bold beauty choices, like Yvonne Orji, who had the Black Power fist etched into her cropped hair.

Fashion has always been political, though, and what people wear is often considered an extension and expression of their beliefs. No political group has quite understood the power of fashion like the Black Panther Party. Established in 1966 by Bobby Seale and Huey P. Newton, the Black Panthers’ aesthetic has long been admired, and for good reason. The party was born at a time of worldwide revolution and while the Chicano Movement fought for the rights of Mexican Americans and protests against the Vietnam War took place, the Black Panthers were gaining recognition – for both their political message and their style.

“The Black Panther Party were and still are a power image and statement of Black culture,” Taniqua Russ, host of the Black Fashion History podcast, tells Refinery29. Popularising phrases like “Black is beautiful”, the party was intentional in redefining Blackness outside of the white gaze. For Taniqua, it wasn’t only a return to the origins of the Black identity but “a proverbial middle finger to white America”.

By wearing dashikis and traditional Kente cloths, members of the movement were able to express their allegiance to the motherland, Africa, and in the same vein disassociate themselves from the Western world. These practices helped the Black community “embrace African fashion as the symbol of pride and rejection of European standards of beauty,” Taniqua adds.

They spoke to the Black community’s dissatisfaction with the American government, who had continuously brutalised them and ignored them, and their style helped them in their mission to dismantle the image the world had come to identify as ‘the Black American’.

Taniqua, also a content creator and entrepreneur, explains that although the Black Panthers’ style was new and exciting, it was also a point of contention for the Black community. “On one hand, we had leaders who championed dressing in our ‘Sunday best’ to change the way African Americans were viewed. Other leaders said forget the establishment, and this created a militant connotation for the Panthers.”

While the civil rights movement used more subdued fashion to show that they were reputable citizens, the Panthers’ bold style was for the sake of empowerment. Practices like wearing African materials were an essential reminder to the community of their origin, and the influence of these garments is still being seen today. In 2018, social media feeds were flooded with images of people dressed in Ankara prints, traditional headwraps and beaded jewellery as they went to watch Marvel’s record-breaking Black Panther. For Black people worldwide, this moment became a reaffirmation of our appreciation of Africa and a celebration of our roots in a way that was reminiscent of the pan-African movement of the 20th century.

Other stylistic practices like the wearing of the afro were symbolic of the liberation the Panthers were fighting for and sent the message that their focus wasn’t respectability but freedom. By embracing their natural hair, the Panthers were telling the world that they were no longer choosing to assimilate but showcasing their Blackness in its most natural form.

A similar wave has resurfaced over the last 10 years, with the natural hair movement encouraging Black women everywhere to adopt an afro-friendly approach to haircare. Research carried out in 2018 showed that Black women in the USz are now more likely to wear their hair naturally, saying that it makes them feel beautiful. Refinery29 UK’s staff writer Jessica Morgan tells me that wearing her natural hair allows her to walk unapologetically in her whole self. “It’s taken me a long time to break the shackles and learn to love my natural hair, only because everything I see tells me that Black hair is ugly,” she says. Thanks to Instagram pages like @naturalhairloving and @kinkyhairrocks, we’ve been able to see the versatility and beauty of natural hair.

This expression of Black identity was the first of its kind and, like the uniform of the party, a demonstration of their commitment to reform. From the Free Breakfast for School Children programme to classes on politics and economics, the Panthers dedicated themselves to creating the change the government was failing to. Their head-to-toe black ensemble – featuring berets, sunglasses, turtlenecks and leather outwear – sent a clear message that they were unwavering in their stance and would take matters into their own hands if necessary. “Power.

Radicalisation. Change. Hope. One image can speak a thousand words,” says Jessica of the Black Panther Party uniform and what it represents. Taniqua adds that the uniform has impacted Black fashion for the better: “We now view afros and the all-black get-up with the beret as a symbol of power and a deep love for our community… The Black Panther Party encompassed everything that Black communities needed.” It’s translating to sales, too: according to shopping platform Lyst, searches for berets are up 41% week-on-week this season.

In what has been one of the most politically exhausting years of the 21st century, more and more people are adopting this aesthetic to express themselves and their frustrations. Ade, a lone wolf activist, has been to countless protests this year and each time has opted to replicate the Black Panther Party style with her own twist. “Sometimes, I like to have art drawn on my face, it reminds me of where I come from in the motherland, Nigeria,” she tells me. A model and prominent speaker for many protest groups, Ade has adopted this style because of the message it sends about her, as well as others who join her in this form of protest.

“When I see others dressed like me, I see how confident they are in expressing themselves. It makes me feel strong, fierce and bold,” she continues. Jessica also took to the streets in head-to-toe black and a beret to protest this year, and agrees that fashion can speak volumes. “Black signifies resistance without having to say anything. My outfit was a symbol of the Black community’s struggles and hardships everywhere. It was a nod to my peers to say, ‘I see you, I feel you, I got you’.”

In August, the protest group Forever Family Force marched in Brixton in all-black, complete with berets and bulletproof vests. Model Adwoa Aboah covered the September issue of British Vogue sporting her natural hair, a leather midi skirt and a black beret, and who can forget Beyoncé’s legendary Super Bowl performance in 2016? A turnout that didn’t just reference the Black Panthers but served as a bold demonstration, forcing the world to look back at how far it’s come (or how little it’s moved forward) in terms of race relations.

“Take Naomi Osaka’s masks at the US Open,” says Jessica, pointing to this summer’s Black Lives Matter protests across the world. “She chose to wear a Breonna Taylor face mask: a clear statement and tribute. Lewis Hamilton wore a Black Lives Matter T-shirt and helmet at F1, while Alesha Dixon wore a BLM necklace on Britain’s Got Talent. What you choose to wear can send a clear message without any words leaving your mouth.”

It’s clear that the legacy of the Black Panther Party’s politics and choice of attire still resonates today. The way they mobilised simple items of clothing for their cause is testament to the power of fashion and their celebration of self-expression via aesthetics rings just as true now as it did then.

Content courtesy of Refinery 29 & Nairobi fashion hub 

Archel Bernard Making Bold Moves in Africa Fashion Industry 

“I’m sort of from everywhere.”

That was Archel Bernard’s response when asked where she’s from. The journey of life sometimes takes unexpected detours.

Born in Liberia, as a child Bernard came to Georgia with her family, refugees of war. “We were the only Black family in the neighborhood, the only African family, the only refugees. We were the only.”

She attended high school in Metro Atlanta and then enrolled at Georgia Tech. “It was the first school I was admitted to that my mother was really excited about. My grandparents never thought anyone in my family could go to school like Georgia Tech,” Bernard said.

She was very active on campus, including working at the Georgia Tech Cable Network reporting on stories about life at Tech.

After earning her degree in history, technology, and society from the Ivan Allen College of Liberal Arts in 2011, Bernard decided to try her hand at returning to Liberia and continuing to hone her television skills. “I wanted to be the West African Oprah Winfrey.”

She thought she’d work for a year or two in Liberia and return to the U.S. to work in the entertainment industry. But something changed. “I started getting more calls about what I was wearing on television than calls for TV gigs,” she said.

Because shopping options were limited in Liberia’s developing economy, Bernard made her own clothes. She couldn’t afford the wardrobe she wanted to wear, so she developed her own custom dresses from bold African fabrics.

Many African garments are made from rigid fabrics and require large zippers because they are form-fitting. Bernard’s designs buck that trend. “They focus on comfort. Casual, but with contemporary appeal,” Bernard said.

She seized the opportunity and launched her own business in Monrovia, the capital of Liberia. She helped teach women to sew her designs and opened a small factory. Her staff is made up of women earning salaries for the first time in their lives and includes Ebola survivors, victims of sexual abuse, and women with hearing impairments.

Together they opened a small boutique.

“Every time I’d sell one dress, I’d reinvest and make two more,” Bernard said. She called the operation “Bombchel” a play on Archel’s name.

“Georgia Tech stretched my mind in terms of what I thought I could accomplish. So many of my peers started businesses and were doing big things. Thinking about that made me feel like I was capable too.”

The internet and social media helped Bernard expand her designs. After posting pictures and photos on Instagram and developing a website, her customer base grew  and the relationships she built at Tech also helped the business grow.

“Many of my first customers were my friends from Georgia Tech,” she said. “The most invaluable thing has been all the connections I made. Now I’m able to lead in my community.”

Disheartened by a shortage of Black-owned businesses, she reached out to Ponce City Market. They responded and asked how they could do better. After sending her proposal, she now has her own storefront.

“Some of my first customers here were people from Georgia Tech who supported me all along the way,” she said.

The journey has come full circle for Bernard in so many ways.

As a child, Bernard remembered feeling embarrassed when her mother would dress in traditional African garments to pick her up from school. Now, she’s empowered by those colorful patterns and making people feel special wearing them. “It’s important that we see African fashion on everybody,” she said. “We need people to know their purchases matter, and that you can make an impact when you choose to spend money.“

The purchases from Bombchel will continue to support women in Liberia. Each garment has a tag to identify who crafted the custom, handmade item.

“We are making tangible change in the lives of women who work for us.“ It’s change inspired by Bernard’s journey and all the people who have been part of it. Her grandmother, after fleeing Liberia, worked long hours in retail at a J.C. Penney until she couldn’t work anymore. She was at the grand opening of Bombchel.

“Now I own the place. I work for myself in a building that my grandmother once couldn’t shop in,” Bernard said. “It’s my legacy and my family’s legacy.”

Content Courtesy  of Georgia Tech News Center & Nairobi fashion hub 

The Twyg Sustainable Fashion Awards 2020 Finalists Announced

Twyg has announced the finalists of its Sustainable Fashion Awards for 2020. The annual awards celebrate South African designers leading sustainable, ethical, circular and regenerative practices in the fashion industry.

The designers recognised are intentionally improving fashion’s relationship with nature and people and reflect that fashion can be at the forefront of positive ethical, social and environmental change.
The winners of this year’s awards will be announced on 19 November 2020.

Judging process
The Twyg Sustainable Fashion Awards 2020 judging panel includes content creator Kelly Fung; Cyril Naicker, national co-ordinator of Fashion Revolution; Aaniyah Omardien, founder of The Beach Co-op; Desiree Smal, vice dean Faculty of Art, Design and Architecture at the University of Johannesburg; and Fezile Mdletshe-Mkhize, founder and director of Fezile Fashion Academy.

The judges selected three finalists in each of the Accessories, Trans-seasonal, Nicholas Coutts, Student, Retail and Influencer categories. A fourth finalist was included in the Innovative Design and Materials categories.

The Changemaker Award was not open for nominations. Instead, winners of the Accessory, Innovative Design and Materials, Nicholas Coutts, Trans-seasonal and Student categories will be judged against the criteria set for the Changemaker Award. This category is supported by Country Road which has sponsored R100,000 in prize money to the winner. Country Road’s head designer Maria Rinaldi-Cant will join the panel for the judging of this category.

Twyg consulted WWF South Africa on the criteria for the categories, and the rigorous two-day judging process was independently audited by attorney Elisabeth Makumbi.

2020 finalists
Innovative Design and Materials Award

• Anmari Honiball
• Lara Klawikowski
• Sealand Gear
• The Sewing Café

This award seeks to recognise a designer or brand who uses techniques that minimise textile waste through innovative pattern cutting, the use of pre- and post-consumer fabric waste, and / or reconstruction techniques. The award also seeks to recognise a commitment to using sustainable fabrics in a collection.

Trans-seasonal Fashion Award

• African Renaissance Designs
• Fields
• Tshepo Jeans

This award recognises a designer, brand or collection that promotes trans-seasonal and versatile style. It rewards quality garments whose design aspires to be timeless and which are made to last. This category also recognises brands that remain invested in garments after their sale, for example, through the provision of lifetime guarantees or repair services.

Accessory Award

• Ivy Grace
• Matsidiso
• The Wren Designs

This award recognises an accessory or accessory brand which implements ethical labour practices, limits toxic chemicals and uses sustainable materials to create a quality item and considers end-of-life. Ideally it should be made of compostable materials, but, if not, it should be made using recyclable or recycled materials.

Retail Award

• Chic Mamas Can Do
• Convoy
• Mungo

This award recognises a retailer or a retailing initiative that enhances sustainability, including pre-loved/gently worn, “swop shops”, garment rental, and similar activities. The award is also open to retailers who support local producers, and sustainable design and manufacturing.

Student Award

• KQ_Made
• Loskop
• Vanklan

This award goes to a student who has produced a garment or collection that addresses the challenges of sustainability in fashion in the most innovative, beautiful and practical way.

Nicholas Coutts Award

• Beagle & Basset
• The Seen Collective
• Viviers Studio

This award recognises a designer who uses artisanal craft techniques such as weaving, embroidering or botanical dyeing to make fashion that foregrounds, celebrates and values the skills of the person who makes the garment.

Influencer Award

• Nomfundo Liyanna Basini
• Yasmin Furmie
• Zolani Mahola

This award recognises a personality who has actively promoted sustainable fashion over the last 12 months and who has sparked relevant conversations. On social media and other platforms, the influencer has explained sustainable issues factually and has cautioned against unsustainable fashion habits. The influencer supports conscious brands while promoting the Rs (reduce, reuse, recycle).

Positive design practices and social impact
“The judges’ decisions emphasise exciting directions in fashion such as the made-to-order manufacturing model, trans-seasonal clothing, the upcycling of plastic and textile waste, and increasing the use of handcraft and natural dyes. The attention to collaboration and the healing of our environment is inspiring,” commented Twyg founder and director Jackie May.

In addition to the design practices, the judges appreciated social impact through upskilling and working in collectives.

“We would like to thank the designers and the members of the public for the nominations. And finally from my team and I, congratulations to all the finalists!” said May.

The winners will be announced at a small event (which will be livestreamed) co-hosted with the textile recycling company, Rewoven on Thursday, 19 November 2020 in Cape Town.

Content courtesy of TWYG, Biz Community & Nairobi fashion hub 

Haute Afrika

 

Haute Afrika, (Haute “meaning high standards, class, and elegance in French”),  is an Award winning and internationally nominated contemporary African print brand founded in 2016 by Gracia Bampile. Her aim was to promote African sophistication and elegance by catering for a growing continent.

The brand embodies a modern culture and celebrates Africa’s heritage and shares the story one print at a time. Motivated to break societies stereotypes by infusing art through fashion and sharing the ethnic culture of Africans.

Haute Afrika brand is colorful, significant and explores the African roots and uniqueness that are engraved in Africa as part of its identity. Some of our textiles and fabrics are from different African nations and others are specifically created and printed by Haute Afrika to celebrate Africa as a whole as well as to cater for a more diverse audience by taking Africa to the world.

They believe that clothing can empower confidence, evoke topics and promote Africanism because “when you look good,you feel good.”

In the world of pop culture Haute Afrika maintains African print as its trademark and stand firm in breaking boundaries in order to merge cultures of artistic mindsets together.

They seek to make the availability of quality ready to wear outfits and the conceptualizing of custom made outfits a breeze. A lot of craftsmanship is actually put into every single outfit we make.

Haute Afrika strongly believe there is something about bold African prints that everyone can get to enjoy. Based in South Africa, our clothing has found its way on prominent people in different industries as well as celebrities.

Their  emphasis is and will forever be to give you unique, enjoyable and quality clothing that you will treasure forever.

Not many can say they discovered their ‘why’ before they turned 10. I would like to introduce you to, and request an interview with, Gracia Bampile a fashion entrepreneur who has a beautiful story to tell and is about to release a new HOT collection.

This formidable entrepreneur, who holds an International Relations Degree, has no formal fashion training background, yet she has inserted herself as a trendsetter in an industry booming with talent. She has dressed the likes of Boity Thulo, Maps Maponyane, Mihlali Ndamase, Amanda Black, Thabsie,Zamani Mbatha, Kwesta and many more.

Her latest collection is set to wow fashion lovers at this year’s fashion shows and catch the eye of influencers and the world press. She has already caught the eye of BBC World News and Vogue.

Born in July 1991, on her birthday, Gracia Bampile had what Oprah calls an “Aha moment”.  Her parents had bought her what she calls an ugly African print dress to celebrate.  It was so bad that it inspired her to start making clothes of her own at just eight years old.

https://www.instagram.com/p/CCYfPgVHWI2/?utm_source=ig_embed

Gracia spent hours watching her seamstress grandmother make clothes until she mastered the art. As she grew older, she became concerned about how people didn’t like to wear African print designs especially as day to day wear. She says people had a perception that they can only wear African print clothes when attending events. So, she took it upon herself to disrupt the norm.

In 2015, she founded Haute Afrika, the home of her day to day African print designs made to change the narrative around African fashion.  She travels the continent in the hunt for high quality materials to create designs inspired by Africa’s history, heritage and stories for Africans from Cape to Cairo.

Content courtesy of Haute Afrika & Nairobi fashion hub 

Platafrica Announces Finalists For 2020 Jewellery Manufacturing And Design Competition

Celebrating its 21st year as South Africa’s premier platinum jewellery and manufacturing competition, PlatAfrica has announced 20 finalists in the two categories for this year’s competition, which for the first time focused exclusively on men’s jewellery.

Hosted annually by Anglo American Platinum in partnership with Metal Concentrators and Platinum Guild International (PGI) India, PlatAfrica aims to promote innovation and technical expertise in platinum jewellery design and manufacturing in South Africa.

This year’s theme – Designed for Men of Platinum – was developed in consultation with PGI India and was inspired by consumer research that identifies men’s jewellery as a growing demand segment for platinum jewellery, but with a limited product offering.

As PlatAfrica aims to promote platinum jewellery to a broader audience, the competition is partnering with African Fashion International (AFI) to showcase finalists’ pieces as part of Joburg Fashion Week 2020. The winners will be announced during a virtual showcase event on 13 November, with models dressed by leading South African menswear brand, Carducci.

Natascha Viljoen, CEO of Anglo American Platinum, said: “Platinum has been a highly sought after jewellery metal for consumers for decades and we are proud of the many firsts that are being incorporated in this year’s 21st edition of PlatAfrica. For the first time, the competition focuses on men’s jewellery, which is an underserviced market segment. In addition, we are very excited to partner with AFI who have an excellent track record in showcasing the best of African design.

We are also thrilled to be a part of this year’s Joburg Fashion Week and have been very impressed by the quality and creativity of the pieces that have been entered. We hope this year’s competition will serve as a catalyst to encourage more men to buy and wear platinum jewellery.”

Dr Precious Moloi-Motsepe, founder of AFI said: “PlatAfrica has built a reputation for inspiring creativity and quality in platinum jewellery design in South Africa. What excites me about our partnership with PlatAfrica is the opportunity to develop and grow nascent talent into international excellence, thus contributing to our creative capital as well job creation and economic growth.”

In another first, all the one-of-a-kind jewellery pieces entered for PlatAfrica will be available for sale online. The store will be hosted on the AFI Designer Boutique (https://www.afiboutique.com/) for a limited period and will go live after the show on 13 November.

This year’s finalists are:

Professional category:

Stacy Beukes (Ruth Prowse School of Art); Rob Burton, Emile Pitout & Abdullah Zayd (Platandia); Labi Kapo (Akapo Jewels); Fang-Yu Liao & Aurelien Brandt (MICHL Jewellery & Brandt Adornment); Jane Merrifield (Tuesday’s Child Jewellery Design); Mandlenkosi None & Nnete Mokgothu (Mo Nkosi and Nnete Jewellery Manufacturers); Nihal Shah (Vijay Shah Concepts); Shikant Shah (Shah Jewellers); Christina Toros (Prins & Prins); and Lungile Xhwantini (The Platinum Incubator).

The judges gave a special mention to Rajesh Shah of J Hind Jewellers in this category for producing an outstanding jewellery collection for his entry this year.

Student/ apprentice category:

Ross Kellerman (Cape Peninsula University of Technology); Thembi Maduna (Vijay Shah Concepts); Kgabo Justice Makibelo (The Platinum Incubator); Liam McRobert (Ruth Prowse School of Art); Malefa Phoofolo (Tinsel); Alexander Rawháni (Shohreh Custom Made); Ntsikelelo Shange (Akapo Jewels); Busisiwe Sinini (The Platinum Incubator); Thembelihle Sishi (Durban University of Technology); and Rejoice Lerato Setshedi (The Platinum Incubator).

Content courtesy of  Anglo American Platinum & Nairobi fashion hub

SA Fashion Week Goes Digital

In the wake of #CoronaVirus and being confined at home, all prospects of enjoying the glitz and glam that is SA Fashion Week soon became a dream more than a reality.

It is the event on my calendar that I anxiously await, relishing in the fashion from both new-comers and well known designers.  For the last 3 years, I managed to have the perfect Birdseye view of the best in the business, and I was sure that 2020 wouldn’t disappoint.

That was until Covid-19 hit our shores, harder than the new Versace release or a sale at Louis Vuitton (another pipe dream).

All prospects of the event, which will be celebrating it’s 21st year flew out of my social calendar, because you know, social distancing and no gatherings bigger than 100.  And let’s be honest, not even the hottest fashion is worth the risk of this pandemic.

Fashion Week is going ahead, but just a little differently this year.

In the words of Lucille Booyzen, the CEO of Fashion Week: Change, change, change. The thing we embrace and fear with equal measure.

The press release shed light on the recent speech by our President, and with that in mind the team at SAFW made a Plan B for the upcoming Spring/Summer 2020 showcase. And boy is it a plan. A climate-friendly, green-friendly, COVID-19 respectful, digital-only SA Fashion Week.  This will be the first of its kind, and it is both smart and bold.  Everything we expect from SAFW.

She went further to say, that this state of disaster has in fact paved the way for something unique and beautiful to happen. she goes on saying that it was the push they needed, as they have wanted to push change and the agenda.

Refreshing and relevant new stories from the designers will be told and the sponsors and other stakeholders will all be part of the bigger, global audience.

As the 23rd SAFW, this will indeed be the most important one, taking place 22 – 25 April 2020.

And just like that my excitement is restored.  I may not get the chance to dress-up and photo-op, but I can watch it digitally.

Content courtesy of Bloss & Nairobi fashion hub

SA Fashion Week hosts first digital collections

Thursday’s opening night of South African Fashion Week (SA Fashion Week) Twenty Twenty Digital Collections, which was the first virtual showcase, was unique and organised.

Even the way the models strutted their stuff on the ramp, which was set up in the parking lot of Mall of Africa, you could see that they were at ease.

Gert-Johan Coetzee was the first to exhibit his latest work titled “Kraal Couture”, a collection inspired by the farms.

With blue and black being the dominant colours, the collection consists of beaded cowl skirts, smart pants with cow prints, a peplum tulle skirt, and ball gowns, some made of plastic.

Under the Diamond Fibre Collections, Mmuso Maxwell, Judith Atelier and Lukhanyo Mdingi brought nostalgia to the runway.

Maxwell presented their “Imbokodo” collection, a range that seeks to challenge the narrative of a woman’s place in society, especially in the African culture.

Some of our favourite pieces from the collection include the forest green side pleat jacket, the asymmetrical olive wrap jacket and matching pants, wool-side mustard pleat dress and the spiral knitted dress made of kid mohair.

Atelier introduced the brand to the luxurious world of mohair, which plays a big part in this collection.

Titled “ I am because we are”, the range includes appliqué skirts and dresses, with red and blue being the dominant colours and sometimes fused to create purple pieces.

In collaboration with Ginger Maggie, they also presented their SS21 jewellery collection using fine details such as macrame tassels, copper rings, polymer clay and copper rods that have been combined to create a unique new range.

Lukhanyo Mdingi presented a monochrome collection, rich in brown. His statement pieces include a sleeveless bike jacket made of felted kid mohair and pure merino wool blend gilet. Titled “Relic”, the collection is an extension from his previous works.

“The collection is an extension from what we’ve created in the past. The true provenance of what we do is that we’re always looking at the essentials and we’re always looking at our archives and that stems from really trying to execute what good design means to us because that’s what inspired us,” said Mdingi.

The Research Unit followed with their “Transformative” collection. As a brand that usually focuses on handbags, they collaborated with handweavers and the beaders from Kids Positive to push boundaries.

About the collection that had lots of coding, Erin-Lee Peterson, the founder of the brand, said: “We tried to push the boundaries as much as we could. Not just make it look African or beaded, or weaved, but we created shorts out of the handwoven scarf. We took our beadwork and created morse-code out of it. The smiley face on one of the tops was made through thinking about African masks, such as the one that has the six eyes”.

The range also included micro sling bags, travelling bags, as well as beach bags.

Paying homage to the Indian culture, Etka Kalan of Ekta played with colour and geometric shapes to create unique patterns.

On the inspiration behind the collection, she said: “My latest collection is called ‘Who am I’? It’s an exploration of identity and how we see ourselves. If you look at each person, their environments, their family life, their ethnicity, as well as the country where they live in, all plays a specific role in how they see themselves.

“I looked at my life and upbringing, taking being a South African Indian, loving being South African, but also deep-rooted into Indian culture. My collection looks at formlessness, as well as form. I took a sari, which is 5 metres of fabric, once wrapped into the wearer, takes shape and a form. Then taking this complete structured shirt and structured clothes such as a shirt and trousers, which is a complete western concept and fusing the two cultures to create a new collection and a new form.”

Closing the show was Helon Melon with a subtle, collection of white dresses. Titled “All Dressed Down and Everywhere To Go”, she had the lockdown in mind when creating the collection. To add some colour, she defined it with neon stitches and some art inspiration from Mary Sibande.

When asked why she called in “All Dressed Down and Everwhere To Go”, Melon said: “During the lockdown, we all dressed down. And the most exciting thing is that it is a dress downrange, but you can dress it up however you like. There are lots of whites, I’ve done everything in white cotton and added a few accent colours to the range. Lots of dresses, I’ve done a very chick cashmere suit, and I had to put it in because of what we’ve been through. It’s comfortable with South African influences in it, from the house that I saw in the Transkei over 20 years ago to our fabulous SA artists like your Mary Sibande.”

Content courtesy Independent Online, EWN & Nairobi fashion hub 

The World’s Going Mad for This Fabric Map of Africa

Mia Kora has been “honoured and humbled” by the impact of its ‘Fabric Map of Africa’. The company, which usually offers a collection of scarves and shawls centred around the concept of ‘wearable art’ has this time created art centred around a collection of fabrics from each of the continent’s countries from Egyptian cotton to kikoi, shweshwe and more.

Mia Kora founder Priya Shah, who grew up in Kenya, says the map was born during lockdown. “It was created as a mood board to inspire my next collection based on my love of African textiles and patterns. It took time to evolve, and I was constantly editing images until it was aesthetically pleasing and showed a range of fabrics.

“The map is a visual representation of the richness and beauty of African fabrics. It is an artistic reflection. Art sees no political boundaries, cast, religion or gender. Art in its truest form speaks across all barriers and lines. The map’s aim is to spread positivity and joy.

“My dearest hope, as an African, is that this map raises worldwide appreciation and acknowledgment of African textiles and its high standing in influencing fashion and art.”

She says the Map of Africa was inspired by the fabric Map of India, and her desire to show how beautiful and rich the African continent is. “Truly fortunate to have been brought up in Kenya in the midst of so many cultures, art, wildlife and beauty,” she says, adding “AFRICA! Where my heart is…”

Email info@miakora.com for all orders. These designs are copyrighted and belong to Mia Kora so please don’t purchase them from unauthorized agents.

The size of the map is A2 (42cm x 59.4cm), on 260 gsm Satin photo paper.

Content courtesy of SA People & Nairobi fashion hub 

Tanzania fashion festival celebrates models of all sizes

This year’s Tanzania Fashion Festival held on October 3, embraced diversity in its choices while remaining relevant.

The show, held at the Slipway Hotel in Dar es Salaam, had models of different body sizes, heights and ages. It also gave new designers and first-time models a chance to showcase their talent.

There was a total of 21 designers – 16 emerging and five well-established.

Ruth Josephat Urio, founder of J’adore Couture which specialises in hair and cosmetics  represented different sizes and body shapes with models who don’t fit the “typical” figure.

“Fashion is for everybody. I wanted to be inclusive through action not just preaching it.

“Anyone can have a chance at fashion, what is needed is confidence to showcase products in front of the crowd,” she said.

Taff had 17-year-old model Angela walk the runway while international model and former Miss Tanzania Millen Happiness Magese made a special appearance.

Jacqueline Wolper, Bongo, a movie actress and stylist, closed the show with her collection off Wolper House of Stylish.

Some of the designers at the show were Lucky Collections, Wole, Waiz Zanzibar, Enjipai by Nasreen Karim and American-based Tanzanian designer Asia Idarous.

VIP tickets were sold at Tsh50,000 ($21.60) while normal tickets were sold at Tsh10,000 ($4.3o) advance and Tsh15,000 ($6.40) at the door.

South Africa-based fashion photographer Shawn Keiffer, who was also one of the organisers, described the country’s fashion industry as remarkable.

“The fashion industry has grown in size and sophistication. The evolution of the fashion scene in the past few years, with the changing politics of the front row and the diverse imagery behind-the-scenes, has been nothing short of remarkable,” he said.

Keiffer added that getting more support for the fashion industry would enable it to realise its potential.

“It will take joint effort to get the Tanzanian fashion industry up to speed,” he said.

However, despite the glamour of the fashion show, there are still not enough platforms for the growing number of designers, stylists and models to showcase their creativity.

“We need more platforms and fashion activities,” said Makrida Joseph, a Tanzanian model and stylist.

Besides the Tanzania Fashion Festival, there is Swahili Fashion Week and the East: The annual Tanzania fashion festival was founded by fashion TV producer and presenter Deogratius Kithama in 2018.

Content courtesy of The East African & Nairobi fashion hub 

Future of Fashion 2020 indaba to explore African sustainability

Rewoven will host fashion indaba, Future of Fashion on 19 and 20 November 2020, with Twyg and AFRI hosting masterclasses from 3 to 12 November 2020.

The South African fashion indaba applies a locally-relevant lens to the topic of ethical and sustainable fashion and creates space for collaborative knowledge-sharing between all stakeholders in the fashion value chain.

Through sharing tools, frameworks and ideas between South Africa, Africa at large and Sweden, Future of Fashion aims to facilitate the development of a thriving, inclusive, ethical and future-fit local fashion industry. The indaba is open to anyone connected to and interested in the fashion industry: this includes manufacturers, retailers, designers, fashion institutions, fashion academia, consumers, clothing industry policy-makers and influencers.

This year, Future of Fashion will explore the theme ‘African sustainability – our way of being’. While the concept of sustainability seems to be a relatively new concept to many of us living in a largely Western and modern world, many indigenous groups in Africa and across the globe have been living in harmony with the environment for thousands of years.

There is much to learn about sustainability, circularity, the shared-economy, sustainable material sourcing and more from these communities whose sustainable practices have stood the test of time.

Here’s what to expect:

Fashion film
A locally-produced fashion art short film that explores the importance of caring about sustainability and climate change for a developing country such as South Africa will be screened. The concept of sustainability and climate change might often seem removed from the realities of people who live below the poverty line.

By unpacking the lessons to be learnt about sustainability and slow fashion from ancient and indigenous cultures in Africa and Sweden, the film aims to debunk this idea and rather create an inclusive, relatable and locally-relevant narrative on sustainability, climate change and slow fashion. The short film is shot in the Eastern Cape, Western Cape, Northern Cape, Kinshasa and Jokkmokk.

Twyg Sustainable Fashion Awards
The Sustainable Fashion Awards, in collaboration with Twyg, will be hosted at Rewoven and available via livestreaming on the virtual event platform.

Sustainable design showcase
The exhibition aims to showcase and celebrate the work of South African sustainable fashion designers. This year, the exhibition will be a video exhibition, which will be livestreamed on 19 November 2020. In total 15 designers will be showcased.

Addressing sustainable fashion
Founder of Lagos Fashion Week, Omoyemi Akerele, will be speaking on the topic of “The Future of African Fashion”. The second speaker is the sustainability manager of Fjällräven who will be sharing the experience of the company on “Designing for circularity, recyclability and slow fashion”. Fjällräven was voted Most Sustainable Brand in its industry, according to Sweden’s Sustainable Brand Index in April 2020.

Digital shopping
The virtual marketplace is a platform that shares, amplifies and celebrates sustainable businesses that are contributing to a sustainable and ethical fashion future. The virtual marketplace mimics a marketplace at an in-person event where there are multiple businesses on display that event attendees can interact with.

By utilising this platform, the aim is to showcase sustainable fashion businesses and provide them with an opportunity to directly interact with event attendees who could become potential clients/collaborators.

Content courtesy of Biz Community & Nairobi fashion hub 

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