Tag: African Fashion

Style and skill abound, but experts claim that until Africa invests in its textile sector, it will never reach its full potential.
The designers and tailors at a tiny Lagos fashion company are hard at work carving precise lines through the large rolls of cloth. Designer Oroma Cookey-Gam, co-founder of This is Us, says, “Cotton T-shirts were the first item we produced.”
The company uses locally grown cotton to create modern Nigerian designs, such as oversized shirts, jumpsuits, and kaftans.
Cookey-Gam travels to the Funtua textile mill, one of the few fully functional mills in the nation, in Katsina, the northern region, once a month to get the cotton.

The cloth is then hand-dyed into colors of indigo for up to eight hours in the Kofar Mata dye pit in Kano, the oldest pit in Nigeria, a three-hour trip away.
Cookey-Gam used to buy cotton from Turkey and Morocco, but she started a year-long quest in 2016 to find suppliers inside her nation.
Even though cotton is grown in two-thirds of African countries, with some of the continent’s biggest producers located in West Africa, more than 81% of it is exported from sub-Saharan Africa, leaving little for domestic use.
According to recent Unesco research, the region’s economic prospects were being negatively impacted by exports, which were limiting the expansion of the textile and apparel sectors.

Ernesto Ottone is the assistant director-general for culture at Unesco. “Africa is exporting something that could create a huge industry and an enormous number of jobs,” Ottone adds.
Like other African countries, Nigeria’s textile sector flourished in the 1960s and 1970s before collapsing when a flood of secondhand and foreign-made clothing entered the continent as a result of trade liberalization measures.
Nowadays, sourcing materials presents significant hurdles for companies such as This is Us.

According to Cookey-Gam, Nigerian ginsneries, which extract the seeds from cotton, deal with big orders and are hence less interested in selling to fashion companies. “The mill didn’t take us seriously when we initially visited there. She explains how she teamed up with other businesses to generate large purchases, saying, “They said they can’t work with fashion because the orders are not big enough.”

African-made products have become more and more popular throughout the world in recent years, thanks to the rise of Afrobeats and contemporary cultural representations of the continent like the Black Panther movies. Beyoncé, Naomi Campbell, and Chimamanda Ngozi Adichie are among the well-known black individuals who have supported the work of regional and diaspora designers.

Younger people have adopted modern twists in African architecture and materials in fashion. Burkina Faso-born designer Sébastien Bazemo has contributed to the resurgence of fashion for the vibrant Kôkô Dunda cloth. Additionally, there are currently over 30 fashion weeks held annually around the continent.

According to businesswoman Omoyemi Akerele, who oversees Lagos’s yearly fashion week, “it’s a season of ownership.” “In the past few years, creators and designers have doubled down to communicate and re-emphasize who they are in a way that’s true to themselves and the communities they represent. Before now, [the African fashion industry] pandered a bit to the Eurocentric gaze.”

“Made in Africa” campaigns have gained popularity recently, particularly among the continent’s expanding middle class. However, African designers claim that their creations are still too expensive for many Africans to purchase because of the high expenses associated with producing and importing basic materials, which has an impact on final prices.
The primary customer base for This is Us comprises African diaspora residents and Nigerian creatives, with items priced between 50,000 and 150,000 Nigerian naira (£50 and £150).
Famous Nigerien designer Alphadi (Sidahmed Seidnaly) is in favor of proposals for African nations to increase the production of non-cotton textiles and restrict textile imports.
Even though the fashion industry on the continent is becoming more well-known, he claims that policy and investment assistance are still lacking.

Citing well-known European designers, he claims that “investors, buyers, and policymakers, who can make African fashion take off, do not understand the difficulty of being an African designer.” “People wager on them, and in this industry, that can mean the difference between success and failure.”

The designer, who operates in the city of Niger, Niamey, as well as in the Ivory Coast and Morocco, claims that he has had to invest a significant amount of his cash to continue in business, even though he is one of the continent’s fashion pioneers.

African fashion investors claim that while funding individual designers is popular, fundamental problems like local manufacturing capacity that financiers and legislators need to address for the sector to thrive are not addressed. They assert that in the absence of such steps, investments would only result in transient success as opposed to long-lasting, expandable companies.
“We need to look at building the infrastructure and giving the capacity for designers to thrive—for them to access different textiles locally,” says Roberta Annan, creator of the Impact Fund for African Creatives (IFFAC), an organization that invests in creative enterprises across Africa.

To grow the industry, IFFAC provides grants and investments of up to £1.7 million to sustainable fashion enterprises. To boost domestic textile production, it recently purchased a government-owned mill in Ghana.
Such initiatives, according to designers, have the potential to be revolutionary.
According to Cookey-Gam, “African fashion is still very young, and we need [various] elements to make things at high quality.” “Fashion is a tool we can use to improve people’s lives and employs a lot of people.” It has the power to alter the continent.

Content Courtesy of The Guardian & NFH

The African Student Association is hosting its inaugural African Royalty Fashion Show, a cultural event aimed at educating, enlightening, and embracing African beauty and variety. It is open to students, professors, staff, and the community. Everyone is urged to dress to impress by the organizers.
In previous years, the Tour of Africa was our yearly hallmark event that featured a night of entertainment and cultural celebration, including a fashion display that lasted for maybe five minutes at most.

However, it wasn’t a fair representation of it, according to ASA vice president Ojuolape Folarin.
We’ve made African fashion a stand-alone major event this year. We have the chance to highlight African design from throughout the diaspora at this unique event, which also explores what it means to be black or African in the United States, said Folarin.

On Saturday, December 9, at 7 p.m., the UMC Glenn Miller Ballroom will open. Guests may enjoy traditional meals made in the Ghanaian, Nigerian, Kenyan, and Ethiopian styles. As the presentation rotates between fashion, music, and dance acts, four distinct groups, including Alpha Phi Alpha, will stroll down the runway after the olfactory feast.

At 8 p.m., Emmanuel Nwaneto (E.M.E.) performs his newest song, “Drago,” backed by dance choreography by Yasmine Lawson, to begin the evening’s fashion and performance segment. Four fashion walks will be followed by one-of-a-kind performances.

At the conclusion of the free event, which is supported by the Cultural Events Board of CU Boulder, everyone will be invited to celebrate with Boulder’s very own DJ Ambitious Boy.

Participate in ASA activities
African students at CU and anybody else looking to network with like-minded individuals come together through the African Student Association.
The ASA promotes gathering, sharing, and enjoyment of culture. “Very tight with African Americans, respecting that we are all brothers and sisters,” is how the organization characterizes itself.
The ASA meets every other Wednesday in Abrams Lounge (third floor of the C4C). Information about meetings and events can be found on Instagram and TikTok: @asacuboulder.

Content courtesy of The University of Colorado & NFH

President William Ruto’s favored outfit was outlawed for breaking legislative dress regulations, along with other traditional African clothing.
The speaker declared that a Western suit and tie are appropriate clothing. In recent years, the Kaunda suit has gained popularity among African politicians, celebrities, and the elderly. William Ruto, the president of Kenya, is one such convert.
Primarily worn with matching pants, the single-breasted safari jacket features patch pockets and either long or short sleeves. It gained popularity in the 1960s thanks to Kenneth Kaunda, the first post-colonial president of Zambia.

However, last week, the Kenyan Parliament outlawed the Kaunda suit as well as other traditional African attire, including women’s form-fitting apparel. The speaker of the Kenyan parliament declared that this kind of clothing is not allowed under the code, which mostly follows the fashions of a contemporary Western working wardrobe.

The Speaker of the Parliament, Moses Wetangula, stated in a speech on Tuesday that a fashion trend such as the Kaunda suit “does not accord with the seriousness of the proceedings of the house and its committees.”
He stated that “a coat, collar, tie, long-sleeved shirt, long trousers, socks, shoes, or service uniform” is appropriate attire for males entering the legislative chambers.

The decision incited a social media backlash, with many people questioning why suits and ties linked with colonial powers would be preferred in an African government building over proudly African garb.

A Kenyan human rights activist named Abdullahi Halakhe said in Swahili on X, previously Twitter, “Truly, colonialism is still deeply embedded in our minds.” He included a link to an article that featured a picture of the speaker of Parliament donning the white robe and wig that date back to the British colonial era.

The flap occurs at a time when Afrocentric fashion is becoming increasingly popular on the continent and beyond, on movie screens, runways, and among consumers who are drawn to black culture and style.

The Kenyan speaker also declared that women should wear business, professional, or smart casual attire with skirts and dresses that fall below the knee, and she outlawed headgear and caps in the legislature. He said it was forbidden to wear sleeveless blouses. Both lawmakers and visitors to Parliament are subject to the restrictions.

“I am aware that some of you may find these instructions uncomfortable,” Mr. Wetangula, 67, stated. Nonetheless, pain is required for members’ comfort, security, and order.
One of the edict’s most notable targets did not seem to be paying attention.

President Ruto met with the CEO of NBA Africa the day following the announcement in Parliament. In June of this year, President Ruto donned his first Kaunda suit in public.
One day following the declaration made in Parliament, President Ruto who had worn a brown Kaunda suit for the first time since taking office in June of this year met with the CEO of NBA Africa. He wore a variation in sky blue to a government ceremony on Thursday.
Wearing a pink Kaunda suit has made him stand out.

It has become evident to many contemporary African leaders that people value politicians who are prepared to publicly embrace their ethnic background and traditional garb.
Although Goodluck Jonathan, the former president of Nigeria, frequently wore a wide-brimmed fedora-style hat that was favored by the tribal leaders in his area, Nelson Mandela, the former president of South Africa, was known for wearing his characteristic “Madiba” shirts in bold designs.

In an effort to promote the “Made in Rwanda” initiative, President Paul Kagame of Rwanda dons apparel created by local designers.
The short-sleeved suit was adopted by Mr. Kaunda of Zambia, the leader of his country in Southern Africa from 1964 to 1991, as a representation of African freedom and independence. The fashion had its beginnings in Australia and bore a striking resemblance to a Chinese silhouette that Chairman Mao popularized.

The Kenyan legislative speaker, Mr. Wetangula, referred to the Kaunda suits as “Mao Zedong coats” when he banned them.
The speaker is a former senator who held the position of foreign affairs minister for ten years until stepping down due to accusations of corruption. Mr. Ruto, 56, a former vice president who became well-known for being a cunning political operative and businessman, has had him as an ally.

In September of last year, he took office following a close electoral victory.
Amidst mounting public outrage and demonstrations about his administration’s performance—particularly in light of the soaring cost of food and gasoline and rising taxes—there is a ruckus in Parliament regarding the clothing code.
The president’s preference for Kaunda suits, according to Mr. Ruto’s tailor, Ashok Sunny, stems from a desire to support regional producers and designers.

He’s demonstrating that we don’t have to spend our days in suits. In an interview with TV47 in Kenya this year, Mr. Sunny stated, “We can wear the African cut, representing the African look.” “They call it the dictator look most of the time because the Kaunda suit was once popular with most old dictators,” he continued.

Fashion decisions have caused controversy in Kenya’s parliament before.
Former Nairobi governor and senator Mike Sonko was expelled from Parliament in 2011 for using ear piercings and sunglasses.
At the time, Mr. Sonko, a colorful politician renowned for his opulent lifestyle, denounced the decision, claiming he was dressing like the nation’s youth.

Content courtesy The New York Times & NFH

Despite a number of obstacles, the continent offers a number of distinctive qualities that might help it succeed.
Editor’s Note: As African designers become more well-known for their distinct aesthetic and creative application of regional materials, fashion weeks and trade exhibitions serve as venues. China Daily examines the prospects and difficulties confronting the rapidly expanding sector.
Award-winning Kenyan designer Aulga Nato was thrilled to present her works during this month’s Africa Sourcing and Fashion Week in Ethiopia.

Models wearing creations by Nato and her other designers walked an outdoor catwalk at the Skylight Hotel during the four-day fashion spectacle in the Ethiopian capital, Addis Ababa. 5,150 people attended the event, which is regarded as one of the best fashion exhibitions on the continent, according to the organizers.

“African fashion is just now becoming more well-recognized. I have witnessed African aesthetics that are radically unlike global examples,” stated NATO. “Africa is bringing new and innovative ideas, while the rest of the world is merely copying designs. Additionally, I think that we are in right now.”

Nato is well aware of this, having won the African Icon Hope Awards’ African Emerging Designer of the Year title the previous year. Africa, in her opinion, will serve as the center of the world’s fashion in the future.

The fashion industry in Africa is poised to take the lead in the world fashion scene, according to a UNESCO research published in October titled “The Fashion Sector in Africa: Trends, Challenges, and Opportunities for Growth.”

“The African fashion industry is being driven by a number of causes, including the continent’s youthful, inventive, and expanding population, a burgeoning middle class, fast urbanization, and more government assistance. The study said, “The potential is enormous, not just for the economy but also for the inclusion of young people, the empowerment of women, and the global resonance of African culture.”

The majority of fashion businesses in Africa are micro, small, or medium-sized enterprises that cater to the hyperlocal market by offering ready-to-wear and made-to-order clothing. However, the report also noted an increasing number of high-end brands that are centered in important markets like Senegal, Cote d’Ivoire, Ghana, Kenya, Nigeria, Rwanda, and South Africa. These cater to a select clientele of wealthy local and foreign consumers by offering luxury goods.

One such company is owned by Grace Mbugua, who concurs that the African fashion market has the potential for expansion.
Mbugua, who was present during the Addis Ababa fashion week, stated that occasions like this will significantly contribute to drawing attention to African design globally.
“Business growth is one of the advantages of these fashion fairs; this is achieved through partnerships, exposure, and learning about current trends and global demand.
Mbugua, who owns J-Lo Collections, a company that produces leather, textiles, and home décor items, stated that Ethiopia is one of the world’s top producers of leather goods.
“I have had the chance to see some of the leather they have,” she added. “They have beautiful and refined leather, and I am looking forward to getting to Kenya.”

Ducks in a row
Even though she was impressed by Ethiopia’s leather business, other attendees of Fashion Week said that in order for Ethiopia and Africa as a whole to fully profit from the fashion industry, they must first get their houses in order.
The quality of leather goods such as shoes, purses, and gloves has improved over the past ten years across Africa, according to Mishamo Wakaso, CEO of Ethiopia’s Ministry of Trade and Industry’s Leather Research and Development Center. With exports worth over $140 million, Ethiopia ranks as Africa’s fifth-largest exporter of leather and leather goods.
But supply, according to Wakaso, is the biggest issue confronting the leather sector in Africa.

Animal skins are sourced from Africa’s vast cattle population, but there are issues with access to the chemicals, equipment, and supplies needed to process the skins.
“Europe, China, and India import the majority of the chemicals used in leather manufacturing that are utilized in Africa. Due to this, there is a severe shortage on the continent and high demand, according to Wakaso.
According to Wakaso, African governments must make investments in the sector to raise the caliber of goods if they want to see Africa take its rightful place in the world of fashion.
He thinks African fashion has the potential to expand rapidly despite its early setbacks, particularly if the continent’s 1 billion people were to seek inside for a market.

“We as Africans must integrate and foster market integration in order to lessen these difficulties. Because of our trade restrictions, we are selling to Europe and India but are not taking advantage of the enormous market in Africa,” he stated.
“The African Continental Free Trade Agreement needs to be fixed in order to draw in investors. For instance, a business that manufactures chemicals may locate its plant in Ethiopia and engage in business with Tanzania, Kenya, Sudan, and other African nations.”

According to Wakaso, 37 of Africa’s 54 countries grow cotton, making the continent a key supplier of raw materials for the fashion industry. The average annual value of textile exports from the continent is $15.5 billion.

According to Mbugua, African governments need to play a more significant role in facilitating local commerce in the leather and textile sectors by integrating markets and building the required infrastructure.

“African governments have the ability to facilitate cross-border travel by making it easier for individuals to move between their countries. Even if travel and visa restrictions between nations continue to be problems, I hope that things will improve. Rwanda has eliminated the need for Africans to have a visa, and Kenya has committed to doing the same by December. These developments thrill me,” Mbugua stated.

According to Mbugua, occasions such as Ethiopian Fashion Week provide African business participants with a chance to establish networks and cooperate on a continental scale.
With these gatherings, we hope to develop as individuals and to create Africa and East Africa together, since there are a lot of amazing opportunities right now. Our goal is to help our members build themselves in order to access markets and ensure that we are competitive in unity; therefore, we would love to create African Fashion Week chapters throughout Africa and then grow our companies,” she stated.
The fact that Africa’s textile imports, including apparel and footwear, are valued at $23.1 billion annually, nearly double the value of exports, indicates that African fashion entrepreneurs do not have access to the continent’s market.

“Trade exhibitions, industry gatherings, and joint ventures are being organized by African nations more and more.
One such instance is Africa Sourcing and Fashion Week, according to the article.
According to NATO, occasions like Africa Sourcing and Fashion Week provide a platform for the global community to engage with the finest of African culture.
“Authenticity and individuality are what set African fashion apart. You can see that most fashion firms throughout the world have done so much that their current offerings lack originality. Africa, on the other hand, produces a lot of fabric, grows a lot of cotton, and is wealthy in every manner.

That’s how we dress. “I believe we are the next big thing if the world will focus on us,” stated Nato, who owns the upscale brand Nato Design House.

Market-oriented
She counseled industry participants to put their all into their work and strive to become masters, notwithstanding the difficulties encountered by young designers on the continent.
“As an upcoming designer, you should strive to learn and understand your clients,” Nato said. “Listen to your clients, listen to what the market wants as opposed to what you want.”

The majority of those involved in the African fashion business also think that the continent can set the standard for sustainable practices and fashion worldwide. Because Africa is not a wasteful continent, NATO thinks that little actions like gathering rubbish and repurposing or redesigning it might help cut down on waste.

“Personally, I get to check back on some of my designs that did not move and redesign them before putting them back on the market,” Nato said.
“Some of my clients purchase dresses from me for certain events, and after they wear them, they are unable to reuse them. When this occurs, I am able to persuade my clients to return the dresses, and I then resell the gowns to buyers who can afford to purchase and wear them once again.”

Mbugua thinks that by enacting laws to create secure tannery systems for the leather sector, African nations are setting the standard for sustainability.

“We employ vegetable tannins to preserve, reinforce, and color our hide in Kenya, for example. This practice is known as vegetable tanning. Chemicals are harmful to the environment and have an impact on water systems, which is why this is.
According to her, we also want our suppliers to have the same degree of environmental consciousness.
Exhibiting at the Ethiopian Fashion Week and Fair is Ghanaian Solomon Dodoo, who claims that a tour of the booths highlights how colorful and dynamic African fabrics are, as well as how they embrace the richness of African culture.

“Going through the items on display at this fashion event, you notice that every single fabric is unique, and there are no two fabrics that look alike,” said Dodoo.
“Africa is providing the world with exquisite textiles, and I hope that people would take advantage of this and believe that Africa truly has a wonderful culture when it comes to textiles.
We are the designers of tomorrow.”

Content courtesy of China Daily & NFH