Sunday 20th of September 2026

Nairobi, Kenya

Tag: African Model

Jack Photography: Jackson Watenya on the Art of Creating Images With Intention

Posted on by Oscar Alochi

Introduction

In Nairobi’s increasingly dynamic fashion and creative landscape, photography has become more than a means of documenting people, clothing and moments it has evolved into a language of its own. Jackson Watenya, the creative force behind Jack Photography, is part of a new generation of photographers exploring that language through fashion, portraiture and visual storytelling.

Based in Nairobi, Watenya approaches photography as a carefully constructed creative process, bringing together concept development, mood, lighting, composition, direction and post-production. His background in photo editing and retouching has informed an instinctive understanding of the finished image, while his experience behind the camera has allowed him to develop a more complete approach to visual creation.

His philosophy is rooted in intention: creating images that feel purposeful rather than accidental. Whether working with models, fashion creatives or clients, he sees each frame as part of a larger visual narrative. His ability to work creatively within different environments, including modest or unconventional spaces, has become an important part of his evolving aesthetic.

In this conversation with Nairobi Fashion Hub, Jackson Watenya reflects on his creative journey, the philosophy behind Jack Photography, his approach to fashion and portraiture, the importance of collaboration, and his ambitions for the future of photography in Kenya.

THE INTERVIEW

About You & Jack Photography

1. Tell us about yourself and the story behind Jack Photography. Who is Jackson Watenya beyond the camera?

I am a Nairobi-based photographer working across fashion, portraiture and weddings under the name Jack Photography. My journey began with a curiosity about light, composition and the ability of an image to transform an ordinary moment into something memorable.

My early experience in photo editing and retouching gave me a strong appreciation for the creative process, but photography allowed me to become involved in the entire journey from developing an idea and creating the image to shaping its final expression.

Beyond photography, I am naturally curious and solution-oriented. I enjoy finding creative ways to work with the environment, available light and resources, rather than waiting for perfect conditions. That mindset continues to influence how I approach every shoot.

2. What inspired you to pursue photography professionally, and when did you realize photography could become your career?

My foundation in retouching gave me an understanding of what makes an image visually compelling, but I eventually wanted to take greater ownership of the creative process.

Working with local models and creatives became an important turning point. It showed me that I could develop a concept, shape its visual direction and carry that idea through to a finished photograph. That experience helped me recognise photography not simply as an interest, but as a serious creative pursuit.

3. How would you describe Jack Photography to someone discovering your work for the first time?

Jack Photography is a visual storytelling practice centred around fashion, portraiture and wedding photography. I approach each project with intention, beginning with the concept and visual references before moving through production and final editing.

The aim is to create images that feel considered, directed and connected to a larger visual idea rather than simply documenting what happens in front of the camera.

4. What does photography mean to you personally, and what keeps you passionate about the craft?

Photography is, for me, one of the most powerful forms of storytelling without words. I am fascinated by the process of taking an idea that exists only conceptually and translating it into something tangible.

Collaboration also keeps the work exciting. When different creatives bring their perspectives and ideas into a project, the final result can become something greater than the original concept.

Creative Vision & Visual Storytelling

5. Your work spans fashion, portraits and weddings. What attracts you to these different forms of photography, and how do they complement each other?

Each genre offers a different creative language. Fashion gives me the freedom to explore concepts, direction and visual experimentation, while portraiture places greater emphasis on connection and individuality.

Wedding photography represents another dimension of storytelling, where emotion and authenticity become particularly important. I am currently continuing to develop my experience in this area while learning from established professionals.

6. You mentioned that your goal is to build a complete visual story from concept to final image. What does visual storytelling mean to you?

To me, visual storytelling means creating an image that suggests something beyond the frame. A strong photograph should communicate a mood, feeling or narrative that allows the viewer to imagine there is a larger story behind what they see.

The individual image becomes part of a broader visual experience.

7. You describe yourself as someone who does not simply capture a moment but directs one. How does directing a photograph influence the final result?

Direction gives an image intention. Rather than leaving every element to chance, I make considered decisions around posing, lighting, expression and environment.

That approach allows the final photograph to communicate a specific feeling and ensures that the visual outcome remains connected to the original concept.

8. Walk us through your creative process, from receiving a brief or developing an idea to delivering the final images.

The process usually begins with an idea—whether it comes from a client, model, collaborator or from my own creative direction. I then develop a moodboard to establish the overall visual language, including mood, styling and references.

From there, I consider the lighting and create a shot list to give the production structure. During the shoot, I test the setup and work through the planned direction while remaining open to unexpected moments.

The final stage involves carefully refining and retouching the images in a way that remains faithful to the original concept before delivering the finished work through an online gallery.

9. What role do lighting, composition, location, styling, posing and mood play in creating your visual style?

They are all interconnected. Lighting is particularly important to me because it can completely transform the atmosphere of an image, even when working with a relatively simple setup.

Location and composition help establish the visual foundation, while styling and posing are guided by the mood and story established during the conceptual stage. I like every element to feel as though it belongs to the same visual world.

10. How do you help clients, models or subjects feel comfortable and confident in front of your camera?

I believe confidence begins with communication. I involve collaborators early in the creative process so they understand the concept and know what to expect.

During the shoot, I give clear and specific direction rather than leaving people uncertain about how to pose or move. Creating that sense of clarity helps subjects relax and allows more natural moments to emerge.

11. Which photograph or project from your portfolio best represents your creative identity, and what is the story behind it?

One project that particularly represents my approach is a beauty portrait featuring two models with different skin tones. The concept was visually simple, but technically it required careful consideration of lighting and exposure to create balance between the subjects.

For me, the image represents the intersection of technical precision and simplicity. It demonstrates how a straightforward concept can become powerful when the lighting, composition and human connection are carefully considered.

12. How do you balance your creative vision with a client’s expectations when they have a different idea of the final look?

Communication is key. I often use reference images and moodboards to understand the feeling behind a client’s ideas rather than focusing only on individual images they may have saved.

Once the intended mood and direction are clear, it becomes easier to find a creative balance between the client’s expectations and the photographic approach.

 

Fashion, Portraits & Weddings

13. What do you enjoy most about photographing fashion and working with models, designers, stylists and other fashion creatives?

The collaborative nature of fashion photography is what I enjoy most. Every person involved contributes something different to the visual language of the project.

There is something particularly rewarding about watching those individual contributions come together and evolve into a complete image.

14. What makes a powerful fashion photograph, in your opinion, beyond simply showcasing clothing?

A powerful fashion photograph should communicate a story or atmosphere beyond the garment itself. Clothing is an important part of the image, but it becomes more compelling when it exists within a wider visual narrative.

The strongest fashion images allow styling, subject, environment, lighting and emotion to work together.

15. Portrait photography requires capturing personality and emotion. How do you create images that reveal the person behind the portrait?

I pay attention to the moments that happen beyond the formal pose. A natural expression, a genuine laugh or an unguarded glance can often reveal more than a perfectly directed pose.

Sometimes the most important part of a portrait session is simply creating enough space for conversation and connection so the subject can move beyond the feeling of performing for the camera.

16. Weddings are filled with important emotions and once-in-a-lifetime moments. How do you balance documentary storytelling with creative direction during a wedding?

Wedding photography is an area I am continuing to develop. My current approach is to gain practical experience alongside established wedding photographers, learning how to balance candid storytelling with the directed portraits and important moments that couples want preserved.

That experience is helping me understand the rhythm and responsibility that comes with documenting such significant occasions.

17. Is there a particular fashion shoot, portrait session or wedding that challenged you creatively or taught you an important lesson?

A duo editorial featuring two models with different skin tones was particularly valuable creatively. It challenged me to reconsider my lighting approach and find a way to create balance while preserving detail and dimension across both subjects.

It reinforced the importance of adapting technique to the people and circumstances within the frame rather than relying on a single formula.

18. How do you think photography contributes to the growth and visibility of Nairobi and Kenya’s fashion and creative industry?

Photography has the ability to take a creative idea beyond the physical space where it was created. A powerful image can introduce a designer, model, event or creative movement to audiences who were never present.

In that sense, photography plays an important role in documenting, promoting and giving visibility to Kenya’s creative culture.

Business, Growth & The Future

19. What challenges have you experienced building and running a photography brand in Nairobi, and how have you overcome them?

The journey has taught me to work creatively with what is available. In the early stages, I worked with simple environments and limited resources rather than waiting for ideal conditions.

Those limitations encouraged me to become more resourceful and ultimately influenced the way I approach locations and visual concepts. As opportunities developed, I gradually expanded my access to equipment and professional spaces while also putting stronger business structures in place, including contracts, invoicing and a more formal portfolio.

20. How important are social media and digital platforms such as Instagram in building a photography brand and attracting clients today?

They are extremely important. Instagram, in particular, has played a significant role in connecting me with models, creatives and opportunities within the industry.

It has become a space where the work can speak for itself and where potential collaborators and clients can discover the photographer behind the images.

21. Where do you see Jack Photography in the next five years, and what kind of creative projects or clients would you like to attract?

I would like Jack Photography to become an established name within Nairobi’s editorial and fashion photography scene, recognised for a distinctive and consistent visual identity.

I hope to work increasingly with designers, brands and fashion events, while expanding into more commercial and catalogue-oriented photography. I also look forward to building stronger relationships within the events industry and, with the right experience, eventually taking on full wedding coverage.

22. How can photographers and other creative professionals collaborate more effectively to create stronger visual stories and opportunities within Kenya’s creative industry?

The industry becomes stronger when creatives create opportunities for one another. Photographers, models, designers, makeup artists and event organisers can build a more connected ecosystem by sharing networks, introducing one another to opportunities and approaching collaborations with a collective mindset.

Some of my strongest work has emerged when everyone involved is invested in the same creative vision rather than focusing only on their individual contribution.

BONUS QUESTIONS

Who would you love to collaborate with in Kenya or internationally photographers, designers, models, brands, artists or creative directors and what would you hope to create together?

I would particularly love to collaborate with established Kenyan fashion designers on a fully developed editorial campaign projects where the photography, fashion and creative direction can come together as one cohesive visual story.

If you could photograph one person, fashion collection, wedding, campaign or cultural moment anywhere in the world, what would you choose and why?

I would love to photograph a major East African Fashion Week runway show, capturing the complete experience rather than only what happens on the runway from the anticipation backstage to the creative energy surrounding the final reveal.

What is one photography or creative-industry misconception you would like to change?

One misconception I would like to challenge is the belief that serious photography requires an expensive studio or the most advanced equipment.

Creativity, vision and the ability to work intentionally with available resources can be just as important as the equipment itself.

As we conclude, what is your parting message or advice to aspiring photographers and young creatives who want to turn their passion into a profession?

Start before you feel ready.

Jackson Watenya — Jack Photography

Based in: Nairobi, Kenya
Specialisations: Fashion Photography | Portrait Photography | Wedding Photography
Instagram: @jack__photography1
Portfolio: Jack Photography / Pixieset

Selected Creative Credits:
@cynthiajuma_ · @fridah_gatheru · @hymynameis_lela

Editorial Closing

For Jackson Watenya, the photograph is never simply the final frame. It is the culmination of an idea, a conversation, a creative decision and a willingness to see possibility in the ordinary. Through Jack Photography, he is building a visual practice shaped by intention, collaboration and an evolving understanding of contemporary fashion and portraiture.

From Nairobi, his ambition is clear: to create imagery that does more than capture attention to tell stories, elevate creative talent and leave a lasting visual impression.

Content Courtesy of Jackson Watenya and NFH Digital Team 

Margaret Wanjiru: The Rising Kenyan Model Redefining Fashion, Confidence and Self-Expression

Posted on by Oscar Alochi

Margaret Wanjiru: Finding Her Voice in Fashion, One Frame at a Time

Introduction

For Margaret Wanjiru, modelling is becoming a journey of confidence, discovery and creative expression. A professional physiotherapist by background, she has gradually found herself drawn toward fashion, photography and the possibilities of visual storytelling. Her journey has included creative photoshoots, pageantry and new opportunities that continue to shape her identity as an emerging model.

Her crowning as Miss Curvy KMTC 2023/2024 marked a defining moment, particularly as it was her first pageantry experience and an opportunity to discover a confidence she had not previously recognised in herself. Today, Margaret is exploring fashion campaigns, editorial, lifestyle and commercial modelling while continuing to develop her portfolio and professional presence.

In this exclusive conversation with Nairobi Fashion Hub, Margaret reflects on her personal style, the evolving African fashion landscape, the importance of confidence and professionalism in modelling, the role of social media, and her ambitions for the future. Her answers offer a glimpse into a young creative finding her voice while remaining open to growth and new possibilities.

About You & Your Journey

1. Tell us about yourself. Who is Margaret Wanjiru beyond being a fashion creative and aspiring model?

Beyond fashion and modelling, Margaret Wanjiru is a professional physiotherapist committed to helping people improve movement, manage pain, recover from injury and ultimately enhance their quality of life. Her professional background has given her a perspective grounded in discipline, empathy and an appreciation for personal wellbeing.

2. What inspired you to venture into modelling and the fashion industry? Was there a particular person, experience or moment that influenced your decision?

My entry into modelling was inspired primarily by my appreciation for fashion and its ability to provide a platform for self-expression. Over time, that interest developed into a desire to explore the creative possibilities of the industry and understand where I could position myself within it.

3. How would you describe your personal style? What makes your fashion identity unique?

I would describe my personal style as feminine, confident and versatile. I enjoy the ability to move between different aesthetics and adapt my presentation to suit the mood, concept or creative direction while maintaining a sense of individuality.

4. What does fashion mean to you personally? Is it about self-expression, confidence, culture, creativity, or something else?

For me, fashion is fundamentally a form of self-expression. It creates a visual language through which I can communicate my personality, emotions and perspective without necessarily having to articulate them verbally.

5. When did you first realize that modelling and fashion could become an important part of your life?

I began to recognise its significance when I noticed how naturally I was drawn to photography, fashion and creative expression. That growing interest eventually encouraged me to explore modelling more intentionally.

 

Modelling & Creative Experience

6. What has your modelling journey been like so far? Tell us about some of the experiences that have shaped you.

My modelling journey is still developing, but it has already been a meaningful process of discovery. Creative photoshoots, becoming more comfortable in front of the camera, stepping beyond my comfort zone and learning how to present myself professionally have all contributed to my growth. Each experience has offered an opportunity to learn something new about the industry and myself.

7. What type of modelling interests you most runway, commercial, editorial, beauty, lifestyle, fashion campaigns, or another area and why?

I am particularly drawn to fashion campaigns, editorial, lifestyle and commercial modelling because these areas allow for versatility and creative interpretation. They provide opportunities to explore different concepts, visual identities and dimensions of my personality.

8. What has been your most memorable modelling or fashion experience so far? What made it special?

One of my most memorable experiences was being crowned Miss Curvy KMTC 2023/2024. As my first experience in pageantry, the moment was significant because it allowed me to discover a level of potential and confidence I had not previously recognised in myself. Walking away with the crown made the experience particularly meaningful.

9. What challenges have you encountered as an aspiring model, and how have you handled them?

One of the challenges has been developing confidence and learning to put myself forward, particularly while entering an industry with so much to learn. I have approached this by remaining open to learning, accepting constructive feedback and deliberately working on my confidence through experience.

10. How do you prepare yourself mentally and physically before a photoshoot, casting, runway show or fashion event?

Preparation begins with taking care of the basics getting adequate rest, staying hydrated and allowing sufficient time to prepare without unnecessary pressure. I also believe in understanding the creative concept, wardrobe, location and expectations beforehand so that I can approach the assignment with greater clarity and confidence.

11. What qualities do you believe make a successful model beyond physical appearance?

A successful model needs much more than physical presence. Confidence, professionalism, discipline, adaptability and a strong work ethic are essential. Resilience is equally important because modelling can involve rejection, uncertainty and challenges, all of which require the ability to remain focused and continue developing.

12. How important is confidence in modelling, and how have you developed your own confidence in front of the camera or on the runway?

Confidence is fundamental because it influences how a model carries themselves, communicates emotion and connects with the camera or audience. I have developed mine gradually by becoming more comfortable in front of the camera, allowing myself to be seen and learning to respond positively to direction and constructive feedback.

 

Fashion & Creativity

13. Who or what inspires your creativity and fashion choices? This could include designers, models, celebrities, artists, cultures, music or everyday life.

My creative perspective draws from a combination of influences, including culture, music, models and everyday experiences. I find that inspiration can come from different environments and moments, often in unexpected ways.

14. Are there any Kenyan or African fashion designers, models or creatives you admire? What do you appreciate about their work?

This is an area I continue to explore as I learn more about the creative landscape. I appreciate creatives who bring originality, strong visual storytelling and a distinct point of view to their work.

Editorial note: Margaret did not provide specific names in her original response to this question, so the answer has not been attributed to a particular designer or creative.

15. How do you think African fashion and modelling are evolving, particularly among young creatives?

African fashion and modelling are evolving in an exciting direction. Young creatives are increasingly finding fresh ways to reinterpret culture through contemporary fashion, creating work that feels both connected to heritage and relevant to modern audiences.

16. If you could collaborate with any fashion designer, photographer, stylist, makeup artist or model in the world, who would you choose and why?

I would choose Alek Wek, as an international collaboration would provide an opportunity to challenge myself creatively while exploring how my own African identity could be expressed within a broader international fashion environment.

17. What role do social media platforms such as Instagram, TikTok and Facebook play in building your identity and career as a fashion creative/model?

Social media provides an important space to showcase my work, communicate my personal style and connect with photographers, designers, brands and other creatives. It also creates opportunities to build relationships and potentially discover new professional collaborations.

 

Personality, Vision & Future

18. What is one misconception people have about modelling that you would like to change?

One misconception I would like to challenge is the idea that modelling is solely about physical appearance. While presentation is part of the profession, successful modelling also requires confidence, discipline, professionalism, creativity and the ability to communicate through expression and body language.

19. What is your biggest dream in the fashion and modelling industry? Where would you like to see yourself in the next five years?

My ambition is to build a successful and recognisable career in fashion and modelling while remaining authentic to who I am. Over the next five years, I hope to become a more experienced, confident and versatile model with a strong portfolio and a distinctive personal brand.

20. What advice would you give to young people who are interested in modelling or fashion but are afraid to take their first step?

I would encourage them to begin, even if they do not feel completely ready. Feeling nervous or uncertain when entering a new industry is natural, but confidence develops through experience. Taking that first step creates the opportunity to learn, grow and discover what is possible.

21. Finally, what would you like the Nairobi Fashion Hub audience to remember about Margaret Wanjiru after reading your story?

I would like readers to remember me as someone who is passionate, authentic and willing to grow. My journey into fashion and modelling is not simply about being seen; it is about self-discovery, creative expression and using every opportunity as a chance to become better.

Bonus Questions

Who would you love to work with or collaborate with in Kenya or internationally, and why?

In Kenya, I would love the opportunity to collaborate with Brian Babu, the award-winning fashion stylist. His approach to storytelling, creativity and individuality makes the prospect of working together particularly inspiring to me.

As we come to the end of the interview, what is your parting message or advice to aspiring models, fashion creatives and young people pursuing their dreams?

My message is simple: do not be afraid to begin. You may not have everything figured out at the start, and the journey may include rejection, uncertainty or moments of self-doubt. However, those experiences can become part of the learning process. What matters is remaining open to growth, continuing to believe in your potential and allowing each experience to move you forward.

Editorial Closing

Margaret Wanjiru’s story is still unfolding. Her journey reflects the reality of an emerging model learning to navigate an industry where confidence is built through experience and identity is refined through creativity.

From her first steps into pageantry to her growing portfolio and ambitions within fashion, she represents a generation of Kenyan creatives approaching modelling not simply as an image-based profession, but as a platform for expression, individuality and personal growth.

For Margaret, the most compelling part of the journey may not be the destination, but the evolution along the way.

Connect with Margaret Wanjiru on her social media platforms

Instagram: Lifesty_leiva
Tiktok: Lifesty_leiva
Facebook:Lifesty_leiva

Content Courtesy of Margaret Wanjiru, NFH Digital Team, Photography Credit: Bleev Creations

Creative DNA at Africa Fashion Week London 2026: 10 African Designers Shaping Global Fashion

Posted on by Oscar Alochi

Creative DNA at Africa Fashion Week London 2026: Ten African Designers Take Their Place on the Global Fashion Stage

By Nairobi Fashion Hub

London is once again preparing to become a meeting point for African creativity and the international fashion industry as the British Council returns to Africa Fashion Week London (AFWL) 2026 with a new cohort of ten Creative DNA designers, continuing a partnership that began in 2025.

Scheduled for 17–24 August 2026, the collaboration places emerging designers from across Africa at the centre of a week dedicated not only to fashion, but to the wider questions of creative enterprise, cultural exchange, technology and access to global markets. Events will take place at 8 Northumberland Avenue and the British Council Headquarters in London.

The initiative represents a significant continuation of the British Council’s investment in Africa’s creative economy. Rather than positioning African fashion simply as a source of visual inspiration, Creative DNA is designed to help emerging designers develop the connections, knowledge and commercial opportunities required to build sustainable businesses and participate meaningfully in the international fashion system.

From African Creative Talent to Global Opportunity

The renewed partnership builds on the success of the British Council’s first collaboration with AFWL in 2025, which introduced ten Creative DNA alumni and participants from Nigeria, Ghana, Ethiopia, Zimbabwe, Uganda and Kenya to London audiences.

For 2026, the programme returns with a refreshed cohort and an expanded platform for engagement, bringing together designers whose practices reflect the breadth and complexity of contemporary African fashion.

At its heart, Creative DNA is concerned with what happens beyond the runway.

The programme seeks to move designers from creative development towards market access, entrepreneurship and international collaboration. Through masterclasses, panel discussions, exhibitions and industry engagement, participants are being given opportunities to explore the commercial realities of fashion while connecting with buyers, media professionals and influential figures within the global industry.

This approach reflects a broader shift in how African fashion is being positioned internationally: not simply as a cultural story to be observed, but as a dynamic creative economy capable of generating businesses, intellectual property, employment and global influence.

Farai Ncube Tarwireyi, Regional Arts Director, Africa at the British Council, describes the philosophy behind the programme as a journey “from skills to markets”, with an emphasis on sustainable enterprise, equitable partnerships and enabling African designers to influence the global fashion narrative on their own terms.

Meet the Creative DNA 2026 Cohort

The 2026 Creative DNA cohort represents a particularly broad geographical and creative spectrum, bringing together ten designers from Kenya, Nigeria, Uganda, Ethiopia, Rwanda, Zimbabwe and Ghana.

The designers are:

  • Bettydora Odhiambo — Atieno Studio, Kenya
  • Adedayo Ilori — Dimeji Ilori, Nigeria
  • Joan Nantege — Joan Jade, Uganda
  • Mastewal Belay — Mastewal Alemu, Ethiopia
  • Maurice Niyigena — Matheo Studio, Rwanda
  • Neema Nkatha Kinoti — Ohana Swimwear, Kenya
  • Chido Kaseke — Patch Maoko, Zimbabwe
  • Nyame-Nhyiraba Awura — Republic of Africa, Ghana
  • Ropafadzo Kuki Mapira — Soleil, Zimbabwe
  • Solome Kiflu — Xufan, Ethiopia.

Together, they represent different perspectives on what African fashion can be. Their work spans tailoring, eveningwear, swimwear and heritage-inspired design, reflecting a generation of creatives drawing from local craft traditions while simultaneously engaging with international aesthetics, markets and audiences.

That diversity is arguably one of the programme’s greatest strengths. There is no single definition of African fashion represented on the Creative DNA runway. Instead, the cohort demonstrates how contemporary designers can draw from different histories, environments and cultural references while developing distinctly individual creative identities.

A Runway With a Purpose

For the participating designers, the London presentation is more than a conventional fashion showcase.

The British Council’s presence at AFWL 2026 will include a dedicated runway presentation and exhibition pavilion, creating opportunities for the designers to place their collections directly before international buyers, press and fashion-industry professionals.

This connection between visibility and business is crucial.

For many emerging fashion brands, creative talent alone is not enough to establish a sustainable international business. Designers also require access to buyers, distribution networks, strategic partnerships, media exposure, investment, mentorship and a deeper understanding of international markets.

Creative DNA attempts to bridge that gap.

Its model is built around access, collaboration and knowledge exchange, giving participants an environment in which creative development can intersect with entrepreneurship and international business.

Fashion, Technology and the Questions Shaping Tomorrow

The programme also looks beyond traditional fashion conversations.

Participants will engage in masterclasses and panel discussions examining current industry trends and the future of fashion, with themes including “Control Beyond Borders,” African fashion in higher education, and the role of artificial intelligence (AI).

These conversations arrive at a particularly important moment for the global fashion industry.

Technology is transforming how fashion is designed, marketed, produced and consumed, while artificial intelligence is creating new possibilities and new questions around creativity, authorship, education and commercialisation.

For African designers seeking greater international visibility, these developments offer both opportunities and challenges. The Creative DNA programme’s decision to place AI and the future of fashion within its educational agenda signals an awareness that the next generation of designers will need to operate across increasingly digital and interconnected creative economies.

Reframing Africa’s Place in Global Fashion

The significance of Creative DNA at AFWL 2026 extends beyond the ten participating labels.

It forms part of a wider effort to strengthen connections between African and British creative industries while creating pathways for emerging African talent to enter international markets.

The British Council says the partnership is intended to foster cross-cultural learning, collaboration and business growth between the UK and Africa’s creative economy, while providing designers with international connections and access to new markets.

That ambition is particularly relevant to Africa’s fashion industry, where a new generation of designers is increasingly building brands that combine heritage, contemporary design and entrepreneurial thinking.

The international conversation around African fashion has also evolved. The continent is no longer being presented solely through the lens of tradition or cultural heritage. African designers are increasingly participating in conversations about luxury, sustainability, technology, retail, craftsmanship, identity and global consumer culture.

Creative DNA sits within that changing landscape.

Africa Fashion Week London: A Global Platform

The partnership also gains significance from AFWL’s established role in the international fashion calendar.

Founded in 2011 by Queen Ronke Ademiluyi-Ogunwusi, Africa Fashion Week London was created to increase the visibility, awareness and sustainability of African and Black fashion brands through catwalk showcases, exhibitions and education. According to the organisation, it has hosted 3,000 emerging designers and exhibitors from Africa, Europe and America and welcomed approximately 90,000 visitors, including buyers, retailers and industry professionals.

AFWL describes itself as the world’s largest and longest-running showcase of African and African-inspired fashion and design, having organised 14 editions of catwalk and exhibition events alongside participation in and curation of other major fashion events.

Against that backdrop, the Creative DNA runway provides the 2026 cohort with a platform that combines cultural visibility with industry access.

A New Generation Writing Its Own Fashion Narrative

Perhaps the most compelling aspect of Creative DNA 2026 is the idea that African designers should not have to wait for international recognition to define their relevance.

The programme is built around creating conditions in which designers can grow their businesses, establish meaningful international relationships and contribute to the fashion conversation from positions of creative and commercial agency.

The ten designers arriving in London therefore represent more than a collection of emerging labels. They embody a broader generation of African fashion entrepreneurs navigating a global industry on their own terms.

From Atieno Studio in Kenya to Dimeji Ilori in Nigeria, Joan Jade in Uganda, Mastewal Alemu in Ethiopia, Matheo Studio in Rwanda, Ohana Swimwear in Kenya, Patch Maoko and Soleil in Zimbabwe, Republic of Africa in Ghana, and Xufan in Ethiopia, the cohort presents a fashion landscape that is geographically diverse, culturally grounded and increasingly outward-looking.

As Creative DNA returns to Africa Fashion Week London, its message is ultimately larger than a single runway.

It is about building bridges between talent and opportunity, heritage and innovation, creativity and enterprise, Africa and the world.

And in London this August, ten designers will have the opportunity to make that connection visible one collection at a time.

Photo credit: Daniel Kempf-Seifried Photography

Content Courtesy of Creative DNA AFWL & NFH Digital Team 

The East African Renaissance: Claudia Naisabwa Set to Storm Cape Town’s Inaugural WAV Festival

Posted on by Fashion Tribe Influencer

The East African Renaissance: Claudia Naisabwa Set to Storm Cape Town’s Inaugural WAV Festival

CAPE TOWN, South Africa—As the sun sets over the Atlantic seaboard on January 2, 2026, the historic Green Point Track will transform into the epicenter of a new cultural movement. The WAV Festival, an ambitious inaugural celebration of R&B and soul through a distinctly African lens, is not merely a concert; it is a manifesto of the continent’s rising soft power.

At the heart of this historic debut is a woman who has become the face of East Africa’s media boom: Claudia Naisabwa.

The 23-year-old Kenyan powerhouse has been tapped to co-host the festival alongside South African personality Olly Zondi. For industry insiders, the pairing is a masterstroke of Pan-African synergy, bridging the gap between Nairobi and Cape Town while signaling a shift in how African entertainment is packaged for a global audience.

The “Claudia Naisabwa Factor”: A New Era of Influence

In the high-stakes world of international entertainment, Naisabwa represents the elusive “Triple Threat” of the Gen Z era. A proud native of the Samburu people, her ascent from a local TV and radio presenter on NTV Kenya to an international emcee is a testament to what critics call the “Claudia Naisabwa Factor.”

It is a unique blend of “girl-next-door” relatability and high-fashion sophistication. Her influence transcends traditional broadcasting; she is as comfortable officiating national events for President William Ruto as she is driving viral trends on TikTok and Instagram. This versatility has made her a crucial bridge for luxury brands and music labels looking to tap into the “poptimism” of Africa’s fashionable youth.

“WAV Festival represents the future of African and diasporic R&B—soulful, forward-thinking, and deeply connected,” say the organizers at The Malachite Group and Africa Creative Agency. “Claudia brings an authentic East African perspective that perfectly embodies the global wave we are creating. She represents the rise of young African women owning the narrative.”

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A Convergence of Sound and Style

The festival’s lineup reads like a “who’s who” of contemporary soul and alternative sounds. Headlined by Mariah The Scientist, the roster includes:

  • Global Heavyweights: Wale and Sasha Keable.

  • The African Vanguard: Kelvin Momo, Shekhinah, Manana, and Langa Mavuso.

  • Emerging Pioneers: Nanette, Kujenga, and Lia Butler.

For Naisabwa, this South African debut is a pivotal chapter in her self-styled “Africa TakeOver” Tour. Having already graced stages in Uganda and Tanzania—and with a highly anticipated hosting slot at the upcoming AFRIMA Awards in Nigeria—she is rapidly becoming Kenya’s premier entertainment export.

Beyond the Spotlight: Purpose-Driven Power

While her fashion choices and high-energy stage presence dominate the headlines, Naisabwa’s true impact lies in her social architecture. Through her CN Initiative, launched in 2024, she has mentored over 500 young women on mental health, body positivity, and creative entrepreneurship.

As the youngest nominee under 25 in the Forty Under 40 Africa awards, she uses her platform to champion girl-child education and anti-teenage pregnancy awareness, proving that the modern “Media Darling” must be as committed to social change as she is to the camera.

A Global Stage

Supported by global titans like Spotify, Don Julio, and Johnnie Walker, the WAV Festival is poised to redefine the “Festival Season” in the Southern Hemisphere. As fashionistas and music enthusiasts descend upon Cape Town this January, all eyes will be on the stage—not just for the melodies, but for the young woman from Nairobi who is proving that the future of African media is female, fierce, and undeniably global.

Content courtesy of BM Publications  & NFH Digital Team

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

Posted on by Oscar Alochi

 

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

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

The landscape: creative abundance, structural scarcity.

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

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

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

The twin engines: local markets and foreign support.

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

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

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

Nairobi Fashion Hub: a case study in market-making

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

What’s changing the rules of the game

Several converging trends are reshaping possibilities:

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

The obstacles that won’t vanish overnight

For all the momentum, friction points remain stubborn:

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

Practical wins: what accelerates success

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

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

The human story that matters

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

Looking forward: from creative bursts to a durable industry.

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

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

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

Content courtesy of NFH Digital Team

The Nairobi Fashion Hub (NFH) App: Transforming Fashion in Kenya and Beyond

Posted on by Oscar Alochi

The NFH App: A Catalyst for Kenyan Fashion, The Nairobi Fashion Hub App is a revolutionary platform that empowers Kenyan designers and artisans to showcase their unique creations to a global audience. This innovative solution bridges the gap between talented individuals and a market hungry for authentic African fashion.

By providing a centralized digital marketplace, the app fosters economic growth, job creation, and cultural exchange.

The fashion and beauty industry in Africa is undergoing a digital transformation, and leading this change is the Nairobi Fashion Hub (NFH) App. Positioned as a game-changer for Kenyan designers and creatives across the continent, the NFH App not only connects talent to global markets but also sets a new standard for fashion innovation and cultural preservation. With its unique features and focus on empowering creatives, the app is poised to rival existing fashion and beauty platforms while offering a uniquely African perspective.

Revolutionizing the Fashion Industry
The NFH App serves as a digital hub for Kenyan and African designers, bringing together artisans, buyers, and fashion enthusiasts. Unlike traditional e-commerce platforms, the NFH App is deeply rooted in the celebration of African culture and heritage, presenting a blend of  authentic, contemporary, and traditional designs  to the world.

Key Impacts:
1. Empowering Local Designers:
Emerging and established designers alike benefit from a platform that showcases their work globally, fostering brand identity and market visibility.
2. Economic Growth:
By driving sales and elevating local talent, the app contributes to the growth of the fashion industry and creates sustainable economic opportunities.
3. Cultural Preservation:
By highlighting traditional techniques and aesthetics, the app ensures that Africa’s rich fashion heritage is celebrated and passed on to future generations.

Innovation at Its Core
What sets the NFH App apart is its cutting-edge technology and user-centric features, designed to revolutionize the fashion experience.

Standout Features:
1. Virtual Showrooms: Designers can showcase collections in 360-degree views, offering buyers an immersive shopping experience.
2. AI-Driven Personalization: With AI-powered recommendations, users can discover styles tailored to their tastes.
3. Interactive Community: The app fosters a collaborative space where designers and buyers engage through live Q&A sessions, virtual fittings, and behind-the-scenes content.
4. Accessibility for Rural Artisans: By connecting artisans from remote areas to urban and global markets, the app bridges geographical divides.

Comparing NFH with Other Fashion & Beauty Apps
While apps like Shein, Asos, and Beautylish dominate the global scene, they primarily focus on Western trends, often neglecting the richness of African design. The NFH App fills this gap by offering a platform that prioritizes African culture, style, and craftsmanship.

Unique Advantages Over Competitors:
1. Cultural Relevance: Unlike global giants, the NFH App emphasizes African traditions and aesthetics, creating a sense of pride and belonging for users.
2. Designer Empowerment: Unlike mainstream apps that overshadow local creators, NFH ensures African designers remain the centerpiece of the platform.
3. Economic Impact: While global apps profit from sales, NFH directly contributes to job creation and economic growth within the region.

Apps like Fashion Nova and Stitch Fix have gained traction for their personalization features, but NFH’s AI-driven personalization combined with cultural storytelling elevates it as a truly distinctive platform.

Redefining the Future of African Fashion
The Nairobi Fashion Hub App is more than a digital marketplace it’s a catalyst for creativity and economic transformation.

By blending technology, culture, and fashion, the app is bridging gaps, breaking barriers, and inspiring a new generation of African designers to dream bigger.

Why the NFH App Stands Out:
1. It champions local talent, ensuring Kenyan and African designers gain recognition on a global scale.
2. It celebrates authentic African fashion, offering a platform where tradition meets modernity.
3. It empowers the entire fashion ecosystem, from rural artisans to urban designers and fashion consumers.
As Kenya and Africa take center stage in the global fashion scene, the Nairobi Fashion Hub App leads the charge with innovation, inclusivity, and cultural pride. By providing a platform tailored to the needs of African creatives, the NFH App isn’t just shaping the future of fashion—it’s rewriting the narrative for African creativity on the global stage. Whether you’re a designer, artisan, or fashion enthusiast, the NFH App invites you to be part of this transformative journey.

Content courtesy of NFH Digital Team

Nairobi Fashion Hub App: Transforming the Fashion Landscape in Kenya and Africa through Technology

Posted on by Oscar Alochi

The Nairobi Fashion Hub (NFH) stands as a beacon of innovation, creativity, and empowerment in the African fashion industry. As a digital platform owned and operated by Tinker Digital Limited, the NFH App brings together designers, beauticians, models, photographers, makeup artists, brands, and fashion enthusiasts to revolutionize the way fashion is created, marketed, and consumed across Kenya and Africa.

In this article, we delve into the solutions NFH provides, the impact it has on urban communities, and its growing influence on the continent’s fashion landscape.

Solutions Provided by Nairobi Fashion Hub

1. A Centralized Platform for Fashion Industry Stakeholders
The NFH App serves as a digital hub where diverse stakeholders in the fashion industry can connect, collaborate, and showcase their work. By bringing together designers, models, photographers, and beauticians under one virtual roof, NFH eliminates geographical barriers and creates opportunities for collaboration and networking.

– Designers can create profiles to display their collections, enabling them to reach local and international audiences.
– Models and photographers can showcase portfolios to attract collaborations and job offers.
– Fashion enthusiasts can explore and shop the latest trends in a seamless and interactive environment.

2. Empowering Local Designers and Brands
NFH is committed to promoting African fashion by giving local designers and brands a platform to thrive. Through features that allow users to showcase their products and services, NFH enables small and medium enterprises (SMEs) in the fashion sector to reach new audiences without needing expensive marketing campaigns.

This democratization of exposure levels the playing field, allowing young, emerging talent to compete with established brands.

3. Promoting E-Commerce in Fashion
By integrating payment solutions such as M-Pesa, the NFH App provides a seamless platform for designers and brands to sell their creations directly to clients. This functionality bridges the gap between sellers and buyers, fostering trust and supporting the growth of a digital economy in Kenya and beyond.

4. Celebrating and Preserving African Culture
NFH highlights the rich tapestry of African culture through fashion. By promoting indigenous designs, traditional textiles, and African-inspired art, the platform contributes to preserving cultural heritage while introducing it to global audiences.

Impact on Urban Communities in Kenya and Africa

1. Job Creation and Economic Growth
With a rapidly growing urban population, unemployment remains a significant challenge in Kenya and other African countries. The NFH App addresses this issue by creating opportunities for employment and entrepreneurship within the fashion industry.

– Urban Designers gain a platform to showcase their talent, translating creativity into income.
– Models, photographers, and makeup artists find avenues to secure gigs, building their careers in a competitive market.

This chain reaction stimulates economic growth, particularly in urban areas where youth unemployment rates are highest.

2. Accessibility and Inclusivity
The NFH App is designed with inclusivity in mind. It provides urban dwellers, regardless of socioeconomic status, with access to affordable, locally made fashion. At the same time, it empowers creators from underserved communities to share their craft and gain recognition.

3. Empowering Women and Marginalized Groups
Fashion in Africa is predominantly driven by women, making NFH a critical tool for empowering female entrepreneurs. By offering women a platform to display and monetize their creations, NFH contributes to financial independence and gender equality in urban areas.

Additionally, the App is an inclusive space for marginalized communities, fostering diversity in Kenya’s fashion industry.

4. Enhancing Urban Lifestyles
Urban residents often seek to express individuality and cultural identity through fashion. The NFH App provides access to unique African-inspired styles and creations, redefining urban fashion trends and offering an alternative to imported, mass-produced clothing.

Broader Impact Across Africa

1. Showcasing African Fashion on the Global Stage
NFH positions itself as a key player in the global fashion industry by promoting African talent internationally. Designers on the platform gain visibility, opening doors to collaborations, exhibitions, and sales beyond the continent.

2. Digital Transformation in Fashion
The App exemplifies how digital innovation can transform traditional industries. By leveraging technology, NFH sets a precedent for other sectors to embrace digital solutions, driving Africa’s digital transformation agenda.

3. Strengthening Regional Integration
NFH fosters cross-border connections within the African fashion industry, encouraging collaborations between designers, brands, and artisans from different countries. This not only strengthens regional integration but also boosts the continent’s competitiveness on the global fashion stage.

The Nairobi Fashion Hub is more than just a fashion app—it is a catalyst for change, a promoter of culture, and a driver of economic growth. By providing a platform for collaboration, commerce, and cultural expression, NFH is transforming Kenya’s urban communities and positioning African fashion as a global force.

As the platform continues to grow, its potential to reshape the African fashion industry and improve the livelihoods of countless individuals is boundless. NFH exemplifies how technology, creativity, and community can come together to create meaningful, lasting impact.

With NFH, the future of African fashion is bright, innovative, and firmly rooted in the heart of its cultural heritage.

Download the Nairobi Fashion Hub App today and be part of the African fashion revolution. Discover talented designers, shop unique styles, and support African businesses. Together, we can shape the future of African fashion.

Web-version available here: https://app.nairobifashionhub.co.ke/

Content courtesy of NFH Digital Team

A Nigerian Queen Takes the Universe: Miss Universe Chidimma Adetshina’s Historic Win

Posted on by Fashion Tribe Influencer

Chidimma: A New Era for Miss Universe 2024

Chidimma has made history by winning the Miss Universe 2024 title for Africa/Oceania, a remarkable achievement that solidifies her as not only a representative of Africa but also a voice for the diverse nations of Oceania. This accomplishment marks a turning point in the pageant’s history, as Chidimma becomes a symbol of unity, bridging the two culturally rich and geographically distinct regions.

Chidimma’s Background and Early Life
Born and raised in Nigeria, Chidimma grew up in a vibrant community that celebrated culture, resilience, and the power of dreams. From a young age, she displayed a passion for advocacy and education, particularly championing women’s empowerment and sustainability. Her educational journey took her beyond Nigeria’s borders, where she pursued studies in international relations, earning her a degree that would later bolster her new role as a global ambassador.

The Journey to Miss Universe
Chidimma’s road to Miss Universe was one of determination and hard work. Her journey began with winning national titles, where her intelligence, beauty, and charisma captivated audiences and judges alike. She stood out not only for her striking appearance but also for her eloquence, advocating for global unity and environmental sustainability as her core platforms.

Her victory at Miss Universe 2024 places her alongside legendary winners like Lorraine Downes (New Zealand, Miss Universe 1983), Michelle McLean (Australia, Miss Universe 1992), and Jennifer Hawkins (Australia, Miss Universe 2004). Now, Chidimma proudly joins this list, representing both Africa and Oceania on the world stage.

What Africa/Oceania Representation Means
Winning the Miss Universe Africa/Oceania title means Chidimma is a beacon of hope and inspiration for a vast and diverse region. Oceania includes countries like:

– Australia
– New Zealand
– Fiji
– Papua New Guinea
– Samoa
– Tonga
– And many others.

By representing this dual-region title, Chidimma highlights the shared challenges and aspirations of these communities, from climate change and environmental preservation to celebrating indigenous cultures.

Chidimma’s Vision as Miss Universe 2024
Chidimma is not just a beauty queen; she is a diplomat, activist, and role model. Her victory brings a new level of responsibility as she serves as an ambassador for critical causes. In her own words:

*”Winning Miss Universe is not just about the crown—it’s about the impact I can make. I want to inspire young women worldwide to embrace their identities, dream big, and take action for a better world.”*

As a global representative, Chidimma plans to work on initiatives that address climate change, especially focusing on the vulnerabilities of Oceania’s island nations, which face existential threats due to rising sea levels. Her platform also includes promoting access to education for girls in underprivileged regions, a cause close to her heart.

Chidimma’s Legacy
Chidimma’s victory goes beyond the glitz and glamour of pageantry. It reflects a new era where cultural diversity, intelligence, and compassion are celebrated. She now stands as a unifying figure, connecting two continents and countless nations under a shared vision of progress and understanding.With her historic win, Chidimma has cemented her place in the annals of Miss Universe history. She exemplifies the values of leadership, inclusivity, and global responsibility. As she takes on the mantle of Miss Universe 2024, the world watches with anticipation, ready to see the incredible legacy she will undoubtedly leave behind.

#MissUniverse2024 #Chidimma #AfricaOceaniaUnity

Content courtesy of NFH Digital Team 

Kenyan Actress Winnie Bwire Succumbs to Cancer

Posted on by Oscar Alochi

Nairobi, Kenya – Beloved Kenyan actress, designer, and baker Winnie Bwire, widely known for her role as “Dida” in the Swahili telenovela *Sultana*, passed away on September 5, 2024, after a prolonged battle with metastatic breast cancer. She was undergoing treatment in Turkey at the time of her death.

In an official statement, Bwire’s family expressed their deep sorrow, acknowledging the unwavering support received from friends, family, and the public during her treatment. The statement read: “It is with heavy hearts and humble acceptance of God’s will that we announce Winfred Bwire Ndubi lost her battle with cancer on 5th September 2024, while undergoing treatment in Turkey. We thank you all for your overwhelming support, prayers, and generous giving during her treatment.”

Last month, Bwire shared a personal and emotional video on social media, updating her followers on her health status and pleading for further financial assistance. In the video, she chronicled her fight against metastatic breast cancer, candidly discussing the physical and emotional toll the disease had taken on her.

“For the past few months, I have been going through a really hard time in and out of hospital… I was doing very well until I developed a series of side effects from the drugs. There is a drug I was taking that has over 41 side effects. I consulted with my doctors, and they advised me to stop taking it and seek treatment in Turkey,” she shared. Bwire detailed the challenges she faced, expressing frustration over the escalating costs of healthcare and her need for external support.

Despite her valiant efforts, including a recent trip to Turkey for advanced treatment, her battle with cancer came to a heartbreaking end. Her fight was not only personal but also public, as she sought to raise awareness about cancer, its treatment challenges, and the emotional struggles it entails.

Winnie Bwire’s acting career spanned over a decade, beginning with her performances at the Little Theatre Club. She gained widespread recognition for her role in *Sultana*, where she portrayed “Dida,” captivating audiences with her talent and presence. Her contributions to the Kenyan entertainment industry extended beyond acting, as she was also known for her work in design and baking.

Her cancer journey, made public two years ago, showcased her resilience and determination to fight the disease. She was vocal about her optimism and hope for recovery, earning the admiration of many who viewed her as a warrior in the face of adversity.

Bwire’s last social media post, made just five days before her passing, was a heartfelt expression of gratitude to those who had supported her medical journey. “I am failing to caption this because I’m a mess. Not enough thank yous will ever suffice for the sacrifice, support, prayers, tears, time, and money you have accorded me. Dear Humans, Mubarikiwe sana,” she wrote.

Her death marks a profound loss for the Kenyan entertainment industry, and she will be remembered not only for her contributions to television but also for her courage in sharing her battle with cancer publicly. Fans, colleagues, and well-wishers have taken to social media to mourn her passing, celebrating her legacy and the light she brought to the world despite her personal struggles.

Details of her funeral arrangements and further tributes will be announced by her family in due course.

May her soul rest in peace.

Content courtesy of NFH Digital Team

Miss SA Chidimma Vanessa Onwe Adetshina Citizenship Saga: Home Affairs Weighs In

Posted on by Oscar Alochi

The Miss South Africa pageant has been thrust into a national debate over citizenship and identity, sparked by allegations surrounding contestant Chidimma Vanessa Onwe Adetshina’s nationality. With claims of Nigerian parentage and questions about her eligibility to represent South Africa, the controversy has ignited a firestorm of public opinion and political involvement.

At the heart of the matter is Adetshina’s citizenship status. While the Miss South Africa organization maintains that she meets all the necessary requirements, the Department of Home Affairs has offered a complex clarification of South African citizenship laws.

Deputy Minister of Home Affairs, Njabulo Nzuza, emphasized that citizenship can be acquired either by birth (soil) or through parentage (blood). Unlike countries like the United States, where birthright citizenship is granted, South Africa primarily follows the principle of citizenship by descent from a South African parent.

However, the law also provides provisions for individuals born in South Africa to foreign parents to acquire citizenship under certain conditions, such as if their parents held permanent residence permits. This particular point has become a focal point of scrutiny in Adetshina’s case.

Investigations conducted by The Star revealed potential discrepancies between Adetshina’s stated age and the timeline provided by her alleged father, Ben Dlamini. Dlamini, in an interview, claimed to have arrived in South Africa in 2010 on a visitor’s visa and married Adetshina’s mother in 2013. These claims, if accurate, raise questions about the circumstances surrounding Adetshina’s birth and subsequent citizenship acquisition.

The controversy has divided the nation, with political parties taking opposing stances. The EFF has expressed solidarity with Adetshina, condemning xenophobic attacks and defending her right to participate. On the other hand, the Patriotic Alliance has threatened legal action, questioning Adetshina’s eligibility and calling for her disqualification.

As the debate intensifies, the Miss South Africa organization faces increasing pressure to provide concrete evidence supporting Adetshina’s citizenship. The Department of Home Affairs’ clarification has shed light on the complexities of South African citizenship law but has also raised more questions than answers regarding Adetshina’s specific case.

Ultimately, this controversy serves as a stark reminder of the challenges faced by individuals with mixed heritage and the need for clear and accessible citizenship guidelines. It has also highlighted the deep-seated divisions within South African society on issues of identity, belonging, and representation.

Content courtesy of  NFH Digital Team

Interview with Vanessa Chidimma Vanessa Onwe Adetshina’s Alleged Father Brings New Revelations, Mzansi Suspicious

Posted on by Oscar Alochi

The Miss South Africa pageant continues to be embroiled in controversy, with the spotlight firmly on contestant Vanessa Chidimma Adetshina. Amidst the ongoing backlash over her eligibility to represent the country, a recent interview with a man claiming to be her Nigerian father has introduced a new layer of complexity to the saga.

The interview, which has rapidly circulated online, offers a purported glimpse into the family’s history and the circumstances surrounding their arrival in South Africa. The man, whose identity has not been independently verified, alleges that he came to South Africa in 2010 to attend the FIFA World Cup as a visitor. He claims to have met Vanessa’s mother during this period. Notably, he asserts that they did not have children together at that time, a statement that directly contradicts the previously established narrative about Vanessa’s birth and upbringing.

When pressed about the nationality of his children, the man declared that they hold dual citizenship, being both Nigerian and South African. He emphasized their entitlement to the same rights as any South African citizen.

However, the interview has sparked a wave of skepticism among South Africans, with many expressing doubts about the veracity of the claims. Social media platforms are abuzz with discussions centered around inconsistencies in the timeline, questioning the possibility of Vanessa being born in South Africa if her parents met during the 2010 World Cup.

Furthermore, the man’s admission of holding a visitor’s visa at the time of his arrival has raised eyebrows, prompting speculation about the legality of his extended stay in the country and the circumstances surrounding the birth of his children.

The controversy has deepened the divide among South Africans, with opinions sharply divided. While some sympathize with Vanessa and condemn the xenophobic attacks directed at her, others remain steadfast in their belief that she does not meet the criteria to represent the country.

As the situation continues to unfold, it is evident that the Miss South Africa pageant has become a microcosm of the broader societal issues facing South Africa, including xenophobia, immigration, and national identity. The pageant organizers find themselves in an increasingly difficult position, navigating a complex web of conflicting narratives and public opinion.

It remains to be seen how the Miss South Africa organization will address the latest revelations and whether Vanessa Chidimma Adetshina will be able to weather the storm and continue her journey in the competition.

Content courtesy of NFH Digital Team

Interview with Chidimma Vanessa Onwe Adetshina’s Alleged Father Sparks Controversy in Miss South Africa Contest

Posted on by Oscar Alochi

An interview with a man claiming to be the father of Miss South Africa contestant Vanessa Chidimma Adetshina has brought new revelations about her background, intensifying the scrutiny and backlash she faces from the South African public.

The interview, which has surfaced amidst ongoing controversy, features a man who asserts he is Vanessa’s Nigerian father. In his statements, he provides a detailed account of the family’s history and their journey to South Africa, aiming to clarify their background but inadvertently causing more suspicion among the public.

The Family’s History and Migration to South Africa

According to the man, he traveled to South Africa in 2010 for the FIFA World Cup on a visitor’s visa. During this period, he attended the games with Vanessa’s mother, whom he refers to as Chichi’s mother. He claims that at the time of their visit, they did not have any children.

When questioned about the nationality of his children, he emphasized that they hold dual citizenship: “It’s called dual citizenship, they’re both. They are Nigerian kids that have every single right that you have as a South African.”

Public Reaction and Growing Suspicion

The interview has not quelled the suspicions of the South African public. Instead, it has led to further questions and criticism regarding Vanessa’s eligibility and background. Netizens are particularly focused on the timeline provided by her alleged father, scrutinizing the dates and circumstances of his arrival in South Africa and questioning whether Vanessa was indeed born in the country.

Many are now debating the validity of her South African citizenship and her right to compete in the Miss South Africa pageant. This controversy has not only impacted Vanessa’s reputation but also cast a shadow over the integrity of the competition itself.

The Impact on Vanessa Chidimma Adetshina

The ongoing backlash has made the situation increasingly difficult for Vanessa. As she continues to face criticism and doubts from the public, the revelations from the interview have only exacerbated her plight. What was intended to provide clarity has instead fueled further controversy, leaving Vanessa and her family in a challenging position.

The interview with Vanessa Chidimma Adetshina’s alleged father has opened up more questions than it answered, leading to heightened scrutiny and suspicion from the South African public. As the controversy continues to unfold, it remains to be seen how it will affect Vanessa’s participation in the Miss South Africa pageant and her future endeavors.

Content courtesy of NFH Digital Team

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