Thursday 15th of October 2026

Nairobi, Kenya

Anastacia Mwiathi Makes History as First Runner-Up at Universal Woman 2026

Anastacia Mwiathi Puts Kenya in the Global Spotlight as First Runner-Up at Universal Woman 2026

Universal Woman - Kenya :: Behance

INTERNATIONAL PAGEANTRY | PHNOM PENH, CAMBODIA | OCTOBER 10, 2026

Kenya’s Anastacia Mwiathi has secured a place among the leading contestants at Universal Woman 2026, finishing as first runner-up at the international pageant held in Phnom Penh, Cambodia. Brazil’s Marissol Savagin won the crown at the October 9 grand finale, while Kenya’s result placed the East African nation among the competition’s top performers.

Mwiathi’s achievement marks a proud moment for Kenya’s pageant community, bringing international attention to a representative who carried the country’s flag onto a global stage. In a competition bringing together women from different nationalities and cultural backgrounds, her placement stands out as a significant result for Kenya.

The outcome also highlights the increasingly international character of contemporary pageantry, where national representation, personal confidence, cultural exchange and women’s empowerment contribute to the wider story beyond the crowning moment.

For Kenya, the message is clear: although the ultimate title went to Brazil, Mwiathi emerged from the competition with an achievement worthy of national recognition.

Anastacia Mwiathi: A Proud Moment for Kenyan Pageantry

 

Representing Kenya as Universal Woman Kenya 2026, Anastacia Mwiathi competed against international delegates for the coveted title. Her first runner-up finish placed her immediately behind the eventual winner, Marissol Savagin of Brazil.

The result is an important milestone for Kenya’s presence in international beauty competitions. It offers an opportunity to celebrate Kenyan talent while drawing attention to the dedication involved in representing a country before an international audience.

International pageants demand more than a memorable stage appearance. Contestants must navigate demanding schedules, engage with people from different cultures and communicate their identities in a highly competitive environment. They also become representatives of their countries, carrying expectations from supporters at home while introducing international audiences to their national identities.

Mwiathi’s placement gives Kenyan supporters a reason to celebrate her performance and the visibility she brought to the country throughout the competition.

While the available reporting does not provide a detailed account of her personal journey, professional background or advocacy priorities, her result at Universal Woman 2026 provides a clear achievement around which Kenya’s pageant community can rally.

Universal Woman 2026: Brazil Takes the Crown

Miss São Paulo, Marissol Savagin conquista o Universal Woman Brasil e vai representar o país no Mundial - Jornal da República

Brazil’s Marissol Savagin emerged as the winner of Universal Woman 2026, bringing the international competition to a close in Cambodia.

Savagin had previously secured the Universal Woman Brazil 2026 title in São Paulo, earning the opportunity to represent her country at the international event. Her national victory was announced by the Universal Woman organisation in June 2026.

Her international victory placed Brazil at the centre of this year’s pageant celebrations, while Kenya secured the first runner-up position.

The top five reflected the competition’s international reach, with representatives from Asia, South America and Southeast Asia joining Brazil and Kenya in the final results.

Universal Woman 2026: The Final Results

PositionCountryContestant
WinnerBrazilMarissol Savagin
First runner-upKenyaAnastacia Mwiathi
Second runner-upChinaYuanxi Qi
Third runner-upVenezuelaFaddya Halabi
Fourth runner-upCambodiaMean Sonyta

The results were reported following the October 9 finale in Phnom Penh.

For Kenya, Mwiathi’s first runner-up placement was the standout national result of the competition. For Brazil, Savagin’s victory represented the culmination of a journey from winning her national title to securing international recognition.

Cambodia Brings Culture to the Universal Woman Stage

candidatas a universal woman 2024. final: 22 march. - Página 15

Beyond the final results, Universal Woman 2026 offered contestants an opportunity to experience Cambodia’s cultural heritage.

The host country welcomed delegates from around the world for activities that showcased its traditions, historical landmarks and tourism destinations. One of the notable highlights was a presentation of traditional Cambodian sbai attire at Angkor Wat in Siem Reap.

Reports published during the competition described contestants wearing different interpretations of the traditional garment, accompanied by distinctive colours, jewellery and styling. The programme also included visits to Cambodia’s historic temple complex and coastal destinations.

These experiences added a cultural dimension to the competition, allowing international contestants to encounter Cambodian heritage beyond the pageant stage.

Fashion played an important role in this exchange. Traditional dress can communicate history, craftsmanship and cultural identity, offering audiences an opportunity to appreciate the significance of clothing beyond its visual appeal.

For an international fashion and pageantry audience, the Cambodian programme illustrated how competitions of this nature can create a meeting point for national identities, cultural storytelling and contemporary presentation.

Beyond Beauty: The Purpose Behind Universal Woman

Universal Woman positions itself around empowerment, diversity and global impact, according to the organisation’s official website. Its stated mission places emphasis on women and the potential of international pageantry to create visibility for meaningful initiatives.

This broader approach reflects a wider conversation taking place across the pageant industry. While presentation, styling and stage performance remain important elements, contemporary competitions increasingly discuss leadership, social engagement, confidence and opportunities for women to participate in public life.

An international platform can help contestants build connections, communicate their ideas and reach audiences beyond their home countries. It can also provide opportunities for collaboration across fashion, media, entrepreneurship and advocacy.

However, each contestant’s individual contribution should be assessed on the basis of verified information about her work and initiatives rather than assumptions based solely on her placement.

For Mwiathi, her first runner-up result provides a strong foundation for public recognition. Further details about her personal advocacy, professional ambitions and future projects would help audiences understand the wider impact she hopes to make following Universal Woman 2026.

What Anastacia Mwiathi’s Achievement Means for Kenya

Mwiathi’s result arrives as another opportunity for Kenya’s fashion and pageant community to recognise the value of international representation.

Kenya has a diverse creative sector spanning modelling, fashion design, beauty, photography, media and event production. International pageants can bring these connected industries into wider conversations, particularly when contestants receive visibility beyond their national competitions.

A strong international placement can also inspire emerging contestants to pursue opportunities that require preparation, confidence and commitment. For aspiring models and pageant participants, seeing a Kenyan representative reach the final positions of an international competition offers an encouraging example of national participation on a global stage.

The result also presents an opportunity for brands, sponsors, talent agencies and creative organisations to support future contestants through professional development, wardrobe partnerships, communication training and international exposure.

Such support is important because a contestant’s journey often involves a wider network of professionals working behind the scenes. Designers, stylists, photographers, coaches and event organisers can all contribute to how a national representative presents herself to international audiences.

Mwiathi’s achievement is therefore worth celebrating not only as an individual milestone but also as a moment of visibility for the wider Kenyan pageant and fashion community.

A Celebration of Achievement, Representation and National Pride

As Brazil celebrates Marissol Savagin’s crowning as Universal Woman 2026, Kenya has its own reason to celebrate through Anastacia Mwiathi’s first runner-up finish.

The final result gives both countries a moment of recognition: Brazil claims the international crown, while Kenya celebrates a representative who finished among the competition’s leading contestants.

For Mwiathi, the achievement is a milestone that deserves acknowledgement. For her supporters, it is an opportunity to recognise the significance of representing Kenya on an international platform. And for the country’s pageant community, it is a reminder of the importance of nurturing talent and creating opportunities for Kenyan women to participate in global competitions.

Congratulations to Anastacia Mwiathi, Universal Woman Kenya 2026, on emerging as first runner-up at Universal Woman 2026 in Phnom Penh, Cambodia.

You have represented Kenya with elegance, confidence and distinction, giving the nation a proud moment on the international stage.

Hongera, Anastacia! Kenya is proud of you. 🇰🇪

Congratulations to Marissol Savagin of Brazil on winning the Universal Woman 2026 crown.

 

Content Courtesy of Universal Woman & NFH Digital Team 

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

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 

Dolly Parton: The Rhinestone Life of a Woman Who Turned Poverty, Music and Kindness Into a Global Legacy

By Nairobi Fashion Hub | Special Tribute

There are celebrities who become famous, and there are rare human beings who become part of the emotional fabric of generations.

Dolly Parton belonged to the second category.

For more than seven decades, she was a singer, songwriter, actress, author, businesswoman, producer and philanthropist. She wrote songs that became country standards, crossed effortlessly into pop culture, built an entertainment empire, turned childhood memories of poverty into stories of dignity, and eventually gave millions of children something her own father had been denied: access to books.

On August 25, 2026, Parton died in Nashville, Tennessee, at the age of 80 after a brief battle with cancer, according to her family and representatives.

Her death closes one of the most extraordinary chapters in American popular culture.

But Dolly Parton’s story was never simply about becoming famous.

It was about what she did with fame.

From a One-Room Beginning to the World Stage

Dolly Rebecca Parton was born on January 19, 1946, in Locust Ridge, Tennessee, in the foothills of the Great Smoky Mountains.

She was the fourth of 12 children born to Robert Lee Parton Sr. and Avie Lee Owens Parton.

The family was poor. Her father worked hard but had little formal education, while her mother managed a large household and passed down music, storytelling, faith and an extraordinary sense of family.

Parton’s official biography describes her childhood as the beginning of a “rags-to-rhinestones” journey. Music surrounded the family, and she credited her Uncle Bill Owens with helping her find her way into the professional music business.

Her childhood poverty would eventually become one of the most important sources of her artistic identity.

The famous coat made from colourful scraps of fabric became a metaphor for an entire philosophy: you could come from very little and still carry enormous dreams.

That philosophy became music.

It became business.

And eventually, it became philanthropy.

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The Girl Who Knew She Was Going Somewhere

Parton began performing publicly while still a child.

She appeared on local radio and television programmes before moving to Nashville, where she entered a music industry that was still overwhelmingly controlled by men.

Her breakthrough came through The Porter Wagoner Show, where she became a regular performer alongside country star Porter Wagoner.

But Dolly had ambitions beyond being somebody else’s featured singer.

She wanted to write.

She wanted to own her work.

She wanted to build a career on her own terms.

That determination became particularly significant when she and Wagoner eventually separated professionally.

Parton wrote “I Will Always Love You” as part of that transition—a song that would eventually become one of the most famous compositions in modern music history.

Years later, Whitney Houston’s spectacular version introduced the song to an entirely new generation and transformed it into a global phenomenon.

The Rock & Roll Hall of Fame describes Parton as a consummate songwriter whose music crossed country, pop, gospel, bluegrass, disco and rock while maintaining her distinctive identity.

The Songwriter Behind the Rhinestones

One of the biggest misconceptions about Dolly Parton was that the wigs, makeup, sequins and humour were the whole story.

They weren’t.

Behind the rhinestones was an extraordinarily disciplined songwriter.

Parton wrote thousands of songs throughout her career, many rooted in ordinary human experiences: jealousy, heartbreak, poverty, ambition, work, faith, family, loneliness and hope.

“Jolene” became a masterpiece of emotional simplicity.

“Coat of Many Colors” transformed childhood poverty into poetry.

“9 to 5” became an anthem for working women and earned Parton Grammy recognition as well as an Oscar nomination for the song.

And “I Will Always Love You” demonstrated that a song written from personal experience could eventually transcend its original circumstances and belong to the world.

The Grammy Awards record Parton with 55 nominations and 10 competitive Grammy wins, alongside her Grammy Lifetime Achievement Award.

Dolly and the Art of Reinvention

Parton’s genius was not simply that she could sing country music.

It was that she understood culture.

She understood television.

She understood cinema.

She understood branding.

And she understood herself.

In 1980, she made her major film breakthrough in 9 to 5, starring alongside Jane Fonda and Lily Tomlin.

She followed it with films including The Best Little Whorehouse in Texas, Rhinestone, Steel Magnolias and Straight Talk.

Her performances established another side of her personality: comic timing, emotional intelligence and a natural ability to connect with audiences beyond music.

Her film career also reinforced something that had already become obvious in Nashville Dolly Parton was not interested in remaining inside one box.

The Businesswoman Behind the Brand

Perhaps one of the least appreciated aspects of Dolly Parton’s career was her business intelligence.

The public saw the wigs.

Parton saw intellectual property.

The public saw songs.

Parton saw publishing.

The public saw a country singer.

Parton built a global entertainment brand.

She became associated with Dollywood, the Tennessee theme park that grew into one of the region’s major attractions, alongside other hospitality and entertainment ventures.

Her entrepreneurial world eventually expanded into books, food, beauty, merchandise, television, film and musical theatre.

The Rock & Roll Hall of Fame specifically recognised her not only as an artist but as a formidable businesswoman who helped establish new standards for artistic control.

This was Dolly’s quiet lesson to generations of entertainers:

Talent can make you famous. Ownership can make your work last.

The Private Woman Behind the Public Image

Dolly Parton was extraordinarily famous, yet much of her private life remained deliberately private.

Her marriage to Carl Thomas Dean was perhaps the clearest example.

They met in Nashville in 1964 outside the Wishy Washy Laundromat. They married in 1966 in a small ceremony.

Dean deliberately avoided celebrity culture.

Parton’s official account of their 50th anniversary describes their relationship as one built on love, support and respect for each other’s independence.

Carl died on March 3, 2025, aged 82, after almost six decades of marriage. He was a businessman who largely stayed away from the entertainment spotlight while supporting his wife’s extraordinary career from behind the scenes.

Their relationship became unusual by Hollywood standards precisely because it was not performed for Hollywood.

There were no constant red-carpet appearances.

No obsession with proving their marriage to the public.

No requirement that Carl become “Mr. Dolly Parton.”

He simply remained Carl.

And Dolly remained Dolly.

That privacy may have helped protect one of the longest marriages in the entertainment industry.

Why Dolly and Carl Never Had Children

Another part of Parton’s personal story that was often discussed publicly was that she and Carl did not have children.

Rather than allowing motherhood to define her worth, Parton built a different kind of family legacy.

She became an aunt, godmother, sister, mentor and, eventually, a symbolic grandmother figure to millions of children who knew her as the “Book Lady.”

Her goddaughter Miley Cyrus became one of the younger artists with whom she shared a particularly visible relationship, demonstrating Parton’s ability to remain relevant across generations.

Her family itself remained important to her music.

Her siblings appeared in projects and recordings, while family stories repeatedly found their way into her songwriting.

The Secret Power of the Wig

Dolly’s wigs were not simply a fashion accessory.

They were part of her strategy.

Parton embraced a highly recognisable visual identitytowering hair, sparkling clothes, dramatic makeup, high heels and rhinestones.

But there was an important practical reason behind the wigs: they gave her control.

Instead of spending hours trying to recreate the same hairstyle, she could put on a wig and become “Dolly.”

The look eventually became as recognisable as her voice.

And rather than apologise for being glamorous, exaggerated or feminine, Parton made those qualities part of her power.

That was particularly significant in an era when women in entertainment were frequently expected to choose between being taken seriously and being visibly glamorous.

Dolly refused the choice.

She could be glamorous and intelligent.

Funny and strategic.

Sexy in presentation without surrendering control of her identity.

Country and pop.

Traditional and progressive.

Small-town Tennessee and global celebrity.

The Tattoos She Rarely Advertised

One of the lesser-known details about Parton is that she had tattoos.

For years, she kept them largely hidden beneath clothing.

Parton explained that some of her tattoos were connected to covering scars and imperfections on her skin, turning something she might once have wanted to conceal into something decorative.

It became another example of her philosophy of transforming perceived flaws into personal expression.

The woman who turned fabric scraps into a famous coat had spent her life turning imperfections into art.

Why She Loved Looking Glamorous

Parton’s appearance was sometimes dismissed as excessive.

She saw it differently.

She understood the power of presentation.

Her rhinestones were part costume, part branding and part personality.

But there was also humour in it.

Parton often joked about her appearance, refusing to take herself too seriously.

That combination glamour without self-importance helped make her unusually accessible.

She could enter a room looking like a walking jewellery display and still make ordinary people feel comfortable.

That may have been one of her greatest social gifts.

A Woman Who Loved Simple Things

Away from the stage, Parton’s tastes could be surprisingly ordinary.

She loved home cooking, family recipes and Southern food.

In 2024, she and her sister Rachel Parton George published Good Lookin’ Cookin’, a cookbook built around family recipes and memories.

Chicken and dumplings, cornbread and other Southern comfort foods were part of the culinary world she carried from childhood into adulthood.

She also loved Christmas.

She loved books.

She loved writing.

She loved her mountains.

And she loved working.

Even late in life, Parton resisted the idea that turning older meant disappearing.

In interviews near the end of her life, she continued talking about future projects rather than retirement.

The 3 A.M. Dolly

One of the more revealing details about Parton’s private routine was her habit of waking extremely early.

She reportedly began her days around 3 a.m., using the quiet hours for prayer, reflection, writing and planning.

That routine reflected another side of the woman behind the celebrity image.

The rhinestones were visible.

The discipline wasn’t.

She understood that creativity needed space.

And she treated her creative life almost like a daily appointment.

Faith Was at the Centre

Parton’s Christian faith was a recurring part of her life and worldview.

It influenced her music, her approach to charity and the way she spoke about compassion.

But she generally presented faith through kindness rather than condemnation.

Her public philosophy repeatedly returned to the idea that people should help one another.

That approach allowed her to build an unusually broad audience across political, cultural and religious differences.

She could speak to conservative country audiences, younger pop audiences and communities who sometimes felt excluded from traditional American culture.

Her appeal was rarely about demanding that everyone agree with her.

It was about making people feel welcome.

The Imagination Library: Her Most Important Hit

Perhaps Dolly Parton’s greatest achievement was not a Grammy, a film or a No. 1 record.

It was the Imagination Library.

She launched the programme in 1995 in Sevier County, Tennessee, inspired in part by her father’s inability to read and write.

The original idea was simple: give young children free books.

That small local programme grew into an international literacy initiative.

According to the organisation, more than 270 million books have been distributed, with the programme operating across the United States and in countries including Canada, the United Kingdom, Australia and the Republic of Ireland.

Today, millions of children receive books through the programme.

This is where Dolly’s biography becomes larger than entertainment.

She did not simply escape poverty.

She remembered it.

And she used her success to address one of the conditions that had shaped her own family.

The Vaccine Donation

During the COVID-19 pandemic, Parton donated $1 million toward vaccine research at Vanderbilt University Medical Center.

That funding became associated with research supporting the Moderna vaccine.

Her philanthropy therefore moved beyond books and into medical research, demonstrating that her charitable interests were not limited to the entertainment industry.

Awards That Could Fill a Museum

Parton’s honours are extraordinary.

She received:

  • Multiple Grammy Awards, including a Lifetime Achievement Award.
  • Kennedy Center Honors.
  • Induction into the Country Music Hall of Fame.
  • Induction into the Songwriters Hall of Fame.
  • Induction into the Rock & Roll Hall of Fame.
  • Recognition from the Library of Congress as a Living Legend.
  • Numerous film and television nominations and honours.
  • An honorary Academy Award.
  • A Carnegie Medal of Philanthropy.

She also achieved something exceptionally rare: nominations from the four major American entertainment award institutions Emmy, Grammy, Oscar and Tony.

The Rock & Roll Hall of Fame inducted her in 2022, recognising the breadth of her influence beyond country music.

Her Grammy record alone stands at 55 nominations and 10 competitive wins.

Why She Eventually Embraced Rock

Parton initially resisted the idea of being inducted into the Rock & Roll Hall of Fame because she believed she had not done enough rock music to deserve the honour.

Then she did what Dolly Parton always did.

She turned the challenge into an opportunity.

The result was Rockstar, her ambitious 2023 album that explored rock music through collaborations with major artists.

Instead of allowing a category to define her, she entered the category herself.

That album became another chapter in a career built on refusing limitations.

The Touring Years

Parton’s relationship with touring changed as she grew older.

Her 2016 Pure & Simple tour was one of her major late-career global touring achievements, spanning dozens of cities.

Later, she became more selective about extensive touring, preferring projects that allowed her to remain closer to home and family while continuing to create.

In the years immediately preceding her death, she remained involved in new music, business ventures, books and musical theatre.

She was still planning future projects at 80.

That included Dolly: A True Original Musical, scheduled for Broadway in 2026, based on her life and music.

Her passing therefore arrived while the Dolly Parton story was still producing new chapters.

What Dolly Parton Disliked

Dolly’s dislikes were perhaps as revealing as her passions.

She disliked cruelty.

She disliked unnecessary negativity.

She disliked being boxed into categories.

She disliked the assumption that glamour meant a lack of intelligence.

And she was protective of her privacy.

Perhaps most importantly, she disliked the idea of living without purpose.

She repeatedly demonstrated a preference for work, creativity and contribution over simply resting on past achievements.

The Business of Being Dolly

Forbes-style analysis of Parton’s career cannot stop at album sales.

Her greatest financial achievement was the creation of a diversified intellectual-property empire.

Songs generated publishing income.

Films generated royalties.

Books expanded her brand.

Dollywood connected her name to tourism.

Food products connected her to households.

Television connected her to families.

Books connected her to children.

Philanthropy connected her to communities.

And her personal image became one of the world’s most recognisable entertainment brands.

She turned herself into something more powerful than a performer.

She became an institution.

A Woman Who Refused to Hide Behind Age

One of Parton’s most remarkable qualities was her attitude toward ageing.

She continued writing, performing, appearing publicly and developing new businesses long after many entertainers of her generation had retired.

Her philosophy was not about pretending to be young.

It was about remaining curious.

She continued to dream.

And that may be why she remained culturally relevant to people who were born decades after her first records.

Taylor Swift’s generation could discover her.

Miley Cyrus could call her godmother.

Beyoncé could enter the country conversation influenced by the musical world Parton helped shape.

Younger artists could reinterpret her songs.

Children could know her through books.

Families could know her through Dollywood.

Older audiences could remember the original records.

That is cultural longevity.

The Woman Behind the “Dolly” Persona

There is an important distinction between Dolly Parton the celebrity and Dolly Parton the person.

The celebrity had rhinestones.

The person had discipline.

The celebrity had enormous hair.

The person had enormous ambition.

The celebrity told jokes.

The person understood business.

The celebrity performed vulnerability through songs.

The person carefully protected her private life.

The celebrity appeared larger than life.

The person never forgot the Tennessee mountains where she began.

Perhaps that contradiction explains her extraordinary durability.

She never abandoned the girl from Locust Ridge.

She simply gave that girl a much larger stage.

What the World May Have Underestimated

Dolly Parton was sometimes underestimated because people saw the costume before they saw the strategist.

They saw the blonde wigs before they saw the songwriter.

They saw the jokes before they saw the businesswoman.

They saw the country star before they saw the global cultural figure.

But underneath the persona was an extraordinarily sophisticated understanding of storytelling, branding, ownership, audience psychology and human emotion.

She knew exactly what Dolly Parton represented.

And she never apologised for it.

The Final Chapter

Parton’s family announced that she would receive a small private service for immediate family, with fans encouraged to honour her through memories and messages rather than elaborate public mourning. Her family also requested that, instead of flowers, donations be made to Dolly Parton’s Imagination Library.

There is something deeply appropriate about that final request.

For a woman who spent her life collecting awards, records and honours, her family chose to direct attention back to books.

Back to children.

Back to imagination.

Back to giving.

That may be the most accurate summary of Dolly Parton’s life.

She came from a family that had very little.

She became one of the most recognisable women in entertainment.

She wrote songs that survived generations.

She built businesses that outlived individual performances.

She loved a man who preferred to remain outside the spotlight.

She turned personal pain into music.

She turned childhood poverty into philanthropy.

She turned rhinestones into a brand.

And she turned fame into an opportunity to help strangers.

The Legacy

Dolly Parton leaves behind much more than recordings.

She leaves behind songs that will continue to be sung.

A theme park that carries her name.

Books that will continue arriving in children’s homes.

A body of work that spans country, pop, rock, gospel, bluegrass, film and theatre.

A fashion identity that became unmistakable.

A business model studied by entrepreneurs.

A philanthropic model studied by charitable organisations.

And a lesson that may be more valuable than any award:

You do not have to forget where you came from simply because you succeeded.

Dolly Parton spent her life proving that enormous ambition and humility can coexist.

She proved that glamour and intelligence can occupy the same room.

That a woman can build an empire without surrendering her femininity.

That humour can coexist with serious business.

That private love can survive public fame.

And that perhaps the most meaningful measure of success is not how many people know your name but how many lives are better because they did.

The world knew Dolly Parton as the Queen of Country.

History may remember her as something even greater:

the woman who turned a life of rhinestones into a legacy of light.

 

Content Courtesy of Dolly Parton’s & NFH Digital Team

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

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

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 

Colombo to Host South Asian Debut of BRICS Fashion Summit

BRICS+ Fashion Summit logo. Colombo, Sri Lanka, is set to host the first South Asian edition of the BRICS Fashion Summit during Colombo Fashion Week (CFW) from April 1–4, 2026. Organised by the newly established BRICS International Fashion Federation in partnership with CFW, the summit underscores Sri Lanka’s strategic role as a bridge between South and Southeast Asia and the wider Indian Ocean region. The Federation – launched at the 2024 BRICS+ Summit in Moscow – aims to connect the fashion industries of fast-growing economies and promote collaboration among designers, policymakers, and entrepreneurs. This initiative aligns with Sri Lanka’s emergence as a regional fashion hub and highlights Colombo’s growing global profile in the industry.

Summit Panel and Discussions

A high-profile panel of international fashion leaders will headline the summit’s opening session on April 3 at 11:00 a.m. at the City of Dreams Sri Lanka complex. Moderated by Shamindra Kulamannage (Editor of Echelon and Economy Next), the discussion will feature influential figures from across BRICS countries:

  • Alexander Shumsky: President of the Russian Fashion Council.
  • Rajesh Pratap Singh: Acclaimed Indian designer known for blending craft and contemporary design.
  • Kuan Kevin Feng: Senior figure at Beijing Fashion Week representing China’s fashion sector.
  • Hasitha Premaratne: Managing Director of Brandix Group, one of South Asia’s leading apparel conglomerates.
  • Rizwan Beyg: Renowned Pakistani designer and craft revivalist.

Together, the panel will examine whether the BRICS bloc offers tangible opportunities for designers and apparel supply chains in emerging markets, and how member nations can leverage their rich cultural heritage as a driver of global fashion relevance. Discussions are also expected to address South Asia’s role within the broader BRICS creative and commercial synergy. Organizers describe the summit as a “defining moment” that positions Colombo and the wider region at the center of an increasingly significant global fashion dialogue.

Colombo Fashion Week 2026 Highlights

The BRICS Summit will run alongside CFW Summer ’26 (presented by Mastercard), which is scheduled from April 1–4 at the City of Dreams Colombo complex. The programme includes the continuation of the BRICS designer exchange initiative and will mark historic first appearances by South African and Chinese designers on the Sri Lankan runway. In total, more than 30 designers will showcase collections during the event a lineup that organizers say makes this one of CFW’s most internationally diverse editions to date. Confirmed participants include Rajesh Pratap Singh and Payal Pratap (India), Asad Sattar (Bangladesh), Wang Ting and Ji Cheng (China), Andile Cele (South Africa), and Sania Maskatiya (Pakistan), alongside leading Sri Lankan labels.

CFW itself is a long-established event: now in its 23rd year, it is one of only four fashion weeks in South Asia to have run for more than two decades. This longevity underlines Colombo’s growing stature in regional fashion. By combining a regional showcase with the international BRICS summit, CFW organisers aim to highlight Sri Lanka’s role as a creative and commercial gateway between South Asia and other emerging markets.

Nurturing Emerging Talent

In addition to established names, CFW Summer ’26 will spotlight rising talent through its Emerging Designers initiative. Eleven up-and-coming designers have been selected to present collections under a structured mentorship programme. Among these emerging designers are Arsath Furkhan, Thisaru Fernando, Shavindi Wijesooriya, Prabadhi Bandara, and Nilupa Weerakoon, all of whom will benefit from guidance by CFW and industry veterans. The initiative is designed to give young entrepreneurs a platform to enter the industry and connect with international markets through the BRICS network.

A Platform for Global Fashion Dialogue

Overall, the BRICS Fashion Summit’s South Asian debut highlights Colombo’s evolution as an important node in the fashion world. Organizers emphasize that by bringing together stakeholders from BRICS and South Asian nations, the summit will help shape “fashion’s next frontier”. With its rich cultural heritage, growing design talent, and emerging-market potential, South Asia and Sri Lanka in particular are being positioned at the heart of a new global conversation about creativity, commerce and collaboration in fashion.

Sources: Official announcements by Colombo Fashion Week and the BRICS Fashion Summit

 

Content Courtesy of Colombo & NFH Digital Team

How China’s Top 10 Designers are Redefining Luxury and Sustainability.

In 2026, the Chinese fashion industry has evolved from the “world’s factory” into a global epicenter of creative avant-garde and sustainable innovation. The rise of Guochao (national wave) has matured into a sophisticated fusion of traditional heritage and hyper-modern technology, with designers increasingly commanding the schedules of Paris, London, and Milan.

The State of the Industry: China’s “New Era”

The Chinese fashion market is currently defined by “Cultural Confidence.” Gen Z and Millennial consumers are prioritizing brands that reflect their identity, leading to a projected market value of over $75 billion for premium leather and luxury goods by the end of 2026. Sustainability is no longer a niche; it is a mandate. With over 1,300 textile industrial parks transitioning to net-zero operations, China is leading the global charge in decarbonizing the fashion supply chain.

The Visionaries: Top 10 Chinese Fashion Designers

1. Uma Wang (Label: UMA WANG)

  • Contribution: Known as the “Queen of Knits,” Wang is a master of fabric manipulation. She was the first Chinese designer to be a mainstay on the official Paris Fashion Week schedule.

  • Sustainability: Focuses on “Slow Fashion” by using ancient Chinese textile techniques and natural fibers like mohair, silk, and linen that age gracefully.

  • Shows: Paris Fashion Week (PFW), Milan Fashion Week, and Shanghai Fashion Week (SHFW).

2. Ye Ma (Label: ICICLE)

  • Contribution: Often called the “Chinese Max Mara,” Icicle redefined “Natural Way” fashion, focusing on high-end, minimalist professional wear for the modern woman.

  • Sustainability: The label is a pioneer in eco-friendly manufacturing, using undyed wool, organic cotton, and botanical dyes. They operate a flagship “green” store in Paris.

  • Shows: Paris Fashion Week and various sustainable summits globally.

3. Feng Chen Wang (Label: Feng Chen Wang)

  • Contribution: A leader in deconstructed menswear. Her “future-modern” aesthetic explores the intersection of her Fujian heritage and London street style.

  • Sustainability: Promotes a “buy less, wear more” ethos through multi-functional garments that can be disassembled and styled in multiple ways.

  • Shows: London Fashion Week (LFW), New York Fashion Week (NYFW), and SHFW.

4. Susan Fang (Label: SUSAN FANG)

  • Contribution: Invented the “Air-weave” technique, which allows fabric to stretch and move three-dimensionally. Her work is often described as “ethereal” and “mathematically beautiful.”

  • Sustainability: Her Air-weave method minimizes fabric waste, as the grid-like structures are designed to utilize every inch of material.

  • Shows: LFW, PFW, and was an LVMH Prize semi-finalist.

5. Liushu Lei & Yutong Jiang (Label: SHUSHU/TONG)

  • Contribution: They have captured the global “Coquette” and “Girlcore” trends, blending 1950s hyper-femininity with a rebellious, subversive edge.

  • Sustainability: They implement small-batch production and recently collaborated with ASICS using recycled materials to appeal to the eco-conscious Gen Z.

  • Shows: SHFW (often the closing act), London, and Milan.

6. Rui Zhou (Label: RUI)

  • Contribution: Famous for “second-skin” knitwear that celebrates the duality of fragility and strength. Her pieces have been worn by global stars like Dua Lipa and BLACKPINK’s Jisoo.

  • Sustainability: Uses zero-waste knitting technology and creates modular pieces that require minimal raw material.

  • Shows: PFW and NYFW; winner of the LVMH Karl Lagerfeld Prize.

7. Xiong Ying (Label: HEAVEN GAIA)

  • Contribution: The face of modern “Haute Couture” in China. She integrates Tang Dynasty embroidery and Hanfu silhouettes into red-carpet-ready gowns.

  • Sustainability: Preserves disappearing Chinese craft traditions by employing rural artisans, ensuring the survival of heritage embroidery techniques.

  • Shows: A regular highlight at Paris Fashion Week (Palais de Tokyo) and China Fashion Week.

8. Xander Zhou (Label: XANDER ZHOU)

  • Contribution: A pioneer of sci-fi-infused menswear. He explores the relationship between humans and technology, often featuring “cyborg” aesthetics.

  • Sustainability: Incorporates tech-fabrics that are durable and climate-adaptive, reducing the need for seasonal replacement.

  • Shows: He was the first Chinese designer to show at London Fashion Week Men’s.

9. Caroline Hu (Label: REVERIE BY CAROLINE HU)

  • Contribution: Known for romantic, impressionist-style layering. Her 2026 collection “Daydream” utilized advanced textile bonding to create 3D floral textures.

  • Sustainability: Committed to reducing chemical waste in fabric production and utilizing upcycled lace and organza.

  • Shows: Paris Fashion Week and New York Fashion Week.

10. Samuel Yang & Erik Litzén (Label: SAMUEL GUÌ YANG)

  • Contribution: This duo merges Chinese “Qipao” tailoring with Western construction. Their “Bat Jacket” is a 2026 icon of cross-cultural design.

  • Sustainability: They prioritize traceable supply chains and “Seasonless” collections to combat the fast-fashion cycle.

  • Shows: LFW and Shanghai.

The Faces of the Frontline: Top Models

The global fashion landscape in 2026 is dominated by faces that bridge East and West.

  • Liu Wen: The eternal “First Supermodel of China,” now a veteran who advocates for sustainable luxury.

  • Hu Bing: The legendary face of Chinese menswear, serving as the International Ambassador for the British Fashion Council.

  • He Cong: Currently the most “in-demand” Chinese model on European runways, known for her versatile, porcelain-like features.

  • Mao Xiaoxing: A rising star representing the new generation of diverse, edgy Chinese beauty.

Title: Silk & Silicon: The Visionaries and Muses Defining China’s 2026 Fashion Renaissance

Why “Silk & Silicon” Works Best:
In 2026, the Chinese fashion industry is no longer just about fabric (Silk); it’s about the integration of digital innovation, smart textiles, and sustainable tech (Silicon). This title perfectly bridges the gap between the historical contributions of these designers and their future-forward impact.

The Carbon-Conscious Catwalk: How Nairobi Fashion Week Season 8 is Redefining Global Luxury

The Carbon-Conscious Catwalk: How Nairobi Fashion Week Season 8 is Redefining Global Luxury

NAIROBI, Kenya — From January 28 to 31, 2026, the Sarit Expo Centre in Nairobi will transcend its role as a premier exhibition space to become a crucible for the future of the global garment industry. Nairobi Fashion Week (NFW) Season 8 arrives at a critical juncture for the fashion world, trading traditional runway spectacle for a rigorous, urgent mandate: “Decarbonize.”

As the global fashion industry faces intensifying pressure to reduce its massive environmental footprint—currently projected to account for 25% of the global carbon budget by 2050—Nairobi is not merely participating in the conversation. It is leading it. Under the stewardship of Creative Director Brian Kihindas, NFW is positioning Kenya’s capital as the “Unquestioned Sustainable Fashion Capital” of the continent.

A Blueprint for Responsible Glamour

Season 8 is designed to dismantle the myth that sustainability requires the sacrifice of style. The theme, Decarbonize, serves as an operational directive, challenging designers to interrogate every link in their supply chain—from raw material extraction to the final stitch.

“Season 8 is a continuation of the intent we established last year,” says Brian Kihindas, Creative Director of Nairobi Fashion Week. “Decarbonize is our call to action. It asks designers and audiences alike to rethink how fashion is consumed. We are celebrating creativity that ho1nors both the person and the planet, merging luxury with a clean conscience.”

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The four-day event will feature a sophisticated mix of high-octane runway shows, curated retail marketplaces, and industry-led panel discussions. These “Circular Conversations” will address the logistical realities of zero-waste production, ethical labor, and the “Green Premium” in African luxury.

The Designers: A Cross-Continental Dialogue

NFW Season 8 serves as a porous border for creative exchange, uniting a diverse cohort of Kenyan and international designers whose brand DNAs are rooted in intentionality.

The Local Vanguard (Kenya)

  • Maisha by Nisria: A pioneer in upcycled textiles, transforming discarded fabrics into avant-garde statements.

  • Studio Lola: Celebrated for minimalist tailoring and contemporary silhouettes that champion the “slow fashion” movement.

  • VAST: Combining architectural, sculptural cuts with West African handwoven textiles.

  • A Touch of Kenya & Kitu Kidzo: Both labels serve as cultural archivists, weaving ancestral storytelling into modern, wearable art.

  • Molivian: A bridge between high-fashion artisanal detail and ready-to-wear functionality.

The International Collective

  • Naaniya (France): Merging Malian heritage textiles with European minimalist design.

  • Yevaàna (Sri Lanka/Kenya): Focused on texture-driven elegance and eco-conscious fabrics.

  • Wanni Fuga (Nigeria): Fusing bold, refined prints with cultural identity and feminine poise.

  • Bizarre Savage Couture (Germany): Exploring the intersection of avant-garde couture and environmental responsibility.

  • Aci Nod (USA): Championing conceptual, expressive fashion that pushes the boundaries of materiality.

Beyond the Runway: A City Setting Its Own Pace

Unlike the frantic cycles of Paris or Milan, Nairobi Fashion Week is consciously setting a different tempo—one defined by durability over disposability. By prioritizing craft over noise, the event has attracted global partners like Pernod Ricard’s Martell, further signaling the commercial viability of sustainable luxury.

The showcase arrives as Nairobi hosts the UN Environment Programme (UNEP) headquarters, creating a unique synergy between policy and pop culture. As African fashion enters a new era of global influence, Season 8 stands as a testament that the most fashionable thing a brand can wear in 2026 is responsibility.

At a Glance: NFW Season 8

  • Dates: January 28 – 31, 2026

  • Venue: Sarit Expo Centre, Nairobi, Kenya

  • Theme: Decarbonize

  • Focus: Sustainable luxury, circularity, and Pan-African trade.

Content courtesy of Nairobi Fashion Week & NFH Digital Team

Stitching the Sun: Nairobi’s Radical Rebirth as the Global Capital of Conscious Couture

Stitching the Sun: Nairobi’s Radical Rebirth as the Global Capital of Conscious Couture

NAIROBI, KENYA — As the equatorial sun scales the glass spires of the “Green City in the Sun,” a transformation is taking place. This is no longer just a regional hub; it is the heartbeat of a global movement. From January 28–31, 2026, the world’s eyes turn to Nairobi Fashion Week (NFW), an event that promises to redefine luxury through the lens of heritage, sustainability, and soul.

In a world weary of fast-fashion cycles, Nairobi offers an antidote: Stitching the Sun. This year’s theme is a dialogue between the city’s lush, leafy sanctuaries—like the whispering Karura Forest—and the sharp, innovative minds within its ateliers.

The New Vanguard: Where Heritage Meets High-Fashion

NFW 2026 isn’t just a series of runways; it is a curated ecosystem of narratives. The lineup features a sophisticated blend of Kenyan stalwarts and international visionaries who treat fabric as a vessel for culture.

The Global Collective

  • Wanni Fuga (Nigeria): Bringing Lagosian luxury to the Nairobi stage, expect refined minimalism and silhouettes that redefine purposeful femininity.

  • Naaniya (France): A bridge between worlds, Naaniya utilizes ancestral Malian techniques to create contemporary pieces that have already caught the eye of the Parisian elite.

  • Yevaàne (Sri Lanka/Kenya): A cross-cultural powerhouse weaving sustainable designs that reflect a nomadic, thoughtful aesthetic.

The Homegrown Innovators

Kenya’s own designers continue to push the boundaries of “regenerative luxury.”

  • Studio Lola: The women-led atelier remains the gold standard for “slow fashion,” producing handmade, fair-trade garments that are as soulful as they are chic.

  • Maisha by Nisria: A masterclass in up-cycling, turning discarded textiles into socially conscious garments that demand a place in any modern wardrobe.

  • The MOYO Store & VAST: Both labels celebrate the raw beauty of African prints and organic linens, proving that ethical production is the ultimate status symbol.

A City of Visionaries

The “Nairobi Sound” in fashion has been tuned by a community of icons. The presence of pioneers like Deepa Dosaja, Anna Trzebinski, and Kiko Romeo has laid the foundation for a city that now leads the continent in sustainable luxury.

This year’s event also celebrates the architects of the African fashion image: stylists and creative directors like Sunny Dolat, Diana Opoti, and Brian Babu. Their artistry has ensured that the “Nairobi look”—a blend of bold prints, architectural silhouettes, and ethical craftsmanship—is recognized from the streets of Kilimani to the pages of international glossies.

“Sustainability is not a tagline here; it is a living ethos. It’s a rhythm that runs through our studios and our streets.” — NFW Communication Team

Beyond the Runway: A Cultural Rendezvous

Nairobi Fashion Week 2026 extends far beyond the “catwalk.” The four-day event is designed as a multi-sensory experience:

  1. The Dialogue Panels: Discussions on the future of regenerative textiles and the circular economy.

  2. Curated Retail Spaces: A “see-now, buy-now” opportunity for patrons to invest in pieces that carry the “Made in Kenya” seal of excellence.

  3. The Environment: Set against backdrops that mirror the city’s duality—from the urban pulse of Uhuru Park to the serene greenery of its private gardens.

Event Details

  • Date: 28–31 January 2026

  • Location: Nairobi, Kenya

  • Digital Hub: nairobifashionweek.org

  • Socials: @Nairobi.fashion.week (Instagram) | The Nairobi Fashion WEEK (Facebook)

Nairobi Fashion Week is more than a date on the calendar; it is a testament to a city whose heartbeat is boldly, beautifully African. Every seam is a story, and every design is an invitation to join the conversation.

Content courtesy of Nairobi Fashion Week & NFH Digital Team

The Green Thread: Nairobi’s Bold Bid to Become Africa’s Sustainable Fashion Capital

The Green Thread: Nairobi’s Bold Bid to Become Africa’s Sustainable Fashion Capital

NAIROBI, Kenya — As the global fashion industry grapples with its environmental footprint, a new vanguard of style is rising from the heart of East Africa. From January 28–31, 2026, the eighth edition of Nairobi Fashion Week (NFW) will transform the Kenyan capital into a high-octane laboratory for climate-conscious design.

Under the urgent banner of “DECARBONIZE,” this year’s event is more than a showcase of aesthetics; it is a manifesto for the future of global luxury. Nairobi is no longer just participating in the fashion conversation—it is leading it.

A Continental Shift: From Fast Fashion to Circularity

For decades, the global North has looked to Africa as a source of raw materials or a destination for textile waste. Nairobi Fashion Week 2026 is flipping that narrative. By centering circular design and upcycling, Kenyan designers are proving that heritage craftsmanship can provide the blueprint for a low-carbon economy.

The 2026 season highlights a sophisticated blend of:

  • Ethical Production: Small-batch “slow fashion” that prioritizes living wages and community-driven craftsmanship.

  • Climate-Smart Materials: Innovation in organic fibers and regenerative textiles that reduce the industry’s water and carbon footprints.

  • The Upcycling Revolution: Transforming existing materials into high-fashion silhouettes, a movement that has become a hallmark of the Nairobi creative collective.

The “Decarbonize” Movement

The theme of this year’s showcase, DECARBONIZE, reflects a deepening commitment to the United Nations’ climate goals. As Kenya’s creative economy gains unprecedented global visibility, NFW serves as a critical platform for designers who are reconciling bold African creativity with environmental responsibility.

“Nairobi is positioning itself as the pulse of the green movement,” says one industry insider. “We are seeing a fusion of cultural authenticity and radical innovation that challenges the very definition of how clothing is made and consumed.”

Why the World is Watching

Nairobi’s ascent comes at a pivotal moment. With international buyers and editors increasingly looking for “guilt-free luxury,” Kenya’s unique positioning—blending traditional artisanal techniques with modern, eco-conscious technology—makes it a formidable player on the world stage.

Now in its eighth season, Nairobi Fashion Week has evolved from a local runway into a continental powerhouse. It is a space where the “Nairobi look”—vibrant, conscious, and unapologetically African—is being codified for a global audience.

Event Details

  • Dates: January 28 – 31, 2026

  • Location: Nairobi, Kenya

  • Theme: DECARBONIZE

Nairobi Fashion Week 2026 invites the world to witness a cleaner, more conscious, and future-ready fashion landscape. In the streets of Nairobi, the future isn’t just being designed; it’s being sewn with a green thread.

Content courtesy of Nairobi Fashion Week & NFH Digital Team

The Great Green Transition: Inside Nairobi Fashion Week’s Radical “Decarbonize” Manifesto

The Great Green Transition: Inside Nairobi Fashion Week’s Radical “Decarbonize” Manifesto

NAIROBI, Kenya — In the global fashion hierarchy, the “Big Four” have long dictated the rhythm of style. But as the industry grapples with an existential environmental crisis, a new northern star is rising from East Africa. From January 28–31, 2026, Nairobi Fashion Week (NFW) Season VIII will transform Kenya’s capital into a high-stakes laboratory for the future of “Conscious Couture.”

This season, the glitter of the runway is anchored by a stern, singular directive: DECARBONIZE. It is a theme that elevates NFW from a mere trade show to a continental manifesto, challenging the very chemistry of African luxury.

A Circular Revolution in the Heart of Nairobi

For Creative Director Brian Kihindas, the “Decarbonize” mandate is an urgent response to an industry at a crossroads. Under his leadership, NFW has evolved into a sophisticated ecosystem where heritage textiles meet radical circularity.

“Decarbonize is our way of asking designers and audiences to consider the environmental impact of fashion,” Kihindas explains. “It’s about celebrating creativity while being mindful of the planet—rethinking production, embracing circularity, and designing garments that honor both people and the environment.”

The four-day event is meticulously structured to bridge the gap between high-concept art and commercial viability. Attendees will navigate a multi-sensory journey:

  • The Marketplace: A direct-to-consumer hub where the public can engage with the hands that sew their clothes.

  • The Dialogue: High-level panel discussions featuring industry titans, climate scientists, and policymakers.

  • The Spectacle: Runway shows that blend traditional African storytelling with futuristic, low-impact fabrication.

The Alumni: Architects of a New Narrative

The strength of NFW lies in its enduring “Alumni Effect.” Icons such as Eva Wambutu, known for her eco-conscious, silhouette-driven empowerment pieces, and Lucy Rao of Rialto Fashions, have used this platform to prove that sustainability is not a trend, but a foundational pillar of African luxury.

The inclusion of accessory powerhouses like Kipato Unbranded—which transforms recycled materials into socially conscious jewelry—and Egypt’s Reem Jano, whose sculptural pieces blur the line between art and adornment, reinforces the Week’s commitment to holistic design.

Season VIII: A Cross-Continental Tapestry

The 2026 lineup represents a sophisticated global exchange, featuring designers who treat “slow fashion” as a form of poetry:

  • Wanni Fuga (Lagos, Nigeria): Bringing a sustainable collection that marries minimalist elegance with the refined confidence of the modern African woman.

  • Naaniya (France/Mali): A bridge between diasporic memory and ancestral resonance, utilizing heritage textiles for a contemporary audience.

  • VAST (by Sarah): A masterclass in materiality, fusing West African handwoven textiles with natural hides and upcycled materials.

  • Studio Lola: Elevating knitwear to “wearable poetry” through sumptuous, hand-worked wool and timeless silhouettes.

  • Yevāana Handmade: A unique synthesis of Sri Lankan and Kenyan craft traditions, focusing on hand-smocked and ethically created artisanal textiles.

The Verdict: Fashion as Soft Power

As the global North looks toward Africa for the next wave of creative inspiration, Nairobi Fashion Week is ensuring that this influence is rooted in responsibility. By prioritizing decarbonization, NFW is not just making clothes; it is engineering a movement.

As the lights dim on the final runway on January 31, the true measure of success will not just be the silhouettes seen, but the carbon footprint saved—setting a new, gold standard for fashion weeks from Lagos to London.

Content courtesy of Nairobi Fashion Week & NFH Digital Team

Malkia Beauty Shop & Cosmetics, A modern Kenyan Beauty Story

An in-depth profile and industry analysis for a Nairobi boutique aiming to marry local style with global standards.

By Oscar Alochi—November 20, 2025


Introduction—Malkia’s moment

Nestled in Nairobi and powered by the creative energy of the Nairobi Fashion Hub, Malkia Beauty Shop & Cosmetics positions itself as a premium yet authentic destination for Kenyan beauty lovers. The store blends curated international cosmetics and skincare with locally relevant offerings, including a full range of braids from Angels Hair, Sistar Kenya, Lush Hair Kenya, Darling Hair, and imported ombré styles, and aims to give every customer the feeling, in both product and space, that they truly “Glow Like a Queen.”

What follows is both a profile of Malkia’s business positioning and a broader look at the global and Kenyan beauty markets, the trends shaping them, the practical challenges a shop like Malkia will face, and concrete strategic moves to secure sustainable growth at an international standard.

The global and Kenyan market in context

The beauty industry remains one of the world’s largest consumer sectors. In its 2025 State of Beauty report, McKinsey describes a category that, while cooling from hyper-growth, still represents hundreds of billions of dollars and requires brands to recalibrate against increasingly demanding and value-conscious consumers. The report frames 2025 as a year where experience, evidence of efficacy, and digital innovation matter more than ever. (McKinsey & Company)

Regionally, Kenya has emerged as East Africa’s beauty hub. Independent market reporting and industry commentary place Kenya’s beauty and personal-care sector as a multi-billion-shilling market with strong year-on-year growth driven by urbanisation, rising disposable incomes, and the spread of e-commerce. Analysts note high, continuing demand across hair care, skin care and colour cosmetics categories — and a particular local appetite for hair extensions and braided styles that reflect both daily fashion and celebratory dressing. (BeautyMatter)

Key implications for a Nairobi boutique:

  • Scale and opportunity A growing Kenyan market means space for specialist retailers that combine curated assortments with service (makeup, bespoke consultations, and braid fitment). (BeautyMatter)
  • Competition and sophistication. International brands, local manufacturers, and digital marketplaces are all vying for urban shoppers’ attention; differentiation is critical. (Euromonitor)

Major trends shaping Malkia’s business model

  1. Omnichannel & e-commerce acceleration. Consumers increasingly begin the shopping journey online research, comparison, and social validation, then purchase either online or in-store. This hybrid journey rewards retailers who make both channels seamless. (Euromonitor)
  2. From product to experience. Physical stores are evolving into experience centres: testers, mini makeovers, photo-friendly corners, and personalized consultations give shoppers reasons to visit beyond price. Malkia’s curated displays, vanity stations, and braid selection can become differentiating assets.
  3. Clean, transparently sourced products. Sustainability, ingredient transparency, and “clean beauty” claims are mainstream expectations among urban customers, especially younger cohorts. Brands and retailers that back claims with traceability and clear guidance perform better. (Euromonitor)
  4. Personalisation and technology. From shade-matching AI in South Korea to virtual try-ons, technology is reshaping how customers choose foundation, lipstick, and hair colors. Retailers that adopt simple digital tools (virtual try-ons, shade finders, and CRM-driven recommendations) can increase conversion and loyalty. (Reuters)
  5. Hair & braid culture as commerce. In Kenya, the hair extensions and braids segment is culturally central and commercially significant. Stocking regional favorites (Angels, Sistar, Lush, Darling) and eye-catching imported ombré options positions Malkia to capture both day-to-day and occasion-driven purchases. (Lush Hair Kenya)

Strengths, weaknesses, opportunities, and threats: a practical view for Malkia

Strengths (Pros)

  • Curated premium positioning. A carefully chosen mix (skincare, cosmetics, fragrances, and hair) supports higher margins and a distinct brand identity.
  • Service potential. In-store consultations, makeup services, and braid fitting turn transactions into relationships.
  • Local relevance. Stocking widely used braid brands and ombré styles builds trust and repeat visits among Kenyan customers. (Lush Hair Kenya)

Weaknesses (Cons)

  • Operational complexity. Managing diverse categories (cosmetics, skincare, and hair extensions) increases inventory complexity and requires supplier reliability and staff training.
  • Price sensitivity. While there’s demand for premium products, many Kenyan shoppers remain price conscious balancing premium and value tiers is a constant tension. (Euromonitor)

Opportunities

  • Omnichannel expansion. Launch a shoppable Instagram/WhatsApp storefront and local same-day delivery to capture impulse and convenience-led purchases.
  • Content-led brand building. Tutorials, before/after braid galleries, and localized influencer partnerships (Nairobi Fashion Hub collaborations) will drive awareness and footfall.
  • Private label & local supply. Over time, a trusted private label for staples (cleansing, oils, simple serums) can improve margins and brand loyalty.

Threats

  • Counterfeit and substandard products. The regional market faces risks from imitation products and informal imports, a reputational and regulatory risk for retailers who inadvertently sell or are associated with unsafe lines. Robust supplier checks and clear labeling are essential.
  • Regulation and compliance. As the market matures, stricter product labeling, ingredient disclosure, and safety testing expectations may rise; staying compliant avoids costly recalls and fines. (Euromonitor)

Operational and strategic recommendations (practical, high-impact)

  1. Guarantee product authenticity & traceability. Work only with verified distributors; keep batch and supplier records; train staff to flag suspect packaging. This is both compliance and brand-protection.
  2. Omnichannel minimum viable tech stack. Start with: a simple e-commerce landing page (Shop/WhatsApp Checkout), an inventory-aware POS that syncs online and offline, and a lightweight CRM for repeat-customer offers and appointment bookings.
  3. Experience design that converts. Make the physical space Instagram-ready (vanity mirror wall, braid display in color blocks), but ensure functionality: adequate lighting for shade selection, seating for braid consultations, and hygienic product testers.
  4. Content & community. Host monthly braid styling workshops, partner with Nairobi Fashion Hub designers for pop-ups, and commission local creators for styling videos. This creates loyalty and repeat traffic.
  5. Sustainability & clear claims. Adopt a “good-for-you” shelf of products with clear ingredient lists and, where possible, recyclable packaging. Communicate sustainability honestly—avoid vague claims. (Euromonitor)
  6. Diversify price tiers. Offer an “entry” line (everyday essentials), a “hero” line (bestsellers/promoted items), and a “splurge” line (luxury picks) so customers trade up as trust increases.

Regulatory & safety considerations

Retailers in Kenya must navigate product safety, labeling, and import rules. Even where regulatory frameworks are still evolving for cosmetics and personal care, retailers should follow internationally recognized best practices: full ingredient disclosure, clear usage instructions, expiry dates, and responsible marketing (no unverified medical claims). Partnering with accredited laboratories for spot-checks of store-brand or unknown suppliers helps avoid health risks and reputational damage. (Euromonitor)

What success looks like for Malkia (12–24 month roadmap)

  • Q1–Q2: Strengthen supplier verification, launch WhatsApp/Instagram checkout, and roll out in-store shade-matching and braid-styling appointments.
  • Q3–Q4: Launch a local content campaign with Nairobi Fashion Hub; introduce a private-label staple (e.g., body oil or hair serum).
  • 12–24 months: Build an omnichannel repeat-customer base (target 25–35% of revenue from returning customers), scale same-day delivery radius, and test export opportunities (regional orders from East Africa).

Final thoughts, a local queen with global ambition

Malkia Beauty Shop & Cosmetics sits at a fertile intersection: a culturally rich beauty market in Kenya, rising domestic demand for premium and authentic experiences, and global industry dynamics that reward differentiation, transparency, and digital fluency. By combining curated global standards with a deep understanding of local beauty practices (from braids to skincare rituals), Malkia can be both a neighborhood favorite and a regional exemplar a Nairobi boutique that truly helps every customer Glow Like a Queen.

Sources & further reading

  • State of Beauty 2025, McKinsey & Company (June 9, 2025). (McKinsey & Company)
  • Beauty and Personal Care in Kenya report overview, Euromonitor. (Euromonitor)
  • Why Kenya Is East Africa’s Beauty Powerhouse, BeautyMatter (June 27, 2024). (BeautyMatter)
  • Reuters — reporting on AI/personalisation trends in beauty (example: AI foundation shade matching). (Reuters)
  • Lush Hair Kenya — example of local hair extension brands and market presence. (Lush Hair Kenya)

Content courtesy of NFH

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