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Wednesday 1st of February 2023

Nairobi, Kenya

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Content courtesy Tech Economy of & NFH 

 

 

Meet Malik Afegbua The Nigerian AI Artist Redefining Fashion for The Older Generation’s Style

Malik Afegbua, a Nigerian filmmaker and artist, is dispelling myths about African beauty, particularly among the older age.

Today’s digital culture has made artificial intelligence a popular topic. Despite being a contentious technological advancement, you can tell how many people are preparing for an AI world by just scrolling through your social media page.
The internet went wild over Malik Afegbua’s fashion show, which featured images of classy, old-fashioned seniors wearing the sexiest African garb.

The Fashion Show for Seniors photo series has received over 100,000 likes on social media and sparked debate about whether computer-generated art can truly replace human creativity.

Malik Afegbua organized a fashion show for seniors last month as his debut runway event. The showcase defied every fashion guideline by having a cast of classic males and attractive old-fashioned women. Senior models from Afegbua strolled down the catwalk while dressed in natural tones.

Some had their gele headdresses elegantly folded, while others had their outfits expertly arranged with overlapping pieces. The models provided a range of modern flare and vintage majesty that is particularly Nigerian, with the stately air of senior gentlemen.

The ground-breaking runway extravaganza by Afegbua received a lot of praise. It was nearly impossible to persuade his models, who were admired for their regal appearance, that their experience wasn’t real. However, neither they nor it was the case. The world is a fabrication. False characters have been created. All of it is idealistic, Afegbua told ESSENCE.

The models, the clothes, and the complete Fashion Show for Elders were inventions of the artist or, more precisely, an artificial intelligence-powered embodiment of his genius.
One of Afegbua’s numerous creative interests is pushing the boundaries of digital art, yet his daily work as a filmmaker takes up much of his attention.

The director, who was born in Nigeria, works with his production firm, Slickcity Media, to create advertisements, movies, and documentaries.

He is now developing a Netflix documentary about Nike Davies-Okundaye, a Nigerian textile designer and recognized fashion icon around the world. This year will see the release of the biopic. Additionally, he co-produced and directed the second and third seasons of the Netflix documentary series Made By Design, which celebrates African creative genius.

I spoke with the multimedia artist through video call when he was at home in Lagos. He discussed the impact of technology on the development of art, the bizarre experience of becoming instantaneously popular, and the moving motivation for his Fashion Show for Elders.

Regarding AI and the future of the arts.

Since its early inception into the cultural zeitgeist, the idea of artificial intelligence has advanced significantly. The Wizard of Oz, a 1939 motion picture, introduced the public to the archetype of an artificially intelligent robot. The idea was first presented in the image of the “Tin man,” a mechanical man without a heart who personifies human characteristics. As AI technology advanced, so did its applications.

The creative vision that Afegbua has for AI is only partially realized in his Fashion Show for Elders. Ese, my wife, and I both write. She creates screenplays and movies. Additionally, we cannot afford to make the movies that we write. We would require a sizable studio, personnel, and various overhead.

We’ll get there eventually, but in the meantime, technology allows us to accomplish so much.

Different mediums of art have different perspectives on how technology and art should coexist. Concerns about what AI means for the future of artists have been expressed by several. Many people think that machine-generated pictures will kill the artist, much as some claim that the popularity of music videos destroyed the radio star.

That anxiety is not shared by Afegbua. Instead, he accepts AI as a way to improve creativity in people.
Artists and buyers should both accept the inevitable if the astonishingly lifelike models used in his virtual fashion show are any hint of what is achievable in art with AI.

When the elders broke the internet.

Afegbua’s virtual runway display went viral on social media in a matter of minutes. He was surprised by the prompt response, saying, “I honestly wasn’t expecting it. I anticipated around 20 comments and a few friend reposts. He received far more than that. My phone kept buzzing nonstop. It spread all over again. Everyone was tagging me all over the timeline after The Shade Room tweeted it, he claimed.

Afegbua’s email and direct messages (DMs) were inundated with demands for interviews from social media blogs, television networks, and reporters (including those from the present company) from all over the world within an hour of publishing his vividly melanoid AI-generated models.

Afegbua had 3,000 Instagram followers before sharing his Fashion Show for Elders, and he now has over 35,000.
“I received many touching comments from individuals all throughout the world expressing how it affected them. I received messages from elderly individuals who had lost friends and spouses, as well as from young people who missed their grandparents. I’ve received thousands of prayers and thank-you notes from folks. Thousands,” he remarked.

None of us could have imagined that the dignified elders who sparked our communal pride were motivated by heartbreak.

The virtual show serving as the essential catharsis for a creative in distress was something we also could not have foreseen.

Afegbua was so overwhelmed by the warm welcome that it took him some time to understand its significance. In fact, he admitted, it was rather overpowering. “But I understand now.
For me, this endeavor was personal.

I believe that resonated with folks. Many individuals who are going through a lot of difficulties, like I was when I made it, might relate to it. So perhaps it really is a worldwide phenomenon, Afegbua speculated.
Every day, Afegbua talks to his mother, Elizabeth. The two are connected in a way where they ask each other for counsel and find excitement in recounting mundane daily activities. It’s deep with my mum,” he remarked. “I’m 38 now.

I reflect on all of our discussions and all of the teachings Mom has imparted.

Afegbua, one of six kids, claims that his siblings and the family’s grandmother get along well. She deserves the privilege. “Before he retired, my father worked as a pilot, therefore he frequently traveled from one nation to another. So, our mother was with us most of the time. She had direct contact with each and every one of us, he claimed.
Afegbua, who is now a spouse and father, recently confronted one of his greatest fears.

Early last year, after a 12-hour journey from Nigeria to Atlanta, the relationship between him and his mother almost came to an end.

On the jetway at Hartsfield airport, she had a crippling stroke. She suffered several strokes. He remarked, “It was awful.

The family had a very hard time processing the circumstance because it happened suddenly and unexpectedly. Thankfully, Elizabeth’s condition started to get better.

She remained on life support for a long, but Afegbua claimed that she kept improving. “God operates in a strange manner. Every day as a family, we prayed. Every single one of us has a very close relationship with our mother.

Although the path to recovery has been difficult and long, Afegbua is incredibly grateful that his mother is still alive. But he claimed that the experience of almost losing her changed something about him.

For a long time, I was unable to speak with her. Due to all the aftereffects of the stroke, we were unable to converse. Months went by so quickly. I was reflecting on her in a variety of ways, including our pleasant interactions and chats. “Everything is shared with us,” he stated.

“During that time, I had several life events that I was unable to share with her. And it put me in a peculiar situation. Afegbua turned to his art for solace when he was experiencing an existential crisis.
“For me, creating is like therapy. I find it to be calming and relaxing. I also utilize it to aid in my emotional processing, he said.

What he experienced at the time was a sobering understanding of the frailty of life and a gratitude for old age as a blessing that should not be taken for granted.

He considered his mother, who now required the assistance of family members and medical experts to meet her basic necessities. All the grown children in his situation sprang to mind. He reflected on how senior persons are discarded by society. “I believe that seniors are marginalized in society once they reach an age or stage in life where they are unable to take care of themselves or participate as they once did. He said, “It’s like we just dumped them somewhere to wait to die.

The artist discovered his muse at that precise moment of inspiration.

“I wanted to design something that will alter how we perceive things” (of seniors). Elderly Black people have experienced so much injustice and been put down, he remarked.

Would it be possible to depict them as Kings and Queens?
What if I demonstrated their self-assurance and fortitude?

Content courtesy of Essence, Malik Afegbua, Slick City & NFH 

 

 

Fashion Icon: Dame Vivienne Westwood Passed Away at The Age of 81.

Fashion designer Dame Vivienne Westwood has sadly died today, aged 81, according to a statement released on the designer’s Twitter account. The designer passed away surrounded by her family in Clapham, South London.

In a statement posted at 9:04pm this evening [29 December] the designer’s house said: “29th December 2022. Vivienne Westwood died today, peacefully and surrounded by her family, in Clapham, South London. The world needs people like Vivienne to make a change for the better.”

29th December 2022.

Vivienne Westwood died today, peacefully and surrounded by her family, in Clapham, South London.

The world needs people like Vivienne to make a change for the better. pic.twitter.com/YQwVixYUrV

— Vivienne Westwood (@FollowWestwood) December 29, 2022
Vivienne Westwood rose to fame in the 1970s, bringing in punk to the mainstream and opening up her store Let It Rock with her then partner Malcolm McLaren.

Over the years her designs have been worn by celebrities including Dita Von Teese, Sarah Jessica Parker and Princess Eugenie.

Westwood was also known for her activism work, often bringing attention to causes including climate change.

In 2006 she was made a dame for her services to fashion.

Vivienne’s husband and creative partner Andreas Kronthaler has said: “I will continue with Vivienne in my heart.

“We have been working until the end and she has given me plenty of things to get on with.”

Other tributes have also begun to pour in from celebrities and politicians including Mayor of London Sadiq Khan who tweeted: “Vivienne Westwood was a creative icon who helped cement the UK at the very forefront of modern fashion. My thoughts are with her family and friends.”

RuPaul’s Drag Race UK season one winner The Vivienne tweeted: “Vivienne Westwood is the woman that showed me I could do anything, I could wear what I wanted, she was an ICON and I lived my life through hers in some sorts of way. There will never be another, but we’ll continue your fight.”

TV presenter Johnathan Ross has also tweeted his condolences saying: “RIP the great Vivienne Westwood. Unique. Brilliant. Uncompromising. Thanks Viv x.”

Content courtesy of Cosmopolitan Magazine & NFH

African Designers Are Breaking New Ground And Targeting The Luxury Brand Market

Despite its modest Mozambican beginnings, Taibo Bacar’s fashion house is already competing on worldwide catwalks and in upscale shops.
One of Africa’s top fashion firms, Taibo Bacar is recognized for its innovative blending of high and fast fashion items. The brand’s signature pieces, which tell personal tales with a splash of color, exquisite cutting, and detailing, have received multiple honors and elevated it to the worldwide scene.
A pioneer in the field, the innovative fashion label was the first African brand to present at Milan Fashion Week in 2010.

In The Beginning
Before Taibo Bacar the fashion house, there was Taibo Bacar the creator, whose mother, a seamstress, served as his initial source of inspiration. When the designer ran into the model Tatiana Ismael at a fashion event in 2006, his path to the fashion hall of fame was sealed. That unexpected encounter developed into a successful company, the Taibo Bacar label, three years later.

Tatiana Ismael is a business expert with extensive knowledge of the commercial side of the fashion industry, making her the perfect business partner for designer Taibo Bacar. Ismael manages the business end of things, and Bacar, the designer, adds his creative flair. As a company, Taibo Bacar seeks to establish a close relationship with customers

“We are very deliberate in our designs, starting with the conceptualization of our concepts or themes and continuing through the production process. We wish to develop a personal relationship with each of our customers. Ismael: “That’s how fervent and sentimental we are about our profession.

This philosophy is driving the Taibo Bacar label to embark on yet another ground-breaking business initiative as it unites to go beyond beautiful fashion and glossy publications and forays into the niche luxury brands market to support its fashion business.

In response to the company’s intended entry into the high-end luxury sector, Bacar says, “It’s about diversity. We have a lot of initiatives set up for the future that have been inspired by what we have been doing for the last 12 years, even though not all of them are related to fashion.”

The Intellectual Property Challenge
However, not everything has been perfect, particularly in a nation that is new to the fashion industry and where there is a lack of public understanding of the significance of respecting the creations and innovations of others.

In general, protecting intellectual property (IP) in Africa is exceedingly challenging.
Ismael claims that it is harder for creative sectors like fashion and even more so for us in Mozambique because the business of fashion is not well-defined.

Ismael points out that in order to ensure that intellectual property is treated seriously as a commercial asset, more needs to be done to educate the public about it in Mozambique and throughout most of Africa.
Aspiring young African designers should focus on developing their brands and companies rather than getting distracted by popularity and celebrity status, says Taibo Bacar.

Even if the Taibo Bacar name and the logos and visuals that go along with it are registered as trademarks, it might be challenging to uphold these rights in court.
Ismael believes that this is a price that the firm must carry as the sector develops, pointing out that while registering trademark rights is a crucial step in fostering future corporate growth, it is insufficient to stop acts of infringement.
Even when they have patents, copyrights, or trademarks, she adds, “businesses and individuals must constantly deal with the difficulty of people using their brands and making money off of their work.”

Since its T-shirts and insignia have been copied and duplicated by counterfeiters, Taibo Bacar is all too familiar with this threat.

The difficulty is frequently made worse by the burdensome and complicated legal system, which deters many authors from pursuing legal action to obtain redress.
When someone is not even aware that what they are doing is prohibited in the first place, how is it even feasible for them to comprehend the significance of respecting IP rights? Asks Bacar.
Campaigns to raise IP awareness must also target the general public, who use our goods and services and engage with our brands, in addition to innovators and creatives.

It’s a challenging situation for a forward-thinking fashion company to be in, and it’s made worse by out-of-date IP rules that, when they were established, did not take the issues of the digital age or a fashion company like Taibo Bacar into consideration.
Industry stakeholders are confused by the ambiguity surrounding how to address new IP challenges and where to turn for assistance in managing them.

However, outside of Mozambique, in developed nations like South Africa, where the Taibo Bacar brand is well-known, the situation is significantly better.
We are aware that as a global brand, we must protect our intellectual property in numerous nations. Thank goodness, South Africa’s intellectual property rules are more stringent and its attorneys are more knowledgeable on the subject, the designer said.

IP protection has become crucial for the business as the Taibo Bacar brand expands globally and enters the international market.
The business made the decision to create a division to manage all IP issues in order to free up Bacar and Ismael to concentrate on the day-to-day tasks of designing, manufacturing, and marketing their products.
Currently, photographs, brand names, and logos are all included in Taibo Bacar’s trademark portfolio.
In Mozambique, the business has established trademark protection for 10 of its logos, which illustrates how the brand has changed over time. Additionally, the business owns four South African registered logos.

It is also thinking of patenting some of its methods and goods, but doing so would be expensive and there is no way of knowing if the anticipated patents would stand up to court challenges.
“Patents cost a lot of money.
The attorneys we’ve spoken with have cautioned us because we need to be prepared to defend our inventions and products in the event that someone else develops a variation of them, says Ismael.

Despite the difficulties, the designer is still committed to preserving the works and designs that are particular to the Taibo Bacar brand.
These include the entirety of their leather goods selection, which primarily consists of purses and belts.

Collaborating With Creatives
By its very nature, fashion is a collaborative industry that frequently brings together jewelers, photographers, videographers, models, filmmakers, and even software engineers. Taibo Bacar is aware of the difficulties that can arise when artists must share or exchange their intellectual property in order to collaborate. Therefore, it is crucial for creatives to be knowledgeable about IP.

“Collaborations frequently present us with difficulties. Therefore, before doing deals, we are very careful to sign contracts or non-disclosure agreements, says Bacar.

Such action, he observes, is crucial in photography since the premature release of images can endanger marketing efforts, particularly in light of the fact that even models now take shots of their photo shoots with their phones.

“The photographs cannot be released on any platform prior to the event while we are running a campaign.
Since photography is such an important part of our business, we must be in complete control of the process at all times, from shooting to editing to designing.
To govern our commissions and the photographers’ intellectual property rights, we have very tight contracts, according to Bacar.
By making sure that their work is properly attributed when utilized by third parties, including publications, he continues, they are dedicated to preserving the intellectual property rights of photographers.
Managing the models and the photographs they take is less difficult because they frequently sign extremely detailed contracts with international modeling agencies.

Advantages Of Globalization
Taibo, a proponent of globalization, challenges African designers to look outside their own continent and quit being unduly protective of its traditional history.

“We must accept globalization and acknowledge that, while protecting our own heritage, we cannot expect to gain anything from other cultures. We open ourselves to opportunities outside of our boundaries by sharing our traditional knowledge and resources with the world and showing the amazing work we can produce in Africa, according to Bacar.

His claim is supported by experience, His innovative use of the traditional and vibrant Mozambican capulana fabric earned him the Emerging Designer of the Year Award at Africa Fashion Week in Johannesburg in 2012. As a result, he was given the once-in-a-lifetime opportunity to network with over 100 prominent designers in Rome, Italy.
We open ourselves up to opportunities outside of our boundaries by sharing our traditional knowledge and resources with the world and showing the wonderful art that Africa is capable of doing.

Bacar is optimistic that Africa won’t always be at the bottom of the fashion business food chain and that the market will develop into a vibrant, cutthroat sector producing fabrics.
Currently, the business operates stores in Mozambique and South Africa and sells its designs on a global scale online.

Through a franchising endeavor in South Africa, expansion plans were launched in 2019, but they had to be shelved owing to COVID-19. To serve the South African market, a number of stores continue to carry their designs.

Parting Shot
The designer gives advice to aspiring young African designers to focus on growing their brands and businesses rather than getting distracted by popularity or superstar status.

The issue is that the majority of these young creatives aspire to be designers but don’t realize that their priority should be developing a brand. Therefore, rather than working independently, their activity needs to be structured inside the framework of a firm that functions profitably.

That counsel is based on the expertise and experience gained during Taibo Bacar’s personal entrepreneurial path. And it’s how the designer has distinguished herself and made a statement.

Content courtesy of WIPO, Taibo Bacar & NFH

 

 

Full List Of Winners At ASFAs 2022: Who Won What At The 2022 Abryanz Style And Fashion Awards

The annual Abryanz Style and Fashion Awards 2022 presentation, with the theme “The Awakening,” took place on December 16, 2022, at the Kampala Serena Hotel.

An extraordinary selection of skilled nominees and a star-studded guest list kicked off the eagerly awaited evening with a red-carpet extravaganza of glitz and flair.

The Covid epidemic has had a significant impact on the fashion industry, and the gathering of fashion-forward celebrities and a larger fashion community of the general public recognized and honored the remarkable individuals who have made this contribution.
This year’s categories included representation from a wide range of the fashion community, and many Ugandan and foreign celebrities stepped out to celebrate fashion.

The “Most Stylish Music Video” category honored the stylish efforts of singers in producing visually arresting music videos, while categories like “Emerging Fashion Brands” highlighted the new yet excellent fashion brands that built a reputation for themselves in the industry.

The public voted on 18 categories for the ASFA this year, which featured 8 categories for the honorary award and highlighted individuals, businesses, influencers, and designers who are having an impact on the industry.

Below Is The Full List Of Nominees And Winners At ASFAs 2022

Honorary Awards
1. Fashion Influencer Award – Angella Summer Namubiru
2. Business Maverick Of The Year – Motiv
3. Best Fashion Contributor Diaspora – Mko World
4. Trailblazer Award – Aamito Lagum
5. Lifetime Achievement Award – Eric Raisina
6. Icon Award – Trevor Stuurman
7. ASFA Visionary Award – Kasule Raphael
8. Award For Postive Charge – Mitchel Omamteker

Other Categories
Designer Of The Year (Africa)

1. Thebe Magugu
2. Moses Turahirwa – Winner
3. Rich Mnisi
4. Kenneth Ize
5. Larry Jay
6. Taibo Bacar

Designer Of The Year (Uganda)

1. Sheba Kasami
2. Kaijuka Abbas
3. Monica Kansiime
4. Dyna Vence -winner
5. Sham Tyra
6. Anita Beryl
7. Ras Kasozi

African Fashion Brand Of The Year (Africa)

1. African Boy – Winner
2. Ahluwalia World
3. Daily Paper
4. Tiffany Amber
5. Moshions
6. Rich Mnisi

Model Of The Year (Africa)

1. Anok Yai
2. Adit Priscilla
3. Achan Biong
4. Anyiel Piok Majok
5. Alaato Jazyper – Winner

Emerging Designer Of The Year Menswear (Africa)

1. Rogue-ng
2. Colrsbaby
3. Trax Apparel
4. Ajabeng
5. Kente Gentlemen
6. Teddy Ondo Ella – Winner

Emerging Designer Of The Year Womenswear (Africa)

1. Ladunni Lambo
2. Hertunba
3. Fruche Official
4. Wyne Kirabo – Winner

5. Fumi The Label

Beauty Brand Of The Year (Uganda)

1. Tk Berries Skincare
2. Minama World
3. Mb Cosmetics Amsterdam
4. Bt Beauty Uganda – Winner
5. Qwezi Beauty
6. Fabiola Beauty

Beauty Brand Of The Year (Africa)

1. Huddah Cosmetics – Winner
2. Zikel Cosmetics
3. Beauty By Ad
4. Epara
5. Colorbox Cosmetics
6. Juvia’s Place

Emerging Fashion Brand (Uganda)

1. Seamline Atelier
2. Miss Shee
3. Loumbier
4. Tru Ikon – Winner
5. The Creative Hub Ug
6. Mul C

Makeup Artist Of The Year (Uganda)

1. Peter Russell
2. Imani Makeup – Winner
3. Nahya Glam
4. Saida Beauty
5. Shillat Makeup
6. Glam By Keith

Makeup Artist Of The Year (Africa)

1. Tammi Mbambo
2. Moshoodat
3. Manal Makeup
4. Beezglam Makeup Studio
5. Reham Khalifa
6. Makeup By Zulky – Winner

Hair Artist Of The Year (Uganda)

1. Mbajja Sean
2. Mirrors Salon
3. Hair By Zziwa
4. Afros & Mo -winner
5. Jeff Jingo
6. Lana Barber 256
7. Sammy Barber Ug

Hair Artist Of The Year (Africa)

1. Laetitia Ky
2. Corrine Muthoni
3. Nikiwe Dlova
4. Kehinde Are
5. Joke Lawal
6. Ricky Kish – Winner

Fashion Stylist Of The Year (Uganda)

1. Mavo Kampala
2. Kwagala Kevira
3. Top Stylist
4. Gangstar Magic
5. Allan Senior
6. Cham Ronnie – Winner

Fashion Stylist Of The Year (Africa)

1. Luxury Recycle – Winner
2. Tiannahs Place
3. Yartel
4. T. Dosumu
5. Chuck Mbevo

Image Maker Of The Year (Uganda)

1. Kiba Shots
2. Walter Photography
3. Sasha Vybz – Winner
4. Dc Photography
5. Martin Kharumwa
6. Drimax Photography

Image Maker Of The Year (Africa)

1. Trevor Stuurman – Winner
2. Kwame Koda
3. Chuchu Ojekwe
4. Bless Dollar
5. Prince Gyasi
6. Daniel Obasi

Fashionable Music Video Award (Uganda)

1. Personal – Zulitums
2. Mbaga – Nsimbi -winner
3. Thank God – Vinka
4. Forever – Chameleone
5. My Year – Azawi
6. Wandiisa Ki – Rema Namakula

Fashionable Music Video Award (Africa)

1. Tales By Midnight – Tiwa Savage
2. Selema – Musa Keys & Loui
3. Rush – Ayra Star
4. Bandana – Fireboy & Asake – Winner

Most Stylish Male Artist Of The Year (Uganda)

1. Fik Fameica
2. Grenade Official -winner
3. Rickman Manrick
4. Zulitums
5. Gnl Zamba
6. B2c

Most Stylish Male Artist Of The Year (Africa)

1. Diamond Platnumz
2. Adekunle Gold
3. Rema
4. Fireboy – Winner
5. Kidi Music

Most Stylish Female Artist Of The Year (Uganda)

1. Spice Diana
2. Kataleya & Kandle
3. Pia Pounds – Winner
4. Azawi
5. Lydia Jazmine
6. Vinka
7. Winnie Nwagi
8. Sheebah Karungi

Most Stylish Female Artist Of The Year (Africa)

1. Ayra Starr – Winner
2. Uncle Waffles
3. Zuchu
4. Sho Madjozi
5. Nomuzi Mabena
6. Tiwa Savage

Male Fashionista Of The Year (Uganda)

1. Trend Masta
2. Dice Rich
3. Q Senior -winner
4. Mugagga Alex
5. Adnan Turan
6. Baraka Ting
7. Spy Gadget 256

Male Fashionista Of The Year (Africa)

1. Eni Oluwa – Winner
2. Dr. Akin Faminu
3. Tijesunimi Olupekan
4. Ooreofe Oluwadara
5. Denola Grey
6. Efe Tommy

Female Fashionista Of The Year (Uganda)

1. Sharne Natukunda – Winner
2. Fifi Parker
3. Aron Hilson
4. Katrina Nilzero
5. Mbabazi Kim

Female Fashionista Of The Year (Africa)

1. Hali Oduor
2. Nancie Mwai
3. Priscilla Anyabu
4. Denise Dainty – Winner
5. Diana Eneje
6. Chevonne Spirine

Most Stylish Male Personality (Africa)

1. Kat Sinivasan
2. Ebuka – Winner
3. Eni Oluwa
4. Sir Uti
5. Maps Maponyane
6. Denola Grey

Most Stylish Female Personality (Uganda)

1. Etania
2. Malaika Nnyanzi Tenshi
3. Sandra Twinoburyo – Winner
4. Evelyn Kironde
5. Bettinah Tianah
6. Sharon O
7. Natasha Sinayobye

Most Stylish Female Personality (Africa)

1. Anele Mdoda
2. Hassan Sarah
3. Nana Akua Addo
4. Official Doyin – Winner
5. Toke Makinwa
6. Allysyn Audu

Fashion Journalism Excellence Award (Africa)

1. Guap Magazine
2. Bella Naija Style – Winner
3. Fashion Bomb Daily
4. The Native

The Abryanz Style and Fashion Awards are an African fashion award show that honors and recognizes members of the fashion industry, such as fashion designers, stylists, hair and makeup artists, media figures, and influencers on the African Continent and beyond our borders. Since the 2013 opening ceremony, this event has been conducted yearly in Uganda. The ASFAs is an evening of glitz and glamour with the biggest red carpet in Africa, in a genuine celebration of fashion and style, with A-List guests from the entire continent.

The evolution of ASFA categories The exception to this rule is the Lifetime/Style Fashion Icon Achievement Award, which presents two trophies for both Ugandan and continental winners. The nominees are chosen by public voting, with the public taking 30% of the vote and the judges from the awards academy taking the remaining 70%.

Content courtesy of Abryanz Style And Fashion Awards & NFH

Chanel Goes to Africa: Bringing its first runway show to the continent of Africa

It might have gone horribly wrong. One of the most opulent European luxury companies, Chanel, could have been accused of colonialism if it had parachuted into Africa with a flashy one-off fashion display while having no stores or significant operations there.

Particularly considering Chanel has no particular personal history with the region (“I cannot say Madame Chanel dreamed to come to Dakar,” said Bruno Pavlovsky, Chanel’s president of fashion), the fact that it was the first such show ever in sub-Saharan Africa, as well as Dakar, Senegal, a country that was once part of the French empire and now has its own thriving fashion culture and heritage, and the fact that the city is where the show took place.

Particularly after the fashion industry’s admission of its mistakes with regard to diversity, inclusivity, and cultural appropriation, as well as its own numerous errors in this area.

It’s a credit to the efforts the house made to reframe the event that the Chanel Métiers d’Art presentation, held at the Palais de Justice in Dakar earlier this week, went off with only a slight amount of backlash on Twitter.
It was planned as a three-day festival to follow Dakar fashion week in order to highlight the nation’s abilities in art, dance, music, and literature rather than just a fashion parade to entice new customers to spend a lot of money. In other words, it’s more of an equality celebration than it is an exotic shortcut for fresh creativity.

This was significant, if unfinished, step forward. However, by highlighting a number of show collaborators, such as Senegalese rapper Nix, singer Obree Daman, and the nearby Ecole des Sables dance school, and placing the connections between them and Chanel somewhere on the abstract plane of the mind, it also gave the appearance that the clothes themselves were the least important thing.

The garments remain. In contrast to anything as overt as a traditional Senegalese pattern, material, or artisanal skill, they were allegedly inspired by “the pop-soul-funk-disco-punk decade” of the 1970s (the intricate craftsmanship of the collection).

which was created to display the work of various specialized ateliers Chanel acquired to preserve their know-how and was all made in France). Which, it turns out, meant largely… pants. Knit, bouclé, flared, and denim are frequently worn with intricately detailed jackets, tunics, or blouson tops.

Designer Virginie Viard can create a beautiful traditional Chanel dress, and she did so here with some lacy crochet designs, garden party cocktail frocks, and sequined siren evening numbers, but they were hampered by offerings that seemed more appropriate for a tribe of dabbling hippie bourgeoisie.

The variety of hues and the layering of the garments—a beaded vest over a bouclé jacket, a tidy wrap skirt over some slender knit flares, and a long, floaty tunic over faded jeans, caught by a gold belt—were the only creative connections between the setting and the goods. 19 of the 62 models in the show were African, with 12 of those being Senegalese. According to Mr. Pavlovsky, the makeup and hair crews were split about evenly between locals and foreigners.
850 people were brought to Dakar, mostly for the garments, with roughly 500 of them coming from various parts of Africa.

The purpose of inviting famous people like Pharrell Williams, Whitney Peak, and Nile Rogers was to enhance the city’s standing as a center of culture and to portray Chanel as a type of creative, well — What? King-maker or equalizer of world power?

There is discomfort because it’s difficult to tell where to draw the line between the two postures (maybe it depends on where you are seated).

President Macky Sall and the minister of culture both agreed to support Chanel’s participation in the event. Chanel plans to continue working with local talent and will visit Dakar for a 19M program in January.

The official name of the speciality ateliers’ headquarters is 19M, and it will highlight pieces made in collaboration with regional embroiderers and artisans. That will then serve as the foundation for a later exhibit that the company will present in Paris. And according to Mr. Pavlovsky, their experience in Dakar could serve as a template for future cultural exchange and collection activities.

He stated, “If you’re locked on the street Cambon in Paris, it’s hard to be creative.”

Would Chanel ever invest in a specialized Senegalese weaving workshop in the same way that they have in European ones like Lesage and Maison Michel, in order to preserve their know-how?

There are no such plans, according to Mr. Pavlovsky, but he admitted that he could picture a day in the future when it might be feasible.

The brand is currently being given the benefit of the doubt, according to Oumy Diaw, a curator who attended the exhibition, despite certain setbacks like organizing the exhibition on the same day as the anniversary of the foundation of Dakar’s Museum of Black Civilizations. Ms. Diaw expressed hope that “This Chanel passage will not be a one-hit wonder or an opportunistic endeavor to feed the Western fashion houses with Africa’s vast aesthetic capital,” but rather the start of a much-needed process to recognize exactly how vibrant that aesthetic capital is.

Since Chanel presentations are held in Paris, the audience typically shows up appropriately dressed in their most glitzy bouclé, camellias, and ropes of pearls. In contrast, the audience in Dakar made eye-catching fashion statements of their own.

Content courtesy of New York Times & NFH

The Biggest Fashion Red Carpet Event In Africa: The Abryanz Style and Fashion Awards 2022

The Abryanz Style and Fashion Awards have been a benchmark for the African fashion community for more than six years running. The awards are renowned for their capacity to identify, motivate, and establish trends in honor of a global fashion agenda.

The ASFAs was launched in 2013 with the goal of recognizing and honoring fashion and its close-knit communities. 2020 and 2021 were exempt because of the global pandemic.

The Abryanz Style & Fashion Awards is an African fashion award ceremony that honors and recognizes members of the fashion industry, such as fashion designers, stylists, hair and makeup artists, media figures, and influencers both within and beyond our borders.

Since the first ceremony in 2013, this event has been hosted yearly in Uganda.
The ASFAs is a glamorous evening featuring the biggest red carpet in Africa, a genuine celebration of fashion, and A-List attendees from all across the continent.
Every category, with the exception of the Lifetime/Style Fashion Icon Achievement Award, offers two trophies to both Ugandan and continental winners.
The public votes for the nominations, with the public taking 30% of the vote and the judges from the awards academy taking the remaining 70%. The public has cast their votes online through social media and the official awards website.

  1. Lifetime/Style
  2. Fashion Icon
  3. Achievement Award
  4. Designer of the year
  5. Male Model of the year
  6. Female Model of the year
  7. Male Most Stylish/Dressed Celebrity
  8. Female Most Stylish/Dressed Celebrity
  9. Most Stylish Male Artiste
  10. Most Stylish Female Artiste
  11. Most Male Dressed Media Personality
  12. Best Female-Dressed Media Personality
  13. Male Fashionista of the year
  14. Female Fashionista of the year
  15. Hair Stylist of the year
  16. Makeup Artist of the year
  17. Fashion
  18. Photographer of the year
  19. Stylist of the year
  20. Fashionable Music video of the year
  21. Fashion Blogger of the year

2015: The annual Abryanz Style and Fashion Awards is born
Ugandans descend upon the MTN Arena in Lugogo to attend the first fashion award event in Kampala. It’s attended by a number of fashion aficionados including internationally prominent and renowned designer Oswald Boateng.

2016: The ASFAs ‘Dress for Success campaign’ initiative endorses “Fashion can stimulate and impact success”
The ASFAs ‘Dress for Success campaign’ initiative endorses the suggestion that “Fashion can stimulate and impact success”. The campaign is followed by testimonials of acclaimed personalities such as Radio and Weasel, Golola Moses, and Zari amongst others.

2017: Her Royal Highness Princess of Toro Kingdom is honored with the Lifetime Style and Fashion Icon Achievement Award
Her Royal Highness Princess Elizabeth Bagaya Nyabongo of Toro Kingdom is honored with the Lifetime Style and Fashion Icon Achievement Award for having made history as the first black model and African to feature on the cover of the Harper bazaar magazine.

2017: Abryanz Style and Fashion Awards spread their wings to the rest of Africa
After a successful three-year run, the Abryanz Style and fashion Awards spread their wings to the rest of Africa as they go continental. It’s a show of pure tenacity and solid growth as the award show goes bigger and better.

2017: Her Royal Highness the Queen of Buganda and the Executive Director of Kampala grace the ASFA’s
Her Royal Highness the Queen of Buganda, Nabagereka Sylvia Naginda, and the Executive Director of Kampala Jennifer Musisi make a grand entrance onto the ASFA 2017 red carpet. These two powerful women and leaders are among the high-profile guests that garnish the famous ASFA’s red carpet.

The Fashionpreneur Summit
An annual interactive business workshop conference called the Fashionpreneur Summit equips young fashion entrepreneurs with the knowledge, abilities, and contacts they need to grow their firms. The summit’s main topic is how fashion and associated businesses are influencing young people’s and the economy’s future.

The workshop, which is part of the Abryanz Style and Fashion Awards, brings together experts from the industry in an interactive setting to talk about and give participants practical knowledge on how to monetize their projects and business ideas, find funding, market their brands, manage finances, and more.

Because the fashion industry is constantly evolving, each year’s panelists are different based on the worldwide challenges influencing the sector.

Why collaborate with Abryanz Style and Fashion Awards
In Africa, youth (those under 26 years old) make up 60% of the population, and in Uganda, 77% of the population is under 30. These people are also the Fashionpreneur Summit’s target market.
It is crucial that we prepare the younger generation for the future by taking a look ahead.
Given that the fashion industry is expected to develop by 15-20% over the next few years and that it is the second largest sector for employment after agriculture, our objectives are;

Content Courtesy of Abryanz Style and Fashion Awards & NFH

 

The Parthenon Hall In Dar Es Salaam, Tanzania, Hosted Swahili Fashion Week 2022, Showcasing Brilliant African Designers.

Over 50 fashion designers, largely from Swahili-speaking nations and beyond, descended on Tanzania’s port city of Dar es Salaam for the opening night of Swahili Fashion Week, the continent’s yearly fashion event.

The international fashion industry, as well as its clients, saw the fashion and accessory designers’ skills and originality on display.
“Models like me have a great opportunity thanks to Swahili Fashion Week.
Thank you for honoring me with an award tonight “As the 15th edition of the Swahili Fashion Week and Awards 2022 got underway over three days, Rio spoke after receiving a prestigious award.

The public voted for the winners of 29 fashion categories, and an auditing firm verified the results. Rio was one of the winners. “This is only the beginning of a long road leading to the fashion industry for me. I’m excited to take part in all fashion shows both domestically and overseas and win more accolades.”

The Swahili Fashion Week is a fantastic chance, especially for emerging designers to be able to present their work, according to Mboko Uswege, a young fashion designer who was taking part in the event for the first time.

The originator of the Swahili Fashion Week, Mustafa Hassanali, stated that the goal of the event is to inspire talented designers to use it as a launching pad into the fashion industry.

“Celebrating 15 years of Swahili Fashion Week,” according to Hassanali, has been the leading creative forum for designers from Swahili-speaking nations and beyond who present their collections to a global audience.

Kedmon Mapana, the executive secretary of the government-run National Arts Council, pleaded with people to support the fashion sector. “The local talent needs to be developed to become internationally renowned brand names.”

In 2008, renowned Pan-African designer Mustafa Hassanali of Tanzania founded and developed the platform known as Swahili Fashion Week.

The Swahili Fashion Week logo is a graphic representation of the African continent in reverse, called the kipepeo (the Swahili name for a vibrant, colorful butterfly)
The crisp models lend a glossy air to the “Fashion is Business” and “Made in Africa” ideals. The representation of Africa is similar to the face of an African woman wearing her distinctive head wrap.

The wings represent the direction that is intended to bring the international market of the Eastern African fashion industry.
With an eye toward becoming the most sought-after and favored fashion venue in Africa for the global market, Swahili Fashion Week

Content courtesy of Swahili Fashion Week & NFH 

Dressing Sense: How To Dress Wisely For Personality Development

What we often say when meeting someone for the first time reveals a lot about who we are.
It’s important to present yourself professionally when you meet someone since “the first impression is your final impression.”
The way someone is dressed is the first thing we notice about them since it gives us a sense of who they are; even when presenting ourselves, our body language takes a backseat.
The crucial point is that your sense of style should reflect your personality because it has a significant impact on how your personality develops, even though that doesn’t imply you have to be fashionable.

A person’s sense of style, body language, and personality are all reflected in how they dress.
And the truth is that how we dress enhances both our physical and psychological attractiveness since beauty isn’t only about height, weight, or skin tone; it’s also about how you portray yourself to others.

The psychology behind dressing well

  • Being well-groomed enhances our personality and fosters relationships with like-minded others.
  • You may increase your self-confidence by dressing nicely, and people will notice this when they see you.
  • Always try to dress in something upscale and formal that makes you feel good about yourself.
  • It is a proven truth that dressing professionally improves your ability to concentrate, focus, and motivate yourself, whereas wearing casual attire can make you feel fatigued and distracted.

According to studies, dressing formally has an impact on our life, helps us feel more powerful, and encourages positive thinking.

How dressing sense plays a major role in an interview?
The way you present yourself communicates a lot about your status, personality, and identity. When someone sees an image of themselves, it is when they form their first impression.
When attending interviews, some people make the mistake of dressing too garishly or garishly, which creates a negative image. It is best to dress formally at all times. For men, it can be a suit jacket, tie, and shoes with rolled-down sleeves.
For ladies, the suitable attire is a dress, pants, or a saree blouse.
For women, it can be a dress, a pair of slacks, or a saree with a blouse, depending on what is appropriate. To avoid being overlooked, try to wear a few accessories.

Your personality will shine more when you are dressed more professionally, and choosing unprofessional attire will raise your chances of being rejected during the job interview.

One should dress as though they are already renowned or successful, as though they had the ideal dream job and generous pay because how one presents themselves will determine how others will see them. Being presentable throughout the interview makes the interviewee feel good about you.

Reasons you should dress well every day
Your personality can be found in the clothes you choose to wear on a daily basis whether you leave the house for work, school, an interview, or shopping.
People typically focus on how well-dressed you are and what your clothing says about your personality and what trends or fashion you should wear before they pay any attention to anything else about you.

  • A good impression of yourself positive thinking
  • Builds up confidence
  • Go with trend
  • It makes me feel productive to work
  • You look beautiful

Question and Answer Section!
How do the fashion choices of others affect us?

The same applies to others; when we see someone wearing something nice or appealing, we want to perceive that and harbor fantasies of dressing like them. When a new trend or style enters the market, we usually tend to mimic it or follow it. However, we must be careful to avoid letting others’ opinions shape us to the point where we lose sight of who we are as people.

My fashion taste differs from that of my friends and coworkers. Does this imply that my sense of style is poor?

Others will notice your sense of style and how you are seen by them. Being dressed differently from your friends or coworkers shouldn’t change who you are because you might have something that they don’t!

Your personality and confidence are boosted when you look well. And the important thing is to make an effort to be original and stylish in your own way.

How can I dress well while still being modest and simple?
Developing a “basic acceptable look” is the art of wearing it in a way that appeals to and affects others. Other times, dressing well only makes you appear adaptable and elegant. The most important element is high-quality clothing, which you can combine with straightforward accessories and a pattern in calming or vibrant hues to create a sophisticated look.

The only way to get attention is to look good?
It’s true that looking well enhances your personality, but this is not the sole standard by which you should be evaluated.
Some people dress simply, but it doesn’t mean they lack sophistication or riches; rather, it only reflects their preferences or level of comfort.

Conclusion
Everyone understands how important appearance and clothes are to every one of us.
Dressing up or dressing up doesn’t necessarily mean doing fashion things; rather, it refers to how it develops your individuality, character, and confidence in yourself and in what you wear.

People typically present themselves well in order to attract attention based on how they appear and to demonstrate their status, symbol, and class in society through their personality and sense of style. Because most of the time we are all focused on ourselves, how you are dressed matters more than what we imagined other people were thinking about you.
Every time we put on something, clothing creates a favorable association that we might use to overcome that challenge.

Photo: Ashok Sunny Tailored Limited

Content Courtesy of Social Dhara & NFH

 

Fashion Industry

The fashion industry is a multibillion-dollar global sector focused on the production and retail of clothing. Some analysts make a distinction between the garment industry, which creates “mass fashion,” and the fashion industry, which creates “high fashion,” but by the 1970s, these distinctions were becoming less clear.
The simplest definition of fashion is the type(s) of clothing and accessories that individuals or groups of individuals choose to wear at any particular period.
The high-end designer clothes displayed on Parisian or New York City catwalks may not look the same as the mass-produced sportswear and streetwear found in global markets and malls.

The design, production, distribution, marketing, retailing, advertising, and promotion of all kinds of clothing (for men, women, and children) are all included in the fashion industry, from the most exclusive and pricey haute couture (literally, “high sewing”) to regular, everyday items like lingerie and sweatpants.
The more general term “fashion industries” is occasionally used to describe a wide range of businesses and services that serve millions of customers worldwide.
The contemporary era is what gave rise to the fashion business. Before the middle of the 19th century, almost all clothing was produced specifically for each person, either at home or on-demand from dressmakers and tailors.

With the development of new technologies like the sewing machine, the rise of global capitalism, the growth of the factory system of production, and the proliferation of retail establishments like department stores, clothing had increasingly come to be mass-produced in standard sizes and sold at fixed prices by the beginning of the 20th century.

Although the fashion business originated in Europe and America, it has now become a worldwide, highly globalized sector. Clothes are frequently created in one nation, produced in another, and then sold in a third.
For instance, a U.S.-based fashion brand may purchase fabric from China, have the garments made in Vietnam, have the finishing touches added in Italy, and then have the finished products delivered to a U.S. warehouse for distribution to retail stores abroad.

One of the biggest jobs in the United States for a long time and it still is in the twenty-first century is the fashion sector.
However, employment significantly decreased as production shifted more and more overseas, particularly to China.
A global production estimate of textiles and clothing is difficult to find because data on the fashion industry are normally reported for national economies and expressed in terms of the industry’s numerous distinct segments.
However, it is undeniable that the industry represents a considerable portion of global economic activity by any standard.

There are four layers to the fashion industry: the manufacturing of raw materials, primarily fibers and textiles but also leather and fur; the creation of fashion goods by designers, manufacturers, contractors, and others; retail sales; and various forms of advertising and marketing.

These levels are made up of a variety of distinct but interconnected sectors, all of which are committed to meeting customer demand for garments while preserving the ability of industry players to make a profit.

Key sectors of the fashion industry

1. Textile Design and Production
Textiles are used to create the majority of clothing. One of the early successes of the Industrial Revolution in the 18th century was the partial automation of the spinning and weaving of wool, cotton, and other natural fibers. These procedures are now carried out by highly automated, quick machinery.
Fabrics used in clothing are produced by a sizable portion of the textile industry.
Both natural fibers (such as wool, cotton, silk, and linen) and synthetic fibers (like nylon, acrylic, and polyester) are employed. The usage of eco-friendly fibers like hemp has increased as a result of a growing interest in sustainable fashion, sometimes known as “eco-fashion.”

High-tech synthetic fabrics may drain away moisture (like Coolmax), resist stains (like 303 High Tech Fabric Guard), retain or release body heat, and offer protection from fire, weapons (like Kevlar), cold (like Thinsulate), ultraviolet radiation (like Solarweave), and other dangers. Through the use of dyes, weaving, printing, and other manufacturing and finishing techniques, fabrics can be created with a broad variety of effects.
To design fabrics with colors, textures, and other attributes that anticipate customer desire, textile makers collaborate with fashion forecasters well before the clothes production cycle.

2. Fashion Design and Manufacturing
Few fashion designers, such as Coco Chanel or Calvin Klein, who produce exceptional high-fashion collections, whether couture or prêt-à-porter (“ready-to-wear”), have historically achieved fame as “name” designers.
Contrary to popular assumption, these designers have a significant impact on defining fashion trends, but they do not impose new trends; instead, they work to create clothing that will appeal to consumers.
The vast majority of designers work anonymously for manufacturers as members of design teams, transforming current trends into clothes that can be sold to regular people.

Designers are influenced by a variety of things, such as active sportswear, street styles, and costumes from movies and television.

For the majority of designers, computer-assisted design processes have supplanted or replaced more traditional design procedures like drawing sketches on paper and drapeing fabric on mannequins.
These enable designers to quickly alter the silhouette, fabric, trimmings, and other aspects of a suggested design and give them the opportunity to instantly discuss the proposed modifications with colleagues, whether they are in the same room as them or on a different continent.
Only a tiny fraction of designers and producers create cutting-edge high-fashion clothing.
Even fewer (primarily in Paris) manufacture haute couture. Most manufacturers create affordable or moderately priced clothing.
Most businesses depend on independently owned manufacturing companies or contractors to make the clothing according to the fashion company’s standards, however other businesses employ their own production facilities for some or all of the manufacturing process.

Manufacturers in the women’s clothing industry often create a number of product lines (collections) each year, which they then supply to retailers at specific times of the year.
Even more regularly, certain “fast fashion” producers release new products. Planning a line and creating the designs involves the entire product development team.
To show samples to retail purchasers, the materials (fabric, linings, buttons, etc.) must be located, ordered, and procured.
The transformation of the clothing design into a pattern that comes in a variety of sizes is a crucial step in the garment-making process. Patterns can’t just be consistently scaled up or down from a basic template because the human body’s proportions change as weight fluctuates.

A traditionally highly skilled occupation, pattern creation. Despite advancements in computer programming in the early 21st century, it is challenging to alter larger designs for every figure.

No of the size, the fabric is cut into the parts that will be connected to construct a garment according to the pattern, which may be written on paper or programmed as a set of computer instructions. Fabric is cut using computer-guided knives or powerful lasers that can cut multiple layers of fabric at once for all but the most expensive clothes.

The assembling of the garment is the next step in the manufacturing process. The advent of computer-guided machinery and other technological advancements led to the automation of several garment assembly processes in this area as well.
Nevertheless, stitching is still a labor-intensive operation at its core.

This puts unstoppable pressure on apparel manufacturers to locate their operations in low-wage areas where there are frequent problems with workplace safety and labor exploitation.
Up until the Triangle shirtwaist factory fire of 1911, which led to increased unionization and regulation of the industry in the United States, New York City’s fashion industry was dominated by sweatshops that were situated on the Lower East Side.

Due to its low labor costs and highly organized workforce, China became the world’s largest producer of clothes in the late 20th century.

Clothes that have been assembled go through a variety of steps known as “finishing.” These include the addition of ornamental components (beading, embroidery), buttons and buttonholes, hooks and eyes, snaps, zippers, and other fasteners; hems and cuffs; and brand-name labels and other labels (often legally required) specifying the fiber content, washing instructions, and country of manufacture. Following pressing, finished items are packaged for shipping.

Following World War II, importing nations severely restricted the trade in textiles and clothing by imposing quotas and tariffs. Beginning in the 1980s, these protectionist restrictions that were eventually unsuccessful in halting the transfer of the textile and apparel industry from high-wage to low-wage nations were gradually dropped.

Under the regulatory auspices of the World Trade Organization and other international regulatory bodies, they were replaced by a free-trade strategy that acknowledged the competitive advantage of low-wage countries as well as the advantage provided to consumers in rich countries by the availability of highly affordable clothing.

Production may now be tightly correlated to market conditions even over vast distances thanks to the development of containerization and reasonably priced air freight.
For commercial and statistical purposes, underwear and other accessories like shoes and purses are typically not included in the garment business, but they are nonetheless strongly related to it.

Similar to clothing, accessories come in a variety of price points, from high-end luxury goods to low-cost mass-produced goods.
Similar to clothing manufacturing, accessory production frequently occurs in low-wage areas.
High-end accessory manufacturers, particularly those that make handbags, face intense competition from knockoffs, which are frequently made in the same factories as the original products using subpar materials.

The introduction of containerization and reasonably priced air freight also made it possible for production to be closely correlated with market conditions even over vast distances.
The production and distribution of accessories like shoes and handbags as well as underwear are closely related to the fashion industry, despite the fact that they are typically not included in the clothes industry for trade and statistical purposes.
Similar to clothing, a wide range of products are made for accessories, from high-end luxury goods to low-cost mass-produced items. Similar to the manufacturing of clothing, accessory production frequently occurs in low-paying contexts.
High-end accessory manufacturers, notably those who make handbags, face stiff competition from knockoffs, or fake products that are sometimes made in the same facilities as the real thing but with subpar components.

Despite being forbidden by a number of international agreements, the trade in these knockoff goods is challenging to regulate. Name-brand producers lose hundreds of millions of dollars in revenue every year as a result.

3. Fashion Retailing, Marketing, and Merchandising
After the clothing has been created and produced, it must be sold.
However, how will clothing travel from the maker to the consumer? Retail refers to the industry of purchasing clothing from producers and selling it to consumers.
Three to six months prior to the buyer being able to purchase the clothing in-store, retailers make first purchases for resale.
Fashion marketing is the act of controlling the flow of merchandise with the aim of maximizing a company’s sales and profitability, from the initial selection of designs to be made to the display of products to retail buyers.
The understanding consumer desire and responding with the relevant products are essential for successful fashion marketing.

Marketers inform designers and producers about the kind and quantity of things to be created through sales tracking data, media attention, focus groups, and other methods of gathering consumer preferences. Therefore, marketers are in charge of determining the target market for a fashion company and reacting to their preferences.

Both the wholesale and retail levels of the market are active. Companies that don’t retail their own goods must sell those goods to retailers like boutiques, department stores, and online sales companies at wholesale costs.

To find a good fit between the clients of the store and the items of the manufacturer, they use fashion shows, catalogs, and a sales force equipped with samples of the products.

For businesses that do offer their own items at retail, product compatibility with their own consumer base is of utmost importance to marketers. Marketing includes promotional efforts including print and other media advertising at both the wholesale and retail levels with the goal of building brand awareness and reputation for various traits like quality, affordability, or trendiness.

Merchandising, which aims to increase sales and profitability by persuading customers to buy a company’s items, is closely tied to marketing.

Selling the correct product, at the right price, at the appropriate time and location, to the right customers is the definition of merchandising as it is commonly used.

Thus, fashion merchandisers must rely on marketers’ knowledge of consumer preferences when making decisions about things like stocking appropriate merchandise in sufficient but not excessive quantities, offering items for sale at enticing but still profitable prices, and marking down overstocked items. By using store windows, in-store displays, and special promotional activities, merchandisers can present their products in an appealing and approachable way.

Merchandising experts must be able to swiftly acquire new stocks of the desired product in order to meet spikes in demand.

An automatic order for a given quantity of clothes of a specific sort and size to be delivered in a matter of days can be sent to a production facility in Shanghai by inventory-tracking computer software in a department shop in London, for instance.

Early in the twenty-first century, the Internet had grown to be a significant retail outlet, posing new problems (such as the inability of customers to try on clothing before buying it, the need for facilities designed to handle clothing returns and exchanges), as well as providing merchandisers with new opportunities (e.g., the ability to provide customers with shopping opportunities 24 hours per day, affording access to rural customers).

Merchandising has become one of the pillars of the contemporary fashion business in an era of expanding shopping options for consumers and fierce price competition among stores.

4. Fashion Shows
In addition to merchants (such as fashion buyers), media (such as fashion journalists), and direct customers, fashion designers and manufacturers also market their products to the media.
Paris couture houses started allowing their clientele to examine the newest looks privately as early as the late 19th century.
Starting in the first decade of the 20th century, department stores and couture companies both frequently staged fashion shows with top models. Ready-to-wear designers in other nations started staging fashion presentations in the same way as Parisian couturiers did, for an audience that included buyers, journalists, and private clientele.

Fashion shows played a bigger part in the introduction of new designs in the late 20th and early 21st centuries as they evolved into elaborate theatrical events conducted in larger settings with elevated runways (“catwalks”) specially built for the models.
Fashion shows had become a regular fixture of the fashion calendar by the early twenty-first century.

The official syndicate of couture designers, which consists of the most upscale and expensive fashion houses, hosts two couture shows a year in Paris (in January and July). These shows feature clothing that might be ordered by potential customers but are frequently intended to display the designers’ opinions on current fashion trends and brand image.
Shows of ready-to-wear clothing,

During spring and fall “Fashion Weeks,” of which the most significant take place in Paris, Milan, New York, and London, separate presentations of both men’s and women’s clothing are held. On the other hand, there are dozens of different fashion weeks worldwide, from Tokyo to So Paolo.

These events, which are far more significant commercially than the couture shows, are primarily targeted at buyers for department stores, wholesalers, and other significant markets as well as fashion journalists.
Fashion shows, which receive extensive media coverage, both reflect and push the direction of change in the industry.
Instantaneously broadcast images and recordings of fashion shows are used by mass-market manufacturers to create cheap clothing that is either a direct copy of or an inspiration for runway designs.

5. Media and Marketing
All forms of media are crucial to the marketing of fashion. In the latter half of the 18th century, specialized fashion publications first appeared in France and England.
Fashion periodicals like the French La Mode Illustrée, the British Lady’s Realm, and the American Godey’s Lady’s Book multiplied and thrived in the 19th century.

Fashion magazines, which publish articles, hand-colored illustrations (known as fashion plates), and advertisements, along with other innovations like the sewing machine, department stores, and ready-to-wear clothing made in standard sizes, contributed significantly to the modern era’s democratization of fashion.

Fashion photography and extensively illustrated fashion publications like Vogue grew in popularity as a result of the early 20th-century development of efficient and affordable techniques for reproducing photos in print media. Rapidly, magazine advertising took over as the fashion industry’s main marketing strategy.

People from all over the world can now watch fashion displays and copy the celebs’ styles thanks to the development of newsreels, short films of current events, and the growth of television.
The Internet era saw the dominance of visual media continue, with fashion blogs becoming a more significant channel for the dissemination of fashion news.

Celebrities get the chance to be photographed wearing designer clothing at red-carpet events like award ceremonies, giving the designers important publicity.

6. World Fashion
Today, the majority of people wear what can be called “global fashion,” a condensed and extremely affordable version of Western attire, frequently consisting of a T-shirt and pants or a skirt.
In addition, there are several smaller, more niche fashion sectors that serve certain national, regional, ethnic, or religious markets throughout the world.
The design, manufacture, and marketing of saris in India and boubous in Senegal are two examples.
On a smaller, regional basis, these industries coexist with the global fashion industry.

The widespread adoption of the hijab (religiously suitable attire) by Muslim women in the early twenty-first century, not only in the Middle East but also throughout the Islamic world, was a notable advance in the subject of ethnoreligious dress.

Veiling standards and fashions vary widely because there are millions of Muslim women living in different nations worldwide.

For some people, veiling entails a complete exclusion from the ups and downs of fashion. Other ladies, notably those for whom modest clothing is required in public, might put on chic European fashions under their more traditional street clothes.

Others have aimed for appearances that are stylish yet understated.
The market for modest clothing was expanding internationally at the start of the twenty-first century.
A growing number of suitable and fashionable styles were created by Muslim and non-Muslim designers, and a large number of fashion blogs and magazines specifically for Muslim women were made available.

As seen by efforts to create modest yet functional swimwear and sportswear for Muslims, certain designers and producers faced not just the aesthetics of modest apparel but also the practical issues involved with the conservative dress.

7. The Fashion System
The “fashion system,” which includes the business of fashion as well as the art and skill of it, as well as not only production but also consumption, is a bigger social and cultural phenomenon that includes the fashion industry.

In addition to the individual consumer who chooses, purchases, and wears clothing as well as the language and visuals that influence how customers think about fashion, the fashion designer is a significant factor.
All the elements involved in the entire process of fashion transformation are part of the fashion system. Some aspects of fashion, which involve variety for the sake of novelty, are inherent (e.g., when hemlines have been low for a while, they will rise).

Other elements are outside (e.g., major historical events such as wars, revolutions, economic booms or busts, and the feminist movement).
Individual trendsetters like Madonna and Diana, Princess of Wales, as well as changes in lifestyle like the introduction of new sports like skateboarding in the 1960s and music all, contribute to the development of trends (e.g., rock and roll, hip-hop).

Fashion is a complicated social phenomenon that involves a number of sometimes competing motivations, including the need to both express one’s individuality and to belong to a group, as well as the desire to both follow fashion icons and defy convention.
In order to satisfy any consumer’s desire to embrace or even to reject fashionability, however that term may be defined, the fashion business must be diversified and adaptable enough to do so.

Photo Credit Cynthia Kimathi
Content courtesy of Britannica & NFH

 

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