Sunday 31st of May 2026

Nairobi, Kenya

Africa’s Biggest Red Carpet (Asfas) To Return In 2021

The Abryanz Style & Fashion Awards (ASFAs), Africa’s biggest red carpet fashion awards have announced that the awards will not take place this year. This is the first time since its inception in 2013 that the event is pushed forward.

The Abryanz Style and Fashion Awards also known as the ASFAs are continental fashion awards presented annually in Uganda to recognize excellence and outstanding achievement in the fashion industry in Uganda and Africa. More than 2,000 people grace the event annually.

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Brian Ahumuza founder of the ASFAs states: “The Abryanz Style & Fashion Awards were started on the idea of people coming together to socialize, network and interact with one another, in the name of celebrating something we all love and support; Fashion. Our team did have a sit down, and we did weigh our options, in as far as embracing the new normal goes.

But we have never envisioned the ASFAs being a virtually produced show, as this ruins the idea and concept on which the ASFAs started. People coming together, in one room, with all the oomph, flair and glam is what has made the ASFAs what they are today. So, after much consideration, putting into account the safety of our fans and guests, and also the need to give you a show that will be as remarkable and unforgettable like the last 8 years, we have made the tough decision to postpone the event to 2021.

This year and the year to come will be maximized in planning, together with our partners at Talent Africa, to ensure that we deliver a show that will be the best you have ever experienced. To our loyal fans and the supporters of the ASFAS, we do apologize for any inconveniences this may cause, but you can be sure to experience the ASFAs like never before, come 2021! Thank you for your unwavering support in the last 8 years, and get those outfits and the flair ready.

Aly Allibhai from Talent Africa Group states “with the current health guidelines and ban of public events due to the pandemic it would have been impossible for the ASFAs to give our guests the same A-list red carpet fashion experience through an online or virtual experience, so we have decided to come back next year with a bigger and bolder experience”.

The team from the ASFAs wishes you a safe and happy festive season ahead.

Content courtesy of ASFAs & Nairobi fashion hub 

How can Private and Public Institutions Support Africa’s Growing Fashion Industry?

This is the topic that will be discussed during the virtual conference entitled “The Future of Fashion Industry in Africa”. It will be in the form of a series of thought-provoking panel discussions about the textiles and fashion industry in Africa. It is scheduled on Friday, 18th December 2020, from at 10:30 am to11:30 am (GMT-KIGALI).

Rcfs 2020 Webinar Speakers

Rwanda Cultural Fashion Show Webinar 2020 Register Here To Participate  or Send your registration via e-mail: info@rcfs.rw 

It is organized by the Rwanda Cultural Fashion Show known as the RCFS. This is a Rwandan company which had been working in the fashion industry about 8 years ago. The RCFS was founded in 2012 to promote fashion designers and create public awareness of the talent and quality designs in Africa.

Since the start, may Africans men and women have been promoted through the RCFS events. It assists in marketing, promotion and branding especially for the upcoming fashion designers who are starting small businesses in fashion. According to the examples from the RCFS’s 8 years’ experience, many brands from all over the continent had been established and some are now selling even on the international fashion markets.

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This is a magnificent step which shows that the Africa fashion industry had been achieving in a short time. For example, Africa has few fashion schools comparing to the countries where modern fashion is coming from like in the USA, India and Europe etc. But many Africans fashion designers had been invited to showcase in Western and Europe fashion weeks and this is a great full for the Africa fashion sector.

The journey of the fashion industry in Africa started about 20 years ago. It was the revolution of the textiles and fashion industry on the continent which the RCFS sees as an example for the Africans and friends of Africans to feel the pride from our various cultures in styling.

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According to the African Development Bank, demand for African textiles and garments is increasing globally, and African patterns are gaining international recognition as fashionable and iconic pieces, with international fashion houses now integrating more and more African influences in their latest collections. As President Zewde stated: “Globally, Africa’s cultural colours and clothing are increasingly being embraced.

Another example, there are several continental initiatives which are supporting the African fashion industry to develop and sell their products. The Fashionomics Africa initiative of the African Development Bank, together with the African Union, the AfroChampions initiative, and other institutional partners and private operators, launched the Pan-African Fashion initiative on 9 February during the recent AU meetings in Addis Ababa.

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Pan-African Fashion initiative is a platform for stakeholder engagement, dialogue, strategy and policies to advance the African fashion industry within the context of the African Continental Free Trade Area (AfCFTA), which aims to remove trade barriers between African nations and thus expand intra-Africa trade by about $35 billion per year. Intra-African imports and exports currently account for just 15% of all trade on the continent.

Content courtesy of Rwanda cultural Fashion show & Nairobi fashion hub 

African Inspired Ankara Prints Get Modern Makeover

HOUSTON, Texas – African-inspired prints are getting a modern makeover. Ankara, a fabric from West Africa, isn’t just considered cultural attire anymore it’s taking the spotlight on catwalks and red carpets across the world.

Onyii Brown, a Nigerian-born designer from Houston, has always admired the bold, bright colors of Ankara. She first started her brand, Onyii & Co., in her garage, turning vibrant African prints into figure-flattering wrap dresses, skirts, and jumpsuits. Since then, she has shown her colorful styles at New York Fashion Week and even received recognition from Martha Stewart.

Yetunde Olukoya, also from Nigeria, first started sewing designs for her label in her living room in Fulshear, Texas. Like Brown, she drew inspiration from her African heritage, fusing the traditional Ankara prints she loves into Western looks. Her brand, Ray Darten, is manufactured in Nigeria and supports educational and health initiatives in that country.

Localish went behind the scenes with these bold designers to see how they’re turning African-inspired prints into a global trend!

Content courtesy of ABC 7 NY & Nairobi fashion hub 

How This Black Icon Infused Fashion Line Found Success Amid Covid-19

‘We’ll continue to rise’: How this Black-icon-infused fashion line found success amid Covid-19

Johanne and Terrance Wilson, owners of COOL Creative, recently won Comcast’s RISE contest, which invited Black small business owners who were hit hardest by the pandemic the chance to win consulting, media services, or a technology makeover.

Models wearing COOL Creative apparel. Courtesy of Comcast.

Several years ago, Johanne and Terrance Wilson, of Hollywood, Florida, celebrated African-American icons in a meaningful way, by passing on their inspiring stories to their daughter, who was 6 years old at the time.

Terrance, an illustrator, brought influential Black figures from Martin Luther King and Maya Angelou to Notorious B.I.G. and Lauryn Hill to life through storytelling and sketching portraits. One day, Johanne had an epiphany these beautiful portraits created by her husband within the walls of their own home should be shared with the world. And so COOL Creative, a unique boutique that offers apparel and accessories with African-American icons displayed on them, was born.

COOL is an acronym for Create Out Of Love, because for the Wilsons, their brand design and digital agency isn’t just a business, it’s a family. The Wilsons worked hard to expand and lay the groundwork to open a brick-and-mortar store to sell their apparel in Little Haiti, a neighbourhood of Miami, Florida.

Models wearing COOL Creative apparel. Courtesy of Comcast.

Despite the strides the family took to grow their business, they recently experienced the major setbacks as a result of the coronavirus pandemic. After pouring countless resources into opening a store, they could not physically open due to lockdown orders and delays from manufacturers. Ironically, during a time when racial inequality and #BlackLivesMatter protests echoed in cities around the country, COOL Creative was also fighting for a lifeline.

The Wilsons are certainly not alone. African-Americans have been disproportionately impacted by Covid-19 from every angle, from systemic health inequities that put them at greater risk of the virus to the fact that Black-owned, small businesses are nearly twice as likely to shutter during the pandemic.

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A model in COOL Creative apparel. Courtesy of Comcast.

Between February and April 2020, the number of active Black-owned businesses declined by 41 percent, compared to 21 percent for the general population, according to the National Bureau of Economic Research.

Unwilling to back down from their dream, the Wilsons carried on. With the same tenacity and grit that Johanne once had as a young student applying for numerous grants and scholarships to finance her college education, she set out to find assistance that might help COOL Creative rise above the overwhelming pressures that came from the pandemic.

That’s when she found the Comcast RISE contest, which invites Black small business owners who were hit hardest by the pandemic to apply for a chance to win consulting, media services, creative production or a technology makeover. RISE targets the pioneers of legacy, the curators of culture, the family franchise and more.

Comcast RISE which stands for Representation, Investment, Strength and Empowerment stemmed from Comcast’s $100 million Diversity, Equity and Inclusion initiative that launched this past summer. The contest awarded COOL Creative with significant media services, including a commercial for 90 days and a recent appearance in November on “The Kelly Clarkson Show.”

“It’s more important than ever to stand with the Black community and amplify Black voices,” Clarkson said during her segment. The contest awarded several other Black small business owners, including LeDay Grant, owner of an ice cream shop that provides space for community engagement in Denver, and Alicia Goodwin, owner of Lingua Nigra Jewelry in Chicago.

“We’re really excited to take advantage of the promotion and to get a commercial for 90 days,” Wilson said. “Our goal is to drive people to the website and also to the store and make up for all the sales that we lost over these past months,” she added.

Terrance Wilson, co-owner of COOL Creative, at his store Little Haiti, a neighbourhood of Miami, Florida. Courtesy of Comcast.

Teresa Ward-Maupin, SVP for Digital and Customer Experience at Comcast Business, said that RISE came from a deep desire to help people on a more granular level and to recognize those who have been most impacted by Covid-19. “We set out to determine how we can make the biggest impact, not just during this moment in time but to help businesses recover and prosper for the long term. We set out to truly lift businesses up.”

While the first phase of RISE focused on Black small business owners, the contest is now accepting entries from BIPOC small business owners. In all, Comcast will award around 700 small businesses in need among various categories.

A model is COOL Creative apparel.Courtesy of Comcast.

“When the thought of losing COOL Creative hit us, we kicked into fight mode,” Wilson said. “During a time of racial inequality and protests, we need fashion lines like ours more than ever. It really speaks to the struggle and truly connects people,” she explained, adding that she hopes their Little Haiti store will be a space for people to engage and connect within the community.

“Our fashion speaks to a nation that has been hurting,” Wilson said. “We’ll continue to rise.”

Written By 

Content courtesy of NBC News & Nairobi fashion hub 

Nigerian Fashion Brand Imaatu Debuts ” Adire Tuntun ” Collection 2021

Vietnam based Nigerian fashion brand has lifted the veil on their fall/winter collection titled “Adire Tuntun”.
According to the elegant creative director, Omaatu, ‘Adire Tuntún’ which simply means “New Adire” births a dazzling array of ready to wear pieces and evening gowns, with striking emerald and shadowy patterns.

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Omaatu has a special place in her heart for African prints and African fashion which she fuses into modern style, like seen in this collection.

Highlighting the indigo-dyed pattern, originated in Nigeria, which is the primary drive of the collection, its her way of paying homage to the African culture, accentuating cross-cultural fashion.

The designer, Omatu, who believes her works should be more popular than her personality said that the dresses are comfortable and youthful yet very stylish.

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Imaatu, whose fashion brand is formerly known as Fulani, started her fashion works in Vietnam and launched in 2003.
The designer and creative director who prefers to be called by her first name, Omatu, celebrates women globally and empowers them through her creations to emphasize their feminine charms.

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Her designs radiates self-confidence through colorful fabrics, with great importance to unique cuts that do not limit the wear ability of each piece.

Content courtesy of New Telegraph & Nairobi fashion hub 

The Jw Show 2020 Edition Connecting Africa and The World Through Fabric and Design

The JW Show 2020 edition held last night at Nairobi Film Centre formally know as ( Nairobi Cinema ) was successfully event and one of the big show in East & Central Africa #MadeinKenyaByKenyans, the show had quite and inspirational panel for fashion designers and literally every young person who inspire future generation.

The show was limited to 300 attendees as per the state regulations on COVID-19 rules and was streamed live across all major social media platforms

The JW Show gave opportunity to  11 fashion designers from Nairobi with a mix of students and upcoming designers unlike last year when they went scouting for talent from the counties level.

Unlike the previous edition where showcasing designers were competing for a prize, this year show was one simple platform for unveiling  new talented participants. All collections on the runway come with face masks.

The organizer of the event added a panel discussion where they generated and share ideas on how they can support upcoming designers and keep them on their feet.

Once again the Jw Show, gave opportunity to persons living with disabilities in the fashion industry who have been left behind during this pandemic and they want to make sure their valuable input is seen and appreciated. 

This year the show was keen on the quality of the fabric employed in designs and creativity of the designers, each designer to showcase at least five collections.

Kenya Film Classification Board  ( KFCB ) has been partnering with the JW Fashion Show for three years in a row. The vast creative sector is the next frontier for wealth and job creation.

The Board is cognizant of the untapped potential in the creative industry thus commits to continue supporting ventures that seek to identify and nurture talent for job creation ~ CEO Ezekiel Mutua

The Jw Show signed a Memorandum of Understanding (MOU) and a partnership with Kenya Film Classification Board since last year 2019 where KFCB committed themselves to support Jw Show Made in Kenya By Kenyans

It’ been tough to persuade sponsors to come on board  because people’s finances have been affected by the pandemic. But we are very grateful to Kenya Film Classification Board (KFCB) for believing in us. ~ Jw Show Founder Jeffrey Wilson 

Organizers of Jw Show were planning on bringing in three designers from Rwanda, Nigeria and South Africa, but the pandemic came in the way of it. and the plan has been pushed to next year were we will see international designers showcasing at The JW Show 2021 edition.

Photo credit : Mesmeric Kenya

Content courtesy of Nairobi Fashion Hub 

 

The Folklore

The Folklore is a New York City-based multi-brand online concept store and wholesale showroom that allows U.S. based and international customers to easily shop exclusive styles from Africa and the diaspora’s top luxury and emerging fashion brands.

Shop clothing, accessories, shoes, jewelry, bags, hats, and homewares from top contemporary fashion brands including Andrea Iyamah, MaXhosa, Loza Maléombho, Orange Culture, Simon and Mary, and Pichulik.

Exclusivity and sustainability is key for The Folklore. Each season The Folklore carries very limited stock of each luxury item. The carefully curated high-end product-line reflects the diversity of Africa’s contemporary urban landscapes, minimalist design aesthetic, and artistic vibrancy.

Most of the fashion, accessories, and homewares available were handmade by local artisans based in South Africa, Nigeria, Ghana, Morocco, and Cote D’Ivoire.

In addition to operating as an online concept store, The Folklore also provides wholesale services to African designer brands interested in penetrating the global retail market. Our wide range of services help brands reach new audiences and significantly enhance profits. The Folklore works as an intermediary to facilitate positive and rewarding wholesale business relationships between brands and retailers.

The combination of goods and services provided by The Folklore helps enhance the visibility and financial success of Africa’s garment industry while exposing a global customer base to exclusive designers and styles, some of which were previously unavailable to shop online or outside of Africa until now.

Content courtesy of The Folklore & Nairobi fashion hub 

Ivorian startup, Afrikrea is building the online infrastructure for African culture commerce

Growing up in Mali, Moulaye Taboure was passionate about art and fashion. His studies took him to France, where he noticed that the people there took particular interest in buying art and fashion depicting African culture.

This wasn’t just in France; it was in many parts of Europe.

In 2010 while Taboure was working at PricewaterhouseCoopers (PwC) as the senior IT auditor and later in 2013 as the internal audit manager at Alstrom, Mali started having issues with tourism; the country was closing up to tourists.

In turn, artisans and designers began to struggle, turning to other jobs outside craftsmanship to survive.

Taboure says this led to him to brainstorm on how best to help these African designers sell their products.

In the meantime, a different group of designers began to gain international recognition from names like Burberry and IKEA fabrics because of their brand of Western aesthetics with African fabrics.

These two separate events and studying the success of models like US-based eCommerce platform, Etsy, led Taboure to enlist the help of his long-time friend, Kadry Diallo in 2014.

Driven by his disgust that the average craftsman didn’t get enough pay or recognition for their work, they began a side project called Afrikrea to make these businesses sustainable.

But the idea underwent iteration as further consumer studies showed that they needed to break the niche and include anyone making Africa-inspired art, fashion, or beauty.

This time, however, they would help African designers sell their products outside the continent.

“People could make DIY products in the US and sell them for billions of dollars on Etsy. It didn’t make sense that we couldn’t make something similar for African creatives recognised all over the world,” Taboure says to Techpoint Africa.

According to Statista, Africa’s eCommerce opportunity is estimated to be around $19.8 billion. McKinsey & Company, on the other hand, says that by 2025, the local manufacturing industry will grow to more than $900 billion.

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While this shows signs of promise for African online retailers to pursue a global push for Africa’s fashion industry, issues have come up to stifle collective progress.

For one, cross-border shipping and handling, and marketing are barriers to African fashion designers reaching global demand actively.

Similarly, difficulties arising from accepting online payments from platforms like Shopify exist. As with other eCommerce platforms, Shopify encourages African online retailers but does not build its platform to cater to their specific needs like payments.

Afrikrea: Tailored to the needs of African designers and global buyers

These were the problems Kadry and Taboure sought to solve with Afrikrea.

Quitting their jobs to work on the project full-time, Afrikrea officially launched in 2016 when Luc B. Perussault Diallo joined them to become Co-founder and CTO.

Based in Abidjan, the capital city of Ivory Coast, Afrikrea’s mission is to enable African designers to create storefronts, receive payments from customers globally, and lower shipping costs for delivery.

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Taboure tells us that Afrikrea can offer lower shipping costs because of its partnership with DHL. He further claims that shipping up to 2kg from Nigeria to the UK, for instance, costs less than $20 (₦10k).

In the past few years, DHL has been actively involved in Africa’s growing eCommerce space. It launched DHL Africa eShop, an eCommerce platform present in 34 African countries, in 2019, and a year later, inked a deal with Link Commerce which saw the logistics giant acquire a minority stake in the UK-based turnkey eCommerce firm.

Designers on the platform are not required to pay to sell at first. However, after an initial sale, they begin to pay $10/month.

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There’s the question of whether these designers will make as much as they pay to use the platform. But Taboure addresses that, saying the pricing is perfect for those who need the service.

“It’s pretty simple. We cost the same thing as a Spotify subscription and half the price of a Shopify one. Anyone serious about exporting and doing their business online will find our price not only affordable but very complete.”

Taboure says Afrikrea charges between 5% and 8% in commission on further sales made through the platform.

And to establish trust between buyer and seller, Afrikrea has a wallet feature. This means that when a buyer pays for a product, the seller doesn’t get the money until the buyer receives and rates the product based on their level of satisfaction. Moulaye claims Afrikrea guarantees a full refund to unsatisfied buyers as soon as possible.

“I think this is a big influence for someone buying globally without seeing the vendor or the product. Our value offering is to make the infrastructure so people can have trust to know when they sell, they’ll be paid; trust to know that when they buy, they’ll receive what they’ve bought.”

Taboure also adds that via the integration of multiple payments solutions in its wallet infrastructure, Afrikrea can pay designers in the 50 countries Afrikrea is currently present in.

In total, Afrikrea’s global infrastructure of African culture eCommerce spans 150 countries, including the US, UK, and most parts of Europe.

Pursuing African and global growth

Afrikrea’s marketplace also enables efficient exchanges between buyers and sellers before, during, and after an order through its messaging system, which Taboure says records over 30,000 messages a month.

Having made tremendous progress, the startup began to gain recognition when it was one of ten finalists at the Jack Ma Foundation Africa Netpreneur Prize Initiative 2019.

Although it lost out on the top three prizes of $250k, $150k, and $100k that went to LifeBank, Nawah-Scientific, and Water Access Rwanda respectively, the $65k Afrikrea took home was a huge validation of its platform.

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Further monetary validation would come in February 2020 when the Ivory Coast-based startup raised $1m.  The Africa-focused VC fund, Saviu.vc, led the round. Id4 Ventures, a European-based angel fund and Showroomprive, France’s second-largest fashion and beauty e-commerce platform, also participated.

Despite the investment, Moulaye is quick to add that so far, Afrikrea has also been running also on revenue. In the last 18 months, this amounts to a little over $2 million.

The goal is to achieve profitability in 2021 while doubling its revenue and sustaining most of its costs.

Traction is another area where the startup has fared well too. When we reported its fundraise ten months ago, Afrikrea had processed $5 million in sales across more than 6,000 shops in 101 countries.

Now, the numbers stand at $7 million in transactions from across 7,000 sellers in 150 countries. Taboure adds that 40% of the buyers are in Europe, while 30% make their purchases from the US.

A case for minority innovation and recognition 

Taboure recalls that when Afrikrea started, the team realised its first group of African designers did not trust themselves.

According to him, most of them didn’t believe that being with other designers was going to help them grow individually.

“They were afraid of competition and didn’t realise, until now, the effectiveness of the community, in terms of cross-selling, as two-thirds of purchases made on our platform are done to more than one seller at a time.”

Also, some services individual designers enjoy only exist because they are all on the platform. For instance, the DHL deal was only possible because Afrikrea promised to aggregate volume en masse.

Driving home his point about the success of the partnership, Moulaye says that in a recent encounter with DHL, the logistics company told him that Afrikrea was living up to its expectations and outperforming competitors in volume.

“They told us that we were the only company that moved from 150 shipments a month last year to nearly 10,000 this month within one year,” he says enthusiastically.

With a successful partnership and thriving business in place for more growth, the CEO sees Afrikrea dealing with products outside African fashion.

“We want to be the number one export partner for anyone who wants to transact between Africa and the world,” he says. However, Taboure doesn’t want to forget why Afrikrea started in the first place.

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“We want to make sure that people in Africa can realise how valuable their cultures, talents, and business can be. And that is important for everyone that has the will to sell properly,” he adds.

This includes women who account for 90% of the platform’s sellers. That’s a large number to keep in mind because women are generally underestimated in terms of talent and what they’re able to make of it.

Similarly, Francophone Africa is considered a minority in the African tech space. Often looked at as second-best to Anglophone Africa, the region has fewer technological innovations and startups.

“Looking at the well of startups in Africa, I feel like we’re almost despised and ignored by pretty much everyone in Africa,” he laughs. “It feels like there’s only Kenya, Nigeria, and South Africa in Africa. And that’s kind of insulting when we see that we’re able to create big businesses like the others,” he says on the matter.

Despite the consensus, Taboure believes the Francophone African tech space and startups shouldn’t be ignored. His take is straightforward: Francophone African countries can innovate and deliver globally, just like any other country in Africa.

Content courtesy of Tech Point Africa & Nairobi fashion hub 

 

Arise Fashion Week 2020 Unveils ‘30 under 30’ Designers Vying for $500,000

Africa’s premier fashion show, the ARISE Fashion Week, is set to deliver one of its most exciting line-ups to date, with the unveiling of the ‘30 under 30’ fashion designers who will be competing for $500,000 in prize money.

The list which includes designers from not only Nigeria but other parts of Africa and Europe, boasts fresh talent alongside some acclaimed international names in fashion.

Known for breaking records, ARISE Fashion Week has raised the ante even further by celebrating a new brand of designers – ‘30 under 30’ with a cash prize of $500,000 to be shared amongst the winners.

The weeklong virtual event is first of its kind on the African continent and is an avenue to unveil new stars in the global fashion industry.

According to co-producer Arise Fashion Week, Ruth Osime, “We look forward to this experience and feel truly honoured to play a role in turning the dreams these designers into reality.”

Following on from the successes of previous events, the Arise Fashion Week 2020 promises to be an exciting experience, with its prestigious location – the Lakowe Beach and Golf Resort, Lagos – just one of the markers to a one-of-a-kind event.

The weeklong event will be held from December 5-12, 2020, with live shows available to a global audience from the 9th to the 12th.

The virtual show will be broadcast to a worldwide audience on the new ARISE PLAY streaming service and other ARISE and THISDAY digital platforms which include an array of social media channels.

Among the list of the 30 selected designers drawn from across the world in alphabetical order are: Bibi, Bloke, Boyedoe, Clan, Colrs, Dna By Iconic Invanity, Elfreda Dali, Fruche And Geto.

Others include; Ilham.g_ng, Jawara Alleyne, Kenneth Ize, Kiko Romeo, Ladunni Lambo, Lagos Space Programme, Mazelle Studio, Moon By Me, Mmuso Maswell, Muyishime, Onalaja And Pepper Row.

Completing the line-up of precocious talents are Re Lagos, T.i. Nathan, Tjwho , Tzar Studios, Vicnate, Weiz Dhurm Franklyn, Wuman, And Ziva Lagos.

For more information and enquiries on the latest edition of Afirca’s biggest and most enthralling fashion show, log on to www.arisefashionweek.world and follow on Instagram: @arisefashionweek and @thisdaystyle

You can also contact Konye Nwabogor , Editor thisdaystyle.ng at konye.nwabogor@thisdaylive.com; Bolaji Animashuan, Line Producer, ARISE Fashion Week at bolaji@arisefashionweek.world and Sakina Renneye, Line Producer, ARISE PLAY at sakina@arisefashionweek.world

Content courtesy of ARISE Tv & Nairobi fashion hub

Buki Ade is a Nigerian American fashion designer , CEO and Founder of BFyne

Buki Ade is a Nigerian American fashion designer. By utilizing culturally inclusive designs, she has transformed and revolutionized the swimsuit industry. Born and raised in Nigeria, Buki’s family emigrated from Nigeria to the US when she was 8 years old. As the first born of a traditional Nigerian family, Ms. Ade was expected to study medicine and take care of her family with a “guaranteed” income. In fact, she dutifully obliged by enrolling in nursing school. Ultimately, she decided to explore her own creative path.

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Growing up, Ms. Ade had ample opportunity to express creativity in her attire. It is common in the Nigerian community to have custom outfits made for special occasions and Ms. Ade never failed to push the limits of modern fashion. Even in her teenage years, she didn’t shy away from putting her unique style on everything she wore.

Those closest to her could tell you of the many ways she embodied all the makings of a designer at a young age. From distressing jeans, to reconstructing clothing and shoes  Ms. Ade’s innate flair for fashion was undeniable. Receiving her first sketchbook at 12, she became fully aware of her passion for design at 13.

As a young girl, Ms. Ade recalls learning the basics of sewing by watching her grandmother sew for hours.

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It could even be said it was in her blood as she often gives credence to her two fashion designer aunts she endearingly refers to as her “superheroes”.

While on vacation one day, Ms. Ade was frustrated by the lack of diversity in the design of the swimsuits. None of the options spoke to the Afrocentric exceptionality she desired to present. This, she attributed to the lack of diversity – more specifically the lack of African designers in the industry. Ms. Ade stepped in as a solution to this problem with the debut of her first collection in 2013.

Prior to the release of Asante (BFyne’s first Ghanaian kente print swimsuit), Ms. Ade refrained from using prints. When Ms. Ade and her team decided to push the envelope with that swimsuit, they had no idea the transformative effects it would have on the brand. From there, BFyne released the Sahara collection in 2017.

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This internet-stopping collection featured swimsuits with traditional dashiki prints. BFyne debuted swimsuit construction the industry had never seen before. The swimsuits were styled to perfection. As if kissed by Midas, models posed dripping in gold jewelry and accessories  a vibe Ms. Ade passionately weaves into the entire BFyne aesthetic.

In January 2019, their flagship store was opened in Miami, Florida. To date, she’s designed patterns and swimsuits for over 10 collections, and it doesn’t stop there. Ms. Ade has plans to release her first ready-to-wear collection! This fall, you’ll see clothing from the design style that changed the swimsuit industry forever.

THE BRAND

BFyne is a contemporary swim and resort-wear brand. Every hand-sewn garment has been conceptualized for the fiercely fashion-forward, cultural aficionado you are. BFyne designs are for the risk-taking woman in protest of the fashion status quo.

Highly regarded for enchanting designs and alluring hues, BFyne swimsuits emphasize your curves with intention. The BFyne experience is meant to leave you inspired and empowered. Audiences will be smitten by your embodiment of uninhibited sex appeal and poise.

Body positivity is a foundational principle at BFyne. You will always see models of varying shapes, sizes and ethnicities strut down the catwalk. This, coupled with stand-out designs, it’s no wonder BFyne shut down Miami Swim Week in July 2019. BFyne has also showcased collections in NY Fashion Week, Cayman Island Fashion Show and the Elite Fashion Show.

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BFyne’s list of patrons remains star-studded with fashion icons such as Beyoncé, Iman, Alicia Keys, Eva Marcille, Taraji P Henson, Jordan Dunn and Rosci Diaz – to a name a few. You may have even spotted BFyne on the tube. Looks from the brand have been featured in the movie Pacific Rim as well as music videos from Tiwa Savage (often referred to as the Beyoncé of Africa), Grammy-nominated artists Jidenna, Flo Rida, Tinashe, and X-Factor stars Fifth Harmony!

The brand boasts of a 400k+ following and articles in fashion publications like Essence, Vogue, Harper’s Bazaar, the Fader, Allure, Glamour, Popsugar, Huffington Post, CFDA, Sports Illustrated and many others.

THE DESIGN

Perfection is the goal. BFyne’s designs are the result of a painstaking research process. Every pattern, print and snip have been meticulously thought out to ensure a fun, functional and flattering experience for you.

These garments intentionally lift key areas and accentuate the most essential curves of your body. Quality and style are prioritized. Rigorous screening and testing processes permit an elevated swimwear experience.

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Textile prints are inspired from Designer, Buki Ade’s passion for life and cultural experiences. As a Nigerian American, she is able to merge the richness of West African influences with the portraits that comprise scenes of her everyday functions. Africa – its sunrises, fabrics and agricultural silhouettes will forever give way to new BFyne Designs.

Content courtesy of Bfyne & Nairobi fashion hub 

The changing face of Ugandan fashion Industry 

Ugandan top fashion designer Gloria Wavamunno is calling on her colleagues to tailor their businesses according to the local market.

Uganda’s fashion industry is characterised by struggling ventures, semi-professional small-scale production, and lack of infrastructure, institutions and government support.

And now the challenges have been exacerbated by the effects of the Covid-19 pandemic, Wavamunno, who is the CEO and founder of Kampala Fashion Week, also suggests recycling second-hand clothes and collaboration among the stakeholders in order to survive in the current health crisis.

“It is time for designers to think locally, and that their businesses do not have to be the same as international business models. In our creative industry, you have to see the clients because we are still more into tailoring than mass producing for shops,” the 35-year-old fashionista says.

“So how do you keep yourself and your customer safe? How do you reduce your production costs? I know people look at second-hand clothes negatively, but they can be a boundless source of materials if you look at it in a different way. It can be where you find your zippers, buttons or re-purpose clothing and fabrics.”

People want to be cost-efficient but the Covid-19 pandemic issues may push up costs,” she said. “When everything opens up people are going to double charge because they want to make their money back.

“Creatives also need to put their minds together. I am a founding board member of the Fashion Council Uganda and we are trying to connect designers together. Through the Kampala Fashion Week, I have reached out to many designers. Now it is about bringing designers together and helping each other.”

Wavamunno advises her counterparts to concentrate on the African market.

“I believe in the business module of functioning locally to expand globally. Expanding globally does not necessarily mean that you have to travel to Western countries. Globally is just as well the African continent. You can source your things to Kenya, Rwanda, Nigeria, South Africa or Congo, among others.”

Early influences

Born in England and raised alternately between London and Kampala, Wavamunno studied at the Kampala International School in Uganda.

Wavamunno says she was influenced into a life revolving around art by her mother, aunties and art teacher.

“My character when I was younger was more introverted, a bit of a loner. I was drawn to art through artistic expression, whether dance, painting, singing or things instrumental like playing piano. These are things that caught my attention.”

“And my mother was into tailoring with her sisters, which they still are, and now more into design. So, I learnt to tailor my own pieces. I was cutting, stitching here and pinning there. I was expressing art in so many forms,” she adds.

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“My art teacher in boarding school, Mr Smalley, saw me sketching. My form of sketching was still life. I loved to do portraits, body forms that evolved into outfits.

Smalley noticed that I liked sketching a lot of clothes. And art to me was an expression of how you dressed. Being shy, I found my best way of self-expression through how I dressed.

“It was after my teacher pushed me that my eyes were opened to the world of fashion. In Uganda, the tailoring industry existed in the past and not really the fashion industry in a global setting. But today we have many fashion designers,” Wavamunno told The EastAfrican.

She holds a fashion, design and marketing degree from the American Intercontinental University in London, UK.

Wavamunno interned at Ghanaian British men’s designer Oswald Boateng. She has worked for various retail stores and magazines such as Flare, New African Women and Arise.

Growing brand

After studying and working in the UK, Wavamunno returned to Uganda in 2009 and launched her ready-to-wear brand GloRia WavaMunno.

Her brand draws inspiration from her Ugandan culture and heritage, experiences and environment.

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“I have showcased in Rwanda, Bujumbura in Burundi, Nairobi in Kenya, Lagos in Nigeria, Johannesburg in South Africa, and the UK. Each country has such a different structure, audience and energy. So, they were all amazing experiences because they further educated and inspired me to find my voice and direction,” Wavamunno says.

Her clothes are sold in the US, Kenya and Uganda. “At the beginning of my career, it was more of the global audience that was purchasing my pieces. Now I have more African clients, from ready-to-wear as well as tailoring.

“I am trying to create art pieces that mean something and have sentimental depth narratives that are long lasting, reusable, versatile in their usage, changeable and bold. I make people feel the best they can feel,” she adds.

She has designed for Nokia Face of Africa and her works have been collected by museums in America and Europe.

“I have also had my pieces in museums. I did a barkcloth jacket years ago for a museum in Texas, US. I am interested in the importance of barkcloth and how we can utilise it in clothing here in Uganda. I also have pieces showcasing in museums in Switzerland and Germany,” Wavamunno said.

“I find museums as places that let you to express to a western audience that is sometimes very naive or ignorant about African culture. They [in the West] only have their own version that they receive and display. It is good as an African being able to educate them in their own spaces. Sometimes they will educate themselves, but if you are there you have to say this is my fact, this is my truth, and this is my experience being of this background.”

When asked what inspires her fashion designs, Wavamunno said: “I am not really into the one-off pieces that you can wear multiple times. I like clothes that you can live in.

“I also got deeper into understanding my heritage, ancestors and background. I wanted to incorporate my culture as an African, as a Ugandan, and as a multi-tribal individual.

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My dad is a product of two tribes and my mum is of mixed-race heritage. I give the wearer their own identity, and they turn my pieces into their own story.”

Content courtesy of The East African & Nairobi fashion hub

Top 10 Fashion brands from Africa and the African Diaspora that are enriching the fashion industry

In the wake of fashion’s racial reckoning, Farfetch, the e-commerce platform that merges more than 700 boutiques from 50-plus countries into one global marketplace, debuts its partnership with The Folklore, a New York–based online retailer of brands from Africa and the African diaspora.

“We are excited to welcome The Folklore to the Farfetch platform,” Holli Rogers, chief brand officer of Farfetch, tells BAZAAR.com. “We are committed to improving the representation of Black-owned businesses on Farfetch.com and are thrilled to provide increased global exposure to 10 new designers from Africa and the diaspora, opening doors to fashion and fashion lovers everywhere.”

The chosen designers are Nigeria-based brands Andrea Iyamah, Clan, Fruché, Lisa Folawiyo, Onalaja, Orange Culture, and Tokyo James; and New York–based labels William Okpo, EDAS, and Third Crown. Although they might not yet have global name recognition, all have distinct points of view and offer forward-thinking collections that enrich the fashion industry.

Since launching The Folklore in 2017, Amira Rasool, a lifestyle writer and entrepreneur, has been promoting Black-owned luxury labels that, for too long, have not gotten the global recognition they deserve. Now, with the resources and exposure that Farfetch provides, she is hopeful that they will soon become household names.

“A partnership like the one we have cultivated with Farfetch can truly be a career-defining moment for some of our designers,” Rasool says. “Being able to have designers from Africa and the diaspora on a platform as big as Farfetch is a huge thing in terms of visibility. Seeing Orange Culture or Onalaja sold next to Alexander McQueen or Gucci helps condition consumers and retail buyers to recognise that these brands are in fact luxury.”

Ahead of the launch, BAZAAR.com asks the founders of each brand to give us insight into their creative process and the diverse stories they hope to tell with their designs.

1. Adebayo Oke-Lawal, Orange Culture

Orange Culture references a story I wrote for a class about the orange boy. It details his experiences of toxic masculinity. I saw the colour orange as an alternative to more typical masculine shades like red or blue. I grew up very different to most boys.

I went to an all-boys school, a very hyper-masculine all-boys school, and I was very tiny and I had big glasses. People would say, “Talk louder, talk like a man,” and, “Do this, do that.” There was always aggravation towards me just because of the way I presented myself. I was bullied a lot.

The orange boy was an individual. He was unique, he didn’t really fit in, but he celebrated his difference in spite of this. It was about saying that whatever society had called me to be wasn’t who I wanted to be, and that’s fine. There wasn’t only one type of man. There wasn’t only one yardstick to measure a man’s masculinity. There were various ways you could be a man. I could be a man, at that time, in a pink suit and I wouldn’t be thought of as less than.

That was the narrative behind the orange in Orange Culture a culture that represents accepting individual expressions of self without limitations. Orange Culture is a brand that fights for individuality and celebrates a new age of liberation. Our brand in entirety is a mixed celebration, conversation, and confrontation of Nigerian culture from our silhouettes to our prints to our vibrant colours and stories. Our supply chain in itself is a celebration of Nigerian culture.

2. Kanyinsola Onalaja, Onalaja

I would describe Onalaja as a contemporary womenswear brand that experiments with demi-couture elements. Onalaja represents an imaginative concept of culture, heritage, luxury, and a contemporary appreciation of beauty through its highly crafted pieces that explore texture clashes, a play on proportions, colour, and textile manipulation.

An underlying concept within all pieces always remains, “Our heritage reimagined: the Africa we don’t see.” Reimagining heritage and the language of tradition is an aspect key to the DNA of the brand, which is brought to life with traditional craft techniques and collaborations with local artisans who create stories with their hands. Every piece gets the attention befitting of the discerning wearer, a cosmopolitan woman with an appreciation for intricately made items.

3. Teni, Aba, and Tiwa Sagoe, Clan

Clan is a premium ready-to-wear brand established in 2011 in Lagos, Nigeria. The name Clan stands for our ability to engage with communities far and near. Clan uplifts women through the expression of dress, strongly communicating power and confidence.

As such, our clothing is typically categorised by triangles, which represent female energy and strength. We are dedicated to providing the modern-day woman with versatile staples that feature a contemporary, hard-t0-miss edge.

4. Tokyo James

In one word, Tokyo James can be described as an intersection. It’s a brand where many worlds meet, where Africa meets Europe, where simplicity meets complexity. It’s a world where people come to find commonality in what their differences are.

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5. Kristin and Kofi Essel, Third Crown

Our brand, Third Crown, is a contemporary jewellery brand. We make bold and genderless pieces that are everyday. From an everyday look to an evening look, our brand represents unity, love, and powerfulness.

6. Andrea Iyamah

My brand is inspired by a cultural story. It is born and bred in Nigeria by a Nigerian who grew up in the country and was brought up by parents who were exposed to traveling.

They believed that travel was a form of education. This is the basis of the brand, giving people that experience through fabric and texture; looking at the culture and appreciating everything that it has to offer aesthetically, while also understanding the nuances in the pieces.

7. Lisa Folawiyo

We are a global womenswear brand based in Nigeria. Our signatures are detailed and intricate hand craftsmanship by local artisans, the play on colour and textures, and designing custom prints alongside the manipulation of local and traditional fabric applications.

Our brand continues to have an edge with its very cool and refined design aesthetic a distinct, strong, and forward-thinking point of view. Every collection is designed and manufactured in Nigeria, and through these collections, we are able to tell our authentic African story as we connect with people all over the world.

8. Sade Mims, EDAS

We are an accessories brand based in Brooklyn. I identify as a multidisciplinary artist who does various mediums. I love working with my hands and being explorative with my artistry and storytelling. I love incorporating culture, fashion, and style all the things that I really love with designing and being an artist.

My dream, and my goal, for EDAS is to continuously grow and tell stories that are important. I dream of making it a house, where we dive into the art realm with paintings, shoes, housewares, and furniture. EDAS is rooted in ethics, sustainability, consciousness, storytelling, and community building.

9. Frank Aghuno, Fruché

Fruché is a contemporary Nigerian brand. We like to infuse modern contemporary design with our traditional Nigerian artisanal techniques. We use different applications and dying techniques.

We are a very radical and progressive brand. We like to tell stories of culture and progressive stories of our culture, which I mix with my personal life. Each collection is like a page in a diary of my life.

10. William Okpo

Darlene and Lizzy Okpo named their brand after their stylish Nigerian father, who immigrated to New York in 1976 with just $80 in his pocket. The label launched with womenswear, but has recently expanded into beauty. Expect vibrant colours, exaggerated silhouettes and buckets of playfulness.

Content courtesy of Harper Bazaar & Nairobi fashion hub 

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