Monday 11th of May 2026

Nairobi, Kenya

Tag: Fashion House

Ikojn Kenyan Fashion Designer: Fashionistas Congregate at the Social House for an Event With Ikojn and Couture Africa

Posted on by Ann Mumbi

The Kenyan Fashion Brands Redefining Style And Glamour, Ikojn, and Couture Africa, two additional fashion and lifestyle brands, gathered together Kenyan fashion enthusiasts and supporters on Sunday, May 7th, 2023, at The Social House. EABL, who provided some cocktail service and had some chic bars, also sponsored the event and contributed to its gloss and glam.

We also got to witness a blown-up replica of the impending “comeback” print issue of Couture Africa Magazine. Ikojn, who are now selling at the hotel, had their creations on show.

We’ve taken a long break from publishing during and after the COVID-19 Pandemic, so we’re happy to be back. I think there’s still a place for print in the East African market, especially for specialized magazines, and this collaboration with IKOJN is a great opportunity to reenter the market. Founder and Chief Editor Olive Gachara made a point.
The Social House will still host the pop-up, which will stock limited-edition selections that are exclusively available there.

IKOJN, which was founded in 2015, is the perfect embodiment of seductive femininity and ladylike strength. The company’s mission is to build the continent and its fashion sector while teaching the world about cultural tales via design in the form of flawless tailoring and excellent construction.

Fashion and beauty entrepreneurs, celebrities, members of the media, content creators, and influencers from all walks of life mingled while they snacked, drank, and shopped in the Social House garden and the nearby event space, which had been converted to be worthy of the fashion content.

The chance to interact with the businesses, learn more about their vision and mission, and keep up with their most recent developments was fantastic for the guests.

The ninth issue of Couture Africa Magazine, which is currently distributed throughout East Africa, will be available in June both in print and online through the Issuu Digital Magazine Newsstand. The platform also manages the website: mycouture.africa, which hosts online content, and they just created the YouTube channel COUTURE Africa TV.

In addition, the group organizes fashion shows including the Couture Style Awards.

Content courtesy of Couture Africa, Ikojn & NFH

Nairobi Brings Fashion and Art Together: Nairobi Fashion Week And Chez Sonia Collaborate To Host A One-of-a-kind Afternoon Event On April 21st.

Posted on by Oscar Alochi

On April 21st, 2023, Nairobi Fashion Week sponsored a one-of-a-kind afternoon event that blended the worlds of fashion and art while presenting the “JUST fashion” campaign at Chez Sonia.
This event promised to be a feast for the senses and delivered, with spectacular visual art displays from Little Art Gallery, live music, and a fashion show featuring five selected designers, Deepa Dosaja, Inna Design, Kenya Nashipai Leather, Normand Ayats, and Maisha.

Nisria brought together outstanding artists and designers to create an extraordinary day of creativity and beauty.

The event also included a panel discussion on sustainable fashion moderated by media personality Yvonne Ndege, with Katrin Aidnell, the Regional Environment and Climate Change Specialist, Betterman Simidi, the General Manager of Africa Collect Textiles, and Deepa Dosaja, a pioneer in a sustainable fashion.
The conversation centered on the necessity for a fair and environmentally friendly transformation of the country’s fashion industry.

The Nairobi Fashion Week campaign “JUST fashion,” the ultimate aim of which is to support the country’s fashion sector in its JUST, i.e. environmentally sustainable and socially equitable, transition feature’s four advocacy and promotional areas throughout 2023,

focused on Just transition, sustainable fashion, and the protection of the Nairobi National Park.

Credits:
Video by Valde
Photography by: Levi King

Content courtesy of Nairobi Fashion Week & NFH

 

 

 

Made In Cameroon: The Brand Shoes By Vidal Produces Hand-made Luxury Shoes.

Posted on by Fashion Tribe Influencer

The VIDAL boot factory was founded in September 2016 in Douala, the brand offers men a range of shoes: Hand Grade.
The VIDAL manufacturer has kept the original case which guarantees the durability of its know-how. The specificity of the Goodyear fitting of these shoes, which combines style, comfort, and longevity, goes back to the techniques of the 19th century.

It requires special expertise to carry out more than a hundred manual operations requiring around two weeks of work.
As a local Cameroonian company managed by a young entrepreneur, VIDAL is committed to maintaining the highest standards of traditional craftsmanship, quality, and service that its customers have enjoyed for some time.

We re-connect with designer Vidal Kenmoe to discuss his bespoke, high-end shoe line based in Douala. Former British Royal Army soldier Vidal Kenmoe switched his military expertise to shoe soles.
He continues to advise the army, but he now spends the majority of his time in Douala, Cameroon, creating, cutting, and polishing exquisite shoes. In 2016, Kenmoe established Shoes by Vidal, claiming to make each pair the highest possible levels of craftsmanship. The whole style of his business makes it clear why these sneakers have been in such high demand. In a fashion market where its citizens seek out high-end goods elsewhere, Kenmoe thrives.

To learn more about Kenmoe’s motivation, creative process, and other topics, we re-connect.

Rene Khan: Where did the desire or passion to make shoes come from?

Vidal Kenmoe: My passion for shoes comes from two things mainly—my mother’s love for shoes and fashion, as well as my time spent in the Royal Army, where a special interest was taken towards dressing.

RK: How long have you been making shoes?

VK: I have been making shoes since 2015. I learned the craft in 2013 and I’m still perfecting it.

RK: What does it mean to you to employ the use of local artisans?

VK: It feels good being able to contribute in that sense and to share my experiences with them and vice-versa.

RK: Creating one shoe takes two to four weeks and involves over 100 steps. Is this true?

VK: Yes, it does take a few weeks on average to design and manufacture a pair of shoes, but with experience, that time can be reduced in half.

RK: Where are the majority of your customers based?

VK: My customers are spread out around the world but the majority are based in Douala, Cameroon.

Talk to me about the process of making a shoe that boasts such a high standard of craftsmanship.

It all starts with forming the right shoe last for the design required. Once the last is done, the next step is pattern cutting followed by clicking the leather (upper), followed by the sewing of the upper with the under and then molding (also called lasting), and lastly, the finishing.

RK: Do you have partnerships with raw material sellers to access genuine leather, suede, velvet calfskin, and various fabrics?

VK: No, I simply purchase what I need.

AgA by Vidal appears to have come later. Tell me about the line.

AgA is the sandals and accessories line. AgA does both male and female sandals and we’re hoping to move into belts, watch straps, wallets, key ring holders, and many other leather products. The motivation for AgA is the need to satisfy customers’ demands for leather accessories (other than shoes) at an affordable price.

RK: In 2017, you made a pair of shoes for Samuel Eto’o. Have you worked with any other notable figures?

VK: Yes, I have provided shoes to several diplomats, professional athletes, MDs, artists, and politicians.

RK: What challenges do you face, apart from power outages, that halt your use of sewing machines and finishing bands?

VK: Not many these days. We purchased a power generator, so power cuts are no longer an issue. My biggest challenge remains people’s lack of education on handmade shoemaking.

RK: You dwell in a country noted for a 1 percent that travels abroad for luxury goods and yet you create luxury shoes. How do you fare? What sets your shoes apart?

My designs are unique, and my mix of materials includes leather, suede, denim, and African fabric—the discipline I put into the making, my attention to detail, and my focus on functionality which is mainly comfort and durability.

RK: What else do you hope to accomplish as a young entrepreneur?

VK: As a young entrepreneur, I would love to see my brand spread across borders and become a standard for shoemaking worldwide.

Kenmoe recently marked Shoes by Vidal’s second-year anniversary in Paris with a meet and greet and the launch of a new suede collection.

Learn more about his new collection, his lines ShoesbyVidal and AgAbyVidal on Instagram and his website.

Content courtesy of D Fashion Magazine & NFH

 

 

 

 

Plus Size Model: The UAE Is The Latest Market For Plus-size Lifestyle Wear Brand MULU.

Posted on by Ann Mumbi

The launch of a new office in Dubai as part of MULU’s intentions to expand in the MEA region, a lifestyle fashion company that caters solely to plus-size women, was announced today.
The Netherlands was the previous home of the fashion label, formerly known as Kanessa, where it started its e-commerce business in 2018. The company sells its product all over the world, and its products are popular in North American and European markets. Due to the rising demand for plus-size clothing in the Middle East and Africa, MULU has recently relocated its headquarters to Dubai.
For MULU’s on-the-ground activities, the new office in Dubai offers a prime location that will assist the company to establish a local and regional footprint.

https://www.instagram.com/p/CmYyVn8sAPg/?utm_source=ig_web_copy_link

In order to fulfill rising customer demand in the area and Africa, MULU has also established a warehouse that will act as the regional hub for operations. This warehouse will function as the brand’s second location. To broaden its reach and better meet the demands of customers, MULU intends to launch a retail location in Dubai this year.

The most recent statistics show that 42 percent of women in Saudi Arabia and 31 percent of women in the UAE are currently plus-size or larger. A significant issue in the area, meanwhile, is finding clothing that fits plus-sized women well.

https://www.instagram.com/p/Cmtawq3sSvu/?utm_source=ig_web_copy_link

About MULU
“After five years of growing the brand from The Netherlands, we are eager to take MULU to the next level,” stated Kanessa Muluneh, founder and CEO of MULU.
We are very happy to begin this new chapter for MULU from Dubai. We have listened to our clients in the area and Africa, and we are very cognizant of their demands. When you’re a plus-sized woman, your consumer buying cycle and experience appear different, and it needs to be treated differently.
MULU is here to fix this issue in the region with unique shopping experiences and creative technology. We understand our consumers’ physical and psychological concerns when it comes to apparel.”

MULU is a movement, not just a clothing brand. We have a strong sense of community and education, and we use fashion and cutting-edge technology to address issues in our neighborhood.
Our goal is to inform women about the direction of fashion and how they can contribute significantly to the expansion of the internet, specifically by using Web3.

https://www.instagram.com/p/CmYyy4TMSgA/?utm_source=ig_web_copy_link

More than ten countries, including the Netherlands, Germany, Belgium, Denmark, Sweden, Austria, the UK, the United States, Canada, and Ethiopia, sell our products.

Content courtesy of, D Fashion Magazine, MULU & NFH

 

 

 

African Fashion International (AFI) Returns With 15 Iconic Designers

Posted on by Ann Mumbi

After a two-year absence due to the Covid-19 outbreak, the African Fashion International (AFI) successfully returned to Cape Town last week.
Among the 15 legendary designers that participated in the three-day event were Gavin Rajah, Kluk CGdT, Taibo Bacar, Loin Cloth & Ashes, Habits, MaXhosa Africa, Craig Port, Matt Nolim, Stefania Morland, Shana Morland, Imprint ZA, Hugo Fleur, Kat van Duinen, David Tlale, and Scalo.

The fashion and retail exhibition gave visitors the chance to not only see the clothes that had just come off the catwalk but also to talk to the designers about them.

https://www.instagram.com/p/CqVjiVYo_bB/?utm_source=ig_web_copy_link

The Mother City’s legendary ensemble Temple Boys appeared in a variety of performances for the guests. DJ Zinhle and Young Stunna, two luminaries in the industry, also delighted the audience.

The founder and executive chair of AFI, Precious Moloi-Motsepe, stated that the CTFW (Cape Town Fashion Week) is AFI’s platform for presenting Africa’s creative works while also creating avenues of trade interchange that would increase the industry’s economic value.

“The CTFW provides a chance for African designers to network with people in the global market as well as to promote their work. This is viewed as a means of increasing the economic worth of the sector, according to Moloi-Motsepe.

The AFI also revealed the names of the AFI Fastrack 2023 finalists, who will spend a year being mentored and receiving instruction on how to make a difference in the African fashion sector and develop into astute businesspeople.

African Fashion International is happy to report that Cape Town Fashion Week was a huge success, in large part because of the incredible talent and ingenuity of the participating designers.

https://www.instagram.com/p/CqP6hcELxgX/?utm_source=ig_web_copy_link

Over the course of three days, there were 18 shows by 9 designers, making it a true celebration of the best African design talent.

The fact that so many people showed up after a two-year break showed that Cape Town Fashion Week was missed. The addition of the CTFW Fashion & Retail Expo gave visitors the opportunity to connect with the designers and view the clothes as they were still being worn off the catwalk.

The CTFW also provided a venue for presenting African artists’ works while fostering commercial routes. The CTFW Fashion & Retail, Music, and Art Expo featured a variety of expo stallholders, all of which profited from participating.

According to businesswoman Dr. Precious Moloi-Motsepe, the executive chair and founder of AFI, “Cape Town Fashion Week is AFI’s platform for displaying Africa’s creative works while also developing corridors of trade interchange that will grow the industry’s economic worth.”

“CTFW provides a chance for African designers to network with people in the global market in addition to showcasing their work. This is thought to increase the economic value of the sector.

https://www.instagram.com/p/CoUKLtrrY_n/?utm_source=ig_web_copy_link

During CTFW, the Cape Town Temple Boys, DJ Zinhle, Young Stunna, and Scorpion Kings all gave fantastic performances for the audience.

A unique exhibition honoring 15 years of African Fashion International marked the conclusion of CTFW. 15 show-stopping outfits from 15 renowned designers who have been a part of the AFI platform since its start were included in this presentation. It was a celebration of both AFI’s work as a platform for outstanding Pan-African designers as well as its function as a catalyst in the global fashion industry.

Gavin Rajah, Kluk CGdT, Taibo Bacar, Habits, MaXhosa Africa, Craig Port, Matt Nolim, Stefania Morland, Shana Morland, Imprint ZA, Hugo Fleur, Kat van Duinen, David Tlale, and Scalo were among the performers on the program.

During CTFW, AFI also revealed the AFI Fastrack 2023, finalists. They will receive mentorship for a whole year, receiving instruction on how to become successful business people and designers who will have an impact on the African fashion sector.

Everything of the clothing displayed at CTFW is retail-ready and is offered at the House of Nala store in Sandton City as well as the AFI Online Store.

https://www.instagram.com/p/CnTxACOrbyc/?utm_source=ig_web_copy_link

About African Fashion International (AFI)
In the past 15 years, AFI has been successful in bridging the gap between African fashion and international markets, launching and elevating designers to status on a global scale.
The goal of AFI is to create the finest business environment and platform for trade in African fashion and brands. Dr. Precious Moloi-Motsepe, an entrepreneur and philanthropist who started AFI, was inspired to work with various talents on the continent by her love of African ingenuity, craftsmanship, and culture.

AFI is regarded as a ground-breaking platform that develops, finances, and supports the best African creative talent. Customers that value custom African luxury and craftsmanship, both domestic and foreign, are the target market for our goods and services.

We help international customers find distinctive, top-notch African luxury goods from established and up-and-coming designers. The best place to find information and news about the fashion business is AFI.

https://www.instagram.com/p/CnjDl9jL61Z/?utm_source=ig_web_copy_link

We can provide Events as a Service in lovely physical and virtual places thanks to our extensive talent and expertise in producing stylish events and curated lifestyle experiences.

Content courtesy of  African Fashion International (AFI), Sunday World, MENAFN- EIN Presswire & NFH

 

 

A Landmark Exhibition Celebrating The Global Influence Of Modern And Contemporary African Fashions Is Being Presented By The Brooklyn Museum Under The Title Africa Fashion.

Posted on by Fashion Tribe Influencer

The show, which makes its North American debut in Brooklyn, includes over 180 pieces, including apparel and jewelry from the Museum’s Arts of Africa collection as well as works in music, film, visual art, and photography.

On view June 23–October 22, 2023
Africa Fashion is the largest-ever exposition on this topic in North America, honoring the exceptional originality, ingenuity, and worldwide impact of African clothing from the beginning of the independence era to the present. The exhibition highlights how fashion, along with the visual arts and music, played a crucial role in Africa’s cultural renaissance during its liberation years and how those elements laid the foundation for today’s fashion revolution through pieces by renowned designers and artists from the middle of the twentieth century to the present.

The show is run by the V&A, and Ernestine White-Mifetu, Sills Foundation Curator of African Art, and Annissa Malvoisin, Bard Graduate Center / Brooklyn Museum Postdoctoral Fellow in the Arts of Africa, have adapted it for the Brooklyn Museum.
Arts of Africa, Photography, Arts of the Islamic World, Modern Art, and Egyptian, Classical, and Ancient Near Eastern Art are a few of the Museum’s collections that are included in the Brooklyn exhibition.
Brooklyn offers the ideal setting for examining the diversity and depth of the different histories and cultures on the continent.
It is home to one of the nation’s most vibrant African diasporic groups.

“Fashion is a fantastic creative statement that is multi-dimensional. This is captured by African Fashion in stunningly vivid and intertwining ways. To create a rich sensory experience, music, art, cultural identity, and material culture are highlighted, according to Malvoisin.

The exhibition’s immersive exhibits of apparel, textiles, photos, writings, sketches, music, films, and catwalk footage are arranged thematically. Twenty different African countries are represented by more than forty designers and artisans, many of whose creations are on display for the first time in the country. The exhibition features clothing created by mid-twentieth-century designers as well as pieces created by a current generation of African fashion designers, collectives, and photographers.

Africa Fashion starts during the post-independence period, which lasted from the 1950s through the 1990s. At this time, the continent saw a significant political, social, and cultural shift. Pan-Africanism flourished, fostering a shared sense of identity that was centered on fashion and creative expression. In the Cultural Renaissance section, ephemera like protest signs, old magazine covers, and well-known album covers are used to illustrate this period of tremendous change.
Visitors can learn about how the creation and wearing of Indigenous fabric evolved into a calculated political act by visiting Politics and Poetics of Cloth.
Wax prints, commemorative cloth, àdr, kente cloth, and bglanfini are displayed among textiles from the Museum’s Arts of Africa collection.

The Vanguard section features the first generation of African designers to receive widespread recognition.
For the first time in the country, mid-to late-20th century works by Kofi Ansah (Ghana), Naima Bennis (Morocco), Shade Thomas-Fahm (Nigeria), Chris Seydou (Mali), and Alphadi (Niger) are exhibited combined with a vibrant display of fashion photographs from the time.

The images in Catching Change cover the years leading up to independence and show the emergence of a sense of action and African-American pride. Photographs shot in homes and studios increased in number as photography became more widely available.

Its expansion is demonstrated by studio portraits created by Mali artists Seydou Keta and Malick Sidibé, as well as by James Barnor’s (Ghana) fashion photography, family photos, and other works from the Museum’s collection.
Users are encouraged to interact with the content directly by contributing their own individual and family photos that reflect the fashions of pre-independence Africa. The diasporic community will become a crucial component of the presentation thanks to these contributions of self-fashioning.
Through samples of couture and ready-to-wear clothing, embellishment, and creative projects, the section Cutting Edge highlights a new generation of fashion designers and creatives.

Structured around concepts such as “Afrotopia,” “Artisanal,” “Co-creation,” “Provocation,” “Minimalist,” and “Mixologist,” this area shows designs by dozens of current artists and collectives whose trailblazing collections hark back to their rich and specific cultural history. For instance, the Alchemy collection by South African designer Thebe Magugu and stylist and healer Noentla Khumalo focuses on African spirituality and connections to ancestors. By incorporating “feminine” textiles and hues into menswear, Nigerian designer Adebayo Oke-Lawal and his label Orange Culture challenge conventional ideas of masculinity.

The self-portraits of Gouled Ahmed (Djibouti), a costume designer, stylist, and photographer, continue this discussion. Ahmed’s artistic expression also challenges conventional cultural gender conventions, particularly the underrepresentation of nonbinary Black Muslims.

Lafalaise Dion (Côte d’Ivoire) explores the cowrie shell’s history as a symbol of wealth, success, and fertility as well as its modern use as a piece of jewelry.
The artwork A Conversation between Cultures, created especially for Africa Fashion by Moroccan designer Maison ARTC, features the hand of Fatima (hamsa), a lucky symbol.

Through the Photographer’s Vision emphasizes how modern photography and cinema can support creative communities, provide unrepresented artists a platform, and investigate a new African identity. Contemporary photographers like Stephen Tayo (Nigeria), Sarah Waiswa (Uganda), and Victoire Douniama are collection pieces by South African photographers Zanele Muholi and Omar Victor Diop (Republic of the Congo).

Global Africa serves as the exhibition’s climax. This section highlights the global significance of African innovation by examining how the internet era has expedited the growth of Africa’s fashion sector and influence.

Exhibition Catalogue

A specific exhibition catalog produced by V&A Publishing is available to accompany the display. Omoyemi Akerele, Amine Bendriouich, Gus Casely-Hayford, Sunny Dolat, Bonnie Greer, Monica L. Miller, Elisabeth Murray, Njoki Ngumi, Hadeel Osman, and Roslyn A.
Walker contributed to the catalog, which was edited by Christine Checinska. Anne Pasternak, Shelby White, and Leon Levy Director, Brooklyn Museum wrote a new foreword.

Exposition Store

Africa Fashion will make advantage of a collaboration with ALRA, a premium lifestyle concept store located in Lagos, thanks to the efforts of Rachel Shechtman, the Brooklyn Museum’s Entrepreneur in Residence, to create a special exhibition shop experience. ALRA, which was established in 2015 by Reni Folawiyo and created by architect Sir David Adjaye, combines fashion, design, food, and culture.
ALRA, which was established in 2015 by Reni Folawiyo and created by architect Sir David Adjaye, combines fashion, design, food, and culture.
Folawiyo will select the designs for the exhibition shop for Africa Fashion, which will be ALRA’s first international outing.
Over the duration of the exhibition, special merchandise including products by designers featured in Africa Fashion as well as alternating trunk presentations and programs will enhance the shopping experience.

The Brooklyn Museum Store will sell products from Brooklyn, including but not limited to children’s toys, housewares, jewelry, and books, in addition to spotlighting brands and designers from Africa.

Ticketing Details
On April 18, 2023, timed tickets for Africa Fashion to go on sale. Starting on April 11, 2023, Museum Members can reserve their complimentary tickets.
Visit www.brooklynmuseum.org/join or send an email to membership@brooklynmuseum.org to join.

The cost of a ticket is as follows:

Adults pay $20 from Wednesday to Friday; seniors pay $13, students pay $13, visitors with disabilities pay $13, and kids pay $8.
Adults pay $25 on Saturday and Sunday, seniors pay $17, students pay $17, visitors with disabilities pay $17, and kids pay $10.

Exhibition Credit
The Sills Foundation Curator of African Art Ernestine White-Mifetu and Annissa Malvoisin, Bard Graduate Center / Brooklyn Museum Postdoctoral Fellow in the Arts of Africa, along with Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts, and Matthew Yokobosky, Senior Curator of Fashion and Material Culture, are responsible for organizing the Brooklyn Museum presentation of Africa Fashion.

Developed by the V&A and traveling the globe
Sponsor in chief: Bank of America.
Substantial assistance from AL-RA.

Content courtesy of The City Life Org & NFH

Nairobi’s Fashion Elite Dazzle at the Glamorous Fashion High Tea 2023

Posted on by Oscar Alochi

Fashion High Tea 2023: A Dazzling Celebration of Style, Charity, and Glamour, Nairobi’s fashion scene reached its pinnacle on Saturday, February 25th, as the highly anticipated Fashion High Tea 2023 unfolded at the serene and stylish Zen Garden. Despite the sweltering heat of February, the event lived up to its reputation as the city’s most glamorous, extravagant, and fashionable affair. A crowd composed of Nairobi’s most influential figures from fashion, media, politics, and entertainment gathered to sip on carefully curated drinks from gin and bubbles to whiskey and beer while savoring an assortment of gourmet snacks and sweet treats. But it wasn’t just the beverages and bites that made the event unforgettable; the fashion was, without question, the star of the show.

Fashion High Tea 2023: A Dazzling Celebration of Style, Charity, and GlamourNairobi's highly anticipated Fashion High Tea returned in dazzling style on Saturday, February 25th, transforming the Zen Garden into a haven of glamour, extravagance, and impeccable style.#nairobifashionhub #fashion

— Nairobi Fashion Hub (@nairobifashionhub.bsky.social) 2025-02-19T12:05:20.643Z

The attendees, a dynamic mix of women and men, effortlessly showcased their style prowess. From bold, statement-making pieces to sophisticated, understated elegance, the guests understood the assignment each outfit a testament to the level of sophistication that has come to define Fashion High Tea year after year. The event provided the perfect platform for fashion lovers and industry professionals to mingle, forge new connections, and celebrate all things chic.

Created by the powerhouse duo, sisters Shivani and Payal Radia, the event has become a tradition that marks the start of Nairobi’s fashion calendar. As the co-founders of Zen Garden, the venue that hosted the event, and the masterminds behind Fashion High Tea, the Radia sisters have made it their mission to blend high fashion with a noble cause. This year’s gathering was no different, as the event stood as a fusion of luxury, philanthropy, and style.

More than just a fashion spectacle, the event seamlessly blends style with philanthropy, raising funds for worthy causes. This year, Fashion High Tea proudly supported the Kenya Women & Children’s Wellness Centre (KWCWC), an organization dedicated to supporting survivors of gender-based violence.

— Nairobi Fashion Hub (@nairobifashionhub.bsky.social) 2025-02-19T12:13:10.610Z

A notable aspect of Fashion High Tea 2023 is its dedication to giving back. This year, proceeds from the event went to the Kenya Women & Children’s Wellness Centre (KWCWC), a pivotal organization committed to aiding survivors of gender-based violence. The KWCWC is currently working towards the construction of a Gender Violence Recovery Centre (GVRC) on a 10-acre plot of land near the Northern Bypass, behind USIU. In the interim, the center is actively engaging in sensitization programs and educational initiatives designed to raise awareness and build capacity within the Kasarani region. The efforts of KWCWC are vital, as they aim to provide support and healing for those affected by violence, while also fostering a deeper understanding of gender equality and justice in Kenya.

The event was a resounding success, not only as a style celebration but also as a powerful reminder of the role fashion plays in supporting meaningful social change. From start to finish, Fashion High Tea 2023 was a reminder that fashion is not only about what we wear, but about the causes we support and the communities we uplift.

The 2023 Fashion High Tea proved to be a resounding success, a testament to the Radia sisters' vision and the vibrant fashion scene in Nairobi.

— Nairobi Fashion Hub (@nairobifashionhub.bsky.social) 2025-02-19T12:15:01.755Z

Content courtesy of NFH Digital Team

How Outterspace is Changing the Definition of Luxury for Black Owned Apparel Companies

Posted on by Fashion Tribe Influencer

Africa has a diverse population in terms of languages, histories, and styles.
Several African-owned fashion firms are adding their distinctiveness to the current metropolitan fashion landscapes, making African fashion in particular a spectacle in the global fashion industry. Outterspace Integrated Luxury is a representative of these brands.

Outterspace Integrated Luxury is positioned to become a worldwide voice that raises awareness of Africa’s growing luxury fashion industry while staying true to its passionate and unusual creative heritage. In the three years since the brand’s launch, some of our favorite celebrities and powerful people have grown to appreciate its originality and youthfulness, making magnificent collectibles from the brand a staple in their wardrobes.

Integration of outer space Indulgence, comfort, prestige, sophistication, and street cred all fall under the category of luxury.

Excellence controls its original thought.
Since fans of high-end premium style and comfort exist all over the world, the brand strives tirelessly and creatively to cater to these customers by producing luxury streetwear.
Presently, the brand’s strongholds are in Nigeria and the United Kingdom, and it is progressively expanding its branches throughout the rest of Africa, Europe, America, and Asia.
Unlike the vast majority of African-owned clothing companies, which are frequently considered quota purchases (purchases meant to show love and support for Blacks)

With a voice that screams class, @Outterspace Luxury is changing the game by putting its distinctive design and aesthetic aspirations to life on people’s bodies all around the world. By doing this, they are not only changing how Africans view luxury but also opening the road for future African-owned fashion firms to compete with other international brands in the fashion industry.

For people who aren’t scared to stand out and utilize their clothing as a form of self-expression, their stunning designs are statement items.

Through their fantastic creations, the brand’s designers hope to bring cosmogenic joy and unwavering quality into their customers’ wardrobes.

A glance through their inventory reveals pieces that ooze style and work for a variety of occasions, such as Sunday brunch, romantic nights, picnics, etc.
Outterspace Integrated Luxury (@Outterspace Luxury) touts itself as a fashion find in the modern urban scene, deserving of all attention and capable of competing with the top names in international fashion.
They remain a high-end, daring, yet adaptable addition to any wardrobe, appealing to fans of comfort and sophistication as well.

Content courtesy of Fashion United & NFH

 

 

African Fashion Designer Asya Khamsin, Who Lost Her Luggage At An Airport In 2018, Claims She Recognizes Her Clothes On Former Nuclear Waste Expert Biden.

Posted on by Oscar Alochi

Just this week, a Tanzanian fashion designer who misplaced her luggage at an airport in 2018 claimed on social media that Joe Biden’s former “nuclear waste guru” Sam Brinton had been photographed wearing one of her distinctive looks.

In December, Brinton was fired from the Department of Energy after being accused of taking women’s bags in two different states. In July 2022, Brinton is accused of stealing a $320 piece of luggage from Harry Reid International Airport, and in September 2022, she is accused of stealing a $2,325 Vera Bradley roller bag from the Minneapolis Airport’s luggage carousel.

In February 2022, Joe Biden appointed the open and unashamed pup fetishist to the position of deputy assistant secretary for spent fuel and waste disposition in the Energy Department’s Office of Nuclear Energy.
Despite the DOE’s repeated refusal to comment to the media on Brinton’s work situation following his run-ins with the law, it was reported that he was put on leave over the summer. On December 12, the Department formally announced Brinton’s termination.

Houston-based Asya Idarous Khamsin said she misplaced her luggage at the Washington D.C. airport in 2018. She later identified her clothing in pictures of the infamous “kink activist” online after reading about the Brinton case on Fox News.

On Twitter, Khamsin stated, “Surprisingly I found his images wearing my custom-created garments that were in the lost suitcase.” She posted an Instagram photo of herself wearing a garment that was missing from the bag along with a picture of Brinton who was ostensibly wearing the same dress.
Khamsin sent images of another of her creations that she had seen on Brinton.

On June 11, 2018, Brinton wore the vivid orange outfit at the Trevor Project’s annual TrevorLIVE LGBTQ Gala in New York City.
At The Beverly Hilton Hotel on December 02, 2018, in Beverly Hills, California, he was dressed just in the voluminous shawl.

On February 22, 2019, Brinton donned the red dress at the UN building in New York City. The Trevor Project’s Director of advocacy and government affairs, Brinton, participated in a panel discussion at the 2019 Global Engagement Conference for the Sustainable Development Goals (SDGs).

Khamsin shared images of Briton supposedly wearing her orange dress in a much-overlooked Facebook post from December 26 when she originally made the discovery over the holiday season.

She commented, “Recently on Fox News, I discovered about Sam Brinton’s luggage problem and I saw the images he wore my custom-made designs that were in the missing suitcase in 2018.”

The designer posted images of Brinton and her model wearing “the same dress made and customized by myself.”
Khamsin made no mention of whether or not she wanted to file a complaint.

Sam Brinton arrives at The Trevor Project’s 2018 TrevorLIVE LA Gala on December 2 at The Beverly Hilton Hotel in Beverly Hills, California (photo credit: The Trevor Project/Getty Images).
(Picture by WireImage user Amanda Edwards)

Content courtesy of Asya Khamsin, American Greatness & NFH

 

 

 

House of Aama Draws on the Fusion of West Indian and African Cultures

Posted on by Fashion Tribe Influencer

The mother-daughter team pays tribute by including a tale about the Anansi spider and its cultural influence in their artworks.
Rebecca Henry and Akua Shabaka, a mother-daughter team, debuted a collection for fall/winter 2023 that draws inspiration from the fusion of their respective West Indian and African cultures.
The atmosphere was created to honor family and an old folktale about a spider that traveled far and endured hardships and, occasionally, his own folly. Just adjacent to the curtain opening, where the models emerged, an altar was placed in the front.
It was a dedication to Akua’s father and Rebecca’s family members, and pictures of them were set out on a table with fruit, coffee, and decorations made of vibrant cloth as though to wish their ancestors well.

Whimsical Afro-Caribbean mixes played in the background as the show got started. First impressions: a model wearing a maxi dress with netting accents.
A luscious, ruffled green dress and a few masculine ensembles including long denim shorts and matching tops stood out. On the shoulders and back pockets of one of them was a bedazzled spider web.
The spider design was also present on mesh dresses in red and black color schemes. The menswear pieces, in my opinion, stole the show this season and may perhaps displace La Siréne, House Of Aama’s flagship item.

A beautiful mix was struck between the sophisticated and playful items; some models wore cropped tops, short skirts with curved button detailing, and mesh dresses, while others wore trench coats, satin suits, and dresses that had an “out for tea” vibe to them.
Ultimately, the show’s fusion of many aesthetics will guarantee its financial success.

Content courtesy of Essence & NFH

 

 

 

The Company Behind House Of Blueberry Is Bringing Diversity To The Realm Of Online Fashion.

Posted on by Oscar Alochi

While inclusion is unquestionably vital in the real world, it has only recently started to get attention among individuals in the industry because the virtual world is still in its early stages of growth.
Only a few companies have genuinely implemented inclusion into the core of their business practices, so the value is still filtering through everything from company leadership to product offerings.

House of Blueberry, a brand of online clothing, is one of them. Gizem “Mishi” McDuff started the business in 2012, however, the landscape at the time was very different from what it is today, with regard to digital fashion.
Because she wanted more digital apparel alternatives for the open-world platform Second Life, Mishi originally entered the industry.

https://www.instagram.com/tv/CZ2Bl1zMd-U/?utm_source=ig_web_copy_link

where her dissatisfaction with the restricted selection for her avatar was evident. In reaction, she began creating her own clothing, largely using Photoshop, and over time, she developed the brand into what it is now.
But this was not the start of Mishi’s tech career. She oversaw a variety of start-up businesses before joining House of Blueberry, including the marketing and gaming data company Peanut Labs. She also briefly served as Sony’s head of publishing.
She eventually came across virtual concerts and otherworldly avatars, a realm that piqued her interest and inspired her to play a bigger role in this sector.

In an interview with FashionUnited, Mishi remarked, “Before I knew it, House of Blueberry was earning one million dollars in revenue each year from other people buying my creations.
I essentially came onto an underserved market of metaverse users that want stunning, current pieces crafted with the same care as IRL (in real life) fashion.

New funding and multi-platform accessibility
The brand moved from its Second Life home to introduce digital wearables into The Sims and Roblox, an open-world platform where it has already amassed a community of over 13,000 in just a few months, as the industry started to rapidly evolve.
This was the beginning of the true scaling of House of Blueberry, which saw the company grow out of its Second Life home.
The business also disclosed earlier this month that it had obtained a six million dollar finance to support its initiatives.
Direct-to-avatar products, which may be purchased through in-game markets and catalogs on various virtual platforms, are what makes them appealing to customers.

https://www.instagram.com/p/Bp5-trUAVP0/?utm_source=ig_web_copy_link

In terms of representation, Mishi has also overcome obstacles. She belonged to a minority group because she founded a company in the tech sector as a woman.
However, her business acumen has only been influenced by her experience, as evidenced by the company’s 20 employees, 90% of whom are women, and the products it produces.
While not entirely on purpose, Mishi continued, she enjoys looking for strong women to collaborate with in order to increase the representation of women in metaverse-related businesses, where just 9% of founders and CEOs are female.

Female representation in tech and gaming
This has also influenced the way House of Blueberry approaches its product selection. Mishi said the following about the subject: “Given that women and girls make up roughly half of all gamers, I think it’s imperative to expand representation in the gaming business, particularly when it comes to female entrepreneurs and leaders.

If women aren’t involved in the development of games, how can we expect them to reflect the interests and desires of female gamers?
One of my key objectives, when I founded House of Blueberry, was to make a brand in the digital industry that was developed by and for women.
The merchandise produced by House of Blueberry reflects this sentiment, as do the partners it chooses to work with.

“I believe that people are embracing or finding beauty in what they might often consider to be a fault and receiving that support from their group.
It is assisting with such insecurities. It is undoing the damage. Customers want to be free to embrace their actual selves and be distinctive, not a flawless appearance, in my opinion.

Self-expression matters
Building a feeling of community is one of House of Blueberry’s distinguishing ideals, as seen by its most recent partnerships with modern streetwear brand Boy Meets Girl and Roblox influencer Leah Ashe, for which the company unveiled a digital clothing line and held a virtual event.
It is noteworthy that traditional fame does not resonate with the digital fashion community as much as those who are already fully involved in this industry, many of whom are gamers.
They prefer to watch entertainment from these kinds of influencers, which encourages more devoted participation.

As a result, Mishi said, “we were able to connect to the Leah Ash community, a group of people that follow her exploits in virtual spaces. People aren’t purchasing into a specific brand or product; they’re buying into a community.” It’s even more personal.
The ties and allegiance to that influencer are stronger.
Customers now view artists as influencers in their own right.

Mishi aims to continue implementing these concepts into House of Blueberry’s virtual world presence in the future by embracing its four core values: creator-led, community-obsessed, data-informed, and partnership-ready.

“Gaming communities and the amazing creators who occupy them are at the heart of what we do,” she said.
“House of Blueberry wants to be present on all digital platforms where self-expression is valued. We intend to strive toward this aim this year while upholding our key principles.

Content courtesy of Fashion United & NFH 

 

 

 

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

Posted on by Fashion Tribe Influencer

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.

https://youtu.be/UgBcaMk3C48

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 

 

 

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