Thursday 22nd of October 2026

Nairobi, Kenya

Tag: Fashion

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

Posted on by Fashion Tribe Influencer

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

Universal Woman - Kenya :: Behance

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

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

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

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

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

Anastacia Mwiathi: A Proud Moment for Kenyan Pageantry

 

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

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

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

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

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

Universal Woman 2026: Brazil Takes the Crown

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

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

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

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

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

Universal Woman 2026: The Final Results

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

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

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

Cambodia Brings Culture to the Universal Woman Stage

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

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

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

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

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

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

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

Beyond Beauty: The Purpose Behind Universal Woman

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

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

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

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

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

What Anastacia Mwiathi’s Achievement Means for Kenya

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

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

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

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

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

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

A Celebration of Achievement, Representation and National Pride

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

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

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

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

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

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

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

 

Content Courtesy of Universal Woman & NFH Digital Team 

KikoRomeo Unveils Ewala Collection at Moscow Fashion Week 2026

Posted on by Fashion Tribe Influencer

KikoRomeo Takes Kenyan Fashion to Moscow Fashion Week with the ‘Ewala’ Collection

Kenyan heritage, contemporary tailoring and sustainable craftsmanship take centre stage as KikoRomeo presents its acclaimed Ewala collection in Moscow

MOSCOW, RUSSIA / NAIROBI, KENYA — October 2026

Kenyan fashion has taken another significant step onto the international stage as pioneering fashion house KikoRomeo presented its acclaimed Ewala collection at Moscow Fashion Week on October 1, 2026.

The collection was unveiled at the iconic Central Exhibition Hall Manege in Moscow, where KikoRomeo presented its distinctive interpretation of contemporary Kenyan fashion to an international audience of editors, buyers and fashion-industry leaders.

Facilitated by Nairobi Fashion Week, the presentation marked an important moment for Kenya’s creative economy, placing a longstanding Kenyan fashion house within an international fashion environment while showcasing the country’s craftsmanship, material innovation and evolving design identity.

KikoRomeo brings ‘Ewala’ to the Moscow runway

Under the creative direction of Ann and Iona McCreath, the Ewala collection explores the relationship between structure, drape and material intelligence.

The collection moves between sharply defined architectural tailoring and softer, fluid forms, creating a visual conversation between precision and movement.

At the heart of the collection is an emphasis on materials and craftsmanship.

KikoRomeo incorporated rainfed organic cottons, handloom textiles, hand-carved coconut-shell buttons and brass hardware, bringing together locally rooted material traditions with contemporary construction techniques.

The collection also places zero-waste garment construction and long-form craftsmanship at the centre of its design philosophy.

Rather than chasing rapidly changing fashion cycles, Ewala focuses on the longevity of design, craftsmanship and the stories embedded within the garments.

The result is a collection that presents Kenyan fashion not simply as a cultural reference, but as a contemporary design language capable of engaging an international audience.

A new chapter for Kenyan fashion

For KikoRomeo founder Ann McCreath, taking Ewala to Moscow was about more than presenting a collection outside Kenya.

It was an opportunity to use fashion as a vehicle for cultural exchange and to introduce international audiences to the creative thinking, craftsmanship and storytelling emerging from Nairobi.

“The Ewala collection is a direct reflection of Kenya’s evolving design identity,” said Ann McCreath, Founder of KikoRomeo. “Bringing this work to Moscow was about using fashion as a medium for true cultural exchange sharing the deep storytelling, artistic intent, and handcraft heritage coming out of Nairobi today.”

That philosophy is reflected throughout Ewala, where traditional material knowledge meets contemporary silhouettes and construction.

The collection demonstrates how Kenyan designers can draw from their cultural and material heritage while developing fashion that speaks to an international audience.

Nairobi to Moscow: creating new opportunities for Kenyan designers

The KikoRomeo presentation forms part of a broader international initiative being driven by Nairobi Fashion Week to connect Kenyan fashion with new markets and international industry networks.

The objective extends beyond putting Kenyan designers on overseas runways.

It includes creating opportunities to introduce Kenyan fashion to new consumers, highlight the country’s material innovation and strengthen Kenya’s position within the international fashion industry.

For a fashion industry such as Kenya’s, international exposure can create an important bridge between local creative talent and global audiences.

Designers, artisans, models, photographers, stylists and other creative professionals can benefit when Kenyan fashion is presented within established international fashion environments.

KikoRomeo’s Moscow presentation provides one example of how those connections can translate into greater visibility for Kenyan design.

Brian Kihindas: ‘Kenyan fashion operates at an international standard’

For Brian Kihindas, Creative Director of Nairobi Fashion Week, the KikoRomeo presentation represents evidence of the growing international relevance of Kenyan fashion.

“Kenyan fashion operates at an international standard,” said Kihindas. “KikoRomeo’s reception at the Manege proves that our fashion industry isn’t just participating in the global conversation it is actively shaping it.”

His remarks place the Moscow presentation within a larger ambition for Kenya’s fashion industry: moving from being an observer of international fashion conversations to becoming an active contributor to them.

The KikoRomeo showcase demonstrates how established Kenyan fashion houses can use international platforms to communicate their design philosophies, craftsmanship and creative identity directly to global audiences.

Craftsmanship at the heart of modern Kenyan design

One of the defining characteristics of Ewala is its emphasis on craftsmanship.

The collection’s use of handloom textiles and hand-carved coconut-shell buttons highlights the relationship between fashion and skilled manual production, while the incorporation of brass hardware introduces a more contemporary material dimension.

Rainfed organic cottons further connect the collection to a material-conscious approach to fashion.

Together, these elements create a collection where the materials themselves contribute to the narrative.

For KikoRomeo, craftsmanship is not treated as an afterthought. It is part of the design process and central to the identity of the collection.

The emphasis on zero-waste garment construction also reinforces the collection’s focus on responsible design and long-term value rather than disposable fashion.

Architecture meets fluidity

Visually, Ewala is defined by contrasts.

Architectural tailoring provides structure and definition, while fluid forms introduce movement and softness.

This balance creates a collection that reflects the duality at the heart of contemporary fashion: the discipline of construction alongside the freedom of movement and expression.

The approach also allows the garments to communicate without relying solely on overt cultural motifs.

Instead, Kenyan identity is expressed through material choices, craftsmanship, construction and design philosophy.

That makes the collection part of a wider conversation about how African designers are defining contemporary fashion on their own terms.

Kenyan fashion on the global stage

KikoRomeo’s appearance at Moscow Fashion Week comes at a significant time for the global fashion industry, as designers and fashion houses continue to explore questions around cultural identity, sustainability, craftsmanship and responsible production.

For African fashion, the international conversation is increasingly shifting towards the work of designers who are building globally relevant brands while remaining connected to local creative ecosystems.

KikoRomeo’s journey from Nairobi to Moscow illustrates that approach.

The house’s design language remains rooted in Kenya, while its presentation is designed to communicate across borders.

That ability to maintain cultural identity while engaging with international fashion audiences is increasingly important in a global industry where consumers are looking for authenticity, craftsmanship and meaningful stories behind the clothes they wear.

More than a runway show

The Ewala presentation was more than a showcase of garments.

It was an opportunity to present Kenyan design, craftsmanship and creative thinking to an international fashion audience.

It also reinforced the role of fashion as a cultural bridge.

For KikoRomeo, the Moscow runway became a space where Kenyan material heritage could meet international fashion perspectives.

For Nairobi Fashion Week, it represents part of an ongoing effort to create pathways between Kenyan designers and international markets.

And for Kenya’s broader creative economy, it provides another example of how fashion can contribute to the country’s international cultural presence.

From Nairobi to Moscow

KikoRomeo’s presentation of Ewala at Moscow Fashion Week 2026 places Kenyan fashion firmly within an international runway conversation.

With its combination of architectural tailoring, fluid silhouettes, organic materials, handloom textiles, handcrafted details and zero-waste construction, the collection presents a vision of Kenyan fashion that is rooted in heritage while looking firmly towards the future.

The message from Moscow is clear: Kenyan fashion is evolving, but it does not need to abandon its roots to become globally relevant.

From Nairobi’s creative scene to the runway at Manege, KikoRomeo has used Ewala to demonstrate how Kenyan craftsmanship, cultural storytelling and contemporary design can travel across borders and speak to the world.

And as Nairobi Fashion Week continues to build international connections for Kenyan designers, presentations such as this could become an increasingly important part of Kenya’s fashion story one defined not only by participation in global fashion, but by the ability to contribute its own ideas, materials, craftsmanship and creative voice.

 

Content Courtesy of KikoRomeo, Nairobi Fashion Week & NFH Digital Team 

Paris Fashion Week 2026: Givenchy, Louis Vuitton, Lacoste and the African Fashion Revolution of SS27

Posted on by Ann Mumbi

Paris Fashion Week 2026: A New Chapter for Global Fashion.

Paris once again became the centre of the international fashion calendar as Paris Fashion Week Spring/Summer 2027 unfolded from September 28 to October 6, 2026, bringing together some of the world’s most influential fashion houses, established creative directors, emerging designers and a new generation of models.

Organised by the Fédération de la Haute Couture et de la Mode (FHCM), the women’s ready-to-wear season featured a packed official calendar of shows and presentations, with major houses including Christian Dior, Saint Laurent, Chanel, Givenchy, Louis Vuitton, Lacoste, Miu Miu, Valentino, Balenciaga, Loewe, Celine, Hermès, Chloé, Tom Ford, Balmain, Mugler and Jean Paul Gaultier, alongside independent and emerging labels.

But Paris Fashion Week 2026 was about more than luxury houses.

It was also a season of creative transition, African representation, new designers, changing consumer behaviour, sustainability, lighter clothing, stronger cultural identity and fashion responding to a rapidly changing world.

The season’s official schedule contained 68 shows, alongside presentations, showrooms and fashion-related events. The season also marked important returns to the calendar and introduced new creative leadership at selected houses.

And for Africa, the significance was particularly profound.

For the first time, MaXhosa Africa, founded by South African designer Laduma Ngxokolo, presented a full runway show on the official Paris Fashion Week calendar — a major milestone for African fashion on one of the world’s most influential fashion platforms.

Day One — September 28: Africa Opens Paris Fashion Week

The opening day immediately established one of the strongest narratives of the season.

The official calendar began with names including Julie Kegels, Fidan Novruzova, Kimhekim, Weinsanto, Vautrait, MaXhosa Africa, Hodakova and Matières Fécales.

But the defining moment belonged to MaXhosa Africa.

MaXhosa Africa makes history

For Laduma Ngxokolo, the MaXhosa Africa show was not simply another runway presentation.

It represented 16 years of building an African fashion identity into an international luxury proposition.

The Spring/Summer 2027 collection, titled “Izihlwele Zivumile”, which the house describes as meaning “the ancestors have approved”, brought Xhosa heritage, South African craftsmanship and contemporary luxury to the official Paris runway.

The collection was presented at the South African ambassador’s residence in France, with locally sourced wool and production connected to the brand’s facilities in Johannesburg and East London.

The clothes drew from Xhosa geometric language and broader African cultural references, with garments featuring references to African countries and a contemporary interpretation of heritage.

The presentation also included an important Kenyan connection: Kenyan artist Cyrus Kabiru contributed eyewear created from waste materials, while South African musician Sjava provided the soundtrack.

This made MaXhosa one of the clearest symbols of the season’s growing conversation around African fashion, craftsmanship and cultural ownership.

It was also significant because MaXhosa had previously appeared in Paris through presentations; September 28 marked the transition to a full runway show on the official calendar.

Matières Fécales makes a statement

Later that evening, Matières Fécales, the Montreal/Paris creative project of Hannah Rose Dalton and Steven Raj Bhaskaran, presented one of the week’s most politically charged shows.

The designers presented 99 looks, with the number symbolising the 99%. The show featured an all-person-of-colour model cast, making representation itself part of the collection’s message.

It was an unusually direct statement for a fashion runway: fashion as clothing, performance, politics and social commentary at the same time.

September 29: Dior, Saint Laurent and the Return of the Major Houses

The second day moved Paris into blockbuster territory.

Christian Dior, Saint Laurent, Maison Margiela, Ganni, Mame Kurogouchi, Burç Akyol, Marie Adam-Leenaerdt and others occupied the calendar.

Dior was particularly important because Jonathan Anderson was presenting his third women’s ready-to-wear collection for the house, part of a wider season in which several newly appointed creative directors were beginning to establish their identities.

Saint Laurent, under Anthony Vaccarello, continued its highly recognisable language of glamour, sensuality and powerful silhouettes.

The day demonstrated one of the defining characteristics of Paris Fashion Week SS27: fashion houses were no longer simply introducing seasonal clothes; they were establishing new creative eras.

September 30: New Creative Voices Take the Stage

September 30 brought another major chapter with Tom Ford, Acne Studios, Stella McCartney, Dries Van Noten, MaitrePierre, Ruohan, Loulou de Saison, Balmain and Courrèges among the names on the calendar.

Drew Henry’s Courrèges debut

One of the season’s two officially identified major designer debuts came at Courrèges, where Drew Henry presented his first collection for the house.

According to the official schedule, Henry’s debut was one of only two major new creative-director debuts on the SS27 Paris calendar, the other being Kai Nesselrath at Carven.

That made Courrèges one of the collections watched particularly closely by buyers, editors and fashion insiders.

Stella McCartney and sustainability

Stella McCartney continued to place sustainability and animal welfare at the centre of her fashion proposition, reinforcing a broader SS27 conversation about responsible production and the environmental impact of fashion.

The industry’s sustainability agenda was also reflected structurally through FHCM’s partnership with PwC, whose STEP.event platform enables participating houses to assess the environmental and social impact of fashion events and explore lower-impact event design.

 

October 1: Chloé, Balenciaga and the New Generation of Luxury

The October 1 schedule included Isabel Marant, Schiaparelli, Gauchère, Uma Wang, Rick Owens, Icicle, Balenciaga, Carven, Alainpaul and Chloé.

Chloé: Romance meets practicality

At Chloé, creative director Chemena Kamali presented Spring/Summer 2027 at the Paris Observatory.

Her collection, titled “Obsession,” drew heavily from Chloé’s archives, combining romantic lace, lingerie references, broderie anglaise, ruffles and soft silhouettes with heavier outerwear and tailoring.

The contrast was important: delicate femininity was placed alongside practical, substantial garments.

Balenciaga under Pierpaolo Piccioli

Balenciaga continued its new chapter under Pierpaolo Piccioli, who was among the creative directors reshaping one of Paris’s most recognisable houses.

The season represented the third collection for several newly installed creative leaders, making SS27 something of a test of whether fashion’s recent creative-director upheaval could translate into long-term identities.

October 2: Givenchy, Loewe and the Power of Reinvention

October 2 was arguably one of the most important days of the entire week.

The official calendar brought together Givenchy, Yohji Yamamoto, Victoria Beckham, Casablanca, Marine Serre, Jitrois, Issey Miyake, Loewe, Undercover, Leonard Paris and others.

Givenchy Summer 2027: Sarah Burton’s Vision of the Modern Woman

For Sarah Burton, Spring/Summer 2027 was about clarity.

Her third season at Givenchy explored the question of how women dress when life itself is constantly moving.

Givenchy described the collection as an attempt to create balance and clarity, building a wardrobe around precision, simplicity and adaptability.

Burton approached the collection through highly engineered cutting.

The runway opened with a striking black leather dress, while the collection moved through sharply constructed tailoring, leather, asymmetry, sculptural dresses, jeans, peplum jackets, trench coats and garments designed to shift between different aspects of a woman’s life.

The collection also introduced new handbags designed by Marco De Vincenzo, including slouchy zippered shapes and crescent forms with mirror details.

The result was a Givenchy woman who appeared simultaneously powerful, practical, sensual and prepared.

Givenchy’s runway cast

The show featured 57 recorded models, according to FashionDB’s runway database, with Nyaduola Gabriel opening and Sarah Isaksen closing. The recorded cast included major names such as Liu Wen, Mona Tougaard, Agel Akol, Awar Odhiang, Rejoice Chuol, Achol Ayor, Soo Joo Park, Eva Herzigova and Fatou Mbaye.

The show also recorded three runway debuts, although the available database cautions that its cast information remains provisional rather than an official Givenchy-issued cast list.

The African and African-diaspora presence was particularly visible, with South Sudanese-Canadian models including Awar Odhiang, Agel Akol and Rejoice Chuol, alongside other models of African heritage.

Casablanca: African and Global Identity Collide

Another important October 2 presentation came from Casablanca, founded by Moroccan-French designer Charaf Tajer.

The Spring/Summer 2027 show featured 46 recorded models, with Sayonara Araujo opening and Lais Garcia closing.

The cast included models such as Saliou Gueye, Fama Diop, Opeyemi Ajibola, Bukki Musafiri and Moussa Sanogo, adding another layer of African representation to the Paris runway.

Brazilian singer Ludmilla also attended the Casablanca show wearing a look created specifically around the brand’s Spring/Summer 2027 collection.

Casablanca’s presence was significant because the label sits naturally between Parisian luxury, Moroccan heritage, travel culture and a distinctly contemporary global identity.

 

October 3: Celine, Hermès, Elie Saab and the Power of Craft

October 3 brought another heavyweight group:

Ann Demeulemeester, Hermès, Comme des Garçons, Elie Saab, Vivienne Westwood, Nehera, Noir Kei Ninomiya, Celine, Niccolò Pasqualetti, Junya Watanabe and Barbara Bui were among the official collections.

Celine under Michael Rider

At Celine, Michael Rider continued to define his vision for the house with a collection that drew on Parisian ease, 1970s references and a more relaxed interpretation of luxury.

Hermès: quiet luxury in motion

At Hermès, Nadège Vanhée continued to explore sensual minimalism and lightweight clothing an especially relevant direction during a season in which heat, climate and changing lifestyles influenced many designers.

Elie Saab

Lebanese designer Elie Saab once again brought his distinctive couture sensibility into the ready-to-wear environment, maintaining the Middle Eastern fashion house’s strong Paris presence.

October 4: Lacoste Turns Roland-Garros Into a Runway

Then came one of the most visually memorable shows of the season.

Lacoste Spring/Summer 2027: “No White Required”

Pelagia Kolotouros, Lacoste’s creative director, took the Spring/Summer 2027 collection to the Philippe-Chatrier central court at Roland-Garros.

Instead of treating the tennis court as a pristine white-and-green symbol, Kolotouros turned its clay into part of the collection’s visual language.

The runway itself traced an infinity loop across terre battue, while clay was used almost like a fashion material.

The collection revisited the history of tennis clothing and the rebellious legacy of René Lacoste and Suzanne Lenglen.

Lacoste’s traditional preppy codes were loosened.

Garment-dyed cottons, washed fabrics, relaxed tailoring, tropical wool, technical jerseys and breathable materials created a wardrobe built around movement rather than rigid uniformity.

Colours moved from clay and mineral earth tones to cobalt blue, acid yellow and silver.

Oversized piqué polos were layered with technical jerseys. Tracksuits, pleated skirts, loose tailoring, wide trousers and technical outerwear transformed tennis vocabulary into contemporary streetwear.

Even white garments appeared deliberately stained with clay turning imperfection into a symbol of movement and effort.

Lacoste models

FashionDB recorded 40 models in the Lacoste SS27 runway cast, with Josefa Santos opening and Bella Novello closing.

The cast included models such as Agel Akol, Aluel Keror, Aluel Makuach, Alyssa Traoré, Saliou Gueye, Farida Ebene, Noemi Kassa, Yahne Ba and Evelyn Effrim.

Notably, Agel Akol, a South Sudanese-Canadian model, was also part of Givenchy’s cast, demonstrating how models from African backgrounds were increasingly visible across major Paris houses.

Mossi Traoré: African Heritage in a Different Parisian Language

October 4 also brought Mossi, the label founded and creatively led by Mossi Traoré.

The Spring/Summer 2027 presentation drew inspiration from Père-Lachaise Cemetery, using tombs, stone, vegetation and the passage of time as creative references.

The resulting collection explored muted grey, green and natural tones, creating an atmosphere that was poetic rather than overtly commercial.

The presentation featured 16 models, with Ani Cuevas opening and Melisa Turkmen closing.

It also provided one of the clearest examples of emerging-model activity during the week.

FashionDB recorded Nyibol Dok Jok of South Sudan and Kadiata Ba of France among the models making their brand debuts at Mossi’s SS27 presentation.

October 5: Chanel, Sacai and Miu Miu

By October 5, the week was approaching its climax.

The schedule included Chanel, Agnès b., Florentina Leitner, Zimmermann, Time, Gabriela Hearst, Abra, Shiatzy Chen, Dice Kayek, Sacai and Ungaro, among others.

Chanel under Matthieu Blazy

Matthieu Blazy continued his Chanel chapter with a collection that engaged directly with the legacy of Gabrielle Chanel.

The show revisited ideas of freedom, femininity and movement, while translating the house’s historic codes into contemporary silhouettes.

The collection reportedly featured 83 looks, with different shoes completing each look another indication of how accessories, particularly footwear, became increasingly important during the SS27 season.

Miu Miu

Miu Miu continued its dialogue between youthful fashion, sportswear and femininity, with Gigi Hadid among the models seen on the runway during the season.

October 6: Louis Vuitton Brings Paris Fashion Week to a Futuristic Close

The final day belonged to Louis Vuitton.

The official schedule included Louis Vuitton, Pierre Cardin, Situationist, Boyarovskaya, CFCL, Christopher Esber and Litkovska.

Louis Vuitton Summer 2027: Fashion for a Warmer World

Creative director Nicolas Ghesquière closed the Paris ready-to-wear season with one of the most conceptually ambitious shows.

The collection responded to a world experiencing rising temperatures.

Instead of heavy, rigid fashion, Ghesquière explored lightweight fabrics, sheer materials, fluid jackets, strappy dresses, pastel shades and wide-slit trousers.

The objective was not simply to make summer clothes look lighter. It was to rethink how luxury clothing can function in a warmer future.

The runway itself became part of the argument.

The Louvre setting was transformed into a futuristic cityscape featuring 34 Damier-inspired flying-car structures, creating an imaginary urban environment in which the collection could exist.

Ghesquière described the concept in terms of the cities of the future asking how people will move through increasingly dense and changing urban environments.

Louis Vuitton’s model cast

FashionDB recorded 47 models, with Harriet Wellock opening and Noor Khan closing. Casting was handled by Ashley Brokaw.

The show also recorded five runway debuts, although, again, the database identifies its cast information as provisional rather than an official Louis Vuitton publication.

Among the major names appearing in Louis Vuitton’s wider SS27 runway activity was Noor Khan, who was one of the season’s strongest runway performers according to FashionDB’s Paris rankings.

African Fashion and Models Were Impossible to Ignore

Perhaps the most important story running beneath Paris Fashion Week 2026 was Africa’s increasing visibility.

The continent was not represented through a single aesthetic.

Instead, Africa appeared through South African knitwear, Moroccan heritage, Malian-French design, African models, African artists, African manufacturing and global African-diaspora creativity.

The designers and houses

The strongest African connections included:

  • MaXhosa Africa — Laduma Ngxokolo, South Africa
  • Casablanca — Charaf Tajer, Moroccan-French
  • Mossi — Mossi Traoré, Mali/French
  • Xuly Bët — Lamine Badian Kouyaté, Mali/France
  • Elie Saab — Lebanese designer and international fashion house with strong Paris presence

Xuly Bët is particularly important historically. Founded in Paris in the early 1990s by Malian-born Lamine Kouyaté, the house has long connected African identity, Parisian fashion and upcycling. The name itself means “Open your eyes wide” in Wolof.

African and African-diaspora models

Among the models documented across the major SS27 shows were:

Awar Odhiang, Agel Akol, Rejoice Chuol, Achol Ayor, Nyaduola Gabriel, Fatou Mbaye, Stella Winfred Nakiria, Aluel Keror, Aluel Makuach, Saliou Gueye, Farida Ebene, Evelyn Effrim, Noemi Kassa, Yahne Ba, Nyibol Dok Jok and Kadiata Ba, among others.

The representation is particularly significant because many of these models appeared across multiple houses rather than being confined to African designers.

FashionDB’s season-wide tracking recorded 1,208 models across 81 shows in its current database, while its rankings identified Athiec Geng, Noor Khan, Awar Odhiang and Mona Tougaard among the leading performers based on recorded appearances and its proprietary scoring system.

New Designers and Emerging Talent

Paris Fashion Week SS27 was also a season of transition.

The two most significant new creative-director debuts highlighted by the official schedule were:

Drew Henry — Courrèges

Henry’s September 30 debut represented the beginning of a new chapter for Courrèges.

Kai Nesselrath — Carven

Nesselrath presented his first collection for Carven on October 1.

These were the only two major new creative-director debuts specifically identified in the official pre-season schedule, although the calendar also contained numerous emerging designers and returning labels.

SPHERE: Paris’ emerging-designers platform

Behind the main runway schedule, the FHCM’s SPHERE Paris Fashion Week Showroom continued its role as an incubator for emerging talent.

The SS27 SPHERE session took place at the Palais de Tokyo from September 30 to October 6, supported by DEFI and L’Oréal Paris.

The participating brands included:

ACT N°1, Maison J. Simone, Matho, Meruert Tolegen, Riz Poli, Sevali, Vautrait, Victoria Valette and Weinsanto.

This is important because the future of Paris fashion will not be determined only by the traditional mega-houses. It will also be shaped by designers developing new business models, new cultural references and alternative approaches to production.

The Official Paris Fashion Week SS27 Line-Up

The official FHCM collection calendar included the following houses and labels across the September 28–October 6 season:

September 28:
Julie Kegels, Fidan Novruzova, Kimhekim, Weinsanto, Vautrait, MaXhosa Africa, Hodakova and Matières Fécales.

September 29:
Ester Manas, Alexandra Golovanoff, Ganni, Marie Adam-Leenaerdt, Mame Kurogouchi, Christian Dior, Burç Akyol, Maison Margiela, Saint Laurent and others.

September 30:
Tom Ford, Acne Studios, Stella McCartney, MaitrePierre, Dries Van Noten, Ruohan, Loulou de Saison, Balmain and Courrèges.

October 1:
Isabel Marant, Schiaparelli, Gauchère, Uma Wang, Rick Owens, Icicle, Balenciaga, Carven, Alainpaul and Chloé.

October 2:
Givenchy, Yohji Yamamoto, Victoria Beckham, Casablanca, Marine Serre, Jitrois, Issey Miyake, Loewe, Undercover, Leonard Paris and others.

October 3:
Ann Demeulemeester, Hermès, Comme des Garçons, Elie Saab, Vivienne Westwood, Nehera, Noir Kei Ninomiya, Celine, Niccolò Pasqualetti, Junya Watanabe and Barbara Bui.

October 4:
Mugler, Akris, Miu Miu, Lacoste, Margaret Howell, Mossi, Valentino and Jean Paul Gaultier.

October 5:
Chanel, Agnès b., Florentina Leitner, Zimmermann, Time, Gabriela Hearst, Abra, Shiatzy Chen, Dice Kayek, Sacai and Ungaro.

October 6:
Louis Vuitton, Pierre Cardin, Situationist, Boyarovskaya, CFCL, Christopher Esber and Litkovska.

The full official calendar also contained presentations and additional events beyond the headline runway shows.

Who Supported Paris Fashion Week 2026?

It is important to distinguish official partners from ordinary commercial sponsors of individual fashion houses.

According to the FHCM’s official partners page, the official partners supporting the Paris Fashion Week ecosystem included:

Official Partners

  • DEFI
  • L’Oréal Paris
  • Accor
  • Mercedes-Benz

DEFI supports the French fashion industry and emerging labels, including the SPHERE programme. L’Oréal Paris provides beauty expertise and supports both established and emerging fashion talent. Accor’s partnership centres on hospitality, creativity and innovation, while Mercedes-Benz has maintained a long-running relationship with fashion, design and creative talent.

Broadcasting and Media Partners

The official FHCM partnership network also included:

  • YouTube
  • Google
  • Tencent
  • The Asahi Shimbun
  • CNN Style
  • TikTok
  • Meta

These partnerships helped extend Paris Fashion Week beyond physical venues and into digital audiences around the world.

Professional Partners

The fashion ecosystem was additionally supported by:

  • Launchmetrics
  • Le New Black
  • Institut Français de la Mode
  • Zedonk
  • RSM
  • Stellae International
  • Bureau Future

Sustainability Partner

PwC served as FHCM’s sustainability partner, providing the STEP.event platform for assessing the environmental and social impact of fashion events.

Event Partners

The official event network also included:

  • Palais de Tokyo
  • Air France
  • Paris Musées

And FHCM listed additional support from:

  • Lime
  • Sixt Ride
  • Motocab
  • Café Caron
  • Stockman
  • Novelty
  • Novu

What Paris Fashion Week Spring/Summer 2027 Really Said About Fashion

When the final Louis Vuitton model walked away from the futuristic Louvre installation on October 6, the message of Paris Fashion Week SS27 was remarkably clear.

Fashion is changing.

The most successful collections were not necessarily those with the loudest logos or the most complicated garments. Instead, designers repeatedly explored movement, practicality, climate, femininity, cultural identity, craftsmanship and emotional relevance.

At Givenchy, Sarah Burton asked how women can dress for the many versions of themselves.

At Lacoste, Pelagia Kolotouros challenged the idea that tennis fashion must be pristine and white.

At Louis Vuitton, Nicolas Ghesquière imagined clothing for a warmer world.

At Chanel, Matthieu Blazy continued to reinterpret Gabrielle Chanel’s philosophy of freedom.

At Chloé, Chemena Kamali balanced romance with practicality.

At Maxhosa Africa, Laduma Ngxokolo demonstrated that African heritage can become the foundation of a contemporary global luxury house rather than simply a decorative reference.

And across the runways, a new generation of models continued to reshape what the international fashion image looks like.

The African Moment May Be One of Paris Fashion Week’s Biggest Stories

If there was one development from Paris Fashion Week 2026 that deserves attention beyond the clothes, it was the strengthening of African fashion’s place within the official global fashion system.

MaXhosa Africa’s move from Paris presentations to the official runway calendar was not an overnight success. It followed years of development, experimentation and persistence.

Ngxokolo’s achievement therefore carries a message for African designers across Nairobi, Johannesburg, Lagos, Accra, Dakar, Casablanca, Addis Ababa, Kampala and beyond:

African fashion does not have to wait for global fashion to discover it.

The opportunity is increasingly about building brands with strong creative identity, world-class production, compelling storytelling and the ability to operate on the same international platforms as established luxury houses.

Paris Fashion Week 2026 demonstrated that the African story is no longer limited to the audience.

Africa is increasingly becoming part of the runway itself.

And as the final lights went down in Paris, Spring/Summer 2027 left behind more than a collection of beautiful clothes. It left a picture of an industry trying to redefine itself  one where heritage and innovation, established houses and emerging designers, European luxury and African creativity can increasingly occupy the same global stage.

Paris may still be the fashion capital of the world. But the runway is becoming unmistakably more global.

Editorial fact-check note

The FHCM official calendar is used above to establish the dates, official houses and Paris Fashion Week structure. Individual runway model names and cast sizes are drawn from current runway-tracking records where available; these databases explicitly note that some casts remain provisional. Therefore, it would be misleading to describe any third-party model database as a definitive list of every model who walked every Paris show.

Content Courtesy of Paris Fashion  Week & NFH Digital Team 

KikoRomeo Takes Kenyan Heritage Fashion to Moscow Fashion Week 2026

Posted on by Oscar Alochi

Kenyan heritage meets contemporary design as KikoRomeo brings its distinctive craftsmanship, materials and cultural storytelling to the international runway in Moscow.

From Nairobi to Moscow, the pioneering Kenyan fashion house brings craftsmanship, cultural heritage and contemporary design to an international runway

By Nairobi Fashion Hub | October 2026

Kenyan fashion is taking another step onto the international stage as KikoRomeo, one of the country’s pioneering heritage fashion houses, presents its collection on the official Moscow Fashion Week 2026 calendar.

The Nairobi-founded fashion house showcased its work on October 1, 2026, at the Central Exhibition Hall “Manege” in Moscow, in a collaboration facilitated by Nairobi Fashion Week. The presentation represents an important international platform for Kenyan design, craftsmanship and cultural storytelling, while opening a conversation about the place of African fashion within an increasingly interconnected global industry.

The Moscow appearance also took place during a significant period for the city’s international fashion calendar, with Moscow Fashion Week and the BRICS+ Fashion Summit taking place alongside each other.

While the two platforms share an international fashion ecosystem and related organizers, they should not be confused. Moscow Fashion Week is a fashion presentation platform centred on designers, collections and runway showcases, while the BRICS+ Fashion Summit is an industry forum focused on dialogue, professional exchange, markets, investment, technology, culture and the development of fashion economies.

KikoRomeo’s showcase was specifically part of the official Moscow Fashion Week calendar.

A Kenyan fashion house built on heritage

Founded in Nairobi in 1996 by Ann McCreath, KikoRomeo has established itself as a pioneering name in modern Kenyan fashion.

The name KikoRomeo, meaning “Adam’s Apple” in Kiswahili, reflects a fashion house whose philosophy goes beyond clothing. KikoRomeo describes fashion as a medium for encouraging cross-cultural understanding and dignified economic trade, transforming heritage craftsmanship into contemporary wearable art.

Nearly three decades after its founding, that philosophy continues to shape the house’s approach to design.

For its Moscow presentation, KikoRomeo brought together Kenyan craftsmanship and contemporary tailoring, incorporating rainfed organic cottons, handloom textiles, art fabrics, zero-waste garment construction and distinctive hand-carved coconut-shell buttons.

The result is a design language in which material, craftsmanship and cultural identity are not simply decorative elements, but integral parts of the garments.

From Nairobi to Moscow

The collaboration with Nairobi Fashion Week places KikoRomeo within a wider effort to create international opportunities for Kenyan fashion.

For designers from emerging fashion markets, international runway platforms can provide more than visibility. They can introduce creative businesses to new audiences and potentially create connections across the wider fashion value chain, including buyers, media, retailers, creative professionals and international consumers.

Brian James Kihindas, Creative Director of Nairobi Fashion Week, described the Moscow opportunity as an important platform for Kenya’s fashion industry, particularly in relation to international markets and the country’s creative economy.

“Securing a place on the official calendar of Moscow Fashion Week is an unprecedented opportunity for Kenya’s fashion industry,” Kihindas said.

He added that the collaboration supports Nairobi Fashion Week’s vision of unlocking international markets, championing Kenya’s creative economy and positioning Kenyan design talent on the world stage.

For KikoRomeo founder Ann McCreath, the international runway represents an opportunity to communicate the house’s philosophy to a new audience.

“Our core purpose has always been to use art and fashion as a universal language to bring people together and build understanding across cultures,” McCreath said.

Moscow Fashion Week and the BRICS+ Fashion Summit: two different platforms

The proximity of the two events makes the distinction particularly important.

Moscow Fashion Week provides a platform for fashion designers and brands to present collections through runway shows and other fashion-related programmes. KikoRomeo’s presentation was part of this official fashion-week calendar.

The BRICS+ Fashion Summit, meanwhile, operates primarily as an international fashion-industry forum, bringing together professionals and stakeholders to discuss the business and development of fashion across different markets.

The Summit has increasingly provided a platform for conversations around emerging fashion economies, traditional crafts, technology, investment, international cooperation and changing consumer markets.

Both platforms therefore contribute to the wider fashion ecosystem, but from different angles.

One puts the collection and designer at the centre of the presentation; the other places the industry and its future at the centre of discussion.

For Kenya, participation in international platforms of both kinds can create different opportunities for visibility, dialogue and professional exchange.

Why KikoRomeo’s collection matters

KikoRomeo’s Moscow presentation comes at a time when questions surrounding craftsmanship, sustainability, cultural identity and responsible fashion production are increasingly important to the global industry.

The materials and techniques identified in the collection including organic cotton, handloom textiles, art fabrics and zero-waste construction connect Kenyan craft traditions with contemporary conversations around fashion and sustainability.

The use of hand-carved coconut-shell buttons adds another layer of material storytelling, demonstrating how locally rooted resources and craftsmanship can become part of a contemporary international fashion vocabulary.

Rather than separating heritage from modernity, KikoRomeo’s approach brings the two together.

That balance has long been central to the evolution of African fashion, as designers across the continent continue to reinterpret cultural references, indigenous techniques and locally available materials through contemporary design.

Kenyan fashion beyond borders

The Moscow showcase also highlights the growing importance of international networks to Kenya’s fashion industry.

Kenya has a diverse creative ecosystem spanning fashion designers, textile artisans, models, photographers, stylists, beauty professionals, manufacturers and fashion event organizers.

Connecting that ecosystem with international platforms can help expand the conversation around what Kenyan fashion represents and where it can participate.

For Nairobi Fashion Week, the KikoRomeo collaboration is therefore more than a single runway appearance. It forms part of an ambition to create stronger connections between Kenyan fashion and international markets.

For KikoRomeo, meanwhile, Moscow provides another international stage on which to present a design philosophy developed in Nairobi over three decades.

A story of culture, craft and connection

At its heart, the KikoRomeo Moscow presentation is a story about how fashion can travel without losing its sense of place.

The garments began with a Kenyan design house founded in Nairobi. Their materials and craftsmanship carry connections to Kenya. Their presentation took place thousands of kilometres away in Moscow, before an international fashion audience.

That journey reflects the increasingly global nature of contemporary fashion, where designers can draw from local heritage while engaging with international markets and audiences.

For KikoRomeo, the objective is not simply to export clothing.

It is to communicate a story.

A story about Kenyan craftsmanship.

A story about material knowledge.

A story about cultural identity.

And, ultimately, a story about fashion’s ability to create connections between people and places.

From Kenya to the global fashion conversation

KikoRomeo’s appearance on the official Moscow Fashion Week 2026 calendar marks another chapter in the journey of a Kenyan fashion house that has spent decades placing heritage and craftsmanship at the heart of its work.

Its collaboration with Nairobi Fashion Week demonstrates the potential of international partnerships to create new platforms for Kenyan designers.

And its presence in Moscow adds another international chapter to the broader story of African fashion’s evolving relationship with the global fashion industry.

As fashion continues to move across borders, KikoRomeo’s message remains rooted in Nairobi: heritage can be preserved while design evolves, craftsmanship can become contemporary, and Kenyan fashion can participate in international conversations without losing the cultural identity that gives it meaning.

From Nairobi to Moscow, KikoRomeo’s runway story is ultimately not only about where Kenyan fashion is going. It is also about what Kenyan fashion carries with it when it arrives.

Content Courtesy of KikoRomeo, Nairobi Fashion Week & NFH Digital Team 

Jackson Watenya: Crafting Editorial Narratives Through the Lens of Jack Photography

Posted on by Oscar Alochi

Jackson Watenya, the Nairobi-based creative photographer behind Jack Photography, is steadily establishing a distinctive visual language within Kenya’s evolving fashion, portrait and wedding photography landscape. His work is defined by a deliberate approach to image-making one that places equal emphasis on concept, atmosphere, composition, lighting and post-production to create photographs that feel considered, cinematic and editorial.

Working across fashion, portraiture and wedding photography, Watenya approaches every project as an opportunity to construct a visual story rather than simply document a moment. His creative process begins long before the camera is raised. From developing concepts and moodboards to designing the lighting environment, directing subjects and refining the final image through professional retouching, every stage is intentionally considered. The result is photography that communicates a clear sense of identity, mood and visual purpose.

A Deliberate Approach to Visual Storytelling

At the heart of Jack Photography is Watenya’s belief that compelling photography is created through intention and collaboration. His images demonstrate an understanding of how styling, movement, light, location and human expression can work together to produce a cohesive visual narrative.

Rather than relying solely on naturally occurring moments, Watenya takes an active role in shaping the frame. He works closely with models, designers and other creatives to translate an initial idea into a finished visual statement. This directed approach allows him to explore different moods and aesthetics while maintaining a strong sense of consistency throughout his work.

His fashion photography, in particular, reflects an appreciation for the relationship between the subject, clothing and environment. Through considered composition and lighting, he creates imagery that allows fashion to become part of a larger story where garments, gestures, textures and surroundings contribute equally to the narrative.

Finding Editorial Potential in Ordinary Spaces

One of the defining characteristics of Watenya’s photography is his ability to transform seemingly ordinary environments into compelling visual settings. Rather than depending exclusively on elaborate locations or studio productions, he looks for the architectural details, textures, light and atmosphere that can give a location a distinctive character.

This ability to reinterpret everyday spaces gives Jack Photography an editorial sensibility while retaining a strong connection to Nairobi’s visual landscape. A familiar environment can become something unexpected when approached through the right perspective, lighting design and composition.

For Watenya, the location is therefore more than a backdrop. It becomes an active element of the photograph helping establish mood, context and visual identity.

Building a Distinctive Creative Identity

Operating under the name Jack Photography, Watenya is developing a portfolio that bridges fashion, portraiture and wedding imagery while maintaining a consistent commitment to polished visual storytelling. His work demonstrates an interest in creating photographs that remain visually engaging beyond the immediate moment, with attention given to the finer details that contribute to a finished editorial image.

His collaborations with Nairobi-based models and designers have further connected his photography to the city’s growing creative community. Among the creatives featured in his work are Cynthia Juma, Fridah Gatheru and Lela, whose collaborations reflect Watenya’s engagement with emerging talent and fashion-oriented visual production.

As Nairobi continues to strengthen its position as one of Africa’s increasingly influential creative centres, photographers such as Watenya are contributing to the visual language through which the city’s fashion and creative culture is represented.

The Vision Behind Jack Photography

For Jackson Watenya, photography is ultimately about more than producing an aesthetically pleasing image. It is about creating a complete visual experience one where concept, subject, styling, environment, lighting and post-production come together with purpose.

His evolving body of work reflects a photographer interested in both the technical and artistic dimensions of the craft. Whether photographing a fashion editorial, an individual portrait or an important wedding celebration, he approaches the camera as a tool for translating ideas, personalities and moments into lasting visual narratives.

From Nairobi, Watenya continues to refine the creative identity of Jack Photography, exploring new collaborations, visual concepts and ways of presenting African talent through contemporary photography.

Jackson Watenya — Jack Photography
Nairobi, Kenya
Specialising in: Fashion Photography | Portrait Photography | Wedding Photography

Instagram: @jack__photography1
Portfolio: Jack Photography — MyPixieset

Selected Credits

Cynthia Juma — @cynthiajuma_
Fridah Gatheru — @fridah_gatheru
Lela — @hymynameis_lela

Content Courtesy of Jackson Watenya & NFH Digital Team.

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

Posted on by Oscar Alochi

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

Introduction

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

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

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

About You & Your Journey

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

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

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

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

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

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

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

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

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

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

 

Modelling & Creative Experience

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Fashion & Creativity

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

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

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

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

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

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

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

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

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

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

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

 

Personality, Vision & Future

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

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

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

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

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

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

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

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

Bonus Questions

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

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

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

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

Editorial Closing

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

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

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

Connect with Margaret Wanjiru on her social media platforms

Instagram: Lifesty_leiva
Tiktok: Lifesty_leiva
Facebook:Lifesty_leiva

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

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

Posted on by Oscar Alochi

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

By Nairobi Fashion Hub

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

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

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

From African Creative Talent to Global Opportunity

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

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

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

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

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

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

Meet the Creative DNA 2026 Cohort

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

The designers are:

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

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

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

A Runway With a Purpose

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

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

This connection between visibility and business is crucial.

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

Creative DNA attempts to bridge that gap.

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

Fashion, Technology and the Questions Shaping Tomorrow

The programme also looks beyond traditional fashion conversations.

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

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

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

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

Reframing Africa’s Place in Global Fashion

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

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

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

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

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

Creative DNA sits within that changing landscape.

Africa Fashion Week London: A Global Platform

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

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

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

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

A New Generation Writing Its Own Fashion Narrative

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

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

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

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

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

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

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

Photo credit: Daniel Kempf-Seifried Photography

Content Courtesy of Creative DNA AFWL & NFH Digital Team 

The Runway That Remembered: How Nairobi’s Global Fusion Fashion Show Reimagined Fashion as Cultural Memory

Posted on by Oscar Alochi

On a luminous August evening in Nairobi, the runway became a passport to the world. At the Global Fusion Fashion Show 2026, emerging East African designers transformed fashion into a powerful act of cultural storytelling, weaving together history, heritage, and contemporary design with remarkable sophistication. Hosted by Delight Fashion School at the elegant Iconic Plaza Hotel, the event proved that fashion can transcend borders while preserving the identities that make every culture unique. From a commanding Benin-inspired tribute to the legendary Dahomey Women Warriors to refined interpretations of Indian and Vietnamese heritage, the evening marked a defining moment for Africa’s next generation of fashion voices.

By African Fashion Magazine NFH

NAIROBI, KENYA — On an evening washed in amber light and anticipation, the ballroom of Iconic Plaza Hotel ceased to be a hotel ballroom. It became a cartography of cultures. Silk whispered beside hand-finished cotton; sculptural tailoring met ancestral symbolism; drums, strings, and footsteps converged in a choreography that felt less like a fashion show and more like a collective act of remembrance.

 

This was the Global Fusion Fashion Show 2026, the third annual edition hosted by Delight Fashion School, and it arrived in Nairobi not merely as another runway event, but as a persuasive argument for what fashion can become when it is rooted in history rather than novelty.

 

For one extraordinary night, nine emerging designer groups transformed the runway into a living archive of world cultures. Their collections were not presented as costumes or borrowed aesthetics; they were offered as researched, interpreted, and emotionally charged narratives. In an industry often criticised for consuming culture faster than it understands it, the show proposed a different model: fashion as dialogue, fashion as scholarship, fashion as respect.

 

The result was one of the most compelling emerging-fashion showcases in East Africa this year.

 

A City Becoming a Fashion Capital

Nairobi has long been a city of movement of commerce, migration, music, technology, and ideas. Increasingly, it is also becoming a city of fashion. The Global Fusion Fashion Show arrived at a moment when African creative industries are demanding not just visibility but authorship in global fashion conversations.

 

What distinguished the evening was its refusal to imitate the established fashion capitals. Instead, it leaned into Nairobi’s greatest strength: its ability to convene multiple cultural worlds at once. Students, industry professionals, editors, stylists, photographers, entrepreneurs, and families filled the venue, creating an audience that reflected the democratic energy of contemporary African fashion.

 

The atmosphere was electric, but it was also attentive. People were watching not only for beauty, but for meaning.

 

The Collection That Stopped the Room

The evening’s highest honour went to a Benin-inspired collection dedicated to the Dahomey Women Warriors, the legendary all-female military regiment of the Kingdom of Dahomey in present-day Benin. Popular culture has only recently begun to acknowledge these women; history, however, has long recorded their discipline, strategic brilliance, and extraordinary courage.

The winning designers understood that such a subject could not be approached superficially.

 

Their garments carried architectural precision: structured shoulders suggesting armour without literal replication, layered textiles evoking protection and movement, and a restrained palette punctuated by commanding accents. Yet the true power of the collection emerged in performance. The models advanced with ceremonial authority, their pacing measured, their formations deliberate. What unfolded was not simply a runway walk; it was a visual meditation on female power, memory, and resistance.

 

The audience responded first with silence the rarest form of runway attention before erupting into sustained applause.

 

One judge later described the presentation as “fashion with historical conscience,” an assessment that captured why it prevailed. The collection succeeded not only because it was beautifully made, but because it treated its source material with gravity and imagination.

 

In that moment, the runway became a site of historical recovery.

India in Contemporary Light

The second-place collection, inspired by India, offered a strikingly different emotional register. Where the Benin presentation was ceremonial and forceful, the Indian collection was luminous.

Saffron, emerald, ruby, and ivory appeared in fluid conversation across contemporary silhouettes that hinted at sari drapes, classical ornamentation, and architectural tailoring without reproducing them literally. The designers demonstrated an impressive understanding of proportion and movement, allowing garments to glide rather than merely occupy space.

What impressed the judging panel most was the collection’s balance: it honoured Indian aesthetic traditions while speaking fluently to a modern global wardrobe. It felt neither nostalgic nor trend-driven; it felt current.

 

Vietnam and the Elegance of Restraint

The Vietnam-inspired collection, awarded third place, was perhaps the evening’s quietest triumph. Drawing inspiration from the graceful lines of the Áo Dài, the designers explored elongation, balance, and softness with remarkable discipline.

 

In a fashion climate often dominated by spectacle, the collection argued for the sophistication of restraint. Fabrics moved with almost liquid ease, silhouettes remained refined, and detailing was handled with extraordinary care. The presentation demonstrated that subtlety, when executed with confidence, can command as much attention as extravagance.

It was a lesson many established designers would do well to remember.

 

Beyond Competition: The Real Story

To focus solely on the winners would be to miss the larger achievement of the evening.

 

The Global Fusion Fashion Show functioned as an educational and professional incubator. Emerging designers were required to research cultural histories, study textile traditions, and consider the ethics of interpretation before translating those insights into contemporary design. In doing so, the event challenged a generation of young creatives to move beyond aesthetic sampling toward informed cultural engagement.

This is significant.

Across the global fashion industry, debates about cultural appropriation, representation, and authorship have intensified. Delight Fashion School’s approach suggests a productive path forward: curiosity paired with accountability. The show demonstrated that cross-cultural inspiration need not erase origins; it can illuminate them.

 

Fashion as a Collective Art Form

The evening’s success also depended on an ecosystem of collaborators. Iconic Plaza Hotel provided a setting of understated elegance.

Vuvu Africa managed guest experience and logistics with precision. The ADEA Team orchestrated backstage operations, where the real-time pressures of dressing, styling, and sequencing require military efficiency.

Beauty services by Allso Make Up enhanced each collection’s visual language without overwhelming it, while media partners including Poha Media, NC The Best Media, Nairobi Fashion Hub and Delight Studios Media ensured that the event’s cultural message travelled beyond the venue.

 

Such partnerships are often relegated to footnotes, yet they are the invisible architecture of every successful fashion production.

The Judges and the Question of Merit

Fashion competitions frequently struggle with credibility. Here, the presence of judges Kavulani, D.K, and Eva Wambutu all respected figures within the regional fashion landscape lent the process unusual authority.

 

Collections were assessed across multiple criteria: creativity, craftsmanship, originality, cultural interpretation, innovation, and runway presentation. The emphasis on both technical execution and intellectual engagement reinforced the show’s central thesis: fashion excellence is multidimensional.

A beautiful garment is not enough. It must also know what it is saying.

Why This Matters Beyond Nairobi

The significance of the Global Fusion Fashion Show extends beyond a single event or institution. It speaks to a broader transformation underway across African fashion.

 

For decades, African designers were too often positioned as sources of inspiration rather than as creators of globally relevant fashion discourse. Events like this challenge that hierarchy. They present East African designers not as participants on the margins, but as authors shaping contemporary fashion’s future.

 

The show also highlights an economic truth. Creative industries thrive when emerging talent receives visibility, mentorship, and professional exposure. By creating a platform where students can present ambitious work before industry stakeholders, Delight Fashion School is investing not only in individual careers but in the region’s creative economy.

 

A New Fashion Vocabulary

As the final models exited and the lights softened, what lingered was not a single look but a feeling: that something important had occurred.

The Global Fusion Fashion Show 2026 proposed a new vocabulary for fashion in East Africa one that values research alongside creativity, cultural literacy alongside craftsmanship, and storytelling alongside spectacle. It suggested that the future of fashion may belong not to those who chase the fastest trend, but to those who can translate memory into form.

 

In an age of accelerated consumption, that is a radical proposition.

 

The evening closed with congratulations, photographs, and celebration. Yet its most enduring image may be the procession of the Dahomey-inspired collection moving through the runway with unwavering dignity, reminding everyone in the room that fashion can do more than decorate the present.

It can remember.

And when fashion remembers, it becomes art.

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Content Courtesy of Delight Fashion School & NFH Digital Team 

Delight Fashion School Shines at 3rd Global Fusion Fashion Show as Benin-Inspired Collection Takes Top Honour

Posted on by Oscar Alochi

Nairobi came alive with colour, culture, and creativity as Delight Fashion School hosted its 3rd Annual Global Fusion Fashion Show 2026 at the elegant Iconic Plaza Hotel. The highly anticipated event brought together emerging designers, industry leaders, models, students, and fashion enthusiasts for an unforgettable celebration of global heritage and contemporary design. More than a fashion show, the evening highlighted the power of fashion as a universal language that preserves cultural identity, tells meaningful stories, and inspires the next generation of East African fashion talent. The showcase reached its climax when a striking Benin-inspired collection honouring the legendary Dahomey Women Warriors was crowned the overall winner, reaffirming the growing influence of culturally driven African fashion on the global stage.

Nairobi, Kenya – August 3, 2026

Delight Fashion School marked a major milestone in fashion education and cultural celebration during its 3rd Annual Global Fusion Fashion Show, held on Saturday, August 1, 2026, at the prestigious Iconic Plaza Hotel in Nairobi. The highly anticipated event brought together emerging designers, fashion industry professionals, models, students, media personalities, and fashion lovers for an inspiring evening dedicated to creativity, heritage, and innovation.

The show highlighted the transformative power of fashion as a universal language capable of preserving cultural identity while connecting people across borders. Through striking runway presentations and compelling storytelling, the event demonstrated that fashion is far more than clothing it is a celebration of history, identity, and artistic expression.

International Design Competition Showcases Emerging Talent

A key feature of the evening was a competitive showcase involving nine designer groups, each presenting collections inspired by different countries and cultural traditions from around the world. The young designers impressed audiences with imaginative interpretations that blended traditional influences with contemporary fashion aesthetics.

 

The collections were evaluated by a respected panel of judges Kavulani, D.K, and Eva Wambutu who assessed the entries based on creativity, craftsmanship, originality, innovation, cultural interpretation, and runway execution. The competition revealed the impressive depth of emerging fashion talent in Kenya and reinforced East Africa’s growing reputation as a centre for culturally inspired fashion design.

Benin-Inspired Collection Crowned Overall Winner

 

The evening’s highest honour was awarded to a remarkable collection inspired by Benin, which paid tribute to the legendary Dahomey Women Warriors, the celebrated female military force of West Africa known for their bravery, discipline, and resilience.

The winning designers captivated both the judges and the audience with meticulously crafted garments that reflected strong cultural authenticity and exceptional attention to detail. Their presentation stood out not only for its technical excellence but also for its powerful narrative. Through choreography, styling, and visual storytelling, the collection brought the history and spirit of the Dahomey warriors vividly to life.

Judges praised the collection for going beyond fashion and serving as a meaningful artistic tribute to an important chapter of African history, demonstrating how contemporary design can preserve and celebrate cultural heritage.

India and Vietnam Collections Also Receive Top Recognition

Second place went to the India-inspired collection, which impressed the panel with its rich colour palette, elegant silhouettes, and sophisticated interpretation of Indian cultural aesthetics. The designers successfully merged traditional Indian elements with modern fashion sensibilities, producing garments that felt both authentic and contemporary.

 

Third place was awarded to the Vietnam-inspired collection, recognised for its refined craftsmanship, graceful runway presentation, and respectful engagement with Vietnamese textile traditions and design principles.

 

The winning teams received cash prizes of KES 20,000, KES 17,000, and KES 15,000 respectively, along with gift hampers provided by event partners.

Celebrating Cultural Fusion Through Fashion

Presented under the theme “Celebrating Cultural Fusion,” the event emphasized fashion’s unique ability to connect cultures while honouring the distinct traditions that shape them. Rather than blending cultures into uniformity, the show demonstrated that the most compelling fashion emerges when designers engage deeply with historical narratives, craftsmanship, and cultural meaning.

For emerging designers, the Global Fusion Fashion Show provided invaluable exposure to professional runway standards, industry networking opportunities, and a platform to build confidence and visibility within the fashion sector.

A Vibrant Audience and Immersive Runway Experience

The event attracted a diverse audience that included fashion students, designers, industry stakeholders, corporate partners, families, media representatives, and invited guests. The atmosphere throughout the evening was energetic and celebratory, reflecting strong appreciation for the designers’ creativity and the cultural significance of their work.

 

Guests enjoyed runway presentations that incorporated choreography, music, and artistic performance elements, creating an immersive experience that elevated the event beyond a conventional fashion show.

Strong Partnerships Behind the Event’s Success

Delight Fashion School acknowledged the contribution of several strategic partners whose support was instrumental to the success of the event.

Iconic Plaza Hotel provided the elegant venue.

Vuvu Africa handled ushering and guest management services.

The ADEA Team from Rombo coordinated backstage dressing and runway logistics.

Media coverage was provided by University Vibes, Poha Media, NC The Best Media, Delight Studios Media, Nairobi Fashion Hub and other independent media houses.

Allso Make Up delivered professional beauty services for the models.

Ivy the Bridal Books & Gifts sponsored gifts and awards.

Freebis offered additional event support.

Their combined efforts helped create a polished and professional production that matched the high standards of the participating designers.

Judges Commended for Fair and Professional Evaluation

The judging panel was praised for its professionalism and commitment to nurturing emerging talent. With extensive industry experience,  Kavulani, D.K, and Eva Wambutu ensured that the competition results reflected genuine excellence in design, craftsmanship, and cultural engagement.

 

In addition to the main competition awards, several special recognitions were presented for leadership, modelling excellence, and audience participation, acknowledging the many individuals who contributed to the success of the event.

Organisers Reaffirm Commitment to Fashion Education

 

Following the successful conclusion of the show, Delight Fashion School reaffirmed its dedication to developing the next generation of fashion professionals through practical industry exposure and culturally grounded design education.

Organisers noted that the event demonstrated fashion’s power to preserve culture, inspire creativity, and unite communities, while also showcasing the potential of East African designers on the global stage.

Looking Ahead to 2027

Building on the success of the 2026 edition, Delight Fashion School announced plans to expand the Global Fusion Fashion Show into one of East Africa’s premier platforms for emerging designers, cultural exchange, and fashion innovation. Future editions are expected to feature enhanced production, broader competition categories, and increased opportunities for international participation and recognition.

About Delight Fashion School

Delight Fashion School is a leading fashion training institution committed to developing skilled, innovative, and industry-ready fashion professionals through practical education, creative mentorship, and meaningful engagement with the fashion industry. Through initiatives such as the Global Fusion Fashion Show, the school provides students with real-world experience that helps them develop their creative voice, professional networks, and career opportunities within the fashion sector.

 

Media Contact

Delight Fashion School

Website: http://www.delight.ac.ke

Email: info@delight.ac.ke

Telephone: 0722 533 771

Content Courtesy of Delight Fashion School & NFH Digital Team

Colombo to Host South Asian Debut of BRICS Fashion Summit

Posted on by Fashion Tribe Influencer

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

Summit Panel and Discussions

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

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

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

Colombo Fashion Week 2026 Highlights

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

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

Nurturing Emerging Talent

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

A Platform for Global Fashion Dialogue

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

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

 

Content Courtesy of Colombo & NFH Digital Team

Precision & Power: The 10 Designers Defining Singapore’s Fashion Authority in 2025/2026

Posted on by Oscar Alochi

Singapore’s fashion industry has entered a new era, one defined not by spectacle alone, but by precision, research, technology, and commercial intelligence. In 2025/2026, the city-state’s most influential designers are not simply creating clothes; they are engineering narratives, redefining Asian silhouettes, and exporting a distinctly Singaporean design philosophy to the world.

From algorithm-assisted couture to culturally rigorous reinterpretations of heritage dress, here are ten designers and brands shaping Singapore’s global fashion identity in detail.

1. Grace Ling — GRACE LING

Design Philosophy
Grace Ling represents Singapore’s most visible haute couture export. Her work fuses computational design, 3D printing, and sculptural construction to create garments that feel architectural yet fluid.

2025/2026 Collection Highlights
Her latest collections explore metallic skeletal structures layered over second-skin fabrics. Sculpted bodices appear digitally grown, while fluid silk skirts contrast with rigid resin frameworks. Ling’s experimentation with 3D-printed corsetry has evolved into modular components that can be detached and reassembled couture with structural intelligence.

Retail & Studio Presence
With a flagship at Hudson Yards in New York and private atelier appointments for Asian clients, Ling maintains a transcontinental footprint while keeping Singapore as a cultural anchor.

What Sets Her Apart
Few Southeast Asian designers are as technically fluent in digital fabrication. Ling doesn’t merely reference futurism she builds it.

Current Projects
She is reportedly expanding into collectible art objects and limited-edition couture capsules aimed at Middle Eastern luxury clientele, alongside sustainability research in bio-based materials.

2. Love, Bonito

Design Philosophy
Love, Bonito has redefined Asian womenswear by prioritising fit intelligence and commercial scalability without sacrificing polish.

2025/2026 Collection Highlights
The brand’s recent lines emphasize structured yet breathable workwear, wrinkle-resistant suiting, and versatile day-to-night dresses. Capsule drops experiment with textured fabrics and muted monochromes, tailored specifically to Southeast Asian body proportions.

Store Locations
Flagships at ION Orchard and Jewel Changi Airport, alongside over 20 stores across Asia.

What Sets Them Apart
Data-driven tailoring. Love, Bonito uses customer feedback loops to refine fit across multiple body types a rare fusion of technology and retail empathy.

Current Projects
Expansion into lifestyle categories, including footwear and wellness apparel, with sustainability pledges focusing on responsible fabric sourcing.

3. Charles & Keith

Design Philosophy
Accessories as accessible luxury.

2025/2026 Collection Highlights
This season’s collections feature sculptural heels with geometric arches, metallic-finish handbags, and minimalist structured totes. Designer collaborations add limited-edition appeal.

Store Locations
Prime Orchard Road boutiques and more than 600 stores worldwide.

What Sets Them Apart
Rapid global trend interpretation backed by efficient supply chains enabling runway-inspired pieces at competitive prices.

Current Projects
Digital retail innovations include immersive online showrooms and expanded eco-material sourcing initiatives.

4. Priscilla Shunmugam — ONG SHUNMUGAM

Design Philosophy
Intellectual fashion rooted in Southeast Asian heritage.

2025/2026 Collection Highlights
Modern cheongsams reimagined as office wear. Kebaya-inspired dresses rendered in contemporary silhouettes. Rich Peranakan motifs appear in minimalist cuts, balancing history with restraint.

Store Location
Flagship boutique in Singapore’s Orchard area, alongside global e-commerce.

What Sets Her Apart
Academic-level research underpins each collection. Cultural storytelling is embedded in every seam.

Current Projects
Textile collaborations with regional artisans and exploration of museum-grade exhibitions celebrating Southeast Asian dress traditions.

5. Max Tan — max.tan

Design Philosophy
Androgynous minimalism with structural integrity.

2025/2026 Collection Highlights
Sharp monochrome tailoring, elongated outerwear, asymmetrical layering, and sculptural drapes dominate his latest presentations.

Retail Presence
Select boutiques and curated fashion platforms in Singapore and Japan.

What Sets Him Apart
Tan challenges conventional proportions while maintaining commercial wearability.

Current Projects
Expansion into gender-neutral collections and deeper European market penetration.

6. Revivre Studio

Design Philosophy
Sustainability through functional design.

2025/2026 Collection Highlights
Convertible garments blazers that transform into bags, reversible jackets, and modular outfits designed for longevity.

Store Presence
Featured at Design Orchard and sustainability-driven showcases.

What Sets Them Apart
Utility-driven eco-fashion with real-world functionality.

Current Projects
Scaling production sustainably while maintaining artisanal craftsmanship.

7. Putri Adif — EKA

Design Philosophy
Heritage meets technology.

2025/2026 Collection Highlights
Batik-inspired patterns combined with 3D-printed lace overlays and structured bodices inspired by traditional kebayas.

Retail Presence
Curated retail platforms and regional fashion weeks.

What Sets Her Apart
A hybrid craftsmanship model blending computational design and Southeast Asian tradition.

Current Projects
Development of bespoke bridal couture integrating advanced fabrication techniques.

8. KHAAR

Design Philosophy
Minimalism refined for tropical climates.

2025/2026 Collection Highlights
Breathable tailoring, neutral palettes, and understated luxury essentials.

Store Location
Available at Design Orchard and select independent boutiques.

What Sets Them Apart
Precision tailoring suited to Singapore’s climate and urban lifestyle.

Current Projects
Collaborative capsules with emerging creatives.

9. TATSU MAKER WORKS

Design Philosophy
Streetwear anchored in local storytelling.

2025/2026 Collection Highlights
Graphic-heavy drops referencing regional culture, layered with contemporary silhouettes.

Store Presence
Pop-ups and Design Orchard.

What Sets Them Apart
Authentic grassroots narrative fused with modern street aesthetics.

Current Projects
Regional expansion into collaborative Asian streetwear markets.

10. Thomas Wee

Design Philosophy
Timeless sophistication and foundational mentorship.

2025/2026 Relevance
Archive revivals and curated retrospectives celebrating Singapore’s fashion evolution.

What Sets Him Apart
He laid the groundwork for Singapore’s contemporary fashion ecosystem.

Current Projects
Educational initiatives and heritage exhibitions supporting emerging designers.

A Nation Designing Its Future

In 2025/2026, Singapore’s fashion narrative is not loud; it is deliberate. The designers leading the charge combine cultural literacy, technological fluency, and commercial pragmatism. Whether through Grace Ling’s sculptural futurism, Love, Bonito’s data-driven democratization, or Ong Shunmugam’s heritage scholarship, the message is clear:

Singapore is no longer fashion’s emerging voice.

It is a calibrated force precise, intelligent, and globally resonant.

Content courtesy of NFH Digital Team 

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

Posted on by Fashion Tribe Influencer

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

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

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

The Visionaries: Top 10 Chinese Fashion Designers

1. Uma Wang (Label: UMA WANG)

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

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

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

2. Ye Ma (Label: ICICLE)

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

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

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

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

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

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

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

4. Susan Fang (Label: SUSAN FANG)

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

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

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

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

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

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

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

6. Rui Zhou (Label: RUI)

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

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

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

7. Xiong Ying (Label: HEAVEN GAIA)

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

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

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

8. Xander Zhou (Label: XANDER ZHOU)

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

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

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

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

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

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

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

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

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

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

  • Shows: LFW and Shanghai.

The Faces of the Frontline: Top Models

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

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

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

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

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

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

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

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