Roberta Annan, a Ghanaian businesswoman, launched the African Fashion Fund in 2011 to improve access to finance and infrastructure for artisans and creatives from across the continent. She insists that sustainability cannot be limited to only the materials used in producing beautiful things; it should also drive fair wages and economic empowerment especially for women.
Roberta Annan is an award-winning businesswoman. She was the youngest African to be inducted into the African Leadership Hall of Fame.
Since its inception, the Fund has offered US$5,000 grants to artisans to help them scale up production and gain access to markets, emphasizing women-led brands, that include a cosmetics company and an artisanal chocolate producer.
“We must use the COVID pandemic as an opportunity to redefine sustainability not just for Africa but for the world,” she said from her home in Accra, Ghana. “There is luxury in our natural environments, and we have the chance to build a business model around the beauty of that luxury.”
While not minimizing the impact of COVID on business, Annan and her colleagues at the Fund are determined to use it as an opportunity to accelerate a plan that was already in progress to make a deliberate push into e-commerce. A digital platform is already in place; all that is needed is a global distribution chain to get wares from the continent to buyers across the globe.
The Fund has also teamed with one of the original artisans who benefited from seed grants to bring portable, foldable looms to 130 villages in Ghana and Nigeria, which will provide an entrepreneurial opportunity to women’s cooperatives to weave and sell textiles.
“It is critical that the artisans who own the craftsmanship have an opportunity to bring the world to them, rather than it being co-opted,” she said. “We are generating demand for creative outputs from Africa, but on African terms.” From August she will be coordinating and leading a US$100 million Impact Fund for African Creatives that provides venture capital for growth for African entrepreneurs looking to take their businesses to scale, with an emphasis on those using sustainable materials and adhering to responsible business practices.
This kind of investment in African industry brings with it the opportunity “to press the reset button,” said Annan. “We are aligning back to the soul and focusing on people and planet while also making profit.”
Another benefit is the opportunity to be at the forefront of discussions between the private sector and governments, to drive policy changes to open markets and encourage innovation.
“Foreign direct investment gets to do that, so why not us too?” said Annan. “The future lies with us, and we have the opportunity to demonstrate that you can make a profit while also having social impact.”
Content courtesy of UN Environment & African Fashion Foundation
In Ngadi Smart ‘s series Latitude, shot recently for Atmos, she wanted to capture the atmosphere of traditional and modern African culture in the historic town of Grand-Bassam in Côte d’Ivoire, now at risk because of rising sea levels.
In the spirit of the magazine and sensitive to the area’s problems, Ngadi was conscious of her environmental impact and only used local models and designers, as well as eco-materials and fabrics. Having the UNESCO World Heritage Site as a backdrop only added more depth to the project. “Full of arresting 19th and 20th-century architectural ruins, it embodies, on the one hand, colonial architecture and town planning, based on the principles of functionalism and adaptations to climatic conditions. On the other hand, a community of the N’zima people, which demonstrates the permanency of indigenous cultures, despite serious environmental issues,” she says.
“From late September until the beginning of November, unprecedented coastal floods swallowed the streets and homes of the Quartier France of Grand-Bassam. The main roads suddenly became impassable unless by canoes. Numerous historic sites were severely damaged.”
Coastal erosion, caused by climate change, is a growing problem for West African nations. The region is losing more than $3.8 billion a year to coastal erosion, according to a recent World Bank study. Ivory Coast (Côte d’Ivoire) is the worst-hit country and has lost $2 billion to the rising sea levels, nearly 5% of its GDP.
“I wanted to capture, through the styling, Grand Bassam’s mix of traditional and modern culture which is imprinted heavily in the town’s architecture and community, way of life and the way Bassam people are,” she adds.
One of her images from the series has been shortlisted for this year’s Portrait of Humanity.
Ngadi worked with emerging Ivorian designer, Kader of Olooh Concept, who created the clothing, made from natural and local materials. The hand and feet raffia ornaments were created by a local artisan named Coulibaly Salia, directly inspired by Ivorian traditional raffia wear. “More specifically, what the Guro and Yacouba wear on their feet during their dance ceremonies. I thought they worked well style-wise and are recognisable, iconic items,” she explains.
In terms of accessories, Ngadi worked with local florist Jean-Baptiste Kiemtore to create botanical head ornaments, directly inspired by her research on traditional African raffia headpieces. Meanwhile, local artisan Coulibaly Salia crafted wicker hat pieces, all from local material.
For more inspiration, follow Ngadi on Instagram or visit her portfolio at www.ngadismart.com.
People are putting themselves on the cover of Vogue to promote diversity
People around the world have been re-creating Vogue covers to promote diversity in fashion, posted under the hashtag #VogueChallenge, the mock-ups aren’t just the latest social media fad they imagine what a more representative fashion industry could look like.
The challenge was started by Oslo-based student Salma Noor earlier this month, after she tweeted an alternative cover featuring a shot of herself under the headline “Being black is not a crime.”
Noor posted the image just as anti-racism and Black Lives Matter protests began gaining momentum in the US and beyond. The challenge has since gone viral, with the hashtag appearing over 100,000 times on Instagram.
“I am a black, young Muslim woman who wanted to create something new while speaking on something that is very important,” she shared via social media.
Speaking to CNN over email, she said: “To bring so many people together for something like that is truly amazing… I had no idea it would reach so many people including Vogue.
“I think the fashion industry isn’t diverse enough yet. We need people with different opinions, backgrounds, religious beliefs, heritage, and life experience to be highlighted.”
Posting 20 of the covers online as part of a feature about the challenge, Vogue’s senior fashion news writer Janelle Okwodu acknowledged that “few women, people of color, and nonbinary individuals have ever been granted those opportunities,” adding that “the photographers behind the majority of magazine covers are white and male.”
British Vogue’s editor-in-chief Edward Enninful meanwhile selected 10 of his favorite homemade covers. “Scrolling through all the entries, I’ve been struck by beauty in all shapes and sizes, represented in all colours and creeds,” he wrote, revealing his choices. “It has shown me that there is so much talent and creativity in the world if you are willing to look for it.”
Vogue has often been criticized for its under-representation of people of color, with American Vogue only featuring its first black cover star, Beverly Johnson, in 1974 (more than 80 years after the magazine first launched). And it has been less than two years since Tyler Mitchell became the first African American photographer to ever shoot one of the magazine’s covers, when he captured Beyoncé for the September 2018 issue.
“I noticed the challenge on my timeline and decided to read more about it,” said Nairobi-based TV personality and media executive Kalekye Mumo, who took part with her own covers.
“I was pleasantly surprised to see that it was a challenge to uplift and amplify black faces and voices in the fashion world,” she said in an email to CNN. “Being a fashion enthusiast myself, I picked one of my photos from a previous personal shoot I did to support local talent and made a cover.”
Mumo said that social media users in Kenya have been creating new spin-offs of the #VogueChallenge, making their own covers for black-owned publications like Essence, and turning the challenge into a celebration of black culture and spaces.
“I did this challenge to not only use my voice, but use my face to show the beautiful, talented black people across the world, let alone Africa and Kenya … that could grace the magazine with finesse,” she said. “My hope is that the fashion industry will begin to embrace black faces of all shapes and sizes especially since I am a fabulous plus-size woman.”
“The world is being robbed of a variety of beauty and this should change,” said Noor.
Julie Gichuru media personality also joined the #VogueChallenge and posted on her instagram page
” Good morning ❤ Today be thankful for the seen and unseen miracles that happen every day. So often we don’t notice them. But they are there. Accept the love and grace”
In the last two years, Kerby Jean-Raymond, the founder of Pyer Moss, has become something of a New York Fashion Week star, famous for taking the African-American experience and putting it front and center on the runway, using such inspiration figures as the black cowboy and Sister Rosetta Tharpe. He has won the CFDA/Vogue Fashion Fund award, become artistic director of Reebok Studies and collaborated with Hennessy.
But in 2015, he almost went out of business after a show that opened with a 12-minute video about police brutality titled “This Is an Intervention.” It featured interviews with the relatives of many of the black men who had been killed by police: Eric Garner, Marlon Brown, Sean Bell. Praised and excoriated in almost equal measure, the show thrust the then largely unknown label into the spotlight, and was the first time a designer forced fashion to grapple with its own culpability regarding race.
This is its story and the first time the video has been shared since that time.
Kerby Jean-Raymond, founder and creative director of Pyer Moss
In July we had done a standing presentation in TriBeCa for men’s wear called “Ota Benga.” At the time, the case of Mike Brown was getting public attention, and Trayvon Martin and Eric Garner. Ota Benga was an African man who was kept in the Bronx zoo ’til 1906. We wanted to juxtapose this story with the modern-day prison system and police brutality, to show we shouldn’t be repeating these mistakes.
But at the event I realized it was going over everyone’s heads. People were having a good time. They were reacting, but they weren’t reacting the way I wanted them to. So that night at dinner we were like, “Let’s turn this into a runway and do a second show.” Two months later, we did a women’s collection for the first time.
Brittney Escovedo, show producer, Beyond 8 We spoke a lot about the fact this industry is in a lot of ways, and especially at that point, not penetrated by these stories. They’re not talking about it. The editors, the journalists, the influencers that come to these fashion shows aren’t thinking about these issues. So we have 20 minutes of people’s attention, and we can use it as an opportunity.
The designer Kerby Jean-Raymond, left, and the artist Gregory Siff backstage.Credit…Rob Kim/Getty Images for Pyer Moss
Kerby Jean-Raymond Before that, we were strictly a men’s wear brand. The company wasn’t doing well. I was in a partnership with a backer, and they were pretty much fed up. I knew I wouldn’t be able to sleep at night if I didn’t address these issues. I was prepared for it to be my last show.
Dario Calmese, show director, then casting director So much of one’s existence in the fashion space was trying not to ruffle too many feathers. For you to take a stand as a quote-unquote black person would kind of eliminate you.
Kerby Jean-Raymond I knew I wanted a video, knew I wanted an experiential element. A live art element. Wanted Brenmar to do the music live. There were a lot of moving parts. It was probably the most complicated thing I had done. We started shooting a guerilla-style documentary that featured Usher, people in the fashion industry and the family members of victims of police brutality. I think we shot the whole thing for $1,500.
Brittney Escovedo It wasn’t hard for me to reach out to the families because I felt like it was important, but it was hard for them to trust us and to understand what our motives were. I remember having multiple conversations sharing who I am, who Kerby is, what the brand stands for and that this wasn’t just about death and loss. It was about what this could be: education, love, so much more than just being shot.
Shikeith, artist and one of the “This Is an Intervention” editors Kerby and his team handled the principal photography for the project — they had shot the footage of the interviews. There was a decision to include YouTube clips of police brutality, to project light on what was happening all around this country. There were hours and hours of footage of various public figures. I remember sitting with all of that in front of me, at 24.
Dario Calmese We knew that we were all taking a risk, and it was very important that we all do it together the entire team. It was almost like a pact that we signed up for, because although Kerby wanted to make a statement, we were all part of that statement.
Clara Jeon, publicist Then we lost a venue.
Brittney Escovedo We had talked to the New Museum about potentially having it there, and once we shared what the show was about, they just declined and said we couldn’t have the event there.
Kerby Jean-Raymond We had to scramble and ended up with a venue that was too big and way out of our price range, the Altman Building on 18th Street. We ended up paying close to $20,000, which was definitely money we didn’t have.
Clara Jeon I remember thinking, “Wow, maybe this is a sign that we’re not supposed to do this.” I was really scared about what people would say. We already had some people we thought were partners backing out before anything had even gone public. What if fashion media who at the time weren’t even covering Pyer Moss widely what if this is the thing that makes them not take us seriously as a fashion brand? I don’t think people realize how close we came to not doing this show and canceling it altogether.
Kerby Jean-Raymond Then, right before we did the show, right outside my apartment in Southside Jamaica, Queens, I had a cast on my hand, was talking to my sister on the phone, was coming in from buying a beef patty, and I look up and I hear, “Put it down, put it down!” And these cops had their guns drawn on me.
Mr. Jean-Raymond invited families of victims of police brutality to sit in his front row. Credit…via Pyer Moss
Clara Jeon He told me the next day, when we were walking around SoHo. He said, “I could have gotten shot last night.” That was the time I’m not black when I felt what the black community must feel all the time, that fear of losing your friend or your son or your husband at any given moment over just living your life. That was when my mind was made up. I was like, we need to do this.
Kerby Jean-Raymond I wanted to invite the families of the victims. Editors and whomever was coming to the show — they would have another opportunity to be at a show, but these people deserved to be honored. So I was like: The front row is yours. Press and editors can sit second row.
Clara Jeon Seating is extremely stressful for publicists, because it is very political. It is the way a brand communicates to editors and publishers their relationship with them or priorities. I pre-emptively tried to explain that it would be the families of victims in the first row, so the second row is the best seating available. The majority of press understood. A couple would not come to the show.
Kerby Jean-Raymond It was crazy, because most of the I’m-not-comings came from black stylists.
Dario Calmese We really wanted a diverse cast. I don’t think we were at the point where we were making a statement with casting all-black models. But we definitely wanted to open with one and make sure they had a substantial presence on the runway. The casting job continued all the way up until the show because one model was stuck in fittings for, I believe, Alexander Wang, and I actually had to pull a blogger from the audience and put her in the show. I told her: “Give us your Venmo. We’ll send you some cash.” I didn’t know her name. She just came to enjoy the show.
Mr. Jean-Raymond, left, with his team backstage.Credit…Joshua Lott/Agence France-Presse Getty Images
Mr. Jean-Raymond, right, and the show director Dario Calmese at the show rehearsal.Credit…Rob Kim/Getty Images for Pyer Moss
Jon Reyman, hairstylist, Aveda Kerby and I had talked about what he wanted a few days before whether it should be big, or small, or sort of like a flat top but right before the show he called me and said he just wanted it as simple as possible, so it would almost disappear. So it wouldn’t call any attention to itself, or be part of the story.
Kerby Jean-Raymond What I initially wanted to do was not even have clothes and put everyone in tights. I wanted everyone to feel a sense of nakedness, to put black bodies on display.
Clara Jeon That had actually been a discussion in the days leading up to the show: Do we even show clothes? Is that still something we do? But it’s a fashion show. People come to see clothes. And we wanted to make it clear that we wanted to be at the forefront of a conversation in fashion, within the industry, where this was just not talked about ever.
Shikeith Outside of the show, there was a truck that had a projection of one of the designs that I made, a globe that said “Pyer Moss News.” As it pertains to the media, and how black life and blackness is portrayed, there’s a sort of a reductive lineage that is caught up in caricature and stereotype all racist, all symptoms of white supremacy. For the show, it was important to emphasize the control we had over the narrative through this signifier of “Pyer Moss News,” to represent taking control of the narrative and speaking to truth.
The show began with a 12-minute video about racism in America. Credit…via Pyer Moss
Gregory Siff, artist who spray-painted the collection live Everything is dark. The audience is out there. The film goes on, and it’s like a punch to your gut.
Clara Jeon We didn’t really tell people what to expect. We maybe should have, but I would say 99.9 percent of that room had no idea what they were sitting down to watch. After the video, there was 2 to 3 seconds of complete silence before people started to applaud.
Kerby Jean-Raymond After the movie, people were gasping, some people were crying, some people walked out, and I started to get cold feet about what we were doing. I told Dario not to send the models out. And he got so combative with me and was like: “I’m sending them out! I’m sending them out!” I was just standing behind the projector screen. I was like a little kid in trouble because of what we’d just shown everyone.
Gregory Siff Then Kerby whispers to me he was next to me “Now, go out there and shake the can.” It was all silent, in the dark, and then the lights come on, and I am shaking this can.
Brittney Escovedo The models all stood on a U-shaped runway, and they stayed there, straight-faced, and you could actually feel the life and souls of those we had lost in the models that were standing there.
Dario Calmese We’re always trying to marry runway and presentation. So the models were coming out in this really kind of militaristic style, but in rehearsal I didn’t have enough time to figure out how to cue them to move to the next spot. So I was like, “I’ll just stand in the middle of the runway, and scream ‘Go!’” And every time I did, the models would move.
Mr. Siff live-tagged the clothes with words like “breathe” as they appeared on the runway.Credit…via Pyer Moss
Work boots scrawled with the names of victims of police violence.Credit…via Pyer Moss
Gregory Siff I think there were three to five models I painted. For me, it all happened so quickly. I was reacting in the moment. I had painted all the boots beforehand: a lot of repetition of “I can’t breathe,” which was Eric Garner. “Call my Mama.” Some of the shoes had black overspray. But having written so many times on the shoes, “I can’t breathe,” I felt like I needed to write the opposite. So the last line I painted was “breathe, breathe, breathe” on the back of one of the jackets.
Dario Calmese The last model didn’t get the instruction right Gregory had spray-painted on the back of her jacket, but you couldn’t see it. So I walked onto the runway and grabbed her shoulders and threw her around. I think I might have made the last picture on Style.com.
Mr. Calmese went onto the runway to turn a model so that the words on her jacket would be visible to the audience.Credit…Alessandro Lucioni/Imaxtree
Kerby Jean-Raymond I was watching the crowd reaction from the side of the stage, and everyone was off their phones. There’s very little video footage from that show because people were off their phones. At the end, people wanted to clap, but we shut the lights off and you heard Oscar Grant’s mom she had sent us audio because she couldn’t come and that put everyone back in their seat.
Jon Reyman Charity events, galas are used to celebrate and bring awareness and raise money. But this was the first time I saw a designer really using his fashion as a platform to speak out against injustice, and so overtly. It was very much: I have you captured in the audience, you’ve shown up, and I am going to show you something you may not know about.
Clara Jeon While there was a lot of public positivity in the press that covered it, a lot of support in terms of sympathizing with the black victims and wanting to help address the issue, it also opened us up to direct attacks on social media: backlash from white supremacists, people who thought that our message was an attack on police and would send us #bluelivesmatter messages, who said we had no business showing something like this at a fashion show.
Kerby Jean-Raymond I started getting death threats. They had me on a watch list for stormfront.org, a white supremacy forum. I was getting emails like “I’m going to kill you nigger.” Lots of stores dropped their orders. It put me in a really dark place.
Brittney Escovedo Kerby didn’t know if his business would stay around or if he was going to make it. And once he did, and got through, that set the tone for him understanding the importance and significance of being a black man in America, a black designer, and solidified his voice and all of our purpose.
Dario Calmese A big question is: What was the impact? How are we moving forward? What lessons have been learned? Have there been any lessons learned?
Tshepo Jeans is South Africa’s premier lifestyle denim brand that offers a range of bespoke denim clothing and cotton products. Founded in 2015 by Tshepo Mohlala, the brand has established itself in the hearts and minds of ordinary South Africans and people across the world.
The decision to specialise in denim is due to its distinctly nostalgic character and its ability to tell stories. Tshepo Jeans’ logo a three pronged crown – is inspired by the three women to have played a role in the upbringing of Tshepo: His mother, grandmother, and trendy aunt Takalani who brought the fashion one used to see on TV to reality.
The daily operations within the studio consists of designing, manufacturing and retailing Tshepo Jeans’ range of premium and bespoke denim clothing and accessory items, which range from jeans to hats and aprons. At present, Tshepo Jeans produces custom designs for individuals looking to find the perfect fit as well as commercial orders in which the business designs uniforms for other organisations.
About Tshepo Mohlala and how he started Tshepo Jeans Brand
I was raised by three strong women. It was my mother who taught me how to hustle, My grandmother, a pastor and a masterful storyteller, whose words, ‘Tshepo you’re a gentleman and should always look like one’, dance through my mind every morning as I get dressed.
And Aunt Takalani, the first person in my family and neighbourhood to graduate varsity, who would visit us back home in the early 2000s, dressed head-to-toe in denim, rocking the era’s unavoidable pair of Spice Girls sneakers.
A decade later, having abandoned my study of Film at AFDA, I studied Fashion at the University of Johannesburg. My journey led me back to the spark ignited by my quirky and classic Aunt Takalani – back to denim.
Denim’s ability to stand the test of time is beautiful. Its ability to tell a story is limitless. The ease with which it communicates is flawless no matter who you are, you belong in jeans. Founded in 2015, you’ll find the three women who raised me in the crown
African clothing commonly refers to the traditional clothing worn by the people of Africa,different tribes throughout the continent pride themselves on their national dress which they use for ceremonies and special occasions. There are many varied styles of dress and the type of cloth plays an integral role in fashioning the garment. The fabric often reflects the society in general as well as the status of individuals or groups within that community, In some instances traditional robes have been replaced or influenced by foreign cultures, like colonial impact or western popular dress code. The evolution of dress in Africa is very difficult to trace due to the lack of written word and actual historical evidence. Much is pieced together from various sources like traditional robes being handed down to present day tribal members, word of mouth (oral history), theater (masquerades) and from art and artifacts which show sculptural representations of dress.
Adele Dejak
Adele Dejak the brand is home to luxurious African inspired jewelry handcrafted in the heart of Kenya. Everything comes from materials that different African tribes would use to make their ornaments and trinkets. We have contemporary, artistic and wearable bags, necklaces, earrings, rings and bracelets not forgetting some exclusive home decor items. Location:Village Market Nairobi Kenya Contact: 0737 253862 Website: https://www.adeledejak.com
odAOMO
odAOMO was conceived by Kenyan native, designer and CEO Dr. Sophia Aomo Omoro, the sixth of eight children born to a seamstress mother and postal worker father. The brand derives from a childhood interest in sketching designs to express her individuality among similarly clad sisters and an innate desire to support her community.
Location: The Village Market Limuru Road Gigiri Nairobi P.O. Box 00621, Nairobi Contact: 0714 235863 Website: https://www.odaomo.com
CocoLili Africa Location: 1st Floor (New Wing), Village Market Nairobi Kenya Contact: 0796 962625 Website: None
Eunique Fashions Africa
formerly Miss Fashion,is a Kenyan based fashion house that has for 16 years thrived in dressing a diverse audience with emergent fashion trends from designer brands at affordable rates in the Kenyan market. Having successfully traded in the fashion industry since 2000, Eunique Fashions has created three umbrella brands namely Eunique, Miss Fashion, Mr Fashion to cater for a growing demand for quality and unique fashion items for people within the market share.
Location: Two Rivers Mall Limuru Road Nairobi Ke, Village Market and Sarit centre Westlands Contact: 0700 381080 Website: None
The Designers Studio
TDS is Kenyan lifestyle premium fashion brand that connects you to the world of Fashion & Design in Kenya shedding light on a new African reality through content and commerce, Inspired to create accessibility and knowledge of the Kenyan fashion brands, TDS was created to search, tell their story and bring them closer to the consumer. Location: Two Rivers Mall, Off Limuru Road, Ground Floor, Nairobi Contact: 0716 972992 Website: https://tdsblog.com
Paulina George West African Fashions Location: Shop 1, Arcade 680, Standard St, Nairobi Contact: 020 2733641 Website: None
Designing Africa Collective Location: 1st Floor , New Ext./ Village Market Shopping Mall Contact: 0715 198836 Website: None
Beyond Glamour Africa Location: City Square Nairobi City Kenya Contact: 0724 850532 Website: https://beyondglamourafrica.com
African Fabric And Designs Kenya Ltd Location: Suna Road Adams Arcade Mini Mall No. 1a Contact: 0710 660524 Website: https://www.africanfabricanddesigns.com
Bepomag African Collections
Established in 2016, Bepomag African Collections seeks to celebrate and share the rich cultural and aesthetic beauty of Africa, through unique fashion items and art, working with local craftsmen, small scale traders and emerging entrepreneurs, the Bepomag African Collections seeks to provide a market platform for unique African inspired clothing, jewelry, footwear and decorative household items.
Kerry Designs Africa Location: Tom mboya street Contact: 0712 357420 Website: None
House of M’Kay Designs – Ready Made African wear Location: Hamilton House, 2nd floor shop 3, Nairobi Contact: 0780 266266 Website: None
Made in Kenya Store Location: 907 – 0061 Parklands Road Contact: 0703 463029 Website: None
Promise African Jewellery Shop Location: Room 04, 1st Floor, Perida Business Centre, Dubois Road, Nairobi Contact: 0724 513119 Website: None
Rift Valley Leather Ltd
RVL was incorporated 11th March 2009.The company develops and manufactures the highest quality leather and canvas products, including a wide variety of travel bags, male and female bags, office bags and hotel/restaurant and corporate products and an innovative range of accessories. Location: Nairobi Contact: 0725 686864 Website: https://www.rift-africa.com
Sarai Afrique Fashion House
Offers a wide assortment of the latest and best selections of women’s apparel from brands across the World. Designs that fit the sophisticated woman as well as the modern styles of clothing that best suit the trends of today. Location: Lavington Mall 2nd Floor Contact: 0701 932202 Website: https://saraiafrique.com/
D&D Clothing Kenya Location: Embakasi, Fairview Business Park, No 6 Contact: 0741 078105 Website: https://danddclothing.com
Inside Africa Fashions Location: Victoria Court Starehe, Tom Mboya St, Nairobi Contact: 020 2218714 Website: None
Kidosho Apparel Focuses on ethno-chic garments that fuse modern designs with ethnic fabrics and patterns to create a contemporary brand that is timeless and elegant. Kidosho is a demi-couture line; co-designed by and using the delicate craftsmanship of Kenyan artisans. Additionally, we specialize in personalized shopping and image consultancy services for our premium clients.
Social impact Kidosho has a social responsibility program that is focused on empowering single mothers within and outside its organization. This initiative trains its women and helps them acquire sewing machines and connects them with buyers.’
Location: Block E, Suite 42, 1st Floor, Rehema Place, Ngong Rd, Nairobi Contact: 0717 628637 Website: https://www.kidosho.com
The best African craft shop in Nairobi, Utamaduni is a must to drop into on the way to some of the exciting venues in Nairobi’s green suburb of Karen/Langata, known for the famous writer, Karen Blixen’s original farm with beautiful views of the Ngong hills. Incorporate a visit to this unique house of crafts on the day of your visit to the baby elephants, feeding the giraffes and Kazuri beads. Location: Langata South Road, Nairobi Contact: 0722 205028 Website: https://www.utamadunishops.com
Eunique Fashions Africa,formerly Miss Fashion,is a Kenyan based fashion house that has for 16 years thrived in dressing a diverse audience with emergent fashion trends from designer brands at affordable rates in the Kenyan market. Having successfully traded in the fashion industry since 2000, Eunique Fashions has created three umbrella brands namely Eunique, Miss Fashion, Mr Fashion to cater for a growing demand for quality and unique fashion items for people within the market share.
Eunique
Designed to offer high end fashionable trends to fashion conscious ladies looking to stand out while identifying with quality international brands. Eunique at Two River Mall and Adams Arcade stocks trendy season clothes,shoes,bags and jewelry tailored for various events. Eunique outsources its products from worlds renowned brands like Kasper, Donna, Ricco, Adrianna Papel and Tahari hand picking every item with the customer needs at heart with clothes and shoes ranging in size to accommodate all.
Miss Fashion
Located at Adams Arcade, was created for the middle-class market with trendy and fashionable items at affordable prices. Miss Fashion is the go to fashion shop for stylish and classy pocket friendly items.
Mr Fashion
Caters for men’s wear for everyday official, casual and contemporary fashion attire from globally recognized brands like Angelo Ruflo, LucciVerrosi, Gian Franco Ruffini, and Balmain. Mr Fashion is vibrant in changing with trends and seasons.Mr Fashion is value for your money guaranteed.
Eunique has a wide range of high quality fashion for both men and women’s clothes, shoes and accessories in Nairobi, Kenya. Find in store trendy official and casual wear ranging from dresses, trousers, pants, tops, blazers, jackets and trench coats. What’s more, all our apparel is available in all sizes to cater for all our clients’ needs.
Enjoy a wonderful shopping experience with the best customer service and earn points each time you shop at any of our outlets! Shop at our outlets at Two Rivers Mall, Village Market & Adams Arcade and earn discounts every time you shop! The icing… the more you shop the bigger the discount! How Eunique is that?!
Anna Wintour has said she takes “full responsibility” for racial inequality at Vogue, after admitting the magazine has not done enough to “elevate” black staff and designers.
The Vogue editor-in-chief acknowledged the company’s “hurtful and intolerant” past creative decisions in an internal staff memo written amid worldwide protests following the death of George Floyd.
In the note, seen by the New York Post, Wintour began by addressing the feelings of sadness, hurt and anger that many employees are experiencing, before writing: “I want to say this especially to the black members of our team – I can only imagine what these days have been like.
“But I also know that the hurt, and violence, and injustice we’re seeing and talking about have been around for a long time. Recognising it and doing something about it is overdue.
“I want to say plainly that I know Vogue has not found enough ways to elevate and give space to black editors, writers, photographers, designers and other creators,” Wintour continued in the email, sent 4 June. “We have made mistakes too, publishing images or stories that have been hurtful or intolerant. I take full responsibility for those mistakes.”
The artistic director of Condé Nast also acknowledged that it “can’t be easy to be a black employee at Vogue” and that there are “too few” people of colour working for the fashion magazine, before promising to “do better”.
“I know that it is not enough to say we will do better, but we will – and please know that I value your voices and responses as we move forward. I am listening and would like to hear your feedback and your advice if you would like to share either,” Wintour wrote, before encouraging staff to reach out to her directly.
“I am proud of the content we have published on our site over these past few days but I also know that there is much more work to do. Please don’t hesitate to be in touch with me directly. I am arranging ways we can discuss these issues together candidly, but in the meantime, I welcome your thoughts or reactions,” Wintour concluded.
The 70-year-old’s letter came amid accusations of racial inequality at other Condé Nast brands, including Bon Appétit.
On Monday, the food magazine’s editor-in-chief Adam Rapoport stepped down after a photo showing him in brown face resurfaced, sparking widespread criticism.
The racially insensitive image also prompted Bon Appétit employees of colour to come forward about their experiences with racial discrimination at the magazine.
Following Rapoport’s resignation, Condé Nast released a brief statement in which it said it is “dedicated to creating a diverse, inclusive and equitable workplace” and has a “zero-tolerance policy towards discrimination and harassment in any forms.”
Wintour’s email to magazine staff also comes after Vogue’s former editor at large André Leon Talley accused the fashion editor of not being “capable of simple human kindness” in his new memoir, The Chiffon Trenches.
“She is immune to anyone other than the powerful and famous people who populate the pages of Vogue,” Talley wrote of his former friend and colleague. “She has mercilessly made her best friends people who are the highest in their chosen fields.”
On Monday, in conjunction with the introduction of new federal police reform legislation, Democratic Congressional leaders came together in Emancipation Hall in the U.S. Capitol to kneel together in support of the fight for racial justice. In addition to the symbolic gestures, the leaders, including Speaker of the House Nancy Pelosi and Minority Leader Chuck Schumer, wore kente stoles, ceremonial African cloths originating from the west African nation of Ghana.
In doing so, they meant to honor Black lives. Instead, they appropriated African culture.
Kente cloth is known as nwentoma in Akan, and according to Ashanti mythology, was inspired by the intricate weaving of Anansi the Spider. Two Akan friends, enchanted by the design of the spider’s web, returned to their village and began to weave kente. According to African American Intellectual History Society, textile production by the Akan and Ewe peoples began as early as 1000 B.C.E , and the bold kente design we are most familiar with today is thought to have proliferated in the seventeen century, as Asante traders began to traffic in goods and other products across trade routes from Africa to the Middle and Far East.
But kente cloth is more than an artisanal product. It holds social, sacred, and historic meaning for the Akan people, with the threads of gold, green, blue, red, and black each symbolizing a different set of values, such as serenity, fertility, renewal, and spiritual awareness. It also has a deep historical connection for many in the American Black community who seek to foster connection between contemporary Black experience and the African diaspora. The stoles are often seen at college graduations, worn in ceremonial significance by Black graduates seeking to honor both their educational achievements as well as acknowledgment of ancestral experience and wisdom.
Congressional Democrats take a knee as they observe a nearly nine minute moment of silence for George Floyd at Emancipation Hall at the U.S. Capitol. https://t.co/JnqDlzMFDqpic.twitter.com/8CBdgtLUjz
Which is why seeing white people wear kente is so conflicting.
On one hand, it is easy to understand the sense of symbolism that many white leaders and activists see in the kente cloth, and their desire to wear it in solidarity with the Black community. And no doubt many in the Black community welcome the outward gesture of allyship – in fact, it is reported the Congressional Black Caucus that provided the kente cloth for the act of solidarity by the Congressional leaders. But as was quickly apparent on Twitter and elsewhere, many Black activists and cultural leaders are critical of the gesture, remarking that the wearing of kente cloth by white leaders was action that was more symbolic than meaningful.
In many ways, wearing kente is an act of cultural misappropriation: the use or adoption of another culture’s symbols, dress, and rituals by those who are in a majority or more dominant culture. While accusations of cultural misappropriation are often made when the symbols or practices are used without the appropriate level of deference and respect, its critics also decry the inappropriate use of cultural symbols to advance unrelated agendas. For many, seeing individuals who do not share their same within or cultural background wearing their symbols in solidarity feels like allyship, but others find it offensive.
The largest African American street festival in the country annually takes place in Philadelphia. Typically held on the second Sunday in June, Odunde draws large crowds supporting and celebrating African culture.
The festival’s concept originates from the Yoruba people of Nigeria, West Africa. Odunde is a Yoruba word that means “Happy New Year.”
The festival would normally take over 15 blocks with music and dance performances, an authentic African marketplace, a mix of African, Caribbean and soul food for sale and colorful black fashion.
However, this year’s festival is a virtual event due to the coronavirus pandemic. Through Sunday, June 14, there will be online activities that anyone can join for free. Activities include an African cuisine class, yoga and business forums.
The festival’s founder Lois Fernandez, who passed away in 2017, dedicated much of her life to political and cultural activism.
Protests have taken place nationwide after the killing of George Floyd while in custody of the Minneapolis police. Many people in Philadelphia have taken to the streets in support of the Black Lives Matter movement and to protest police brutality and racism.
Since the beginning of the COVID-19 crisis, shortages of masks and PPE gear have posed a problem, particularly within the United States. Thanks to generous donations from private organizations and designers making efforts to produce additional supplies, the situation has improved. Still, even when frontline workers have access to the right gear, issues can arise.
Created for short-term use rather than 24/7 wear, traditional masks can quickly become uncomfortable. In fact many hospital workers have reported scarring and irritation due to the restrictive ear straps. For hijabi doctors and nurses the situation is further complicated with standard-issue masks that don’t account for headscarves and facial coverings.
With its debut collection, Anywear attempts to address those issues. Dubbed “Banding Together,” the capsule of specially designed face coverings serve as an extra protective barrier and shield for reusable masks like the N95. Fashion heavyweights such as hairstylist Chris McMillan and makeup artist Daniel Martin were among Anywear’s first collaborators. Now model Halima Aden has come on board with a range of hijab and turban sets.
Many brands have pivoted to mask making, but few have addressed the needs of frontline workers from all faiths. Aden’s custom hijabs add something new to the equation and the market precisely what Anywear’s cofounders Emily Shippee and Adi-Lee Cohen had in mind. Inspired by the needs of real frontline workers, who Shippee interviewed as part of a story for Allure , the project expanded into an ongoing collaboration curated by the magazine’s editors.
“When I started speaking to Adi about inclusivity and the designs, we wanted to make sure we included women who need to cover their hair and do so comfortably,” explained Shippee via email. “Of course, nobody was better for that than Halima because she used to clean hospital rooms when she first started working and had valuable, firsthand experiences.”
The African Development Bank’s Fashionomics Africa initiative on Tuesday launched its first webinar series to discuss the impact of the COVID-19 pandemic on the industry. In total, 136 fashion entrepreneurs, digital innovators and creative minds joined the discussion. The theme of the first episode of the series was: “What does the COVID-19 disruption mean for Africa’s Fashion Market? Opportunities and Threats for Fashionpreneurs and Investors.”
Supporting investment for the micro, small and medium enterprises in the creative and cultural industries, creating the right environment for the financial sector to play its full part in powering growth, lies at the heart of the African Development Bank’s agenda,” said Vanessa Moungar, Director of the Gender, Women and Civil Society Department at the African Development Bank.
The participants exchanged ideas and shared lessons learned on how to take advantage of online tools to strengthen businesses. Panelists included representatives from supply chain giant Maersk, the HEVAFund for financing creative industries, the founder of made-in-Africa online brand Tongoro, and Afrikrea – an African e-commerce platform specializing in fashion and crafts.
“African fashion is rising right now. African designers need to develop their unique business model and have to be innovative. To do so, digital is key,” said Sarah Diouf, founder of Tongoro. “It’s a tool that we can truly leverage to our advantage. Africa has many stories to share and tell.”
Wakiuru Njuguna, Investment Manager and Partner at the HEVA Fund, said sustainability was going to be key to the future of fashion. “Going forward, sustainable fashion is going to be the way to go. The African fashion brands need to be ready to answer the questions they will be asked,” she said.
Subsequent Fashionomics Africa webinars will be available on the Fashionomics Africa Digital Marketplace and Mobile App (available both on IOS and Android). The platform aims to help Africa’s fashion designers, textile and accessories professionals connect with regional and global markets. Sign up on Fashionomics Africa here.Registration is free.
Fashionomics Africa leverages data and communication technologies to help entrepreneurs access business skills, finance and other tools.
Content courtesy of The African Development Bank & Fashionomics Africa
