The Road To Success: African Creatives Are Reshaping And Redefining The Global Fashion Landscape In Africa Fashion

Africa Fashion The Journey To Success, African Creatives Shaping And Redefining The Global Fashion Landscape.

The red ground and blue-roofed homes are given a lovely glow as dawn breaks through Canchungo. Last winter, while bringing school supplies to the neighborhood kids, the stylist Wilow Diallo came discovered this community in the coastal area of Cacheu, Guinea-Bissau.
In addition to the vibrant color scheme, he was mesmerized by the residents’ unique sense of style and the sight of several generations gathered under the morinda trees.
He determined that this would be the ideal setting for a photo session exhibiting the “talent, innovation, and diverse perspectives of black creatives who are shaping and redefining the global fashion landscape.”

Africa has a population of more than 1.4 billion people, thousands of societies, and more than 2,000 languages; the borders between its 54 countries, as well as everywhere else, can hardly contain its multitudes.
According to Dr. Christine Checinska, the curator of the recent V&A exhibition Africa Design (now on display at the Brooklyn Museum through October this year), “The beauty of African fashion is that it is as varied as the continent itself.” “The aesthetic vocabulary of people is varied.

Global Africans have a respect for the skill that goes into creating a garment, print, or piece of weaving that has perhaps been lost in the global north. And there is a collective strength among designers, as they desire to enlist others in their quest for success.

The ways that black creatives incorporate African customs into their work particularly affect Diallo, who was reared in Senegal and now resides in Paris. He mentions the Cameroonian dancer and fashion designer Imane Ayissi, who transforms traditional Burkinabe woven fabric Faso Dan Fani into cocktail dresses and Ghanaian Kente fabric into cocoon coats. He cites the Nigerian company Emmy Kasbit, which is well-known for using fabrics from the Igboland region called Akwete, and Lagos Space Programme, winner of this year’s Woolmark Prize, whose collections feature lace and brocade motifs applied to clothing using the resist-dyeing method known as Adire, which has its roots in Yoruba culture.

Diallo, a Senegalese native who now calls Paris home, is particularly struck by the ways in which black artists incorporate African customs into their creations. He mentions the Cameroonian dancer and fashion designer Imane Ayissi, who creates cocoon jackets out of Ghanaian Kente fabric and cocktail dresses out of Faso Dan Fani, a traditional woven fabric from Burkina Faso.
He cites Lagos Space Programme, the winner of this year’s Woolmark Prize, whose collections feature lace and brocade motifs added to clothing using the resist-dye technique known as Adire, which has its roots in Yoruba culture, and the Nigerian brand Emmy Kasbit, which is renowned for its use of Akwete textiles from the Igboland region.

Thebe Magugu of South Africa is another. Magugu has collaborated with Dior on a capsule collection since becoming the first African to receive the LVMH Prize in 2019, and she reinvented a Valentino couture gown for Vogue.
These partnerships have been crucial for visibility. It gives visitors a familiar lens through which to view African fashion, he claims. “Bigger brands are becoming more respected.

The most successful partnerships benefit both parties.
Further explanation is provided by Adama Ndiaye, the Senegalese entrepreneur and creator of Adama Paris who organized Chanel’s Métiers d’art exhibition in Dakar last December.

“When a great luxury brand like Chanel comes to us with open arms asking to collaborate, it says that African fashion is at the top of its game,” she adds of the occasion that honored regional craftsmen and craftspeople.
“It was very successful. Africa is no longer seen as a continent that has to be “helped”; we now own our story and no one else does.
Twenty years ago, Ndiaye left her banking job in Paris to launch both her brand and Dakar Fashion Week. Back then, “nowhere was showcasing African fashion,” she explains. “We invited foreign designers from all over, including Moldova and Brazil, to learn about our culture and establish a platform for their work.

Now that there are so many talented African designers, we only pay attention to their work.
The exponential rise of Sub-Saharan Africa’s flourishing garment and footwear business, which is estimated to be worth $31 billion, is reflected in events like Dakar Fashion Week and Lagos Fashion Week, which debuted a decade ago.
Ndiaye claims that a major obstacle for designers is a lack of funding. She is currently attempting to establish a fund for up-and-coming designers.
In June, the same week that he reopened his worldwide internet store, Johannesburg faced power and water disruptions.
Magugu emphasizes the critical infrastructure changes that need to be implemented.

“The African fashion industry is being truthful about the harsh realities that exist here,” claims Magugu. We are no longer presenting this idealized business of African fashion, which I adore because it means we are dealing with reality.
The African Development Bank has recognized the creative industries, including fashion, as a sector with enormous potential growth as part of its objective to invest in high-growth industries and support women’s economic empowerment. Currently, only 1.9% of the world’s manufacturing takes place in Africa.

Although they may not be based in Africa, Diallo wanted to work with fashion designers whose roots provided them with a unique perspective.

When discussing the history of the African diaspora in London, Grace Wales Bonner draws on her Caribbean heritage and her understanding of black culture, while Priya Ahluwalia’s namesake label combines elements from the designer’s dual Indian-Nigerian heritage, as seen in her SS23 Africa is Limitless collection. In honor of Africa, “a vast wonderland of cultural innovation,” as the show notes put it, her research included vintage museum blankets from Tunisia, album covers from Côte d’Ivoire with exquisite Sapeurs and beadwork from Kenya and Rwanda.

Because of its constant emphasis on sustainability and preference for handcrafted or reused materials, like Emmy Kasbit, Ahluwalia shares a bond with African designers. Meanwhile, Diallo, Magugu, and Ndiaye all discuss how clothing is lovingly passed down from generation to generation in their own communities.

“Global African creatives build their collections in a more artistic way and they evolve,” claims Dr. Checinska. They are more thoughtful and not confined by the seasons. Sustainability is the starting point for many of them.

Focus is placed on people, resources, skills, and ultimately the earth, which promotes more ethical consumption.
She comes to the conclusion that the desire to build a sustainable fashion environment, as well as how they demand and exercise agency, are what truly unify African fashion creatives.

Milanca Figuereido, Angel Da Silva, Mari Seide, and Valentina Gomes are models.
Braima Djata is casting. Tânia Mário Gomes’s hair. Melissa Righi does makeup. Adam Storm, a photographer’s helper.
Assistant to the stylist, Jordan Renou Rohel. Paris, SW Studio for production

Content Courtesy of  Financial Times  FT & NFH