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Writer's pictureSessi K

Circulating Africa’s Fashion Economy

Visionaries Fashioning Africa


On a wet Wednesday evening, a remarkable panel of African fashion designers gathered at the cabaret room of Soho House Paris to share their individual journeys. Together, they championed a collective mission of promoting African excellence through their craft, demonstrating how their work contributes to a broader movement of cultural preservation and empowerment.


Tolu Coker's graduating collection
Visionaries Fashioning Africa | Paris, September 2024

David Tlale set the tone, emphasising "excellence" as the core of his creative process and what should always emerge from Africa. He believes that African craftsmanship and resources represent a wealth that must be preserved. “Excellence takes time,” he noted, underscoring the meticulous nature of true craftsmanship. Tlale’s message was clear: Africa’s contribution to the global fashion industry must be defined by its quality and integrity.


Emmanuel Okoro, creative director of Emmy Kasbit, echoed these sentiments, proudly describing his efforts to preserve the indigenous Akweté cloth tradition in Abia State, Nigeria. Using natural fibres like sisal, hemp, and cotton, the intricate weaving technique produces over a hundred unique motifs. Through his work, Okoro not only showcases the artistry of Akweté but also empowers the local women involved in the craft, providing jobs and learning opportunities. He emphasised the importance of authenticity in his creative journey, stating that staying true to himself allows him to fully express his artistic vision.


Daniel Olurin, CEO of Emmy Kasbit, reinforced this need for authenticity, stating that the spirit of excellence must permeate the entire brand, from concept to creation. Both he and Okoro are committed to ensuring that African craftsmanship remains genuine and continues to evolve on its own terms.


Bubu Ogisi, founder and creative director of IAMISIGO, spoke on the theme of heritage and how she integrates the stories of Africa as a whole, not just Nigeria, into her designs. She embraces pan-Africanism as a way of understanding herself and the broader cultural narratives of the continent. “My space is created by other spaces too,” she remarked, alluding to the interconnectedness of African identities. Her strategic relocation to Kenya represents a return to her roots and a deeper understanding of the continent’s raw materials, which she uses in a way that is both natural and respectful of traditional knowledge. Through personal research and generational storytelling, Ogisi is dedicated to preserving Africa’s cultural and textile heritage in a decolonial manner.


Ntsika Tyatya, digital content manager and archivist at Maxhosa Africa, also draws from deep research into African stories. His journey began 14 years ago, culminating in a thesis that now forms the foundation of Maxhosa, a brand renowned for its use of Mohair fibre. Tyatya pointed out that South Africa exports 80% of the world’s Mohair, linking the material to sustainability, a concept he regards as inherently African. “Sustainability is an African concept,” he explained, describing how traditional African practices ensure that no part of an animal is wasted, embodying a holistic approach to consumption and production.


Emmanuel Ekuban, Daniel Olurin, Emmanuel Okoro, Ntsika Tyatya, Nsimba Valene, David Tlale, Anita Ehui.
Left - Right: Emmanuel Ekuban, Daniel Olurin, Emmanuel Okoro, Ntsika Tyatya, Bubu Ogisi Nsimba Valene, David Tlale, Anita Ehui.

Throughout the discussion, both the panellists and the audience emphasised the importance of Africans owning their narratives through research and self-belief. David Tlale expanded on this, critiquing the reliance on Western brands for validation of African craftsmanship. He pointed to major brands like Michael Kors, Christian Dior, and Yves Saint Laurent, all of which manufacture in South Africa, while Africans often overlook their own designers. Tlale urged a shift in mindset, suggesting that African fashion would only thrive when firstly supported from within the continent. He used the analogy of local artisans crafting Western designs at a higher quality and more affordable price to illustrate the missed opportunities in supporting local economies. “Why should we let this economy pass through our hands?” he asked, encouraging the audience to consider how many African-made pieces they owned and to recognise the impact of supporting African designers and tailors.


A central theme uniting the designers was pan-Africanism as a mode of creative expression and cultural understanding. They highlighted the continent’s diversity—its 3,000 tribes, rich traditions, and deep heritage—and stressed the importance of respecting Africa's vast resources, both in terms of garment production and cultural representation. Even in small moments, such as the host’s consistent struggle to pronounce the name ‘Maxhosa,’ the discussion underscored the need for a deeper engagement with Africa’s many folklore’s and identities.



 


The event, which abruptly ended, brought into sharp focus the intersection of creativity, heritage, and sustainability within the African fashion industry. Each designer represented a unique facet of African excellence, but together they shared a commitment to preserving and amplifying the continent’s rich cultural heritage. By centering their work around authenticity, pan-Africanism, and a sustainable approach to resourcefulness, these designers are actively contributing to the growth and circulation of the African fashion economy.


This inspiring gathering was hosted by Visionaries Fashioning Africa as part of African Fashion Week Paris, curated by Anita Ehui.

 


 

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