1960 was the ‘Year of Africa’, when more than seventeen countries rid themselves of colonial rule. A new sense of pride in being African rang out through literature, music, art and fashion. This radical social and political re-ordering galvanised a centuries-long history of creativity and sparked a cultural renaissance. Designers and artists used their work to explore their relationships to newly independent nations, the African continent and a Global North divided by the Cold War (1947–91).

Pan-Africanism – a movement towards establishing a sense of cultural unity and collaboration between people of African descent – though contentious, was pivotal to independence movements. It fostered a self-assuredness that inspired a drive for political autonomy and infused the creative arts. Leaders such as Kwame Nkrumah, president of Ghana from 1957 to 1966, and Léopold Senghor, president of Senegal from 1960 to 1980, saw art and culture as central to defining Africa’s role in the global arena. Dynamic creative scenes across the continent enabled newly independent nations to showcase their modernity and cosmopolitanism to the rest of the world, with trailblazing fashions at the forefront.

The African continent is home to long and varied histories of cloth, representing a breadth of techniques, a myriad of cultural meanings and functions, and the embodiment of countless stories. Among them are bògòlanfini (mud cloth) dating back at least 800 years in Mali; kuba (raffia cloth), which originated over 300 years ago in the Kuba Kingdom, in what is now the southeast of the Democratic Republic of the Congo; as well as Àdìrẹ, ankara and kente.

Fashioned into tailored clothes or draped in uncut lengths, cloth adorns and signifies through colour, pattern, technique and texture. While this is true across all cultures, certain cloths can mean different things depending on the context. They can denote a sense of place or reveal the layered histories of cultural exchange and enmeshing. Within the context of the independence era, textile traditions across Africa took on new political meanings.

The independence years (1950s–90s) triggered a professionalisation of fashion and textile industries across Africa. New nation-states recognised fashion’s power to solidify and project strong, independent and, crucially, modern identities to the world. Some governments, aware of the economic potential of these sectors, also introduced policies to help them flourish. Many turned to clothes as a powerful expression of their newfound freedoms, wearing local fabrics, a tailored three-piece suit, or something in between.

This cultural renaissance combined with economic investment saw the fashion industry boom. Name-brand designers emerged, with clientele based around the world, echoing similar changes occurring in Europe. Designers in Africa, Europe and beyond embraced international exchange, seeking inspiration and learning new skills through travel and migration. Naïma Bennis, Kofi Ansah, Chris Seydou, Shade Thomas-Fahm and Alphadi are just a few of the pioneering designers from a rich scene, acknowledging that there are many more stories from all over Africa to be told.

Photographic portraits in the second half of the twentieth century captured the mood of African nations on the brink of self-rule. The euphoria of independence coincided with the democratisation of photography, which was made possible through cheaper film and more user-friendly cameras. Studio and itinerant photographers embraced these innovations, adapting the conventions of portrait photography at the time to suit the tastes of their youthful sitters. Each shot seen here documents the modernity, cosmopolitanism and fashion consciousness of individuals with agency and a desire to use it. Photographs taken in studios and domestic spaces, like those shown here, became affirmations of self-representation. Pride in being Black and African was now visible on personal terms. Self-representation was also an affirmation of the long-existing realities of people with diverse beliefs, values and identities, and style!

For the sartorialist, dressing to be seen is a way of life and an art form. Clothes – carefully chosen, customised, styled and photographed – are statements of individual creativity. Attention to detail is key: the embellished septum ring, the Perspex shades, the repurposed tulle hat. More than dandified display, these expressions of individuality explore questions around gender and genderlessness, visibility and invisibility, self-representation and misrepresentation. Whether through self-portraits, collages or photographs of festival flaneurs, image-makers across the continent are capturing the performance of these identities. As fashion evolves and the way in which individuals view themselves shifts, these artists and their muses offer a glimpse of constant reinvention and self-fashioning through style.

Creativity and fashion allow us to write our own narratives. They are spaces for people who have a vision for the continent and who want to show its strength and its immense humanity, its beauty, and its material and non-material resources.
– Awa Meité, 2021

Today, African fashion creatives are charting their own course, pushing boundaries and opening up conversations around culture, race, gender and sexuality. Ultimately, they are challenging assumptions about who African people are and what African fashion can be.

For some, the continent is the starting point, a rich well of inspiration and material cultures, from Yorùbá aṣọ-òkè cloth to Moroccan embroidery. For others, architectural lines, innovative pattern-cutting or sustainable practice are the driving force. A dynamic, pluralistic scene spanning luxury fashion, ready-to-wear, made-to-order styles, and hand-crafted adornments, is evidence that African designers are at the forefront of contemporary fashion practice.

I am not African because I was born in Africa but because Africa was born in me.
– Kwame Nkrumah, 1958

The impact of the African fashion scene, with its multitude of perspectives and aesthetics, is being continually accelerated by a constantly changing digital world. Multidimensional digital platforms, combined with the connectivity of social media and the allure of Black and African music and film, are accessible entry points into an ever-evolving global fashion landscape led by creatives of African descent.
This digital revolution echoes the cultural renaissance of the independence years. It is facilitating a democratisation and an inclusivity stemming from a new spirited Pan-Africanism, reaching across the continent, the diaspora and beyond. With just one click, you become part of this buzzing scene.

Cameroonian-born designer Imane Ayissi’s work sits at the crossroads of two fashion systems, connecting Africa and its global diaspora with artisanal craft-making and haute couture. Working from his Paris-based atelier, Ayissi’s collections showcase his interest in silhouette and tailoring with his respect for natural materials, specifically raffia, obom and kente cloth.

Here, Ayissi discusses his practice in more detail:

“My name is Imane Ayissi, I am a fashion designer, more precisely a couturier. When I design a collection, what is important for me is to change the world’s vision of African fashions – and more generally of African cultures – to show that African know-how and craftsmanship is just as sophisticated and as valuable as that of the rest of the world.”

“My designs are also about about femininity and empowerment. My main inspiration is my mother, so I celebrate independent and free women, and the idea of freedom of women’s bodies.”

“Living in Paris, I realized that the West’s vision of African fashion was completely uniform and univocal, seen solely through the prism of wax prints – which are in fact a legacy of the colonial period – whereas Africa’s textile heritage is, very rich and diverse, reflecting the continent’s many cultures. So, I started researching this heritage and working with craftspeople who were still making or using traditional materials.”

“The characteristics of the textile or fibre guides the process for arriving at a finished garment. For example, the shape of the garments I make from kenté, an artisanal stripweave fabric woven by hand in Ghana, is really guided by respect for the specific structure of this textile, that would otherwise be damaged by a traditional Western cut and pattern with clips, cut-outs… and so on. Conversely, my use of raffia is guided by the image we have of it as a raw, unrefined material used for primitive ceremonies. That’s why it’s most often found in my collections on elegant, ultra-sophisticated evening dresses. …traditions are interesting when they help to imagine and create the future.”

“Conceptually I am fascinated by the links that we can observe between a certain Japanese aesthetic and certain African aesthetics, links that Issey Miyake had already explored in the early 1980s for example. Once again, my idea is rather to put the African continent back in its place in fashion, in the middle, and at the same height as all the other continents. Technically I try to apply the know-how I learned in Paris about making very sophisticated shapes with my respect for traditional textiles or materials.”

“The inspiration for the Mguilguidigueu-Mteun autumn-winter couture collection was my discovery of the work of Russian painter Paul Chmaroff in the Thierry Schneider collection. I knew absolutely nothing about him but was immediately able to appreciate the beauty of his painting. For Look 22, the starting point was a fitted sheath dress, creating a line with circular shapes on the sleeves. But the inspiration was also to mix a very elegant, haute couture dress with details reminiscent of Africa – a kind of mix of a Parisian model and a Fang witch. The result is this very simple, an austere black sheath dress with a cascade of raffia fringes that comes to life every time the wearer moves.”

“I hope my showing in the official couture schedule in Paris changes the way the world looks at African design. Although this creativity is increasingly recognized, it is still not associated with the idea of luxury, perfection or high-quality know-how. The Haute Couture label shows that African know-how has the same value as that of other continents.”

Adeju Thompson’s Lagos Space Programme is a non-binary fashion design project and multidisciplinary art practice exploring the overlooked traditions of Yorùbá culture. Founded in 2108, the label aims to explore design through a cultural lens and contribute to the global conversation around gender and sexuality from an Indigenous perspective.

Here, Thompson discusses their practice in more detail:

“The name Lagos Space Programme reflects the ethos behind my creative process; it’s a name grounded in my roots but still looking outwards. By reviving cultural knowledge in the garments and objects we design, we identify overlooked potentialities for the present and create fashion archives that store cultural memories for the future.”

“The concept of decolonizing design has informed my evolution and my practice. Through our work, we highlight an alternate side to the African narrative and contributing to the global conversation around gender and sexuality from an Indigenous perspective by exploring design through a cultural lens in a well-researched manner. In doing this, we educate and highlight Africa’s progressive past in pre-colonization times. There are many inaccurate misconceptions regarding African perspectives on gender. We believe fashion can shift cultural prejudices and retire these outdated beliefs.”

“All my collections in some ways are always informed my life & view of the world.”

“Through post- àdirẹ we explore a centuries old craft in a disruptive manner by designing motifs that communicate my triumphs and burdens, telling stories that are very pertinent to our community. For example, in our Cloth as a Queer Archive –Project 8 spring-summer 2024 collection we explored the aesthetic and spiritual significance of Yorùbá textile culture within the context of and alongside queer adornment practices, highlighting how dressing functions as both decoration and protection.

We focused on the art of àdirẹ, a resist-dye technique used to create indigo-dyed cloth by Yorùbá women of south-western Nigeria. In traditional àdirẹ practice, the artist would engage with the medium as a means of storytelling, thus creating a parallel with modern-day subcultures where queer communities share their stories through languages, symbols, and gestures exclusively to their own groups.”

“In addition to exploring queer semiotics, the collection is also a study of minimalism from an African point of view. In the popular imagination, the African aesthetic is colourful, robust, and sometimes dynamic, in contrast to a ‘cleaner,’ pared-down European style. While these styles are present throughout the Continent’s art, minimalism existed as an essential part of Yorùbá expression for centuries, long before Europeans impacted Nigerian society.”

“Our most recent collection, Project 9, ‘Invitation to Ojude Oba‘ collection, autumn-winter 2024 draws inspiration from the vibrant Ojude Oba festival in Southwestern Nigeria and showcases deconstructed and re-imagined Yoruba garments alongside nods to quintessential British menswear. The collection melds British and Nigerian heritage, in the use of adire, and in tailoring and romantic flourishes that recall the era of the two cultures’ first encounters, but which also reflect my personal journey exploring and embracing both cultural landscapes.”

“My collections really push people to see African design as rigorous — I’m constantly collaging ideas, I see myself as magpie artist. I like the idea that people can see my work and expand their visual references of what they think African design is.”

Lagos-based designer Lisa Folawiyo established her slow fashion label in 2005. Best-known for her use of contrasting patterns, sumptuous embellishments, and vibrant colourways, Folawiyo draws on the history and popularity of Ankara fabric (a boldly patterned printed cloth) to express notions of heritage in a contemporary context.

Here, Folawiyo discusses his practice in more detail:

“My name is Lisa Folawiyo and I am the creative director of ‘Lisa Folawiyo’. Our studio and flagship store [are] located in Lagos, Nigeria. With a print and texture focus, [we are] committed to consciously creating tailored, joyful pieces that honour craft, culture and community. Referencing my heritage and history, my collections, use fashion as a medium for storytelling, conveying to the world who I am and where I come from.”

“Ankara was the first fabric I chose to work with as a designer, as it was, and still is, for me, one of the most familiar and strongest fashion representations of my Nigerian heritage and identity. The fabric, exploding with print and colour, also represented to me a form of equality in society, proudly worn by people from all walks of life. Through the luxury of hand-craftsmanship [such as beadwork], I set out to re-texturise the fabric and create fashion-forward contemporary pieces – something that had never been done before then.”

“My thought process when designing prints is to create a print that can tell a story without words. I usually start by sketching out my ideas, which my textile designer then reimagines and reworks digitally to create the final print. We also play with colourways and scales. For Collection 1, 2024, we came up with twelve different prints but ended up using about eight. On occasion, I have worked with pre-existing images related to the collection theme, from pictures to old photos to works of art.”

“We make a very conscious effort to practice slower and more considered fashion. Releasing one major collection per year in small drops, we reduce waste while practicing innovative tailoring and pattern-cutting techniques. We also invite people to bring their Lisa Folawiyo pieces for alterations and hand-embellishment rejuvenation to ensure longevity of their garments.”

“Collection 1, 2024, is inspired by the multifarious nature of women. From her sweetness and gentility to her fiery, fierce strength. [It is] set off by the dominant ‘fruit print’ and fully expressed through the distinct elements of colour, texture, detailed tailoring and signature embellishment. Every collection is a continuation of my ongoing love letter to all women.”

“With Top and skirt, 2020, I wanted to create, what I felt, was the perfect wedding, party dress for the coolest bride that ever lived. The idea that she could walk down the aisle in it and then dance the night away and still be able to easily incorporate it into her existing wardrobe to wear as separates guided me through the whole process.

“Being profiled in the Africa Fashion exhibition alongside other talented designers is an opportunity for people from other parts of the world to get a glimpse of the incredible beauty and artistry of African creatives and in effect, hopefully feed curiosity, quench some ignorance and spark earnest interest.”

Orange Culture is a Nigerian fashion label established by Adebayo Oke-Lawal in 2010, and known for its vibrant printed textiles and genderless silhouettes. Through his practice, Oke-Lawal challenges societal norms, stereotypical notions of masculinity and suppressed expressions of Africanism.

Here, Oke-Lawal discusses his practice in more detail:

“My name is Adebayo Oke-Lawal, I own a brand called Orange Culture based and produced in Lagos, Nigeria. Orange Culture is a team of amazing tailors, àdirẹ dyers and cotton weavers, working with a sustainable ethos and a love of print.

“Orange Culture challenges traditional notions of gendered fashion. By blending Nigerian and other African references with universal streetwear silhouettes in unexpected fabric choices, I produce collections which blur boundaries across both culture and gender. I love to create work that interrogates the cues that masculine dress broadcasts to society.” 

“I believe fashion can and should save lives. I believe clothing should be fluid and be able to be worn by everyone. I grew up with a passion for confronting societal norms and have used fashion as my chosen platform to combat hypermasculinity, injustice and suppressed expressions of Africanism.”

“From fabric or colour selection, to silhouettes, to casting and shooting style, I intentionally ensure that all of these are woven together to express the emotions and start conversations! I have always believed that fabric and colours should not be assigned a gender.

I remember in 2012 when we introduced men wearing organza and chiffon, people could not believe that men would ever be wearing these fabrics. We were criticised for feminizing men. Fast forward to 2024 and stores everywhere are carrying sheer light pieces for men.”

“I have lived in Lagos all my life and my collections are very introspective. I am conscious that my story isn’t every African’s story or the only African story; I am one narrative of a Nigerian man’s expression of his culture and tradition.”

“From the silhouettes to fabric manipulations, to the textile techniques we use – such as àdirẹ or aso-oke- we explore old Nigerian traditions and stories, expressing them in a contemporary Orange Culture way.  Even the prints we design are inspired by nostalgic Nigerian feelings, stories that I have been told, or things I have seen or personally experienced growing up. In the lines and threads, and in the hands who make the Orange Culture clothes, there is the Nigerian heritage and traditions.”

“This collection has been one of the hardest collections I’ve had to create, not because of the technicality of it but because of self-questioning. I think this collection is about realising it is okay to question and fall in and out of love once in a while, to feel drained and to re-energize and step right up again. It comes in waves really is about celebrating a realistic journey on one’s path. This collection helped me celebrate resilience, to see the beauty in the calm after every storm and experience it more excitedly.“

“Top, pants and cummerbund, 2024 is a celebration of the importance of connecting with and celebrating both your masculine and feminine sides depsite resistance. The piece is inspired by a perfect marriage of both sides – the pants inspired by a groom wedding pant with the cummerbund, and the top with the extended train is inspired by the bride’s dress.

“I love that our voices are being told by us genuinely and amplified by the platform and by the global tour of Africa Fashion. It is such a beautiful exhibition – from fashion to music to film – it is truly an ode to how amazingly diverse and intricate African fashions are and the amazing impact it has had on the world. For the first time in a long time, it is not a case of appropriation but an appreciation of African fashions.” 

Ivorian American designer, Loza Maléombho’s innovative collections are a fusion of cultural and sub-cultural references. Her design practice is an expression of her dual heritage and interest in artisanal traditions, female narratives and contemporary tailoring.

Here, Maléombho discusses her practice in more detail:

“My name is Loza Maléombho, I am a fashion designer of Ivorian descent, raised in the United States and based in the vibrant city of Abidjan, Côte d’Ivoire. I strive to not only showcase the beauty and richness of my African heritage, but also to reinterpret it in a modern context.

Designing and producing in Côte d’Ivoire, I aim to create a nurturing environment for the development and expansion of traditional craftsmanship. This decision is not only a reflection of my commitment to supporting local artisans, but also serves as a platform to showcase the unique talents and skills present within Côte d’Ivoire.”

“I endeavour to infuse my designs with the richness of African stories, motifs, textiles and craft techniques, thereby honouring the continent’s diverse cultural heritages. I always ponder over the question of how to contemporise traditional artifacts while preserving their intrinsic aesthetics and symbolism”.

“Luxury, in my view, resides within the realm of age-old crafts. Many of these practices, like dyeing, weaving and bronze work are passed down through generations, imbued with a wealth of techniques and specialised knowledge. It’s in this intergenerational transmission that we find the true essence of luxury. I interpret luxury not merely as opulence or extravagance, but rather as a fusion of ancient craftsmanship, contemporary design and cultural narratives.”

“I prioritise sustainability by integrating ethical production practices into my work, which includes sourcing materials locally and collaborating with artisans [such as shoemakers, dyers, weavers, and bronzers from the local community]. Every item is meticulously handmade and produced in small quantities to ensure quality and authenticity. Transparency is a key aspect of my approach, as I strive to minimise the environmental footprint of my designs, by making conscious choices throughout the production process.”

“Structured silhouettes and the use of fabrics such as burlap (jute), a coarse fabric traditionally used to package coffee beans, are signatures of my work. Notably, Côte d’Ivoire remains the number one producer of coffee beans, adding an additional layer of significance to the utilisation of burlap in my designs.”

“The Baoulé mask [a reference to my maternal lineage] also holds profound significance for me. It symbolises more than just a cultural artifact. By incorporating the Baoulé mask as a signature motif on buckles and fastenings and embellishments, I aim to honour my heritage, while also expressing unity in the harmonious coexistence of tradition and contemporary expression in my designs.”

“To create the fastenings, I collaborate with skilled bronze casters. Typically, these artisans come from families with a longstanding history in metalworking and possess extensive technical expertise. My decision reflects a commitment to both quality craftsmanship and innovative design solutions, as the scarcity of diverse and high-quality trimming resources locally has spurred me to explore creative alternatives – a trend that is gaining traction among designers seeking unique and sustainable options for their creations.”

“This collection holds profound personal significance for me, as it is the first collection I created after giving birth to my son in 2020. The arrival of my son not only brought immense joy, but also sparked a new consciousness in my life. This collection represents more than just a series of garments; it embodies a spiritual awakening and a journey of empowerment. The structured, powerful and graphic silhouettes featured in pieces like the Jao jacket, skirt and belt serve as visual representations of this new-found strength and resolve.”

“In construction, the jacket and skirt are made of natural jute fibres and the detachable part of the skirt fabric, from handwoven cotton, crafted by skilled artisans who typically work individually using intergenerational, traditional weaving techniques. The cloth undergoes dyeing using a tie-dye technique, tailored to my specifications.”

“Being profiled in Africa Fashion exhibition holds great significance for me, as it provides a platform to highlight the richness and diversity of African fashions and design. It validates my contributions to the industry and helps to amplify African voices in the global fashion discourse.”

Courtesy of ACMI and Be Collective

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