It’s over 50 days since the war between Israel-America, and Iran began. Sudan is facing one of the worst famines in modern history, according to the UN, where 65% of its population or about 34 million people, have been affected. That’s just two of the many disasters happening right now. The world is literally on fire.

In times of chaos, a reality check is necessary as we tend to get stuck in our own bubble. What remains true is that what happens in one region eventually trickles down to another corner of the world. This seemingly new world order, with its shifting political dynamics and questionable motivations for wars is like history repeating itself. It’s an old political playbook.

For fashion, this war is reshaping an already strained industry, affecting retail, supply chains, and prices. At Paris Fashion Week a little while ago, their autumn/winter 2026 season seemed like business as usual for the most part. From the provocativeness of Saint Laurent to the allure of Chanel the mood shifted between Parisian chic, romanticism, and a sense of whimsical escapism depending on which show you attended.

South Africa’s MaXhosa received mixed reviews for Siyi-Kulture their autumn/winter 2026 show which translates to We Are Kutlure. It incorporated Skhothane and Panstula, two South African subcultures centered around creative espressions like dance and style. It culminated in performers pouring Ultra Mel (a popular custard dessert among locals) on the runway while dancing. It’s a classic Skhothane move. Attendees might have been fascinated, but back at home in South Africa, the backlash was brutal.

Comments alluded to the “trashiness” of Skhothane culture and how MaXhosa made a mistake by showcasing it on the global stage of Paris Fashion Week. I must admit, that I too was uncomfortable looking at that part of the showcase. And it took me a moment to reconcile with my own criticisms and why I had them in the first place. My first thought was will this audience and the world understand? It got me thinking…

At its core, art and creative expression is meant to be experienced not necessarily understood by all or anyone for that matter. If this were done by a European brand showcasing some part of their “unconventional” culture, would the reactions be the same? Or would we be quick to embrace it as authentic and cool and groundbreaking?

I think the latter.

Coming from South Africa, MaXhosa has always challenged what luxury is. That’s part of their philosophy. What better way to provoke the industry than in the world’s biggest fashion capital? The home of luxury. This showcase was about challenging the luxury industry and its elitist, consumerism-driven culture.

Luxury today is marketed as ethical, inclusive, conscious, and sustainable, yet fashion houses, social media, and publications are constantly pushing out new collections, products, and designs that only an elite few can afford.

Sixteen years since its launch, MaXhosa has expanded beyond its founding focus on crafting formal clothing for Xhosa initiates. This collection was about defiance as much as it was about celebrating a raw, unflitered part of South African culture. Speaking to Vogue, MaXhosa founder Laduma Ngxokolo said, “My aim is not to be more readable to Western European cultures. I don’t want to blend in and be lost in translation [...],” he explained.

Looking at history, it’s often these subcultures deemed dirty, ghetto, unruly or too Black that go on to influence style. Think about the origins of streetwear for example or the sagging of pants to expose boxers in hip hop. Once considered too ghetto, sagging can be seen everywhere in high-end fashion these days as a “cool and revolutionary styling hack.”

My question to you is what is fashion if not to challenge the norm and push boundaries – even in impossibly hard times?

That’s all for now. Thanks for reading this edition of Africa Fashion Decoded.

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Last week, the LVMH Prize announced its 2026 semi-finalists, featuring 20 of the brightest design minds including India’s Kartik Research, Nigeria’s IamIsigo, and Kenya’s Yoshita 1967. Since its launch in 2013, the endowment has supported emerging designers from around the world.

An LVMH Prize nomination and other international opportunities, such as the Woolmark Prize, for example, have the power to transform a designer’s career trajectory, whether or not they win. Being associated with a nomination and the perks and access that come with it is often a powerful tool that helps brands boost their credibility and awareness. The likes of Nigeria’s Maki Oh and Orange Culture were early nominees of the prize back in 2014, setting the foundation for African designers to follow. Since then, numerous names from the continent have been finalists and even winners of the esteemed prize. South Africa’s Thebe Magugu famously received it in 2019, advancing his brand to the global stage.

Meanwhile, organisations on the continent that could fund brands and support designers remain disconnected from the value and potential of African fashion. Without greater buy-in, it is impossible to attain meaningful progress. That’s one thing history has continuously taught us.

Calls for more support and industry frustration over the lack thereof is nothing new and have been building for decades. The truth is, our institutions are not doing enough to move the needle for African fashion. At a time when the business of fashion could be thriving, creating more jobs and driving economic value, we find the industry commercially stagnant, designers disappearing into obscurity, and seasoned brands still struggling to get by. It’s proof that creativity alone cannot build a fully-functional and financially viable system. And for now, creativity is mostly all we have.

Will the sector ever reach its full potential? In my view, not when institutions are not open to collaboration, do not invest enough, and fail to engage fashion experts. The success and growth of African fashion depends on the development of an ecosystem in which multiple entities — from industry professionals, to the media, policy makers, and investors, are involved. Each one has an important role to play.

Until then, our industry will most likely continue to lag behind because creativity without commercial value eventually dies and talent without support fades.

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Highlights From Berlin Fashion Week

Orange Culture Autumn/Winter 2026

Adebayo Oke-Lawal has come a long way since launching Orange Culture circa 2011. Back then, he called himself the boy with a colourful disposition, and I remember interviewing him about his debut collection “Summer Quirk”. This is one brand whose evolution I’ve watched throughout the years alongside my own career. Adebayo and I started our respective work around the same time. He was a budding designer from Nigeria and I was a fashion journalist from Johannesburg.

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Looking at this collection was a stark reminder of those early days of the brand. Using colours and unexpected textiles has always been a core ethos for Adebayo. And though his brand has grown so much since then, these elements continue to guide his aesthetic. For autumn/winter 2026, he leans on vibrant tones, artisanal details, and fluid silhouettes merging Western tailoring with Nigerian craftsmanship. Titled “Backyards Of Memory”, it’s a tribute and reflection. “After losing my mother, I found myself holding tightly to the memories that felt safest, warmest, and most alive. Many of them live in the backyard of my childhood,” the designer explains in his press notes, referring to his inspiration this season.

The collection is a tender offering filled with breezy silhouettes and light fabrications where colours are influenced by sunlight and time, each look representing a distant yet vivid memory.

Kenneth Ize Autumn/Winter 2026

Following his split from a financier several years ago, Kenneth Ize’s designs haven’t been the same ever since. I find the brilliance and allure that once defined his collections missing. In “Joy”, the designer’s new collection for autumn/winter 2026, it feels like the brand is going through an identity crisis and attempting to establish a new direction, a new voice, a new aesthetic. The result, similar to his preceding collections was mostly underwhelming.

The showcase included elements of deliberate clownish styling and makeup. The good stuff came through in a couple of tailored suits in reformed, quirky silhouettes and a womenswear ensemble featuring tailored trousers with fringe detail styled with a half-unbuttoned shirt and an elongated hat.

Losing your only investor can obviously impact the dynamics of a business. But however challenging it may be, I do believe that Kenneth Ize, the brand has a chance to return to its former glory. He’s way too talented, and at his best, his garments are too good for him not to!

Buzigahill Autumn/Winter 2026

Buzigahill, the Kamapala-based brand by Bobby Kolade, offers a compelling collection of embroidered and handwoven garments that took hours to produce by local artisans. Case in point: an old leather jacket was reworked into something new and fresh through a process of sandpapering, painting, and varnishing (see the transformation here).

And elsewhere, the designer knotted multiple t-shirts to create a textured top that gives the illusion of beading. These garments are aesthetically pleasing, intentional and layered with acvitism. Adding this level of craftsmanship to recycled items makes the whole experience even more special. Bobby’s mission to redesign second-hand clothing that’s dumped in Africa from Europe, the USA, and Asia and returning it overseas as “designer garments” is a reflection of the brands bold attitude.

In other news…

Elle Côte d’Ivoire Becomes Elle Afrique Francophone (Elle Africa)

This weekend, Elle Côte d’Ivoire re-launched as Elle Afrique, a Pan-African magazine for African women. It’s one of two Elle editions in Africa since the South African edition shut down some years ago. Naomi Campbell is the cover star, styled by Law Roach and shot by South African photographer Trevor Stuurman. As reported in my previous edition, African media is experiencing a major revival, and Elle Afrique couldn’t have come at a better time.

Led by Frédérique Nanan, the magazine covers Francophone Africa, including Senegal, Gabon, Benin, and Cameroon. And will also launch an English version for the rest of Africa by the end of 2026 to reach key markets including South Africa, Kenya, Nigeria, and Ghana. Sounds like exciting times ahead!

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Jonathan Anderson is accustomed to blending fashion with art and crafts. As a frequent collaborator with diverse artists from various disciplines, a significant part of his success, as one of fashion’s leading creative directors today, stems from these extensive series of collaborations with the art world, filmmakers, anime studios, and ceramists. For his spring/summer 2026 haute couture debut for Dior, he continues this tradition, working with the acclaimed Kenya-born, England-based potter Magdalene Odundo. As it turns out, Anderson has been a longtime collector, friend, and fan.

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Inspiration to execution

References of the Kenyan artist’s oeuvre are evident throughout the show in visual forms as well as in design ethos.

Odundo herself is renowned for her sculptured, human-inspired, bulbous, glossy ceramic vessels. Among her core themes is the study of the human form and the female body in particular. “I’ve always equated clay with the humanity that’s within us, fragile like our bodies,” the artist once revealed.

On the Dior runway, where Anderson received a standing ovation, he reimagined these forms into striking, almost unrealistic, structured gowns with organic curves and gentle drapes that swept around the body.

Elsewhere, dreamy floral motifs by Odundo made their way to a series of looks, including a floor-sweeping black dress. It didn’t end there. Bags too, received the Odundo effect. Polished, glazed, and moulded to artistic beauty, like her pottery. It’s a level of craftsmanship that cuts across disciplines.

From advertising to art

Beginning her pottery career in the 1970s, after relocating to the UK from Kenya, Magdalene Odundo has a background in commercial advertising and education. Working with clay, her artistry draws from global ceramic traditions spanning Egypt, Kenya, and Uganda among others. Her work is included in the permanent collections of numerous museums globally.

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For Imane Ayissi, couture is about momentarily fleeing the lows of life. This spring/summer 2026 season in Paris, the Cameroon-born designer presented a version of that escape. He offered more than just a collection but an open invitation into the inner workings of his artistic journey, the playful and carefree moments of experimentation that are often unseen by the public, and what he calls his favourite part of the creative process. It’s both transformative and liberating.

Titled BISSAKARAK, which means “scribble” or “first draft” in the Ewondo language of Cameroon, the collection explores draping and knotting techniques across Africa and Greece. He also draws inspiration from a 2024 visit to the Museum of Modern Art in New York that featured the works of American painter Mark Rothko.

From Everyday Ritual To Couture:

Exploring the ritual of tying loincloths in his home continent, Ayissi dreamed up exquisite garments blooming with energetic colours. Fluid, flowy and lighter in texture.

Picture how men and women across Africa wear waist cloth’s. It’s intuitive, functional, and effortless. Never about chasing perfection. It’s not something you think about too hard. It happens naturally, transforming into a new shape, a new drape, a new silhouette each time. Ayissi’s idea with these garments is to offer multiple possibilities through draping, layering, and cloaking the body.

Ghanaian Kente, raffia from Madagascar, and woven fabrics from Nigeria collide as heritage meets new-age couture, a mission his been naturing since launching his brand more than two decades ago.

When Art Becomes Fashion

Intersecting art with style, a series of simplified, painterly gowns references the work of Rothko, who is renowned as one of the pioneers of colour field painting, a style of abstract painting characterised by large areas of intense colour. “Some of the silhouettes are inspired by the energy and depth of these colours,” Ayissi revealed via the press notes.

Rothko would have probably been proud of Ayissi’s interpretation. During his lifetime, the artist had challenged audiences to experience his works about colour in a more layered and thoughtful manner that transcended beyond societal and traditional colour psychology. For example, in his paintings, red was intended to mean more than just love. To him, the emotions behind his works were much more complex than that.

Looking at Ayissi and Rothko’s work, their common thread is a profound instinct to feel deeply and shape emotion through craft. And this collection delivers on that premise and more.

That’s all for now. Thanks for reading this edition of Africa Fashion Decoded.

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2025 was a busy and challenging year for fashion. We saw designers dropping from Paris and Milan fashion week schedules, growing consumer concerns about “high” fashion prices in Nigeria, major retailers filing for bankruptcy, multiple designer reshuffles, and trade and tariff wars, among other major events. But through it all, the industry persisted setting the tone for 2026.

It’s now three weeks into the new year and the start of a brand new fashion season. As I write this, menswear fashion week is underway and Valentino passed away just days ago at age 93. 2026 is already delivering its own set of uncertainty, opportunities, newness, and changes. With that in mind, here are 5 themes set to shape the months ahead.

Ralph Lauren Acquires South African Polo brand

Ralph Lauren’s buying of Polo South Africa has to be one of the most transformative moves in South African fashion history. The American mega fashion brand, known for its preppy, classic American style, acquired the rights to Polo South Africa, a historic brand in its own right in late 2025. In this acquisition, Ralph Lauren will have full rights to the South African Polo and its operations.

Both brands have come a long way. For context, Ralph Lauren’s journey began in New York City in 1967, with a line of luxury men’s ties. On the other hand, Polo South Africa was founded by Gordon Joffe and his associates in Cape Town in 1976, and produced men’s lounge shirts before transforming into a fully-fledged fashion brand offering everything from women’s clothes to men’s underwear, shoes, and luggage. Until now, the American designer was not legally allowed to sell his brand in Southern Africa but that’s likely to change. Following their unification, there’s a strong likelihood that South Africa may become a new strategic hub for the American brand to expand into the region, using Polo SA’s distribution network, popularity, market knowledge, and consumer base.

The return of media platforms

After more than a decade of a declining media landscape, the last year has been a turning point with the introduction of African versions of Billboard, Time, Robb Report, and Tatler magazines, the latter which specifically cover luxury and lifestyle.

As African fashion and pop culture continues to grow and influence the world, these platforms have a pivotal role to play in amplifying creative voices and storytelling and shaping how culture, from music and fashion to art, is marketed and consumed.

South African Fashion Week Revamp

A new format for SAFW promises to set the tone for the next era of South Africa’s fashion industry. In my interview with SAFW founder Lucilla Booyzen last year, she said, “after 28 years of driving the South African designer fashion industry, we could see that the traditional model of fashion week no longer reflects the pace and the pressures of today’s fashion landscape.”

She also mentioned introducing a hybrid format for the event and explained that collaboration with industry stakeholders from retailers and designers to the media would be pivotal to succeed.

Fast fashion boom

From Temu strengthening its distribution channels in South Africa for faster delivery to Shein’s first physical store in France, fast fashion is here to stay. And it’s not just Temu and Shein looking to dominate the market, but the likes of Bohoo and Pretty Little Thing are some of the other names also aiming to make their mark.

Designers redefined

The role of the modern fashion designer is evolving. We’ve seen them go from creating garments, to being influencers and content creators, and now brand ambassadors working with global companies outside of fashion. For example, Sindiso Khumalo becoming a Volvo brand ambassador is one reflection of the changing role, influence, and responsibility of the modern designer. Making garments alone is no longer sufficient for an industry defined by stiff competition and limited support.

The rise of sportswear

Luxury and high street brands and everything in between continue to lean into sportswear aesthetics as the lines that once divided these categories continue to be blurred. This is partly led by sports stars growing involvement in fashion whether through fashion week events, designer collaborations or NBA tunnel walks. Examples of brands tapping into this commercial opportunity include Lukhanyo Mdingi, JW Anderson and even Balenciaga among others.

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South Africa may be known for having the most established fashion industry in Africa but Nigeria stands out as the continent’s most buzziest fashion destination. Every October, the fashion world gathers together for a few days, where thousands of guests descend to the Nigerian city of Lagos to attend runway fashion shows, parties, and workshops for the season. This time, 15 000 guests reportedly attended the event which ran from 29 October to 2 November with over 60 designers, mostly from West Africa showcasing their latest collections.

The business of hype

Launched by Omoyemi Akerele in 2011, Lagos Fashion Week is arguably the most hyped fashion event on the continent. From features on international titles such as Vogue and The Business of Fashion to hosting international celebrities, journalists, and personalities that help in pushing its global visibility and relevance. This season, that international celebrity was Ciara, the award-winning American artist and dancer. She walked the runway in a show stopping gown by Nigerian fashion brand Fruche. Akerele and her team clearly understand the power of celebrity and media to draw attention. The former lawyer turned fashion entrepreneur has managed to transform that hype into a thriving business. But it also helps that Nigerian designers have the talent to validate the buzz. Defined by traditional textile innovations and craft, Nigerian fashion continues to reinvent itself by thoughtfully blending tradition with the zeitgeist. The country has produced some of Africa’s most brilliant design minds over the years. The likes of Maki Oh and Kenneth Ize for example among many others.

Unlike in Southern Africa, Nigerian and West African designers in general embed strong cultural influences into the designs. It’s that West African savoir faire that makes their work extra compelling.

But back to LFW. In addition to the press, to address the ongoing challenge of accessibility, the organisers of Lagos Fashion Week frequently partner with both local and international retailers such as Temple Muse and Moda Operandi to boost collection sales and enhance visibility for designers.

Highlights

This edition wasn’t the strongest in terms of the clothes offered on the runway. There are multiple instances in which some collections lacked originality and direction. However, amidst that chaos there were also several designers who stood out for the right reasons.

The best ideas toed the line between a crafty type of laid-back appeal with high octane spectacle. The latter consisted of pieces with maximalist textures, exaggerated silhouettes, bold embellishments and vibrant colour.

Rendoll, Babayo, Hertunba, and Pettre Taylor were some of this season’s standouts. Not only for having a sense of harmony in their collections but also the clarity of their vision and how it translated into their garments. Babayo for example leaned into its clean sophisticated look, offering a reductive and pristine collection oozing with lush textiles and emotive details like fringes and frayed panels and hems.

Pettre Taylor ‘s collection explored form and fabric manipulation, offering a captivating lineup of artisanal dresses and separates in a range of mostly earthy colours. These pieces engaged the senses in textile delight, offering a visually striking experience.

Body and age inclusivity coupled with a sense of movement were the soul of Hertunba’s showcase. Echoing that movement were dresses that came with fringe details at the waist or hemline. Elsewhere in the collection enchanting surrealism was found in a series of frocks and tops with African mask motifs, turning the human body into a canvas.

From the soft pastel tones to the oversized proportions, there was an ethereal softness to Orire’s offering. The collection was dedicated to the team, the hands working behind the scenes to bring each garment to life. While I’ve found some of their previous styles to be overly exaggerated, this season came with some restraint and balance. Those voluminous silhouettes and dramatic details were in harmony with ruched hemlines and gauzy fabrics, offering a delightful collection of sophisticated feminine pieces.

To round-up my fashion week coverage, I’ve included an edit of some pieces I’m loving right now. Some of these recommendations include affiliate links, which means I may earn a small commission from qualifying purchases at no extra cost to you.

The Festive Edit

Clockwise from left to right: Ami Doshi Sha bangle, Labrum London puffer tote bag, Orange Culture tassel-beaded top, Abiola Olusola maxi linen dress, Diarrablu tubi dress, V.BELLAN hoop earrings, Shekudo mules, Rendoll sunset dress, Abiola Olusola mini linen dress, Exclusive Kilentar open-back mini dress, Orire Maya dress.

Modern Gentleman

Clockwise from left to right: Obida printed cotton shirt, Daily paper denim shirt, Daily Paper track jacket, Armando Cabral woven leather Derbys, Awet suede jacket, Armando Cabral woven sneakers, 3 Paradis gradient wide-leg pants, Labrum London t-shirt, Labrum London navy monogram trousers

That’s all for this week!

Thanks for reading this edition of Africa Fashion Decoded.

When I recently discovered Shopmy, a premium global affiliate marketing platform working with some of the biggest retailers and brands, I was hooked. Designed for brands and curators alike, it’s not only the Pan-African designers on the platform that made it stand out. Its clean editorial-style interface also played a part.

While the majority of African brands including Abiola Olusola, Boyedoe, Thebe Magugu, Sindiso Khumalo, and Lukhanyo Mdingi to name a few, are on the platform through international luxury retailers like Moda Operandi, Shopbop, Ssense, and Mr Porter among others, Shopmy also showcases brands individually. For example, names like Andrea Iyamah and Epara run their stores independently on the platform. Still, the ability to access designers from the continent in global retail spaces alongside their peers remains uncommon.

As a result, I’m excited to expand my reportage to product recommendations via Shopmy. While I have conflicted feelings about affiliate programs in general and how they are used to drive mindless consumption, I do believe that there’s a place for high-end affiliate platforms in the context of African fashion. Not only for designers to drive direct-to-consumer sales among other brand building activities but also for content creators and curators like myself. Monetising our creative work is something I see many designers and creatives, myself included struggle with.

I’m still building my selection and hot picks which span menswear, womenswear and accessories. From Labrum London, one of my favourite menswear brands right now to Kilentar, Daily Paper, and Diarrablu as well as under-the-radar names that you might not know like Feben. It includes the very best.

Hand selected by me, this collection blends some of my favourite Pan-African fashion pieces which I’d personally wear, though not every item reflects my personal style. I may also include standout products I might not necessarily wear but genuinely believe to be exceptional.

PS: If you’re a brand, stylist, content creator or any sort of creative with a community and would like to join Shopmy, feel free to use my referral link.

Happy shopping!

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Celebrated for its feminine silhouettes, playful proportions, and captivating clashing patterns, Ezokhetho, the Johannesburg-based womenswear brand has been charting its own path since its launch in 2019. Since then, it has captured the attention of everyday South African women and local celebrities alike, including names like Azania Mosaka and Sandile Mahlangu among others.

The brand’s latest collection, Zodwa is a visual narrative that honours Mpumelelo Dhlamini’s parents through tactile fabrics, intimate storytelling, and symbolic motifs. “Creating this collection was a spiritual process,” the designer explains. “It began as a way to honour my mother, not knowing she would pass just months later. In many ways, Zodwa became our final conversation.”

In this interview, I chat to Mpumelelo Dhlamini about their latest collection and turning loss into triumph.

As a womenswear designer, what sparked your decision to expand into menswear? Was there a particular moment or insight that led you to this shift?

​​I’ve always wanted to explore menswear, but I wanted to do it at a point where I felt confident enough and had gained a deeper understanding of the market. From my retail experience, I’ve noticed that women generally buy more than men, and I’ve seen peers struggle with menswear not because the fashion isn’t strong, but because men in our market don’t always see the need to invest in statement pieces.

What really pushed me to take the step was my clientele, many women shop with their husbands and expressed interest in buying something for them as well. I also had men asking if we had pieces for them. When I reached a point where I wanted to challenge myself creatively, menswear felt like the natural next step.

Can you walk me through the creative process behind Zodwa the collection? In what ways did it feel spiritual or emotionally transformative for you?

I missed the September 2024 season because of my momʼs passing after a short illness. Initially, I felt pressured to release something quickly around November or December, but I chose instead to use that time to rethink and re-strategize. That pause relieved me from the constant pressure of “keeping up” that so many of us feel in this industry. The creative process behind Zodwa became deeply spiritual. It allowed me to move beyond grief and see design as a way of healing, reimagining the brand, and creating from a place of intention rather than pressure.

This collection is a tribute to your late parents and their journey and love story. How do you see fashion as a medium for honoring personal history and expressing collective memory?

Clothing is never just fabric; it journeys with us through life. It becomes tied to our memories and our milestones. For me, fashion is a way to preserve stories and emotions, not just for myself but for others who can connect to them. Using clothing as a medium to honor history and memory allows those stories to live on in a tangible, wearable form.

You’ve also described it as a final conversation with your mother, who passed just months after you completed it. What words or feelings would you say you’re expressing through it?

The Ngithwale collection was created specifically to honor my mom. I had a strong feeling that I needed to do it at that time, and months later, she passed away. That experience made me realize just how spiritual art can be. Iʼm grateful that I created that collection while she was still here physically. It was a gift to both of us. Zodwa, however, became a celebration of both my parents now that they are both resting. I didnʼt want to approach it from a place of darkness or grief, but

rather from gratitude—celebrating their love, legacy, and Godʼs grace in my life through them. The collection was a form of therapy, allowing me to express both memory and hope.

In what ways do you view fashion as a form of tribute, whether to culture, personal history, or collective memory?

I achieve that through details—silhouettes, fabric choices, prints, and construction all working together to tell a cohesive story. Fashion is a language, and I use its elements as tools to pay tribute to heritage, memory, and lived experience.

What does truth over trends mean to you as a designer?

Truth is what sets you apart. Itʼs your story, your perspective, and the authenticity behind your work. People connect to the truth because itʼs relatable. Trends, on the other hand, serve as tools to remain relevant. I believe in applying trends in a way that aligns with your brand identity. Not every trend will work for Ezokhetho, but there are ways to adapt them and make them our own, while staying rooted in who we are.

How does that commitment to truth over trends manifest in your designs and shape your long-term vision?

It shows up in the way I approach each season. Itʼs become easier to find organic starting points without forcing a “big” story. For Zodwa, I knew two things: I didnʼt want a dark collection rooted in grief, and I wanted to celebrate my parents. Everything else flowed naturally from there. I’ve learned that just existing in my context means I carry stories that many people can relate to. That truth is already embedded in the work. It doesnʼt need to be forced. Over time, this approach will shape Ezokhetho into a brand that is timeless, purposeful, and connected.

Your work frequently draws inspiration from cultural symbols, such as South African food staples and history. How do you approach making South African heritage wearable in everyday life, beyond its traditional association with special occasions?

This is where my background in trend research plays an important role. While studying for my degree, I loved exploring how trends emerge from social and cultural shifts. I apply that knowledge by designing garments that are relevant in todayʼs world, but still rooted in our narratives. It’s about finding the balance between modern wearability and cultural storytelling, so our heritage doesn’t only live in ceremonies but in everyday life.

Do you see menswear becoming a recurring part of your brand’s journey, or was this collection a one-time exploration?

I definitely want to continue exploring menswear. The outcome of this first menswear collection inspired me even more. Menswear is more challenging than womenswear, but I enjoy the process. My long-term vision is for Ezokhetho to be a diverse luxury brand, expanding beyond clothing into a complete lifestyle offering. Menswear is an important part of that journey.

What excites you about the future—whether in fashion, culture, or your own creative journey?

What excites me most is growth. The growth of Ezokhetho, the growth of the South African fashion industry, and my own growth as a creative. Building a brand challenges different parts of me, and I love that process. Ultimately, my goal is to build a legacy brand that outlives me, and I hope the same for other local fashion houses, so that we create institutions that will stand the test of time.

Thanks for reading this edition of Africa Fashion Decoded.

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South Africa is home to several prominent fashion week events spread across its major cities but of all of them South African Fashion Week or SAFW in short is widely considered the oldest and most established one. Launched in 1997 by Lucilla Booyzen, SAFW is the cornerstone of South Africa’s local fashion scene and has played a pivotal role in developing its designers and the industry as a whole. So when Lucilla emailed me about the event taking a “strategic pause to recalibrate” I was surprised. Firstly because the announcement came three weeks before its biannual event was scheduled to take place later this month. And secondly, throughout my years attending SAFW, I don’t recall the organisers canceling a season of the event for anything. Not even during the height of COVID.

However, given the current state of fashion from a local, regional, and global perspective it’s not completely shocking. The industry is undergoing one of its biggest transformations of the last decade. From a luxury slowdown to a record-breaking number of creative director reshuffles in 2025 — at some of fashion’s biggest houses including Chanel, Gucci, Bottega Veneta, and more than a dozen others. Everyone has been affected one way or another. As a result of these industry-sweeping changes, some emerging brands across the board have also been forced to restructure and in some extreme cases completely shut down. This ongoing reset has also affected leading retailers like Farfetch and Matches Fashion.

SAFW has attributed skipping this season to a thoughtful recalibration driven by global supply chain shifts, the rise of fast fashion, and the urgent call for sustainability. In Lucilla’s words, the traditional model of fashion week no longer works.

With a repositioning of global superpowers and a new world order taking shape, the industry continues to face a moment of uncertainty. In South Africa, evolving consumer values and growing digital access is influencing how and what South African consumers buy. But it's also true that the country is the number one destination for luxury on the continent and accounts for 34% of Africa’s millionaire population, according to the 2025 Africa Wealth Report, presenting unique opportunities for local fashion to thrive.

In the last five years, SAFW has implemented multiple changes including a long-term influencer strategy to reach a broader and younger audience as well as switching its autumn/winter collections from October to September to be in-line with the international schedule. While these responses may contribute to much needed change, they have proven to not be sufficient.

Since the temporary “pause” was announced a few days ago there’s been outpouring messages of support as well as calls for greater inclusion and diversity within the system, something that Lucilla vaguely touches on in our conversation.

The industry’s been evolving for a while. What led to your decision to take this moment now to pause as opposed to say last year for example?

After 28 years of driving the South African designer fashion industry, we could see that the traditional model of fashion week no longer reflects the pace and the pressures of today’s fashion landscape. Between fast fashion, disrupted supply chains, and the urgency of sustainability, there are so many undercurrents affecting our industry. This season felt like the right time to step back and to pause so that we can realign the platform to the realities of the fashion landscape in South Africa, the Global South and the broader international market. Waiting another season would only delay the opportunity to rethink and future-proof SAFW.

How long do you expect this pause to last?

We are pausing for one season only. In January we will begin again, with the insights and feedback we gather during this time guiding the next phase. This is a recalibration, a springboard for what comes next.

What does your recalibration and realignment process look like behind the scenes?

It is a collaborative and research-driven process. We are engaging directly with designers, buyers, retailers, sponsors, and media to listen and collect insights. At the same time, we are benchmarking against global best practices, while considering the unique needs of the South African industry. Behind the scenes, we are mapping how to bring the entire value chain together, starting with the industry bodies and extending through design, production, retail, and sustainability — to ensure each part is better supported by SAFW going forward.

Are there any elements of the original format that will be preserved?

Absolutely. SAFW has always been designer-led, and that will never change. We will continue to champion South African talent, showcase collections, and connect designers with buyers and media. The runway remains a powerful storytelling tool, but we are also exploring how it can work alongside new hybrid formats, supported by our strong social media presence and digital marketing, to remain fully aligned with today’s world.

How are you involving past collaborators, sponsors, and attendees in this transition?

They are part of the conversation. We are speaking with our sponsors, partners, and long-time supporters to ensure that their voices are heard, and their expectations are factored in. Our social platforms continue to share designers’ journeys, new collections, and evolving work during this pause, so that audiences stay connected. We want everyone who has invested in SAFW — whether with time, money, or creativity to be part of shaping what comes next.

Could you elaborate on what your future-ready model looks like?

The new model will reflect agility, sustainability, and inclusivity. It will be less about following old formulas and more about creating a platform that is dynamic enough to respond to shifts in culture, technology, and retail. Think of it as a marketing platform for the creative fashion industry that integrates digital and physical experiences, strengthens designer businesses, and connects South African fashion more to the fashion markets.

How do you see SAFW addressing sustainability, fast fashion, and shifting global supply chains within this vision?

These are at the heart of our rethink. South Africa cannot and should not compete with the speed and volume of fast fashion. It undermines our designers and their creativity. Instead, we want to position SAFW as a leader in conscious, small-batch, and heritage-driven design. We are exploring ways to support local sourcing, highlight circular practices, and connect our designers to responsible local and global supply chains. Our goal is a platform that champions resilience, originality, and sustainability as competitive advantages for South African fashion.

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This week, British heritage brand Burberry released its latest campaign titled Back to the City. And it celebrates London as the nexus for diverse cultural expression and creative energy, starring a cast of creatives including the musician Jimothy Lacoste and viral social media sensation Bemi Orojuogun — who’s commonly known as “bus auntie” on Tik Tok — where she shares viral videos of herself posing in front of London’s iconic red buses.

Featuring Bemi Orojuogun is a calculated and unexpected move by Burberry that has contributed to the effectiveness of the campaign since its launch. Ms Bemi Orojuogun is not particularly a fashion influencer yet her audience and relatability offers brands scalable reach and a unique opportunity to appeal to her core community and beyond. This isn’t her first interaction with designer fashion either. In 2024, she also worked with Jacquemus. 

I found this move to be a powerful lesson for African brands. A collaboration doesn’t have to be within your niche or comfort zone to be meaningful, especially if the goal is brand awareness, audience growth or market penetration. Strategic partnerships like this one can assist designers and brands alike in reaching new audiences on top of reinforcing the ones they already have.

Another standout example of two worlds coming together with remarkable success is Nara Smith whose captivating cooking videos have led her to work with fashion’s biggest names. Once again, proving that fashion is a universal language that touches every industry because we all wear clothes whether or not we are into fashion. That’s a powerful advantage African designers should embrace and leverage when thinking about influencer partnerships.

This idea of cross-industry pairing also applies to brands outside of fashion. I’ve personally been in rooms where sports and top hospitality leaders for example hesitate to collaborate beyond their industry. Yet hospitality—like fashion, also isn’t confined to one sector. In today’s landscape, success lies in connecting the dots and daring to go beyond your niche. 

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For its first edition this April, the Africa Reimagined event introduced 22 African fashion designers to the Chinese market with the goal of expanding their reach beyond the US and Africa.

I had the opportunity to recently interview the platform’s founder Hannah Ryder about her work and why China offers a major opportunity for African businesses.

Key insights

• China is a diverse market that’s open to different forms of style and expression.

• African brands should view China as more than a sourcing hub but a thriving consumer market with immense potential.

• Brands must learn about the Chinese market, where unique aspects such as e-commerce dominance and live streaming shape consumer behaviour

Based between China and the UK, Hannah, the Kenya-born former UN ambassador and economist, began her career in the environmental and climate change sector before joining the United Nations Development Programme China office as deputy country director. A journey that transformed the trajectory of her career. “Through that experience I decided to open Development Reimagined (her China-based consulting firm),” she explains over Zoom from America. 

A few days later we would meet in person in Johannesburg where she’s part of South Africa’s G20 Presidency special advisory committee.

AFD: How do you integrate your background in policy and economics with fashion? 

HR:  We are very good at research and networking. We researched heavily which fashion brands to reach out to from across the continent. Curating it was a case of finding great luxury brands that think of China as a market. 

AFD: Asia is a tricky territory to navigate. China in particular presents a uniquely structured market, heavily influenced by long-standing Western brands that have led consumer preferences over time. What was the response to African designers at Shanghai Fashion Week? 

HR: I think you’re right. In pretty much every consumer goods sector in China, it’s Western brands which have dominated, and over time Chinese brands have started to emerge. However, what’s different about China compared to Japan for example, is that Japanese brands have always been very strong alongside Western brands. The Japanese have a strong idea of what they want and brands have to fit into that framework. 

China has a different kind of model in which they integrate the international with their interpretation. And that’s where the opportunity is because it has a diverse and open market. There’s space for foreign brands. It’s not the same kind of constraint you might face in Japan to keep to very specific styles or colours for example. China has a vast range of dialects, agricultural commodities, and traditions and I think that matches so well with our own diversity on the continent. 

The response was incredible. We had 1201 media clippings, PR value of RMB 3.95 million, and over 12.7 billion media impressions. And some of the brands received buyers. In addition to the amazing reception, designers also felt like they were getting to see the future. 

AFD: How so? 

HR: (…) A future in which online is more important than in person. We took the brands to a live streaming market and they got to experience Chinese KOL’s selling out products in real time, on livestream.

We wanted brands to understand that it's about structure and building a complete ecosystem. That’s why we are also launching a China-based e-commerce store. It will provide a more affordable and easier way for designers to enter and manage their businesses in China. 

AFD: A lot of brands pre-COVID-19 were not fully invested in developing an online presence…

HR: (…) This is the time to do it. Trade tariffs are going up in so many different places. If our businesses are going to survive we have to diversify our markets so we can’t just rely on the US, Europe, the continent or our home countries. We need to make the most of all the markets in terms of sourcing, production, and reaching new consumers. 

We have to take it step by step but do it in a way that can still allow development. That’s another reason China is so important because it shows you what scale really means and how we should be envisioning growth.

A different version of this interview also appears in the latest (June) edition of Your Luxury Africa magazine where I lead the publication’s Pan-African reportage for fashion and style across print and online.

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Every year, the first Monday of May is dedicated to the Met Gala, an exclusive charity event and fundraiser for The Metropolitan Museum of Art’s Costume Institute led by Anna Wintour. For 2025, expectations were higher than ever with its theme titled, Superfine: Tailoring Black Style and the dress code being Tailored For You, which is what you saw the guests on the carpet interpret. Based on Monica L. Miller’s book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, the theme follows Black dandyism and style from its inception as rebellion against slavery to its evolution.

At the Met, guests were largely inspired by archival images of Black dandies, pioneers, and tastemakers throughout history as well as cultural movements like the Harlem Renaissance, presenting a stark celebration of multilayered style and independent designers who blended historical significance with the zeitgeist. 

There was a greater sense of collaboration in bringing designs and visions to life. Stylists, who are often the unsung heroes behind some of your favourite celebrity style moments worked closely with their clients and fashion houses, delivering on-theme looks that transcended the realms of fashion. For example, we got to see the work of some of today’s leading image makers and style consultants including Oscar-winning names for costume design, Ruth E. Carter (who dressed Teyana Taylor) and Paul Tazewell (who closely worked with Thom Browne to design Janelle Monáe’s striking look). And the likes of Law Roach and Marcus Paul all under one roof.

Highlights 

It was a big night for trailblazing designer Ozwald Boateng, whose unmissable energetic colour combinations and patterns adorned some of music’s finest including Tems and Burna Boy. He also dressed Ncuti Gwata, Omar Sy, and Issa Rae among others.

Charlie Casely-Hayford designed outfits for Edward Enninful and fencer Miles Chamley-Watson. Bianca Saunders brought her A-game, silhouette-bending, fluid vision to menswear through Nick Jonas and Stefon Diggs. And Post Imperial and Monse came together to dress Taraji P. Henson. Hanifa by Anifa Mvuemba and Toriséhju also made impressive appearances alongside Orange Culture, the Nigerian brand that created a vibrant custom suit with a dramatic cape for actor Brian Tyree Henry. While Ugo Mozie had a big moment with Diana Ross, who appeared in a grand gown by the stylist.

Wales Bonner delivered the theme to perfection. She dressed FKA twigs in a showgirl dress inspired by Josephine Baker. And crafted the most elegant suits for Lewis Hamilton and photographer Tyler Mitchell in pristine white with intricately symbolic detailing that channelled the flamboyance of Black dandyism. Overall, symbolic accessories and details proved to be a powerful element, adding personality and extravagance to looks. 

Missed Opportunity  

However, with all the spotlight on independent brands there was a missed opportunity in showcasing a broader range of designers from within the continent. African Fashion International (AFI), the South African fashion organisation founded by Dr Precious Moloi-Motsepe, known for its fashion weeks and pan African vision was a major sponsor of the event. Yet the representation of African designers on the carpet did not fully reflect this influence. Furthermore, AFI’s pioneering commitment was not matched by corresponding support from other key African fashion stakeholders. Had more institutions stepped up like AFI, the impact of African fashion could have been significantly greater.

Dr Precious herself was regal in David Tlale, while Thebe Magugu outfitted fellow designer Aurora James in the brand’s first couture piece, a layered mesh, pleated gown worn with a striking gele (traditional headpiece). The designer later revealed that he drew inspiration from the photographs of  Seydou Keïta, Malick Sidibé, and Mama Casset, who documented the sophisticated and expressive style of Central and West African women in the 50s and 60s. 

Major events like the Met are not only important in building global exposure, celebrity endorsement, networking opportunities, and awareness but also help showcase our culture on a global scale. In the fast-paced world of fashion,  brands, especially those from high-potential emerging markets like Africa benefit greatly from press and visibility to expand their reach and ultimately strengthen the regional industry by transforming the narrative and stereotypes.

The gala reportedly raised a record-breaking USD31 million on Monday, the highest proceeds ever in its history. This year in particular presented a significant moment to leverage the power of the Met to showcase the best and most from the continent.

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It’s always exciting for me to see African designers reach and explore new markets; that’s one of the reasons I started my wholesale agency, to develop African fashion brands into sustainable profit-making businesses.

Following appearances at Milan and Paris Fashion Week in recent seasons, African fashion is heading to the world’s largest continent. As Milan and Paris continue to become challenging to navigate (in my fashion week issue, I briefly touched on African brands falling off the fashion week schedule in Europe), Asia is emerging as the next frontier for African fashion. 

From the newly launched Tranoï Tokyo, which held its first edition in September 2024 and showcased a cohort of African designers in partnership with CANEX to the recently concluded Shanghai Fashion Week autumn winter 2025 event where similarly some of the continent's most recognisable names including Orange Culture, Rich Mnisi, and David Tlale descended to the Chinese fashion capital to showcase their collections there for the first time. Organised by Africa Reimagined, a consulting agency helping African brands enter the Chinese market, the show consisted of a runway and showroom presentation. 

Asia, fashion’s most complicated market? 

I find Asia to be the most complex of the major global fashion hotspots. And that’s partly due to the homogeneousness of the region and to some degree a level of  ignorance as well. Let’s take China for instance where the influence of Western brands is so strong and embedded into their culture and personal style. In other words, the Chinese market is influenced and driven by historic luxury brands though in the last few years, it has also focussed more on developing their homegrown labels through platforms like Shanghai Fashion Week and abroad via New York Fashion Week and others. 

While the country may be commonly synonymous with counterfeit goods and fast fashion it’s also managed to maintain a top spot as one of the world's biggest luxury consumer destinations, making it a wide and dynamic market. 

From my experience living in Beijing, I found the Chinese consumer to be specific and complex and extremely picky about the brands they invest in. The people who drive luxury there value sophisticated brands from Europe that offer timeless designs, that’s to say classic subtle shapes and neutral colours. Anything too new, too fashion and too contemporary is a hard sell especially if the price is considered high and the brand is fairly unknown. I remember how my Chinese friends and peers couldn’t fathom why an item from an African brand that’s not a major fashion house would cost USD$800. It didn’t matter to them what textiles or processes were used to bring the product to life. It just didn’t make sense! The same sentiment was also shared by a group of South Korean acquaintances. In fact, even famous brands also have a hard time navigating China’s nuanced cultural dynamics and landscape. 

So when I saw some of my favourite African labels at Shanghai Fashion Week a few weeks ago I wondered how they would perform in a highly competitive landscape where anything and everything can be replicated, produced easily, much faster, and in large quantities. In contrast, African fashion is largely driven and renowned for its craftsmanship and the laborious processes of handmade designs and artisanal goods. It’s inherently slow fashion.

However, China finds itself in a uniquely different position of embracing its traditions and rich culture in crafts such as calligraphy, pottery, and embroidery alongside some of the most impressive technologies and innovations today. It’s the reason why luxury, mass retailers, and fast-fashion brands all produce there.

Beyond the ceiling 

Though African fashion has always influenced the global industry, and is currently thriving creatively, its designers continue to struggle to turn their brands into lucrative and financially stable businesses. The limited, if any, financial assistance and access to essential and basic resources from African institutions and governments is one of the major reasons for this dilemma. Many of the leading brands that we see today have only managed to get where they are mostly because of international support. For example, a good number of South Africa’s most prominent designers today have all benefited from winning one international prize or another which has largely contributed to their success. 

Investment has always been the missing piece of the puzzle. In all my years covering fashion and luxury on the continent, it’s been the biggest challenge for designers and a threat to our industry. Despite its increasing potential and contributions to the economy, our organizations have continuously failed to aggressively put money where their mouth is when it comes to fashion. And it’s not just about funding. Policy support, skills development programmes, infrastructure, and regional market access are key elements that can solidify the business development of the industry. Without a strong regional foundation, African fashion remains vulnerable and stunted, making it hard to reach its full potential.

Asia has historically been an obscure market for unfamiliar “outside” brands and this dynamic challenges the success of African designers entering their economy on a large scale. With that said, the outcome of these efforts to develop African fashion in China remains to be seen.

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I've spent some time searching for a perfectly sized, everyday men's tote bag in buttery soft leather (not canvas). Something sleek and functional like the Marni ones. But regrettably, my search still continues. Restrictive accessibility and sometimes limited product assortment, unfortunately, remain painful hurdles when shopping for South African and indeed African designer fashion in general.

But if the growing number of new stores I’ve witnessed popping up is anything to go by, we might be on the brink of a shift with the rise of experimental, curated boutiques offering otherwise inaccessible design names and products.

From niche stores to massive retail outlets, South Africa is undergoing a retail store revival that's been slowly taking shape since 2020. During COVID-19, for example, the renowned designer Thula Sindi launched Africa Rise, a highly profitable multi-brand retail store in Sandton, the Johannesburg suburb known as one of the continent's most affluent areas to live and shop in. Another example is MaXhosa, the knitwear brand on the cusp of global expansion has been establishing stores in key cities across the country. Similarly, David Tlale, another heavyweight in the country's fashion scene, has also opened multiple brick-and-mortar spaces in the last few years.

During the same period, We Are Egg, a multi-brand retailer offering a mix of local and international contemporary brands, opened two massive stores in Cape Town and Johannesburg in succession. Egg as its commonly referred to shook the retail industry with an innovative "store within store" concept in which various brands, from Puma and Daily Paper to Rich Mnisi, occupy a dedicated space inside.

Since then, several carefully stocked boutiques of varying sizes have been rolling out across the two cities. With more recently, Ya De, a compact yet charming hidden boutique at 44 Stanley having quietly opened in late 2024 to offer West African names like Adama Paris, Obida, and Dye Lab.

Shifting Sentiments

Changing consumer attitudes towards local and regional products are leading this transformation. In recent years, consumers have become more open to supporting local and African brands, thanks to the industry's growing popularity globally.

But for many people, supporting homegrown businesses means the price must be "reasonable". In my experience, that translates to being in line with retailers like Zara and H&M for the ideal price range. Even then, the average consumer might still find that too high.

Beyond this, consumer confidence and demand is also being boosted by the end of load shedding (planned power cuts due to insufficient electricity supply) which at its crest challenged the very existence of the industry by delaying production and shortening business hours for retailers and designers among other things.

Growing Pains

Opening a store anywhere in the world is risky business, but for these retailers in particular, the challenge manifests in the consistency of stocking new and follow-up collections on a rolling basis to attract and keep customers.

In addition, the recent plan by the South African government to increase VAT from 15% to 17% raises uncertainty for both retailers and consumers alike operating in an already strained market.

Still, despite the ambiguity of where this will lead, there's plenty of room to be optimistic. If there's anything about South African fashion, it's resilient. With growing patriotism among locals reaching peak levels, the future of retail looks promising.

PS: I'm still searching for that bag and welcome any recommendations!

I’ve also curated a store with some of my favourite brands including Kilentar, Casablanca, and Lukhanyo Mdingi which you can check here.

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A quiet season 

With only a handful of African fashion names showcasing across Pitti Uomo, Milan and Paris Men's Fashion Week this fashion season started slowly for me.

At Pitti Uomo, South Africa’s Viviers unveiled a capsule collection in collaboration with Cape Wools SA embracing locally sourced merino wool.  The textile culminated into a straightforward showcase, offering a contemporary take on tailoring with baggy silhouettes and cropped jackets. While it had some notable pieces, it didn't fully capture the brand's usual brilliance.

According to the show notes, the presentation explored whether and how art has become a performative act that’s more about likes and money than genuine emotions aimed at solving real problems. But has fashion even as an art form ever not been about money? Runway shows, viral moments, buzzy collaborations and celebrity campaigns are all engineered acts of creativity often fuelled by capital gains. 

This is not to say “sincerity” cannot exist in the business of art and design. I believe it's a balancing act. Balancing creativity with business acumen. So in other words, honest art can exist in the performative and vice versa. 

At Paris Fashion Week, Lagos Space Programme, the Nigerian brand exploring Yoruba customs for the modern age combined athleisure, with formal pieces and some workwear elements realized through a pair of indigo blue wide-leg cargo pants.  Inspired by rock and roll this season, Adeju Thompson’s separates like shirts for example came with the gender-blurring and edgy spirit of rock n roll style—open in the chest and elongated at the back. 

The silhouettes were languid, offering the ease I personally like to see in clothing. Adding to the delicacy, there was a softness in the way trousers' hung loose on models, some with a lacy hemline elegantly covering the ankles. Elsewhere in the showcase an embroidered pants and shirt combination had all the elements of a statement red carpet look. 

Noteworthy standouts 

Outside of African fashion, Japanese brand Auralee showcased a brilliant lineup of everyday garments. What makes Ryota Iwai’s collections so appealing to me is not only the practicality and relaxed simplicity but also the way Iwai styles his runway looks from the layering to the bold pops of colour and patterns that transform basics into striking outfits. “I drew inspiration from a friend whose effortless individuality struck me,” the designers reveals. “Whether in an elegant suit or a worn-out t-shirt, they always exuded unapologetic authenticity,” he says.

Hee Soo Kim, the South Korean creative director behind System, follows a similar formula, producing seemingly everyday pieces that capture the zeitgeist. Kim reimagines familiar classic styles by reinterpreting them into today’s sophisticated staples. From brilliant coats and knitwear to pyjama shirts, denim, and dad-like leather jackets in baggy cuts, this collection evokes the childhood memories of exploring your parents' wardrobe. He also looked at the androgynous work of American painter Romaine Brooks who inspired some of the gender-fluid looks such as blazers.

In essence seeing a handful of African brands this season made me wonder about the future. After winning international competitions and accolades and showcasing at fashion’s biggest runways what comes next for African fashion brands? Loosing steam is certainly not ideal though it’s turning out to be an inevitable reality.

Thanks for reading this edition of Africa Fashion Decoded.

I’ve spent the last few weeks trying to make sense of why luxury designers / creative directors are heading to fast fashion brands. What’s the deal with that? It’s happened multiple times this year. 

First there was Zac Posen at the beginning of 2024 with Old Navy and Gap where he was announced chief creative officer and creative director respectively, indicating a shift in the industry and ushering a new era in the fast fashion and luxury designer dynamic. 

Following Posen, Stefano Pilati who was previously head designer at Yves Saint Laurent and Zegna released a "personal" collection with ZARA. And in September, Samuel Ross of A Cold Wall revealed a longterm collaboration with the same retailer (ZARA) a year or so after selling his brand. Ross is now designing under his SR_A label that he founded in 2019.

Then there’s Clare Waight Keller who’s designed for Gucci, Givenchy and Chloe announcing her new position as creative director of Uniqlo in October after a successful and viral collaboration with the Japanese retailer. It appears fast fashion is bad until it's time for a luxury brand collaboration then it's suddenly acceptable and cool. 

The Great Shift

With the current luxury downturn and creative directors being thrown around from one house to the next, it’s not surprising that some are finding other ways to work even if it means jumping ship to fast fashion territory. When Keller announced her appointment at Uniqlo she told BOF that mass retailers offer “an incredible way to get your clothes on a lot of people” since the pricing is much more accessible. 

In addition to the reach, other elements that make fast fashion retailers so appealing for today’s luxury creative directors is a sense of appreciation as well as the stability it offers since these designers bring a different kind of value alongside their luxury fashion credentials and oftentimes considerable cult followings.

If there’s anything that 2024 has taught me about the luxury business it’s that its designers are just as disposable as the rest of us. The last 2 to 3 years has been fuelled by ongoing shuffles with creative directors being moved around from one house to the next. As I write this post Matthieu Blazy has just left Bottega Veneta after three years to join Chanel and John Galliano last week announced his departure from Margiela. The list goes on. Perhaps constant change is the new luxury.  

This is my last issue of 2024.

Thanks for reading this edition of Africa Fashion Decoded. And happy holidays to all of you! Let’s do this again in 2025.

- Innocent

My September has turned out to be busier than I thought but as promised here it goes. My thoughts on the SS25 season so far! 

About two years ago I was shortlisted for an editor and trend-forecasting position at WGSN in London. During the interview process, I was asked to create a Design Capsule, forecasting current and future trends. I based my report partly on the future of fashion and textile innovation and the rise of alternative, forward-facing materials.

Come 2024 and it feels like that’s exactly where the industry is. 

Selling craftsmanship

Craft to drive seemingly traditional collections has become the selling and marketing card for both new brands and heritage fashion houses alike. From Bottega Veneta to Tokyo James, the London-based Nigerian designer, brands show how far and wide they can stretch their creativity and craftsmanship. 

Craftwork is nothing new in fashion but the way it’s presented these days is not only for style or to celebrate heritage but to go viral too! Alongside showcasing their workmanship, brands are also low-key using this strategy to create buzz and attention around their collections and products.

In an industry where designers are compelled to compete for attention and relevance, showcasing a unique or “fresh” take on an old technique is the perfect formula for a viral moment in 2024. Think about the allure and excitement of publicly and collectively discovering that a pair of trousers that seemingly looks like denim is fine leather or how a deceptively sequin-looking dress is made from a special metallic hide. 

Connecting people with craft. 

This SS25 season brands continue to offer bold crafty pieces that exude both workmanship and sometimes drama. Tokyo James's collection explores the “beauty that can be found in imperfections”. The designer juxtaposed different fabrics and finishes to create one of his best collections so far. I’m talking about fully beaded dresses in flattering shapes and spliced, woven pieces like denim shorts and coats. Tokyo James sought to reinterpret what luxury can feel and look like by focusing on what he described as raw, unpolished materials that are traditionally rooted in African cultures but often overlooked by Western high fashion standards. 

Missoni was another brand that captured my attention after a long time. Their collection is an artisanal delight with lively zig-zag patterns and exaggerated proportions. Garments came in three-dimensional forms, bursting with life and colour. Every single look was a statement piece ready to turn heads. 

At Bottega Veneta, Matthieu Blazy continues to explore “craft in motion”. This time driven by childlike references and the different stages of dressing up from childhood to adulthood. Blazy’s collection was realised through oversized silhouettes, whimsical patterns and textures, and crinkled pieces which I also noticed at Ferragamo. Is creased clothing the next big luxury fashion trend? It might be! This collection however had its moments. 

I find it interesting that when an African designer presents a raffia dress for example it's deemed unwearable and maybe even impractical but if a similar look comes from a Western brand it's considered genius and the highest form of workmanship. Fashion’s hypocrisy even within the African creatives and consumer context never ceases to amaze me.

Thanks for reading this edition of Africa Fashion Decoded. 

— Innocent 

Some light but insightful fashion week reading: (first one is by me) 

Feben SS25 Collection: A designers ode to resilience 

Off-White: Ready-To-Wear SS25 

The next chapter of Dries van Noten looks very bright indeed 

There’s a monotony to fashion week that I can’t shake off. Every once in a while I’ll skip a few seasons as a way to rejuvenate. While I can never disconnect completely, (I've tried and failed) distancing every now and again is important not only for my wellbeing but also to maintain a fresh perspective. Fashion has a way of drawing people and keeping them in its microcosm. If you’ve worked in the industry long enough you might relate. 

Fashion’s Favourite Time

As we approach September, the industry-designated fashion month, we are also marking the beginning of a series of fashion-related events from leading fashion capitals around the world — whether it’s London, Johannesburg or Tokyo.

Depending on where you are in the globe these festivities can start from as early as August, as is the case with the recently concluded Copenhagen Fashion Week, and end sometime in December when Senegal holds its own annual event. Basically, it’s always fashion week somewhere in the world.

The common factor however that cuts across all these geographic regions is the need for a revamp to align with the times. The heydays of fashion week as we know it have come and gone. New York and Tokyo Fashion Week are an example of this. Both events have struggled with relevance in recent years, with some prominent designers from both cities opting to showcase in Paris or Milan. As a result, these organisations have had to play catch up to the enduring allure of European fashion weeks, home to some of the world’s most influential and profitable fashion houses.

The Shake Up

South African Fashion Week, the biggest and oldest fashion week event in South Africa is shaking things up too. I first noticed this shift around 2022 during the pandemic when they started working with TikTok influencers. The following year that move was succeeded by hiring an external PR firm to assist with its guest lists and media coverage. The changes were almost instant with this firm working to revive the strong celebrity-driven culture of fashion week. Earlier this month a new date of September — which is a month earlier than its usual slot of October was revealed for its next edition — to coincide with the international calendar and Paris Fashion Week in particular. 

This week the restructuring continues with organisers announcing a new venue (Melrose Arch) where this season’s AW25 showcase will take place. It’s going to be one of the busiest schedules in recent memory with 40 designers of both established and new brands participating to present their latest collections. According to the press announcement, showgoers can also expect a lineup of additional events in collaboration with retailers, restaurants, bookshops and other establishments.

I haven’t been to SAFW for about two or so seasons which means I’m excited to get back in the game. This season is a particularly busy one for African fashion with designers showcasing in various cities around the world including New York, Tokyo, and Paris. I’ll be following all the events closely for my reviews and coverage so be sure to stay tuned on here as well as on my Instagram and TikTok.

Thanks for reading this edition of Africa Fashion Decoded. 

- Innocent 

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A World On Fire 

Case in point. In the last few months Uganda, Kenya, and most recently Nigeria, considered one of Africa’s leading fashion markets, have all experienced protests largely led by young people seeking economic reform from their governments. At the very least, for fashion designers and retailers in these countries, the effects were instant. In Kenya for example, this unrest that started with a proposed bill to increase tax hasn’t only led to disruptions in production and cancelled or postponed events but also a sharp decline in retail sales. As expected, people are less likely to shop during or right after protests against price hikes.

Elsewhere across the region in South Africa, a newly launched GNU government means an unclear future for an already challenged local industry. With the increasing cost of production, it's becoming harder for local brands to stay competitive and maintain quality at relatable prices. 

The Rise Of Affordable Luxury 

However, brands that seem to be winning right now offer the intricacy of handcrafted garments made from locally-sourced high-quality African materials and techniques at modest prices. 

An example is Kilentar, a young womenswear brand favoured by the likes of Tracee Ellis Ross, Asa and leading luxury retailer Moda Operandi. Launched in 2019 by Michelle Adepoju, the Nigerian brand offers artisanal pieces made in West Africa following local methods such as weaving and dyeing. Their garments offer both “reasonably priced” and “costly pieces”. A basic silk top for example costs about €100 which by fashion standards can be considered affordable.

Inspired by the African masquerade culture, Eki Kere, another West African brand that’s building its reputation with exquisitely hand-dyed separates and dresses also combines tradition with modernity at accessible prices. Their items start at under $100.

Other brands like the pioneering Adele Dejak, who launched her eponymous Kenya-based jewellery line in 2008 mastered the formula much earlier on, by combining creativity and storytelling with competitive selling prices. The results of which have transformed her brand into one of East Africa's most celebrated and successful accessory lines. 

In other cases, designers have had to diversify their assortment. In recent seasons, brands that fall into the “luxury price” category have been forced to reconsider their offering by introducing small “entry level" accessories to their collections like caps, socks, jewellery, and tank tops to tap into the aspirational shopper. I’ve seen this with Thebe Magugu for example who introduced tank tops and caps in the last year or so. Fashion is a balancing act if you ask me.

In this ever evolving landscape, the big question remains: what comes next? With eight months into 2024, it seems like this industry’s challenges are going nowhere slowly.

Thanks for reading this edition of Africa Fashion Decoded. 

— Innocent