Meghan Markle’s Sparkle: The Duchess of Sussex’ Style Decoded in 7 Outfits

With most jobs it takes three months for you to settle in, know the ropes and move effortlessly from task to task, but if you are the Duchess of Sussex née Meghan Markle, ten weeks will do just fine. It is hard to believe that it has been that long since she glided down the aisle in St George’s Chapel, Windsor  in THAT Givenchy gown (more on that later), but since then Meghan Watchers (guilty as charged, I often check out the ensembles she is wearing) have been treated to a refashioning of sorts. Proving to all along the way that the 21st Century Royal Duchess’ wardrobe needn’t be twinsets and double strands of pearls or floral prints forevermore she has seamlessly reflected the hopes and expectations of what the world expects from a modern Royal style icon in the making. The fact that just seven seminal ensembles give us all the intel we need is indicative of a visually literate woman, who has distilled the pertinent points of what her role involves but has re-imagined it under the lens of her own beliefs and values.

meghan-marklewimbledon

She didn’t snag her prince with a wardrobe that screamed ‘to the manor born/country-bumpkin goes to a smart event every so often’ so why slip into that dated trope of what a Royal wife should dress like? The fact that Meghan has repeatedly and defiantly done her, rather than an approximation of what old-school courtiers might be expecting is what has endeared her to style watchers. And whilst many saw her humanitarian credentials and thought we were in for Princess Diana 2.0 she looked closer to home for historical style references.  At Wimbledon,  we saw her channel one of the greatest American style icons by embracing the power of  a pair of wide leg white trousers with a crisp shirt – heck if it worked for Jackie Kennedy-Onassis it can work for Meghan too! In her case Ralph Lauren did the design honours but the nod to American Prep culture is impossible to ignore and a refreshing visual change at a quintessential part of the traditional English season’s summer calendar.

jackie-tro

In fact it is this seemingly determined approach to dressing in pieces that are by American designers that marks Meghan out. Not for her the subdued route of a woman who has subsumed her identity for her husband’s and becomes British overnight (although that is technically true as a member of the British Royal family). For now at least the feminist mantra of being more than a spouse and vessel for future  Windsors is being played out via her wardrobe. Not made in the United Kingdom only for her, especially when there are a number of Americans she is more than happy to champion. This yellow Brandon Maxwell  shift proving a particular hit at a reception held for the Commonwealth Youth Challenge. Nothing says vitality and youth more than a primary coloured piece, and Californians are known for their sunny disposition, here Meghan teams the two notions via her ensemble to a winning effect.

Photo: Getty Images
Photo: Getty Images

Ralph Lauren got the nod again for Prince Louis’ christening with the duchess a sleek chic vision in olive a sharp contrast to the sea of pastel worn by the rest of the party. It is this Meghan that is more interesting . Her brief flirtation with pastels and bohemia (the Goat Dress with those too pale tights at a Garden Party at Buckingham Palace,the off the shoulder double breasted – can’t =bring-myself-to-describe-it-any-further Trooping of the Colour Caroline Herrera the dressing gown maxi from Oscar De La Renta) had shades of dressing by committee and perceived expectations: be decorative, be demure, don’t bag all the attention rather than as she truly is which is, which put simply is a superstar. Hiding one’s light under the proverbial bushel is definitely not a look for a woman who is a self proclaimed feminist. And as she is probably aware from her time as an actor, haters are going to hate, whatever you do to appease them, never mind the racists who are in conniptions at the prospect of black blood in the House of Windsor. So she might as well keep it real and wear her boat necked column dresses with alacrity. Occasional compliance, seen bellow in the church appropriate Stephen Jones hat rather than fascinator, and the Super Old -School flourish of gloves in hand are great (we are convinced the Queen and late Queen Mother would have fist-bumped if they had seen the gloves, a look long dispensed with by Royal women) but not needed every time.

Photo: Getty
Photo: Getty

However,  perhaps most exciting for fashion lovers is the  burgeoning relationship  between  Meghan  and  the  House  of Givenchy under the creative direction of Claire Waight Keller. The wedding dress may have divided critics (of course the chilled Cali girl fit was intended, not everyone wants to be corseted to an inch of their lives, rendering eating more than a mouthful of the wedding breakfast an impossibility and smiling a Herculean task, indeed such a cut is a luxury of the very slim), but seeing it again ten weeks later one cannot deny its significance or how it will influence bridal fashion. The triumph of the dress was its deceptive simplicity coupled with timeless feel, whilst being entirely appropriate for her new life in the  Royal  Family. With her soft make-up and signature messy bun, Meghan also achieved that Holy Grail of wedding day style; looking spectacular but still recognizable as herself. In the hands of another designer, Meghan might have ended up looking like a confection, a fairy-tale princess, instead she looked like a grown up woman (she is after all in her 30’s) in charge of her destiny, clear about what looks right on her body, who just happened to have fallen in love with a prince.

Photo: Getty Images
Photo: Getty Images

Since the Wedding Day we’ve witnessed more designer and  her royal  muse alchemy. Ladies Day at Royal Ascot saw  the duo keep things modern with a  white belted shirt dress rather than the more typically favoured by aristocrats  and royals  alike, coat dress. The Philip  Treacy hat was entirely on point and bonus points for  the  Balenciaga Knife  courts, but it is the  new informal – formal template that the Meghan and Waight Keller are creating that’s  proving particularly  exciting. A favoured look for  the working woman, the shirt-dress hints at a duchess who still identifies herself as such even if protocol dictates her views remain private.

Photo: Getty Images
Photo: Getty Images

However, the high-water mark for the Claire x Meghan collaboration (if only they were allowed to do one officially? One can but dream…)  goes to a certain caped shoulder shift worn with the Queen in Chester. Haute Couture Perfection are the only words needed to describe it. Demure and over the knee, with a skinny belt which also gave the slender of hip duchess more of a hip flare than she has in reality, the dress was why Givenchy’s Haute Couture Spring/Summer 19 was one of the highlights of Paris this month. Flounce is an unnecessary distraction when the cutting  is this precise. No wonder the Queen was smiling throughout the engagement, when your grand-daughter in law not only gets the memo, but runs with it, you know the future, at least sartorially, is in very safe hands.

Photo: Getty Images
Photo: Getty Images

The union between the Duke and Duchess of Sussex has precedents, most obviously seen in the late Princess Grace of Monaco formerly Grace Kelly, Hollywood Actress and style icon. However, much has changed since an old European Royal House experienced the refreshing breeze of a glamorous American actress joining its ranks.  When Princess Grace stepped into her’Helen Rose designed wedding dress (without doubt dress inspiration for the Duchess of Cambridge’s Sarah Burton designed Alexander McQueen gown, if you don’t believe me, kindly Google) the world was one of hierarchy and tradition, with anything that might cause a ripple in established norms and expectations stamped out or quietly let go of, ideally over a Gin and Tonic. Now in our inter-connected, socially fluid, historically ambivalent times the ties that bind are altogether more meritocratic. As long as you are beautiful, wealthy, and in these digitally enabled times relatable, the world is truly your oyster. It is for this reason that Meghan seems so gloriously modern. Yes, she is bound by the same rules every other Windsor Bride has ever been, (no talking about politics, religion, international affairs and certainly no tweeting or posting), but because there are hints, courtesy of her former online presence, we feel we know her. Furthermore she seems to be together charting a new path for the Windsors. One that segues between heritage, celebrity, youth, glamour and philanthropy and throws in trans-Atlantic pizzazz for good measure. And if she can leverage and harness the public scrutiny for global good, one cannot help but cheer, especially if she continues to do so in perfect trouser suits designed by the genius that is Claire Waight Keller for Givenchy.

Photo: Zak Hussein Pool/Getty Images
Photo: Zak Hussein Pool/Getty Images

 

Beauty and Diversity: How Lancôme Connected with Africa’s Biggest Market

They say beauty is in the eye of the beholder and the beauty industry is one that has all in it’s thrall, especially in Lagos where you are only as fine as your last appearance. French luxury cosmetics house Lancôme, are one of the first to realise the importance of tapping into the Nigerian market and last month saw the grand unveiling of the My Shade, My Power Campaign, at luxury retail mecca, Temple Muse, highlighting Lancôme’s expanded 40 shades for their cult Teint Idole foundation. Because this is Naija, and we have form in being extra, 46 rather than the assumed 40 women participated in the campaign. Let’s just say there was a surfeit of ‘fine girl, no pimple’ action!

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In days of old a company would have parachuted a campaign from another territory, maybe added an additional model of ambiguous racial origin to the selected images and let the might of their global brand recognition do the rest. But herein was where the genius lay in the campaign, for the company chose to partner with Glam Brand Agency a strategic brand and communications agency with unparalleled expertise in bringing international beauty brands to African markets to giddying effect. Founded by Bola Balogun, a fashion industry veteran who previously worked in New York before relocating to Nigeria and has been the brains behind bringing Maybelline, Dark & Lovely and Caroline Herrera to Nigeria (yes, our cosmetics game has a lot to thank her for, from face beats to date nights to just everyday look presentable moments), her team selected, like in other My Shade My Power campaigns, women from all walks of life and all ages who had distinguished themselves in their respective fields. Critically, all skin tones were represented, which was of particular import, especially in an environment where fairness has oftentimes been presented as the preferred currency of pulchritude. As the collage of the women included attested, inclusiveness was real and not a mere gimmick.

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On the night itself, Temple Muse opened up a special  Lancôme Pop-Up Shop which included a host of  the company’s other essentials  (side note of a more personal kind:  I challenge any woman not to marvel at the wonder that is Bi-Facil Eye Make Up remover, a true sting free, take the day off treat!) as well as turning the shop into a pink hued palace of shopping for Lagos’ Belle Monde. If you are pretty, vaguely interested in pretty or just like immersing yourself in pretty for feel-good kicks, this was the night to be out and about as well as topping up your make-up stash.

Abisola Kola-Daisi
Abisola Kola-Daisi
Sal Gbajabiamila and Zaina Gbajabiamila
Sal Gbajabiamila and Zaina Gbajabiamila
Kabir Wadhwani and Avi Wadhwani
Kabir Wadhwani and Avi Wadhwani
Denola Grey
Denola Grey
Titi Fowora and Boye Fowora
Titi Fowora and Boye Fowora
Kessiana Edewor
Kessiana Edewor
Betty Irabor and Ojy Okpe
Betty Irabor and Ojy Okpe
Chichi Offodile, Zara Odu, Ada
Chichi Offodile, Zara Odu, Ada
Sonia Irabor
Sonia Irabor

But this was more than just another summer party with a retail spin, it was, on a more profound level a celebration of  beauty and identity whose repercussions will be felt for many years to come. Speaking to the women selected to participate in the campaign a variety of motivations, expectations and hopes emerge for the campaign. Gallerist and art consultant Adenrele Sonariwo of Rele Gallery notes:  “I particularly liked the concept and what it stood for and that the Lancôme brand was directly celebrating and empowering every day women.”  Maya Halabi  restaurateur of Lagos’ perennial dining favourite RSVP notes “Make up used to be about covering up and now it’s about highlighting beauty and strength.” This notion was also echoed in the short films accompanying the campaign that feature multiple award winning musical artist Waje and magazine and media mogul Betty Irabor. Fashion Designer Lisa Folawiyo of Lisa Folawiyo Studio explained: “Collaborating with such a huge international brand like Lancôme is a no brainer and I was thrilled to be one of those selected for their first beauty campaign in Nigeria. I have always been aware of the power of one’s image, and the significance of seeing ourselves reflected positively cannot be overstated. I feel that this campaign is as much for future generations as our own.”    It is a belief shared by Titi Fowora  Principal and founder of Inu Design who concurs: “I believed it would be more inspiring for other women to see women that look, sound and live like them rather than the usual celebrity or supermodel led campaigns. Furthermore, diversity encourages innovation and that’s always a good thing.”  Latasha Ngwube, Founder of Aboutthatcurvylife.com spoke for beauty junkies everywhere when she shared: I’ve always loved beauty products and have been fascinated by potions, creams,  and makeup all my life. Being approached by a brand as respected and successful as Lancôme meant I got to be a part of something really special and empowering to women.  The brand has recognized that diversity conversations are not just a token but now stand clearly at the forefront.” For Abisola Kola-Daisi, founder of Florence H, a luxury accessories retailer headquartered in Lagos, the commercial aspect is particularly pertinent: “The arrival of Lancôme to Nigeria affirms our position…the industry recognizes the importance of embracing and celebrating diversity in an ever growing interconnected world and the notion that beauty is global and cannot be defined by a homogeneous standard.” The positive reception for the campaign so far, both culturally and from a business perspective indicates that this is an ongoing conversation which will continue to evolve.

Adenrele Sonariwo
Adenrele Sonariwo
Maya Halabi
Maya Halabi
Lisa Folawiyo
Lisa Folawiyo
Titi Fowora
Titi Fowora
Latasha Ngwube
Latasha Ngwube
Abisola Kola-Daisi
Abisola Kola-Daisi

Speaking to Bola Balogun one is struck by the twin aspects of broadening the parameters of what is considered beautiful and adding long term value for the businesses that choose to fully engage with the Africa market. She expands: “There are several opportunities in Nigeria within the beauty, fashion and lifestyle spheres.  International companies need to have the right local partnership and this is a space that Glam Brand Agency has operated in for some time now. I always emphasize the importance for brands to understand the complexities women of different ethnicity face when it comes to make up and skin care. Also one cannot over emphasize the importance of diversity in advertisements and campaigns as well as ensuring the use of local content .” Understanding and reflecting nuances, norms and aspirations that are particular to locations as well as celebrating what is universal is key to any brand wishing to not only make an impact but also be part of the wider beauty and fashion ecosystem in Africa. It is why Balogun also identified Essenza, a Nigeria based beauty retailer to partner long term with Lancôme  in their Nigeria wide activities. It is a savvy move as Africa has an estimated value of $3.8 billion for colour cosmetics alone, according to EuroMonitor’s Beauty and Personal Care Report of 2013, and Nigeria, as the continent’s most populous nation is a good place for continent wide expansion plans to commence.

Omoyemi Akerele, Titi Fowora, Mazzi Odu, Bola Balogun
Omoyemi Akerele, Titi Fowora, Mazzi Odu, Bola Balogun

The buzz, four weeks since the unveiling is still present,  the tills are a-ringing and the celebration of when hashtags such as #myshademypower #lancome #blackexcellence and #melaninmagic coalesce into something greater that is happening in real life remains. Good news for Lancôme, great news for Africa and deeply satisfying for all those working tirelessly in the background for collaboration and partnerships to become the watchword for the beauty industry globally.

Team Players: A Tale of a Nigerian Football Fashion Collaboration

Catching up with Chekwas Okafor the creative force behind Onchek.com, the one-stop African fashion focused online retail destination is a bit of a challenge. For one thing, Chekwas is perpetually on the move, base camp might be New York City, but  if he’s not sourcing new designers across the continent, he’s knee deep in the practicalities of garment production, not withstanding the endless calls internationally to speak on the myriad of ways that the African fashion ecosystem needs to be supported and invigorated. But connect we do, and not a day sooner, especially as today, Lagos, Nigeria and the Diaspora are fever pitch for the forthcoming  World Cup in Russia and today in particular as the Super Eagles will face England in a friendly. Nothing connects the world on a more visceral level than the beautiful game and if you add fashion to the mix you are onto a winning combination, which is why Unity, the football inspired collection, available exclusively on Onchek.com and for those hardcore patriots, made in Nigeria too, is particularly exciting. However, there is more to the name than an exhortation of just how football binds in a way that nothing else quite can, as the design process was something of a Superstar collaboration with Chekwas collaborating with design titans, Adebayo Oke-Lawal of Orange Culture and Shem Ezemma of Shem Paronelli Artisanal.

unity-family-onchek

The premise for the collection was a case of Chekwas wishing to alter perceptions regarding production, innovation and quality. He elaborates: “I wanted the collection to show that we can source design locally, that the sports space can collaborate with Nigerian designers to achieve the same high quality design that can compete with any other outsourced design.” For Adebayo his decision was based on a more romantic notion as he cites: “The idea of celebrating collaboration , oneness and the tenacity of the Super Eagles.” And for Shem it was the idea of creating something that is truly bipartisan when he notes:  “Soccer is about the only thing that unites Nigerians you know; suddenly they put the whole tribal differences behind and unite as one. So I guess that idea was it for me.”

Photo: Kosol Onwudinjor
Photo: Kosol Onwudinjo

The ideas coagulated into a football shirt incorporating the national colours of Green and White and using black as a metaphor to both race and excellence. Apart from the legend ‘Unity’ which is as much a statement of intent as it is a celebration in spite of difference, is the map of Nigeria which acts as a graphic motif on the side of the t-shirts. Whilst running or indeed dancing, the nation remains close to you, the wearer. Adebayo also speaks of the challenge of combining form and function when he adds “I had to think – what would people be able to wear while playing a sport. Is has to be breathable  but I also  wanted the design to be beautiful.” The shirt more than achieves it as it would look welcome on a pitch, in a gym or teamed with a killer heel, agit pants or easy, breezy shorts.

For the shoe, Shem choose to re-imagine his brand’s N-100 sneaker model, but with football visible in design accents. He adds “It was more of an adaptation; picking ideas, from the aesthetics and key features like the extended flap, a higher hugging counter and a much more pronounced and definitive cut that mimics the silhouette of a traditional a soccer shoe.” However, because this is a Shem Paronelli Artisanal shoe luxury flourishes include an oiled nubuck leather upper, and instead of studs a smooth sole making it a favourite for men and women alike

Photo: OGB
Photo: OGB

Perhaps most significantly, the Unity Collection illustrates the power of collaboration,  and how it offers a potent riposte for those still stuck on the old adage of there being only room for one shining light  at any given time in the African fashion design space, or designers being too ridden with rivalry to work dynamically and effectively together.  Adebayo notes that he has always been “open to collaborations” and Shem adds “the vision kind of just resonated with me and I was like yeah, let’s do it.” It also does not go unnoticed that Adebayo and Shem hail from different parts of Nigeria, places whose norms, language, culture and aesthetics will have to a greater or lesser degree informed their  design language thus far and yet in this instance are harnessed to create a greater whole. Food for thought for others operating in other disciplines to be sure. However,  the designers’ ebullience is also echoed by Chekwas himself who sees the collection as just the beginning of future projects that Onchek.com will be championing in Nigeria and other parts of Africa. One cannot help but be excited about the age of collaboration, a buzzword and a feature of the fashion landscape for sometime, fully taking hold across the continent.

Photo: Kosol Onwudinjor
Photo: Kosol Onwudinjor

As Nigeria garners more interest both regionally on the continent as an incubator of talent, and globally as a key location for exploring and immersing oneself in the African aesthetic; long term and lasting improvements in the garment production industry can no longer languish as a conversation piece in the corridors of power and must find themselves as an action point providing measurable results. It is here that the Unity Collection has both distinguished itself and excelled as Onchek partnered with a factory in Apapa, Lagos which has benefited from Human Capital Development Consultancy training and management that in turn has been facilitated by Style House Files Creative Agency and supported by the Nigerian Export Promotion Council. In doing this, rather than seeking production in other global, some might point out cheaper locations, Chekwas has positioned the collection as an emblem of the possibilities for the fashion industry. An industry that with the right infrastructure, a favourable environment for investment and long-term strategic development has the potential to be both a creator of wealth and a catalyst for the diversification of the Nigerian economy.

Photo: Kosol Onwudinjor
Photo: Kosol Onwudinjor

There is also something cheering of thinking that the whole process, from ideation through to production happened in Lagos, arguably Africa’s fashion capital. For Chekwas this element was a non-negotiable aspect for the project: “This is our company’s philosophy. It is in our DNA that all the products we carry will be made in Africa. That’s the only way we can live our company’s purpose of “creating jobs and promoting culture through fashion”.” As the world moves increasingly to a more conscious form of capitalism, such an approach not only resonates with customers but also with notions of sustainability and economic inclusiveness. And for those of us who love our football and fashion with equal fervour, what to wear when Nigeria plays, just got made simpler.

 

 

For the Love of Art: Lisa Folawiyo Autumn/Winter 2018 Presentation

Yesterday evening Lisa Folawiyo chose to step outside the fashion melee of last month and present her Autumn/Winter collection in an art gallery, Rele Gallery to be precise. A risk some might think, surely retailers, clients and members of the press would be thin on the ground to attend, document and most important of all figure out what they are going to order from her latest collection? As it was, the event was unsurprisingly a road-block, you do not, after all become bona-fide African Fashion Royalty and not build a loyal following, in the case of Folawiyo, of the glossiest kind. And besides what is fashion if not wearable art?

Arriving and the space had more of a private view vibe than a major fashion happening, complete with open frames, presumably for the models to walk through, stand inside, do something performative, one couldn’t help speculate? A long single bench much like the ones placed in galleries so one can absorb and fully contemplate a painting was all there was by way of seating and for those who were not speedy, standing was the order of the day. It made for an intimate setting, one which made the focus entirely  on the pieces rather than the FROW and who was wearing what. And the show opener, a model walking through the crowd, barefoot, in a floor length Folawiyo gown and beginning to paint to the sound of Alexndr London’s hypnotic song April gave us a hint of what to expect, which was an immersive experience with a capital E.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Entitled “Textures, Chaos and Systems” the show notes read more like a curator’s statement with those present being promised “a collection, [that is ] a journey of reflective progression, in Lisa Folawiyo’s visual state of mind”. One was also keyed up by the same statement to look out for Bauhaus architecture influences and exemplum of Folawiyo’s  “bold, unashamed, and rebellious ideology reflected through a self-curated aesthetic.” There was nothing chaotic to my eye in what Folawiyo presented, if anything she has become a master of fluid assymetry, with hemlines, sleeves and backs being her playground of choice. Not for Folawiyo, the obvious and basic option of a plunging neckline and heaving bosom when one can produce an apron shaped exposed back instead, that manages to tread the line between demure elegance and erotic allure simultaneously.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

This is not to say that piping-hot wasn’t available. Erogenous zones a la Folawiyo came courtesy of the exposed midriff, which if you are over 30, stop eating carbs post 6pm and you will be more than fine and able to participate. Alternatively,  if you have been chilling like a villain on a treadmill, or are just naturally, Praise the Lord, built like that, a scandalously short skirt is a seasonal must. It was sexy and sassy and perhaps because other elements were chilled, in the instance of the cocktail dress, via an over the knee hemline and in the case of the micro-mini with a blouse that had a variant of a leg-of-mutton sleeve, didn’t delve into the realm of tarty.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

lisa-folawiyo-dress-with-midriff-beading-and-print

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Art or rather brush strokes and painters’ splatters was referenced in two signature prints created with Folawiyo’s long time collaborator Banke Kuku, and were the calling card in all of the pieces. Palette wise, blue, grey and green dominated, and as a designer who has made a credo of audacious print combinations, fans of such were not disappointed. A sequence of three quarter length day dresses were  particularly successful in elucidating the aforementioned brave approach to print mixing as too were evening pieces, which brought back the J in Jewel By Lisa with bugle beading and embellishment adding sparkle and glamour to proceedings. Make up also got an artistic re-boot courtesy of painted ears and primary colour accents in the corner of models’ eyes. Accessories were minimal bar the small beaded evening top handle bags that have become another Folawiyo signature.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

For an Autumn/Winter presentation, outerwear was scant although a jacket teamed with a skirt that featured pleats and not one but two prints was a welcome option, with it’s super cinched waist and dramatically long belt. Hero ensemble of the night however was a three tone ( there she goes again with the print-a-cular alchemy) pleated trouser with layered silk blouses atop one another, in the manner of a woman who just cannot decide between the two and decides, sod it, wear both. The trousers felt like a revelation – and it would have been thrilling to have seen the silhouette and the thesis of the piece expanded upon further – perhaps in a light wool for the cold?  But the sky blue blouse with it’s blouson silhouette and accented lapel was a masterclass in what women want to wear right now. As it was styled for the show or with those favourite jeans knocking about in the back of the closet it had useful, and gorgeous and super easy to team with existing items writ large.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

It takes a brave designer to dare to go against the grain in terms of both timing and style of presentation. But Folawiyo is in a powerful position:  known, celebrated and at a juncture in her career where she can experiment and dabble in other visual media without there being adverse consequences on her principal offerings. Significantly, intimacy, authenticity and creating a design language that is truly one’s own have become buzz words in the wider conversations around luxury and fashion in particular. Folawiyo, taking a bow at the end of her show in a shirt of her own design, Monse Jeans and Fendi Shoes illustrated that loving and engaging in fashion needn’t be a straight narrative arc. It can take in art, music, other fashion designers and whatever else might inspire. The order books will be full, as per usual, but perhaps most significant is this is an artist, and let’s face it, fashion is art, who continues to push the envelope with herself and her craft.

Arise Fashion Week A/W 2018 Day Three Review

The final day of Arise Fashion Week felt like the end of a three-day fashion extravaganza with the venue full early. No Naomi today, but supermodel presence was represented with Oluchi and Ogy Okpe who walked for a number of designers and the FROW was a cross section of fashion industry stalwarts, socialites, captains of industry and notable figures in Nigerian and African media. It was this potpourri approach to the guest-list that had resulted in the celebratory energy of the week overall, yes, these people liked fashion, but it was not their business per se, thus entertainment and enjoyment was as much an essential part of the evening as being shocked and awed by the ensembles on the runway.

Moofa’s collection was the first to capture the imagination of both the chilled and more fashion obsessed. Fashola Olayinka is self-trained but her eye for detail belies this. Stylistic ticks such as covering shoes with black tights elongated the models legs and brought focus to the pieces themselves which were print-tacular but sensibly in oh-so-commercial silhouettes. This season the Moofa woman is an African gypsy who has been seduced by tales of the Orient. Maxi dresses and coats were created with a clarity of vision that made it very easy to envision them not only on the shop floor but in many women of all ages closets. Clever, concise and critically commercial, something that many designers wishing to branch out beyond the African continent would be wise to emulate.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

, Sunny Rose and Gozel Green all expanded on themes they had explored in collections presented at Lagos Fashion Week. This is not to say the collections in and of themselves felt re-hashed, if anything an increase of pieces shown allowed for theses to be fully be, exactly as the designer  and this was particularly evident at Ré where the Japanese Geisha influences were made apparent in the introduction of obi style belts white ankle socks and black sandals on the models’ feet.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

For Sunny Rose, rich-girl-chic was still the order of the day but with a monochrome palate of aso’oke and ankara in many pieces, and  added flourishes of tulle for those who require it.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Gozel Green remained wedded in a good way, to the ath-leisure motifs, panelling, and contrasting palettes that have become something of a taste talisman for them.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

In contrast Maxivive’s show felt more restrained than what was shown previously. Putting props and staging aside, the styling was sober with fewer women walking and the overt references to gender fluidity and the Drag Queen subculture muted to glitter and guy-liner for a less full-on fashion crowd. This didn’t diminish the pieces presented, and as before there was still much to consider when one looked beyond the styling of the show itself, particularly pants, knits and suiting.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

For South African brand MaXhosa by Laduma, the collection presented was a means to answer the question of where to take their knitwear trademark beyond the realms of twinsets and pencil skirts. Creative director Laduma Ngxokolo answered with the introduction of ostrich plumes on the hemlines thus creating a day to evening air. Also gorgeous and bound to be a future best-seller was a flared dress that was the definition of pretty. Laduma also experimented with silk prints with a sequence of silk jogging pants sitting somewhere between lounge and evening wear and floor length gowns. Super narrow denim was teamed with graphic t-shirts for men, wrapper skirts were also offered as an option and the signature sweaters continued to be every bit as beguiling as they were when Laduma first appeared on the scene.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Rich Mnisi also ably flew the flag for South Africa and showed why he is considered one of the most exciting voices in African fashion. Coats were a particular triumph with a white gauze coat with a corseted fit particularly strong. Pinstripes came in many iterations, but felt neither dated or dull in Mnisi’s hand. It was refreshing to see a collection that did not feel derivative and instead forged a distinct direction of its own.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Continuing in that theme of charting a path that is both original and gorgeous was Bridget Awosika. As is often her way, Bridget did not offer pieces in a plethora of colours instead sticking to a palette of red black and white. Dresses were tea length and with a cornucopia of  sleeve styles and options, but not compromising on the slim line silhouette which is part of her design language. Black cocktail trousers sat somewhere between an old-school jodhpur shape with a delicate ribbon tie on the hem and were an exciting alternative to the proverbial little black dress for evening. Blouses, which have become something of a calling card for Bridget were also present and correct with one narrow barrel sleeved number a God-send for those whose arms are less than spectacular and another with a black silk obi panel equally special. An experimental tuxedo day dress sounded on a paper like it could be clichéd or messy, but in her able hands was clever and sophisticated, the ‘lapels’ appearing on the back of the dress. A black coat with an exposed shoulder might wreak havoc in a snowstorm but would clearly be fun to wear and ever the pragmatist Bridget offered an Origami folded sleeved option too. As the show closed one was left with the boggling decision of which piece you would wear first. It is rare that clothes immediately speak to a critic’s wardrobe, but these ones bellowed ‘Buy Me!’

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Tokyo James is the polymath of the fashion scene in Nigeria with art direction and a successful stint running a fashion and style magazine just two of the many strings he has ably added to his bow. Whilst he remains best known for menswear, this season saw him branch out into women’s. The Tokyo James woman is sexy with a bit of the part-time innocent dominatrix about her with the inclusion of a white PVC cocktail dress as the first evening option presented. Low slung leather trousers tiered floor length skirts completed the look of a woman who was destined to stalk her prey at night and devour them by morning. Men’s was a continuation of what Tokyo has become best known for body conscious suiting and coats that create a crisis of which one to wear first when the weather turns. Quilted duster coats are sure to be sell-outs as is a single breasted jacket that foregoes a button as fastening for a safety pin. Nothing is left to chance and polka dot linings peaking through as models walked was testament to a creative director that leaves no detail to chance. For those who need an entry-point piece James has unequivocally branched into footwear with low Cuban heels and rivets and in this label-mania renaissance moment that fashion is currently having ‘Tokyo James’ writ large on the straps and you could also choose to drape yourself in a Tokyo James scarf. Overall it was indicative of a designer who is steadily creating a ‘world’ for consumers to enjoy.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Chulaap’s collection was one that was rewarded murmurs of appreciation, especially as the brand and creative designer behind it Chularp Suwannapha is not known in Nigeria. The directional pieces were a print mash-up with kaleidoscope of colours featuring and the models’ faces concealed by knitwear. Blankets were tied casually on the shoulders and all of the pieces rather than a handful were created with colder weather in mind rather than as an afterthought. However, this is also in part a reflection of the cold snap experienced in South Africa which is not in tropical Africa. Nevertheless, from an Afrocentric perspective the possibility of being swathed in winter staples designed and made entirely on the continent was thrilling.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

The night and evening closed with a triumvirate of design heavyweights from Nigeria (although Chulaap was sandwiched between the two) and in many ways we were given a snapshot of the story so far for the Lagos design scene in particular, which has been dominated by certain names for some time. Odio Minomet’s collection played to her strengths which have seen her garner a loyal clientele addicted to her way with prints and lavish fabrics such as lace, lame and silks. Her series of cocktail dresses  and evening pieces was especially pleasing and definitely aimed at a grown woman rather than an ingénue. It was bold and ultimately a financially savvy approach especially when we live in an age which for the most part worships youth that in turn might not have the means to buy into the brand.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Tsemaye Binitie produced a collection that like many seen this week teamed traditional fabric aso’oke and rejuvenated it for a younger audience. Opening with actress, model and all-round media darling Eku Edewor was a stroke of genius and a cropped trench coat and an asymmetric lace shift were reminders of how his designs had caught the attention of the international press and influential retailers. Less successful was an evening gown sequence which felt rushed and would have perhaps been best omitted altogether. But there were enough elements that meant the collection will keep him in the cross hairs as one of the continent’s ‘ones to watch’.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Mai Atafo’s closing collection featured the pieces that his customers, for the most part men with considerable means, have grown to know and love. Velvet smoking jackets brocade and body conscious trousers remain part of his winning formula. However, the exciting development was the fulsome and thoughtful offerings he gave to women’s wear whilst still remaining loyal to his tailoring instincts. The pieces were for women who were principal boy rather than femme fatale, with over sized burgundy bow ties on coats, double breasted jackets and slim fit trousers and brocade frock coats that were nipped in at the waist but still teamed with masculine caps. Atafo, known for his statement off duty options, with his ‘Beard Gang’ print shirts proving particularly popular last season, followed them up this season with ‘Isi Agu’ pullovers with the Igbo lion print re=invented for winter. It was a noteworthy direction for a designer who could easily sit back at the helm of men’s occasion wear in particular. But what is fashion if not evolution and Atafo closed the week leaving audiences with an impression of there being so much more to come.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

 

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Arise Fashion Week was an undeniable success, the excitement and conversations that it continues to occupy both domestically, regionally and globally speak to that. Some might say it was all down to organisers booking supermodels, others too might point out that aside from a N300 million fund for designers announced, there was scant information on how it success would be tracked and measured, but this is perhaps to miss the point. Even those with a neutral relationship to clothes were aware of the happenings in Lagos Intercontinental Hotel. Furthermore, there are other platforms that exist in Lagos that provide a more buyers friendly focus and supply chain support that is needed to grow the industry as a whole. Perhaps a thought for future weeks is a further edit of participants so audiences do not flag when viewing collections that honestly do not pass muster. However, in our information saturated age, one has to be talked about, and Arise Fashion Week with its combination of scale and omnipresence has effectively made African Fashion an inevitable part of the global fashion conversation.

 

Arise Fashion Week A/W 2018 Day Two Review

Day Two of Arise Fashion Week brought out the style tribes in full force, and clients, friends and muses of the likes of Tiffany Amber, Kenneth Ize and Style Temple wore their sartorial hearts on their sleeves. For those who were not industry insiders these ensembles gave a clue of what to expect once said shows commenced, but it also indicated that Lagos, like any other fashion capital in the world, operated on the twin fuels of patronage and buzz, with enthusiasms flamed furthrt via Social Media. It was also the evening that cemented the intent of Arise Fashion Week which was now clearly sitting on the nexus of fashion event and family entertainment as the likes of Seyi Shey took to the runway to perform in show intermissions. Did this distract from the clothes themselves, maybe, but it did not diminish from the cheers and perhaps this was precisely the whole point; for those who took or indeed still take fashion terribly seriously, to loosen up, have fun and not be staring too intently at the runway for the schedule to run to order and to time.

As with Day One the audience didn’t truly come to life until a popular designer’s show commenced. And the first to experience such was Funke Adepoju,  who sent down the runway a series of pieces featuring fringe aplenty that had already received the stamp of approval of social media influencers, bloggers and socialites with one cobalt jumpsuit already on the back of Ozinna Anumudu, a woman who like the likes of Olivia Palermo and Alexa Chung is oft imitated by her legion of followers. It was and indeed is a smart approach for the brand take, but for longevity expanding on the array of ensembles offered would also be beneficial. Not for the first or indeed the last time this evening were we treated to an evening and occasion wear heavy collection with little offered to the working woman, the off-duty but still desiring to look pulled together on the weekend woman or the woman who may actually need some sort of cover-up when travelling from point A to B. But if you want to slay at a wedding reception or a similar function, look no further.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Fresh from providing the suiting for the groom and his men at the society wedding of the year in Lagos between Dangote heiress Fatima and political scion Jamil Abubakar, Kimono Kollection’s creative director Hakeem Balogun used his show-time to augment in the minds of his existing clients and potential ones that he was a one stop shop for men’s evening wear and contemporary traditional. In doing so he was potentially treading on the toes of more established names such as Mai Atafo and Ugo Monye, but what is fashion without a healthy dollop of competition to motivate designers to push further? It was a confident showing from the menswear brand of the hour, with plenty of his high single breasted and buttoned jackets, a speedy exposition of classic trad silhouettes.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Conversely, Tzar another menswear brand with an established clientele decided to expand into women’s pieces with mixed results. Far stronger was creative director Ian Audifferen’s continued experimentation with fabric contrasts, layering and fluidity with several high-points including  a stand-out shirt ties on the cuff, and praises be, coats and cardigans that did not appear as an afterthought, but were a distinct and necessary part of his vision. This is the lane we wish Tzar to stay in, not that it is good or right to be so didactic, but when the pieces are working as they are, one can’t help but psychically say ‘Stop, this is it, no need for anything further.’ But what is creativity in its truest sense if said creative doesn’t continue to push the proverbial envelope and seek other fora for expression? In the meantime there is plenty to pimp a man’s Autumn/Winter wardrobe sharply.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Washington Roberts sent down his strongest collection yet, one which had piece after piece of covetable, wearable fashion, that didn’t fall into bore-snore territory. As my stylish neighbour said ‘the sort of clothes that if a girl was wearing them would make you want to ask her for dinner’. Not because they were sexy in an obvious way either, but because they celebrated the feminine form without descending into sleazy territory. Show opener a slimline black silver and red dress over cigarette pant was an exposition of less is more adage and waist cut outs in a sequence of dresses retained their high fashion credentials by not cutting too deep into the midriff. The collection was held together with a repeated drop shoulder motif and bold visible zips. Hemline shapes were also given a reboot with a knee length, U-shape with a high centre slit echoing the same notion of hinting rather than revealing everything. Pieces also were critically figure kind – the heavy of hip could participate with a fifties full skirted dress and the aforementioned skirts were leg lengtheners. Though the collection was gimmick free it was nevertheless quietly powerful and felt like a watermark from the Washington of old.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Style Temple and Kenneth Ize had both shown at Lagos Fashion Week so it was a  question of what else? In the instance of Style Temple, creative director OG Okonkwo took it up a notch with a full collection rather than the abridged one experienced previously and two distinct shapes for wearers to choose from: the 18th century silhouette with exaggerated hip line found itself fully on trousers, dresses and skirts and is an obvious choice for the fashion-girl-about-town. However an alternative silhouette for the less daring was also offered and this skimmed rather than hugged body and came in an array of silk jerseys. Existing fans will be pleased and continue to buy.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

In Kenneth Ize’s instance the wunderkind expanded his central thesis of re-imagining traditional print techniques, but extended the palette with lemon yellow tie dye also featuring heavily alongside purple and black iterations. The jumbo scarves, that have become the perfect entry-point piece into the world according to Ize were also presented as wrappers, a nod to Southern and Eastern Nigerian traditional attire that has men in such rather than trousers and for the ladies there were more jackets only this time belted tightly at the waist. It was an assured showing and the Kenneth Ize army was in raptures at his close. For the designer whose pieces are currently adorning most of the mannequins in Alara, he can currently do no wrong.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Tiffany Amber is part of Africa’s fashion establishment so it was only right and proper that Naomi Campbell should open for her show, which was a paean to the power of a woman. Creative Director Folake Coker has become a mistress of modernising but still retaining the Nigerian female aesthetic, and so on Naomi we saw the traditional iro buba with an oleku silk skirt given a contemporary twist via a button down blouse that had plumed ostrich feather sleeves. The rest of the collection was a veritable greatest hits of some of her signature pieces but with Autumn/Winter taken into consideration hence basket weave cocoon coats and jackets and floor length opera coats with applique flowers. As is the way with Tiffany Amber this was luxury with a capital L and so wide legged palazzo pants were in silk jersey and dresses came with beading and embellishment and if volume could be added to a piece why the hell not? Many of the pieces were worn with hats, harking back to an era when formality and glamour went hand in hand. But to understand Tiffany Amber is to in many ways understand the innate aesthetic of the Nigerian and African woman. We love glamour, we love being properly put together, yes Millennials might embrace off duty, but the fact that Tiffany Amber remains among the ultimate #weddinggoals outfitter of choice in this demographic too speaks to an innate understanding that Folake has for her customers, both existing and potential. The Tiffany Amber Squad were on their feet at the end of the show and there was a mass exodus of the hall, but this is to be expected when the audience felt that they had seen and experienced the fashion promised land.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

For those of us who were committed and stayed on, Tinie Tempah’s What We Wear collection was a master class in ath-leisure especially on a night when so many designers had toyed with it conceptually to varying levels of success. Capitalising on his credentials as a grime artist who is as comfortable in an underground pirate radio station rapping as he is in an exquisitely cut dinner jacket at the GQ Man of The Year awards he infused his collection with elements of street wear but brought the posh chap vibe via luxe fabric choices, seen in particular effect with a velvet zipped jacket with tailored track pants.  Heritage was also explored in the choice of aso’oke and vibrant print  which was used to great effect with shirts teamed with slim fit tan pants or oversize fleeces teamed with print pants. Many pieces came tagged with WWW, a logo that cleverly sat between street art and logomania. However, what was most beguiling about the pieces was the credibility, these were not pieces created to jump on the music-meets-runway bandwagon where every pop artist quickly puts together a fashion brand. These were pieces born out of a musician’s love for fashion with a deep understanding of exactly what his peers and his fans want to wear.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

And so it was left to Ozwald Boateng’s closing show to provide a fulsome elucidation of what happens when one fuses African elements with the revered tailoring techniques of Savile Row. A short film contextualised his work thus far with cameos from Will Smith, Jamie Foxx and Sir Richard Branson,  who of course are all loyal Boateng customers. An opening look of a jacket with another jacket robed was simultaneously arresting and fresh. A cobalt blue single breasted jacket and a forest green iteration hinted at classic Ozwald but were somewhat more muted, an accurate reflection of the times and white Converse plimsolls brought levity and modernity to proceedings. Ozwald still gave a splash of ostentation and also unusually for him, featured women in his pieces quite heavily too; a strong nod in the gender neutral times we now live in with women in men’s pieces merely part of the new normal.  Texture and cut were also front and centre in every piece, and one could tell that much thought had gone into how each piece would interact on the wearer. Does one need stroke-able sleeves, do hands need to be pretty much enveloped in tangerine silk cuffs, are hats essential? Ozwald answered all these sartorial questions and more. And of course, because it was Ozwald, Ms Campbell walked the catwalk once more.  After a number of collections viewed earlier in the day where execution had been patchy it was pleasing to see such beautifully constructed and well finished pieces. It was as if the master had returned for the specific purposes of  schooling those younger on exactly how to give and  close a show. And for customers young and old, male or indeed female there was a full forty ensembles to choose from. Day two may have ended late, but it was worth it for those interested in a lesson in the good arts of cut and colour wizardry that Ozwald has made his own.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

 

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Arise Fashion Week A/W 2018 Day One Review

Arise Fashion Week commenced with the kind of buzz and excitement that most platforms can only dream about. But then this is what happens when you have a multi-channel broadcasting conglomerate capturing every moment, charismatic leadership in the form of Nduka Obaigbena and Ruth Osime as part of your communications arsenal and more than a smattering of celebrity guests in the seats. Put simply, Arise was trending and that was even before a model had walked the runway. There was also a serious dose of expectation – would the original fashion week, the one that was a catalyst for the careers of many fashion veterans in Nigeria and across the Africa live up to expectations and all this hype? Especially when an anticipated start on Friday was moved to Saturday? And in a month that had already witnessed autumn presentations at Lagos Fashion Week what would be the differentiator for attendees and retail buyers? As the lights dimmed on what had been described as ‘Africa’s Most Beautiful Runway’ the stage was well and truly set.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

After a series of emergent talents, the first show to get that engaged the audience was ‘About That Curvy Life’ collective. The revolving group of designers selected by creative visionary Latasha Ngwube were once more flying the flag for plus-size fashion. In an age where fashion has increasingly embraced inclusiveness not only as a buzz-word but a call to action, it was encouraging to see the designers selected pushing the envelope in terms of theme and execution. What in previous seasons had felt like a celebration of difference was now more about creating wearable pieces.  The military touches in the opening sequence of pieces including berets on all the models who marched out to Davido’s mega-hit, Fia, also of particular note were the jumpsuits and day wear. The cheers said it all – plus size fashion was here to stay and Latasha continues to discover an array of voices to express what women and men want to wear right now.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Still on a theme on fashion’s diversification was Abaya Lagos’ modesty enthused collection. A smart move from a commercial perspective as this is a segment of the market that continues to grow beyond the confines of the Middle East. We were treated to the notion that concealing needn’t be a one-note affair of tunics and variants of salwar kameezes  and pieces played on proportion such as draped culottes, interspersed with intricate panelling and beadwork on the backs of jackets and coats adding a further element of surprise. Sandals were flat and hair was covered in coordinating turbans, and the collection as a whole served as an antidote to what had become tired tropes as well as an invitation to those who may not be obligated by their faith to flirt with modesty and thus make it mainstream.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

The star turn in more ways than one in the evening belonged to Lanre Da Silva Ajayi – where we finally got a realisation of why the catwalk had been given the moniker of Africa’s most beautiful. Opening her show and in many ways shutting everything else in the process was Naomi Campbell in a metallic fringed cocktail dress that has the crowd at fever pitch and some behind on their feet (probably all the better to capture footage for the ‘gram). The collection played to the strengths of the Lanre design playbook of providing women with strong occasion wear. Indeed, there was plenty to choose from for the glamorous woman who flits from cocktail party to wedding and is sometimes sighted on the Red Carpet too. However, for a designer who has carved a successful niche dressing well-heeled socialites there was a heady dose of potential scandal provoking dressing, with gauzy pleated jumbo sleeved gowns that revealed the full form of Oluchi and the other models who wore them. Lined, as many will probably eventually order them, they will lose much of their insouciance, but they signified a designer who is not content to rest on her laurels and is keen to court a younger edgier clientele.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Kluk CGDT was the big ticket offering from South Africa, and they too opened their show with Naomi only this time in a lilac trench coat. It was welcome to see a coat open an Autumn/Winter fashion presentation series, especially as so many who presented had failed to offer any meaningful options for clothing that would work in colder climes. However, the collection lacked clear cohesiveness, apart from lilac tying it together as just about every silhouette fabric option and hemline made its way onto the runway. On one level one could see this as commercial savvy, there was bound to be one or two things that might look like viable wardrobe options for everyone but in reality it felt as if there was a lack of focus. What sort of woman would wear these pieces? How did they mirror her world view, perceptions and dreams, because clothing, apart from doing the obvious of covering us from the elements, is meant to hint at these inner realities.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

At Fashpa a different issue was at hand, the collection in many ways worked well and it was clearly aimed at a young girl-about-town. However, it was reminiscent of many pieces seen by other noted designers, early Maki Oh in particular, and one couldn’t help but look and think whether the good people at fashion-knock-offs call-out Instagram handle Diet Prada wouldn’t spot an homage too many. It is an interesting time, for fashion overall, and this collection put the following questions sharply into focus: how much of this is homage, how much bricolage and how much copy-paste? One could discuss this at length, and yes, there are no right or wrong answers.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Menswear was ably presented by Laurence Airline, a brand that continues to successfully occupy a space called stylish quirk and keep men, and a lot of women who simply buy a small and get on with it, more than satisfied. A palette of cobalt with yellow invigorated the senses and plaid and patterns were mixed with the confidence of a designer who has mastered the art of combining print with ease. Ath-leisure accents were introduced via hooded tops, plaid, and a trouser in the palest pink which had a drawstring waistband, as well as stripes galore Accessories also hinted at a complete approach to ensembles, with the Laurence Airline man foregoing a briefcase and instead carrying his essentials in giant Ghana-Must-Go bags and adorning his neck with orange duck-tape rather than something as pedestrian as a necklace. It was a confident showing of a brand that has quietly grown from strength to strength and married Ivorian and Parisian sensibility with ease.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

The evening closed with Andrea Iyamah a designer who is as much known for her ready-to-wear and occasion pieces as she is for her beachwear. In this instance she gave us her vision for sun-kissed beach days and sent her trademark high legged bikinis and one pieces down the runway. Moving on from the vibrant print choices of previous collections, the palate was highly commercial and easy to wear whatever your hue or race, with coral, slate grey, mustard and a deep fuchsia dominating. A canny decision especially as beachwear remains a nascent sector in Africa, thus the more potential participants the better. Existing fans will definitely continue to patronise and new ones will also be won both in Africa and beyond.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

For those who blinked into the night once the lights came up in the auditorium, there was definitely a sense of having witnessed a return to form from Team Arise. The banks of reporters were there, a sense of occasion was achieved and Social Media went into meltdown once a certain Naomi Campbell walked the runway. Furthermore there did not seem to be a conflation of purposes, Lagos Fashion Week follows a more established modus operandi of building the fashion industry in a holistic manner and Arise Fashion Week brings sparkle, buzz and entertainment to proceedings. This is not a case of ifs and ors but space and more.

 

 

Lagos Fashion Week A/W 2018 Day Three Review

Last days of anything are always tinged with sadness, and so it was with Lagos Fashion Week. You get into a sort of rhythm and there is something about the different elements of the fashion industry coalescing, from designers, to conveners, to buyers, models and enthusiasts that reaches fever pitch at the end. We all have a part to play and together, with a prevailing wind, something can emerge.

The day’s opener Maxivive certainly had community front and centre in his collection, with its glitter glitter drenched set that had ‘Glistening” emblazoned on a theatrical curtain. A baby’s bath and a lilo were placed stage left and right, a reference to water and it’s ability to both cleanse and renew. When the first model walked out, looking fab-u-lous in a green and red trimmed single breasted suit, hair in a bouffant and in full drag-make-up, we knew we were in for a drama filled ride that referenced the high-season of drag culture which was chronicled in the seminal documentary feature film, Paris Is Burning. The film was a watermark in putting a spotlight on the African-American and Latin Gay and Transgender communities and how they found self expression and freedom via the ball-culture, which in itself ended up in the mainstream via Madonna and her 90’s mega-hit Vogue.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Our ring-mistress for the presentation, held court, as an array of men indrag make-up and women who were bearded and butched-up paraded around the set in the gender neutral pieces. Some viewing might have been so immersed in the theatre of the show that they missed the clothes so to speak, but there were plenty of pieces that were marvels in construction, and could, once runway styling was removed, be worn with aplomb. A midnight blue single breasted jacket with buttons on the back was shown here in for the evening only satin,  however in a wool rendition would be a conversation starter and deal closer in any boardroom. Okay, maybe in an advertising agency or film studio rather than bank, but the main point is construction is second to none at Maxivive. Equally charming and is my own personal wish-list was a crisp white women’s shirt with dove grey gloves attached, a simultaneously practical, arresting and insane idea that solved the perennial winter minefield of lost gloves. And for those who have fully embraced athleisure and utility but want to up the ante, a tangerine boiler suit and an ensemble featuring lurex leggings worn with a jacket, oversize t and trainers were chilled by way of the disco-glam. On a deeper level creative director Papa Oyeyeni was daring us to embrace our fierceness, queerness and individuality. Life was all too brief and glorious to fade anonymously into the background and the clothes we wear should be a statement of intentional living. Do you, and for goodness sake, take it up a notch.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

 

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

In contrast Sunny Rose’s Maureen Okogwu had entirely different ideas for the women wearing her pieces and the mandate said pieces provide. For the Sunny Rose woman life is all about luxe-living with a capital L with some gauzy silk aso’oke print and lace for good measure. The collection was evening and cocktail heavy, with a ball gown among the pieces alongside silk pewter jumpsuits, lace pencil skirt suits layered with turquoise long sleeved chiffon blouses and hip skimming boot cut pants in brushed gold and aquamarine. A sequence of teal, grey and white aso’oke pieces, the finest of which was a maxi house coat, brought to mind an At Home, the African edition, in a grand colonial era villa, complete with trays filled with champagne coupes  and Salif Keita playing on the discreet Bose speakers as guests toasted the host on another successfully concluded multi-million dollar deal. Does the Sunny Rose woman work? Certainly, although the pieces evoked private income and philanthropy rather than running through the city hustle game on and with her spare phone plugged into a power-bank. But if a collection is about distilling what living the dream looks like, then this most definitely was it. And everything that went on the runway, had sell-fast and sell-out for a certain well-heeled customer.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Before it had even commenced the Emmy Kasbit show was a sell-out as guests squished onto benches and resorted to standing to see the latest from this evergreen and ever-popular brand. The ethical fashion moniker certainly helps in these environmentally conscious times and the added celebrity endorsement in the form of Chimamanda Ngozi Adichie is also a great way to ensure the tills keep ringing. However, this evening we also saw an assured collection that lived up to the hype and the major fandom action that was evident in the audience. Conceived with a clear eyed vision the palette was restrained with pinstripes in black and camel underpinning the collection and pops of colour coming courtesy of either olive green aso’oke panelling or red and yellow  rhombus patterned aso’oke. Polo necks in fire engine red, sky blue or grass green were the winter warmer of choice and accessories came in an assortment of outsize and exotic hides, some bearing slogans and art that are guaranteed to make even the dourest smile on the morning commute. The silhouette was slim and dare one say it unforgiving, but assuming you had been minding your carbs and visiting the gym you would look more than fantastic in everything. An assured showing for a brand that only seems set to grow stronger with each season.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

The night concluded with Onalaja, and she chose to do a sartorial deep dive into the art of dressing entirely in black. But with one caveat, make sure it’s high octane glamour, your heels are high hair scraped off your face and eyes are lined fullu. Hemlines and silhouettes moved around as colour was the only unifier so offerings ranged from a frou-frou A-line polka-dot netted cocktail dress to a long column dress, embellished evening coat,  textured and structured culottes teamed with a silk vest and a pour-your-body-into boot cut jersey pant with beaded tunic top. It was very easy to see both the commerciality of this collection and by having such an array of silhouettes the way it would appeal to an audience, who judging from their cheers like to go out a lot and needed everything shown, like yesterday. A fitting end to a Lagos Fashion Week governed by the see now, love now, buy now model.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

As the crowds walked  out into the night, until the next October edition one couldn’t help but feel that increasingly Lagos Fashion Week is reflecting what the fashion industry is and should be: diverse, experimental, commercial, glossy and with a necessary dash of rebellion. Just as we all do not look the same, nor should we all dress the same, and the twelve designers who showed shared their vision and kindly invited us to partake should we wish to. Some designers are clearly heading for the stratosphere, but all are an essential ingredient to the industry’s continued growth. Whatever the world may say Lagos is  an undeniable fashion capital, and with the necessary capacity building and further industry cohesion it will soon become a retail destination too.

 

 

Lagos Fashion Week A/W 2018 Day Two Review

Day Two at Lagos Fashion Week will probably be best as the day where epic waits nevertheless yielded visually worth it moments. But far more than moments at fashion week we are seeking first and foremost direction and options. Direction in the form of clearly thought out expositions of what we should be wearing and the transformative effect said items might have on how we feel and second options in how to wear them. Some designers chose to follow this rubric to stunning effect.

The evening commenced with Sisiano, a designer who like many on the night chose to present both women’s wear and menswear. In Planet Sisiano Autumn Winter 2018 is all about wandering around in a sea of powder pink, camel, mustard and white with a dollop of bottle and olive green. The silhouette for both men and women was for the most part fluid, think cowl shapes, asymmetric long line cardigans, and trousers that were low in the crotch, but did not delve into costume territory. So far, so pleasing, especially when designed for men with several high-notes including a velvet and chiffon pullover teamed with wide leg trousers which had me, my neighbour and someone behind me let out an audible sigh. Also clever, surprising and ever so wearable was a bottle green trouser with a tuxedo style stripe but a utility fit. The women’s pieces though nice enough, seemed more mixed in message and approach, with body con, frou-frou, and retro 70’s references all being put into the pot to mixed effect. However, it was no matter as the men’s pieces more than made up for it.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

too sent out a collection of mixed efforts. Known as a maestro of aso’oke she surprised with an opener of silk aquamarine long wrapped skirt and cropped balloon sleeved blouse before returning to presenting aso’oke pieces of varying lengths and strengths. One can definitely see the white dropped shoulder shirt dress mini finding a way and a special place into many closets. The same could be said for the trapezium rainbow shift dress, however, the a line thigh grazing skirts with matching cropped tops and the chiffon and aso’oke baby doll dresses less so. A series of long line waistcoats with trousers were again an attempt to show versatility – but within this particular collection, felt more like an add-on than an essential ingredient. An electric blue zig-zag cape top teamed with pale grey high waisted cigarette pant was beautifully executed and hinted at where the collection could have gone. Sometimes it  truly is a case of less being more.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

And then there was Kenneth Ize. The wait was epic, but it was obvious from the start that the show had the makings of something remarkable. Taste makers, style icons and retailers took their perches in the front row with Reni Folawiyo, Nkiru Anumudu, Ozinna Anumudu, Tola Adegbite and Yegwa Ukpo among those keen to see the collection, and presumably purchase. The collection was entirely made from either aso’oke, in this instance fashioned into rich psychedelic palette combinations from teal with mustard to aubergine with a gold shot egg-yolk and tye-dye cottons in indigo, black and canary. But this was not a walk down memory lane with fabrics that are part of Nigerian apparel history, but a re-fashioning and re-purposing which made every piece, seem to psychically shout ‘Buy Me And Change Your Life Forever!’. For the bold; there was a series of single breasted double vented jackets for both men and women, with slim-line pants that were oh-so-covetable.  For those who preferred things more subdued jumbo scarves, surely a bestseller in and of themselves and a glorious Missoni Who? flourish  were teamed with black and white aso’oke pants to giddying effect, and a men’s tye dye tunic was a clean re-imagining of trad: be modern and if your ankles can handle it,do it the Ize way and  forego trousers. Even the footwear, brushed leather sandals that came in complimentary colours to the pieces they adorned, were  straight no chaser, shoe fire. It is rare that a collection feels like a stupefying and delicious cocktail, which you feel you can drink from forever, without a dodgy hangover of  overkill. This was definitely it and one feels that the only words fit by way of conclusion  are thank you.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Phot: Kadara Enyeasi
Phot: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Style Temple’s OG Okonkwo knows what the modern femme-fatale wants in her wardrobe playbook; pieces that are slinky, sexy and  work a charm late in the evening and this season she offered a collection of just ten pieces that would more than fulfil their demands but with some interesting additions. Show opener took us to the 18th Century with a white skirt that had a hoop petticoat silhouette and was teamed with a white bodice that was more adorned bra with capsicum orange lace trailing straps. It was such a strong beginning, but the concept was sadly abandoned for a series of silk jersey culottes, dresses and trousers that came out in palette pairs of electric blue, imperial purple and fuschia pink and white. Sleeves were asymmetric, with trumpet sleeves teamed with bare, some trousers featuring slits and some dresses coming with harness type ties. There were surprisingly, for an Autumn Winter Collection no coats or cover-ups offered, perhaps when you look this hot your life is a series of chauffeurs, private jets and perfect temperature controlled rooms, but the omission was a missed opportunity as too was choosing not to expand on the theme of corsetry, so intriguingly expressed in the first sequence of the show.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

With his increasingly growing portfolio in brand ambassador duties it can be easy to forget  that Adebayo Oke-Lawal is first and foremost Creative Director of Orange Culture, a brand that has done much to push the conversation of gender dynamics and simultaneously make pieces that are commercially successful. Unlike anyone else, he provided show notes drawing out the themes of precipitation, it’s transformative effect and the fact that grown men are never given a space to cry. It is always pleasing to see such touches, as apart from anything else it gives context and sets parameters of purpose not only for the collection, but also for the clothes. What are we seeing here? How will one feel when one wears it? These are important questions to be answered, especially when selling luxury. A set was created, with umbrellas suspended from the roof, perhaps to catch those tears of joy, and to hint at a collection that also offered pieces that indicated a change of season. Standouts, and there were a number, included an abbreviated trench coat with cowries shells on the belt hoops, a mustard single breasted jacket with a sole jumbo purple button as fastening, an oxblood apron skirt worn over trousers and a series of print two pieces that take you from day to evening with élan. Women’s wear, which I have always felt was not needed, just wear the men’s pieces a la Katherine Hepburn and be done with it, came in the form of long line tunics, which were competent but did not pack as much as a punch as the men’s pieces. Knitwear, continues to be a developing and welcome addition to each Orange Culture collection, with a pink and purple sweater with Pierrot style collar, hinting at the theme of emotional expression and inhibition seen in the Commedia Del Arte. The hero piece was however a claret and black long line tunic sweater which was masterful in its tessellation which created a chequer-board of skin and wool.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

The close of Day Two definitely felt as if there were plenty of reasons for consumers and industry players to be excited and the men’s pieces and collections were particularly strong. As with all creative disciplines fashion is principally about story-telling, and for the designers who conceived and charted a clear narrative arc for us to follow and created must-have pieces in the process, the future is bright not just here in Lagos but globally too. A definite case of watch this space and be happy you were there to witness the magic when it happened.

Lagos Fashion Week A/W 2018 Day One Review

As the great philosopher Socrates noted, “no condition is permanent” and so it was with Lagos Fashion Week Day One which in many ways presented a change of order. Apart from the name change (design has been ditched and official has been added to the IG handle, more of that later), there was also a shift in format and of course venue. Attendees were offered for the first time a see now buy now model, a trend that has been adopted by some of the biggest global brands, and discreet order sheets were placed at the end of each bench, so one could presumably go wild in the aisles if you were buying for your store or indeed yourself. It was an important touch, as it also allowed for designers to test the temperature for certain pieces, before going into full-on production mode. Also of note was the space, the ground floor of the Wings Buildings was reminiscent of noughties New York off schedule presentations in down town Manhattan or Fashion East in London, before it got mega-investment and became glossy with it: the Industrial concrete flooring, triple height ceiling and plain white benches meant the clothes rather than any epic set were the stars of the show.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

The night opened with Gozel Green, the design duo that embarked on a glowing international show rooms tour organised by Style House Files last autumn and have garnered a loyal clientele who love their play on proportion, finishing and contrasting palettes. For this season, all of those elements were present and correct, so no major scares for the core customer. However, and this was an exciting development, we were treated to athleisure motifs which found their way into pieces from the toggles on the hemlines of skirts and dresses through to a  hoodie finish on a cropped blouse with the emblem “Me, My Earth, My Culture”.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Outerwear also experienced an existential moment as jackets had partially exposed sleeves, surely the cold would get in one thought, or maybe we were meant to rethink what it was to be a jacket, with the exposed opening an invitation to wear a contrasting long sleeved vest underneath? Either way it was a winner that got my pen twitching on that order sheet!

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Also of note was a lime apron dress, with pleating and body-merciful cocoon silhouette, it is no surprise that Gozel Green has managed to achieve the hallowed feat of appealing across age-groups. Worn with trainers or as the models did here with wooden sandals with net meshing and you were a Millennial, pop on some heels and if you are not delighted by your upper arms, a white shirt, and boom, Coolest Auntie Ever/Fashion forward executive. Continuity with a dollop of new doth a great collection make,

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

As Beyoncé’s ‘Party’ came blasting from the speakers it was clear that Mo Agusto’s collection was going to be for the rockers in the house. Show opener, a silk satin a line mini in midnight and ice blue was definitely revving of engine hot, and it was clear that the Mo Agusto woman would probably have ‘Slay Queen’ in her Instagram Bio.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

We were treated to a pallete that alternated between blush pink and raspberry with sheer white accents or midnight blue and ice with silver. Aso’oke featured heavily, either as a contrasting silver panel on a three quarter length jumpsuit or in all its glory in a sugar pink only for the brave or sensational of leg a-line mini dress and slim line city shorts.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

There were hints of historicism in the sheer blouses with their exaggerated ruff on the wrist, and modesty and commerciality had been taken into consideration with hemlines either at a modest mid-calf or for the brave grazing mid-thigh. She is definitely a designer whose popularity, particularly in her home market, is assured.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Last show of the night and by no means least was IAMISIGO. We knew we were in for a spectacle, or as much as one could have within the new austere space when a set of ten chairs was placed, in a formation that had me thinking of childhood games of Musical Chairs. Would the models have to fight it out for the last chair? Of course, I should have known better from Bubu Ogisi, who is far too cool to opt for such a gimmick.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

Instead models sauntered in, hair in a studied bird’s nest disarray, and with white Ori chalk marks across their faces. Show opener a powder blue trouser suit with a lime overlay was a stunner. Fist bumps and double marks for the layering effect of the trousers and the contrasting colour on the jacket and the frankly inspired use of Guinea Brocade,  which is often associated with menswear, in so many of the pieces. Why should the boys have all the fabric fun so to speak?

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

The seemingly unfinished side hems on many of the pieces hinted at a girl, who just couldn’t be bothered with preening, knew when she looked great and kept it moving. A white floor sweeper dress and an off the shoulder lime and white two piece reflected this ethos perfectly: day, evening, beach, at home, all will be well, style wise at least in these pieces.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

A collaboration with It-Accessories brand Shekudo pulled everything together as the aso’oke weave on the footwear married well with the brocade on top. A surprise and great addition was the denim sequence with one double layered coat, destined to become an Autumn-Winter hero piece. IAMISIGO ensured that Day One closed on the high we all wanted and indeed expected.

Photo: Kadara Enyeasi
Photo: Kadara Enyeasi

As to what to expect from Lagos Fashion Week Official, still with founder Omoyemi Akerele at the helm, I think the clue is in the name. A focus on location (Lagos, Nigeria and also Africa in a wider sense) and the vitality and creative brilliance that has chosen here for its home is an obvious objective. Secondly, there are the aims of genuinely augmenting the diverse actors, organisations and systems that not only constitutes, but also are necessary for a healthy industry. This is seen in particular in the Fashion Focus funds that emerging designers have access to, and the order sheets which allow the designers showing presently to immediately make money. And finally, the addition of the word Official, we have all seen it a hundred times on the ‘gram, especially in issues of celebrities wanting to distinguish themselves as the ‘real deal’, but in this particular instance it is about authenticity of intent. Yes, we all love a party, especially one where fabulous ensembles come into play, but come here, show here and buy here and you are supporting an industry into its future.