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.

 

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.