GTB Fashion Weekend 2018 Day Two Review

Posted on November 30, 2018 by mazzi

“People of colour are determining culture today.” Dapper Dan declared at GTB Fashion Weekend, in a Masterclass full of insightful and surprising vignettes from his four decades plus career in fashion. Indeed, one could expand his thesis and argue that Nigeria, as the world’s most populous black nation has the potential to dictate how culture is not only steered but also in which direction. Day two definitely shared some of that intentional approach with a masterclass roster that included footwear designer Nicholas Kirkwood and fashion editor and style icon Julia Sarr-Jamois and grand fromage names both on the catwalk and on the front row. It hinted at an agenda that was one-part shock and awe the audience with a fashion immersion session like no other and another part create a celebratory and euphoric atmosphere that reflected the enthusiasm and love most gathered had for fashion For the most part it worked.

Opening the night with Lanre Da Silva Ajayi or LDA as she is affectionately known, whose presence guaranteed that the frow was a veritable who’s who of Nigeria high society. If you are a lady who has graduated from turning right in an aeroplane and maybe left the civilian world of moving around in commercial craft altogether, it is more than likely you will be a loyal and regular customer and possibly on first name terms too with Lanre. Like a Giambattista Valli Haute Couture customer, the LDA woman isn’t really wearing pieces such as this to do the school run or get the green light on her proposals from the board. This is high-octane glamour with even the day pieces only worthy of the most elegant and exquisite invitations, and included a sequence of lilac floral lurex pieces, black and copper or alternatively metallic sea green camouflage trouser suits that consisted of oversize jackets teamed with cigarette trousers and pencil skirts trimmed with ostrich ostrich feathers. Da Silva Ajayi continues to add a dollop historicism to her collections with leg of mutton sleeves on blouses, a disco diva worthy shot teal suit and reprising the underwear as outer wear concept via a lingerie inspired two piece. But the overall theme remains never knowingly leave the house under-dressed. Some fashion critics argue that LDA from season to season is somewhat repetitive and is thus is not as exciting as some of the more avant-garde designers working in Nigeria, however there is much to be said for a designer who understands deeply how her core customer wishes to present themselves, interprets their wants and creates collections they keep desiring.

Ji Won Choi was a bold and choice for a runway presentation. The Parsons School of Design graduate has placed sustainability at the heart of her business and her pieces are designed in such a way as to be worn in numerous ways, thus reducing excessive consumption. For the audience, seeing silhouettes that referenced far east Asian cultures (Choi is originally from South Korea) might have been quite the aesthetic jolt but it was refreshing nevertheless.

In the instance of Taibo Bacar, the audience was treated to a collection that screamed resort by way of one’s Upper East Side apartment. matching trouser suits with jewelled headbands and monogrammed silk shirts felt very Tory Burch-lite and compared to previous collections from him there were few stand straight to attention moments.

Tweed coats, navy metallics, lace and proportion play and black patent flats teamed with every ensemble certainly gave IDMA-NOF’s collection a cohesiveness visually but beyond that it never fully took flight. As with many brands that have niche and in the instance of IDMA-NOF, famous customers such as Chimamanda Ngozi Adichie, the wheels will continue to turn but this collection doesn’t stand as one the brand’s best.

Gert-Johan Coetzee has a reputation as the go-to for the red carpet in his native South Africa and beyond with the likes of Bonang Matheba acting as the brand’s muse and many a wealthy bride opting for one of his creations as their reception or indeed bridal shut down dress. It was thus a shock that this collection saw him dabble with streetwear and denim. This being Coetzee the silhouette was close to the body wherever possible and sweatshirts were given the necessary bling via sequins and embellishment. Evolution in a designer is always welcome but the overall effect felt somewhat forced and lacking in the insouciance and youth propelled exuberance that is innately part of streetwear’s DNA. This is not to say that he should remain in an evening gown silo, but a collaboration might have been a wiser starting point before a deep dive into an aesthetic that is clearly not his forte. More successful was the other big theme of the evening in his collection which was the Italian Renaissance with silk prints that echoed the works of the grand palaces of Venice and Florence and brocade evening jackets for men that would be worthy of any black tie event.

A year is a long time in fashion and it speaks much of the eventful one had by LaQuan Smith that he returned to GTB Fashion Weekend to close the event itself. By many metrics he was worthy of the slot: a year that has not only seen him continue to dress the likes of Beyoncé, Jennifer Lopez and Gigi Hadid but also sign a lucrative deal designing for online behemoth ASOS.com. Furthermore, his take no prisoners fierce and sexy aesthetic is one that will resonate with the Nigerian market, where slaying is not so much a nice to have as a mantra to live one’s life by. This season sheer dresses were teamed with oversized jackets and more modest iterations of revealing bodice and trousers or high slit evening skirts also offered. Smith also proposed a return for the lycra body suit for both genders with the women’s iteration being super high legged and in both instances soliciting cheers from the audience who he had eating from his hand from the offset. Luxe fabrics were aplenty with fur and rich velvets being the cover up of choice for the scandalous transparent pieces. Overall, Smith’s hip-hop hottie aesthetic is very in tune with the popular mood right now and in many ways reflects Dapper Dan’s comment of black culture informing popular culture today. The collection refines some of the motifs but still feels authentic – no wonder the tills continue to ring.

And so GTB Fashion Weekend concluded with an after-party where the worlds of fashion, finance and society collided in a standing-room only VIP Lounge. It is interesting times for the event, which by virtue of its focus of combining domestic and global talent on the runways, a huge retail fair in the main hall and masterclasses with an international roster of speakers continues to garner support and influence. Whether the tripartite approach has scalability is open to debate and indeed it would be interesting to see how the event evolves as Africa’s place in the global fashion landscape changes.

GTB Fashion Weekend 2018 Day One Review

Posted on November 23, 2018 by mazzi

A week is a long time in politics and it’s even more so the case in fashion, with feeds getting filled with newer content. must-buys and epic runway images by the nanosecond, however, this year’s GTB Fashion Weekend afforded itself more than a few memorable moments that have kept the fashion fam talking. Coming so close in the calendar after Lagos Fashion Week, comparisons are inevitable, but one can argue that the two events are an entire different offering. Yes, there are runway shows (more of later) but the centre pieces of GTB’s event are the Masterclasses, which have a veritable who’s who of Fashion Royalty come and share their experiences in the industry with a rapt audience, and a marketplace where fashion retailers can engage directly with potential customers and add to their bottom line.

Masterclass high moment came from Nikki Ogunnaike Style Director of Elle.com who held the packed audience’s attention with her blend of relatable bon mots and fashion expertise. As an American of Nigerian descent it was perhaps easier for her to connect with the crowd, something that in previous years some masterclass speakers had struggled with, but her personality shone through when she spoke at length of the importance of authenticity. She also recognised the current mood in fashion when she stated: “There is a diversity of voices right now and that is so amazing. It’s revolutionised the industry.” Her statement was particularly powerful as it implied that the fight for everyone’s voice to be heard had to a greater extent been won, and that we can all allow ourselves a collective sigh of relief that the era of deducing cultures and alternative narratives to clichéd tropes was something lazy journalists could no longer get away with. Fingers crossed this remains the norm and is not a passing trend.

But onto the shows which were an intriguing mix of designers from Nigeria, South Africa, France and the United States. It was intriguing as the immediate assumption one would have is that the pieces shown on the night were either going to be stocked or easily available in Nigeria, which in the instance of the in the case of the Nigerian designers Ituen Basi and Gozel Green and Senegalese brand Sukeina was certainly the case, but less so with others. It returns to the question of the core purpose of the shows themselves which seemed more geared to entertaining and putting a spotlight on creatives rather than acting as a window for retail buyers to assess and potentially order collections. The energy was very much experiential, the shows’ core objective seemed to be for the audience to be immersed in the designers’ vision, to celebrate the best of black talent be it on the continent or in the wider diaspora and because this is Lagos, to see and be seen. With this as the remit one has a clearer framework with which to assess the shows themselves and in turn to manage expectations.

Opening was Ituen Basi a veteran of the Nigerian fashion scene who chose to make a collection that celebrated the country and its history using the 1970’s and the music of Fela Kuti as its lens, complete with a soundtrack of his greatest hits. It certainly made for a cheerful and involuntary foot tapping show: models walked the runway with broad matte red lip smiles, T-shirts were adorned with slang phrases such as “Scatter, Scatter’ or more ones political messages that spoke to tribal unity and voter bribes. and lace body suits were given a dose of 21st century zing courtesy of their neon pink and acid yellow hues, strip fringing, some thing of a signature for Basi also featured. Aubergine and fuchsia pink were presented as the new neutral, contrasting strongly against the brights. Whilst this was not Basi’s strongest showing there was enough there to keep devotees happy.

Collection of the night belonged to Sukeina who presented a collection that was entitled ‘Gates – A Tale Of Devine Femininity” and in short was a visual celebration of what it is to be a woman. I will admit that I am always biased when a designer dares to stick their head above the parapet and present a cohesive vision for how he sees women presenting themselves in any given season and Creative Director Omar Salam more than rose to the occasion. His signature body con with mesh and crochet and beaded panelled dresses were present and correct but added to the mix were shorter pieces that swapped pencil silhouettes for sassy fringed skirts that ended mid thigh. Black was the dominant colour but there was also a red sequence and black pieces that were accented with turquoise, yellow, and in some iterations lime which evoked the colour ways seen in Maasai beaded jewellery. The shut down ensembles came via the pieces that had sculptural and origami style folds. A white coat dress was reminiscent of a flower in bloom and a black dress that comprised of beaded mesh and sculptured silk also impressed. The energy in the room distinctly changed and the rapturous applause merely confirmed what was evident on the runway.

Romeo Hunte’s collection was the definitive shout-out on the runway to all of the lovers of streetwear who began to scream loudly the moment the bass dropped on his runway playlist. A heavy focus on outwear but with scant else teamed with it, especially with womenswear, meant we all received and understood the memo fully – clothes that only those with swag for days need attempt to wear. This is not to say that the looks were repetitive: from deconstructed parkas to off the shoulder puffer jackets, to bombers in army camouflage print with exposed shoulders and a Macintosh coat dress with neon piping, he ensured that outerwear was on lock. Some might counter, how can you wear this in the tropics of Lagos, but if you keep everything else to a bare minimum and blast the proverbial AC on full, your look won’t falter.

Both Gozel Green and Adama Paris had shown at Lagos Fashion Week but it wasn’t a straight reiteration for those of us who had attended both. In the instance of Gozel Green the collection was larger and one could now see clearly how it was a tribute to the two creative directors’ late father, Professor Ossie Onuora Enekwe, whose love of formal attire is translated into pieces that celebrate menswear motifs such as suit lapels and classic shirts but retained the play on proportion and fluidity of fabric that have become the brand’s trademarks. For Adama Paris, it felt like the sequel to their prior offering which had seen pieces only in black, but in this instance we were presented a meditation of white, with chiffon, cotton and tulle all making an appearance.

Clive Rundle is a South African institution who by virtue of longevity should be applauded. One could certainly tell that he knew the anatomy of what made a show: he had models seated before commencing their walks for instance, adding theatre to his presentation. However, the collection consisted of a collision of ideas, shapes, themes and palettes that never seemed to come fully together. Whilst one can remain a relevant and important voice whatever one’s age – observe the continued reign of Kaiser Karl Lagerfeld at Chanel, it’s a thin line between being a legend and appearing dated.

Closing the night and also providing the evening with a political bent was South African designer David Tlale who presented a series of maxi dresses with giants of Both Africa’s political past’s faces printed and with an accompanying quote. Customers could pick from Nelson Mandela, Desmond Tutu and Winnie Mandela or be more alternative and rock a piece with Steve Biko, Walter Sisulu or Oliver Tambo instead. It felt as if the designer was challenging all to acknowledge that twenty four years after the end of Apartheid rule was symbolised by Mandela’s election to the presidency, the realities of black inclusion and equality remain very much on the surface. From this bold start Tlale presented a collection that didn’t stand still with a wide array of silhouettes, palettes, and a typical metallic evening wear sequence. The clothes that followed felt somewhat discordant after such a strong opening, as if the collection had been done in conjunction with the marketing department who were concerned with appealing to as wide a customer base as possible, rather than allowing Tlale to create a clear narrative for customers to identify with, which the t-shirt dresses so tantalisingly hinted at. It was a pity as in our saturated and choice ridden world it is stories that resonate rather than shapes or motifs that prompt us to buy into a brand long-term.

As the evening closed it was clear that fashion is a cultural driving force to be reckoned with in Nigeria. The packed venue, the cheers, the subsequent trending hashtags all attest to the insatiable appetite for clothes, beauty and conveying that you are living your best life via your sartorial and lifestyle choices. In fact, if commitment and interest were the only barometers by which an industry’s importance was measured, then fashion would have long trounced oil and gas in this part of the world. But for the runway segment to work on its own there needs to be a more deliberate curation of who is actually on it. Thankfully, everything ran to schedule with a barely noticeable ten minute delay, but one was still left wanting more: maybe it was the scene that was set by such a strong masterclass roster, or perhaps the slick production and staging whetted the appetite for a true visual spectacular, but Sukeina asides it was a quiet night for African fashion.

Lagos Fashion Week S/S 2019 Day Three Review

Posted on November 1, 2018 by mazzi

The last day of Lagos Fashion Week had fashionistas sprinting in stilettos trying to catch the action in multiple locations with off-site events held a at Lagos’ premier luxury stores Alara and Temple Muse. Sadly, I couldn’t clone myself as I had the privilege of being part of a panel selecting who made the final of this year’s LFW Fashion Focus Programme. One of the developments spearheaded by founder of Lagos Fashion Week, Omoyemi Akerele, it aims to not only identify talent but also provide training, mentorships and capacity building opportunities for the lucky winner. It is an important addition , as beyond the glamour of weeks such as this, fashion remains a fledgling industry in comparison to juggernauts such as oil and gas or agriculture.

Kicking off the action in the tends was a double-bill from the House of Deola Sagoe, which showed collections from both Clan the ready-to-wear brand and bespoke mother-brand Deola. Before the show itself commenced we were treated to a short fashion film that set the tone of heritage and longevity and closed with the logo which proudly stated: ‘established 1989’. Whilst Creative Director of Clan, Teni Sagoe continued to refine her slinky girl about town aesthetic but with demi-couture elements such as boned bodices, lace panelling and a heavy injection of velvet.

For the Deola brand, Deola Sagoe demonstrated her haute couture credentials with a series of dresses that are best labelled ‘For Billionaire Grown-Up Ladies Only’. Floor length gowns were embellished with ostrich-plumes, giant sequins that from a distance resembled peacock feathers, bodices that had pleating, with traditional fabrics getting a look in via a candy striped aso’oke mullet length gown. Such labour intensiveness in the construction of all of the pieces, with even throwback couture sleeves such as the virago, made it easy to see how the prices could go to sit-down-and-have-a-stiff-drink levels before you hand over your credit card. But that is the price one pays for the couture dream, and even if you cannot fully participate, it is cheering to know that such is available here in Lagos.

So, who is the Tokyo James man? Well, based on past collections he is partial to a killer coat, takes his suiting seriously and is a hybrid of influences and experiences. For keen watchers of the brand there had been a hint that ladies might be allowed to participate beyond robing their lover’s Tokyo James jacket over their shoulders, most notably by a mini-collection at the Arise Fashion Week in April earlier this year. This season he introduced a full women’s collection but not before he presented his latest offering for men. Leather and exotic hides were prevalent particularly in a series of trench coats where snake trims found a home either the bottom of trousers or as one side of a coat. Metallic copper leather and lilac on suiting was the feminine touches to a silhouette that was uncompromisingly masculine and formal – it was great to see so many variants of double-breasted suits with peak lapels and single-breasted suits as a riposte to the notion that all young men wish to wear athleisure 24/7. For off-duty days James proposed a bolero biker, and because the contemporary man might not want to spoil the lines in his suit or coat large snakeskin tote bags were the roomy solution. For women, James is encouraging one’s inner vamp to be unleashed fully. Leather was prevalent with high waisted slim line trousers, form-fitting minis, and in singer Seyi Shay’s closer an above the knee slim-fit coat dress that was guaranteed to get temperatures rising. A series of asymmetric dresses were less exciting and felt more like a late addition to what was an otherwise crystal-clear vision. Thankfully for all those who have been stealing their man’s jackets tailoring was present and correct with low single button jackets teamed with wide leg trousers, exotic hide three piece suits, and a long line silver pleated tunic paired with a narrow trouser and slimline jacket for a dressy yet edgy alternative to formal wear.

Three brands that have become the home of the Lagos Creative Girl are Gozel Green ,IAMISIGO and Nkwo. Gozel Green delivered what was though not their strongest collection to date had enough to keep existing fans of their brand happy. They are known for their asymmetry and play on proportion and this season the anchor piece were culottes that had a slit in the instep. As ever the colours were vibrant with orange and tomato red being dominant, as well as their signature green, black white and turquoise.

In the instance of IAMISIGO Creative Director Bubu Ogisi took masquerade as her inspiration, with models faces concealed with wool and Arabian slippers on models’ feet. The signature aso’oke mini dress was re-imagined once more -hardly surprising when it went viral when worn by Naomi Campbell earlier in the year. Another stand out piece were a pair of woven trousers paired with a peach- draped t-shirt with purposefully unfinished hems. Peach, rust, bottle green and cobalt blue were the preferred palette, but with woven fabrics also getting a look in, and there was a wide range of hemline lengths but maybe due to its brevity (something of a trend this year with many collections falling well short of the traditional 40 looks), one felt there was more or should have been more to follow. But those who love the brand will be back to refresh their wardrobes with more pieces, and ultimately from a business perspective that is what matters most.

In the instance of Nkwo, Creative Director Nkwo Onwuka continued ploughing her path as an early adaptor, innovator and pioneer in the sustainable fashion sphere. Her fabric innovation Dakala cloth, which is woven from textile waste, and is dyed using natural processes was fashioned into flattering tulip silhouettes with racer backs on tops adding a sporty injection. The pieces were the sort that require minimal thought on the wearer’s part, a bonus for women with a busy schedule, and, accessorised with heels or flats they work effortlessly, illustrated with how the models trotted barefoot and still looked pulled together. Viral Instagram moment came via the giant head-ties which were made from Ghana-Must-Go bags and were a visual commentary on recycling as a bag that is ubiquitous and cheap but in Onwuka’s hand is given luxe appeal. For the woman who likes to wear her ethics on her sleeve and prefers clothes without caveats that allow for freedom of movement, Nkwo is a surefire choice.

One of the biggest cheers of the night came from last year’s Fashion Focus winner and designer-du-jour Emmy Kasbit. As a designer he likes to present a complete and fully comprehensible collection and this season was no different. Taking the slave museum in Calabar, a port from which 30% of all slaves were transported from as inspiration he presented a collection that spoke to the realities of belonging and displacement. The fabrics were still often traditional with aso’oke rendered in shades of blue to reflect the Atlantic Ocean. Women’s suits were cinched with chain belts that resembled slave shackles and men’s single-breasted jackets were fastened with anchor shaped buttons denoting the ships sailed on. The coral sequence was a joy and evocative of a hue and gemstone that is inextricably linked with Nigerian traditional wear, with women wearing a contemporary wrapper skirt atop trousers, again a nod to local norms which would have a double wrapper as appropriate attire. Other details included shirts with dual personality collars – one ruffled, the other pointed, again indicating the inevitable cross pollination of identity as a result of transportation. But in the midst of this deep dive into history were too many pieces that would make sense in one’s wardrobe regardless of age or gender and that was most exciting of all.

Maki Oh presented the collection that she showed last month in New York Fashion Week, but although we might have seen it before on screen it was good to have the opportunity to see it in real life. As always with Maki Oh there was a clear narrative arc in the collection with Spring Summer 2019 being an ode to market women, however, this being Maki the women were casually sexy and confident – with show opener; a t-shirt with a see through panel just under the bust-line with ‘Fresh Fish’ emblazoned on it and a black diaphanous skirt with a deep slit and a lace panel insert – giving the impression of a woman who even when working outdoors wants to be hotter than the midday sun. Skirts with slits were ever present – speaking to the need to move quickly and the flat rubber slippers reflected practicality and also tempered certain looks from looking ‘try-hard’, something the Maki Oh woman is by definition not. Adiire, a signature for her, was present but in this instance with long dresses that were slim line at the front but cape shaped in the back. Fringing, another signature was also evident in this collection but this time in circular panels of fringing either on the side of dresses or in one skirt extended from hip bone to ankle adding opulence to simplicity. Evening dresses came in several variants but effortless was innate in all, a long black straight column with thick shoulder straps and a panel cut away just past the knee that was tied by strips of fabric was novel. Indeed, it was a motif repeated in other pieces. Will calves become the new erogenous zone? If it happens, it will be because of dresses such as these.

When Adebayo Oke-Lawal named his brand Orange Culture he clearly had a long-term vision about heading a movement, and that was evident in the deafening cheer that greeted the lights dimming before his show commenced. This was designer as rock star territory with the fans as much in love with him and what he stands for as whatever else may follow on the runway. The Collection was entitled ‘Who are you in the sun? Who are you in the moonlight?’ And opened with all the models in the looks assembling in formation before the lights came up to further cheers from the crowd. What followed was a collection that was riotous in colour – palette wise think 60’s psychedelia meets 80’s/90’s rave culture – ages that were marked as being ones where youth culture was hyper-expressive and actively changed the status quo and individuals were fearless in both their expression and demand to be themselves. Oke-Lawal was seeking to explore these themes via pieces that were defiant in their nods to subcultures – from whale-net leggings with shorts worn over them to suiting reimagined via a two toned blue and orange suit and a purple jumpsuit, and trousers and tops with ‘Naked Clarity’ printed on them. As ever there were pieces that one could see had ‘sell sell sell’ writ large particularly shirts and knitwear. Gender fluidity, something that has always been at the heart of the Orange Culture’s ethos was also evident with both men and women modeling, jewellery designed by South African brand Waif and handbags by Tuza Jewellery being worn by all and a closing look of a male model in trousers teamed with a lurex wrap skirt. Falana, a close friend of the designer and a muse of the brand, sang out the finale walk, and it was a fitting end to a collection that had metamorphosed into a concert rather than fashion show vibe. For Oke-Lawal authenticity to one’s self and how you present yourself to the world are critical, and a brand such as his, via the lens of clothing is there as a tool for people to embark in that journey.

In many ways it was fitting to close Lagos Fashion Week with a designer who has immense support amongst his peers and has also made important strides creatively and commercially, from being a finalist in the LVMH Prize, to having his collaboration with pop superstar Davido stocked in Selfridges to his side-hustle as a brand ambassador for online retailer Jumia. Furthermore, Oke-Lawal’s show was filled with optimism, vitality and confidence traits that are innately Lagos’ as a city.