They say a week is a long time in politics, but with fashion I would say the opposite is true and the week is in fact, blink of a Dior Show black liner clad eyelid short. For a start, none of the fashion weeks be it the big 4 (New York, London, Milan and Paris) or anywhere else in the world, including our beloved city Lagos, last a full seven days. And there is the attention span factor; less than ten minutes on a runway for a designer to set out their vision for what they would like us to be wearing in the coming seasons and convince us, that yes this is truly the way to go and we need to start ordering pronto. And then there is the added factor of everyone, including their auntie with good network and a smartphone in the village, considering themselves an ‘expert’ and able to express such on social media adding another potent ingredient to the mix. The fact that a thumbs down or an emoji are considered sufficient deconstruction of what is on offer is worrying to say the least. As LFDW has grown, so have these factors of how it is perceived, received, and reviewed amplified. It’s a balancing act that the LFDW Leadership Team, fearlessly led by Omoyemi Akerele have had to, to use a Naija-ism ‘manage’. I feel like a bit of a veteran having attended the maiden edition and seen this incredible story unfold. And it took a while to properly process all these elements hence the delay in this overall review.

This year definitely felt like a watermark; and not just because there is a pushy upstart vying for the crown of destination fashion showcase in Nigeria. Daytime talks expounding on the fashion industry from manufacturing to distribution and digital marketing, thus positing LFDW as being more than an opportunity to see and be seen but to learn, grow and develop a career or business in fashion, were a fantastic and necessary addition. As was the expanded retail space, which made the fashion experience all the more immediate and accessible. However, the Nigerian fashion industry will rise or fall based on the quality of its product, both for domestic consumption and for those sexy, foreign-currency paying (don’t we all heart USD’s?) international clients. So without further ado, a redux on what was rocking and what was shocking from the week that was:

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As a card-carrying Christo, I will begin with the good, sing a Psalm in praise and downright inspiring collections first. Allow me at this point to sing an extended hymn of admiration to Bridget Awosika who showed on the power-designer-heavy-bring=your=game-face schedulle that was DAY 4. Queen of the conceptual that still remains oh-so-wearable, Bridget gave us racy the remix. Hemlines wavered from sexpot pelmet length to demure over the knee. The road motifs did not evoke the driving hell that is go-slow during rush hour but rather traffic stopper toot your horn hotness that every woman wants to be once in a while. Scrub that, most of the time.

 

 

A fan of exploring the notion of seen and unseen in her pieces we saw her signature motifs such as sheer and opaque fabrics married. Also note-worthy was her continued exploration in creating the perfect lo-fi luxe trousers for a downtown Manhattan girl now residing in Lagos. This season’s iteration will definitely keep existing fans happy and new ones intrigued enough to seek out her studio in Lekki and go wild in the proverbial aisles. Keeping the palette restrained and black as the unifying accent of her collection created that magic combination of covetable and collectable.

 

 

Another treat was the return of Lisa Folawiyo who closed the week with an expansion of her lauded presentation from New York fashion week. It is official, there is no need to be a member of the Balmain Army; in fact the buy local and join the fierce Lisa Lieutenants, setting the pace in the office, at parties and events. If the picture below isn’t ultimate #squadgoals worthy, I do not know what is.

The gimmicks and gimmick creators,  and there were many, need to be reviewed, and ideally told to cease and desist, especially as Lagos becomes the nexus for contemporary African design both on the content and internationally. We will only continue to garner respect and exert influence if we pair down the nonsense and focus on business which in this case is exqusite clothes. Yes, love is a beautiful thing, but isn’t a runway proposal  as seen at the  Johnson Johnson show, the stuff of reality television and not a designer seriously seeking to be stocked in Barney’s or Selfridges? Equally baffling to view was  the bridal collection produced by Mai Atafo where the wedding theme was not so much spoon fed as ladelled thick with a trowel. String Quartet? Check. Flowers and topiary? Check. And of course, that seasonal must-have, the celeb wedding singer in this case Kaliné. Is this going to get Mai being spoken of in the same tones as menswear vanguard designers such as Ozwald Boateng or Paul Smith,? Sadly not. And this is a pity, especialy as Mai has positioned himself as the go-to red-carpet attire for many an African celebrity, just as Armani tuxedos have been the de facto choice of Oscar nominees for decades. Thank goodness that Kenneth Ize, while exploring unisex themes and throwing the rule book out in regard to proportions in his own collection, did not feel the need to flirt with the farcical, and focused on presenting his aesthetic vision without distracting elements on the runway. High point for me were chic gingham tunics to be worn by you and bae. His and hers just became a distinct possibility.

The crossroads is real. LFDW has survived and indeed thrived since its inception. It has more than conquered the challenge of convincing an audience beyond dedicated enthusiasts that fashion in Nigeria and Africa as a whole is an industry to be reckoned with. Not only that, many a designer star has been born on its runway and it has hosted designers and models who have gone on to blow-up domestically and internationally. But as with everything the sifting has begun. Some collections’ ideas were thin on the ground, still others seemed like fancier renderings of what one’s tailor in Obalende could quickly knock up. The collections that could pass muster anywhere in the world and not just as Local Champion-esque moments for the ‘gram were not as plentiful as one would like. But there are green shoots of consistency from both established players and new arrivals, more of whom MO will feature. It is for this reason I am encouraged, particularly by the teaching and coaching elements that were evident in the morning sessions and being championed by LFDW. It is only through incubating talent, investing in the notion of pushing boundaries in terms of ideas in a committed manner, and instilling thinking creatively and behaving professionally as standard to all participants, that this undeniably flagship fashion week in Africa will mature into all that it can be.

 

It’s good to be back in the Federal Palace Tents. Day One of LFDW saw the MO team observe the action from every conceivable vantage point: after all this wouldn’t be fulsome analysis if we didn’t.  And to prove our dedication to the cause we even spied the make-up stash required to make all the models look runway-ridiculous worthy.

But onto the collections themselves. For us at MO it was all about the menswear. Tokyo James in particular showed a conceptually strong collection; entitled the ‘Circle of Life’ his vision for Spring/Summer 2017 was arresting in every sense. Shirts under suits were abandoned and cuffs and bondage style harnesses featured heavily; for the ‘tops’ out there, you definitely know what to purchase your best-beloved!

The interplay between power, submission and indifference were also evoked by chain details, neck cuffs that would be perfect for consensual constraint, shoes with shackles (an inspired collaboration with shoe designer King David) and the outsize ‘Tokyo James’ tags which were emblazoned with the legend ‘No One Cares’ a statement that also appeared on casual t’s.

Tokyo has always had form with coats and there were some stand outs in this collection including a Parker that gave us Nautical-Extreme with the outsize rope fastenings.

The applause erupted for a white dressing-gown style wrap coat with outsize faux fur pockets but for us the winning piece was the damask pea coat with bondage motifs.

T.I Nathan gave us a show that was great in parts. The moment his name come up spontaneous applause and cheers were deafening and seemed more at home for a teen concert than a fashion show. Cynically we thought this was due to the opening bars of  Lukas Graham’s mega-hit 7 Years,  that was the show’s soundtrack, but then Nathan served us  a bit of Vetements flavour with his mixed gender runway, and a clever, luxe take on street-wear. With Nathan the fun was injected via his t’s that had Pop Art influences and LOL slogans galore that were firmly posited in Lagos living.

I guess it is at this point one should self-declare as a Popaholic.  A special mention must also go to the runs-chick reference with a barely there ensemble covered up with a bomber jacket that announced ‘Give Me Your Money’ in cursive on the left shoulder.

Less successful were the sequence of jackets with polo-necks underneath teamed with slim-fit trousers that felt forced and jarred against the playful opening. However, Nathan is definitely one to watch.

Women’s wear was not floating our boat sadly. There seemed to be a lot of ‘incomplete’ concepts and in some cases incomplete pieces which were barely holding together as they made their way up the runway.  I said an internal prayer for one shoulder seam that was breaking for the border as the model strutted past me (I shan’t name names); and pondered how one would sit in many of the  pieces that saw models either hobbling, teeter-tottering and wincing past me. There were too many inconsequential video montages that didn’t flow with what followed on the runway (Style Temple springs to mind) and in one instance a mini-documentary that felt it belonged at a World Bank Conference (Kinabuti, we’re talking to you),  another memorable distraction was a singer closing one show who then seemed to do a runway-takeover of her own. All this smokes and mirrors action did not disguise collections that felt patchy and lacked clothes that were truly desirable, which ultimately is what these shows are all about. The biggest cheers of the night came for the plus size collective, About That Curvy Life whose soundtrack of Rihanna This Is What You Came For perked up the crowd. However, much as I was loving the idea of inclusiveness, especially when the reality of life is if one chooses a diet of Small-Chops, fast food and cake and repeats to fade, you will be in these clothes, the pieces themselves were not as fabulous as the attitude of the models rocking them. Inclusion needn’t resemble a concession which it pains me to write, this felt like. Most Plus-Size shows have models who though larger are still standard model tall, and in many instances the pieces suffered from not having the wow-factor of a Glamazon who would have sold them to us potential punters more effectively.

Overall though, the MO appetite is definitely whetted for the next three days. Connecting the dots never felt this fun and we are sure by Sunday we will be adding, never looked this sick.

 

 

You can feel it in the air. Friends are texting at odd times in the night (that will be those all=nighters in the studio), the marquees are going up on Federal Palace grounds and your go-to hairstylist is bouncing you for the A-Listers who are flying in and offering to pay in Dollars and Sterling rather than Naira. If you weren’t aware already: The Lagos Season: The Creative Edition is upon us.  Fashion, Art and Film are all taking centre stage in the coming weeks and amid the parties and red-carpet turns serious business is being done to create a blueprint for the continued growth and development of the creative industries in Nigeria. Yes, it is as serious as that. Just in case your invitation has been lost in the post and in our commitment to democratizing information and dissecting the scene for our readers enjoyment; MO is delighted to give you the skinny on what to expect from each of these three flagship events and how to navigate the sartorial code. This is after all Lagos, where you are only as good as your last appearance!

 

LAGOS FASHION AND DESIGN WEEK 26-29 OCTOBER, FEDERAL PALACE HOTEL, LAGOS

What’s it about?

Now in its 6^th edition, LFDW begins in earnest tomorrow. Founded by Omoyemi Akerele, this 4 day extravaganza sees fashionistas from Nigeria and beyond descend on the marquees in Federal Palace Hotel. Like the Big 4 (Paris, New York, London and Milan), this fashion week was borne out of a need to harness the full potential of what has always been a vibrant industry. There is a certain mirroring in this year’s theme and Eleanor Lambert, founder of the world’s oldest fashion week New York, who was passionate about changing perceptions and who sought to throw a spotlight on the American Fashion industry by educating press, buyers and customers about the immense home grown talent which is also at the heart of the LFDW cause.

What are we excited about?

Obviously there are big-ticket shows on each of the nights but there is already plenty pre-show buzz about Friday and Saturday Night (we are expecting fire, and there is no need to call names). Something tells us the shock and awe moments will be provided by all of the big ticket designers and there are plenty bubbling-unders who could also run ‘tings on the runway this year. MO will be reporting from LFDW each day, so for the most honest reviews (we’re on no one’s payroll), look no further!

What to wear?

Of all the three events; this is the one where your style game has to be beyond. The most stylish globally tend to mix it up and it’s no different here: there is no need to be head to toe in as seen on the runway or shipped in by Net-A-Porter, and besides the dollar wahala is real. Team a heritage piece with something more whimsical, check how your outfit looks both standing and seated (for the all-important ‘frow shot), and if you are going to blow the budget do it with your shoes. Hair and makeup should be able to withstand a long night as the first shows are at 5.30 and go on ‘til very late.

 

ART X, LAGOS 4^TH – 6^TH NOVEMBER, CIVIC CENTRE, LAGOS

What’s it about?

This year is Art X’s maiden edition, but the contemporary art scene is in no ways nascent. Lagos is awash with galleries, two of the smartest boutiques (Temple Muse and Alara) offer art consultancy services to customers and host shows for leading artists, and the eye-wateringly high prices fetched by pieces auctioned by Art House are the stuff of legend. However, what founder Tokini Peterside together with Artistic Director, Bisi Silva, has done is to create a truly international art fair. No need to get a visa and make one’s way to Art Basel or Frieze as TP-Collective have assembled some of the most exciting galleries and artists working on the continent and beyond.

What are we excited about?

Aside from browsing pieces and figuring out exactly how many deals in Abuja one would need to close to afford an El Anatsui (the legend will be at the event giving a talk), we are excited about seeing new work from a plethora of artists and visiting the spaces of premier galleries in the region including Art House – The Space, Bloom Art and Goodman Gallery.

What to wear?

The gallery girl has come a long way from her monochrome palette – although you still can’t beat anything from Commes Des Garçons or Issey Miyake to wow the art crowd. On the other spectrum expect guests who go the full hog and make an artwork of themselves…hmmm…interesting. If you are feeling safe but chic Celine anything will suffice or Bridget Awosika if you are rocking a designer closer to home. And if all else fails some it-jeans (Balenciaga Stirrup Jeans anyone?), edge top, alternative heels and thick rimmed glasses scream ‘collector’.

 

AFRICAN INTERNATIONAL FILM FESTIVAL, 13 – 20 NOVEMBER, FILM ONE AND GDC, LAGOS

What’s it about?

Also celebrating 6 years since inception AFRIFF returns to two locations, the newly opened FilmOne, IMAX Cinema and Genesis Deluxe Cinema both in Lekki. Founded by Chioma Ude, the festival is a showcase for the very best in films from Africa and the Diaspora. Expect premieres galore as over 100 films are screened as well as talks and master-classes given by some of the leading lights in the industry. As with all film festivals the jury will convene to decide which films deserve accolades and special recognition. Given Nigeria’s position of being home to Nollywood and only second to India’s Bollywood in terms of numbers of production, AFRIFF plays an important role in highlighting film=makers who are at the vanguard of the industry.

What are we excited about?

First and foremost the movies. Especially the premieres of the critically acclaimed ‘Birth of a Nation’ and ’76’ which are the tickets to tussle it out for. We would also be fibbing if we weren’t slightly excited about being in super stellar company. It’s not every day that you pop to the cinema and find yourself hobnobbing with an A-List Actor after all is it?

What to wear?

Given this is the film industry, this is the event when you can really, truly, unashamedly rock the red carpet. If you have that floor sweeper gown (Marchesa, Lanre Da Silva Ajayi, Dior) or starlet in the making number (Gucci, Rodarte, Lisa Folawiyo Studio) this is when to wear it. The paps will be out in force so make sure you have figured out your best angles beforehand in a mirror at home. With a little under 3 weeks to the start one could go on a liquid diet, Oscar styles and fashions or you can just pick your best feature (legs, bust, booty) and accentuate unreservedly so they become the story.

Our people will be everywhere…so expect MO aesthetic assessments from all three events and the fringe happenings around them. And in the spirit of #womensupportingwomen a hearty round of applause goes out to the three boss ladies at the helm of Lagos’ Creative Season. Omoyemi Akerele, Tokini Peterside and Chioma Ude we salute you!

Solange has long been chilling at the high-table of fashion forward musicians. In fact judged on her fashion savvy alone the cheese course has come and gone and the claret has been drunk at this particular banquet. Her red-carpet arrivals alone are the stuff of sartorial legend. A difficult hem-length, figure compromising silhouette, or so under the radar designer that the metal detector isn’t even beeping, none of it phases her. More importantly, she always looks like she actually enjoys fashion, rather than seeing at as an essential weapon in the arsenal of staying relevant in the digital age. Added to this Solange was rocking a natural a good clear four seasons before it became ‘a thing’ and everyone and their balding cousin decided to ‘transition’. A quick reminder for those of you at the back; an off-duty look that almost had me thinking cycling might be my new hobby, until I remembered I can’t ride a bicycle and I don’t live in Brooklyn where the streets are relatively pot-hole free, and her insane Giles Deacon dress at the Met Gala 2015 that was ultimate Optical Illusion Festival and is one of my all-time favorite looks from her.

But this isn’t just a discussion on her wardrobe choices but how with her latest album release (yes, it’s easy to forget that she is principally a musician and not a fashion plate), A Seat At The Table, she has managed to fuse the personal with the political and marry it, judging from the first two videos released so far, with the visually seductive.

I have had the album on loop for many reasons. First of all the genre shape shifting is a treat for any musical and cultural omnivore. Hip Hop legends are represented with the likes of Lil’ Wayne and for the old school ‘heads, Q-Tip (although he doesn’t rap, just harmonizes beautifully), who pop up on ‘Mad’ and ‘Borderline (An Ode To Self-Care)’ respectfully, but then there are electronica and synth vibes on ‘Don’t You Wait’, and classic soul is given a jolt of modernity in ‘Cranes In The Sky’. Second, there is something so celebratory, powerful and unapologetic in many of the songs, one gets the sense of a woman in charge of her destiny both internally and externally. ‘Don’t Touch My Hair’ is on one level a paean to the self-determinism of how a black person wears their hair and how that echoes experience, but on a deeper level is an exposition of self-expression in all its forms. The issues are real, especially with dreadlocks still deemed in some companies ‘unprofessional’ and cliques formed and broken based on how one wears their hair. Taking the thesis of strident self- acclamation further is ‘F.U.B.U’,  which to white ears might seem exclusionist with its refrain ‘this shit is for us’ but that actually  speaks lucidly to the  many ways black people navigate their blackness, from alienation, upending assumptions and  stereotypes and the occasional defiance required in doing it all. However, the album does not feel like an angry ‘protest record’, Raphael Saadiq’s production is too sophisticated and on-point for that, and this is further buttressed by the plethora of arresting motifs as seen in the two opening videos dropped.

Those videos! ‘Cranes in the Sky’ and ‘Don’t Touch My Hair’ are master classes in how to make the music video, a genre in danger of cannibalizing itself, into something fresh and interesting again. One can see that Solange has been rolling with the fine-art crowd with the precision of composition and with each video having a distinct tone and palette. Ever the pioneer, Solange mixes it up in her styling; with known luxury brands and underground labels all sharing viewing time and many of the tableaux created resemble full-on fashion editorial. Game-over pieces include an exquisite sherbet pink jacket by emerging talent Nadine Goepfert.

A luxe take on street wear is seen in an ensemble that features Chloe pants, a 3.1 Philip Lim top and cult accessories label of the moment, Mansur Gavriel shoes.

Finally, a risqué piece that would be at home in the Bush-Girl-Boutique consisting of strategically placed foliage, just remains with you long after you’ve seen it.

Having rinsed the album thoroughly, I eagerly anticipate what she does next with any of the follow up videos as they’re guaranteed to be a feast for often bored eyes.

The title of the album, speaks directly to the continued debate around equality. Are we all allowed the proverbial seat at the table? Or are some dismissed or not considered good enough due to race? It is easy to dismiss the question as one steeped in inherent privilege; if you are too busy dealing with the business of survival, whether you are at the high table or not becomes irrelevant. But music like fashion is a place where we can come to dream whether in the creation or appreciation of it. In this album, Solange has given a voice to experiences that are obviously posited in her subjective reality, but she has done it in the most inclusive way with sumptuous songs and gorgeous videos. And for that she deserves all the praise, inevitable accolades and petit fours.

Let’s be honest, only a super tiny minority of fashion lovers will experience the ecstasy and fantasy fulfillment that is haute couture. A slightly larger crowd will have the joys of trotting into the very best that prêt-à-porter has to offer: a place where everything just fits that little better, fabrics are luxe and attentive staff give you movie-star treatment. For the majority, the luxury dream truly lives in the accessories. Yes, Hermès handbags can run into the $100,000 plus category; but for the most part, putting exotic hides and limited additions to one side, a handbag or shoe from a luxury brand is going to come in at less than a head to toe day or evening look. And besides, the laser sharp scan from arm candy to feet is real. One can leapfrog into the style elites with the right shoe or bag.

Having an accessory or die approach to fashion has become entirely acceptable: shoe-a-holics are not freaks in the image of Imelda Marcos, (we have Carrie Bradshaw in Sex and the City to thank for that) and a handbag the price of a mortgage repayment is absolutely okay. We use phrases such ‘wear forever’ and ‘investment piece’ to assuage any background feelings of guilt and perhaps best of all accessories are by and large size democratic, which some of the more exacting pieces to wear are not. You can have that extra scoop of gelato, be eight months pregnant or have your best-body-ever days long behind you and still rock those Louboutin Pigalles with impunity.

With the dust long settled from the whirl-i-gig that was New York, London, Milan and Paris, the trends that are going to travel fastest here in sunny Lagos are the accessories. We have rounded up a selection of shoes guaranteed to make that dull as ditch dress into a spectacular-spectacular or have you perfecting fancy footwork on the dance floor just so they get their star turn. And let us not forget bags, for where there are bags there is calm, peace and joy. Presenting the MO Accessories Edit.

This shoe made me cry. With joy at its beauty and then with nostalgic memories. Yves was back in the mix after the aberration that was dropping the Yves from Saint Laurent in the first place. But sentiments to one side; the heel alone is twenty stanzas of poetry epic, although clearly this is a strictly car to venue sort of shoe. Another throwback was the extreme toe cleavage in the toe box, sexy with a capital S. If there ever was a shoe that is guaranteed to cause a riot or get the wearer mugged (for the shoes, nothing else), this is it.

Issey Miyake is known as the purveyor of pleats so it was only a matter of time before his signature motif found itself interpreted as a handbag in lick-able looking caramel. The magic in this shoulder bag is the proportions. The thick pleated capacious pouch is supported by skinny straps that loop into a thicker shoulder strap. Just call it clever-girl chic.

 

 

The Summer pump gets an edgy Scandi reworking from ACNE STUDIO. The sky blue upper in denim is next level inspired and softens the formality of the point in the toe box. But the start the applause moment really begins with the tonal heel with its sculptural curve. Extra bonus points for it not being too high, thus an all-day wear possibility. Whoever said wooden shoes are for clowns and extras in a medieval play has not seen these.

Nothing says ultimate handbag goals like Hermès. However, the undefeated world champions of making the world’s most convertible handbags have dared this season to push the boundaries. For those who have had their fill of Birkins, Kellys and Constances, this circular fringed tote is EVERYTHING. Whimsy meets exquisite craftsmanship and the petrol blue and rich chocolate colour way is ultimate lo-fi-luxe the remix. It also comes in canary yellow. Choices, choices indeed.

 

Some things every woman should have in her shoe collection. A sky-high stiletto, a shoe with some sort of skinny strap action and a metallic of any colour. Haider Ackermann in this stunning number has given us all three in one shoe, if this isn’t a canny investment piece I don’t know what is. Masculine tailoring is a natural and sensational pairing as the model in the picture illustrates. But this shoe would look equally good with a midi skirt, and don’t get me started on trad where the subtle potential for sartorial oppression is boundless.

Yes, we agree, the LV Monogram is the Alpha and Omega of ubiquity, not helped by how much counterfeit product it has begat, but how pretty is this clutch? And in Lagos at least, LV is definitely a rite of passage. First dance. First Kiss. First LV. Again, the excitement comes in contemporary flourishes, the hardware is on point and the black flap over mustard body proves that LV can still surprise. Definitely coming soon to several parties and weddings and church services and christenings and funerals…One gets the picture

Accessories front and center is definitely here to stay but as this selection illustrates there is something for every variation of woman and ensemble worn. No longer items considered as a final flourish they are oftentimes the foundation for a look, reflecting mood, purpose and aspiration of the wearer. If this doesn’t convince you dear readers to close your eyes at the till, hustle ‘til you drop and partake in the leather goods extravaganza that is heavenly handbags and sick shoes, nothing will.

 

Politics and fashion might not seem like obvious bedfellows but one only has to note the amount of time spent dissecting the sartorial choices of political spouses or the women who have reached the pinnacle of power to know this is not the case. In the digital age where anyone in the public eye is often only as impressive as their last outfit, can what you wear define not only how you are perceived but how you are remembered? Here at MO, we are of the firm belief it does, ‘wear the costume, get the part’ is not just an aphorism, it is a way of life. Mrs Rodham-Clinton please take note.

This time next year, the G8 might have beaten every Fortune 500 country to the 30% club goal if Hillary joins Theresa May of the UK and Angela Merkel of Germany at the top table. But what does it mean for us fashion watchers? Of the three women only Theresa genuinely seems to have an interest in fashion. She has been known for her love of shoes, animal print kitten heels in particular, and when she announced her candidature for PM she did so in a bold Vivenne Westwood tartan trouser suit. Since then Prime Minister’s Questions has often featured a statement necklace worn by the PM and her trim frame is often encased in LK Bennett when she is being ‘everywoman’ and Roland Mouret when she is not. Even if one disagrees with her politics, it is refreshing to see a woman in power who chooses to look her best.

In contrast, Merkel and until recently Clinton too, is wedded to shapeless trouser suits, whose sole purpose seems to be to disguise her femaleness. Sometimes we viewers are treated to a brightly coloured jacket; but that is as good as it gets. The pudding bowl hair-cut and non-existent make-up completes the frumpy frau look.

At least Hillary has embraced flattering make up, invested in a good haircut and trouser suits that if less than an inspiring in cut, are at least in photo-ready-friendly hues or white.

 

 

However, one cannot help but groan internally. It could all be so much better and it’s a pity that these western ladies have not taken pointers from historical and current Asian counterparts. The late Benazir Bhutto, Prime Minister of Pakistan embraced her culture by covering her hair in silk chiffon scarves but gave us beauty editorial worthy make-up looks; the kohl, mascara, blush and perfect lip were ever present right to her tragic end.

In Myanmar, Aung San Suu Kyi, is pulled together elegance personified in traditional anyi and longyi, a blouse and sarong set, but accessorised with fresh flowers and ever-dewy skin. The message is clear: The military regime might stink to high heavens but Aung is a fresh, fragrant counterpoint.  In politics in Asia at least, femininity and feminism are not mutually exclusive.

Meanwhile, the role of the political spouse has evolved. Before the Second World War, a leader’s spouse would be a grainy picture in a newspaper at best. But television changed that and from Jackie Kennedy onwards the spouse was a piquant ingredient to a leader’s appeal. Move to the 21^st century and the spouse is part of the campaign itself: with what they wear as much of a statement as a carefully worded policy briefing. When histories are written of this, I wager that 2010 will be one of the high-water marks of the political spouse. We had not only three genuine fashion plates in the G8 (step forward Michelle Obama of the USA, Samantha Cameron of the UK and Carla Bruni of France) but also the haute couture magnificence of Sheikha Mozah bint Nasser of Qatar ‘repping the Muslim world with her covetable collection of Ralph and Russo, Valentino and Givenchy and always with her signature turbans. And let’s not forget Africa’s own Chantal Biya of Cameroon bringing her own brand of outré ensemble moments to style proceedings.

 

 

But back to those non-verbal messages being conveyed to us the masses and potential voters: Michelle Obama has used her tenure to champion an alternative fashion narrative: instead of only engaging establishment houses such as Ralph Lauren or Donna Karan she opened the first lady’s closet to fully reflect multicultural America: Cuban-American designer Isabel Toledo got the call to design the chartreuse coat and dress she wore for her husband’s inauguration in 2009 and Michelle has continued to promote under the radar, often ethnic American designers, as seen in this outing when she wore at the time only known to fashion cognoscenti, Prabal Gurung:

 

 

Samantha Cameron in an attempt to soften the patrician and privileged background of her and her husband that had the British electorate in all-out class warfare, took to wearing high-street footwear with her enviable ensembles by Christopher Kane, Emilia Wickstead, Preen and Roksanda. The shoes were meant to bring credence to the ‘all in it together narrative’, whilst not denying her fashion background, and they did, for a season.

For Carla, a former supermodel for whom fashion came instinctively; she used her tenure to remind the world why France remains the fashion and epicurean lodestar of the world. The masses were served Dior Couture by the trunk load, Chanel in frequent doses, and Hermes, Gaultier and Vivier as and when needed. Embodying her and her husband’s unapologetic haute bourgeoisie credentials, her choices were every inch international jet=set power couple. Happy to embrace and display the very best of what their country had to offer and show the rest of us how it’s done.

So what are the new rules to follow with the political wardrobe? In short creative, because we are easily bored, credible in terms of messaging and chic. We are all more fashion literate and whilst accessibility is important aspiration trumps it every time. Leaders are meant to be better trained, skilled and equipped individuals; it is this that makes us choose them to lead after all. And the spouses? Apart from being a reminder that the leader in question is not a cipher and has a sex life; they are on the front line representing a country and reflecting the nation’s character. We are not expecting heart stopping fashion editorial ensembles (except from the good Sheikha!), but we are demanding certain levels of care and consideration. As Tom Ford aptly said ‘Dressing well is a form of good manners.’ And it definitely wins you votes.

 

 

 

 

Lately, it seems everyone and their cat is ‘into fashion’; whether it is posting selfies of their latest purchases from ‘the abroad’ (London, New York, Paris, Milan and er Dubai!) or moving around their office corridors like it is their very own catwalk, people feel they can have a voice, join in and add important points to the  discussion. And let’s not get it twisted; this is good news. No-one should have a monopoly on looking, or being interested in looking amazing, and we should all feel that we can participate.

But then as with all things there are the pioneers. The individuals who set the pace, turned things around, made things happen and raised the bar. And certainly no roll-call of successful fashion designers who hail from Africa can be complete without mentioning Lisa Folawiyo. What sets Lisa apart from many of her contemporaries is she lives and breathes fashion too, expressing it in her personal clothing choices by patronizing and wearing the very best from designers in Europe and America. A quick scroll through her Instagram page attests to a woman whose eclectic and curatorial eye has seen her rock looks that are to-die-for, okay maybe we are speaking too rashly, to-pray-and-fast-earnestly-for. Suffice to say the question is not if but rather when MOMA will finally do an exhibition of her insane wardrobe!

We were delighted to chat with Lisa last week ahead of her presentation in New York Fashion Week; and because this is MO and we are inherently a tad nosey find out more about the stylish woman behind one of Africa’s most iconic brands.

 

MO: Why have you chosen to show at New York Fashion Week?

 LF: I’ve always felt a strong fashion connection to New York. It moves to the Lisa Folawiyo rhythm I like to think. We had shown there a few seasons ago and the collection was very well received. After a short break, it only made sense that NY was where we would once again show.

 

MO: Tell us a little bit about the inspiration or SS17 Lisa Folawiyo Studio?

LF: The SS17 collection coined ‘She wears his heart on her sleeve’ was inspired by modern romance. Two intertwined hearts, his and hers. A muddling of their feelings and emotions. The passion, their confusion, the magic, the lust, lost in one another, and the love! The collection sees a successful translation of the classic men’s tuxedo into strong feminine modern silhouettes.  The use of his details such as the cummerbund, bow tie and pocket square become her details as they are transformed into colourful ribbon strip details placed across her décolletage, her hips and her shoulders. The bow ties as miniature bows forming pretty little dress details, the pocket squares as structured folds. And with the hand stitched falling pailettes, she dances as she moves. The clashing of the flaming hearts and roses and keys prints and the mixing of textures further describes them. Him and her. And as each piece unfolds, the story is told leaving you with your fill of a spirited collection with a fashion forward edge!

 

MO: You recently celebrated 10 years in business; do you see yourself as a heritage brand now in the African fashion scene and how would you say the industry has evolved?

LF: I definitely think 10 years in business deserves some sort of applause, but we still have so much to achieve and there is still so much I want to achieve. So yes, I could say we are one of Nigeria’s foremost heritage brands.

 

The industry has evolved in leaps and bounds from when I was just starting 10 years ago. A lot of the platforms and opportunities available for new and emerging designers were not available in those early years. We had to really push for the success of our brands. More recently, African Fashion has become part of global fashion in the sense that African designers have begun to have a say in global fashion. I really can’t wait to see how it evolves further.

 

MO: Do you have a style signature and if so what are the do’s and don’ts for you?

LF:  Jeans, jeans and more jeans!  My style is quite laid back. I like to be comfortable. I tend to go for very simple but well detailed pieces. I also have a thing for interesting accessories. You can never have enough shoes and bags, can you?

 

LF Dos:

• Invest in interesting and collectible pieces(handbags, shoes and other accessories)

• Prints – clash them, match them.

• It’s ok to dabble in trend every now and then, however, stick to the timeless pieces.

• I prefer minimal jewelry, costume or fine.

• Clothes should fit right, well-tailored and always well laundered.

• If all else fails, wear the jeans and throw on the sunglasses.

 

LF Don’ts:

• A beat face for every day.

• Bad shoes

• Fine jewelry sets for every day.

• Over accessorizing

 

MO: Who is the Lisa Folawiyo woman? Are there any women you have enjoyed dressing and would love to?

LF: The LF woman is a fashion enthusiast even if she doesn’t know it. She is self-assured, exuberant, worldly, and never gets old. She travels in motion and in mind and embraces life fully as she does so.

 

Seeing Lucy Liu in one of my pieces was very exciting. Faith Haslem was a joy too. Tamu McPherson looks divine in LF. I’d love to dress Fashion’s current darling, Lupita Nyong’o. We recently sent some pieces to her, so fingers crossed!

 

The future does indeed look super-nova bright for Lisa Folawiyo: the international press and style cognoscenti  have certainly caught onto her and she is no longer every Nigerian lady’s best kept style secret (the team here at MO have enjoyed the shock and awe factor of rocking LF amid a sea of Aso-ebi Balmain Army and Burberry Prorsum twins!). But in spite of the plaudits, attention and uber-fans on the ‘gram, Lisa and her team continue doing what they do best, which is creating beautiful pieces for their ever growing legion of fans.

There’s more at www.lisafolawiyo.com

 

 

 

Once upon a time in the days of trousseaus and tiaras a stylish woman was expected to look impeccable and chic at all times. Not thrown together, mussed up bed hair and last evening’s kohl still rimming one’s eyes and the scent of another on one’s cheek chic. But perfect. In a draw dropping, I could stare at you for days-and-days kind of way. The genius of  Josep Font’s collection for Delpozo is that it not only delivers on the premise of making a woman look kind of perfect, but it does so in a modern, vibrant, clever way. Let’s call it impossibly modern but chic ultra!

The big story in this collection is the dance between texture and structure, and oh, how they waltz. The opening look which featured a cropped white blouse that was reminiscent of the most intricate origami was teamed with a full midi skirt in buttercup yellow and cornflower blue and set the tone which saw Font play with volume and structure in the entire collection.

Sandals were flat, earrings were maxi chandelier-cuffs in multi-coloured sequins and handbags were transparent. This was not a look for a woman who stuffs clutter into each section of her purse and hopes for the best.

Among the plethora of wow moments was an improbably demure but still sexy dress that featured a sheer full overskirt which revealed a shorter one in a brighter hue. The sleeves and bodice were opaque and more folds pleats and sculptural silhouettes were teased out of  other skirts and dresses.

The overall look was wearable art but because the fabrics were so light, a combination of gossamer light cottons, linens and silks it gave the impression of a woman who wafts from one beautiful moment to the next. Bad things simply do not happen to women wearing Delpozo

 

The clothes were not all one note palette wise. Font injected a rich dose of burnt orange and teamed it, haute couture style, although (Praise God) at prêt-à-porter prices, with pale pink blue and teal. Evening pieces came festooned with a scattering of applique….

And shirts  had raffia ruffles….

The former architecture student, in this collection has truly mastered the art of making the conceptual truly covetable.

Back here at MO towers we are dreaming of the following additional looks finding their way if not into our own closets but into the super stylish of Lagos. As the saying goes, don’t hate, appreciate.

 

There’s more at www.delpozo.com

It was the best of times, it was the worst of times. It was the age of wisdom it was the age of foolishness. Charles Dickens we acknowledge the lyrics swipe, but we couldn’t begin this style critique without framing it thus. Toronto International Film Festival saw two super-memorable looks on the red carpet. One that had us whooping and screaming and dipping low like we were a video vixen and another that just had us in complete sad face mode. Like, pressing the one emoji so hard it became three rows on the phone screen of relentless unhappiness. We are talking Rita Dominic in Lisa Folawiyo Studio at the ’76 premiere (for our cheers) and Lupita Nyong’o in House of Herrera and a head tie at the Queen of Katwe premiere (for our still hot tears).
In the spirit of poso vibes front and centre always let’s talk through the look we LOVED. Rita Dominic has been having a purple patch of late…as in consistently looking off the chart hot whenever she is on the red carpet. We loved the fact that she rocked Naija for Toronto and that she wore custom Lisa Folawiyo Studio at that. Rita has attended a gazillion and one events but in this picture below you can almost hear her causing a commotion, sashaying in cascading jumbo- paillettes, that swish as she moves, the light catching on any reflective surface and bouncing off the camera lens. And what of the super femme bodice? Her hourglass old-school Hollywood Glamour figure encased in a vibrant heart shaped print that is sequined up to her bustline, the colour singing against her skin, her waist nipped and the peplum hinting at the all-round va-va-voomness of her? A special note to hair and make-up which was inspired; and to think we normally get so perturbed at MO towers by hair and makeup in Naija with the scary go-large-or-go-home element that often takes over! We LOVED the blue shadow, the nude with a hint of pink lip and the side sweep up-do. Rita you ‘repped big time! In fact so much so that we had to show the look in duplicate!

Lupita on the other hand…Jesus wept. The colour… yes, Darker Black Lady On the Red Carpet 101 dictates that a full-on colour is going to pop louder than a magnum of Krug on your skin tone. And a column dress when you are doing the needful and staying in shape will work in theory, BUT there are all kinds of wrong here. Made sadder because this is a woman who has KILLED AND SLAUGHTERED fashion royalty on the Red Carpet before. There is something ‘old’ about the bodice work (yellow and ultramarine is so passé-composé as a colour combo). But what really bothered us at MO was the head-tie. It was so ‘Coming to America’ version of Africa. Speaking from Lagos, for roughly $3 (or maybe $30 for ‘Auntie Bisi based in Toronto’), she could have had that gele tied properly. I wager that whoever created the monstrosity masquerading as a gele was not an Auntie Bisi! The thing is, a poorly tied gele is like a black chick plonking one of the Queen’s tiaras on an uncombed Afro at a jaunty with some of the diamond florets not even showing, and thinking boom! Buckingham Palace here I come! Added to which anyone in Lagos knows that gele with an evening gown is O to the V to the E to the R as a look. We stopped rocking this in the summer of 2009. But then one can almost hear the stylist speaking: ‘Hey, the movie is called Queen of Katwe, so let’s make you look like you know, a Queen.” Note to the stylist, us lot in East Africa (I am from there and the film is set there too) do not rock gele be us queens or not, and when we do, we get a West African professional to sort it out for us. And as for the clashing brick-red(ish) lip, less said soonest mended.

It must be so tough looking on point consistently on the Red Carpet, but it always works best when you do you. One gets the impression that Rita rocked her outfit whilst the concept of ‘headtie with everything’ that Lupita did throughout the festival, rocked her. Subsequently she looked more in costume rather than in control. And at MO Towers we are all about championing the powerful sensational African woman! Sack the stylist Lupita, remember that Prada high season (Oscar Night, Met Gala) which was everything. And as for Rita, you are officially MO’s reigning WCW the actor edition, keep serving us the magic moments and give your stylist a raise!

My favourite cocktail has always been the French 75 – yes it’s old-school but I challenge any mixologist to top the ambrosial magic that is champagne, gin, lemon juice and gomme syrup. But dream drinks aside, I couldn’t help but think that if I were to describe the Tom Ford presentation it was a glorious combo of OG supermodels in the audience (all hail Iman, Naomi and Cindy!), Hollywood A-Listers and because it is Mr. Ford and he is a legend in his lifetime a carefully selected current supernovas – and that’s just the guest=list!

I was loving Tom’s thesis of showing Autumn/Winter 2016 in er, Autumn/Winter 2016! How novel, no need for the sick pieces to be pinned on Pinterest or act as a prayer point for a dim and distant future – see it now, want it now, buy it now. Many in the fashion industry are wondering whether this is a risky game to play – no months of carefully revved-up by fashion editorial customers who have seen things in glossies, ogled items on movie stars (always ahead of the civilians, be they minted or not) and lusted until the long awaited product drop. Only time and shop tills will tell if this is a wise move but for us at Magnus Oculus the idea of I see it – I need it – I must have it – appeals to our ‘big-eye’ tendencies!

Onto the clothes: Only grown-ups allowed. These are not items for ingénues. Only strong, sexy as hell, lived and still triumphed women can wear these pieces and be convincing. The silhouette of the opening day dresses, skirts and jackets had shades of 1940’s couture about them, we are talking over the knee, pencil with super-cinched waists.

The rich velvets and leathers they came in were luxury with a capital L. The 21^st century was injected in over the knee spray on boots and a covetable array of coats that made the phrase ‘investment piece, buy one only’ seem like a curse rather than mantra, because frankly, you need them all. The real cha-cha-cha moments came with evening wear, always Tom’s forte even in those Gucci 90s days. Floor length was re-imagined with palettes for the inner disco girl in us all and a plumed showstopper skirt was gloriously casual-fied in a maximalist manner with a silver sequined sweater that had an open back. Cut aways, again a Tom trademark, were subtle; this was not’ a pay and display’ flesh fest and the models glided confidently to a soundtrack that included Alicia Keys and K.D. Lang. #TBT models Amber Valetta, Carolyn Murphy and Liya Kebede were the edible gold leaf on this already exquisite and decadent confection of a collection and the addition of bright young things Gigi Hadid and Binx Walton on the catwalk proved Tom had lost none of his mastery of intuiting the moment and serving it back to us as we would like to see it in our dreams.

waterpik water flosser replacement tips.
It’s suitable for travel, business trip, home or company/college.Constructed with 1500mAh rechargeable Lithum battery, once fully charge it can last up to 14 days.With cordless and water tank design, the water flosser can follow you to everywhere. You could just use a USB cable(Universal 5V USB cable is packaged) to charge for the water flosser.

Every fashion week brings with it it’s ones to watch and it’s social media frenzy moments, controversies and trends, but when you are Tom the old school model of covetable clothes + glamourous guest-list is all that is really needed.