“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.
Photo: Chukwuka Tolulope ObuPhoto: Chukwuka Tolulope ObuPhoto: Chukwuka Tolulope Obu
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.
Photo: Chukwuka Tolulope Obu
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.
Photo: Chukwuka Tolulope Obu
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.
Photo: Chukwuka Tolulope Obu
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.
Photo: Chukwuka Tolulope ObuPhoto: Chukwuka Tolulope Obu
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.
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.
Photo: Lumi OgundePhoto: Lumi Ogunde
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.
Photo: Lumi Ogunde
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.
Photo: Lumi Ogunde
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.
Photo: David Tlale
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.
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.
Photo: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
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.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
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.
Day Two of Lagos Fashion Week could be described as a day when reputations were cemented, more of later, but also big doubts with some more established names as to whether the hype, pressure or general hailing, that in our part of the world is par for the course had resulted in a loss of form. It is sometimes easier to keep churning out what is working or selling but it gets to a critical mass when not evolving can potentially result in stasis. Loyal customers who buy pieces by the half dozen are great for now, but a dicey proposition to rely on for the future, especially if growth beyond the domestic market to capitalise on regional, continent wide and global opportunities is part of a brand’s long term strategy.
Commencing proceedings were two Fashion Focus finalists: Bloke and Demure by Denike, with Bloke by far the stronger. Bloke’s Creative Director Faith Oluwajimi entitled his collection “Collection About Nothing” with the colour white utilised as a starting and finishing point. Iterations of tailoring that would appeal to the younger man who wants to look pulled together but is also proud of his heritage were sent down the runway, and one is assuming the white face markings on models were a nod to indigenous religion.
Photo: Kola OshalusiPhoto: Kola Oshalusi
As earlier indicated some reputations were well and truly cemented and it was felt most in the area of men’s trad. Curiously, the two dominant forces, Ugo Monye and JZO, showed on day two, with both putting arguably their strongest showings yet. Over the years Monye has built a following who go to him for exquisite renderings of traditional attire, and today he pushed the envelope further with a series of long line tunics in cobalt blue with cardinal red accents. The long staffs the models walked with channeled the village elder of yesteryear, but one who has a side-hustle of being the style arbiter for the traditional ruler. The show stopper and indeed closer was a short agbada teamed with an Abeti Aja cap; even if one takes away the show’s ‘mood enhancers’ which in this instance included a full company of traditional talking drummers, the metamorphosis of an outfit that conceptually screams ‘wedding guest attendee’ into something that could be worn anywhere else was inspired. For men of a certain generation, wearing white trad indicates an elevation in station – mainly due to the fact that the dry-cleaning bill will no longer make your eyes water but also because it lends the wearer gravitas. Monye offered some alternative propositions: first evening trad – think brocades, tunics with chain fastenings and asymmetric tunics with contrasting and visible linings, and secondly black trad with texture in fabric combinations – black satin and cotton for instance – bringing the luxurious wow factor. Will black trad become the thing to step out of your G-Wagon or Bentley? Very likely.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
In the instance of JZO their collection was an extension of a mandate that since 2014 Creative Directors Joseph Ike and Olamide Akindeinde have been refining which is how to make trad an active sartorial essential rather than a cultural obligation for the younger man. It’s a thin line between edgy and try-hard, but JZO have consistently created pieces that other designers might have a moment of wishing they had thought of the same idea first, such will the inevitable popularity be. This season, asymmetry in tunics and jackets which provided sexy hints of torso in addition to collars and doubled up sleeves turned the familiar into the unusual and covetable. Palette choice was strong without being obnoxious with cobalt, claret, and burnt umber tempered with black and white. When you’re on a creative roll such as this it is best to simply continue.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
Going beyond the shores of Nigeria, Senegalese brand Tongoro Studio and Ghanaian brand Studio 189 were a window into alternative African aesthetics. Tongoro Studio’s Creative Director Sarah Diouf in a previous interview with Elle South Africa has said the “The Tongoro girl is one of a kind; she’s an adventurer.” And travel sprang to mind in a collection that felt like wealthy woman on holiday rather than pieces you could throw on every day. Drawstring trousers, voluminous legged jumpsuits and roomy tunics in greys, blues and whites or lilac and lime prints accessorised with tiny totes or exaggerated cylinder-shaped clutches were not for the Monday morning meeting but were pretty nevertheless.
Photo: Kola OshalusiPhoto: Kola Oshalusi
Studio 189 also had a resort season vibe with a sunshine yellow and deep blue palette, yet even with the Soukous music bangers at full volume it never fully took flight. It did however, have a celebrity moment with fashion blogger, and special editorial guest of Lagos Fashion Week Tamu McPherson taking to the runway.
Photo: Kola Oshalusi
The evening closed with Lisa Folawiyo a woman who is not only one of the principal poster girls for Nigerian fashion but also by virtue of her business beginnings is seen as the standard bearer for print. In what felt like her most personal collection yet she referenced growing up in 80’s Nigeria and how that has informed the woman she has become today, with even the music choice of Old-School classic Odyssey’s “Going Back To My Roots” augmenting the point. The palette was very much tropical garden with orange, lilac and green prints, however, the sensory assault clashing was tempered by softer silhouettes that evoked care free summer days. Embellishment was by and large kept to a minimum and even the show’s opener of knee-length city shorts, off the shoulder bra top and over-sized blazer was a statement of intent; that Folawiyo known best for tunic shaped dresses and skirts could also bring fresh cool girl vibes to the table. Inevitably, there were contrasting textures; a signature that she has stayed true to and the orange neon trims referenced hair bands worn as a child as too did the corn-row hair-braid trim that featured on some of the dresses which varied in shape from bias cut to floaty midi with cutaways to hit of the night, judging by the cheers, a tulip shaped mini. The hemline variation was a business savvy one – depending on your age and figure situation, all could participate. Nostalgia can sometimes end up looking dated but in Folawiyo’s hands it was merely a tool to create pieces that chime with present times.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
For those who were there on the night, it is clear there are some omissions in this review, but it becomes difficult and somewhat disingenuous to praise collections that seem to have lost their way either in part or entirely. Whilst it is exciting and exhilarating when the spotlight is thrown on Africa, especially for those of us who live here, it is also important to temper the enthusiasm, and keep a critical eye so that in turn we can keep improving our industry. Just as it’s impossible to claim London is awash with talent on a par with the late Alexander McQueen or Paris has a dozen Yves Saint Laurents tucked away in each arrondissement, not every designer currently working in Africa is a prodigious talent. And one could counter, nor do they have to be. Some are masters of garnering support from a particular segment of the market, still others are happy to court the media and be lauded even if the sales sums don’t tally in the books. However, it is the designers that are rooted in their identity and who also challenge themselves artistically and dare to translate the complex layers that make up the numerous contemporary African narratives, whilst simultaneously creating collections that are lusted after the world over, that will truly endure.
The French have a name for the new academic year – La Rentrée, when students are brimming with excitement at the prospect of new learning. It also implies return, after all learning is continual, there is always more to discover and more to master, and if you love fashion there is always a new uniform to fall in love with too. Lagos Fashion Week kicked off what is now the creative season and includes contemporary art fair Art X Lagos, African Film Festival , AFRIFF, Aké Arts and Literature Festival and GTBank Fashion Weekend. Expectations were high this year not least because the legendary Fashion Critic Suzy Menkes Editorial Director for Vogue was in attendance.
Betty Irabor requires no introduction; as the owner and founder of Genevieve Magazine, a pioneering publication that has done much to alter the fashion landscape in Nigeria, her foray into presenting a collection seemed organic. Entitled “The Dew Collection” it was a collaboration with a host of brands including Mai Atafo, Style Temple and Needlepoint with an aim of promoting awareness on Mental Health. Rather evocatively of brighter tomorrows, the designers chose to use a sunshine palette of saffron, tangerine and white print with pieces that for the most part leant strongly to occasion wear including a number of red-carpet ready gowns. As it was for a cause, one cannot judge the collection by the same yardstick of others that followed. Nevertheless, it will be interesting to see how the brand develops but judging from the applause as she took her bow to Gloria Gaynor’s classic ‘I Will Survive’, Betty’s own personal popularity will be the fuel required and given that it’s expanding the conversations around the taboo subject of mental health it is a worthy inclusion.
Photo: Kola OshalusiPhoto: Kola Oshalusi
A new name to not only watch, but to buy now, before the wahala of getting pieces when you want them gets too much is Lagos Space Project. Every fashion capital needs one: that designer that fuses intellectualism and culture to create pieces that are not only conversation starters but conclusions in and of themselves. Creative Director Adeju Thompson was entitled ‘Project 3.1 AWO-WORKWEAR’ and he took as his starting premise what a modern-day Babalawo might need to go about his business. In turn we were treated to high waisted drawstring trousers with voluminous legs, overalls that were given a knife precision finish, long line tunics with outsize pockets that would render a handbag entirely optional rather than necessary and wrap adiire skirts with white shirts worn very insouciantly by both men and women. Granted, some customers might be put off from the lack of overt sexiness from the pieces, but to offer an alternative way of dressing in a tide of Slay Queen-age and Fine-Boy-No-Pimple and excessive fuss and flouncesaturating the runways was refreshing to say the least.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
Kiki Kamanu’s collection was entitled ‘Sisi Eko’ and was a love-letter to the women of Lagos, although this being Kiki it was the women of Lagos who are as fearless and expressive as the eponymous designer. Silhouettes varied from body skimming to trapeze for dresses and slimline to drop crotch harem shaped for pants, a touch that thankfully made participating in the Kiki Kamanu aesthetic not dependent on body shape or size. Slogans on pieces is nothing new to the designer who gave us the ‘Pepperdem’ dress, but this season as well as a return to the evergreen ‘LoveLagos’ hooded dress this time in a pencil silhouette and with contrasting fabric on the hemline. We also had a cheeky top with ‘Take What You Need…’ with an assortment of options and an asymmetric hemline and clashing fabric skirt. As always there were accessories aplenty including large trapezium fringed tote bags that are sure to be a hit. The former runway model took her signature walk to Drake’s megahit ‘Kiki’ and yes, the crowd definitely still loves her.
Photo: Kola OshalusiPhoto: Kola Oshalusi
Anyango Mpinga was new to the roster but the Kenyan native definitely made an impact with an assured collection. A series of white lace dresses opened a show and if you are an existing Self-Portrait fan, you would have found more to lust after and purchase. Pretty prints were most definitely a thing with an asymmetric free shaped frilled and pleated dress garnering a flutter of applause as it made its way down the runway. Equally well received were a series of red silk bird printed dresses with text that had ‘love’, ‘freedom’ and other positive words adorned to replicate newspaper headlines. Styling details such as the straw hats worn at a jaunty may have divided the crowd, but they spoke to a designer who possesses clarity of voice.
Photo: Kola OshalusiPhoto: Kola Oshalusi
Maxivive is definitely the Marmite of the Lagos Fashion scene with as many who love as those who dislike Papa Oyeyeni’s work, but that is oftentimes the price you pay for singularity of vision. The Collection entitled ‘How to Marry A Billionaire’ opened with some ‘look away now those of delicate dispositions’ slogan sweaters, t’s and pants, a collaboration he has created with Funmi Fagbemi. Some might say completely obscene, others will counter merely provocative. And indeed, the notion of using your more carnal charms to get what you want, whether it be a partner who can lend you the Private Jet for a quick shopping run in Paris, or for people to see and desire the real you were present in all of the pieces. Lurex, sequins and iridescent finishes indicated a continuation of the ‘Glistening’ theme explored in the previous collection, and the palette was as broad as one’s tastes or orientation may be. In the midst of the show flourishes including an unconventional bride and groom closer, were pieces that Maxivive is known for, with knitwear, shirts and trousers that were covetable and simultaneously spoke to the genderless agenda that is being championed globally. Since the show, there has been much talk that the brand went too far, was too controversial and is not representative of the prevailing norms and values of a country that for all it’s flamboyance is conservative. But beyond selling clothes, isn’t this the point too of a fashion show and other outputs from the creative industries be they books, film or art; to hold up the mirror to society but also to push the proverbial envelope? Amidst the hoop=la there was a lot for the existing and new Maxivive customer to wear, and whether one wishes to admit or not, apart from offering covering, clothes play many roles including denoting power and aiding in seduction.
Photo: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
Closing Day One was Kelechi Odu. Full disclosure; the designer is a close member of my family. However, like a child at Christmas who doesn’t unwrap presents early even when you know where they are hidden, I was as surprised and delighted as those who persevered with the crazy-have-to-have-been-there-to-believe-it late commencement of the programme itself; a situation that had a knock on effect for all who showed, especially the designers later on in the schedule, who were seen only by hardcore to the death fashion lovers, family and friends or those who are partial to driving the streets of Lagos post-midnight on a weekday. But if you were there you were given a masterclass of executing a concept, distilling your message and leaving an audience stunned to the point that they might just not only consider but also wear what you’re proposing tout-suite. The collection was entitled ‘Automatic’ and the silhouette was a throwback to the 1970’s when men wore flares, stacked heels, open shirts or no shirts at all and had swag for days. This being Kelechi Odu, exquisite tailoring, origami folds on shirts, conceal and reveal elements on tops and the show stopper closing jacket, as well as slits half way up trouser legs meant to truly ‘dress and oppress’, the gentleman in question might need to head to the gym first. Footwear was a hybrid of then and now with wooden heeled sandals that had leather, suede and and gortex finishes. In a sea of streetwear, logo drenched mania and it-trainers, is the time ripe for the modern man to do a volte-face? If you were up for it here was your solution.
Photo Kola OshalusiPhoto: Kola OshalusiPhoto: Kola OshalusiPhoto: Kola Oshalusi
Overall, there were a lot of take-aways from Day One. There is no doubt that there are not only green-shoots but fully developed talents working in Nigeria and other parts of Africa right now. Has the time come for winnowing? Perhaps, especially as there was almost too wide a range of competency levels and experience on show in one evening. It’s for this reason other fashion capitals will have showcase stages or separate events on their calendars for emerging talent thus allowing buyers or members of the media who need to focus and make immediate business focused decisions on what is currently commercially and critically ready for the domestic and global marketplace.
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.
Ré, 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
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
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
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
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.
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 EnyeasiPhoto: 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!’
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.
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.
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 EnyeasiPhoto: 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 EnyeasiPhoto: 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 EnyeasiPhoto: 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.
Day Two of Arise Fashion Week brought out the style tribes in full force, and clients, friends and muses of the likes of Tiffany Amber, Kenneth Ize and Style Temple wore their sartorial hearts on their sleeves. For those who were not industry insiders these ensembles gave a clue of what to expect once said shows commenced, but it also indicated that Lagos, like any other fashion capital in the world, operated on the twin fuels of patronage and buzz, with enthusiasms flamed furthrt via Social Media. It was also the evening that cemented the intent of Arise Fashion Week which was now clearly sitting on the nexus of fashion event and family entertainment as the likes of Seyi Shey took to the runway to perform in show intermissions. Did this distract from the clothes themselves, maybe, but it did not diminish from the cheers and perhaps this was precisely the whole point; for those who took or indeed still take fashion terribly seriously, to loosen up, have fun and not be staring too intently at the runway for the schedule to run to order and to time.
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As with Day One the audience didn’t truly come to life until a popular designer’s show commenced. And the first to experience such was Funke Adepoju, who sent down the runway a series of pieces featuring fringe aplenty that had already received the stamp of approval of social media influencers, bloggers and socialites with one cobalt jumpsuit already on the back of Ozinna Anumudu, a woman who like the likes of Olivia Palermo and Alexa Chung is oft imitated by her legion of followers. It was and indeed is a smart approach for the brand take, but for longevity expanding on the array of ensembles offered would also be beneficial. Not for the first or indeed the last time this evening were we treated to an evening and occasion wear heavy collection with little offered to the working woman, the off-duty but still desiring to look pulled together on the weekend woman or the woman who may actually need some sort of cover-up when travelling from point A to B. But if you want to slay at a wedding reception or a similar function, look no further.
Photo: Kadara EnyeasiPhoto: Kadara Enyeasi
Fresh from providing the suiting for the groom and his men at the society wedding of the year in Lagos between Dangote heiress Fatima and political scion Jamil Abubakar, Kimono Kollection’s creative director Hakeem Balogun used his show-time to augment in the minds of his existing clients and potential ones that he was a one stop shop for men’s evening wear and contemporary traditional. In doing so he was potentially treading on the toes of more established names such as Mai Atafo and Ugo Monye, but what is fashion without a healthy dollop of competition to motivate designers to push further? It was a confident showing from the menswear brand of the hour, with plenty of his high single breasted and buttoned jackets, a speedy exposition of classic trad silhouettes.
Conversely, Tzar another menswear brand with an established clientele decided to expand into women’s pieces with mixed results. Far stronger was creative director Ian Audifferen’s continued experimentation with fabric contrasts, layering and fluidity with several high-points including a stand-out shirt ties on the cuff, and praises be, coats and cardigans that did not appear as an afterthought, but were a distinct and necessary part of his vision. This is the lane we wish Tzar to stay in, not that it is good or right to be so didactic, but when the pieces are working as they are, one can’t help but psychically say ‘Stop, this is it, no need for anything further.’ But what is creativity in its truest sense if said creative doesn’t continue to push the proverbial envelope and seek other fora for expression? In the meantime there is plenty to pimp a man’s Autumn/Winter wardrobe sharply.
Photo: Kadara EnyeasiPhoto: Kadara Enyeasi
Washington Roberts sent down his strongest collection yet, one which had piece after piece of covetable, wearable fashion, that didn’t fall into bore-snore territory. As my stylish neighbour said ‘the sort of clothes that if a girl was wearing them would make you want to ask her for dinner’. Not because they were sexy in an obvious way either, but because they celebrated the feminine form without descending into sleazy territory. Show opener a slimline black silver and red dress over cigarette pant was an exposition of less is more adage and waist cut outs in a sequence of dresses retained their high fashion credentials by not cutting too deep into the midriff. The collection was held together with a repeated drop shoulder motif and bold visible zips. Hemline shapes were also given a reboot with a knee length, U-shape with a high centre slit echoing the same notion of hinting rather than revealing everything. Pieces also were critically figure kind – the heavy of hip could participate with a fifties full skirted dress and the aforementioned skirts were leg lengtheners. Though the collection was gimmick free it was nevertheless quietly powerful and felt like a watermark from the Washington of old.
Style Temple and Kenneth Ize had both shown at Lagos Fashion Week so it was a question of what else? In the instance of Style Temple, creative director OG Okonkwo took it up a notch with a full collection rather than the abridged one experienced previously and two distinct shapes for wearers to choose from: the 18th century silhouette with exaggerated hip line found itself fully on trousers, dresses and skirts and is an obvious choice for the fashion-girl-about-town. However an alternative silhouette for the less daring was also offered and this skimmed rather than hugged body and came in an array of silk jerseys. Existing fans will be pleased and continue to buy.
In Kenneth Ize’s instance the wunderkind expanded his central thesis of re-imagining traditional print techniques, but extended the palette with lemon yellow tie dye also featuring heavily alongside purple and black iterations. The jumbo scarves, that have become the perfect entry-point piece into the world according to Ize were also presented as wrappers, a nod to Southern and Eastern Nigerian traditional attire that has men in such rather than trousers and for the ladies there were more jackets only this time belted tightly at the waist. It was an assured showing and the Kenneth Ize army was in raptures at his close. For the designer whose pieces are currently adorning most of the mannequins in Alara, he can currently do no wrong.
Tiffany Amber is part of Africa’s fashion establishment so it was only right and proper that Naomi Campbell should open for her show, which was a paean to the power of a woman. Creative Director Folake Coker has become a mistress of modernising but still retaining the Nigerian female aesthetic, and so on Naomi we saw the traditional iro buba with an oleku silk skirt given a contemporary twist via a button down blouse that had plumed ostrich feather sleeves. The rest of the collection was a veritable greatest hits of some of her signature pieces but with Autumn/Winter taken into consideration hence basket weave cocoon coats and jackets and floor length opera coats with applique flowers. As is the way with Tiffany Amber this was luxury with a capital L and so wide legged palazzo pants were in silk jersey and dresses came with beading and embellishment and if volume could be added to a piece why the hell not? Many of the pieces were worn with hats, harking back to an era when formality and glamour went hand in hand. But to understand Tiffany Amber is to in many ways understand the innate aesthetic of the Nigerian and African woman. We love glamour, we love being properly put together, yes Millennials might embrace off duty, but the fact that Tiffany Amber remains among the ultimate #weddinggoals outfitter of choice in this demographic too speaks to an innate understanding that Folake has for her customers, both existing and potential. The Tiffany Amber Squad were on their feet at the end of the show and there was a mass exodus of the hall, but this is to be expected when the audience felt that they had seen and experienced the fashion promised land.
For those of us who were committed and stayed on, Tinie Tempah’sWhat We Wear collection was a master class in ath-leisure especially on a night when so many designers had toyed with it conceptually to varying levels of success. Capitalising on his credentials as a grime artist who is as comfortable in an underground pirate radio station rapping as he is in an exquisitely cut dinner jacket at the GQ Man of The Year awards he infused his collection with elements of street wear but brought the posh chap vibe via luxe fabric choices, seen in particular effect with a velvet zipped jacket with tailored track pants. Heritage was also explored in the choice of aso’oke and vibrant print which was used to great effect with shirts teamed with slim fit tan pants or oversize fleeces teamed with print pants. Many pieces came tagged with WWW, a logo that cleverly sat between street art and logomania. However, what was most beguiling about the pieces was the credibility, these were not pieces created to jump on the music-meets-runway bandwagon where every pop artist quickly puts together a fashion brand. These were pieces born out of a musician’s love for fashion with a deep understanding of exactly what his peers and his fans want to wear.
And so it was left to Ozwald Boateng’s closing show to provide a fulsome elucidation of what happens when one fuses African elements with the revered tailoring techniques of Savile Row. A short film contextualised his work thus far with cameos from Will Smith, Jamie Foxx and Sir Richard Branson, who of course are all loyal Boateng customers. An opening look of a jacket with another jacket robed was simultaneously arresting and fresh. A cobalt blue single breasted jacket and a forest green iteration hinted at classic Ozwald but were somewhat more muted, an accurate reflection of the times and white Converse plimsolls brought levity and modernity to proceedings. Ozwald still gave a splash of ostentation and also unusually for him, featured women in his pieces quite heavily too; a strong nod in the gender neutral times we now live in with women in men’s pieces merely part of the new normal. Texture and cut were also front and centre in every piece, and one could tell that much thought had gone into how each piece would interact on the wearer. Does one need stroke-able sleeves, do hands need to be pretty much enveloped in tangerine silk cuffs, are hats essential? Ozwald answered all these sartorial questions and more. And of course, because it was Ozwald, Ms Campbell walked the catwalk once more. After a number of collections viewed earlier in the day where execution had been patchy it was pleasing to see such beautifully constructed and well finished pieces. It was as if the master had returned for the specific purposes of schooling those younger on exactly how to give and close a show. And for customers young and old, male or indeed female there was a full forty ensembles to choose from. Day two may have ended late, but it was worth it for those interested in a lesson in the good arts of cut and colour wizardry that Ozwald has made his own.
Arise Fashion Week commenced with the kind of buzz and excitement that most platforms can only dream about. But then this is what happens when you have a multi-channel broadcasting conglomerate capturing every moment, charismatic leadership in the form of Nduka Obaigbena and Ruth Osime as part of your communications arsenal and more than a smattering of celebrity guests in the seats. Put simply, Arise was trending and that was even before a model had walked the runway. There was also a serious dose of expectation – would the original fashion week, the one that was a catalyst for the careers of many fashion veterans in Nigeria and across the Africa live up to expectations and all this hype? Especially when an anticipated start on Friday was moved to Saturday? And in a month that had already witnessed autumn presentations at Lagos Fashion Week what would be the differentiator for attendees and retail buyers? As the lights dimmed on what had been described as ‘Africa’s Most Beautiful Runway’ the stage was well and truly set.
Photo: Kadara Enyeasi
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After a series of emergent talents, the first show to get that engaged the audience was ‘About That Curvy Life’ collective. The revolving group of designers selected by creative visionary Latasha Ngwube were once more flying the flag for plus-size fashion. In an age where fashion has increasingly embraced inclusiveness not only as a buzz-word but a call to action, it was encouraging to see the designers selected pushing the envelope in terms of theme and execution. What in previous seasons had felt like a celebration of difference was now more about creating wearable pieces. The military touches in the opening sequence of pieces including berets on all the models who marched out to Davido’s mega-hit, Fia, also of particular note were the jumpsuits and day wear. The cheers said it all – plus size fashion was here to stay and Latasha continues to discover an array of voices to express what women and men want to wear right now.
Photo: Kadara EnyeasiPhoto: Kadara Enyeasi
Still on a theme on fashion’s diversification was Abaya Lagos’ modesty enthused collection. A smart move from a commercial perspective as this is a segment of the market that continues to grow beyond the confines of the Middle East. We were treated to the notion that concealing needn’t be a one-note affair of tunics and variants of salwar kameezes and pieces played on proportion such as draped culottes, interspersed with intricate panelling and beadwork on the backs of jackets and coats adding a further element of surprise. Sandals were flat and hair was covered in coordinating turbans, and the collection as a whole served as an antidote to what had become tired tropes as well as an invitation to those who may not be obligated by their faith to flirt with modesty and thus make it mainstream.
Photo: Kadara EnyeasiPhoto: Kadara Enyeasi
The star turn in more ways than one in the evening belonged to Lanre Da Silva Ajayi – where we finally got a realisation of why the catwalk had been given the moniker of Africa’s most beautiful. Opening her show and in many ways shutting everything else in the process was Naomi Campbell in a metallic fringed cocktail dress that has the crowd at fever pitch and some behind on their feet (probably all the better to capture footage for the ‘gram). The collection played to the strengths of the Lanre design playbook of providing women with strong occasion wear. Indeed, there was plenty to choose from for the glamorous woman who flits from cocktail party to wedding and is sometimes sighted on the Red Carpet too. However, for a designer who has carved a successful niche dressing well-heeled socialites there was a heady dose of potential scandal provoking dressing, with gauzy pleated jumbo sleeved gowns that revealed the full form of Oluchi and the other models who wore them. Lined, as many will probably eventually order them, they will lose much of their insouciance, but they signified a designer who is not content to rest on her laurels and is keen to court a younger edgier clientele.
Kluk CGDT was the big ticket offering from South Africa, and they too opened their show with Naomi only this time in a lilac trench coat. It was welcome to see a coat open an Autumn/Winter fashion presentation series, especially as so many who presented had failed to offer any meaningful options for clothing that would work in colder climes. However, the collection lacked clear cohesiveness, apart from lilac tying it together as just about every silhouette fabric option and hemline made its way onto the runway. On one level one could see this as commercial savvy, there was bound to be one or two things that might look like viable wardrobe options for everyone but in reality it felt as if there was a lack of focus. What sort of woman would wear these pieces? How did they mirror her world view, perceptions and dreams, because clothing, apart from doing the obvious of covering us from the elements, is meant to hint at these inner realities.
At Fashpa a different issue was at hand, the collection in many ways worked well and it was clearly aimed at a young girl-about-town. However, it was reminiscent of many pieces seen by other noted designers, early Maki Oh in particular, and one couldn’t help but look and think whether the good people at fashion-knock-offs call-out Instagram handle Diet Prada wouldn’t spot an homage too many. It is an interesting time, for fashion overall, and this collection put the following questions sharply into focus: how much of this is homage, how much bricolage and how much copy-paste? One could discuss this at length, and yes, there are no right or wrong answers.
Photo: Kadara EnyeasiPhoto: Kadara Enyeasi
Menswear was ably presented by Laurence Airline, a brand that continues to successfully occupy a space called stylish quirk and keep men, and a lot of women who simply buy a small and get on with it, more than satisfied. A palette of cobalt with yellow invigorated the senses and plaid and patterns were mixed with the confidence of a designer who has mastered the art of combining print with ease. Ath-leisure accents were introduced via hooded tops, plaid, and a trouser in the palest pink which had a drawstring waistband, as well as stripes galore Accessories also hinted at a complete approach to ensembles, with the Laurence Airline man foregoing a briefcase and instead carrying his essentials in giant Ghana-Must-Go bags and adorning his neck with orange duck-tape rather than something as pedestrian as a necklace. It was a confident showing of a brand that has quietly grown from strength to strength and married Ivorian and Parisian sensibility with ease.
The evening closed with Andrea Iyamah a designer who is as much known for her ready-to-wear and occasion pieces as she is for her beachwear. In this instance she gave us her vision for sun-kissed beach days and sent her trademark high legged bikinis and one pieces down the runway. Moving on from the vibrant print choices of previous collections, the palate was highly commercial and easy to wear whatever your hue or race, with coral, slate grey, mustard and a deep fuchsia dominating. A canny decision especially as beachwear remains a nascent sector in Africa, thus the more potential participants the better. Existing fans will definitely continue to patronise and new ones will also be won both in Africa and beyond.
For those who blinked into the night once the lights came up in the auditorium, there was definitely a sense of having witnessed a return to form from Team Arise. The banks of reporters were there, a sense of occasion was achieved and Social Media went into meltdown once a certain Naomi Campbell walked the runway. Furthermore there did not seem to be a conflation of purposes, Lagos Fashion Week follows a more established modus operandi of building the fashion industry in a holistic manner and Arise Fashion Week brings sparkle, buzz and entertainment to proceedings. This is not a case of ifs and ors but space and more.
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.
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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.
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.
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.
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.
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.
Day Two at Lagos Fashion Week will probably be best as the day where epic waits nevertheless yielded visually worth it moments. But far more than moments at fashion week we are seeking first and foremost direction and options. Direction in the form of clearly thought out expositions of what we should be wearing and the transformative effect said items might have on how we feel and second options in how to wear them. Some designers chose to follow this rubric to stunning effect.
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The evening commenced with Sisiano, a designer who like many on the night chose to present both women’s wear and menswear. In Planet Sisiano Autumn Winter 2018 is all about wandering around in a sea of powder pink, camel, mustard and white with a dollop of bottle and olive green. The silhouette for both men and women was for the most part fluid, think cowl shapes, asymmetric long line cardigans, and trousers that were low in the crotch, but did not delve into costume territory. So far, so pleasing, especially when designed for men with several high-notes including a velvet and chiffon pullover teamed with wide leg trousers which had me, my neighbour and someone behind me let out an audible sigh. Also clever, surprising and ever so wearable was a bottle green trouser with a tuxedo style stripe but a utility fit. The women’s pieces though nice enough, seemed more mixed in message and approach, with body con, frou-frou, and retro 70’s references all being put into the pot to mixed effect. However, it was no matter as the men’s pieces more than made up for it.
Ré too sent out a collection of mixed efforts. Known as a maestro of aso’oke she surprised with an opener of silk aquamarine long wrapped skirt and cropped balloon sleeved blouse before returning to presenting aso’oke pieces of varying lengths and strengths. One can definitely see the white dropped shoulder shirt dress mini finding a way and a special place into many closets. The same could be said for the trapezium rainbow shift dress, however, the a line thigh grazing skirts with matching cropped tops and the chiffon and aso’oke baby doll dresses less so. A series of long line waistcoats with trousers were again an attempt to show versatility – but within this particular collection, felt more like an add-on than an essential ingredient. An electric blue zig-zag cape top teamed with pale grey high waisted cigarette pant was beautifully executed and hinted at where the collection could have gone. Sometimes it truly is a case of less being more.
Photo: Kadara EnyeasiPhoto: Kadara Enyeasi
And then there was Kenneth Ize. The wait was epic, but it was obvious from the start that the show had the makings of something remarkable. Taste makers, style icons and retailers took their perches in the front row with Reni Folawiyo, Nkiru Anumudu, Ozinna Anumudu, Tola Adegbite and Yegwa Ukpo among those keen to see the collection, and presumably purchase. The collection was entirely made from either aso’oke, in this instance fashioned into rich psychedelic palette combinations from teal with mustard to aubergine with a gold shot egg-yolk and tye-dye cottons in indigo, black and canary. But this was not a walk down memory lane with fabrics that are part of Nigerian apparel history, but a re-fashioning and re-purposing which made every piece, seem to psychically shout ‘Buy Me And Change Your Life Forever!’. For the bold; there was a series of single breasted double vented jackets for both men and women, with slim-line pants that were oh-so-covetable. For those who preferred things more subdued jumbo scarves, surely a bestseller in and of themselves and a glorious Missoni Who? flourish were teamed with black and white aso’oke pants to giddying effect, and a men’s tye dye tunic was a clean re-imagining of trad: be modern and if your ankles can handle it,do it the Ize way and forego trousers. Even the footwear, brushed leather sandals that came in complimentary colours to the pieces they adorned, were straight no chaser, shoe fire. It is rare that a collection feels like a stupefying and delicious cocktail, which you feel you can drink from forever, without a dodgy hangover of overkill. This was definitely it and one feels that the only words fit by way of conclusion are thank you.
Style Temple’s OG Okonkwo knows what the modern femme-fatale wants in her wardrobe playbook; pieces that are slinky, sexy and work a charm late in the evening and this season she offered a collection of just ten pieces that would more than fulfil their demands but with some interesting additions. Show opener took us to the 18th Century with a white skirt that had a hoop petticoat silhouette and was teamed with a white bodice that was more adorned bra with capsicum orange lace trailing straps. It was such a strong beginning, but the concept was sadly abandoned for a series of silk jersey culottes, dresses and trousers that came out in palette pairs of electric blue, imperial purple and fuschia pink and white. Sleeves were asymmetric, with trumpet sleeves teamed with bare, some trousers featuring slits and some dresses coming with harness type ties. There were surprisingly, for an Autumn Winter Collection no coats or cover-ups offered, perhaps when you look this hot your life is a series of chauffeurs, private jets and perfect temperature controlled rooms, but the omission was a missed opportunity as too was choosing not to expand on the theme of corsetry, so intriguingly expressed in the first sequence of the show.
With his increasingly growing portfolio in brand ambassador duties it can be easy to forget that Adebayo Oke-Lawal is first and foremost Creative Director of Orange Culture, a brand that has done much to push the conversation of gender dynamics and simultaneously make pieces that are commercially successful. Unlike anyone else, he provided show notes drawing out the themes of precipitation, it’s transformative effect and the fact that grown men are never given a space to cry. It is always pleasing to see such touches, as apart from anything else it gives context and sets parameters of purpose not only for the collection, but also for the clothes. What are we seeing here? How will one feel when one wears it? These are important questions to be answered, especially when selling luxury. A set was created, with umbrellas suspended from the roof, perhaps to catch those tears of joy, and to hint at a collection that also offered pieces that indicated a change of season. Standouts, and there were a number, included an abbreviated trench coat with cowries shells on the belt hoops, a mustard single breasted jacket with a sole jumbo purple button as fastening, an oxblood apron skirt worn over trousers and a series of print two pieces that take you from day to evening with élan. Women’s wear, which I have always felt was not needed, just wear the men’s pieces a la Katherine Hepburn and be done with it, came in the form of long line tunics, which were competent but did not pack as much as a punch as the men’s pieces. Knitwear, continues to be a developing and welcome addition to each Orange Culture collection, with a pink and purple sweater with Pierrot style collar, hinting at the theme of emotional expression and inhibition seen in the Commedia Del Arte. The hero piece was however a claret and black long line tunic sweater which was masterful in its tessellation which created a chequer-board of skin and wool.
The close of Day Two definitely felt as if there were plenty of reasons for consumers and industry players to be excited and the men’s pieces and collections were particularly strong. As with all creative disciplines fashion is principally about story-telling, and for the designers who conceived and charted a clear narrative arc for us to follow and created must-have pieces in the process, the future is bright not just here in Lagos but globally too. A definite case of watch this space and be happy you were there to witness the magic when it happened.
