Lagos Fashion Week S/S 2019 Day Three Review

Posted on November 1, 2018 by mazzi

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

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

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

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

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

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

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

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

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

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

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

Team Players: A Tale of a Nigerian Football Fashion Collaboration

Posted on June 2, 2018 by mazzi

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

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

Photo: Kosol Onwudinjor — Photo: Kosol Onwudinjo

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

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

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

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

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

Lagos Fashion Week A/W 2018 Day Two Review

Posted on March 26, 2018 by mazzi

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.

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 18^th 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.