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.

Lagos Fashion Week S/S 2019 Day Two Review

Posted on October 31, 2018 by mazzi

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.

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.

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.

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.

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.

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.

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.

Lagos Fashion Week S/S 2019 Day One Review

Posted on October 31, 2018 by mazzi

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.

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 flounce saturating the runways was refreshing to say the least.

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.

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.

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.

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.

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.