London, Lagos, Milan, Tokyo James

Posted on July 1, 2021 by mazzi

Arranging a time to interview Tokyo James has proved tricky. Busy is not so much a definition but rather a default setting for the designer and fashion polymath with a career that has straddled three continents. In the end, we agree to a call in what can best be described as a multi-tasking maelstrom: James is putting finishing touches to his (now recently shown) Spring/Summer 2022 collection as well as finalising orders and deliveries for Autumn/Winter 2021. As he barks instructions in a combination of Pidgin English and Yoruba to the team in his atelier, I wonder audibly whether we will have to adjourn to a later date. “Keep talking” he enthuses breezily as he repeats guidelines to a pattern cutter, warning him of the costly implications of waste, and simultaneously tells his assistant very firmly not to accept to pay above a certain figure for fabric. “I came from a mathematics background. I came from a very analytical background, so I think I brought that mathematics into what I do I now.” James is far removed from the stereotypical fashion creative director – absorbed in himself or preoccupied with being part of the scene. He is an autodidact with a laser focus on the fiscal health of his eponymous brand. Accolades are all well and good but he is business minded and has eyes already fixed on his legacy: “I am hoping that within my lifetime I will have created a brand that will live past me.” It is as much a raison d’etre as it is a call to arms, for during the course of our conversation it becomes clear that Tokyo James is so much more than one of Africa’s leading luxury fashion houses.

Tokyo James A/W2021 Photo: Akin Adegunju

Home Is Where The Style Is

Tokyo James as a brand is a sartorial love letter to two cities that Iniye Tokyo James, to give him his full name, calls home. He elaborates: “the brand is a nexus between London and Lagos. If you’ve noticed there is a large emphasis on jackets and outerwear and that is because of London – it is cold, and I have grown up with that…. but I fused this with an African aesthetic, it is two dichotomies but that dichotomy is where the beauty lies.” James has over the years sought to upend many of the existing binaries in both locations. From the knee-jerk expectation from many in the UK fashion industry assuming that a luxury brand with a black creative director would be wedded to a streetwear aesthetic, through to assumptions that to represent the continent truthfully, clothes need to be jaunty and awash with bright, bold prints – smiling models and bongo drums on the runway an optional extra. Since his launch in 2015, James has become one of the few names on the continent who reliably offers Autumn/Winter collections that not only look autumnal but also reflect that beyond the equatorial tropical region of Africa, cold weather is present in the northern and southerly parts of the continent. And as anyone working in fashion long term will attest, clients’ lived realities and needs always anchor their clothing choices.

Tokyo James A/W2018 Photo: Courtesy of I T James

By virtue of his background, James has been unafraid to tackle the arguably still unresolved relationship between Nigeria and it’s former colonial master, the United Kingdom. The colonial experiment was complex, with the UK needing lengthy and protracted efforts to get the geographical area now known as Nigeria under their control, and in some regions, merely nominally. James expands: “As a brand I focus a lot on intersectionality. How do you merge two worlds together? How can these two worlds live in unison? And for me Nigeria and the UK is a perfect example…there is a lot of material to explore.” And explore he does with early collections harking back to the precision cutting found in the bastion of gentlemen’s tailoring, Savile Row but with a very necessary dollop of what can most accurately be described as Nigerian swag.

Tokyo James A/W2021 Image: Akin Adegunju

Who’s That Guy?

For someone who has worked in fashion in Europe, Africa and the Americas, where James recently collaborated with the NBA, he remains an enigma, a throwback to an era where designers took a bow at the end of the show and precious little else was known about them. By not giving too much of himself away, James has allowed for his collections to act as a window to his interior concerns and passions. It has also allowed for a wide church of clients straddling across age, profession, race and orientation, as everyone can legitimately be part of the James aesthetic and vibe. “I always say I make clothes for my boyfriend.” James says with a coquettish giggle. Adding “If my boyfriend is not going to love it then it’s a no, And my boyfriend is very masculine… I call men like him alpha males and I think there are alpha males within every set whether in the gay world or the straight world… I always say Tokyo James is for the alpha male. It could be for the alpha gay male. It could be the alpha feminine male, but you are `alpha, you are the leader of the pack.” It certainly takes a man who gives zero-fucks for ‘consumption by consensus’ to wear a red quilted hooded cape with burgundy vegan leather single breasted suit and accessorised with an oversize tote bag, a standout look from James’ Autumn/Winter 2019 collection.

Tokyo James A/W 2019 Image: Courtesy of I T James

One tribe James has been indelibly associated with is musicians, of the coolest kind. James’ name was trending when Nigerian artist of the moment Burna Boy, and this year’s Grammy recipient wore custom Tokyo James to the 2020 Grammy’s where he was nominated, but surprisingly didn’t win ( he would win the following year and once more choose Tokyo James for his pre-recorded due to Covid19 restrictions performance). The three piece damask suit at the centre of a global viral fashion moment was one part ‘African Royal on Tour’ and two parts rebellious reveller who decided to pass through on an obligatory black tie event, so made sure the cut of his jib was unimpeachable and threw out the rest of the rulebook en route. “Burna has been a fan of the brand from the very beginning” is all he will provide as way of expanding on the metronome like consistency that Burna chooses to wearing his designs. Other stars have followed with singers Zlatan, PrettyBoy D-O and Rema all at one point or another dressed by the house. Further afield Chinese superstar Lay Zhang wore the Sequins Continuous lapel jacket from James’ Autumn/Winter 2021 collection and another Chinese megastar Fan Chengcheng was photographed head to toe in a customised A/W 2021 ensemble. James reflects: “It is so peculiar to me that I have started getting more love and more respect from China. A place that I have never visited in my entire life…I am so grateful [and] now I am listening to their music [and it is] making me look more and more into their world.” Can we expect the next big thing in K-Pop head to toe in Tokyo James? Given current form, probably.

Burna Boy in Custom Tokyo James. IImage: Courtesy of I T James

Burna Boy in Spring/Summer 2020 Tokyo James. Image: Stephen Tayo

Fan Chengcheng in Custom Tokyo James A/W 2021 Image Courtesy of I T James

Lay Zhang wears Tokyo James A/W 2021 Image: Courtesy of I T James

Yet, in spite of the verdant possibilities of Asia and it’s elites, Tokyo James chooses to stay grounded. For every celebrity customer there are dozens of discerning but not globally recognised who return for his one of a kind point of view and keep the tills ringing. Every collection, for James is ultimately customer-centric and developing house-loyalty, like many of the heritage luxury houses of Europe can draw upon, critical. He elucidates: “It takes a lot of time [to create] luxury. It is all about attention to detail . And we pay a lot of attention towards the construction of our garments…We have a corner where I think I have cancelled garments… As a team we are like, ‘we have gone through this, tried it and it didn’t get a look’. But we do this for our customers” One can’t help but wonder that this cast-offs rack is sample-sale ready, but it is testimony to James’ meticulous approach. A foray into womenswear caused a clamour of interest, and even though he scored an immediate hit with Seyi Shay an early supporter, he decided to defer. “It is more about capacity” he offers as explanation “we are just barely meeting the demand we have for our menswear before we start catering to all the queens in the world. But we soon will.”

Tokyo James A/W 2018 Image: Courtesy of I T James

Kesewa Aboah wears Tokyo James S/S2021 menswear. Image: Courtesy of I T James

The Image Interpreter

James’ fashion journey did not begin with design, but as a stylist in London’s indie fashion publication scene. The 90s and early 00s were a veritable Golden Era for fashion magazines with titles such as i-D, Dazed and Confused (later known as Dazed) and Purple setting the style agenda in a potent way, unlikely to be seen again given the present dominance of digital media. “I was particularly obsessed” James reminisces with a giggle “At the time if it wasn’t Dazed and Confused I didn’t understand what people were doing…it was such experimental fashion and that was really exciting for me…I still have a large collection in my Mum’s house in London, like, stacks and stacks. I think I may have four to five years of magazines.” Given the self confessed obsession, James’ first job was as fashion director for music indie mag D101 before starting his own publication Rough (later renamed Rough Italia) “my main goal was it (Rough) had to be as good as any publication that was in existence because that was going to give me access to the next.” James mitigated the fact that he wasn’t connected to leading PRs and showrooms by “styling what I had in my wardrobe, using that to create imagery…It actually got to a situation where I had to spend my own money and buy in some of the brands that I wanted at the given time”. This guerrilla approach eventually paid off. With Rough looking the part, circulation increased, and with more eyeballs, greater opportunities.

It is here that his trajectory gets interesting: James does not shy away from talking about how the London fashion scene prior to George Floyd’s murder in May 2020 and the summer of Race Reckoning that followed, was pitilessly white with limited space for black people or other ethnic minorities to rise. James adds “There was only Edward Enninful, Pat McGrath and Naomi Campbell. Those were the only people that were in the limelight.” A career situated permanently on the periphery or stalled altogether did not suit his can-do, must-do disposition so James began plotting a way out. “Me starting my own publication was partly because I loved fashion and I loved editorial. But me starting my own brand was a result of me wanting to create iconic imagery. I wanted to style the Gucci’s and the Louis Vuitton’s, the Prada’s and the Chanel’s and put my spin and my touch on the visual aesthetics of those brands. But the opportunity never arose and so I used Tokyo James as that vehicle.”

One can hypothesise about the terrible loss to the fashion landscape had James begun his fashion styling career during a more inclusive time and bagged a styling role in a historic fashion capital working for a super-brand. Yet, his discomfiture birthed a fashion house that is greater than the sum of its parts. As a stylist – come- designer, James puts a lot of store in the brand’s visual language, ensuring messaging is clear across all touch points, with runway shows, campaign imagery and even packaging all carefully considered. In light of his first role in fashion as an image maker and then a publisher, he was quick to adopt an modus operandi that saw apparel as not only being about beautification, but also playing a critical role as cultural barometer. Our collective and individual socio-economic, political and spiritual states of mind are often revealed in the fashion of the day. Whoever, can tap in and relay that back to us wins.

For James, collections as well as being marked by their seasonal intent often have titles where a whole thesis and bigger discourses are elicited. From his acclaimed debut at Milan Fashion Week for Autumn/Winter 2021 with a collection entitled Ogidi Okunrin which means ‘The Strong Man’ in Yoruba to the still much referenced Spring/Summer 2018 African Cowboy and his just shown, again in Milan Fashion Week Osu. Speaking of the rationale behind the nomenclature and how this manifests, James becomes particularly animated: “The African Cowboy comes from the spirit of hustle. London is a hustle and Lagos is an even bigger hustle. But the difference between the UK and Nigeria when it comes to the hustle is that Lagos is one of those places where you can be poor today and rich tomorrow.” Social mobility and the narrowing of it in the fashion industry is a topic he returns to: “I find London nepotistic, it is literally about who you know and what class you come from… In the earlier days if you were from a working class background in the United Kingdom, you had hope. But now, I don’t feel it exists as much. Because the struggle to achieve, to create anything especially for the creative is real.” James is vociferous of the dismantling of the educational grants system, the deliberate shrinking of the benefits system and the rising costs of living in the city of resulting in a balkanised creative industry. “From Alexander McQueen to John Galliano, a lot of people don’t remember that they were working class. And the system we have now, would not support them. To be from a working class background was not the end. if I was in London now, the dream of me being a designer would have died prematurely.” James translates these themes in African Cowboy via a proliferation of hats and masks in the show and suits that featured quintessentially British pinstripes but teamed them with embroidered insects and reptiles found only under African skies. He adds these “evoke the many faces you have to wear to navigate the United Kingdom and Africa.” But if you have a clear destination and a killer ensemble his thesis concludes that you will prevail.

Tokyo James S/S2018 Image: Courtesy of I T James

His Spring/Summer 2022 show was entitled Osu, a term from the Igbo people in South Eastern Nigeria which literally means ‘outcast’. James adds; “These were the people that they sacrificed to the gods. But I saw it as these were people who were different from the rest of society and they were actually more special.” In the James universe, the so-called freaks of society become the revered and extraordinary. And in this collection he took the unprecedented move of not using some of his house motifs. “I translated it by not using the leather which is a house signature. I translated it by using fabrics and textures that I would not normally use, so this season we used a lot of lace, and the specific lace that we used was cord lace because it has a lot of holes. First of all because of the climate but then it was also meant to signify the holes within society’s logic with a lot of things.” It also nods to traditional attire from the south-east of Nigeria which also features lace. James as ever gives a historical nod to the culture, whilst forcing it to look forward. He also played with processes. “There were a lot of distressed fabrics used and that was also to stress the affect that these actions society does has on people’s mental health.” The result was a collection that was both celebratory and poignant. Acknowledging the damage done to many whilst looking with optimism for those still left standing.

For The Love of His Community

‘It takes a village to raise a child’ says the oft repeated quote which is derived from an Igbo Proverb “oran a azu nwa”. But what if said child doesn’t fit the mould? Is LGBTQIA but not in possession of a foreign passport where a speedy exit to a life of relatively safe exile in the west is an option? Well, if you are interested in fashion, you make your way to Badore, the most dynamic fashion incubator you have never heard about and home to James’ atelier, where he has made room for many others to live, work, seek community, shelter and acceptance. “We don’t talk about it much because I just think it is very tacky how people go ‘I’m doing this and I’m serving like that’, [and] there are many gatekeepers that have used the talent of a lot gay kids in this part of the world in order to further their agendas but not really doing anything for them.”

Prior to the first global lockdown in March 2020 James invited me to Badore. Deep in the Lekki peninsula, way past Victoria Island and Lekki 1, the retail and entertainment playgrounds of Nigeria’s 1%, we arrived at an unassuming building. The space was throbbing to a soundtrack of songs one was certain would be the city’s future playlist and one was met by numerous young, enthusiastic people either busying themselves at sewing machines, sorting the bolts of fabric or putting together potential looks on fit models before presenting them for James’ consideration. In a corner, Papa Oyeyemi, creative director of Maxivive and veteran LGBTQIA activist was working on his latest collection. Whilst voices were often raised there was no aggressive energy. Perhaps because outside the walls exists the real animosity. As well as those I met on that day, Badore has played a pivotal role in the career of brands such as Vincnate, photographers such as Mike Oshai and many others who have for a variety of reasons distanced themselves from the place that gave them creative refuge. James is pragmatic: “a lot of the gatekeepers are very homophobic but pretend they are not to their western peers because they know how the western peers can shut the doors.” This results in many underplaying or even hiding their orientation for fear of negative repercussions and those said forces posing as pseudo-allies. The themes of James’ African Cowboy come to mind as people shape-shift to save face, career or whatever else they are pursuing or protecting. But James sees a positive end-game in fashion’s future,: “I do this for the younger generation so that they can see that it is not going to be easy but it’s possible.” Ever the realist, James who himself did not go to fashion school and irreverently dismisses it as “just a big networking forum”, sees his role as providing a space where those on the outside can get a tangibly beneficial ‘in’ and not become casualties of circumstance.

Beyond the Clout Chase

Whilst many luxury brands have struggled or even shuttered in light of the pandemic, Tokyo James has had a phenomenal year. Having previously shown in London, Lagos and South Africa’s Fashion Weeks, the brand added Milan to their roster. “It was another fashion week.” James deadpans before adding “of course we were excited. I think I was more excited that we showed on the same day as Prada, I was like ‘Oh My God! Prada!’” As well as the shows, there have been features on Vogue Runway and a deal inked with heritage cognac house Martell. Prior to the global lockdown a partnership with YouTube included a pop-up in London’s Westfield and Tokyo James was one of the anchor brands selected by Grace Ladoja’s Metallic for The Homecoming an online festival and retail-led event that was held at Browns London. Since Milan this year, more prestige stockists have followed including Dover Street Market: “that nod from a store like DSM is one of those things where you are like, ‘yeah, okay this is super cool.’ It is always nice to get that recognition.” When I pose the question whether the industry embrace has become a delicious experience, one that will always need to be sated, James laughs before exclaiming “Definitely not! With or without them we would have continued doing what we are doing because we believe in us.”

James is the embodiment of practical perseverance meets clarity of vision. Prior to his brand being in a position to partner with a drinks company or a tech behemoth, he dusted off his mathematics degree and with his fashion nous worked for Accelerate TV the online platform that is part of Access Bank, one of Nigeria’s largest financial institutions. “We were there to invigorate and excite he millennials” he says drolly. He was also unafraid to review how he could become more environmentally sustainable and while he was an early adaptor of the possibilities of vegan leather, he was also determined to always present customers with a choice. “It was us doing our little part to save the environment for future generations. But choice for me is essential and percentage wise customers are 75% vegan leather to 25% leather which is really good.” Self-affirmation as principal motivator and intersectionality as the happy by product is also seen in a bag he first debuted as part of the Ogidi Okunrin collection but has now gained a life of it’s own. The Ato Rodo, the Yoruba word for the Scotch Bonnet Pepper, has a ubiquitous best supporting ingredient role in Nigerian cuisine. In James; hands it has become the arm candy of choice for those who wish to have a ‘for the culture’ moment but make it fashion. The shape is immediately recognisable to those who eat the peppers and to the rest of the world it is just another cool shaped cross body bag that is capacious enough for your daily essentials.

Tokyo James Ato Rodo Bags. Photo: Courtesy of I T James

James’ story=so-far in many ways reads like a modern day fashion fable = without the appearance of a Godmother waving a wand or indeed a wad of cash. An absence of distractions which would have been there aplenty had James been a card carrying member of the in-crowd have given him the time and space to focus on his craft. Because the African fashion scene, in spite of the flurry of positive stories still remains a relatively closed shop. Most of the successful brands across the continent have hereditary money oiling the engine and familial connections swelling the customer base. Furthermore, proximity to favourable business opportunities and access to markets is very much a chum-o-cracy, an issue highlighted in Papa Oyeyemi and Udochi Nwogu’s seminal essay for Business Of Fashion tackling bias in the industry, and the organisation they subsequently launched, Bias in African Fashion. If you don’t fit the look and feel, it can be demoralising. However, it is important to note that these issues of inclusiveness and level playing fields are present in fashion capitals in other cities too.

“I have never felt welcome in London and I have never felt welcome in Lagos” says James. Yet one could argue this has been his greatest blessing. Belonging often brings with it a rigid point of view. We have all become citizens of the world by way of our phones, but James has actually lived it too and possesses a competitive advantage in distilling this via the lens of fashion. The visually literate such as James, hold a winning hand in a world where our attention spans have been so shot to pieces and our brains rewired to seek the next quick hit via an arresting image or a catchy song. Furthermore, if we accept the fact that fashion has become a business first and foremost and a creative expression second, James’ mathematics background equip him in a way a less financially savvy designer would only dream to. There are however, some complicated yet beautiful contradictions: James is the antiestablishment outsider who nevertheless sells luxury to the cool kids of the global music industry. The loner who has opened the doors of his home and atelier to society’s misfits and ostracised. And a sensitive soul whose heart burns hot against injustices in his chosen industry. He candidly admits “I have had to fall and re-fall in love with fashion so many times,” but each time he does he falls hard. Bringing the intensity of those feelings, blending them with his innate cultural magpie sensibility and the romantic notion that all true lovers of fashion have of an epic ensemble possessing the magic to change your trajectory forever.

Lagos Space Programme: For the Culture and the Future

Posted on January 28, 2021 by mazzi

“I have always known that once you create good work and once it is authentic good work people will always come.” Says Adeju Thompson, creative director and founder of Lagos Space Programme. The brand’s debut at this year’s Milan Men’s Fashion Week was topped and tailed with a flurry of excited and laudatory press notices and more pertinently, in these economic uncertain times, global commercial interest. For Thompson who identifies as non-binary, the attention and plaudits have been novel, “I see [myself] as someone who exists on the fringe, as someone who sees themselves as part of the other,”. But although identifying as queer means many fora of existence in a CIS gendered centric world are somewhat liminal, what Thompson has unequivocally proved is that when the work is undeniable, the clothes covetable and the presentation and interpretation of ancient and current truths arresting, admiration is inevitable

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi

Creating Spaces for Different Voices

For Thompson, what started as a deeply personal aim to depict an alternative Lagos that was not steeped in the maximalist glamour and ostentation that the city has long been associated with, has evolved into a carefully curated challenging of norms and myths that have calcified into facts. They expand “It was very important that I contributed my voice..it was also important for me to create clothing from a very informed very in=depth well-researched perspective..[and] I know it is kind of weird but I felt a bit frustrated because I am someone who doesn’t like to be spoken for.” Indeed, since they founded Lagos Space Programme in 2018, the brand which takes as its raison d’être and Instagram bio the phrase ‘Sartorial Project exploring African futures’ has dared to interrogate, explore and propose alternative ways of being via the lens of apparel. Thompson not only challenges but upends many assumptions of the lived experiences of Africans and what luxury is and should be in the future. The clothes though in Milan they were shown in Men’s week are specifically non-binary and customers past and present have come from all genders Furthermore, they have dived into topics that for many of a more cautious disposition are off limits: traditional belief systems, gender norms, mental health and colonialism as a cultural decimating force have all been put under their forensic eye.

Frpm the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi — *From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi*

Identity, how much significance we attach to it and what it is informed by is a theme that Thompson returns to frequently: “It has become important for me to have a cultural aspect in my collections…for me, my Yoruba identity is always going to be a huge part of my work.” For Thompson, dabbling is not an option. When they choose to expand upon a thesis, they do so fulsomely. Their break-out collection in Lagos dissected what a modern-day Babalawo, or Traditional Priest would need from his clothing and resulted in an exposition for Afro-Minimalism. The collection consisted of long line sleeveless coats with multiple pockets, Adire, a traditional fabric, which Thompson has returned to severally, fashioned into wrapper skirts, and shirts and jackets occasionally adorned thin strips of reflective fabric, a hint of the futuristic possibilities that a modern diviner might be able to see. An installation at Lagos’ interdisciplinary art space, 16/16 followed, complete with a divination booth that those open and curious enough could engage with. As Thompson dared to place what has since colonialism become a marginalised practise, due to the dominant religions of Christianity and Islam viewing Babalawos as fetish and demonic, there was an inevitable backlash from those who saw the show and collection as dangerous. They reflect: “In Nigeria people are very weird [about my work] and very scared about my work. And it really breaks my heart because I am Nigerian. If only people would take time to understand where my research is coming from.” For Thompson’s part their research into ancient Ifá Priesthood divination practices showed they had more in common with computer coding and applied mathematics than barbarism. It is this reclaiming of Nigerian cultural history and placing it under a celebratory light rather than a derogatory one that drives much of their work.

*Yegwa Ukpo Wears Project 3 Awo Workwear, Image: Courtesy of Lagos Space Programme*

This is not to say that Thompson is one for culture that is mummified. Their research always circles back to the contemporary, distilling knowledge from the past and using it as a tool to answer the challenging questions of here and now. This approach is most clearly seen in their ongoing work with Adire, a traditional Yoruba fabric, which in their hands they have defined as Post-Adire. “I find Adire itself stunningly poetic, this idea that you can tell a story on your body, like a woman will wear a print because she recently got married. This idea of subcultures passing on hidden codes within the pieces themselves, and it is only if you are part of this community that you understand…I find that idea on a surface level was very fascinating.” Thompson has experimented with different indigo dyeing techniques, a textile they also discovered had anti-inflammatory and immune system enhancing properties. Often working side by side with traditional artisans, they are reticent to use language and terms that have been popularised in the modernising textile and craft space. “I am trusting them [the artisans] to guide me… I don’t like using the word elevate. I think it is very presumptuous to say I am elevating a thousand year process. I think for me I see myself as a conduit to continue the conversation around these things..” Thus Adire prints that are still in production now, but that Thompson discovered were first created in the 16th Century, and speak to specific challenges and triumphs of then, are re-invigorated via print designs that reflect present concerns and joys.They note: “I am trying to create prints that are informed by my realities now, so dissecting ideas about queerness or mental health.” Thompson has taken the process one step further, creating knitwear from Adire, a process hitherto never done. The response has been resoundingly positive: “I am getting so much amazing feedback [and] I have hardly scratched the surface.”

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi — *From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi*

Collaboration As A Culture

We live in the age of the omnipresent collabo, where leveraging and partnering to make a bigger splash, particularly in the luxury spaces has become de rigeur. For Thompson, collaboration has always been an intrinsic part of how they work: “I enjoy my collaborations so much because I only collaborate with people like me, people who exist and create on the fringe. My fellow nerds. It is fun because there is no ego, it is just people coming together to create.” For the recently presented collection which has the dual name of Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, the crew was a veritable who’s who of creatives across disciplines. From artist and photographer Kadara Enyeasi who shot the fashion film and look-book to interdisciplinary designer and architect Kelechi Odu who styled the collection for Arise Fashion Week’s 30/30 Show, to Seetal Solanki who played the role of muse and model for the digital diary of the trip to Osogbo Sacred Grove. Yegwa Ukpo, the pioneer menswear retailer and and unofficial mentor to Thompson was also on hand throughout the process. In each instance Thompson notes how they shared an aesthetics and intellectual shorthand with the respective individuals and drew upon their reservoir of combined talent to add further texture and nuance to the collection. Of Solanki the founder of Ma-tt-er, a platform encouraging different engagement with materials, as well as a Lecturer at the Royal College of Art and Central Saint Martin’s they note: “One thing that made the shoot with Seetal pretty incredible was the context in which I shot her in. As this woman existing in this very matriarchal space because the grove is dedicated to Osun, the goddess of fertility. So she is interacting in the grove, whether in the water or in the middle of this herd of cows, it was so freakin’ incredible and we didn’t even plan these things … But I think that is also what happens when you are working with your friends.” In the instance of their collaboration with Odu, Thompson alludes to synergies and innately understood references: “We had a pre-meeting but he just got it immediately. I was very inspired by the Comme des Garçons, Yohji Yamamoto and Ann Demuelemeester shows. I wanted to give a very vulnerable experience. Because even with the models it wasn’t sexy it was very beautiful. There was a very dark element, but it wasn’t dark in a destructive way it was dark in a very sensitive way. Reflective of someone who thinks deeper about things. Those were the intersections; my identity as a Yoruba person, my queerness, and the fact that I am black.” The result was a haunting show that lingered in the memory longer than the few minutes the models were on the runway, and was one of the evening’s stand-out moments. In the instance of Enyeasi who they collaborated on both the look-book and the fashion film shown in Milan, Thompson succinctly says: “he is one of the few people I can work with and I just can leave him and go do something else because I know that whatever decisions he makes are decisions that I would like.”

Co-creation extended to the clothing and accessories, something that has been an organic part of how Lagos Space Programme operates. The ongoing knitwear project with Alexandra Weigand’s Studio Sattelit continues to widen its locus of expression and added to the Post-Adire canon are tapestries created with Flatspot_, an artist studio based in Oakland, California and masks with London based artist David Gardner who Thompson adds “is a friend who created the masks within the realities of our shared queerness.” One of the most talked about elements of the current collection has been the jewellery and objects,cq collaboration with Dunja Herzog of Red Gold and Phillip Omodamwen a seventh generation master bronze caster based in Benin City, Southern Nigeria – a place that is seen as the spiritual home of bronze-casting in Western Africa. For Thompson and Herzog, their working engagement came about through a variety of synchronic conversations and meetings. Herzog is Swiss but came to live in Nigeria, where she rented an Afro-Modernist house designed by the iconic architect Alan Vaughan-WIlliams that acted as a salon and meeting point for creatives in Lagos, as well as a location for a Lagos Space Programme shoot. Thompson relates: “I was talking to Dunja about how my new collection was informed by clothing as spiritual objects and how I am very fascinated by the idea of designing bells for the collection, and she says ‘hold on, say no more,’ and she is rushing upstairs and bringing these series of bells she had developed herself. And it was like what? It was these two nerds nerding out in Ikoyi about bells and sound and soundscapes and the possibilities of our potential” they add laughing. Apart from the bells, staffs that could double up as wands, bangles and harness jewellery that had a modern talismanic quality to them, all designed in concert together, was the crafting process itself. It involved a road-trip to Omodamwen’s studio, where the master caster still employs the lost-wax method of casting, one which is also practised by the goldsmiths working for the Asantehene of the Ashanti in Ghana. Thompson and Herzog describe the completed collection as ‘sculptural accessories’ and the soundscapes they make in their movement is of equal import to how they adorn the bodies of the wearers. In a sense the aural effect is akin to an Emeka Ogboh, piece, only in this instance one is transported to a world of Ifá Priests and Priestesses, divination and Yoruba deities. It also reflects the collection’s title, with one ‘hearing’ the ensembles as much as ‘seeing’ them prior to greeting them. For Thompson, collaboration was also an artistic form of defiance adding: “I like that I have created my work outside of the system in Lagos and its gatekeepers. A lot of people don’t know me, don’t care about me and I literally don’t care [because] I have created my own community.” But more than that, Thompson and their ever-evolving and expanding roster of co-creators are illustrative of what collaboration should really be – a cross-fertilisation of ideas and methodologies, a playground for new ways of thinking and being and a crucible for realising beauty in it’s most undiluted sense.

Redefining Success and Luxury

Challenging what success is and educating consumers in luxury’s possibilities is one of Lagos Space Programme’s modus operandi. Prior to the Milan show, the brand was already on the international fashion community’s radar, courtesy of a full feature in Vogue in 2019; “I got that article when I was less than 800 followers (on Instagram) and it wasn’t by any connections just the strength of my work” Thompson reminisces. But although the praise party has expanded exponentially in the months since, reaching fever pitch in the last few weeks, they are adamant that they don’t want to get caught up in being the next big thing from the continent or part of “Africa Rising” narratives. For Thompson, Africa, and their locale of Nigeria, and South-Western Nigeria in particular, has always been a nexus of innovation, excellence and spiritual dynamism and these things are not contingent on praise or acknowledgement from a Western gaze.

Value always starts with self-acknowledgement and love, and it is something that Thompson chooses to imbue their work with. For them. inspirations always emanate from what has been previously overlooked, forgotten or hidden but that is too important to remain so and they are consistently drawn to those existing on the margins. The prior collection Gay Guerrilla was inspired by the composer Julius Eastman, who died after a lengthy battle with drug addiction and mental health challenges: Thompson notes: “when I studied the life of Julius Eastman I was very struck by the similarities of our lives and a lot of my friends were cautious about how much I consumed, because there was a lot of darkness. But I told people that darkness is also part of the human condition and when I am creating a collection it is a form of therapy for me first and foremost.” With Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Thompson was making a comment on dress as spiritual armour complete with supernatural properties. Their explorations were further augmented in an essay by the late scholar Ulli Beier, that explored similar themes, and who alongside his first wife Suzanne Wenger spent time in Nigeria in the 1960s and was part of the Sacred Art Movement in Osogbo. For Thompson the clothes and accessories are meant to have a dual role: one as luxury adornment and second as meditative aid, they add: “When you dissect my work further it is me weaving these different narratives in a way that is very seamless.” Thus Thompson’s work which straddles the medicinal, spiritual and apparel becomes desirable on numerous levels.

Thompson is keen to communicate to consumers that production takes time, is done in a human-scale with quality rather than profit in its purest sense being the driving factor and that runs of pieces will inevitably be small. In the purest capitalist sense it is a foolhardy model but it chimes perfectly in this more compassionate age we are living in, and also is a clever response to the challenge facing the luxury industry globally. If anyone who has the money can purchase an item and shareholders are demanding the maximum number are sold, how do you retain exclusivity? How do you honestly respond to the accusation of adding to the collective environmental Armageddon we are all facing? For Thompson and Lagos Space Programme, their response is to follow a conscious capitalist model; one that also places equal value on the knowledge and cultural systems that the pieces explore, the means in which they are made, and the resultant quantity produced as much as how they look on the body and how hard the tills ring in their making. Sustainability as a lifestyle is further reflected in the ordering method: the current collection is available to order until the 31st January 2021 with items sent to clients in mid May 2021. This is not fashion for those accustomed to ‘drops’ and who need to post their #ootd post-haste. Thompson adds; “The people who connect with my work, who buy the stuff, tend to be older so they are not people who go around on Social Media taking selfies, they just like wearing the clothes and getting on with their lives.” It is however, a niche without borders as clients are dotted across Africa and the globe with a particularly strong presence in the creative industries and in Europe, America and Asia.

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Isabel Okoro — *From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Isabel Okoro*

Whilst clothes are the starting point for Thompson they are ultimately a medium for deeper discourses something that they indicate when we conclude our conversation talking of future plans: “I envision Lagos Space Programme to be much more than a fashion brand I want it to be a research based establishment where we are contributing and adding to the conversations around African design.” `Not only have the clothes have acted as a catalyst for conversations around gender, queerness and conservative norms in Nigeria and Africa as a whole, they have also provided an important link between culture past and the current experiments that will inform culture future. That Thompson returns to motifs and methods that have centuries old provenance such as indigo dyeing, textile weaving, brass casting and divination but explores them via the lens of contemporary mores, fears and wants creates for thrilling results. That they do so in a contained palette of soothing blues is evidence of a maestro of mood evocation. In these tumultuous times we could all benefit from feeling calmer and having greater insight of where we have come from and how we wish to proceed in light of that. The brand and its founder may be young but Lagos Space Progamme’s agenda is rooted in eternal truths that Thompson aims to reveal one collection at a time to a global audience: “We are incredibly complex and we have been lied to and I think that as a designer it is my job to highlight my culture. We need to continue the conversation around these things. I feel like our ancestors would have expected us to continue the dialogues around what they started.” The oracle has spoken and the fashion world continues to listen, wear, and love it all.