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 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.

Arise Fashion Week A/W 2018 Day Three Review

Posted on April 17, 2018 by mazzi

The final day of Arise Fashion Week felt like the end of a three-day fashion extravaganza with the venue full early. No Naomi today, but supermodel presence was represented with Oluchi and Ogy Okpe who walked for a number of designers and the FROW was a cross section of fashion industry stalwarts, socialites, captains of industry and notable figures in Nigerian and African media. It was this potpourri approach to the guest-list that had resulted in the celebratory energy of the week overall, yes, these people liked fashion, but it was not their business per se, thus entertainment and enjoyment was as much an essential part of the evening as being shocked and awed by the ensembles on the runway.

Moofa’s collection was the first to capture the imagination of both the chilled and more fashion obsessed. Fashola Olayinka is self-trained but her eye for detail belies this. Stylistic ticks such as covering shoes with black tights elongated the models legs and brought focus to the pieces themselves which were print-tacular but sensibly in oh-so-commercial silhouettes. This season the Moofa woman is an African gypsy who has been seduced by tales of the Orient. Maxi dresses and coats were created with a clarity of vision that made it very easy to envision them not only on the shop floor but in many women of all ages closets. Clever, concise and critically commercial, something that many designers wishing to branch out beyond the African continent would be wise to emulate.

Ré, Sunny Rose and Gozel Green all expanded on themes they had explored in collections presented at Lagos Fashion Week. This is not to say the collections in and of themselves felt re-hashed, if anything an increase of pieces shown allowed for theses to be fully be, exactly as the designer and this was particularly evident at Ré where the Japanese Geisha influences were made apparent in the introduction of obi style belts white ankle socks and black sandals on the models’ feet.

For Sunny Rose, rich-girl-chic was still the order of the day but with a monochrome palate of aso’oke and ankara in many pieces, and added flourishes of tulle for those who require it.

Gozel Green remained wedded in a good way, to the ath-leisure motifs, panelling, and contrasting palettes that have become something of a taste talisman for them.

In contrast Maxivive’s show felt more restrained than what was shown previously. Putting props and staging aside, the styling was sober with fewer women walking and the overt references to gender fluidity and the Drag Queen subculture muted to glitter and guy-liner for a less full-on fashion crowd. This didn’t diminish the pieces presented, and as before there was still much to consider when one looked beyond the styling of the show itself, particularly pants, knits and suiting.

For South African brand MaXhosa by Laduma, the collection presented was a means to answer the question of where to take their knitwear trademark beyond the realms of twinsets and pencil skirts. Creative director Laduma Ngxokolo answered with the introduction of ostrich plumes on the hemlines thus creating a day to evening air. Also gorgeous and bound to be a future best-seller was a flared dress that was the definition of pretty. Laduma also experimented with silk prints with a sequence of silk jogging pants sitting somewhere between lounge and evening wear and floor length gowns. Super narrow denim was teamed with graphic t-shirts for men, wrapper skirts were also offered as an option and the signature sweaters continued to be every bit as beguiling as they were when Laduma first appeared on the scene.

Rich Mnisi also ably flew the flag for South Africa and showed why he is considered one of the most exciting voices in African fashion. Coats were a particular triumph with a white gauze coat with a corseted fit particularly strong. Pinstripes came in many iterations, but felt neither dated or dull in Mnisi’s hand. It was refreshing to see a collection that did not feel derivative and instead forged a distinct direction of its own.

Continuing in that theme of charting a path that is both original and gorgeous was Bridget Awosika. As is often her way, Bridget did not offer pieces in a plethora of colours instead sticking to a palette of red black and white. Dresses were tea length and with a cornucopia of sleeve styles and options, but not compromising on the slim line silhouette which is part of her design language. Black cocktail trousers sat somewhere between an old-school jodhpur shape with a delicate ribbon tie on the hem and were an exciting alternative to the proverbial little black dress for evening. Blouses, which have become something of a calling card for Bridget were also present and correct with one narrow barrel sleeved number a God-send for those whose arms are less than spectacular and another with a black silk obi panel equally special. An experimental tuxedo day dress sounded on a paper like it could be clichéd or messy, but in her able hands was clever and sophisticated, the ‘lapels’ appearing on the back of the dress. A black coat with an exposed shoulder might wreak havoc in a snowstorm but would clearly be fun to wear and ever the pragmatist Bridget offered an Origami folded sleeved option too. As the show closed one was left with the boggling decision of which piece you would wear first. It is rare that clothes immediately speak to a critic’s wardrobe, but these ones bellowed ‘Buy Me!’

Tokyo James is the polymath of the fashion scene in Nigeria with art direction and a successful stint running a fashion and style magazine just two of the many strings he has ably added to his bow. Whilst he remains best known for menswear, this season saw him branch out into women’s. The Tokyo James woman is sexy with a bit of the part-time innocent dominatrix about her with the inclusion of a white PVC cocktail dress as the first evening option presented. Low slung leather trousers tiered floor length skirts completed the look of a woman who was destined to stalk her prey at night and devour them by morning. Men’s was a continuation of what Tokyo has become best known for body conscious suiting and coats that create a crisis of which one to wear first when the weather turns. Quilted duster coats are sure to be sell-outs as is a single breasted jacket that foregoes a button as fastening for a safety pin. Nothing is left to chance and polka dot linings peaking through as models walked was testament to a creative director that leaves no detail to chance. For those who need an entry-point piece James has unequivocally branched into footwear with low Cuban heels and rivets and in this label-mania renaissance moment that fashion is currently having ‘Tokyo James’ writ large on the straps and you could also choose to drape yourself in a Tokyo James scarf. Overall it was indicative of a designer who is steadily creating a ‘world’ for consumers to enjoy.

Chulaap’s collection was one that was rewarded murmurs of appreciation, especially as the brand and creative designer behind it Chularp Suwannapha is not known in Nigeria. The directional pieces were a print mash-up with kaleidoscope of colours featuring and the models’ faces concealed by knitwear. Blankets were tied casually on the shoulders and all of the pieces rather than a handful were created with colder weather in mind rather than as an afterthought. However, this is also in part a reflection of the cold snap experienced in South Africa which is not in tropical Africa. Nevertheless, from an Afrocentric perspective the possibility of being swathed in winter staples designed and made entirely on the continent was thrilling.

The night and evening closed with a triumvirate of design heavyweights from Nigeria (although Chulaap was sandwiched between the two) and in many ways we were given a snapshot of the story so far for the Lagos design scene in particular, which has been dominated by certain names for some time. Odio Minomet’s collection played to her strengths which have seen her garner a loyal clientele addicted to her way with prints and lavish fabrics such as lace, lame and silks. Her series of cocktail dresses and evening pieces was especially pleasing and definitely aimed at a grown woman rather than an ingénue. It was bold and ultimately a financially savvy approach especially when we live in an age which for the most part worships youth that in turn might not have the means to buy into the brand.

Tsemaye Binitie produced a collection that like many seen this week teamed traditional fabric aso’oke and rejuvenated it for a younger audience. Opening with actress, model and all-round media darling Eku Edewor was a stroke of genius and a cropped trench coat and an asymmetric lace shift were reminders of how his designs had caught the attention of the international press and influential retailers. Less successful was an evening gown sequence which felt rushed and would have perhaps been best omitted altogether. But there were enough elements that meant the collection will keep him in the cross hairs as one of the continent’s ‘ones to watch’.

Mai Atafo’s closing collection featured the pieces that his customers, for the most part men with considerable means, have grown to know and love. Velvet smoking jackets brocade and body conscious trousers remain part of his winning formula. However, the exciting development was the fulsome and thoughtful offerings he gave to women’s wear whilst still remaining loyal to his tailoring instincts. The pieces were for women who were principal boy rather than femme fatale, with over sized burgundy bow ties on coats, double breasted jackets and slim fit trousers and brocade frock coats that were nipped in at the waist but still teamed with masculine caps. Atafo, known for his statement off duty options, with his ‘Beard Gang’ print shirts proving particularly popular last season, followed them up this season with ‘Isi Agu’ pullovers with the Igbo lion print re=invented for winter. It was a noteworthy direction for a designer who could easily sit back at the helm of men’s occasion wear in particular. But what is fashion if not evolution and Atafo closed the week leaving audiences with an impression of there being so much more to come.

Arise Fashion Week was an undeniable success, the excitement and conversations that it continues to occupy both domestically, regionally and globally speak to that. Some might say it was all down to organisers booking supermodels, others too might point out that aside from a N300 million fund for designers announced, there was scant information on how it success would be tracked and measured, but this is perhaps to miss the point. Even those with a neutral relationship to clothes were aware of the happenings in Lagos Intercontinental Hotel. Furthermore, there are other platforms that exist in Lagos that provide a more buyers friendly focus and supply chain support that is needed to grow the industry as a whole. Perhaps a thought for future weeks is a further edit of participants so audiences do not flag when viewing collections that honestly do not pass muster. However, in our information saturated age, one has to be talked about, and Arise Fashion Week with its combination of scale and omnipresence has effectively made African Fashion an inevitable part of the global fashion conversation.