By Jendaya
When Casablanca burst onto the scene in October 2018, I remember seeing a singular article by Vogue magazine online to a mild wave of fanfare. It arrived to occupy its place as the exotic younger brother of riviera-esque (think Monaco or St Tropez) brand Jacquemus, hailing from Morocco. These sentiments were present and rich in every sense of the word, from the silks and cashmeres to the vibrant and deep pinks, greens, reds, blues and of course the iconic citrus orange – the brand’s recognisable motif.
Within a short space of a year and a half and three shows later, the brand’s elevated Après-sport sensibility is fuelling it’s success and has made it one of the more interesting new brands at the forefront, with a loud; yet laissez-faire luxury presence. The founder Charaf Tajer is French-Moroccan, retelling luxury with his background in architecture and already a well-known fixture in circle of the “new school” class of fashion creatives with the likes of Virgil Abloh has since had his designs worn by everyone from Burna Boy, Rosalia, Skepta, Lil Nas X, DJ Khaled, J Balvin and the late great Nipsey Hussle. The silk shirts are a personal favourite, with their luscious and rich prints, reminiscent of a 70s successful tennis playing empresario. The collections present a multitude of layers and dyes that tell a story of the jet set lifestyle reminiscent of the Versace mantra, translated perfectly even into their Fall collection.
At the turn of the new year, Charaf was included amongst the coveted LVMH prize finalists for 2020. Announced in March, we are slightly biased* and are hoping the brand take the prize in June**
A lot has happened since the beginning of the year (with the global manifestation COVID-19 in particular) but that has not stopped the brand from launching their distinct womenswear pieces (previous pieces have been unisex) and their new drop ‘Só Alegria!’ is here and it is ever so tantalising, if only we could still book a trip to Marbella and showcase the looks in all their glory as intended.
Not only this, but the brand has a freshly squeezed drop with their New Balance 327 ‘Idéaliste’ collaboration capsule which arrived recently on the 18th April – the trainers, trimmed with a citrus orange and a Wimbledon grass green panel are already one the most buzzed about items. A modern twist to the iconic brand’s retro design. We’re in luck and cannot wait to get our hands on a pair for a cool $150!
*A little personal history: One of our Brands and Boutiques Consultant has an existing friendship with Charaf, and so before the brand launched would tell us about this “new amazing brand” that his friend was going to launch called Casablanca. So pre-launch I had been anticipating it, (our consultant never misses, so his word is gospel) and was not disappointed. A few months into 2019 I bumped into the sales and marketing director at Selfridges and recognised the brand by the T-shirt he was wearing, to which he remarked that “I had made his day, as a new brand, not a lot of people recognise them, so me stopping to compliment them on the design and mentioning the brand was heart- warming” About a month later I got one of the T-shirts in the post…probably one of the first people to get one at that, a taste of the influencer life!
** It was announced by the LVMH committee that due to COVID-19 the prize would be shared between all 8 finalists this year. Ahluwalia, Casablanca, Chopova Lowena, Nicholas Deley, Peter Do, Sindiso Khumalo, Supriya Lele and Tomo Kopizumi – congratulations to all.
]]>By Anu Kehinde
Even during the pandemic, standards are being set and the bar has been raised high. Fashion retailer Hanifa took social media by storm on 22nd May 2020 at 7pm EST. The virtual fashion show not only became the topic of the fashion industry because of its use of Clo3D technology but also connected the social media to the fashion world.
Unlike other fashion shows which had taken place during COVID-19, where models maintained a safe distance whilst walking on a runway, Designer and Creative Director Anfia Muvemba delivered an exceptional and impeccable 3D virtual show for the Pink Label Collection.
Those who had experienced the virtual 3D runway have begun a discourse highlighting the ways in which the fashion industry will change in the future. Many are already considering the impact of 3D software and animation on existing models, urging a dialogue about sustainability and pragmatics. Discussions into the manufacturing of these 3D technologies, the education and costs needed to program Clo3D technology is also a crucial dialogue that needs to be had. In addition to this, many fashion enthusiast question the implications this innovation may have in the future for runway models employment and practice. What the new norm will look like with the development of 3D tech and animation, though exciting and transformative, raises a vast amount of questions. The way in which host buildings for runway shows, designers and models will operate in the forthcoming future is a particularly important conversation to be had. Especially with the all-round positive accolades and praises Hanifa is receiving for the delivery of its virtual Instagram Live runway show for the Pink Label Collection.
As a black designer, Anifa sets the pace and encourages other black designers to push limits and make their own rules in the fashion world. Hanifa’s impression on people’s heart has created an appetite for an improved quality in the method of displaying and delivering clothing and services. Can other designers and creative directors fulfil this hunger for new innovative ideas like Hanifa has done, or will the fashion industry remain with its traditions?
]]>By Jason Kwame
It’s eerily interesting how topical the new Alexander McQueen Pre-Fall shots are. Despite being previewed to magazine editors in February, both the designs and model shots seem perfect for the current social climate: a time of global uncertainty and heightened racial tensions.
Everything about the images tell of a solid, prepared and composed brand identity. An established blend of culture, strength, fashion and consistency. Inclusivity rings through…and this is not the first time. The designs worn by the black models – like the battalion style caramel brown leather dress – seem tailor made. Contoured and matched to their shape and complimenting their skin tone. Androgyny and fluidity are the order of the day, with accessories and hardware also seen in the latest Fall 2020 Menswear collection. All whilst keeping to the brands DNA and legacy left by the late Lee ‘Alexander’ McQueen.
The shots and collection are definitely testament to designer Sarah Burton and the McQueen brand rallying the topic of “diversity and inclusion” in fashion imagery and inspiration.
Burton branches into different perspectives, and normalises differences in style. There’s the contrast of crimson red rib knitwear with accentuated shaping, against the upscale silky red dress, draped with one shirt-cuff sleeve. All alongside slender metallic matte red or blue suits. Then there’s black tuxedo jackets and skirt sets with lace applique, that draw from traditional London Saville Row tailoring approaches. Burton makes variety of style and price points work.
The styles come with warrioresque elaborate buckling, heavy gold accent bangles, rings utility belts and harnesses. And the crafting of the draped evening dresses draped in crystal embellishment are pleasantly ostentatious, and unmatched. A romantic interpretation of a modern day Joan of Arc.
Somehow, you immediately see a reimagined, impeccably styled, socially-conscious fighter. The battlefield being the courts, social gatherings and forums. A modern day Yaa Asantewaa.
Alexander McQueen is always ready for what lies ahead, an uphill battle: Sophisticated and Bold.
*For coverage of last year’s SS Menswear collection – for which I had the pleasure of being invited, see here: A Look Back at Some of Our Recent LFWM Favourites
]]>By Raphael Dapaah
Nothing quite stimulates the visual senses like high fashion and fine art.
Although distinctly unique art forms, they share considerable synergies and undeniable parallels; which explains the explosion of creative collaborations in recent years between iconic fashion houses such as Louis Vuitton and Gucci, with contemporary art sensations, Jeff Koons, and the hauntingly gifted self-taught artist, Unskilled Worker.
Inevitably, both of these artistic rendezvous resulted in highly acclaimed sold out collections, which to this day command a small fortune on the secondary luxury goods market. However, after today, none of these collections can, and perhaps, ever will, hold a candle to the sheer significance and impact that Dior’s artistic director, Kim Jones’ collaboration with Ghanaian contemporary superstar, Amoako Boafo, is about to have on the global fashion and art industry as we know it.
Kim Jones’ love of the African continent is well documented.
Although born in London; as a child, he spent a great deal of time darting between Tanzania, Botswana and Kenya with his hydrogeologist father, honing what would become a lifelong fascination and appreciation of African cultures, heritage and aesthetics. This fondness would later inform his collections whilst at the helm of Louis Vuitton, with his first season project being inspired by the nomadic culture and traditional clothing of the Maasai tribe of East Africa’s Rift Valley.
It would be easy to suggest that the creative director is simply a cultural appropriator. Culture vultures are indeed rampant in creative industries, ‘borrowing’, or rather, blatant stealing and mis-referencing is a common place, and widely accepted practice. However, upon closer inspection on the trajectory of Jones’ career to date, it becomes quite apparent that his references not only stem from a place of genuine admiration, but also of clear study and appropriate credit.
It is in this spirit of authenticity and allyship that shapes the significance of Dior’s leading man’s exceptional and timely collaboration with Amoako Boafo; whose star has been rising higher with every passing day since his artist residency with Rubell Museum during Miami Basel in 2019.
Whilst the contemporary African art market has been enjoying greater patronage and recognition in the past decade; there are some who have decried the growing market as nothing more than a trend, that is due to burst like most markets driven by gross speculation, and manipulation by vested interests.
However, with Jones’ nod of approval towards Amoako Boafo, in one swift move, contemporary African art has shifted from the margins of the art world, to front and centre of the global fashion industry, magnifying its allure, boldness and appeal, and cementing it firmly as a mainstream art form, rather than the whimsical niche market it is typically viewed as.
It would be remiss not to mention the significance of Dior’s timing.
In the midst of a global pandemic, and the recent global spotlighting and support of the black lives matter movement’s call for overdue justice, equal rights, representation and opportunities, Dior’s decision to collaborate with a Ghanaian visual artist, and feature their work prominently on their collection, is a great case study in progressiveness, and allyship. This move has the potential to create greater opportunities for black creatives in the fashion industry, but also more widely across the creative sector at large, if this collection achieves the acclaim and commercial success we anticipate it will.
Let’s hope this watershed moment is a signal of the progress and growth to come, and not a drop in the ocean, that is soon forgotten once the momentum and the excitement fades away.
Time will tell, but until then, we remain heartened and enthused about the future of black creatives, and their role in shaping the global fashion and art market through their story telling, and personal truths.
]]>During a digitalised fashion season where imagery, storytelling and presentation is more important than ever, Gucci hits the nail on the head. Labelled the ‘Epilogue’, the 12 hour live stream, show and images – set to close a much tamer Milan Fashion Week – were collectively presented with an apt behind the scenes vibe. With a clear focus on styling, models from the actual design team conveyed the offerings in an aspirational, yet accessible way. Even down to the backstage polaroid style of the shots, with post-it scribblings plastered around for effect. Fittingly, it was all a raw ode to the work that went into the collection, as workers from all walks of life have recently been spotlighted globally for their contributions during this time.
Perhaps one of its more desirable collections, women are bound to find more than one piece that can become a wardrobe staple. A perfect compilation of over 100 timeless pieces, that can be worn more than once and succeed Summer 2021.
Undoubtedly, Gucci’s new era of versatility and creativity was maintained. Alessandro Michele’s design DNA of elaborate romanticism with a 70s flair was not lost on this one. The creative director never fails to deliver on an abundance of creations, options – a synergy between ready-to-wear and tailored runway extravagance. You remember he had a conveyor belt’s worth of designs? Quite Literally.
His continuation of playful patterns, colourful textiles and emphasis on luxury accessories, fits perfectly with the African interpretation of luxe. From gold sequined take on the evening glove, matching floral print silk scarfs and blouse sets, oversized sunglasses and brooches, layered bangles and animalistic remixes of Gucci’s legendary horsebit boots and heels. If the rich aunty concept was paired with a collection, this would be it.
Flamboyant displays of labels and branding have been synonymous with African luxury market. Now, Michele’s gone beyond that, bringing a sensibility and relatability. And it was great to see the Gucci childrenswear designer Olivia Kodé celebrated and featured as a model, bringing a sense of realism. Definitely a collection that matches Africa’s desire for clean precision in tailoring and design, with a sense of versatility and individualism in fabric and finishing touches.
Gucci knows it’s ideal customer well. And they get that the customer is essentially more than one person, living through more than one season, looking for more than one piece.
]]>By Jason Kwame
The fashion world got the message loud and clear. The seasons ahead are bringing no-holds-barred fun, sexy and creative fashion. Trying times that preceded our new normal have pushed designers to double-down on creativity; it’s all or nothing.
It’s apparent that the Spring/Summer 2021 fashion rules have become more of an unspoken agreement and in-sync vibe. They’re seemingly all on the same wavelength when it comes to navigating post-pandemic fashion. Almost as if to say: We’re in this together.
So take notes, here’s the message and trends to expect this Summer.
“I’ll take a double-shot of creativity this season…thanks.”
The saying “life imitates art”, has never been truer now than ever. For 2021, the art comes first. Virgil Abloh’s whimsical approach for LV menswear SS21 – which included inflated, animated animal characters and designs with untamed levels of colour – was one great example.
From Dior menswear (in collaboration with artist Amoako Boafo), to Dries Van Noten and Jonathan Anderson’s Loewe – bold colour against animation, 3D print and life-size wearable art will be big players in the upcoming season. Van Noten explained it perfectly, “We lost things, but we learned things. It’s pushing a new kind of creativity.”
What once was designed only for the drama and excessive pageantry of the runway, is now good enough for ready to wear. Bottega Veneta definitely got the message. The SS21 show included a surreal use of challenging materials – from the elaborate amounts of yarn for mini dresses and vests, to the dresses made out of gargantuan beads and shells.
Hotshot emerging designer Dion Lee took a more provocative approach to this concept with his revealing leaf shaped leather top and clingy string vests, dresses and skirts. All styles were finished off with rope weaved sandles. Think date night followed by the beach looks, reimagined for 2021.
Breaking the summertime rules with leather
Though we abide by lockdown rules, 2021 summer fashion has none. From Bianca Saunders and Mowolola, to Matthew Williams’ debut at Givenchy, leather has infiltrated the SS21 season. Saunders’ leather outfits especially – as seen on Wizkid during his YouTube Live performance – push the limits on everyday menswear and give a new perspective on the day to day “pedestrian” man. Life is the runway now, remember?
X (cross) Appeal
There comes a new wave of womenswear designs that asymmetrically hug across, and all over the body. Prepare for the numerous body cinching, one shoulder, halter neck, skin tight, open back and cross body pieces on offer this Summer.
We’ve seen Mugler do this unfailingly, especially for SS21. But your best bet? Maximilian Davis. The self-made designer is prevailing out of the ashes of the pandemic; an embodiment of the new generation of the go-getter-rising-star-with-fresh-ideas-against-all-odds kinda fashion.
Davis’ first Fashion East show is testament to the new “black elegance tailoring.” His show – inspired by and named after the Caribbean festival J’ouvert – and many others are bringing body positive, carnival-inspired designs to the mainstream.
You can look forward to a new solidarity in fashion. A crossover of designs, designers and messages. Davis for example, was trained under Grace Wales Bonner and bounces his ideas off his close friend and fellow designer Mowalola Ogunlesi. This is the new face of fashion: together we push.
All in all, whether it be for an e-shoot indoors or a socially distanced brunch, remember: life has no dress rehearsal. Now keep that same energy for SS21.
]]>By Jason Kwame
With the post-Covid 19 transition in full effect, New York Fashion Week is delivering new offerings from a whole new creative angle and approach. Global fashion week traditions are slowly shifting to strictly live-stream, digital and photographic presentations. Last week’s New York Fashion Week pulled all the stops to make way for this, especially by opening the virtual floor to more black fashion creatives.
The highly-anticipated NYFW schedule was this year as refreshing as ever in many senses. The US fashion capital’s take on the new normal was one that went all in on inclusion and solidarity, through open and inclusive conversation.
With the hybrid installation of NYFW The Talks (made to fit the zoom-era of 2021), the newly formatted Black in Fashion Council (BIFC) were given full reins with a Town Hall-themed discussion to officially christen the week with real diversity. Emerging black designers were invited to speak up on matters of transparency and actionable change in the industry – at all levels.
Co-creator of BIFC and editor-in-chief of Teen Vogue, Lindsay Peoples Wagner, highlighted how imperative their efforts were this year in “ensuring [provision of] full calendar of events something to support young designers of color”.
And they didn’t stop there. It only made sense to put the words spoken into action. With a return of an unprecedented move from September 2020 fashion week, BIFC in collaboration with IMG took over and switched up quintessential New York office spaces, to shed a spotlight on 16 black designers with a 3-day showroom. Talents included statement jewelry designer Lola Ade (meaning wealthy crown in Yoruba). Also, Nicole Shante and her collection best described as sleek, cultured, boardroom prowess – inspired by Grace Jones circa Boomerang. Other must-sees were Edas handbags, Kendra Duplantier, Nicole Benefield and Kenneth Nicholson (as seen on Jaden Smith).
And what is a fashion week without a showcase of new trends and styles for the fall/winter months & seasons ahead?
Mother and daughter design duo at House of Aama set pace by incorporating the upcoming trend of monochromatic pieces into their top and bottom halter neck and skirt sets. The team honed in on the sometimes forgotten romantic, periodic style of the black south, by offering lacy shirts and pussy bow accents.
Since being spotlighted last year Jamaican-born Edwin Thompson has kept his creative streak going for Theophilio. This season’s instalment – impressively self-funded – paid homage to the Matrix and concepts of “blue pill, red pill” heroic decision-making, something we know oh so well these days. Especially with the endless amounts of half-truths, truths and conspiracies we must filter through these days.
Still, Thompson kept to the pulse of his Caribbean roots, also fitting well with this season’s simmering grunge-punk trend. From JA-inspired black-green-yellow Doc Martens to string sets, then cream textured blazer jackets and matching bucket hats. The pieces were reminiscent of the edge and swag of yesteryears Caribbean dub sound system parties – from Kingston to Notting Hill.
All in all New York Fashion Week was another move forward towards the fashion “industry improving, making equitable change and making representation possible,” as Peoples-Wagner reiterated. Warranted space is being made for black designers to take up, and there’s no question about the high level of creativity on display.
Whether we are intending on dressing up to be homebound, to collect groceries (and takeaway pre-orders…unashamedly), NYFW and the emerging black designers had us set. They say pray for rain, but in this case pray for a return to safe outings to wear these fits to!
]]>As expected (and always well-received), London Fashion Week takes the prize for the most progressive and pioneering platform for black talent. Outside of Africa, that is. Mirroring the melting-pot that London is, LFW’s digital installation for AW21 kept to that standard. No two black designers are the same, and allowing for choice at Fashion Week is the only way to best capture a balanced reality. London does it best. Read on to see two of our standout picks; designers who both in their own right, exemplify the diversity and many facets of creativity amongst black designers and their approaches to fashion.
Having recently been spotlighted for GucciFest – amongst a number of other features and honours – 27-year-old Bianca Saunders continues to go from strength to strength in her multidisciplinary creative approach to menswear for AW21. Her most recent AW21 offering titled “Superimposed,” came in the form of short film paired with presentation. It was inspired by Saunder’s memories of sculptures she “exhibited in Paris last autumn …and… inspiration from artist Jean Cocteau.” A complete body of work exploring the “juxtaposition of positive and negative spaces,” and creative sexiness in both the surreal and real world.
As usual, Bianca has provided a quintessential collection for the new man, that rewrite menswear with oxymorons; comfortability with elegance, recognisable silhouettes against explorative, “unstructured” cuts and finishes. Sleek and perfectly simple workwear shirts and bomber jackets, featured oversized pockets. Layered creases on a traditional shirt give it character and a stony, textured effect. All make to best exhibit Bianca’s tradition of making an impression through detail, whether that be to give an a-line shape, asymmetric necklines for a pulled look, or alterations for a slim looking waistline and broad shoulders.
Another of our favourite newcomers Maximilian Davis – featured in our SS21 trends article – returns with editorial levels of pizzaz for the LFW customary Fashion East showcase roster.
This season gave a sense of heroic elegance (without the comical), as all pieces provided a different personality and spirit, yet still a uniformed, coordinated-combination type theme throughout. Maximilian’s work is a masterclass in sexy tailoring and fits, keeping the history of black society in mind. And the details of each option of his AW21 collection are too good not to mention.
The designs included scuba tight styled head-pieces, a sunflower yellow monochromatic fit: leather skirt and long sleeve top with a plunging neckline, plus cut-outs for shoulders on full display. Also, a modest, closed tuxedo against short-shorts. Tasteful cutout dresses and bodysuits too. In this collection, not one detail is amiss and not one outfit is a miss.
For the men, options include hoods and trousers with one red leather stripe, a svelte blazer & elongated tux jacket, tailored with large lapels. Also, a pink shirt and matching tie – perhaps paying homage to Ozwald Boateng’s love of colored tailoring, especially for the black man. Accessories signed and sealed this superstory, including unique googles by headwear designer Nasir Mazhar, that give off a reddish and amber hazard tint. Not forgetting evening wear gloves and reinterpreted legwarmers, fit for a classy night out sometime soon. The images end with the last model adorned with a regal headdress with black feathering. Fit for a Caribbean carnival, a queen’s guard, or an African warrior. In other words, something for everyone. Most particularly, something for black people.
]]>Being advocates of diversity and inclusion of black, African creatives in fashion – especially amongst the designers spotlighted – we’re always holding each Fashion Week instalment accountable for how much (or how little) it does in progressing the variety of backgrounds, stories and storytellers on show each season. Paris Fashion Week is not immune from this scrutiny. Of course, it does always warm our hearts to see Adut Akech’s flawless skin and signature stare grace every show. Not forgetting Olivier Rouisteng holding the fort and bearing the flag at Balmain. But more can be done in 2021.
As prestigious as the Parisian cherry of the fashion world’s cake is, this week’s Paris Fashion Week phygital offerings were not as diverse in its spotlighting of black designers as we’d hoped for. There are, however, two notable mentions that keep our hope alive.
The undoubtedly talented rising star hailing from Nigeria, Kenneth Ize – who recently featured in our 2020 end of year celebration of the top 10 creative wins for Africa – showed out and represented for AW21. Being that this season is only Kenneth’s second time showing under the Parisian roster, he holds his own well, gradually peeling the layers to his craft back like any seasoned veteran of a heritage fashion house. Ize’s presentation this time around offered a much subtler, demure – yet equally as elegant and nuanced as before – representation of his creativity. Speaking to the current times, the injustices and innocent bloodshed at home in Nigeria, and Ize’s own bouts of depression, the fittingly titled “The Circle of Rebirth and Death” reflects the sobriety and fragility associated with both stages of reality’s cycle.
And the pieces hint at that oxymoron, the symbiotic yet opposite “duality” of the two: life – or renewal of life in all its forms – and death. Take the half white, half black shoes worn by one model. He wears this along with a trouser of two parts: the upper part made of what seems to be a simpler version of Ize’s signature textured, hand weaved material aso-oke, the bottom part camouflaged and concealed by sleek black material. This dichotomy almost gives the effect of his legs fading into the black, perhaps a play on our limited time in this thing called life. Or a life-like expression of the saying “where one ends the other begins”. Innovative, regardless. Then there’s the monochromatic sets: worn by both a male and female model, created with a pigmented earthy, brown material, akin to African soil or one of many skin tones. It’s funny too, that both skin and earth are vital in rebirth; with their healing, protective and self-restorative purposes. Ize’s sets take the shape of loosely-fitted traditional african attire, which traditionally give more prestige to an outfit, just as it broadens and widens the presence of the one wearing it. On both sides of the shirt are matching motifs and symbols written with traditional Ethopian paint.
Kenneth Ize’s fashion journey and recent show is testament to the phases of life. His transitions and truths in design are an accurate representation of the peaks and troughs of life being experienced in real-time these days, on a macrocosmic scale. Through his design, he’s matched his personal ideas with the public shared ideas, traditional ideas of death and rebirth with current hopes for restoration and prevention of death across the globe. Ize story and designs are the perfect embodiment of hope.
On another branch of the tree of black creativity at PFW, Thebe Magugu, a South-African born designer hopes his design fruits speak for themselves, as beautiful as his storytelling may be. The pieces on offer this season – and the models donning them – perfectly encapsulate both self-empowered and liberated women. Magugu’s creative direction – from the journey reflected in the accompanying short-film to the imagery where the ladies wield swords and nunchucks in fighter stance – give off a soulful, well-researched and engagingly animated narrative, much like a Tarantino movie. Taking great inspiration from the intense ukuthwasa spiritual journey natives like himself are immersed into, it is apparent he’s expressing a fight to find one’s self, as old ideals and the new conflict each other to eventually bring about a matured and well-developed harmony. Something every African child – living and growing in their parents custody and then branching off into independence – would know about. Magugu has gone all in with his AW21 presentation, especially as he prepares to submit some of the pieces for the Woolmark prize.
Highlights of the collection include a pink, short-sleeved turtle-neck dress, tasseled with fringe at the hem, with a matching pink bralet. Also, an ombre feather-fringed shawl dress, Then, there’s the militant black shawled shirt dress, with a waist belt, leather boots and unconventionally shaped bag. Plus, a contrasting white suit, shawled on the same right arm. Accessories include wide-brimmed and elongated crown straw hats, and embellished round hats that could easily pass as ones from some sort of regiment or noble rank. Thebe Magugu is uncompromisingly having fun in his creative approach and it shows.