You may have heard about the weather during Paris Fashion Week. However, under the neoclassical columns of the Palais Brognat, even grey skies and rain could not dampen the feeling of joy generated by the first-ever presentation of Africa in Paris by CANEX (Creative Africa Nexus), a tribute to the continent and its design diaspora. In fact, the location itself speaks to the sincerity of this mission: the former stock exchange is something of an institution during Paris Fashion Week, and industry heavyweights like Raf Simons and Off-White have chosen it as the venue for their shows.
However, today it is the stage for the Lagos Space Programme, Thebe Magugu and Sukwena, all of which offer unique evidence of the state of contemporary African fashion.
First up is Lagos Space Programme, a Nigerian brand founded by Adeju Thompson in 2014 and winner of last year’s International Woolmark Prize. Titled “New Lagos Style,” Thompson’s collection focuses on her home country’s rich craft heritage and history, traditional dress customs, and the contemporary realities of what young Lagosians are dressing like. “My work is about highlighting an alternative African narrative that is traditionally very Yoruba-coded, but the question is how do we make it modern,” the designer said backstage after the show.
They responded with generously proportioned, cleverly reworked garments like pinstripe-cut wool zip-up bombers, scarlet hammered silk shirts, and flowing poplin kaftan shirts. Yoruba indigo dyeing techniques are featured on denim peacoats and cozy jersey hoodies, while backless halterneck vests and lace-trimmed sheer miniskirts lend a sense of frivolity to the collection’s spirit. “I bring the reality of where I come from — I represent Lagos,” Thompson said. “When I go out with my friends, this is what they wear. I tried to convey that feeling by mixing it with what my grandparents and parents wore.”
Parent-child relationships are also on Thebe Magugu’s mind, although the tone of her range is more poignant. “It’s very personal,” said the LVMH-winning designer. “Although it may seem a bit corny and bold, it’s actually a response to my recent reconciliation with my estranged father. I’m South African but his roots are in Malawi, which is why there’s so much of a blend between the two cultures.”
This is most evident in the series’ visual treatment. Turquoise treatments appear on a chitong print and a silk shirt with a built-in cape – decorated with a map of Lake Malawi – paying homage to the designer’s father’s homeland, while a trompe l’oeil print on a raincoat and silk is contrasted by an oil cow print, a tribute to South Africa’s native Nguni cattle. Elsewhere, there are quirky disruptions of ideal male clothing norms and typically female proportions and material choices. The Thebe Magugu FC jersey is made from fine intarsia weave in the shape of a tea dress and decorated with stork feathers, while the suit is made from pearl satin. “My [personal style] has both masculine and feminine energy, and that’s what I wanted to incorporate into the collection,” Magugu explains.
If there was anyone worth honoring in Sussena’s collection, it was probably Mary, Queen of Scots, but nothing was more than sexy: a slinky black dress with a turtleneck-like white collar was a key part of the collection. But designer Omar Salam says the connection is purely coincidental. “What I’m drawn to here is not about color at all,” he says, so about half of the works in the series demonstrate his subtle understanding of the entire black spectrum.
The color, however, only surfaced in the evening wear, which included glimpses of red—architectural masterpieces in large pleats of heavy crepe—and a strapless cocktail dress with braided fringe. “Red is not so much a color as it is a feeling,” Salam said. “We want to inspire — to create clothes that people will take time to look at and realize are not just clothes, but moments in time.”
The same can be said about each of the collections seen here, but perhaps the most important “moment” is the exhibition’s stage. It’s no secret that “African fashion” is such a rich, eclectic category that it would be an insult to think of it as an umbrella term for the entire continent’s creative output. However, the fact remains that despite Africa’s enormous influence on “architecture, dance, pop music, jazz,” Salame explains, “for some reason, fashion does not allow Africa to express itself with a distinctly African accent.” CANEX Presents Africa, hosted at the industry’s most valuable platform, is doing important work to achieve this goal. “This is the beginning of an era where Africans can create not just for Africans but for the world,” Salame said.
