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Sometime in Africa

Africa In Vogue

It’s wonderful to see African fashion making it on the global runway, but what is African? Is it the use of zebra print and ostrich feathers, or is it clothes made by Africans? Does it matter if the garments are made by African hands but not on African soil?

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If you’ve been living under a rock be sure to emerge and catch up because Africa is in vogue.

As far back as 2009, the world’s top designers couldn’t help making inspired references to what was once called the Dark Continent. The likes of Marc Jacobs and John Galliano have paid homage to Africa’s intricate beauty. Well renowned international designer Vivienne Westwood, exhibited her interest in Africa through her Ethical Fashion Africa Collection. Other Labels bitten by the Africa bug have been Burberry, Gwen Stefani’s LAMB and Tommy Hilfiger.

Arise Magazine’s African Icons show at last month’s Mercedes-Benz Fashion Week New York featured designs by Gavin Rajah, Ozwald Boateng, Folake Folarin (Tiffany Amber), Tsemaye Binitie and Amaka Osakwe (Maki Oh).

At the Arise Magazine Fashion Week in Lagos, Boateng was handed the Lifetime Achievement award and labels KLuK CGDT and Maki Oh won best designer.

It’s gone beyond Africans inspiring international designers, to African designers sharing their own history and creativity.

Nigerian Designer, Lisa Folawiyo, studied law at the University of Nigeria and followed her dream when she started Jewel by Lisa from home in 2005. She redefined the way one could wear Ankara—a colorful wax resist dyed fabric—and makes handcrafted clothes that take an average of 120 hours, using custom made prints.

Nigerian fashion is moving away from the local markets with their rows of fabric stalls and corner tailors.

Folawiyo has exhibited in Johannesburg, London, Paris and New York. To increase her appeal and market, Folawiyo launched a diffusion line, The J Label, in 2011. The pieces emulate the luxury core of her designs but are a more practical and accessible option. The new label offers anything from trousers and handbags to dresses. While the main label ranges from $350-$11,500, the diffusion line ranges from $150-$350.

In South Africa, and further afield, the name Gavin Rajah is synonymous with style, opulence and glamor. He is a true example of an African designer turned international sensation. Rajah’s fashion is inspiring, his shows are mesmerizing and it’s no wonder he’s dressed people like Beyonce, Nelson Mandela, Tom Cruise, Naomi Campbell among others. As if this were not enough, Rajah has even delved into jewelry design.

Taking fashion beyond just designs, Rajah wrote a paper titled “Creating an Identity in Design: South Africa the future of fashion?”, which reached as far as Milan. A founder of the Cape Town Fashion Week, Rajah, is serious about the industry and its sustainability in the country. He’s made a point of employing and mentoring young designers in his Cape Town studio and sits on the Cape Town Fashion Council board.

From UNICEF Ambassador to design extraordinaire, Rajah sees no limit for his brand.

The most stylish first lady of the United States, since Jackie Kennedy Onassis, is a big fan of Nigerian Duro Olowu. Michelle Obama has worn the designer’s garments on many occasions. Quitting law was the best thing Olowu could have done for the fashion world. The courtroom’s loss has evidently been the runway’s gain. Olowu’s love for art goes beyond fashion and makes for interesting collections; all that creativity makes it hard to imagine him wanting to succeed in any profession but this one. His career was catapulted when he won the New Designer of the Year award at the 2005 British Fashion Awards. Now his clothes can be found online and in stores in the United States, Europe, the Middle East and Asia.

“My job is not about dictating to women what they should wear, it’s about presenting them with beautiful options,” Olowu once told The Independent in London.

Deola Sagoe is a talented and beautiful mother of three, whose clothes have been modeled by supermodels Naomi Campbell and Alek Wek. Her daughters have fashion in their blood as they have launched their own fashion label CLAN. Sagoe went to college in the United States and has a Master’s in finance and management. She will showcase her new range at the Mercedes-Benz Fashion Week Africa being held in Johannesburg at the end of this month.

Describing the Deola Sagoe woman, the designer says: “She is colorful—she uses color to mirror her mood. She is vital—energetic—not the shy, retiring, type, but she also knows the appropriate time to hold her peace.”

The final feather on the African cap is Tiffany Amber’s Folake Folarin-Coker, another Nigerian who did not study fashion and escaped the legal world. Folarin-Coker has a degree in Petroleum law and spent her childhood in Europe. The label launched in 1998 but she made history when she became the first African-based designer to showcase at New York Fashion Week for two consecutive seasons, in 2008 and 2009.

Tiffany Amber has an online shop as well as three stores in Lagos. The brand had grown by adding two more lines and winning Arise Magazine’s Fashion Brand of the Year award for the Autumn/Winter 2011 collection.

With designers such as these, it’s no surprise African designers are taking the industry by storm and inspiring plenty. This is just the beginning as there are many budding designers.

Nina Baksmaty’s Koshie O label is gorgeous. The Ghanaian designer established a workshop in Ghana and her work has attracted the likes of Franca Sozzanni and Roberto Cavalli on their visit to West Africa. She has also brought in American singers Mỳa and Michele Williams for one of her campaigns.

Osakwe’s Maki Oh line is definitely on the right track. Her age has not hindered her will to take on the world fashion. Although she grew up in London, the Nigerian designer returned to her country of birth to start her fashion line. Her inclusion in the New York Fashion Week will only solidify her place as a young designer to watch. She brings her age and fun to her designs and shows that sometime the “now generation” is a little old school. Osakwe uses adire, which is a process of indigo dying cloth using natural indigo leaves as opposed to industrial dye. This is commonly done by Yoruba women in southwestern Nigeria. She says it takes a day to hand paint five meters of fabric and another day to dye and de-wax it.

Osakwe says her latest collection is inspired by secrets and people’s inability to keep them. This imagery is brought forward by the eyes in her prints.

Loza Maléombho is Arise Magazine Fashion Week’s Emerging Designer of the Year. She designs in the United States and manufactures the clothes at her workshop in Côte d’Ivoire. This talented designer’s work can be traced as far back as her early teens, when she made dresses for the women in her family. Her Afro-Modern designs make use of batik prints, wax fabrics and Kente cloth. She’s all about showing the world what she has to offer and helping out the Côte d’Ivorian woman in the process.

The other fresh talent to keep an eye out for is Mimi Plange. Her Boudoir D’Huitres label has been around since 2007. Fashion guru André Leon Talley took an interest in and mentored her for her New York fashion Week presentation. As if this was not enough of a fashion nod, she created a capsule shoe collection with Manolo Blahnik—a dream for any woman in the world.

Africa is bringing more than just oil, gold and war to the table. The future of fashion is here.

Current Affairs

Sustainable Development In Africa Can Be Amplified By The Media

The COVID-19 pandemic has struck the world like a bolt of lightning exposing the contours of deep inequalities. Media reports have helped reveal the interwoven threads of inequality and health, with poorer people suffering a strikingly disproportionate share of the fallout from the virus, either through infection or loss of livelihoods.

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In 2018, the United Nations Secretary-General Mr António Guterres, launched an SDG Media Compact to leverage their resources to advance the Sustainable Development Goals. By disseminating facts, human stories and solutions, the Compact is a powerful driver for advocacy, action and accountability on the Sustainable Development Goals. Photo- UN

When 17-year-old high school student Darnella Fraizer filmed the last minutes of George Floyd’s life under the knee of police officer Derek Chauvin, she could not have imagined that her footage would reignite the explosive global question of racial inequality and the subsequent clamour for reforms in policing.

This act of filming validates the force of the media globally, we need a similar drive for urgent action in Africa. We need the continent’s media to help ensure the Sustainable Development Goals (SDGs) are achieved and the life of every African afforded the opportunity they deserve.

“Around the world, success in achieving the SDGs will ease global anxieties, provide a better life for women and men and build a firm foundation for stability and peace in all societies, everywhere,” said the UN Deputy Secretary General, Amina Mohammed

Even before the COVID-19 pandemic, a wave of demonstrations from Lebanon to Chile, from Iran to Liberia, was sweeping across countries. This was a clear sign that, for all our progress, something in our globalized society is broken.

The COVID-19 pandemic has struck the world like a bolt of lightning exposing the contours of deep inequalities. Media reports have helped reveal the interwoven threads of inequality and health, with poorer people suffering a strikingly disproportionate share of the fallout from the virus, either through infection or loss of livelihoods.

The global sweep of protests due to years of disenfranchisement and racism has made it clear that the world must change to offer equal treatment to all people.  

Media can do the same for the Sustainable Development Goals (SDGs). Achieving the SDGs, and so improving the lives of millions of Africans, depends heavily on increasing public awareness, and on the focused action and funding that such awareness ignites.

One major shortcoming of development progress is the lack of widespread knowledge about the SDGs and the 2030 Agenda. We must look to the media to push the SDG discourse; what is reported and how it is reported helps shape policy and has implications for the millions of people whose lives are affected. Knowledge is power and if citizens are aware of the issues, they are empowered to help determine the national response.

Traditionally, development experts have failed to explain the relatively new concept of sustainable development to influencers such as educators, politicians, and the media. Doing so is key, so that easily understood narratives are developed to raise public support.

We are already a third of the way towards the 2030 Agenda deadline which 193 UN member states committed to. But at the current pace of change – notwithstanding the global pandemic – Africa is likely to miss out on the time-bound targets in key sectors – including health, education, employment, energy, infrastructure, and the environment. 

Improved public awareness of the SDGs themselves, and of the actions needed and the bodies responsible for such actions is essential. By stepping up to address and explain the global quest for social justice and equality which the SDGs represent, the media can help galvanise civil society, business, international bodies, regional organizations, and individuals.

Pressure from an informed public, pushes policymakers into action, offering hope to millions of poor people.

Development is never far from the media agenda in Africa, so the opportunity to build understanding of sustainability is there. Sustainable development experts must explain why the SDGs are important, and why ‘business as usual’ in development is no longer viable in the face of increasing populations and climate change. Then, news outlets, who would then be able to develop compelling narratives to make the concept understandable by all can help raise the SDG profile, thereby raising public support.

We must “flip the orthodoxy”.

What is reported, how it is reported, and on what channels helps in shaping policy and has implications for the millions of people whose lives are affected.

To this end, the media must be brought into the conversation and be made to understand the role they can play towards the greater good.

The SDGs pledge that “no one will be left behind” and to “endeavour to reach the furthest behind first.” In practice, this means taking explicit action to end extreme poverty, curb inequalities, confront discrimination and fast-track progress for the furthest behind.

The media can shine a spotlight on those left behind, for example by using COVID-19 to examine the wider issue of universal health coverage, the subject of SDG 3.

It also plays a critical role in holding governments to account for their Agenda 2030 commitments. Though these commitments demand that countries have clear reporting and accountability mechanisms, most nations still have no reliable data on their progress towards specific goals. This matters because countries can only unlock financing for the SDGs by disaggregating data to understand where resources are required. In Africa, where national commitments are rarely backed by adequate investment, this is particularly important.

Rapid mobile penetration in Africa offers unparalleled opportunities for content sharing on digital platforms such as Facebook, Twitter, and YouTube. Though lack of affordable internet connections and poor connectivity remain a challenge, mobile technology is a powerful enabler across many sectors.

One in every six people on Earth lives in Africa; its problems are the world’s problems and solving them is the world’s responsibility. If Africa fails to achieve Agenda 2030, the implications will be felt across the planet through conflict, migration, population growth and climate catastrophe.

The media in Africa is a stakeholder in the achievements of the SDGs. Let us support the media and enlist their help in the quest for economic, environmental, and social justice across the world.

Siddharth Chatterjee is the United Nations Resident Coordinator to Kenya. He has served in various parts of the world with UNFPA, UNICEF, UNDP, UNOPS, UN Peacekeeping and the Red Cross Movement. A decorated Special Forces veteran, he is an alumnus of Princeton University. Follow him on twitter-@sidchat1

The views expressed in this article are the author’s own.​​​​​

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Arts

Stone Town: From Freddie Mercury To The Farms

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The sights, scents and sounds of Zanzibar include a 73-year-old tale of the iconic late British singer-songwriter.


Dress conservatively when walking the streets of Stone Town,” advises the tourist brochures in the predominantly Islamic society of Zanzibar, yet, the tiny Tanzanian archipelago proudly claims Freddie Mercury, the controversial frontman of British band Queen, as its own.

The singer, born in the windswept streets of Stone Town in Zanzibar in 1946 and one of the world’s most iconic voices in pop-rock, is this tourist town’s biggest currency-spinner.

Stone Town, which is a maze of historic alleys and spice bazaars with timber shutters, an old Arab fort, churches, mosques and 19th-century stone buildings, is a World Heritage Site overlooking the sea. Within its dusty bowels, leading up from its myriad walkways, is Shangani Street, starting with a white-washed, two-storied yellow building that was once Freddie Mercury’s home.       

There are countless tours offered to what is emblazoned in gold outside as ‘Freddie Mercury House’, featuring four fully-furnished hotel apartments with balconies overlooking the Indian Ocean.    

‘Freddie Mercury House’, featuring four fully-furnished hotel apartments with balconies overlooking the Indian Ocean. Picture: Renuka Methil

Outside are framed glass cases with sepia images of the songwriter and vocalist, describing his famous connection with Zanzibar. Born Farrokh Bulsara, Mercury’s family had immigrated to Zanzibar from Gujarat in India. He was born to Bomi and Jer Bulsara who were originally Parsis (a Zoroastrian community that migrated to the Indian subcontinent from Persia). In 1964, the Zanzibar Revolution forced the family to flee.

The island community’s lucrative tourist trade is even today cashing in on Mercury’s global image, with tours offered at the Zoroastrian Fire Temple where the Parsi family once worshipped, and to a restaurant named Mercury offering fresh seafood.

“Imagine, Freddie Mercury played on these white sandy beaches and clear waters at one time,” says my tourist guide, Amour, proudly, before taking me on a two-hour walking tour of Stone Town. He points to the domed white Zanzibar High Court where Mercury’s father once worked as a cashier.

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His house on Shangani Street, where the first settlers arrived, is a hub of activity, with tourists, and touts selling everything from icecream to tanzanite jewelry and African bric-à-brac. Just a few steps up, is the Shangani post office and buildings boasting Indian, African and European architecture, where you discover your own Bohemian Rhapsody.

Amour helps me weave through the heaving mass of human traffic in the busy streets, to a fish and vegetable market in Stone Town that also sells spices in pretty bamboo gift-packs. The fish is sold fresh and the spices overpower the stench.

“Zanzibar used to be the largest exporter of cloves in the world, but from 70 percent, it’s only nine percent now,” Amour rues, thrusting a packet of cloves into my hand, “and that’s sad, because of declining prices, more competitors and the poor encouragement of farmers.”

Earlier, I had visited the spice farms Zanzibar is so famous for, finishing off with lunch in a Swahili home stationed on a peak in one of the scented valleys. It was modest home-cooked fare but with aromas as strong as the spice farms the ingredients came from: a banana dish with coconut milk and cardamom, flavored cassava from the fields, fried tuna, rotis and the most fragrant pilaf (rice dish) I have ever eaten, watered down with lemon grass and ginger tea. 

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I had been to the Muyuni village in the south tasting the sweetest mangoes and bananas in all of Africa, passing seaweed-strewn beaches, paddy fields and potholed roads with bullock carts, dala dala taxis and motorbikes.

In the lush mangroves of Jozani, I encountered the endangered red colobus monkeys. In the spice plantations, down slippery forest paths, I tasted nutmeg, cinnamon and cloves off the trees.

The natural treats along the way also included lemons and sweet green oranges. As we passed the red mahogany trees, “beware of the green mambas or pythons”, my host had warned. A vendor in the middle of the forest showed us his wares in a wicker basket: soaps and perfumes made from the Ylang-Ylang trees by the womenfolk.

“In Europe, Chanel No. 5 is made from this. Here, we call it Chanel No. 0, our products have no chemical or alcohol,” he says, pointing to the tiny bottles filled with red liquid. “These farms are so rich in spices that the chicken running around are already spiced, you don’t need to flavor them when you cook them,” laughs Amour, towards the end of our outing. From Freddie Mercury to the farms, Zanzibar beckons the senses.

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Sometime in Africa

The Tableaux Of The Wild

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The beasts and the drama of the African bush, far from the harsh lights of big city Johannesburg. 


There is a mystique about the African bush that enchants visitors from all over the world. Some of them become so captivated they decide to stay on, or return time and again.

Even a born and bred African like me, albeit of European descent, cannot say no to a few days of “bundu bashing”. There is nothing quite like escaping the bumper-to-bumper traffic and constant hum of the big city, to experience a range of smells as you move through the bush. The scent of the long grass. The whiff from the marula trees. The odor of fresh dung.

And at night, when you look up to the canopy of the sky, you feel as though you could reach out and touch the stars. The Southern Cross. Orion’s Belt. The river of the Milky Way. Venus, the morning and the evening star. The red glint of Mars.

On the day our group arrives at the exclusive Sable Camp at MalaMala within the larger Sabi Sands Game Reserve, which shares a 19-kilometer open border with South Africa’s Kruger National Park, it is hot and humid.

Sabi Sands Game Reserve. Picture: Jill de Villiers

On this day in the country’s Mpumalanga province, it hits 39 degrees. We settle in and get ready for the first game drive of our stay.

We are here for the launch of a beautiful book by renowned wildlife photographers Gerald Hinde and Will Taylor – both men with a deep love for animals and African landscapes. We pile onto four game-viewing vehicles to find and photograph the heroes and heroines of their book – The Big Seven: Adventures in Search of Africa’s Iconic Species.

The roads are rough and rudimentary as we head into the bush, cameras with long lenses at hand. We drive along a river bed. As the sun moves slowly down towards the western horizon, its rays glint in the waves of green and yellow grass. The wheels skid in the white sand. We drive past a large bush and suddenly an elephant appears, tugging and tearing at the foliage. He looks at us and flaps his ears lazily.

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A bit further on, after literally bashing through the bush, off-road, we see her. Slinky and quiet, her pelt shines in the setting sun. The lone female leopard looks at us with the disdain of a cat disturbed by bothersome humans. She slinks through the bush as we follow her. Then she sits perfectly still, slowly turning her head from side to side.

As darkness settles, the vehicle lights come on and we head back to the lodge. In an outdoor boma, tables are set up in the round, and a five-star dinner is served under the expanse of the night sky. We are treated like royalty by all of the staff of MalaMala. Most of them come from the community that now owns the reserve, after the conclusion of a successful land claim deal in 2014. 

The next day dawns. Overcast, with a soft, insistent rain. The temperature has dropped 14 degrees. Donning rain ponchos, the group of adventurers set forth on the morning game drive. The mission is to encounter every one of the Big Seven. The traditional Big Five tourists flock to game reserves to see are: elephant, lion, rhino, leopard and buffalo. Two more have been added, both on the endangered list – the wild dog and cheetah.

Elephant at Sabi Sands Game Reserve. Picture: Jill de Villiers

Just as humans are shy of rain, so are animals. They lie low in the grass or huddle under trees where they can’t be seen. An hour or so into the drive, the drizzle lifts and we see movement in the grass.

A lioness lifts her head and looks at us. Slowly, slowly, one lion after another stands up to look at the vehicles. There are, at least, eight of them. They lose interest in us again, and stretch out on the ground.

The time to leave comes far too soon. The quiet and beauty of the bush have soaked into my soul and I feel completely at peace and one with the sky and the grass and the trees and the animals and the river and the world. 

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