At the age of 17, Gorgui N’doye, left home in Senegal to be an engineer in New York, but he ended up selling make-up to actors and opening the first Senegalese-French restaurant in Harlem. These days, in his late forties, the unlikely entrepreneur is back in Africa exporting peanuts to Asia.
In 2001, N’doye, who qualified as an electrical engineer from the City College of New York, worked as a salesperson in a company selling make-up to actors in the Big Apple.
“As I travelled Harlem to work there weren’t good restaurants around. I saw a business opportunity and decided to sell my shares at the company. I had contacts here and there, people know people, I worked with them in the build-up and opening of Patisserie des Ambassades in what we call Little Africa. It has been 16 years of hard work since then,” says N’doye.
“This business was needed; there was a demand for it from the African community. The Federal Government contributed 30 percent into the business.”
Many cast doubt on N’doye’s venture except his wife Ken Alice N’doye, who was a caterer making Senegalese food platters for birthdays and weddings.
“Of course people questioned my judgment but I just focused on my work because I believed it was a good thing. Now they know I am a hardworking person,” he says.
It took N’doye two years to get the restaurant at full steam. It was difficult.
“When we first came here in Frederick Douglass Boulevard, Harlem, in 2001, this area was bad, we were the first African restaurant in a gangster’s paradise,” says Ahmadou Ndiaye Jean, the restaurant’s manager who’s also Senegalese.
“In the seventies, Senegalese were the first Africans to land in downtown Manhattan. Most were taxi drivers; they were almost the only daring ones to move into Harlem, then undermined by drugs and criminality. But the rent was cheap. In the late nineties a new wave of other nationalities joined in. At the end of the decade federal authorities revitalized Harlem by renovating the buildings and strengthening law enforcement. The neighborhood is again dynamic and attractive to the middleclass,” says Ahmadou.
“We started the business with less than 10 people and these days we have about 50 staff, a majority of whom is from Senegal. We are open 20 hours. Basically, we just close to clean up. This place is so busy that we don’t have time to close. This is a Little Africa.”
“If it doesn’t kill you, it makes you stronger,” says N’doye about his survival in the crime-ridden Harlem.
“South of Harlem has majorly changed over the years. Now we are living in a gentrification that is better than before 2000. It is now called an entrance to Manhattan. After 16 years we have built very diversified customers. We have been blessed,” says N’doye.
In 2005, N’doye was the entrepreneur of year with the Small Business Administration (SBA) in New York.
In 2009, N’doye returned to Senegal where he explores other business opportunities.
“Since I returned back to Senegal I ventured into a different business of exporting peanuts to Asia and South Africa,” says N’doye.
“I learned a lot from the restaurant business, the interactions I had with African customers helped me with other business ideas back home. There’s a lot to explore in Africa,” he says.
So, the life of this former expatriate entrepreneur took a big circle from Senegal and the Big Apple.

A Little African Dream In Gangster’s Paradise

While on my first late Monday morning subway ride, from 34th Street to 125th Street in Harlem, New York, it felt like I was traveling from Soweto to Park Station in Johannesburg, with a few notable exceptions.
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Just like back home, the coach was jam-packed, but there were no young men train surfing and the construction workers wore clean and bright work suits, without the odor that comes with long hours and back-breaking work. Some passengers jammed to music coming from their headphones; the dapper executives were fixated on their iPads held in one hand while the other grasped the overhead rails. Initially, feeling slightly paranoid, I was vigilant and clung to my valuables. After a while, I loosened up as I realized how chilled my fellow passengers were.
Amid the frantic activity of New York, I was flooded with memories of Johannesburg as three African women sat opposite me. The women, each of them hawkers, had two oversized plastic bags between their legs. They wore identical black headscarves and matching flat shoes. Taking no notice of the commuters squeezed around them, the women chatted and passed kente cloth, a traditional Ghanaian interwoven material, among themselves. Kente has become an integral part of African-American graduation attire.
While a handful of passengers were annoyed, the hustle of the hawkers, and the ‘gibberish’ coming from their tongues, left the rest amazed. I came to realize that the women left their village in Africa for the dream of a better life in the land of the free. Not a word of English was used in their conversation, but they know the basics of the language to make ends meet. I have met many other African foreigners like them who told me they learned English in the United States (US).
Soon after, I stumbled upon a 10-foot bronze statue of Harriet Tubman, the African American anti-slavery activist. Like the hawkers on the train, Tubman’s head was covered with a head wrap. Unlike the hawkers, Tubman was born into slavery in Maryland around 1820. In her late 20s, Tubman, along with her two brothers escaped the plantations; her brothers got cold feet and returned, leaving her to flee to the free state of Pennsylvania alone.
Later on, Tubman returned to Maryland to free slaves with the help of other freed African Americans. She carried out her mission armed with a shotgun. She never fired the gun because nobody tried to stop her. For her work, Tubman was called ‘Moses’ by her people.
Once slavery was abolished, Tubman joined the African Methodist Episcopal Zion Church. The former slaves took African Methodism across the Atlantic to Liberia and Sierra Leone, and later southern Africa.
Tubman’s statue, on Frederick Douglass Boulevard in Harlem, overlooks an array of African restaurants in an area dubbed ‘Small Africa’. The owner of one of these eateries, Patisserie des Ambassades, is Gorgui N’doye. This Senegalese engineer opened the first restaurant in the south Harlem 16 years ago, with less than 10 employees. Today, Patisserie des Ambassades has 50 staff and opens for 20 hours every day.
N’doye started the restaurant in 2001 when Harlem was notorious for being a gangster’s paradise. The area underwent gentrification in 2005 and business started to boom.
N’doye has since returned to Senegal where has expanded his business to exporting peanuts to Asia and South Africa. In his absence, Patisserie des Ambassades is managed by another Senegalese, Ahmadou Ndiaye Jean.
Harlem’s facelift, however, hasn’t benefited everyone. Eric Fraska, a 31-year-old Liberian financier at MoneyGram in New York, laments the displacement of black folk due to the rising cost of living in the area.
Fraska came to the US as a 20-year-old to study. Over the years, he witnessed a lot of change. Like Ndoye, Fraska is saving money to start a business in Africa. He says he’s certainly going back.
“My education and skills are no longer needed here. There’s nothing more to do here. Africa is the future,” Fraska says over a frothing cappuccino.
I have no doubt the next time I catch up with Fraska will be in either Johannesburg or Monrovia.

‘There’s Nothing More To Do Here.  Africa Is The Future’

It’s a Thursday evening in September and the upscale Pier 59 Studios in Chelsea, New York City, is abuzz with excitement.
Backstage, models spin about, heels clattering, as wardrobe stylists determine the best silhouettes and sartorial choices for specific outfits. Makeup artists layer on the highlighter and hairstylists do last-minute blowouts. Cameras flash and roll as photographers and journalists scramble for quotes and interviews.
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The plates of assorted healthy appetizers – chicken salad, baby carrots, and celery with ranch dressing – are disappearing faster than the goody bags with coconut hair products, portable chargers and gym socks.
In many ways, Harlem’s Fashion Row is like any other New York Fashion Week (NYFW) show. In many other ways, it’s absolutely unlike any other.
“I didn’t have to bring my own foundation this time,” says Naqisha Cummings, a Caribbean model from Boston, in a clear reference to the tone of her skin. “I just knew they would have my shade.”
Mariah Mckenzie, an African-American model from Queens, New York, nods in agreement. “It’s usually not this diverse. Not at NYFW. Today’s show is more ethnic. It’s a really good stepping stone for minorities.”
And indeed, it was intended to be. Founded to increase diversity in fashion, Harlem’s Fashion Row (HFR) has transformed from its modest beginnings in 2007 to emerge one of the most prestigious industry platforms for emerging minority designers and fashion creatives.
In an industry where people of color make up less than one percent of designers in major online and department stores, HFR is significant.
Backstage, its founder Brandice Henderson is doing the rounds – looking into minute logistical details, networking, giving interviews. Earlier that day, NYMag had published a compelling profile calling the entrepreneur a small town native who started out with few connections and “fashion’s best advocate for black designers”. Today, fashion’s force of nature is decked out in a red dress, glittering necklace and rather comfortable-looking brown flats.
“I’m super-excited,” says Henderson. “This is HFR’s eighth year. And I’m about to birth a child. This feels like a new beginning.”
Harlem itself is a cradle of new beginnings. The historically black neighborhood was the seat of the Harlem Renaissance – a socio-cultural and artistic revolution in the black American community. Today, that community includes a prominent and growing African diaspora.
Indeed, in certain neighborhoods in Upper Manhattan and the Bronx today, as in pockets all over America, Kru, Igbo and Yoruba are the most commonly spoken non-English languages. From burgeoning sabar dance classes to the plethora of restaurants selling jollof rice and injera, from the proprietorships in Le Petit Senegal to events like the International African Arts Festival, signs of Africa’s soft power are everywhere in the world’s financial capital.
Africa has woven itself into New York with the gentle intricacy of Maasai beadwork. And today, Africa is the showstopper here in Chelsea.
The Fashion Deli, a globally focused retail platform that first opened in Cape Town, is showcasing four South African designers at HFR.
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“African fashion and lifestyle elements are no longer viewed by western audiences and buyers solely as ‘traditional’,” says Thulare Monareng, the Founder-CEO of The Fashion Deli. Attired in black, high heels and tribal-inspired jewelry from her own company, she has a relaxed sophistication about her. She looks very New York and international – the kind of lady who is so well-travelled she carries cities with her.
“Africa is now influencing global mainstream fashion and lifestyle trends,” she says. “Take Balmain’s African inspired resort 2015 collection, Louis Vuitton’s Spring/Summer 2013 collection inspired by the red Shuka worn by the Kenyan Maasai people, Sergio Rossi’s Zulu-inspired Spring/Summer 2014 footwear collection, and Vivienne Westwood’s Spring/Summer 2015 handbag collection inspired by the West African Bogolan prints.”
Armed with multiple degrees including one in Fashion Buying and Merchandising from the prestigious Fashion Institute of Technology (FIT) in New York, a wealth of corporate experience in her native, South Africa, and experience with her own eponymous designer label, Monareng, came to realize there was a gap in the international market for African luxury and for ethically produced, sustainable and conscious products.
“There’s a lot more to African fashion than just wax prints,” she says. “I want to present an alternative narrative of African designers.”
And so, under bright lights on a long, ivory runaway, the alternative narrative began to unfold. If the audience was previously unfamiliar with African fashion, or didn’t know what to expect, they were about to have their hearts stolen and minds blown. The thoughtfully-curated array of gorgeous ensembles elicited sighs of wonder, gasps of surprise and frantic iPhone photography from the onlookers.
From veteran designer Marianne Fassler came prints found from and inspired by the cityscapes and citizens of her native Johannesburg. Fassler’s love for her modern, cosmopolitan city, which she described as a place to find one’s “personal gold” truly shone through. Every garment featured a palette that positively burst with vivid colors and prints that came together with a giggling playfulness. Dramatic pleats and paneling prevailed. Flirtatious flowing and sheer fabrics abounded.
Where Fassler’s brand drew from the urban jungle, Katherine-Mary Pichulik’s accessories label PICHULIK, drew from the colors of the South African environment. The pieces were designed and inspired by African tribal ornamentation, making symbolic use of color, beadwork, basketry.
“The sacred nature of making jewelry and its link to ceremony and initiation inspire a powerful way of making ornamentation that serves to not only adorn, but alchemize and empower the wearer,” says Pichulik.
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From Celeste Arendse’s SELFI brand, inspired by the subconscious, came the SELF AWAKE collection featuring geometric silhouettes in a palette that was entirely black and white and primary colors. Everything was digitally-printed.
“The collection explores the connection between the self and technology,” explains Arendse. “What we see and what we touch.” Even something like the use of primary colors was inspired by early 90s video games.
Futuristic and forward-thinking, Arendse’s collection certainly subverted the Western notion of Africa in fashion and rewrote the script. Presumably in JavaScript.
The Adriaan Kuiters label featured sophisticated unisex and androgynous garments in neutral colors and sleek silhouettes. The collection exuded timelessness, being both current and classic. The designers Keith Henning and Jody Paulsen experimented with gender lines, using women’s items on men and men’s on women.
If there’s a running theme throughout The Fashion Deli’s collection, it is that of the old and new worlds cocooned in harmony. It’s a universe where nature and cityscapes, humans and technology, the traditional and the contemporary are simpatico.
Contemporary African fashion, it seems, doesn’t seek to conform to global ideals, but rather, seeks to disrupt and improve them.
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“South Africans are now looking directly in our backyard for inspiration, because it’s so rich and diverse.” says Arendse. “I feel really lucky to be living in a time where countries can merge so easily. The new generation understands the power of technology and are able to communicate their messages directly without agencies. The youth in South Africa are expressing their own style on social media which is so unique and is certainly being noticed on global platforms. This will only strengthen us as creators.”
Amina Nuwame, a Senegalese model who Monareng met in Harlem, and who found herself debuting at HFR, considers herself lucky. She had to hide her love for fashion and modeling from her family until they found her on Walf Fadjri TV and eventually caved. It’s been a long journey to New York City since then.
“There’s a lot of talent in Africa. But we need more opportunities to get discovered globally,” she says.
“Africa comes from a rich lineage of craft and has a large network of incredible artisans,” says Pichulik.
The possibilities for African designers it seems are endless.

Tag: Harlem

FORBES AFRICA SOCIAL MEDIA

A Little African Dream In Gangster’s Paradise

‘There’s Nothing More To Do Here. Africa Is The Future’

Unfurling Africa in The Big Apple