It was a gamble that paid off, 8,500 kilometers away from their comfort zone.
Two 21-year-old fashion students, Inés Mille and Marc Collines, left the hallowed hallways of fashion in Barcelona and with just $9,000 in their pockets, traveled all the way to East Africa to set up shop in little-known Kigali in Rwanda, which at the time was building itself – a fully-fledged fashion industry was not yet on its radar.
“Rwanda. It’s where our heart is. It’s where the soul of this company is. It’s where we were born and where everything happened,” says Mille.
Eight years on, Mille Collines, the brand she built with Collines from Kigali, is a million-dollar fashion line that can spotted on the runways of Lagos and Cape Town. Now 32, Mille looks back at the memory with a smile.
“The obliviousness, the ignorance. We were mad and we were so young and we were so crazy. So we said we can do this.”
Mille sits in her home in Tamboerskloof, Cape Town, among inspiring pictures of fashion models on runways, African sculptures from her travels and intricate bookshelves. Naturally, it is the epitome of one conscious of subtle African style – much like her work.
Her story goes back to a time when she was young and fresh in fashion school in Barcelona. It was 2005 and Mille was traveling in Rwanda with her mother’s NGO looking for outreach programs to sponsor. Here, she met a seamstress named Antoinette, who trained women and kids to sew.
“She said ‘you are a fashion designer. You have no idea of the handcraft skills we have here, if only you can put your brain in design and their handcraft skills together, it would be incredible’,” says Mille.
The idea hit home. A year later, and in her final year of design, Mille thought it would make the perfect thesis. She decided to travel to Kigali and pursue Antoinette’s suggestion. Along with her came Collines, who at the time was at another school and also looking for a project.
“The funny story is when I went [to Kigali], there was huge resistance from my tutors and the board of teachers at my college. They said ‘there was absolutely no ways you are going to Africa to do a collection where there is no infrastructure. How are you going to make garments in Africa, they don’t even dress in clothes’… I was at a progressive design school in Barcelona. They were afraid that just because I went there and worked with poor people, I would come back with a sh***y collection. That was the spark,” says Mille.
A 50% mark prompted Mille to move to the heart of Africa. They took with them $9,000 in savings and set up shop in Kigali where they developed their first collection, in partnership with Antoinette. At the time, Mille recalls there was no infrastructure for fashion in Rwanda whatsoever. They had to start from the ground up looking for people to work with.
“Many people thought, ‘where are they going? Are they going to be able to do anything in Kigali? Is there even fashion there?'”
One of her prized possessions from this time lies on the stone table in front of her – their first designer diary. Kigali springs to life and Mille’s eyes light up as she fingers the pages recalling drawing African masks and collecting slivers of material from the markets.
“There were informal collectives of women around the country, which were amazing and very well organized, they’d been doing handcraftsmanship for a long time… Initially, we tried to think everything is going to be coming from Rwanda. If it was textiles, it was found in the markets with a few wholesalers here and there. Obviously, it was challenging.
“I remember some women were doing baskets and I said ‘do just flat disks’. They said what for? I said we’re going to do necklaces. They went crazy over the idea. They then started doing their own earrings and selling them in the market. They were everywhere from corporate to home. It was the thing to have in Rwanda,” says Mille.
Their ticket to success was blending the creativity, strength and culture of the African spirit with ever-evolving global trends.
“There was a lot of intrigue. Nobody was doing this in Rwanda. No other brand existed that had taken handcrafted skills, redone it and made a contemporary product. We were some of the first ones to do it. It sparked a number of other brands to follow,” says Mille.
The team moved in to Kenya, casting their net in Nairobi. The demand was high and four more stores followed. It wasn’t always easy – a store on the coast of Kenya and a store in South Africa failed because they didn’t catch the right market.
“We were opening the door to the African clothing market… We thought if we sell abroad with all our challenges we already have, in terms of logistics, in terms of quality, we needed to align our market. We are producing in Africa; it makes sense to sell in Africa and make this product African.”
Along with the birth of Mille Collines grew the fully-fledged fashion atelier, which is owned and operated by the Kigali team that helped build Mille Collines.
“It was the hardest moment in the company. We needed to hand over the workshop to the team in Rwanda. They were prepared. We needed to transfer it and move away from production and focus on distribution and design. Otherwise we couldn’t grow further. It took one-and-a-half years. We sold it to the Kigali team for $1. The employees all have a stake. Rwanda is not in our core business, it’s became an actual supplier.”
Now their journey has taken them to Cape Town and the house we sit in. Their team is here to begin the next step of their journey.
Mille wants to see their clothes hang in major retail stores across the continent and hopefully take an even larger chunk of Africa’s dynamic fashion industry.
“I was the first one to land in Cape Town in 2015. We had to start from ground zero. We had participated in fashion weeks, so people kind of knew us. Our main market it still Kenya. But we’ve been building relationships with suppliers in Cape Town.”
As the company expands, Mille has shifted to purchasing textiles because it’s cheaper. They are also looking to the likes of Mauritius and Madagascar for textiles once their orders get larger.
“You need to find who is better for what. When we left Rwanda, that’s what happened, we became more pan-African. We only produce in Africa.”
The company has even expanded in ways they didn’t expect. Without owning a store or being on the shelves of retail outlets, Mille says South Africa is their second largest customer. This is because of online sales and a strong presence on Instagram.
“Instagram is the strongest source for us. We make sales on it. I think it’s because it’s a visual platform. Instagram is my baby. It’s difficult to delegate. How can I explain to someone that an image is not Mille Collines? It’s very tangible, either you feel it or you don’t. We go a lot with how people react when we put images up.”
The brand’s attention to detail and passion for telling beautiful stories continues.
Mille’s clothes have been worn, she says, by the likes of Queen Máxima of the Netherlands, Hollywood actress Lupita Nyong’o and journalist Mélanie Gouby.
It’s a brand for the African woman.
“She is a mother, an entrepreneur, an individual. She is alive with bursts of color and print and grounded in muted tones of Africa’s landscape.
“In a world where differences are increasingly emphasized and where people are divided and separated, it seemed fitting to celebrate the rich beauty that comes from combining many different influences. We wanted to celebrate the fact that, despite parochial thinking in some quarters, the world is becoming more of a mélange every day,” says Mille.
“I never dreamed I’d open a business in Africa. Not a business in fashion, never. My father was a businessman and my mother was passionate about Africa. I said I was going to be a vet. I loved the fact that [fashion] is a business and art. It’s a space where it meets in the middle. It’s very commercial and it’s very challenging and very interesting.”
For Mille, Africa is the muse that keeps on giving.
How To Become A Billionaire: Nigeria’s Oil Baroness Folorunso Alakija On What Makes Tomorrow’s Billionaires
One of only two female billionaires in Africa, with a net worth of $1 billion, Nigeria’s oil baroness Folorunso Alakija elaborates on the state of African entrepreneurship today.
The 69-year-old Folorunso Alakija is vice chair of Famfa Oil, a Nigerian oil exploration company with a stake in Agbami Oilfield, a prolific offshore asset. Famfa Oil’s partners include Chevron and Petrobras. Alakija’s first company was a fashion label. The Nigerian government awarded Alakija’s company an oil prospecting license in 1993, which was later converted to an oil mining lease. The Agbami field has been operating since 2008; Famfa Oil says it will likely operate through 2024. Alakija shares her thoughts to FORBES AFRICA on what makes tomorrow’s billionaires:
What is your take on the state of African entrepreneurship today? Is enough being done for young startups?
There are a lot of business opportunities in Africa that do not exist in other parts of the world, yet Africa is seen as a poor continent. The employment constraints in the formal sector in Africa have made it impossible for it to meet the demands of the continent’s working population of which over 60% are the youth. Therefore, it is imperative we harness the potential of Africa’s youth to engage in entrepreneurship and provide adequate assistance to enable them to succeed.
Several governments have been working to provide a conducive atmosphere which will promote entrepreneurship on the continent. However, there is still a lot more to be done in ensuring that the potential of these young entrepreneurs are maximized to the fullest. Some of the challenges young startups in Africa face are as follows: lack of access to finance/insufficient capital; lack of infrastructure; bureaucratic bottlenecks and tough business regulations; inconsistent government policies; dearth of entrepreneurial knowledge and skills; lack of access to information and competition from cheaper foreign alternatives.
It is therefore imperative that governments, non-governmental agencies, and the financial sectors work together to ameliorate these challenges itemized above.
The governments of African nations should provide and strengthen its infrastructure (power, roads and telecom); they should encourage budding entrepreneurs by ensuring that finance is available to businesses with the potential for growth and also commit to further improving their business environments through sustained investment; there must also be a constant push for existing policies and legislation to be reviewed to promote business activities.
These policies must also be enforced, and punitive measures put in place to deter offenders; government regulations should also be flexible to constantly fit the dynamics of the business environment; corruption and unethical behavior must be decisively dealt with and not treated with kid gloves. We must empower our judicial system to enable them to prosecute erring offenders with appropriate sanctions meted out. There should be no “sacred cows” or “untouchables”. The same law must be applied to all, no matter their state or position in the society; non-governmental organizations can also provide support for them through training and skills acquisition programs that will help build their capacity; they could also provide finance to grow their businesses; more mentorship programs should be encouraged, and incubators of young enterprises should be supported by public policy aimed at improving the quality of these youths and their ventures; and also, avenues should be created where young entrepreneurs will be able to connect, learn and share ideas with already successful well-established entrepreneurs.
What, according to you, are the attributes needed for tomorrow’s billionaires?
There is no overnight success. You must start by dreaming big and working towards achieving it. You must be determined to succeed despite all odds. Do not allow your setbacks or failures to stop you but rather make them your stepping stone. Develop your strengths to attain excellence and be tenacious, never give up on your dream or aspiration. Your word must be your bond. You must make strong ethical values and integrity your watchword. Always act professionally and this will enable you to build confidence in your customers and clients.
Charmaine Mabuza Honoured With FORBES WOMAN AFRICA Social Impact Award
Brand Voice by Zamani Holdings and ITHUBA
Group CEO of Zamani Holdings, Charmaine Mabuza was honoured with the Social Impact Award at the 2020 FORBES WOMAN AFRICA Leading Women Summit held in Durban ICC recently.
This award recognizes Mabuza for her measurable philanthropy that has positively impacted the lives of many South Africans for the past 21 years.
At the top of her philanthropical projects is the Eric and Charmaine Mabuza Scholarship Foundation which she founded with her husband, Advocate Eric Mabuza in 1999. The Scholarship Foundation started in Mpumalanga, where the Mabuza’s business hub is centered. Speaking to Ukhozi FM in an interview, Charmaine Mabuza said that together with her husband, they funded this foundation straight from their pockets. “Both my husband and I come from humble beginnings and we know what it’s like to not have means to study further, especially when you believe that education is your way out of poverty. So when we started making good profits from our small businesses at the time, we decided to dedicate a portion of our personal income to funding tertiary education fees of previously disadvantaged children”, said Mabuza.
Powered by Zamani Holdings, the Scholarship Foundation later expanded its reach to the rest of South Africa, supporting over 160 students countrywide, many of which have qualified as Doctors, Chartered Accountants, Engineers, Quantity Surveyors and many more. The 2020 Scholarship Foundation programme launched on 13 January, with an intake of 21 students.
Zamani holdings has empowered the rest its group of companies to roll out CSI initiatives that truly transform the lives of ordinary South Africans. At the forefront of these initiatives is ITHUBA, the South African National Lottery Operator and Zamani’s flagship company.
In July 2017, ITHUBA launched the ITHUBA Female Retailer Development programme, specially designed to empower women who own spaza shops and informal supermarkets, who currently sell National Lottery products, from all around the country. This included women from previously marginalized communities in the rural outskirts.
In collaboration with reputable institutions such as Regenesys and the University of Johannesburg, this programme has upskilled over 100 women in retail business. The latest group of 14 women graduated in October 2019 at the University of Johannesburg’s Kingsway campus, each being awarded a qualification in Advanced Entrepreneurship and Social Innovation.
Zamani’s Social Responsibility initiatives include:
- ITHUBA Graduate Programme: An annual skills development programme for graduates within the Marketing, Finance, IT, PR, HR and Logistics fields, with intake of 13 students in 2020.
- Youth Enterprise Development: Eradicating youth unemployment through developing upcoming entrepreneurs and helping them build sustainable, profit making business.
- Housing project: A project that builds houses for employees in the lower income brackets, who have been in the employment of the company for 10 years and more.
- A media campaign to condemn femicide and violence against women.
“I firmly believe that education is key to eradicating poverty and injustice. This is why all of our initiatives are based on imparting knowledge and skills. Through education we empower, through education we liberate” said Mabuza.
The French Silhouette In Africa: How This Designer Started Her Own Business Despite A Shortage Of Funds
From glamorous Paris to gritty Johannesburg, Zazi Nyandeni arrived with $2,700 and updated sartorial skills to showcase haute couture on South Africa’s racks and runways.
With just $2,700 in her bank, transferred from her savings account in France, Zazi Nyandeni returned home to the South African fashion industry with her freshly-minted talent. But if Paris was school, Johannesburg proved to be university. Qualifying was never easy.
About 53kms from Johannesburg’s OR Tambo International Airport is Constantia Kloof, a scenic, upmarket suburb in the West Rand, where we meet Nyandeni, the up-and-coming 25-year-old fashion entrepreneur whose brand, Zazi Luxury, has showcased in Paris, the fashion capital of the world.
“I wasn’t really introduced to fashion, but more so to art,” recalls Nyandeni of her early days. “Ever since primary school, I was exposed to paintings, drawings and music by my father when he would come back with artworks from his travels.”
She thought she was going to become a doctor growing up because of her choice of subjects in high school but still pursued design to stay close to art. Thankfully, her parents picked up that she was artistically-inclined and gave her their unstinted support.
In 2013, after high school, Nyandeni took the plane out of South Africa and went on to study fashion at ESMOD, an international fashion design and business school in Paris. She wanted to express herself without saying a word, and found her way. She spent close to six years there, studying full-time for the first three years and partially for the last two, whilst freelancing and interning for various companies in the glitzy city.
“I love to draw and not really to sew. For my first freelance job, I went for a company that would help me work on my weaknesses; I went to Loon Paris boutique and worked on my sewing techniques. They were very strict and meticulous when it came to sewing and I learned a lot about technique,” she says.
The intense training meant that even the inside of a garment had to be as exquisite as the outside and if the hand stitch was incorrect, she had to undo and redo it all over again.
“When I asked ‘aren’t we wasting material’, they would say ‘I’m wasting their time’,” she laughs.
The eager fashionista was juggling two jobs; the other was at a PR agency named DLX Paris, which was sourcing brands for international celebrities like American singer-songwriter Kelly Rowland.
She soon came to a realization that in fashion, there is nothing new, which is when she moved to fabric store Boutique Malhia Kent, a French manufacturer of haute couture.
Nyandeni has a soft spot for weaving. She clearly adores fabrics, and this is apparent in the weaving machine she has at her Constantia Kloof studio, placed in a corner of one of the work rooms.
She says her weaving differentiates her from the other designers, as she compares herself to South Africa’s Laduma Ngxokolo of MaXhosa Africa and Greek fashion designer Mary Katrantzou.
“You can make a silhouette similar to somebody else but the real interesting part is the fabric, so Malhia Kent deals with fabric customization, and this is where I learned that in the world of fabric, you are two years ahead of the industry; like Chanel orders their fabric from Malhia Kent,” she says.
That was the space she wanted to be in.
So in between jobs, Nyandeni co-founded Garbage, a business that looked into environment-friendly garments.
“We wanted to speak on the notations of how do we pick up the fashion industry and say that there are other ways to look glamorous and chic and it doesn’t have to be wasteful and terrible to the environment.”
The business ran for a year and sold a few garments, but sadly, collapsed. That inspired the birth of an idea, one that would solely work for her, a business that would include all that she had learned from fashion school and the stylish streets of Paris. She had also personally worked with Katrantzou, building a portfolio and a first collection. She was ready and had under $2,700 in savings.
READ MORE: Owning The African Narrative
Nyandeni returned home to South Africa and registered her company in 2018.
“In my heart, I thought I was going to be able to buy sewing machines and a small car to travel back and forth for business, be able to get staple fabrics that people would love,” she says.
It was not the case, but she started the business despite a shortage of funds.
“I called it Zazi Luxury because it speaks to more of the inside and outside of a garment and the technique used which is the core of the business. The inside is about matching the outside; I should literally be able to wear it inside out, and if not, it’s not [a Zazi Luxury product].”
Her first client was South African comedienne Tumi Morake referred by a mutual friend, and later actress Zenande Mfenyana, but currently, her clients are also doctors, lawyers and drawn from the corporate world.
“In the beginning, the business was focused on couture and it developed a bit more into business such as television, dressing anchors, and we also have ready-to-wear garments. We are broadening the business to other boutiques too.”
Zazi Luxury recently showcased at South Africa Fashion Week. This year, she will be working on a fourth collection that will be both couture and basic women’s workwear garments but featuring the Zazi aesthetic.
Zazi Luxury currently employs seven young enthusiastic fashionistas; one of who is Lebohang Ketlele, who has worked with Nyandeni for two years.
“I am a dressmaker and stylist. I don’t think I would know the things I know now if I wasn’t working here, we have dressed celebrities and that is a great experience,” attests Ketlele.
Inspired in Paris, but made in Africa, Zazi seems to have made the cut.
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