WE CAN’T KEEP IGNORING
AFRICAN FASHION

TWIN BY TARE ISAAC

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Isaac’s brand, Twin by Tare Isaac, opened the show. The first look saw a model come out in a black dress, walking very slowly, commanding attention to be paid to the details of the garment. The look featured a beaded headpiece, which had its details reflected on the base of the gown. The body itself became a part of the garment as it peeked through more sheer elements of the dress itself. The mood felt mellow.

 

The collection then shifted towards more tailored looks, with gold accessories adding a layer of flair. These specific pieces emphasised the modernity and diversity in fashion that the African continent has to offer. Precise cuts and made-to-measure elements stood out here, with fabrics flowing weightlessly as the models walked.

 

Although not the most cohesive collection at first glance, Isaac made up for that through pristine craftsmanship and attention to detail. Standouts from the collection included a sculptural minidress, paired with a matching boater hat, made from more traditional African fabrics.

 

“The fabric is called onibgake, according to my mother. If a man wants to ask for your hand in marriage, he needs to buy that fabric. If he doesn’t, you’re not going with him. It was a must to have that fabric in the collection,” said Isaac. She also told Asthetik Magazine that finding the correct spelling of this fabric was a task in itself, given how limited the documentation of Africa’s contribution towards fashion really is.

 

The same fabric was reimagined in a separate look, this time as a skirt with a high slit. The onibgake fabric glided seamlessly along the runway, while a relatively simple white top completed the garment. On the more understated looks, rhinestones added a layer of intrigue.

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The addition of sparkle was more explicit on another mini dress, this time featuring black and red beads almost throughout, reflecting light as the model paced down the runway.

The final look was undoubtedly the showstopper of Isaac's collection. A cream white gown, which was draped effortlessly, caught the attention of the room. Several phones were immediately taken out to capture the moment. The dress featured a veil which flowed without interruption into the gown itself, while a bedazzled corset cinched the midriff together. The golden embroidery and gems featured on the midriff were echoed on the train of the gown.

 

“This collection draws on my mother’s lineage and the people of the Niger Delta in Nigeria, whose visual story has not really been told before in fashion,” added Isaac. “I wanted to use this medium of art to push our story forward.”

TAYAMEACA

 

Up next was Taya Hughes, whose brand Tayameaca served as a reference to “The Land” in this group show. Hughes' opening look was bold, with a black and gold headpiece attached to eyeglasses demanding to be seen. A gold and black cape matched the headpiece, as well as a relatively uncomplicated mini dress, which the cape wrapped itself over. The fabrics were reminiscent of fur, which made sense given that safaris were a huge inspiration for this body of work. 

 

“My collection is focused on the land, specifically Zimbabwe. I was hugely inspired by blue skies, lions, green grass, everything to do with safaris,” Hughes told Asthetik Magazine.

 

In terms of technique, resin was used in a number of looks to add levels of dimensionality. These looks stood out given their texture and wet-like appearance. In one garment, behind the resin, leopard print materials could be identified, connecting the less ‘safari-like’ pieces into the world Hughes created.

 

Another resin look featured an arm strap, which made the garment appear more sculptural. In essence, transforming a subtle mini dress into something more visually stimulating. This specific dress also featured blue beadwork which connected the look to water, a clear inspiration for this collection. 

 

This penultimate look set the scene for what was to come: a piece predominantly made in a sky-blue fabric. The dress invited bodies of water onto the runway, with the final look having an eye-catching resin-constructed fascinator reminiscent of water. Circular embellishments also flowed down each side of the dress, inviting a level of playfulness to the look. 

 

Headpieces were a key element of this collection, with only two out of the eight looks not featuring one. As Hughes said herself, “For this specific collection, my starting point was the headpiece. The dresses were made to complement the headpieces, which were my primary storytellers.”

JERMAINE BLEU

 

 

The pace of the show shifted as soon as it was time for Asiedu to present his collection under his brand Jermaine Blue. This was evident in the more upbeat music that was played and in the literal speed at which the models came down the runway. 

 

Asiedu’s opening look was a rust orange shirt with tailored shorts in black, styled with a monogram scarf. Although the look was relatively logo-heavy compared to the previous two designers, the visual nature of the logo made this digestible and less distracting than one would expect. Earthy tones were present throughout the collection, which felt fitting for the season. 

 

A collared dress, almost ankle length, followed as the next offering. Again, quite simple, but clearly precise and informed. The tones used in this collection made the looks stand out. The monogram scarf featured again, creating immediate cohesion among the collection. 

 

A two-piece suit with shorts, instead of trousers, came out next. Here, accessories were everything. A cherry red flat cap was mirrored on the polar opposite end of the look as matching loafers. Long socks were also a clear motif throughout the collection, playing with the sense of age and references to older generations. 

 

“For this collection, I took inspiration from old family albums and reminiscing over eras that I didn’t live. And then, trying to capture the essence of that into this collection,” Asiedu told Asthetik Magazine.

 

Standouts included a patchwork waistcoat made in various shades of green kente. Styled effortlessly with tailored black pants and boots, the look oozed sophistication. “I included traditional fabrics like kente and techniques like batik making, which are quite common in Ghana. I wanted to incorporate those into this collection,” added Asiedu.

 

Patchworking techniques reappeared in the penultimate look. This time, with a bolder palette of primary colours. Styling was key to the success of this collection. It never felt as though the looks were too much or overdone when it came to colour choices and pairings. 

 

A mustard yellow dress closed the show, with tassels adding a sense of elegance and joyfulness. A loose bow synched the waist, allowing for an hourglass silhouette. Asiedu’s clothes felt wearable while still possessing undisputed levels of craftsmanship. Simplicity can win, as Asiedu confidently demonstrated.