When I first started learning about the fashion industry, one thing became very clear to me as a beginner: fashion primarily functions within the “big four” cities—Milan, New York, Paris, and London.
The very first fashion show I watched was a Jacquemus runway show, and the first designer names I memorized were primarily European or American. When I thought of luxury brands, names like Prada, Gucci, and Chanel immediately came to mind. The fashion industry has long-established credibility and infrastructure around these four cities, positioning them as global fashion references.
Upon closer examination, it’s evident that these cities have built a strong reputation in the fashion world, hosting four ready-to-wear collections each year, two couture collections (exclusive to Paris), additional cruise collections, and numerous major fashion events. However, it seems inequitable that fashion outside these big four is often deemed “non-luxury.” This has led to an almost universal belief that for a brand to be considered a luxury brand, it must either be based in one of these cities or designed by creators from those regions.
The reality is that we live in a world rich in diverse backgrounds, heritages, ethnicities, and creativity that cannot be confined to just four cities. This perception especially affects African fashion, which is often seen as merely a celebration of culture and heritage rather than a serious industry driven by innovative creatives. African fashion is often reduced to a symbol of culture, with garments that may represent a nation or community but are not afforded global market value.
Africans are admired for their creativity and ethics in fashion production, yet they rarely receive proper credit for their contributions. We have unconsciously been marginalizing African fashion, preventing it from transcending its role as an economic engine.
When a garment is made in Africa, it becomes heritage by default, whereas one made in Italy is considered luxury as soon as it passes the production stage.
When an African designer lets his creativity shine, the world calls him talented, but when it comes to a European or British designer, they’ll call him a genius or a trendsetter.
A garment labeled with the “Made in Africa” tag is often seen as modest, despite representing a high level of quality and craftsmanship.
The truth is that there is a gap between African and Western fashion. However, it is unjust to view African fashion as merely an accessory to the global fashion industry. Many designs, logos, and techniques—such as strip weaving, resist dyeing, and hand embroidery—draw inspiration from Africa. The continent has significantly influenced the arts, music, fashion, and even the natural medicine sector, but this impact is often unrecognized.
In this article, I aim to explore the potential of African fashion, looking beyond its heritage and cultural significance to consider its role in luxury fashion and the broader industry. Every exploration begins with a question, and that brings me to my first one: