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African Ancestors – The Fashion Trendsetters
Written by: Khadijah Yusuf Ali For centuries, African ancestors have shaped global fashion. From jewelry to hairstyles and textiles, their influence is everywhere—even if the world doesn’t always recognize it. Today, our ancestors’ styles continue to inspire modern fashion. Their attire, hairstyles, body marks, and jewelry inspire both the old and young across different continents, including Asia and Europe. We see how people try to recreate the way our emperors, elders, and indigenous people dressed. The world has adopted African culture and even turned it into trends. Non-Africans wear cornrows, tie-dye clothes have made their way into high fashion and streetwear, and knitted garments have become a staple among fashion enthusiasts. The stacking of jewelry—whether maximalist or minimalist—is now a global styling technique embraced across various fashion aesthetics, from boho and streetwear to old money and high fashion Celebrities and influencers like Tems, Bonang Matheba, and Aminata Mboup are heavily influenced by their African roots and are recognized for their bold and unique fashion styles. Cleopatra of Egypt Cleopatra, often described as stunning, wore exquisite garments of Egyptian heritage, including the kalasiris—a close-fitting sheath dress made of linen that left the chest bare. She often paired it with a gorgerine, a metal disc worn on the chest, among other embroidered robes. Cleopatra was also known for her elaborate accessorizing. She adorned herself with anklets, massive snake-shaped armbands, and bold bangles. Her beauty regimen included bright green paste under her eyes, blue on her eyelids, and black kohl eyeliner—techniques that continue to influence beauty trends today, with many dressing as Cleopatra for Halloween and other celebrations. The Kingdom of Kush The Kingdom of Kush has also played a significant role in modern fashion. Between 1780-1580 BC, Kushite women adorned themselves with beautiful beaded jewelry and used bronze mirrors. Wearing gold jewelry was a common practice. Princess Armenil Dis, who lived in the 8th century, wore exquisite gold rings, bracelets, and colorful beaded jewelry, some of which were made from ostrich eggshells. Queen Amanishakheto, always covered in gold jewelry, was an inspiration to women in her culture—queens, nobles, and commoners alike—who wore varying degrees of adornment. The contrast of gold against their deep brown skin enhanced its beauty. Kushite kings and men were also fashion-forward, wearing tight-fitting crowns—skullcaps made of leather or metal with the sacred serpent symbol. They accessorized with cord necklaces that draped over their shoulders and backs, while their leather sandals, sometimes dyed in green, red, or yellow, were stamped with snake-like patterns. West Africa’s Gold Adornments In West Africa, Adinkra symbols are used to craft gold jewelry among the Akan people of Ghana. These bold gold pieces take various shapes, like the mudfish, symbolizing nourishment and protection, often crafted into rings or necklaces. These traditional adornments have inspired both local and international fashion brands. Schiaparelli, known for its bold gold accessories, incorporates African influences into its designs, from bags to jewelry and even dresses. African designers, such as Adebisi Adedjouma, founder of ILE-IFE, continue to celebrate African heritage through jewelry. VANLELES-DIAMONDS ethically sources 75% of its precious stones and metals from Africa, further showcasing the continent’s influence in high-end jewelry. As demand for bolder fashion statements grows, Benin bronzed sculptures, historically used in art, have become statement jewelry pieces, with brands like TrufacebyGrace incorporating these influences into their collections. North African Beauty Practices In North Africa, the Berber people of Morocco wear a blue veil called the litham, dyed with the nila plant, which also treats skin conditions. Women rub the fabric on their faces when going out, leaving behind a blue residue that protects the skin from the sun—an early form of sun protection that has evolved into modern sunscreen. The nila plant was not the only one used in beauty. Henna, derived from its tree, was applied to hair and hands, a practice still widely embraced today. Kohl, used as black eyeliner, remains a staple in the beauty industry, influencing the popularity of smokey eyes and bold eye makeup trends. Henna remains integral to African culture, particularly among the Hausa of Northern Nigeria and Kushite women, where intricate designs are applied for celebrations such as Eid. Today, non-Africans have adopted it as temporary tattoos. Textiles and Patterns African textiles continue to influence fashion worldwide. Adire (tie-dye), originating from Ogun State, Nigeria, was first produced in Abeokuta by the Yoruba people in the early 20th century. It is crafted using hot wax to create patterns before being dyed with extracts from the elu plant. This traditional art has inspired designers globally. Nigerian-owned brand Dye Lab creates contemporary clothing and accessories, such as bags, using adire. Ade Bakare Couture in London also incorporates adire into eccentric designs. The widely popular ‘bubu’ outfit, indigenous to West Africa, Sudan, and other African regions, has evolved into the ‘rich auntie gown,’ a modern reinterpretation of a traditional style. Africa has always been a land of color, with its textiles, art, and culture embracing bold hues. While many societies favor muted tones like grey and black, African cultures celebrate vibrant colors like red, yellow, and green, made from natural sources such as henna (orange), mint (green), and saffron (yellow). Africa’s love for bold colors has undeniably influenced global fashion trends. Adinkra symbols are also prominent in textile designs, used to create cultural pieces that are transformed into clothing, bags, and more. Two-Piece Outfits and Skirt Styles The Yoruba women traditionally wore the Iro and Buba—a two-piece outfit consisting of a loose-fitting top and a wrapped skirt. Similarly, ancient Egyptians of the upper class wore the schenti, a knee-length kilt wrapped around the waist. These traditional garments can be seen as inspirations for modern two-piece outfits, including skirts that sit perfectly on the hips, often paired with crop tops. The Power of African Hairstyles Hairstyles in Africa are more than just beauty—they are a form of art, representation, and communication. Different tribes have distinct styles, each carrying deep cultural significance. From intricate braiding techniques to elaborate hair adornments, African hair has
The Journey of an Art Director & Creative Producer
On this month’s episode of African Creative Stories, we had an inspiring conversation with Piiiirre, a talented art director based in Canada. Enjoy! Kindly introduce yourself My name is piiiirre, I am originally from Senegal and I am currently based in Montreal, Canada What characteristic about yourself do you love the most? I love the way my mind clicks—how I see the world in new angles every time, and how I channel that into art to answer the big questions society throws at us. For those unfamiliar with art direction, how would you describe it? Creative direction is the thought process behind an idea, with the goal of bringing it to life in a creative way. It’s about envisioning what the idea should be, why it matters, and how to express it across different mediums. Creative direction spans across all fields, from business to music to sports and is the foundation for every project. Art direction, on the other hand, is the actual visual representation of that idea. The art director takes the concept imagined by the creative director and works to bring it to life—coordinating the production, from visuals to details. In my case, that means overseeing photoshoots, commercials, and events to make the vision a reality. Though they’re distinct roles, these two roles are intertwined, with the creative direction setting the vision and the art direction turning it into something people can see and experience. Walk us briefly through your journey—when did you start, what inspired you to pursue this path, and how did you know it was the right career for you? When I was 10, I started designing clothes and dancing. By 16, I created my first piece for a school show, despite not really knowing how to properly sew with a machine or create patterns. I was always the one coming up with ideas for events or parties I was planning, driven by a deep, natural creativity. Growing up, I’d take walks in Brussels, snapping pictures with my father’s camera, or style myself in unique ways. I’d perform in dance and theater shows in front of large crowds in Egypt, always feeding off that creative energy. When I moved to Montreal for my studies, I realized I wanted to try modeling for fun. I had been offered gigs before but always hesitated. Eventually, modeling turned more serious, and I started doing content creation, collaborating with brands to create visual content. As I gained more experience, I decided to produce my first photoshoot with myself as the model. That’s when I discovered my love for creative and art direction. It became clear that I was building my portfolio by working on projects for local brands and my own personal ventures, often leading a team in the process. I had no idea what I was doing had a name until I researched it. That’s when I realized I was an art director and creative producer. Everything inspires me—whether it’s people, quotes from my relatives, movies, books, fashion, or nature. But what really drives me is using creativity to explore and answer the societal questions that have always been on my mind. I think I knew I was on the right path when I wrapped up a 12-hour shoot. Instead of feeling drained, I was full of energy, motivated, and inspired to do more. I could have easily done another shoot the next day. I think it’s important to recognize whether your work drains you or pushes you to the next level. And that’s when I knew this was the career for me. Can you tell us about your favorite project? Why is it your favorite? The Teranga Yearbook is by far my favorite project. It’s a celebration of my country, Senegal, and an exploration of its rich cultures and diverse ethnicities. What I love most is using my art to teach people about cultures they might not have known about, and celebrating African excellence. This project takes a profound journey into the diversity of Senegalese ethnicities, showcasing their essence through the language of accessories, the eloquence of clothing, the artistry of makeup, and the powerful energy they radiate. It’s a personal and collective voyage—a reconnection to cultural roots. The project echoes the empowering anthem, “our roots, our land, never yielding,” a mantra of resilience and pride. The significance of the yearbook goes beyond its physical pages. It stands as a symbol of enlightenment, a vessel for wisdom that has the power to transform. True empowerment comes through understanding, and this project aims to shine a light on the beauty and strength of black African identity, offering a narrative of unity and resilience. Do you have any words of advice or encouragement for aspiring art directors and visual storytellers? Something I realized is to not wait for someone to come to you and give you a chance, you need to create your own chances and you need to be bold. And along the way, it’s crucial to understand your true intention behind your art. Is it about money? Fame? Recognition? Collaboration? Or is it the love of the craft, the passion, or even the desire to educate? Knowing your why will guide your journey and keep you grounded when things get tough. Thank you for joining us on this month’s episode of African Creative Stories Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok You can follow Piiiirre here and here on Instagram Watch out for March’s Edition.
Holiday Traditions: A Regional Showcase Around the African Continent
Holiday traditions around central, west, eastern, and southern African take many diverse and unique forms. In Benin, the Igue Festival, is cited as having been celebrated for more than 1,000 years. This festival, begun by Oba Ewuare I, is celebrate by the Edo people of Benin. The symbolism of the celebration represents thanksgiving for blessings at the close of a favorable year, with participants giving thanks to the Creator. Igue is celebrated in the last weeks of December and is unique in that it is celebrated as a set of multiple ceremonies for 11 days. These ceremonies are Otue-Ugierhoba, Ugie-Erhoba, Iron, Otue-Iguoba, Igue-Inene, Emobo, Iguivioba, Igue-Edohia, and Ugieewere. The Igue Festival is celebrated with many artistic elements, such as dance, music and song, incantations, magic, recitals, and chants. Each day of celebration, the festival is foreshadowed by the presence of the royal jester, the Akharowan. This historical figure is often seen wearing a white cap with a handbag. The Igue Festival is a powerful statement of culture and tradition, not only due to the many years it has been celebrated, but also its historical significance. In previous historical periods, the festival was originally celebrated by the Oba and his subjects in the Benin Kingdom and continues in our contemporary moment. In South Africa, families come together to exchange gifts and hang stockings. At first glance, this Christmas tradition has much in common Christmas traditions in the U.S. What is unique, however, is the name given to Santa Claus, and the delicious foods eaten on Christmas day. Santa Clause is known as Sinterklaas or Kersvader in Afrikaans, and the foods prepared on Christmas Day may consist of roasted turkey, duck, beef with yellow rice and raisins, or vegetables. These foods are eaten along with savory desserts such as Malva pudding. If you celebrate Christmas, you can check out the different and interesting ways to say Merry Christmas and Happy New Year in Zulu, Xhosa, and Sotho! Zulu ‘UKhisimusi omuhle, uJabulela unyaka omusha’ Xhosa ‘Krismesi emnandi, Nyak’omtsha’ Sotho ‘Le be le keresemese e monate, Mahlohonolo a selemo se secha’ Similar to Christmas celebrations in South Africa, families in Namibia celebrate the holiday by preparing large feasts. These dinners contain meats such as beef, lamb, and game that is often cooked on the braai or barbecue. Desserts that can be found at Namibian Christmas dinners consist of melktert (milk tart), and koeksisters (syrupy twisted doughnuts). On Christmas day, many Namibian people attend church services, marking the spiritual significance of the holiday. It is also common for families to gather on this day for a special meal, often featuring the braai meat mentioned above. In the capital of Windhoek, the city is said to sparkle with sparkling lights and vibrant Christmas decorations. Uganda, like South Africa, has another word you can add to your Christmas vocabulary. In Uganda, Christmas is termed Sekukkulu, and is about people returning home to their families and communities. Returnees eat food, spend quality time together, enjoy music, and play games. Sekukkulu is celebrated on December 25th and is a large event. During Christmas, city authorities arrange for large trees to be like, and Christian choirs sing carols. If you happen to be visiting Uganda in December you can hear the carolers and people wishing each other Sekukkulu Enugi, which has a similar meaning to Merry Christmas. For our last country, we will showcase Ethiopia, which is distinct in its cultural traditions. Ledet or Genna, as Christmas is referred to in the county, is celebrated on January 7th on the Gregorian calendar. The holiday may also be celebrated on the 29th of Tahsas, on the Ethiopian calendar. Before Christmas Day, practitioners participate a 43-day fast known as Tsome Nebiyat, or the Fast of the Prophets. During Christmas festivities, a traditional thin, white cotton garment with brightly colored stripes, called a Netela, is worn. On Christmas Eve, or the gahad of Christmas, Ethiopian people may attend overnight mass, beginning around 6pm and ending at 3am. Together, the above countries illustrate diversity on the continent. Additionally, these traditions represent the diversity of holidays, and how they are celebrated. Written by Jasmine Hoeffner Research & Editorial Intern
More than an aesthetic, Afrofuturism represents revolutionary optimism
In a world where existence itself is an act of resistance, Afrofuturism emerges as a vision for a future shaped by hope and the struggles of the African diaspora. More than an aesthetic, Afrofuturism represents revolutionary optimism—a reimagining of the future through a distinctly African lens, blending techno-culture with elements of science fiction. At its core, Black speculative thought anchors Afrofuturism, serving as both its foundation and its essence. Science fiction becomes a fitting vessel for Afrofuturism, reflecting the experiences of a diaspora denied its identity. The archetype of “the stranger in a strange land” mirrors the reality of those cut off from their histories, determined to forge a future of their own making. The cultural and artistic impact of Black Panther (2018) as an Afrofuturist milestone cannot be overstated. Directed by Ryan Coogler, the Marvel blockbuster became a global phenomenon, grossing over $1.3 billion and resonating deeply with audiences, particularly within the African and African diaspora communities. The film’s setting, Wakanda, represents a vision of uncolonized Africa: a technologically advanced, self-sustaining society rich in cultural heritage and innovation. While Black Panther stands as one of the most prominent modern examples, Afrofuturism is not confined to technocratic narratives. Pioneers like the Sun Ra Arkestra infused it into jazz, delivering theatrically adorned performances and groundbreaking compositions that redefined the genre. Other examples of afrofuturism in music includes Parliament Funkadelic and their Holy Mothership, Dr. Dre, and Janelle Monáe. There are countless examples of Afrofuturism in literature, with Tomi Adeyemi’s Children of Blood and Bone standing out as a powerful contribution. Adeyemi was inspired by the sacred and vivid depictions of African gods and goddesses and sought to create a story rooted in West African heritage while addressing contemporary issues like police brutality. In her author’s note, she writes: In “But if this story affected you in any way, all I ask is that you don’t let it stop within the pages of this text. If you cried for Zulaikha and Salim, cry for innocent children like Jordan Edwards, Tamir Rice, and Aiyana Stanley-Jones. They were fifteen, twelve, and seven when they were shot and killed by police.” Earlier works also paved the way for the genre. Pauline Hopkins’ Of One Blood (1902) is a groundbreaking story that challenges the separation of races, often cited as one of the earliest examples of Black internationalism. Rivers Solomon’s An Unkindness of Ghosts explores structural racism aboard a generation ship where marginalized People of Color live under systemic oppression. Octavia E. Butler, a foundational figure in speculative fiction, used her works to address contemporary African-American issues through the lens of 20th-century technoculture. Ytasha Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture says “In Afrofuturism, time is treated as nonlinear, so it becomes a healthy way to explore histories, futures, and resilience.” She also emphasizes the role of pop culture, like fiction and literature, work as a lens for understanding the past and the present, making Afrofuturism all the more essential in a fight for liberation and understanding. While Afrofuturism often imagines bold futures, retro Afrofuturism offers a powerful way to reimagine the past. By recreating histories through a liberatory lens, it transcends temporal boundaries. The Before Yesterday We Could Fly exhibit at the MET, for instance, envisions a preserved Seneca Village—a thriving African-American community that was erased—reclaiming what could have been to inspire what could still be. Speculative fiction within Afrofuturism is deeply interconnected with historical and cultural legacies. Harriet Tubman, often described as an Afrofuturist icon, envisioned a future of liberation for the oppressed and turned those dreams into transformative action. Afrofuturism challenges us to dream of freedom and liberation as the first steps toward creating lasting change. More than ever, this genre deserves to be uplifted, especially in spaces where its presence has been overlooked. Afrofuturism challenges us to think beyond boundaries—of time, place, and oppression—and centers Black voices in the creation of worlds that are just, imaginative, and free. In the fight for liberation, its stories remind us of the importance of dreaming boldly, especially in spaces where its presence is most needed. For the African diaspora, Afrofuturism is more than a genre; it is a blueprint for empowerment. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok Images by Shem Obara Written by Abigail Tan
From Runways to Realities: Two African Models Share It All
In this month’s episode of African Creative Stories, we had the pleasure of interviewing two incredible models: Jesujoba Isaac (AWE) from Nigeria and Lelam Nombewu from South Africa. They shared their experiences about the realities of being a model in Africa and offered insights on how the industry can improve. We hope you enjoy this episode as much as we did! In conversation with the first model What’s your name, and which country do you reside in? My name is Jesujoba Isaac, AWE. I currently reside in Lagos, Nigeria where I work as a model and performance poet. What’s your fondest memory as a model? I now have quite a few memories; working with one of the best photographers in Lagos, walking the runway at Lagos Fashion Week and featuring on the GTCO Fashion Weekend campaign. It’s been such a ride, and a long time coming. What improvements do you think the modeling industry in Africa needs? I honestly feel that there have been too many rejections, even when a model practically meets the criteria for a shoot or fashion show. It’s too political, which makes it difficult for the new generation of models to thrive. From my personal experience, it’s a painful process fighting your way to the top. I don’t think there should be any boxes whatsoever—there’s room for everybody.. In conversation with the second model What’s your name, and which country do you reside in? My name is Lelam Nombewu, and I’m from Cape Town, South Africa, where I still reside. What’s your fondest memory as a model? One of my fondest memories as a model was working with Michael Ludwig Studios. The experience was incredibly special to me because it wasn’t just about the work, it was about the lessons I learned from Michael. Their patience, willingness to teach without criticism, and dedication to their craft were things that left a lasting impact on me. It taught me so much about the industry and, more importantly, about myself. What improvements do you think the modeling industry in Africa needs? When it comes to the African modeling industry, I believe there is a pressing need for greater diversity and representation. While there has been a growing focus on African beauty, a significant gap remains in representing the full spectrum of our continent’s diversity. From different cultures, body types, and skin tones, Africa has so much more to offer than what is typically portrayed in the media. People often hold a narrow view of what an African model should look like, but the reality is that we come from a rich variety of backgrounds, and this diversity deserves to be celebrated. Furthermore, I believe Africa needs to invest more in talent development. We have incredible potential, but it often goes unrecognized due to a lack of platforms to showcase and nurture this talent. Many aspiring models struggle to access proper training, mentorship, and professional development opportunities. With more resources, workshops, and agencies dedicated to guiding and uplifting young talent, we could build a more professional and sustainable modeling industry. Thank you for joining us on this episode ofAfrican Creative Stories. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok
From Congo to Palestine, to the World: The Interconnected Fight for Liberation
The global genocide and exploitation of Congo dates back to the 16th century following the pillaging of Congo’s natural resources for colonial interests, and the brutalization of the Congolese people’s bodies, villages, women, and other civilians. Congo has been at the focus of the world’s deadliest conflict since 1945 involving 5.4 million deaths. Surrounding countries are involved in the ravaging of the Democratic Republic of Congo (DRC)’s mineral wealth. More recently, hundreds of thousands of children, girls, and women are abducted, brutalized, and are forcefully made to work, some as sex slaves, and even UN peacekeepers do not do much to protect citizens and instead participate in these abuses and plunder. At the center of the plight of the people of Congo, are unsafe and violent resource extraction projects. Home demolitions, evictions, displacement, targeted violence on activists and land defenders, and child exploitation are commonplace in these unsafe mines, with one of them caving in 2019 killing a total of 49 people. Since the 1990s, Congo has been at the center of mass atrocities at the hands of Belgian colonizers led by King Leopold, amassing more casualties than the holocaust in an exploitative, brutal, and tortuous regime with farming rubber, ivory, and minerals for profit at the heart of its interests. Now, neo-colonial traditions continue to harm the Congolese people– history has not changed as children are still being abused for profit, women are still raped, villages are still being pillaged, and men are still being killed. A large part of what exacerbates the exploitative conditions in Congo are large mining companies that seek to pillage Congo’s wealth of natural resources to continue to wage imperialist wars on other nations. For example, grave human rights abuses are almost essential within Congo’s mines– massacre, genocide, environmental destruction, mines that Glencore, the world leading producer of cobalt in the DRC, and one of its subsidiaries, Katanga Mining have greatly benefitted from. Aside from this, these mining operations are responsible for up to 80% of the destruction of the ecosystem and cause the pollution of rivers, air, and soils that lead to chronic illnesses affecting surrounding communities. However, Glencore is not only active in inciting violence in Congo, but also in other nations– to pacify community resistance at mining sites, a large part of Glencore’s subsidiaries also employ numerous private security companies managed by former apartheid South African soldiers that are responsible for human rights violations in Namibia and Angola. The company is also in corruption scandals after allegedly paying 75 million euros to Israeli billionaire Dan Gertler who bribed officials in Gecamines to secure mining agreements. This tracks, seeing as Israel’s genocide of Gaza utilizes bombs, jets, tanks, and guns used by Israeli forces in their Palestinian occupation are directly produced from destructive mining operations in Congo, Columbia, South Africa, West Papua, and Bougainville. Our oppressors are not all that different, but are interconnected and the same. The brutal cycle of community resistance at mining sites which are pacificied via military repression fueled by minerals from other conflict zones does not start and end with Glencore. Unfortunately, it is not an isolated incident as seen in the case of Rio Tinto, a subsidiary of Bougainville Copper. Rio Tinto has polluted the Bougainville’s river systems killing aquatic life, land based livelihoods, and sacred spiritual sites in the area. They have also supplied helicopters to the Papua New Guinea army to pacify anti-mining and independence movements, commit torture, and launch extrajudicial killings, killing over 20,000 Bougainvilleans by the end of the decade. The same company is also responsible for human rights violations in Madagascar, West Papua, and Lonmin in the Marikana massacre. Human rights violations in the nations of the world’s oppressed majority range far and wide, but our oppressors remain exactly the same. The fight for a free Congo, is one with the fight for a free Palestine and a free world for the oppressed masses of the globe. As we recognize how each of our struggles for national liberation is interconnected, we must also come together to fight for what will be our joint liberation. Through finding strength in international solidarity of the oppressed peoples of the world, we shed the view that these issues of violence and abuse are separate instead of a shared fight against imperialism, colonization, and exploitation. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok
Entrepreneurial Journeys: The Inspirations Behind Launching Brands in Africa
AFRICAN CREATIVE STORIES Join us on this episode of African Creative Stories as we sit down with five remarkable African entrepreneurs who are revolutionizing their industries across the continent. They reveal the sparks that ignited their brand launches and the pivotal moments that defined their journeys. Dive in and enjoy their inspiring stories! Peter ACHA – Founder of PETTRE TAYLOR (Lagos Nigeria) Q – What inspired you to start your brand? A – What really inspired me to start Pettre Taylor was a travel experience I had with my dad when I visited my hometown, Utonkon, the Ufia land, for the first time as a youth. Learning to pronounce words in my native dialect while interacting with people and immersing myself in the culture was incredibly priceless and eye-opening. I also got to teach them words in English and share the knowledge I had. Allowing myself to connect with my people made me realize that, just like my culture and my people, there are other cultures out there with their own spaces, people, and traditions. This fueled my curiosity about the cultural tapestry of the world. My brand reflects my journey to view the world through my own lens and present my clothes as a medium for cultural dialogue. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? A – I had always been quite reckless in my design process, randomly buying fabrics and designing expressively, without always knowing if the clothes would be well-received. But I had this feeling that there was someone out there for whom I was designing. When ‘30s Store’ reached out and invited me to showcase my work at their pop-up event in Lagos, I was both excited and nervous. The moment we were done arranging the clothes on the racks, the response was overwhelming. Within an hour, I had sold out almost my entire stock, leaving just two pieces remaining. It was an incredible feeling, not just because of the financial success, but because it validated my approach and my belief that there was an audience for my brand. Maina Wathiong’o – Founder of KAUWRI (Nairobi Kenya) Q – What inspired you to start your brand? A – After spending a year in the design industry, I developed a deep appreciation for the intricate and artistic nature of the design process. From conceptualizing ideas to creating samples and eventually seeing the final product purchased and cherished by clients, I found the entire transformation fascinating and fulfilling. This experience solidified my desire to pursue design full-time. I wanted to create something unique that reflected my heritage, which led me back to my Kenyan roots, specifically my Kikuyu culture. The cowrie shell holds significant cultural reverence, and I envisioned Kauwri as a modern ode to my culture. Initially, I focused solely on cowrie shells, but to avoid limiting my creativity, I expanded the scope to include other shells and nature-inspired jewelry. Our journey began with the launch of the Celestial Collection at Nairobi Design Week in March 2024. This collection beautifully merged celestial elements with the cowrie shell, marking the beginning of Kauwri’s unique design narrative. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? A – One of the most unforgettable moments for Kauwri thus far was participating in Nairobi Design Week 2024. Launching our first collection and receiving such positive feedback was incredibly validating, especially as a self-taught jewelry designer. The exposure and following we gained from the event were remarkable. Another defining moment was when a client purchased a ring from us as a gift for Arsema Thomas, known for her role in “Queen Charlotte.” It was a humbling yet proud moment to know that Arsema Thomas owns a piece of Kauwri jewelry. Daniel TOHOU – Founder of NEFER (France and Dahomey – Benin)- Q – What inspired you to start your brand? A – L’inspiration qui m’as permis de commencer NEFER est le désir profond de rendre hommage à l’héritage globale de l’Afrique et sa diaspora. Translation – The inspiration that allowed me to start NEFER is the deep desire to pay homage to the global heritage of Africa and its diaspora. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? Le moment le plus determinant est l’opportunité que j’ai eu d’habillé Jidenna pour les Grammy awards, ce fut l’ouverture de la marque au yeux du monde. Translation – The most defining moment was the opportunity I had to dress Jidenna for the Grammy awards, it was the opening of the brand to the eyes of the world. Halimat SALAKO – Founder of BL BRAND (Lagos Nigeria) Q – What inspired you to start your brand? A – When I began, I had no inspiration (that’s quite funny 😂). It started merely as a means to survive, seeking something different from the typical entrepreneurial skills we were offered. Over time, it has evolved into a passion and a way to build a community. It’s no longer just about survival; it’s about driving change, standing out, and creating lasting memories. Inspired by the cultural heritage of Adire, I wanted to differentiate myself by infusing the traditional Adire style into modern streetwear. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? A – I have a lot of unforgettable memories with the brand. When we were planning a campaign, it took a lot of time to execute the plan. When the video was released, it became the talk of the town. I felt really good seeing people watch the campaign. It still feels unreal