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Culture

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.

February 17, 2025
Features

Taupe Tools is Redefining Hair Care for Black Women

“We are more of a solution-based brand for black women and Black hair care. So I feel like it’s like for us, by us.”   Meet Fola Fash, the visionary behind TAUPE TOOLS. In this edition of Founder’s Story by NOIRE, we had an insightful conversation with Fola Fash about her entrepreneurial journey—the challenges, the lessons, and the wins. Explore her story and get inspired! For over a decade, the founder of TAUPE TOOLS, Fola Fash, has been at the forefront of the hair care industry, refining her craft as a hairstylist and salon owner. With years of experience and a passion for problem-solving, she has built a brand that caters specifically to the needs of Black women—offering innovative, solution-driven tools designed for textured hair. Bridging the Gap in Hair Care TAUPE TOOLS was born out of necessity. While running TAUPE, her Lagos-based salon, she noticed a recurring challenge—many of her clients wanted sleek, straight styles but feared heat damage. Despite performing countless silk presses with expert precision, she saw that clients struggled to replicate the results at home. “I felt like there was a gap in the market for easy-to-use tools that are straight to the point,” she explains. “As a hairstylist, I want to provide solutions. Our clients loved how we did their silk presses, and they never experienced heat damage. That’s what inspired our first product—the TAUPE TOOLS Silk Press Straightener—which delivers sleek results in just one pass without compromising hair health.” From that single innovation, TAUPE TOOLS evolved into a full-fledged brand, committed to empowering Black women with professional-grade tools designed for their hair textures. From London to Lagos: A Global Hair Education Her journey in hair care began in London, where she trained at the prestigious Sassoon Academy. While the school focused primarily on European hair, it provided her with a strong foundation in cutting and coloring techniques. However, she knew she needed to refine her expertise in Black hair. “While I was in school, I realized I needed extra knowledge about textured hair,” she stated. “So, after my classes, I interned at a high-end Black hair salon in Knightsbridge, London. That experience was invaluable—it taught me the intricacies of caring for and styling Black hair in a luxury salon environment.” This dual education gave her a well-rounded perspective, but her mission became clear: the hair care industry already offered countless solutions for non-textured hair. What was missing were high-quality, innovative tools made for Black women, by Black women. Creating Solutions for Every Hair Type “I understand the struggle because I experience it myself” – Fola Fash The conversation around Black hair has been ongoing for years, with countless debates over the best products, routines, and techniques. Whether it’s 4C, 4A, or somewhere in between, the challenges Black women face in managing and styling their hair are diverse. “There are so many different hair types, and everyone has a different method that works for them. My goal with TAUPE TOOLS  is to create products that simplify the process—taking the guesswork out of styling while maintaining hair health.” With TAUPE TOOLS, she’s not just selling hair tools—she’s offering confidence, convenience, and care. As the brand continues to grow, one thing remains at its core: innovation designed specifically for Black hair, ensuring that every woman can embrace her beauty with ease. Understanding and Addressing the Gaps One of the biggest challenges Fola noticed was that even though many women embraced their natural hair, they still wanted versatility. “A lot of people, even though they’re natural, still want variety,” she explains. “They want to be able to switch between curly and straight styles without compromising their hair health.” To support this, TAUPE TOOLS offers high-quality, textured hair extensions that mimic natural textures like kinky straight, yaki straight, and curly hair. This allows women to change their look without relying on excessive heat or chemicals that could damage their natural curls. Beyond extensions, Fola also realized that many common styling tools simply weren’t built to withstand the rigors of Afro-textured hair. “Most paddle brushes break after one or two uses when blow-drying natural hair,” she points out. Recognizing this, TAUP TOOLS launched durable paddle brushes and smoothing brushes designed for both natural hair and extensions, ensuring longevity and effective styling. A Hairstylist’s Edge in Product Development Fola’s deep understanding of hair—gained through years of working with diverse textures—gives her an advantage. Unlike many brands that rely solely on market research, she gets direct feedback from clients in her salon every day. “I listen to my clients,” she says. “They tell me their challenges, and I develop products that solve real problems.” This customer-driven approach has been central to TAUPE TOOLS’ success. “As Black women, we all still have the same problems when it comes to hair,” she notes. Whether it’s maintaining silk presses, avoiding heat damage, or keeping twist-outs fresh for days, Fola prioritizes solutions that cater to the everyday needs of textured hair. Navigating the Business Landscape Starting and scaling a business as a Black woman in the beauty industry is no small feat. Fola’s journey hasn’t been without challenges—especially operating in Nigeria’s volatile economy, where prices fluctuate and business planning is unpredictable. But her resilience and clear vision have helped her thrive. One of her biggest lessons? Thinking about scale from the very beginning. “If you’re opening a salon, think about how you’re going to scale before you even open,” she advises aspiring entrepreneurs. This forward-thinking approach led her to expand beyond the limitations of a physical salon into e-commerce, allowing TAUPE TOOLS to serve customers internationally, with a warehouse based in the UK for seamless global shipping. Inspiring the Next Generation Beyond providing solutions, TAUPE has also set a new standard in the African beauty industry. When Fola launched her premium salon in Nigeria, many were skeptical about her pricing model. “People didn’t understand why I was charging what I charged, but my clients kept coming,” she recalls. Over time, her success helped shift industry

February 4, 2025
Features

A Story of Art, Passion, and Growth with Tshidiso Mothusi

This episode of African Creative Stories features the talented Tshidiso Mothusi Mothusi, an excellent photographer, Dive into his inspiring journey as you read on. Tell us about yourself My name is Tshidiso Mothusi Mothusi. I’m originally from Kagiso in Johannesburg’s Westrand. I graduated in biotechnology, but my heart lies in creativity, which led me to pursue freelance photography. I’ve been working as a photographer for three years while balancing my role as a supervisor at Starbucks. What’s your favorite personality trait? It has to be my outspoken nature. Growing up, I was painfully shy, which held me back socially. Over time, I worked hard to build self-love, with the gym playing a big role in my personal transformation. It also helped me maintain sobriety and boosted my confidence. How did your photography journey begin? I’ve been passionate about photography for over a decade, spending years learning about editing and capturing visuals. Three years ago, I finally had the opportunity to purchase my first professional camera, which marked the true start of my career. What’s your favorite moment during a shoot? It’s when I’m working to perfect the lighting and achieve beautifully exposed images. The satisfaction of creating visuals that both the client and I are proud of is unmatched. Do you have a favorite project so far? Definitely my collaboration with 10.01.10_0 on their new range of garments. The project gained recognition on Hypebeast Africa and even Hypebeast worldwide. It highlighted the universal nature of art and boosted my confidence as an artist. Why does this project hold such significance for you? It was my first-ever studio shoot, and I had the privilege of working with one of my favorite photographers, Calvin (you can find him on Instagram at @calvin). He assisted me with lighting, which taught me valuable techniques I now apply in and out of the studio. The experience deepened my love for photography and inspired me to keep learning. What’s one piece of advice you’d give to other creatives? Allow yourself to be different and dynamic. Pursue what brings you joy and fulfillment in your art. There are countless stories waiting to be told—so tell yours unapologetically. Tshidiso’s story is a testament to the power of passion, collaboration, and persistence. As he continues to evolve as an artist, his work inspires others to embrace their uniqueness and push the boundaries of creativity. Watch out for the next episode! Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community on TikTok. You can also follow Tshidiso Mothusi here on Instagram.

January 22, 2025
Culture

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

August 5, 2024
Beauty/Fashion

Clothes inspired by Architecture – UGHA MI Collection

    UGHA MI, translating to ‘My Compound’ in Itsekiri, invites wearers into a universe where architecture and fashion intertwine. This collection reimagines homes as the perfect blend of function, aesthetics, and identity.     Serving as a Dukun manifesto, UGHA MI delves deep into our dedication to product-led design. It embodies the essence of our compound, showcasing the textures, materials, and techniques that form its foundation. We push the boundaries of fabric manipulation, transforming conventional fabrics and reinterpreting familiar silhouettes. Guided by geometry, meticulous finishing, and attention to detail, each piece embodies the comfort and freedom of home, allowing for authentic self-expression.     Designed and produced entirely in-house by a small team with materials sourced from Lagos, UGHA MI is a visually captivating and technically proficient collection. Its deliberate deconstruction reflects our ongoing quest to redefine and refine our aesthetic through clothing. Explore all 15 looks from the incredible collection.       Photographed – @morganotagburuagu Photography assistants – @campmanuelpictures & @fuerteotas Creative direction and styling – Temisan Dukun Creative assistant – @bright.itua.39 Casting – @rmcastings Art Direction – @the.terrible.thing Model – @darreqm Footwear – @kkerele   Follow & support @dukun here    Stay connected with Afrique Noire Magazine here on Instagram. And join our fast-growing community here on TikTok.

July 9, 2024
Beauty/Fashion

7 Sustainable African Fashion Brands to Shop and Support

Written by: Vanessa Cuevas In today’s world, where the ecological harm of the fashion industry is becoming increasingly evident, sustainability has become a necessity, not a mere option. Sustainable fashion includes ethical sourcing, ecologically friendly production methods, fair wages, community engagement and empowerment, upcycling, and several other practices that aim at reducing the environmental impact of the fashion industry. The following are seven African fashion brands that prioritize sustainability and that you can shop and support today. Explore them with Afrique Noire.     1. Iamisigo (Nigeria): Founded in 2013 by designer Bubu Ogisi, Iamisigo is a womenswear brand based between Lagos, Nairobi, and Accra that strives to preserve the ancestral African textile techniques of the designer’s heritage. Ogisi works with artisans across Africa, highlighting their ancient techniques in pieces that are designed to be wearable art. Iamisigo’s aesthetic is a stunning combination of minimalist pieces in vibrant colors and rich, earthy hues. The brand’s deepest commitment to sustainability is in the way it spotlights the artistry of traditional African artisans.                   Instagram: https://www.instagram.com/iamisigo/?hl=en Website: https://iamisigo.com/       2. Studio 189 (Ghana): Founded in 2013 by actor and activist Rosario Dawson and entrepreneur Abrima Erwiah, Studio 189 is an African-inspired lifestyle and fashion brand based in Accra. The brand focuses on creating unique pieces that blend traditional African textile techniques like natural hand-batik, indigo, and kente-weaving with modern silhouettes, resulting in garments that are unique and versatile. Studio 189 prioritizes sustainability by employing local artisans in Ghana and incorporating traditional techniques like natural, plant-based dyeing into their collections.                   Instagram: https://www.instagram.com/studiooneeightynine Website: https://studiooneeightynine.com/       3. Bornstarng (Nigeria): Bornstarng is a Nigerian fashion brand founded in 2020 by Adedamola Adebayo. The brand produces clothing in vibrant colors and atemporal silhouettes utilizing upcycled and eco-friendly textiles. Sustainability is a foundational component of this brand, which prioritizes not only sustainable production methods but also ethical sourcing and fair working conditions for its artisans.                 Instagram: https://www.instagram.com/bornstarng/ Website:  https://linkin.bio/bornstarng/       4. KikoRomeo (Kenya): Founded in 1996 by Christine-Ann McCreath, a Scottish fashion designer based in Nairobi, and now under the creative direction of Iona McCreath, KikoRomeo is a Kenyan fashion brand celebrated for its fusion of African heritage with modern silhouettes. The brand’s aesthetic is characterized by impeccable tailoring in vibrant colors and innovative silhouettes, reflecting the rich cultural heritage of Kenya. KikoRomeo employs ecologically friendly materials and ethical production practices, supporting local artisans and promoting environmental conservation.     Instagram: https://www.instagram.com/kikoromeo/?hl=en Website: https://kikoromeo.com/       5. Mafi Mafi (Ethiopia): Founded in 2011 by Mahlet Afework, Mafi Mafi is an Ethiopian fashion brand that blends the traditional with the modern. Designer Afework, a former model and musician, creates pieces incorporating handwoven Ethiopian textiles and contemporary silhouettes. The brand is increasingly gaining recognition for its unique aesthetic, characterized by intricate patterns, as well as for its commitment to sustainability. Mafi Mafi empowers women by employing female weavers and using organic cotton in its designs.                   Instagram: https://www.instagram.com/mafimafi.et/ Website: https://www.mafimafiet.com/       6. Mayamiko (Malawi): This Malawian brand, founded in 2013, is the brainchild of Paola Masperi, an Italian fashion designer with a passion for ethical fashion. Bold, intricate patterns, earthy colors, and timeless designs characterize Mayamiko’s aesthetic. Inspired by the rich cultural heritage of Malawi, the brand collaborates with local artisans to create exquisite garments blending traditional African textiles with modern silhouettes. Mayamiko implements fair trade practices, supports community development initiatives, and utilizes primarily eco-friendly materials and production methods.                   Instagram: https://www.instagram.com/mayamikodesigned/ Website: https://mayamiko.com/     7. Imane Ayissi (Cameroon): Founded in 2004 by the Cameroonian-born designer of the same name, Imane Ayissi fuses African heritage with an aesthetic that is distinctly haute couture. Inspired by the designer’s cultural roots and experiences, Ayissi’s designs both celebrate traditional production techniques and embrace modern aesthetics. The brand is well-known for its commitment to sustainability, employing ethical sourcing of its materials, and ecologically friendly production practices in its manufacturing. Ayissi’s creations exemplify exquisite African craftsmanship and a dedication to environmental and social responsibility.                   Instagram: https://www.instagram.com/imane_ayissi/?hl=en Website: https://www.imane-ayissi.com/en/     Through these brands and others strongly committed to sustainability, Africa plays a crucial role in paving the way toward a fashion industry that is kinder to the planet and its inhabitants. When African fashion brands prioritize eco-conscious practices, they contribute to environmental preservation, economic growth, and social development within their communities. Each of these seven fashion brands shows that sustainability and success can go hand in hand, and their efforts contribute toward protecting and preserving our planet for future generations.     Stay connected with Afrique Noire Magazine here on Instagram. And join our fast-growing community here on TikTok.  

June 21, 2024
Beauty/Fashion

Sahrazads Love Letter to Morocco

  Interviewed & Written by Akoth Otieno   While fast fashion continues to desensitize consumers on the significance of considered design, most young African brands are leveraging traditional knowledge and excellence. They are reimagining our relationship with clothes by simultaneously looking forwards and backwards.   “I take my inspiration from the textures and sounds of Morocco,” muses Sahrazad Ess, the founder and creative director of Sahrazad. “To create something lasting one needs to be open and curious, to allow history to influence your creative process without necessarily defining it,” she adds.   Sahrazad is working against the current fashion zeitgeist by drawing from her Meknessian roots to reinvent heritage clothing whose essence transcends both time and tradition. She is centering collaborations and community partnerships.   Established in 2020, Sahrazad captivates with a fluid proposition. The brand aims to cultivate a timeless feeling – one that is rooted in confidence and a strong cultural identity. With the goal of being more accessible, the brand offers simple yet elevated looks. Think maximum ease, delicate embroideries and a youthful effortless aesthetic.   Over a series of conversations, she walks me through her creative journey: from the genesis of Sahrazad to her artistic vision to her desire to create clothing that allows for documentation and authentic creative expression.       Let’s go back to the beginning. What was the genesis of Sahrazad?   I may have been 7-8 years old when I knew that fashion was the path I wanted to follow. Caftans were such a point of excitement for me! I still see myself in my parents’ living room playing with my mother’s fabrics and creating dresses. My mother has an extensive collection of caftans that instilled my fascination for them.  Sahrazad was born out of my attempt at synthesizing that fascination with my identities.   Before starting your own label, you were working at Dior. What influenced your departure from the world of cosmetics and perfumery? What made you pursue fashion?   I had always wanted to create my own label – even at school I knew that it was going to be important for me to create something of my own. I studied commerce and marketing, which is how I ended up at Dior. I realized quite early how unfulfilling a career in marketing would be for me. I was living in France at the time. I cannot possibly overstate the significance of my experience there though.   A few years later my dad got sick, I learned he had cancer and that’s when things began to change for me. I guess grief, anticipatory or otherwise, does that to you. It opens you up. Makes you braver. I decided that maybe I wanted more. I knew I needed to follow my passions. My dad always advocated for that. After his death, I returned to Morocco to study design, and learn everything there was to know about Moroccan fashion. I got the chance to learn and work with a really brilliant designer. That came with its own new set of challenges, but I never gave up. The ideation of Sahrazad started during my apprenticeship and in 2020 we did our first fashion campaign in France and launched the brand.     How would you describe the ethos of Sahrazad?   Sahrazad is an ode to my origin- the heritage, and my love for it. It’s the beautiful blend between tradition and modernity. When you are a Sahrazad woman and even man, you are confident, proud of who you are, and are cool with wearing your culture on your back.   I believe it’s important for people to see themselves in work that has been created, from a cultural standpoint. Once people relate to an item, they cherish it, and cherished things live on. That’s my view of timelessness.     What is the significance of community and collaboration to Sahrazad as a brand?   The brand would not exist without the artisans that we work with. True craftsmanship is a special kind of magic. A collaborative approach is important not just when it comes to creating meaningful work but culture preservation as well. I deeply cherish and respect Moroccan art and crafts. We’re currently a small team but the idea is to expand so we can hopefully create more work opportunities for the communities we partner with.     What is your favorite memory as a designer?   Without hesitation, my very first photo shoot. I did it in Casablanca with a photographer whose work I’d loved for quite some time. He has a beautiful body of work. There’s something special about seeing your ideas come to life. It’s almost spiritual. It was also affirming, in a sense.   What – Who inspires you?   I am going to start with Simon Porte Jacquemus. I am a great admirer of his journey and his universe. It is proof that simplicity is the key to elegance. The way he puts the sensuality of every woman with his creations fascinates me. He started from scratch and created an empire. His humility, work and determination are an example for me. I am also quite heavily inspired by Moroccan culture. Here in Morocco every alley, every place where I go lights something in me. And you can see it in my work.     I love that culture keeps coming up.  I’m curious, how has your identity informed your work?   I come from two different tribes rich in culture and I am very grateful for that. My dad is Jebli, a tribe from the north of Morocco. Traditional clothing like chachia and medil is a strong symbol of the Jebli identity. It’s rich in color, just like the famous city of Chefchaouen. My mum, on the other hand, is a Meknessia from Meknes, a city that’s very dear to my heart and so rich in history. Meknassi culture is quite incredible, and I have come to respect its traditions. Both identities continuously inspire

June 20, 2024
Features

Ethiopian Girls are skating their way to change

ETHIOPIAN GIRLS ARE BREAKING STEREOTYPES THROUGH SKATING     Over the past several years, the presence of skateboarding has slowly but surely risen among the bustling streets of Addis Ababa. For Sosina Challa, this left no question but to want to be a part of it. Watching many others take to the streets, she taught herself how to skate but noticed there wasn’t much of a space for them and other girls to be themselves. Challa decided to host the first all-girls skating session where she met Hana Beles, who goes by Bee. In the beginning, Bee says, ‘I used to go [to the skatepark] and just watch her.’ After the two met, they formed Ethiopia Girls Skate, one of the first female-only skateboarding groups in Addis.     They started this group simply because they wanted to skate. Bee says, ‘Being raised here, I did not see spaces like that where girls can just be, just free to have fun,’ but it’s become more than that. They’ve become an exemplar of what it’s like to be a part of something that goes against the status quo issues with gender and economic class. Bee explains, ‘For most girls, there’s a lot of pressure at home, in society, stereotypes… For guys, it’s just skateboarding, but for girls, nobody will give you that encouragement. They will say, ‘Why are you hanging out with a lot of boys… Just go back to the kitchen       The purpose in the beginning was to create a place where girls could skate and feel safe because that wasn’t always the case. Chasing down boys in the skatepark who would steal skateboards and disrespect shared space didn’t make the sport easy to enjoy. ‘In the beginning, there wasn’t a place where we could do our own thing,’ Bee says. ‘We started this project because there wasn’t any place for us.’ Sosi and Bee sought to fill in the gaps of their community through sport and enjoyment, but this feat also brought on more challenges that the founders had to face     Dealing with stereotypes against skateboarding, they needed to make efforts to convince parents to let their daughters skate with them. Bee says, ‘For some families, it’s when their kids fell and they had a bruise, for some families it’s because they think skateboarding is associated with drugs… For some families, it’s ‘No, you need to focus on school’.’ They decided to make personal connections with the parents, sending uplifting messages about their daughters’ progress and how much fun they were having, which eased the parents’ concerns and encouraged the girls to keep showing up. ‘We started talking to the kids and just making sure that they are safe with their friends… We made it a community,’ says Bee.     Perceptions of economic class became a challenge as well. When the girls joined each other, Bee says it took some time for them to get used to each other and says, ‘It was divided at first.’ Cliques would form based on different backgrounds. Bee and Sosi solved this by pushing the girls to do activities together: ‘We purposely mixed everybody. Just gave them projects together; teamed them up.’ This led to those cliques slowly disappearing; they started to see each other for who they are rather than the status in society they came from.     Skateboarding has meant more to the youth and to the development of Ethiopia’s future possibilities. With this new development, it became hard at times for the girls to coexist with other skaters at the park, sometimes even getting their skateboards stolen. However, this never stopped them from doing what they love on their Saturday mornings.     Oftentimes, you can find them skating together on neighborhood streets away from the bustling traffic of Addis, teaching each other how to do new tricks or balance on their boards. It’s here where you can see the clear comfort and joy that the girls have with one another. Bezawit Girma, their lead in communications, reflects on her thoughts about working with the girls: “I love them…there’s just some feeling…interacting with the girls, and just feeling like you’re making an impact.” The time they spend together does much more than just provide a place for the girls to skate; it’s simply a place where they can hang out and enjoy one another’s company. “Just being there, interacting with the girls, laughing, it’s not even about skateboarding. Just hearing everybody’s stories…their lives outside skateboarding…their school life,” Beza says. “Seeing these girls fall and get up, laugh it off, cry it off, it’s beautiful.”     Ethiopia Girls Skate’s desire is for people not just to know that they exist, but for people to understand how important and meaningful the community is to them. Bee speaks on the importance of having others know about Ethiopia Girls Skate and why it’s important that others invest in their community. “…they know of us, but they don’t know how hard it is to have this.” Over time, the girls were able to be recognized by organizations such as UNICEF and collaborate with brands such as Grind Like a Doll. Girma speaks of her future hopes for the girls. “I just want them to have opportunities, I want them to go see the world, I want them to compete, I just want their world to be bigger than what it is now.”     Ethiopia Girls Skate is hoping to reach the world with the message and the core of what they do. Bee says that “It’s not just skateboarding; it is women empowerment, it is home, it is sisterhood, it’s breaking stereotypes, it’s beginning a new generation with freedom.   Photographed by Hani Images Stay connected with Afrique Noire Magazine here on Instagram. And join our fast growing community here on Tiktok    

April 23, 2024
Features

Embark on Andrew Mwakalonge’s Creative Journey as a poet

INTERVIEWED BY DHAYANA  ALEJANDRINA    Welcome, Noire Family, In this interview, I had the pleasure to sit down with the talented and amazing writer, Andrew Mwakalonge, as she offers a captivating glimpse into her inspirational journey, delving into her roots, the reasons driving her creative endeavors, exciting future projects, and more. Please join me in welcoming Andrew Mwakalonge to Afrique Noire Magazine!   Can you share a bit about your background and what initially inspired you to pursue writing/poetry?   All my life people have always looked at me and instantly decided what I am before I have the chance to tell my own story. People are always trying to put a leash on me which they turn noose when I try to be me rather than what they see me as. And I don’t have any malice or contempt for them, well at least not anymore, because I know someone else probably did the same thing to them. I am working my way out of this hold around me and I write these poems, taking pictures of my heart so that I remember what it feels like when I finally have the voice to tell people my own story.   I’ve spent most of my life with my family in Morogoro, Tanzania but I’ve spent most of my late years in Dar es salaam where I go to school. For as long as I can remember I’ve always admired free inquiry, curiosity and liberty. I believe that everyone at the very least is entitled to freedom and the right to be different.   For a long time I’ve looked upon my society and I can’t help but notice tyranny, orthodoxy and oppression and the pain they bring about. So many innocent people suffer and nobody does anything about it. What’s even scarier is that there is an air of hopelessness amongst the oppressed. And what’s heartbreaking is the ignorance amongst the majority about what is going on.   The ignorance and the continued efforts by the oppressors to keep the oppressed in the dark are what perpetuate this horrid state.   After years of witnessing and experiencing this oppression I decided I could no longer bear it and had to do something- anything- about it. Doing nothing felt like being complicit in the atrocities. Ray Bradbury puts it better when he says in Fahrenheit 451 “Do your own bit of saving, and if you drown, at least die knowing you were headed for shore.”   I came to learn that it is only through art that I can begin to bring awareness about what is happening in my society and hope to bring about change. Because art I believe is the epitome of free inquiry and liberty. And again Ray Bradbury says it better in Fahrenheit 451 when he expresses the qualities of a book “Number one, as I said, quality of information. Number two: leisure to digest it. And number three: the right to carry out actions based on what we learn from the interaction of the first two.”   What Bradbury says I feel is exactly what my society, any society needs- different ideas being expressed and people having the right to contemplate and decide what’s best for them. A society in which there is free expression of ideas will never stagnate in the dark and its people will never stand oppression.   With my work I hope to revive the idea of free inquiry-the spirit of freedom- to people. I have no interest in imposing my ideas on people, I only wish for the people to be aware, free and enjoy the right to be different. This is the first step to alleviating all the forms of oppression we suffer.     How does your identity, including cultural background, influence your writing and the themes you explore? In what ways do you navigate the intersection of your personal identity and the broader cultural context in your work?   I cannot claim to know a lot about the culture of my great grandfathers—the culture that Africans are striving to revive—the culture Africans had before a new one was imposed by the ship and enforced by the whip. I observe many Africans endeavoring to revive the culture of their great grandmothers—their fashion, dances, rituals, and gods—the true essence of African culture, and I deeply admire that.   However, through my work, I convey to people that as horrific as the experiences of our ancestors were, they are in the past. I emphasize that it’s impossible to resurrect the exact culture of our ancestors. Instead, I remind them that culture is alive and dynamic, destined to evolve even without external influences. I urge people to recognize that we are also African and will one day become ancestors ourselves. Let us release the grip of the past and the yearning for what could have been. Instead, let us focus on cultivating our own culture—one that reflects the realities of the present era—a culture that thrives freely.   How would you describe your creative process? Do you have any specific rituals or routines that help you get into the writing mindset?   We inhabit a relative and subjective world. The sun may appear as luminous as a billion candles to the eye, yet both are equally silent to the ear. This analogy extends to various aspects of our lives. What may be painful for you could bring joy to me, illustrating the subjectivity of experiences. However, this does not hold true for emotions. Pain experienced by one is equally felt by another, regardless of the events that triggered it. When I write a poem, I distill my inspiration to the raw emotions it stirs within me—anger, love, fear—and construct my narrative upon this emotional foundation. The specific events that sparked my inspiration hold little significance to my poem. Therefore, when I seek to write a poem, I endeavor to freeze the emotions I feel about something by relaxing as much

April 19, 2024
Features

Ohiri Studio – Discover SS 23 collection

Ohiri Studio is a creative studio established in 2012, with its base spread across Paris and Abidjan, Ohiri exists to bridge the gap between ancient arts and crafts and the contemporary landscape.     Reinterpreting the aesthetics and symbolism of body ornamentation made by ancient cultures for today, Ohiri uses jewelry as a platform not only for adornment but also for object art. Discover their SS 23 collection – OUTLINE 2     Discover more about  Ohiri Studio here on Instagram.

April 16, 2024