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For the past thirteen years Johannesburg has been the location of South African Fashion Week. With two shows a year, showcasing the spring and winter collections, the event has become a platform that highlights the talent of African designers.

Catch a Vibe recently had the pleasure of talking to South African Fashion Week Director Lucilla Booyzen. She gives us some insight into the history, future and purpose of this fashion event.

RJK Designs

Catch a Vibe: What is the history of South African Fashion week? When did it begin and why was it created?
Lucilla Booyzen: During my initial exposure to the international Fashion Week circuit in Europe during the late 80s, I realized that a South African fashion design with a distinctive local identity could only develop if there was an independent platform on which collections could be shown collectively.  Although we had a relatively strong creative design force at that time, there was no such platform and the design fraternity was also not demographically representative. We needed an open forum where designers could firstly get to know each other and secondly, be given access to all the other stakeholders in the fashion milieu, clients, buyers, celebrities, consumers and most importantly, the media. The idea was to first build a national platform and then to take it to the rest of Africa and the world.

During the early and mid 90s the impulse to start a South African Fashion Week with the designers at the centre became stronger and finally, the first South African Fashion Week took place in 1997 in Sandton Square showing only 10 of the best and most established designers. Many of them didn’t know each other or have an understanding of the media/the broad base of fashion-interested consumers.  The launch of the South African Fashion Week started a process of growth and of breaking down silos which is completely underestimated by many who were not part of the fashion industry at the time.

We introduced the first New Talent Show in 1998 to give new designers the opportunity to break into the fashion arena.  Jacques van der Watt, Terrence Bray and Yac Kimme were all among those first brave young designers. In 1999 the first non-white designers – Bonga Bhengu, Buyani Khoza, Colleen Dubane, Hayley Rasool, Scele Ntshalintshali and Thabani Mavundla came on board.  Other labels like Maya Prass and Sam Bulgin were also part of that year’s New Talent Competition.

In 2000 we moved to the larger and then state of the art Sandton Convention Centre where we could build two auditoriums to show the collections of 19 designers. This was where Craig Native showed for the first time as well as one of the stars of 2000 New Talent  competition,  Sonja Niewoudt, who then went on to partner with Thabani Mavundla to be the design force behind Nkensani’s Stoned Cherrie Label. This label launched for the first time in SA at the 2001 SAFW. SAFW 2002 featured 21 black labels including Sun Goddess, Darkie, Bongiwe Walaza, Ephymol Life, Loxion Kulcha, Issues and Thulare Monareng.

Superella Designs

In 2000 we also launched the exhibition. It was small and admittedly, not very successful, but it was a start and a platform that we could build on to develop an entry-level space for more start-out designers to test the waters.

The South African Fashion Week did not only expand the horizons of the designers, but also the design consciousness of the designers’ traditional clients, the broad base of fashion consumers and the media – here and internationally.  With our formidable SAFW team we threw a spotlight on local fashion design and created a huge buzz around it in the minds of the South African consumer. This also caught international interest in SA fashion.

By 2003 the Elle New Talent Competition was won for the first time by a black designer, David Tlale, the SAFW showed over 50 collections including 29 black designers and we also launched the Arts and Culture Fashion Seminar, the first of its kind in South Africa, to serve as a knowledge/skills transferral platform

CAV: What was the fashion landscape like in South Africa?
Lucilla Booyzen: The environment was characterised by insularity where designers showed their collections principally to their existing clients. The designers were absolutely fantastic and hugely creative and their workmanship was world class – I am referring to designers like Errol Arendz, Elzbieta Rosenwerth, Pasqual, Chris Levin, Archie Leggat, Pieter Soldatos, Rena Botoulas, Greta Abrhamson and later Gert van der Merwe, Dicky Longhurst, Clive Rundle, Gert van Rooyen etc.  They were very successful and well-known in South Africa.

People were glamorous – they dressed up to go to the opera and ballet. However, the fashion design culture then was that it was only for the rich and famous and mainly about formal and occassionwear. The advent of the SAFW introduced the idea of design as part of mainstream lifestyle dressing.

CAV: What have been some of the most challenging aspects of running SAFW?
Lucilla Booyzen: Educating the South African public – making them realise that Fashion Week is about business and job-creation rather than exclusively (although of course to some extent always)  about high-profile partying.  The front rows should be hallowed ground reserved for fashion experts from the trade and media who are able to shape opinions and grow the design industry meaningfully rather than wannabes with an eye to a social picture opportunity.

Ephymol Collection

CAV: What have been some of the highlights?
Lucilla Booyzen: Every time a designer opens a store. Since the inception of SAFW the following designers have started their own retail outlets: Julian, Malcolm Kluk, Stoned Cherrie, Black Coffee, Hermanna Rush and Jacky Lucking of Miss Scarlet, Karen ter Morshuizen from Lunar, Abigail Betz, Maya Prass, Andre Martin from Life, Holmes Brothers, Tiaan Nagel, Marion and Lindie.

Equally every time a designer starts supplying a store or starts exporting e.g.  Craig Native,  Ruby, Ephymol. Or designers such as Ole Ledimo, RJK, Lebo Mash, Gugu and Palesa Mokubung growing from strength to strength tapping into their unique culture to design highly desirable collections.

CAV: How are the featured designers for South African Fashion Week chosen?
Lucilla Booyzen: We do not choose designers – the exhibition is our entry level – exhibiting gives the designers the opportunity to build their businesses, do research, network with buyers and the media.  Once they supply one or two stores they can show on the public runway and when they supply more than 5 stores they can do a shared show in the Auditorium that shows to the media, buyers and the designers’ top clients.  Only the big designers do a single show.

CAV: Who do you think are the designers to watch from this year’s shows?
Lucilla Booyzen: Ole, Ephymol, Lisa Jaffe, Black Coffee, Clive, Strange Love, RJK.

CAV: What lessons have you learnt from past fashion weeks? Have there been any changes or additions to the program as a result?
Lucilla Booyzen: The labels did not develop as fast as I expected.  In the beginning our focus was on getting the designers to export but we have now changed it to focussing on building the local market.

South African Fashion Week Winter Collections – 2nd – 5th October 2010. Visit the official website

Wale Adeyemi’s clients include Alicia Keys, Mos Def, Beyoncé, Missy Elliott and the Beckhams.

He is an ambassador for the Prince’s Trust, owns his own clothing label and in 2008 was bestowed with a MBE.

Wale discusses the inspiration behind his designs, his Nigerian heritage and his future projects.

CAV: You describe your label B-side as “somewhere between the kerb and the boutique”, could you elaborate on that?
Wale Adeyemi: It means I’m inspired by both streetwear and high end fashion. It’s a kind of chameleon vibe mixing the two approaches.

CAV: Children from a Nigerian heritage are often expected by their parents to be lawyers and accountants. How did your family feel about you pursuing a career in the creative industry, in particular, fashion?
Wale Adeyemi: My pops wasn’t happy at all, in fact he was very disappointed when he realised my career path – but he’s cool with it now.

CAV: Through your work as an ambassador for the Prince’s Trust, how important is it to you that your work and you yourself contribute to London’s creative future?
Wale Adeyemi: It’s really just about London and about the youth in general. There are so many creative and talented people emerging, they just need the right guidance and direction.

CAV: How do you make the most of your position as an ambassador for Prince’s Trust to motivate and inspire youth culture?
Wale Ayedemi: I try to speak to and also lend my ears to as many people as I can. It’s not all about talking; sometimes it’s just about reaching out and listening to their thoughts and questions.

CAV: At the time when you entered your profession were there any people of colour, if not, how did you deal with that and what kept you going?
Wale Ayedemi: There were very few, but notably Joe Casely-Hayford was one designer who made me realise the dream could turn into reality. After seeing his achievements and seeing how he had built his business I realised it was all possible.

CAV: It is undeniable that London has been a great influence to your work, but how much, if any, has your Nigerian background influenced your work both creatively and business wise?
Wale Ayedemi: London has had a major influence on my work as the city has become a melting pot of so many cultures and that’s very inspiring. My first three collections were African inspired and I started buying fabrics from Nigeria and making the garments here in the UK. I then started making shirts in Nigeria and wholesaleing in the UK – I sold loads.

CAV: What is your opinion of current and emerging black British talent?
WA: There is lots of talent emerging daily and it’s a great time! I find it very exciting.

CAV: How did it feel to receive an MBE?
Wale Ayedemi: Awesome! I was very, very proud; it’s been such a journey.

CAV: Where is your MBE now, somewhere sitting proudly on your mother’s cabinet?
Wale Ayedemi: Exactly. My mum actually came with me [to the ceremony] and she loved it.

CAV: Prince’s Trust and MBE, what else is on the horizon for Mr Adeyemi?
Wale Ayedemi: I’ve just recently launched the online store b-sidebywale.com which is doing very well. My next mission is to do something in Nigeria, for example I would love to open a store there. So if theres anyone out there that can make it happens reach out!

Khulekani Msweli, if you don’t know his name now you better have etched in your memory because this young (he’s not even 25 yet!) fashion designer from Swaziland was described in a Guardian as ‘an asset to Burberry, Westwood, Deacon or anyone who hires him’. Msweli has also won the FDC Avant-Garde Designer of the Year Award in 2007, a testament and acknowledgement of his quirky surrealist-inspired creations, this young talent is about to take the couture fashion world by storm.

CAV: Could you tell the CAV readers about your speciality and JEREMPAUL?
Khulekani Msweli: I’m currently specialising in womenswear design. JEREMPAULis the name of my label, it’s a fairly young label, as I officially launched it during this year’s February 2010 London Fashion Week,. The label focuses on creating luxury garments that can be demure yet sexy.

CAV: How would you describe your creations?
Khulekani Msweli: I would describe them as handcrafted pieces for the individual, with focus on cut and detail. I always try and create garments that, when you have the privilege to own, would be hard for you to ever part with but can only be passed on to loved ones.

CAV: What did you take from your internship at the studio of London designer Marios Schwab?
Khulekani Msweli: A lot really. Working at Marios Schwab was just one of the best things that happened to me. The way that Marios works is just amazing, he is an innovator and nothing is considered impossible to create in his studio. I gained a lot of design confidence and in depth knowledge of how to create a collection from concept to catwalk and the day-to-day running of a luxury fashion house.

CAV: How much of your ancestral background has inspired your work?
Khulekani Msweli: Subtle yet fundamental notions of it have inspired my work. I’m African, from Swaziland, and I have always been exposed to arts and crafts done by Swazi artisans. So I think the Swazi artisan’s handmade approach to making decorative native items has inspired me a lot because every item becomes more precious and personal than an item which has been mass produced by machines. Also being respectful to nature, as my culture is one that focuses on the use of natural products and being aware of how to sustain nature, therefore     I try to ethically source my materials.

CAV: At the time when you entered your profession were there any people of colour, if not, how did you deal with that and what kept you going?
Khulekani Msweli: Firstly, I have to mention that fashion is an industry which is quite culturally diverse, as a whole, but when you start penetrating into the niche high fashion, then people of colour start to be few in numbers. So, to get back to the question, there weren’t many people of colour when I entered my profession. It did seem a bit odd but I believe that, with time, more and more people of colour will be involved within the art and design sectors, which will lead to a balanced environment. The one thing that kept me going is focus. Without focusing on your goals, you can be easily discouraged and demoralised by your surroundings, you have to go on no matter what.

CAV: How important is it to you that your work and creation contributes to Swaziland’s current and future prospect?
Khulekani Msweli: It’s very important because Swaziland is a developing country and the design sector is still fairly raw and requires direction and international exposure, in-order for it to compete in the global market. I always hope that my work continues to bring focus on Swaziland because Swaziland is awash with highly skilled artisans who are under exposed and not given the credit they deserve. The future can only be positive if we all support and uplift one another.

CAV: Your autumn/winter 2010 collection, which showed at the London
Fashion Week was inspired by one of my favourite artists, Frida Kahlo. Why her and what was it about her that inspired your collection, and looking into the future, what is the focus of the forthcoming collection?
Khulekani Msweli: I chose to base the collection on Frida Kahlo because of her slightly obscure femininity, her distinctive beauty, her courage and her pain. Her life painted a picture of love, beauty, emotions and dreams, which are some of the elements that I hope my designs evoke. I haven’t quite decided on the focus of the next collection but I’m sure it will be quite intriguing, yet still within the realm of craft led detailing.

CAV: It seems that the world of surrealist art is a notable influence on your work, what is it about this particular art movement that strongly appeals to you?
Khulekani Msweli:I think that surrealism offers escapism, a place where anything is possible and you can be whatever you want to be. So whenever I observe surrealist art, I’m always inspired to be creative without limits.

CAV: What lies ahead for you and JEREMPAUL?
Khulekani Msweli:I have a lot of ideas and visions for myself and Jerempaul, in the sense of continuing to create high quality work consistently which will be appreciated globally, but for now I can only hope for a continuous flow of creativity and God’s guidance.

Pics (c) Jason Harry

www.jerempaul.com

(l) Louis Vuitton - (r) Rodarte

With every fashion fairy tale, comes an element of surprise. What was once considered tribal, and merely afrocentric, is now deemed avant-garde and luxe, embraced wholly by a number of fashion heavyweights comes as an unexpected turn. Louis Vuitton’s spring ‘09 collection may have paved the way- its heavy use of bold and animal prints seducing the masses and causing a fashion frenzy- but many have since caught on, passing on the torch as it were, from designer to designer. Dries van Noten’s Ready to Wear Spring ‘10 Collection for one, a peek-a-boo game of prints and prints aplenty, seemed to be a true testament of a beckoning love affair. Diane von Furstenberg, Marc Jacobs, Kenzo, and Tibi too; another handful of designers in a seemingly bottomless pit, charmed to no end by the magic of the African print.

Then there it was the turn of fashion front runner Rodarte shaping its entire Spring 10 collection on primitivism alone. Known always for their ingenuity and fashion forward ways, the sisters Mulleavy raised the bar to new heights embracing tribalism in attempt to redefining ethnicity. Models rocked the runway in their knit and embellished designs resembling Ikat and Batik. Natural fabrics were slung nonchalantly over perfectly sculpted shoulders, wrapped and wrapped again to cinch already toned waists—and the highlight of my entertainment—their bodies covered with tattoos native to West African tribes.

And for where print is not in place this season, Africa is definitely on the mind. ASOS.com (my favourite one-stop shop) recently set up a ‘platform dedicated to collections with a story to tell,’ ASOS Green Room. And in this emerald room you will find: optical, graphic, whitewashed or untouched, prints abound from ASOS Africa and Fairtrade to People Tree and Made. As well as household regulars French Connection, Whistles and Motel, each with a separate take on prints.

(l) Diane von Furstenberg - (r) Asos

For London based designer Maame Baryeh of MA:LE design who is known for the embrace of the bold and unexpected , the sudden rise in popularity of the print is anything but expected: “This is where the true spirit of Africa really comes to life through the passion of the designers and the way they translate this into garments which speak to its wearer. Everyone is now keener than ever to embrace the rich and vibrant culture that emanates so effortlessly from Africa, from the textures of the natural cloths to the prints and colours that appear so boldly and combine effortlessly.  ”

What more to say than it’s time to recline and watch in some amazement as the world falls madly and deeply in love with all things African. And this is a love that is likely to last.

Amidst an array of colourful attire sat fashion designer Ituen Basi aptly sprawled across a lounge chair welcoming her guests in celebration of an accessory line worthy of the buzz surrounding it. Eclectic and whimsical, accessories aplenty- from bowties to bikini tops- were carefully displayed to showcase her creative force. And yet what struck me the most about the event was just how familiar it all seemed, like a gathering of relatives. In the small and intimate setting of Shoki Shakes Bar in London on a Sunday afternoon, gathered a small mass happily delving through the vast array of goods on display with looks of admiration.

Admittedly, this was my introduction to the label, but it seems I was one of the select few who was not well acquainted with the illustrious name and label. Ituen Basi has amassed a fan base that not only reveals her many years in the business, but also rivals many established designers. A household name in her native Nigeria, the label continues to surge and receive worldwide acclaim for her designs- feminine and streamlined silhouettes glorifying ethnicity in a way that is unexpected and never failing. An accessories line could not have come at a better time with the recent rise of all things bejewelled and the fashion world’s fascination with ethnic prints.

Ituen works her magic on the lustrous yet unassuming Ankara creating simple yet astounding effects. From mile long beads, to contoured stretch skirts that complement the surge of nude hues gracing many a catwalk. For those with the comfort of home in mind, bold tiered floor mats and playful key chains show a range in skill. And then there was a turn of whimsy, pint sized dolls dressed from head to toe in traditional gowns draped in miniature beads, a subliminal message to all women of colour if I’ve seen one. Clearly this was an anticipated need to diversify and appeal to the masses, the timeless and modern woman of today, one not necessarily of colour, but one who is ready to embrace the African diaspora and culture in its full glory.

Draped in its entirety in Ankara was likely intentional, Ituen staying true to her signature mark and maybe also a coy and calculated move to gain notoriety as the world once more embraces prints. I for one could not help but wonder what could have come from a little less of the familiar taking a small albeit rewarding risk? Straying from the expected could after all help to silence the critics and claim an entirely new fan base in the process. Perhaps an interplay of fabrics such as a bold hue of satin or a rich cotton could have helped to balance the uniformed Ankara? Or was this simply a case of the old adage ‘If it ain’t broke, don’t fix it?

For more on Ituen and the collection check out ituenbasi.co.uk

Catchavibe.co.uk caught up with Sinem Bilen-Onabanjo, the founder and editor-in-chief of FAB Magazine, which is due to launch in March. The high-end quarterly aims to be the first-of-its-kind fashion & lifestyle magazine for both men and women, with 80% African content. Sinem explains why we need a magazine truly made by Africans for Africans…

CAV: So tell us about FAB – who is it for and what does it aim to provide?
Sinem Bilen-Onabanjo: Nigeria and Nigerian readers in the UK deserve to have a fashion and lifestyle magazine, in the true sense of the word, made by Africans for Africans; a magazine showcasing the best of what Africa and Nigeria have to offer with top-notch photography, innovative graphic design and thought-provoking editorials. We really want our readers to have the international magazine experience; with high quality images, trend pages, interesting reads and most importantly adverts (promoting) local and international African designers page after page – something that has previously not been possible in any Nigerian publication, simply because fashion advertisers often cannot compete with big brands to vie for advertisement space.

CAV: Why is there a need for a magazine such as FAB?
Sinem Bilen-Onabanjo: FAB has arisen due to the fast pace at which the African fashion industry is growing. I do not believe there are any publications that solely cater for the new generation of stylish, sophisticated African men and women. We aim to open a quarterly window to the worlds of high fashion and high street, as well as produce an end product created by Africans for Africans. At a time when people are increasingly speculating the need for an African Vogue; we want to show the world that we can produce a high quality magazine, with our own expertise and resources and do not need to wait for Conde Nast or any other international publishing house to do it for us.

CAV: What subject matters will you explore?
Sinem Bilen-Onabanjo: Fabulous, African {and) Black with style, swagger and sophistication. We aim to set the trends – not follow them, celebrate our continent’s successes, highlight its problems, offer solutions, continue to bring hard-hitting editorials, cutting-edge imagery and inspirational design delivered with quality and consistence. Our content will be 80% African and 20% international.

CAV: Why a unisex fashion magazine? Is there a significant market in glossy mags for African men?
Sinem Bilen-Onabanjo:In Nigeria, where we will initially start distributing, men’s magazines such as Made and Mode Men have been quite successful, (although) perhaps not as popular as women’s glossies. By providing content for both male and female audiences in a 150-page magazine, we are doing something that has not been done before, in terms of the unisex material and volume of pages.

CAV: The internet is becoming an increasingly popular alternative to traditional print formats. How will your magazine compete?
Sinem Bilen-Onabanjo: While (the) internet is changing the nature of publishing, I strongly believe that print magazines are not likely to go out of fashion anytime soon, especially high quality fashion publications which are handled as a bit of a collector’s item. However, utilising the power of the internet to access our world-wide audience following the launch of our first issue, we will of course have a live website, which will be updated regularly. This is especially important as a quarterly, as we would like to keep our readers with us in between issues.

CAV: Any tips on up-and-coming names in African fashion?
Sinem Bilen-Onabanjo: Two of my favourite African designers are already quite established, both internationally and in their native Nigeria – Deola Sagoe and Jewel by Lisa. I’m also a huge fan of the Ghanaian designer Aisha Obuobi behind the couture label Christie Brown, who won the Emerging Designer of the Year Award at last year’s Arise South Africa Fashion Week. In the UK, the designers whose work I admire are Tina Atiemo of Ghana and Nkwo Onwuka’s Afro Bohemian Chic label. In terms of modelling, do watch out for Paula Okunzuwa, the 2010 winner of Top Model of Colour and a fantastic new model.

CAV: Are there any fashion designers outside of Africa that you admire?
Sinem Bilen-Onabanjo: Who doesn’t love Azeddin Alaia? Okay, admittedly, he’s from North Africa but has become an international name. Also, you can take a girl out of Turkey but you can’t take the Turk out of the girl [Sinem is of Turkish heritage]; I will always feel inspired by Turkish designers. First and foremost Cengiz Abazoglu and Rasit Bagzibagli.

CAV: Can you define what is FAB about Africa and African fashion? Is this portrayed in non-African media?
Sinem Bilen-Onabanjo: The culture, the colours, the people and the raw energy. Africa has long been portrayed in the western media as synonymous with poverty, starvation and warfare and I am happy to see that this has recently been changing; (with) focus gradually shifting to music, entertainment, fashion and art. We want to be a part of the African Renaissance, to celebrate the achievements of the Continent and her diverse people, while also addressing problems in an unbiased way.

The first issue of FAB Magazine – the ‘music meets fashion’ issue will launch on March 21st.

Her portfolio also includes posing for iconic photographer Ian Rankin as well as editorials in Vanity Fair, Dazed and Confused, British Vogue, Hello, French Playboy, I.D magazine as well as various other leading fashion magazines. More recently, she replaced fellow model Daisy Lowe to become the current face of British sports/active wear line Hari.

Alongside fashion modelling, Adeyemi is a DJ and recently branched into the acting world, when she was chosen by Hollywood actor Dustin Hoffman to make her debut big screen appearance as jazz singer Monique in his film Last Chance Harvey (2008). This was quickly followed with starting up a theatre company, with a series of London shows in London co-written and performed with stand-up comic Narin Ozenci.

Adeyemi’s distinctive style and unique look has caught the attention of big names in fashion and entertainment as well as the media, with Adeyemi often snapped in quirky outfits at film premieres and fashion events. She was even rumoured to be dating Brit actor Jude Law at one point.

A true, modern fashion icon, she is definitely one to watch further in 2010 and beyond.

The podcast that particularly caught our attention was the interview with Oswald Boateng, the brightest name in tailoring. Johnnie Walker invites us to walk with Oswald Boateng as he tells us about his career and where he is heading next in the journey of life.

Boateng is considered by many to have revolutionised tailoring to make the traditional suit a contemporary must-have item, and for drawing a younger crowd to the world famous Savile Row in London. Boateng was also the first tailor to stage a catwalk show in Paris, he was appointed Creative Director of Menswear at Givenchy in 2003 (he left Givenchy in 2007) and was awarded an OBE for his contributions towards the tailoring industry.  His designs have drawn a prominent clientele list which includes leading Hollywood actors, musicians and sports stars such as Brad Pitt, Chris Rock, Herbie Hancock, Spike Lee, Reverend Jesse Jackson and Jonathan Ross.

In this Johnnie Walker podcast, Boateng invites us to take a stroll with him down Savile Row. He discusses his early ambitions and the times when he wandered down the Row and had a ‘flicker of vision’ of one day owning a store there – a dream that was later realised. Boateng takes us through key steps in his career, from walking down the ‘melting pot’ of Portobello Road, ‘risking every penny’ for the 1994 catwalk show which ‘made tailoring fashionable’,  as well as never losing faith or doubting his desire to achieve even during the  ‘dark days’ when his company almost went into receivership. Boateng also expresses his total belief that when you wear his suit, he is helping you be in tune with yourself and your spirit.

The talk also includes anecdotes about meeting famous clients from the entertainment world, such as Daniel Day Lewis picking up an Academy Award in a Boateng suit, Will Smith, Spike Lee as well as rock ‘n’ roll greats Jimmy Page and Mick Jagger. You will also hear why President Obama impresses Boateng, his hopes of becoming a Young Global Leader and what he wants to achieve in Africa.

Listen to the full podcast here

The posdcast series Walk With Giants is available for free on ITunes

Fashion show Camer Couture took place at Shoreditch Studios on Saturday 17 Oct 2009.
The event aimed to address the gap in representing and supporting Cameroonian talent. The show featured creation by kirette Couture, Anggy Haif, RoVisa and Bot I Lam among others.

Read our full review of Camer Couture

All pics (c) Camer Couture

Camer Couture aims to address the gap in representing and supporting Cameroonian talent. Catch a Vibe caught up with the people behind it at a casting for their debut fashion showcase, just down the road from the Shoreditch Studios, where the vibrant event took place at on Sat 17 Oct 09.

CEO and show co-ordinator Cynthia Anduhtabe, PR and marketing duo Ngum Ngafor and Isabel Bezeng as well as co-ordinator Soraya Sone and Creative Director Alex Quest came together because they all shared the same vision and saw something that wasn’t being addressed – so many Cameroonians doing well but that were isolated.

Camer Couture aims to expose the talent that has so far been left unheard, to break stereotypes and show a side to the ‘Africa in miniature’ not seen before as well as give a platform for emerging and established fashion designers. Six months of planning and the group have put together their debut fashion showcase in Shoreditch, which took place at the weekend (17 October).

The company is still only emerging itself but has already garnered attention from the fashion and media worlds. The show aimed to reflect Camer Couture’s ethos and Cameroonian fashion itself – a kaleidoscope of styles – diverse, colourful , versatile and vibrant. Something that very much mirrors the culture and its people – a nation made up of over 200 ethnic and linguistic groups.

In the debut show, both the designers and models reflected this sense of diversity, with ‘afro-eccentric’ Anggy Haif, ‘elegant’ Olivia Ervi who owns a boutique in Cannes , KiRette Couture, ‘versatile’ Bot I Am, Ms Mi and ‘flamboyant’ RoVISa. Together, these designers presented something ‘atypical’ and provided a bridge between the established and up and coming within the scene.

The whole team understand what it takes to start up something like Camer Couture – all of them juggle organising and promoting the cause with jobs, studying and raising families. Cynthia states to put aside the time for an ambition like this requires: “passion and determination”. For anyone out there looking to get into fashion and set up an organisation like this, the people behind Camer Couture say: “just do it. You have to pay attention to quality and be business-minded but even if you have no money to start with you can still make it. You will get the sceptics but persevere”.

“It’s about bringing the Cameroonian talent all in one place”, says Cynthia. This transcends beyond fashion to various different sectors, such as business and arts. The company is also supporting Cameroonian culture in other ways, through a charity organisation helping the Baka people – one of the oldest ethnic groups in Cameroon. They are traditionally semi-nomadic hunter-gatherers, who are experts in forest life and renowned for their hunting, musical and dancing skills. However, they are increasingly seeing their traditional ways encroached upon for various reasons. Camer Couture is supporting Global Music Exchange, which is working to educate the Baka on human rights and raise their status within the country. Proceeds from the raffle sale organised during the show went to supporting this community preserve their ways.

So with a successful show under their belt – attended by prominent members of the media and fashion world – and a show that surely put all the stops out to provide a vibrant event of colour, music, art and good style, what next for Camer Couture? For the team behind it, they hope to expand in the future to showcase and expose talent from across the continent. They believe Africa now has the opportunities available to develop and be recognised on the same stage as the mainstream fashion players in the West. They are aware it is not easy to organise but in terms of getting African fashion recognised: “we need to step up – Africa is the future”.

More pictures of Camer Couture in our picture gallery

Like fashion? Check out the fashion events listed in What’s On > Fashion

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The Fashion Designers’ and Craft Makers’ Young Designer Awards is a not-for profit project founded by knitwear designer Joanna Marcella in 2002. This annual event aims to build a solid foundation for young individuals struggling to make it alone in the fashion world. Faced with such obstacles as a lack of funding, marketing and PR, these young people are being given the opportunity of a lifetime; a platform upon which to establish themselves as they showcase their work in front of an audience of fashion editors, designers, lecturers, press and celebrities. ‘This award is really for young people who are passionate about fashion, they are actively drawing, researching, making things anyway, and it’s a career path they want to take,’ Marcella explains.

With an expanding database of designers, the Young Designer Awards are fast becoming Britain’s hottest multicultural fashion event for 19 to 25 year olds currently studying at school, college or university. Previous winners have included 2004’s Avant-Garde Designer of the Year Gavin Douglas – who now showcases in Paris, London and New York fashion weeks, as well as receiving sponsorship from The Princes Trust and winning the Fashion Fringe award in 2006 – and Jay Wilson, whose work is ‘really exceptional… we consider him a genius here at the Young Designer Awards.’ Marcella adds that one of the young designers competing this year is also destined to make it big.

Supported by former model Christie Dinham – co-founder of Caribbean Fashion Week – the awards ceremony features prizes for not only Avant-Garde and Young Designer of the Year, but also International Designer of the Year, which she judges herself.  Since 2004 Dinham has taken the lucky winner of the award to New York Fashion Week or Caribbean Fashion Week.

Gavin Douglas at London Fashion Week SS08

The Young Designer Awards involve between 15 to 17 entrants from all ethnic backgrounds and various regions throughout the UK. This project expects designers to produce a cutting-edge garment that encompasses and takes inspiration from the organiser’s chosen theme. For 2009, Joanna Marcella and her furiously busy team of staff have selected the brief ‘Homage to a Fashion Leader’. ‘We are looking for creativity, originality and for them to demonstrate that they have been through the entire design process, producing a garment that meets the brief we’ve laid out.’ Marcella also mentions the regular monthly progress meetings designers must attend in order to receive support and guidance with their work.

With a strict criterion to participate and an ever-increasing waiting list, the Young Designer Awards are the catalyst to catapulting talented individuals on the international fashion stage. They reward young designers with small sums of money, a platform on which to showcase their work and sewing equipment. Those lucky enough may even be offered the opportunity of work experience with some of the industry’s leaders.

The Young Designer Awards fashion parade and award ceremony takes place from 4pm on 31st October, at the Novotel hotel, in London’s King’s Cross.

For more information and for tickets visit www.youngdesignerawards.com

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We then proceeded to be greeted with a glass of rose champagne and took a seat in the front row.

While waiting for the show to begin I began speaking to a loudly dressed and highly fashioned blogger, Leila Latif (newgateknocker.blogspot.com) and ‘BOLSHIE’ brand designer Rhiannon Jones who were weighed down by an array of bags filled with luxurious tasseled cushions and impressive goody bags galore! They informed me of their London Fashion Week adventure, which included the Caroline Charles show and Ioannis Dimitrousis’ show at the Royal Festival Hall. The atmosphere was chaotic for those involved, such as the organizers, designers and models, but everyone else seemed calm and curious about the show, and spoke among themselves until the show began at 8:30pm. Scottish designer Fiona De Wson opened the show with a collection of sparkly special occasion couture, HMH couture’s collection was a break away from the bright and heavily embellished trends presented by the designers. English designer Hanna Marie Hutchison’s rich and elegant evening gowns were a perfect choice for memorable occasions, with a more demure colour scheme of cream, greys and blues.
Designer Maureen Hutchinson of label MYR found inspiration from the 250th anniversary of Kew Gardens for her collection, this concept was transpired through the effervescent colour and use of ruffles. MYR presented a very wearable and vibrant collection that included luminous yellow skinny jeans and a purple and luminous bubble dress with pearl detailing.

The models were a nice mix of healthy women of different ages and race; one thing that was absent from this show was size zero. Maybe there was something in the air, as knitwear designer Mark Fast made an unconventional move at his show and casted three size 14 models, which caused three of his team to walk. This was refreshing to see, and I for one hope that beauty will be seen over bones within the fashion industry and encourages models to be healthy.

I addressed Maureen Hutchinson in regards to how she found industry as a black female designer, “my clothes speak before I do, and a lot of people are not aware of my colour. I’ve found that the fashion industry is hard in general, not just for black people. I make my clothes for everyone and I hope that come across in my collection”. The debate on the lack of black models used within fashion shows has been strongly confronted this year by PPQ’s London Fashion Week show, where they used all black models, which was done by Sophie Theallet in New York last year. The question in my mind is whether this was a one hit wonder, or a progressive event for the fashion industry.

The designer on everyone’s lips was Veronique B’s collection of stunning ethnic prints which were bang on trend, in bright colours, tulip and bubble shape skirts which were highly wearable. Veronique B’s collection was influenced by her ethnic background and African culture from the Democratic Republic of Congo, which is beautifully portrayed in her pieces. The key trends evident from this fashion show were bright colours, ethnic prints, embellishment of all kinds, asymmetric lines and ruffles, all elements that can be incorporated in any outfit, day or night!

Fashion website A La Mode

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