Each of the designers featured in the MsAfropolitan boutique has been chosen because they offer a unique product that draws inspiration from the African continent and that supports ethical causes and/or production methods.

The MsAfropolitan shopping experience includes not only distinct products but also a history and journey of the African Diaspora woman through the interview series on the MsAfropolitan blog where each woman whose products are sold in the boutique shares her story.

The brands available in the MsAfropolitan boutique make  perfect presents to people who value the uniqueness and beauty of a product, perhaps even the buyer them-self.

Items sold in the MsAfropolitan Boutique all have a 10% discount on the retail price.

For more information on the MsAfropolitan boutique please visit www.msafropolitan.bigcartel.com or the MsAfropolitan blog

So what does it offer to its African as well as global audiences? Catch a Vibe spoke to Editor Helen Jennings on what marks ARISE out from other African fashion magazines and why it aims to break racial boundaries.

It was certainly an ambitious and promising publication to launch and many wondered just how long it would be able to last in a tough global market. Ten issues later and it’s still there with plenty yet to explore, having already tackled issues such as black billionaires, Obama’s Africa, the African diaspora around the world, Afro-punk in South Africa, 50 years of independence and the FIFA World Cup 2010. As Helen points out: “ I feel that we’re doing something meaningful with ARISE that goes beyond having a pretty magazine to put on your coffee table. So as Africa realises its potential, so will ARISE.”

In a crowded media market, both online and in print, where does ARISE position itself and what is it doing to mark itself out?  How is it answering to what the mainstream media is ignoring? “ARISE is the first international high-end publication to shine a light on all the good things happening on the continent and in the diaspora,” states Helen. “Africa has much to celebrate, contrary to what much of the international media would have you believe, and so ARISE is shouting about it. This marks us out from any other publication on the market.”

ARISE is one of a number of emerging African publications, which are ambitious and passionate about reaching out to and reflecting the current audience and cultures in Africa. Helen goes further: “I applaud what True Love and African Woman are trying to do for East African fashion and publishing. I was in Nairobi last week where I met some staff and they’re passionate about what they’re doing. A new magazine called Up has just launched there too, aiming at a young, urban audience – it looks promising. I also like Canoe in Ghana – a very stylish publication.”

So it is a positive sign, seeing an African audience and diaspora create and support a growing and diverse range of publications to showcase African culture and fashion from their point of view and experiences – and not through the eye of the mainstream western media. In that context, it’s been questioned how a white editor can be justified. Helen answers to that criticism: “Any magazine that aims itself specifically at a readership based on race is creating boundaries for itself. I’m not saying racism doesn’t exist in the media or popular culture – there has been much debate about the lack of black models in mainstream magazines for example – but it shouldn’t be a case of divide and conquer. What sets ARISE apart from titles such as Essence, Ebony, Pride et al, is that it’s not trying to be specifically a black title or talk to just one audience or gender. We’re a global title meant for anyone who is engaged with Africa’s ascension. The world is shrinking and Africa is rising – you don’t have to be black to read ARISE – or work for the magazine either!”

If race isn’t the boundary, what inspired a UK-based white journalist to join a glossy African fashion bible? Helen has worked her way through various fashion and culture publications from around the globe: “ I’ve explored culture from all over the world in my career and contributed to a number of titles in the USA, England and Australia. So when I was asked to launch and edit ARISE I jumped at the chance. It’s my dream job. Since the launch, I have traveled extensively across Africa and become immersed in its contemporary culture.”

ARISE is owned by Nigerian media mogul Nduka Obaigbena, who also owns the successful daily Thisday, and is reputed with helping to transform the image of Nigeria on the international scene. As Africa’s most populous country, Nigeria offers a huge potential consumer market as well as heavy economic and cultural influence on the continent and beyond. Nigeria is a key market and a crucial factor in the ARISE’s success. Helen points out: “Nigerians were the first to embrace the magazine as their own. Whether it’s Nigeria’s burgeoning fashion scene, its bankable pop stars, or its oil and energy industries, there’s always something to say about the country and its people.”

How has the core, immediate target audience – both in Africa and abroad reacted? Has it embraced ARISE and for the right reasons? “We’ve had an overwhelmingly positive response so far,” states Helen. “The magazine has hit on a need for an up-market, intelligent magazine about Africa that doesn’t patronize its readers, compromise on quality or exclude anyone from picking it up.”

In a global market overpopulated with niche publications, is there room for something like ARISE? Helen emphasizes what her publication offers: “We’ve received messages from readers in Nigeria, across Africa and beyond, all saying how happy they are that there’s finally a magazine that speaks to them. It’s not just as yet another glossy magazine, it’s Africa’s very own glossy magazine helping to put African achievements centre stage. ARISE still had to work hard to find its place in the market: “The main challenge at first was that people didn’t know where to place the magazine because it’s such a unique proposition,” admits Helen, “but each issue speaks for itself and we’re now sold in major outlets on four continents.”

She continues: “The opportunities and successes have been manifold: our interview with Grace Jones, who prowled the catwalk at the debut ARISE show at New York Fashion Week, our cover shoot with Alicia Keys (ARISE was sponsor of her Keep A Child Alive Black Ball in 2009), our feature with Morgan Tsvangirai (Prime Minister of Zimbabwe) and our epic World Cup gatefold fashion shoot with six models, including Oluchi and Alek Wek.”

What will it take for such a magazine to last? Inclusiveness, answers Helen Jennings: “ARISE believes in inclusiveness – there’s little in the magazine that couldn’t be in a more mainstream title. As more African economies and democracies grow, so too will its creative industries and in turn output from Africa will catch the mainstream eye. It’s only a matter of time.”

The next issue of ARISE comes out in December.

arisemagazine.net

On 17 September 2010, Catch a Vibe attended Bunmi Koko’s Vauxhall Fashion Scout presentation as part of the off schedule London Fashion Week. This fine reverie of a show told the tale of an accomplished young woman with a seemingly super natural ability to conquer the attention of whatever room she would occupy. A mish-mash of patterns and prints with an accompanying cane so ideal, it could only be deemed power stick.

Amidst the hustle and bustle of her show, Bunmi Olaye took a few minutes backstage at Freemasons Hall to talk to Catch a Vibe about her Spring Summer 2011 ‘Matriach’ collection, the label’s continuing success and whether there was any truth to her dressing the First Lady.

Catch a Vibe: How does it feel to be part of London Fashion Scout?
Bunmi Koko: It’s amazing. I’m just happy to have a platform to actually show my work in London. Because you know, it’s quite challenging trying to get to this stage. You have to go through so many applications, so many hoops that I’m just happy to actually be here with this collection.

It is a really great collection. It seems to be about power women.
It’s all about female empowerment which is why it’s called Matriarchy. The collection is about that woman who is the head of a government or the head of a society. The inspiration was The Leppard Masquerade, [a Nigerian ceremony] that is very secret and where men only are called, women are not allowed to see it. It was a bit of a controversial issue because we couldn’t really use the real masquerade here on stage. We had to use something a little bit more playful and soft.

And so I’m flipping it on its head by making it more about females. And also the part of Nigeria where this masquerade comes from is called Calabar. It’s the south eastern Nigeria. And my partner Francis’ great-great grandmother is Mary Slessor, a Scottish missionary who went to Nigeria and stopped the killing of twins. She is on the ten pound Scottish note. She was also the first female judge appointed by Queen Victoria. The collection is in honor of her too. So this is the inspiration: Mary Slessor. Scotland, Nigeria, Great Britain…There’s a lot of history in this collection.

I think one thing we really want to know in terms of our readers was why do you think there are so few black designers in the mainstream or showing at LFW?
When I was finishing my degree, that was the topic I wrote on, the lack of representation of black designers, which I want to write as a book at some point.

Me coming from Nigeria, I feel the problem that we have is the fact that there are not enough fashion institutions where you can go and study; where you can learn how to pattern cut, how to use fashion and fabric and design. There is also the lack of fabric resources, as well.

When I went back to study fashion, it seemed like such a long thing to do: a fashion course for 4 years. And some of my friends were like “I want to be a designer” but they don’t want to study. But you can’t just cut this; you need to go to school and do it properly. These are some of the things I feel affect some black designers. Funding, money also is an issue, and then not knowing how to put collections together.

I think these are fundamental things, understanding how the industry works. You need to generate press for yourself; if you don’t get press, no one is going to buy your stuff. And if your collection is not well made or researched and you don’t present yourself properly, it’s going to take a little while before someone sits down to look at what you have to present. I think that people need to go back and rethink “what’s wrong with my strategy here”. And when I look at some of my other friends who are trying to do the same thing, they didn’t do what I do. I think you need to follow some procedures.

Where does this knowledge of the fashion industry comes from?
A lot of it came from my work experiences. I worked at Alexander Mc Queen, I also worked for other designers.  But I think success comes from constant hard work. We did cold-calling and did the legwork as well.
I sent my work to everybody. I don’t care. What are they going to say? Maybe no, maybe yes. But that’s what you have to do. Write to everyone. We just thought: let’s do a good look book, with great photography. The garments are all well -made – that’s the first thing. Do a good look book and send it to everyone and see what happens.

Is that how you got Michelle Obama?
Well we sent a look book to her and we were in South Africa to see Nelson Mandela because we had won an award and they just loved what we did. We showed them the look book and thought it was amazing. They said Michelle Obama would look good in our designs and that we should contact her. So that’s what we did. Now we just have to wait and see.

What do you expect in terms of next year? Fashion week on schedule?
I hope so. That’s what we’re working towards. You know, funding!  We’ll get there.

Bunmi Koko is shortlisted as Creative Business of the Year at the Precious Awards 2010. The winner will be announced on Monday 8 Novembe.

Ohema Ohene, the shop, has arrived.  Situated in the heart of South London and opened less than 12 hours, as I approached the shop, there were already a few passers by, standing outside and staring excitedly, enjoying the stylish mannequins. With clothing made from material originating from the African continent then transformed into current modern pieces, they could all easily sit in prime place next to the latest offerings from Topshop or Warehouse. The boutique definitely had a regal ambience in the air and aptly enough Ohema Ohene translates to “Kings and Queens” in the Ghanaian dialect of Twi.

The boutique was bursting with designs fit for modern day living, all created by Abenaa for Ohema Ohene. Particular favourites of my own included the shelves stacked of cool hi-tops and plimsolls to pair with the winter must have Mac coat. All easily wearable, cultural and stylish. Most definitely welcome additions to any wardrobe and perfect for any London urbanite.

More on the glamorous side and from the Ohema Ohene Mainline collection came racks of sophisticated dresses, skirts and playsuits. Embellished with beautiful beads, sequins and other adornments, on a foundation of luxury fabrics, they will proudly stand out from the usual group of standard little black dresses.

Menswear is also something Abenaa has recently launched, unveiling a line of luxury knits and shirts for men. Much more casual and mostly trimmed with print, men can comfortably embrace their heritage with the Ohema Ohene pieces and still feel at ease.

Over the last few years there has surely been an increase in interest with merging African culture with Western influences and Ohema Ohene surely remains at the forefront of this revolution.  Continually producing high quality unique clothing, the launch of the first Ohema Ohene shop seems to be just the beginning. Expect more clothes, more outlets and more innovation if this first boutique is anything to go by.

www.ohemaohene.com

Bunmi Koko

The Nigerian born UK -based Bunmi Olaye’s road to success reads like the perfect fairytale. Having met with the great Nelson Mandela and rumoured to be designing a coat for Mrs Obama herself, it seems every little thing Bunmi does is magic!
The ubiquitous Bunmi Koko is currently on the list of every name on the know-how, and with a string of celebrity tailing the brand’s every move.
Showing at Vauxhall Fashion Week [part of London Fashion week], expect an explosion of earthy tones, handmade sculptured pieces made to fit like second skin; all in all high-end women’s wear with a punch.
Brand BK was founded in March 2009 and has gone from strength to strength ever since and is bound to keep on conquering.
After all if it’s good enough for a first lady, it sure is good enough for us!

http://bunmikoko.com/

Ozwald Boateng

The wunderkind of menswear Ghanaian born Ozwald Boateng OBE is set to claim his rightful place in the limelight, with his highly anticipated runway debut at London Fashion Week. Spring/Summer 2011 is bound to have just the bounce. With something old- the familiar bespoke suits tailored with skill and precision, and the bold hues aplenty with intricate detail and now also something new- an expansion of OB product lines- luggage, knitwear, and accessories.
And if that’s not enough, ten year in the making documentary A Man’s Story is rumoured to be screening at the London Film Festival in October; Boateng seems to be playing an entirely different ball game.

Boateng has had “storyteller” to his burgeoning CV for some time now [notably House of Boateng the 8 part documentary; think a fashion fused Coming to America] and yet we can’t keep but think A Man’s Story will provide a more intimate portrait of the man behind the name. It’s a mystery to think what the driving force behind his creative ingenuity could be; a strong vision or an impeccable acumen? Whatever it is, its safe to say that style sure matters to Ozwald!

Don’t miss out on a chance to win tickets for his London Fashion week presentation. (Wed 22 Sep at Odeon Leicester Square)

ozwaldboateng.blogspot.com

Fashion Diversity

Fashion is set to pop at the London Diversity Works, a series of fashion events at Islington Metal Works from the 16th to the 18th of September, the second in succession after initial success.

Both the emerging as the seasoned designers will showcase their work- at individual pop up stores- and their immeasurable talent, in a space so worthy of ruckus its worth heading down just to see it for yourself, that is if the 3 days of free fashion doesn’t entice you enough.

Remember that space is very limited and awarded on a first come first serve basis. Thu 16 to Sat 18 September.

www.un-told.co.uk

Islington Metal Works on Facebook

Find out who they are, what they are selling and where to find them.

Contemporary African Fashion – The Shopping Guide. DOWNLOAD NOW! (pdf)

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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