Africa’s Cultural Renaissance : Inside The V&A Africa Fashion Exhibition

‘ I feel like now more than ever African designers are really taking charge of their own narratives and telling people authentic stories’ — Thebe Magugu

The Victoria and Albert Museum’s Africa Fashion exhibition celebrates and champions a new cultural renaissance emerging from Africa, whilst paying homage to the rich fashion history of the continent.

Curated by Dr Christine Checinska, the exhibition is hosted in the V&As fashion gallery split between two floors with over 250 objects showcased coupled with photography, film and designer sketches. It is the most extensive exhibition of African fashion staged in the UK, and represents 25 out of 54 countries in the continent, displaying work from over 40 designers who work in Africa.

The exhibition could have not come at a better time. Africa is in the midst of an exhilarating cultural and creative renaissance, with fashion at the forefront. Some of the biggest stars on the planet, are rising from Africa. With Tems making history as the the first Nigerian artist to debut No 1 on Billboard 100, to fashion photographer Daniel Obasi’s Louis Vuitton fashion eye book, the South African amapiano music genre taking the world by storm, and African designers debuting internationally at fashion weeks. Africa is the moment. The V&As exhibition is a celebration of the continents’ diversity, creativity and global impact. It barely scrapes the surface and only shows a glimpse of the happenings, encouraging people to further explore Africa fashion.

Africa fashion explores how fashion is an integral part of African culture. Everyone is their own designer, with seamstresses being passed down generationally. The importance of cloth is intricately linked with identity ; with a sense of belonging, heritage and history being expressed through fabric and designs.

Identity, through fashion is at the core of the exhibition. Africa fashion opens with the words in bold vogue like font, immediately representing the pride associated with African design.

The ground floor of the exhibition takes visitors on a journey to pre — independent Africa, exploring the continents rich fashion history featuring work from designers including Cameroonian Imane Ayissi, Malian Chris Seydou and Ghanian Kofi Andah, as well as pieces including Moroccan Naima Bennis’ 1960s Kaftans. The highlight of this floor, is the display of Ghanaian President Kwame Nkrumah’s Kente cloth, worn in 1967 to announce Ghana’s independence from British rule. Working in conjunction with his words ‘we are going to create our own African personality and identity’, fashion is used to politically shake off colonial western ideals and represent the new identity of a Ghanaian. Post colonial designers used fabric and design to craft new African identities, with heritage at its core.

Up the stairs, in the mezzanine level of the exhibition, visitors are greeted by Nigerian artist Lekan Ogunbawo’s short film ‘Who dey shake?’ projected onto the dome ceiling, a project which captures the blend of history — paying homage to predecessors, with modern twists and ideas ; the theme of the second part of the Africa fashion exhbition. Contemporary designers including Lisa Folawiyo, Thebe Magugu and Nkowo Onwuka are featured in this level. With identity being at the core of the exhibition, feminism and LGBTQIA+ identities are discussed through fashion photography by Ugandan — Kenyan Sarah Waiswa and Nigerian Stephen Tayo.

We see new ground breaking African designers dressing the next generation of global designers with Burna Boy’s 2020 Grammy outfit designed by Tokyo James, reinforcing the scale at which Africa fashion is crossing over into mainstream consciousness.

The final level of the exhibition leaves visitors excited for the future of Africa Fashion. Africa is experiencing a creative renaissance musically, artistically and sartorially. The V&As exhibition is a celebration of the resurrection and history of African design.

I caught up with Nigerian designer Jade Rawa, founder of Melia, a brand using Yoruba Adire, Batik and Kampala fabrics to create contemporary pieces.

How did you start Melia? What’s it all about?

Jade : I started Melia for two reasons. One is the fact that I have a love for fashion and the other, is the fact that I have a love for art, culture and history. I wanted to see how I could combine those to create clothes that have a local feel.

What does being Nigerian, and African at large mean to you?

Jade : Its everything. Pretty much everyone who is Nigerian complains about Nigeria all the time, but I wouldn’t change it for the world, I love my identity.

El Anatusi once said ‘Cloth is to the African what monuments are to the European’, what is the importance of fashion to you?

Jade : Fashion is everything. If you are African, you are interested in fashion. Even from the beginning of civilisation, our warriors locked good, from their wrappers to their neck and hand pieces.

How do you think the African fashion industry has evolved since you began your career?

Jade : I’ve seen a lot. One of the major changes I would say is a heightened appreciation of African fabric. Designers are more aware of the fact that you don’t have to follow Western rules. The unapologetic infusion of culture into our designs. There’s a sense of pride in fashion now that wasn’t there before and that’s huge.

What’s the significance to you, of institutions like the Victoria and Albert museum celebrating and championing African fashion?

Jade : It’s a big deal. It’s important that African fashion is appreciated on a global scale, and that’s what the V&A has done. It’s created a global audience for the appreciation of the genius of African designers, and what we contribute to the global fashion industry.

Do you feel African designers are sufficiently recognised in the global fashion industry?

Jade : If you had asked me ten years ago, I would have saif no but honestly a lot has changed in the last few years for African designers. We’re seeing exhibitions at the major fashion weeks. There’s a Lagos fashion week and Dakar fashion week backed by international sponsors. There’s more inclusivity in the global fashion stage. It’s something to acknowledge. Does it mean African designers are getting the same respect as their counterparts, maybe we’re not quite there yet but it’s a work in progress that’s looking positive.