The global fashion industry has shown considerable interest in African fashion designs over the past decade.
From runways in Paris and Milan to high-street retailers in New York and London, African-inspired patterns and textiles are making their mark.
However, this surge in interest raises an important question: Is this newfound attention a sign of genuine appreciation for African fashion, or is it merely tokenism—a superficial nod to diversity without a true commitment to the culture behind the designs?
Historically, African fashion has inspired global designers, but often without proper recognition. Traditional textiles like Ankara, Kente, and Mudcloth have influenced many Western designers, yet the original creators have frequently remained unacknowledged in the mainstream fashion narrative.
Recently, there has been a shift. Designers such as Duro Olowu, Kenneth Ize, and Lisa Folawiyo are now celebrated on international platforms, while African fashion weeks in cities like Lagos, Johannesburg, and Nairobi are gaining global recognition. This increased visibility has attracted global fashion buyers eager to incorporate African designs into their collections.
The current wave of interest is evident in high-profile collaborations and events. For example, the prestigious LVMH Prize for emerging designers featured two African designers in 2020, highlighting the continent’s talent. Additionally, major fashion brands like Stella McCartney and Valentino have included African-inspired prints in their collections, showcasing a commitment to diversity and cultural appreciation.
However, tokenism in fashion occurs when brands superficially engage with diverse cultures without a genuine commitment to understanding them. This can mean including African designs in a collection merely to appear diverse, without engaging with the designers or the cultural significance of the work. Tokenism often lacks long-term investment and fails to credit or compensate the creators appropriately.
In contrast, genuine interest involves a deep appreciation for African fashion. This means collaborating directly with African designers, investing in the industry, and ensuring that creators receive the recognition and compensation they deserve. True interest is characterized by sustained partnerships, ethical practices, and a commitment to promoting African fashion as a valuable part of the global landscape.
There are both positive and negative examples of how global fashion buyers have engaged with African designs. For instance, the collaboration between Nigerian designer Kenneth Ize and luxury brand Karl Lagerfeld reflects genuine interest, as it elevated Ize’s work on a global stage. Conversely, some Western brands have faced accusations of cultural appropriation for using African patterns without proper credit or compensation, raising concerns about tokenism.
African designers often have mixed feelings about the global interest in their work. While many appreciate the recognition and opportunities that come with international exposure, there are concerns about exploitation. Some designers feel their work is reduced to a trend instead of being valued for its cultural significance and artistic merit.
The debate between cultural appropriation and cultural appreciation is central to understanding the global interest in African designs. Appreciation involves respectful acknowledgment of the culture, often through collaboration or compensation to the original creators. Appropriation, however, involves taking elements of a culture without permission or understanding. African designers are increasingly vocal about the need for the fashion industry to shift from appropriation to appreciation.
The global interest in African designs is a complex phenomenon. While there are encouraging signs of genuine appreciation, the risk of tokenism remains. The true measure of interest will be seen in the long-term commitments that global fashion buyers make to African designers and the broader fashion industry. Will African designs be embraced as a permanent part of global fashion, or will they be relegated to a fleeting trend?
