Photo credit: @ken.dumevi
As the homeland of the African diaspora and home to 55 countries and over 2,000 living languages, the African continent is made up of countless deep-rooted cultures. Yet when it comes to high fashion, African designers are majorly underrepresented. It wasn’t until 2020 that Cameroonian designer Imane Ayissi became the first designer from Sub-Saharan Africa to be included on the official calendar of Paris Haute Couture Week. It was a 28-year journey for Ayissi to reach the heady heights of the fashion industry. Indeed, many designers start by showing their lines at smaller fashion weeks and, this year, a number from Sub-Saharan Africa chose Berlin as their launchpad.
There’s something important about bringing an African perspective into a space that’s still shaping its fashion identity.
Orange Culture by Adebayo Okelawal from Nigeria, BUZIGAHILL by Bobby Kolade from Uganda and PALMWINE IceCREAM by Kusi Kubi from Ghana have all presented their collections at Berlin Fashion Week in recent seasons. This year, Fruché by Frank Aghuno from Nigeria was on the lineup for the first time. London Fashion Week, famous for its street culture and focus on experimental designs, was traditionally known as the launchpad for emerging designers, but now a notable wave of designers from Sub-Saharan Africa are coming to Berlin.
Of course, there’s the question of cost. London has become prohibitively expensive for many up-and-coming brands. But the answer isn’t just Berlin’s (relative) affordability. Adebayo Okelawal, founder of Orange Culture, says choosing Berlin “felt quite instinctive for me. There is an openness here to emotion, to storytelling and to work that sits outside of the expected.” It’s a city that aligns with his designs, which fuse modern androgynous silhouettes with traditional Nigerian influences. “My collections are often rooted in vulnerability, identity and personal narratives, and Berlin feels like a place where that kind of work is understood.” For Okelawal, a place that isn’t a fashion capital yet is the perfect platform, since it allows for dialogue in a way that feels honest. “There’s something important about bringing an African perspective into a space that’s still shaping its fashion identity.”
The question is also whether a long-established fashion capital can still be a place to push boundaries. London may just be losing its alternative crown. Kusi Kubi, founder of PALMWINE IceCREAM, supports the sentiment that Berlin is the new home of up-and-coming fashion lines. The city “offers a strong platform for independent designers, particularly through its openness to experimentation and its support of diverse, international voices.” As Kubi’s designs mix a European avant-garde aesthetic with Accra’s vibrant street styles, he appreciates a context that “values creativity, cultural exchange and new perspectives, while still connecting with an engaged audience of press, buyers and industry professionals”.
Not everything has to be perfect or polished all the time. There is value in softness and in telling stories that feel real.
Sub-Saharan African designers have seen a significant buzz and received an applauding reception in the fashion industry. Both Kubi and Okelawal especially praised the Fashion Council Germany for their support. But, of course, the picture isn’t completely rosy. As Okelawal notes, “Berlin is not as commercially driven as cities like Paris or Milan. You are not necessarily going to see immediate sales or a strong buyer presence.” That means it requires a longer view. Runways in Berlin are more about building relationships and positioning brands than expecting instant results. Kubi has another gripe: there’s a “need to reapply for funding each season, even for designers who have previously contributed to the programme”. In true German bureaucratic style, it’s the administrative practicalities that are a strain. He suggests an alternative system: “a form of continued or scaled support for returning designers could help maintain momentum and allow brands to build more consistently on the platform”. Berlin is known for its alternative style, but it’s not so known for the adaptability of its systems.
Designs by Orang Culture, photos by Andreas Hofrichter
Looking forwards, Kubi’s vision for PALMWINE IceCREAM includes a permanent and immersive space for the brand through a standalone store. “This would allow us to present our work through our own lens, creating a deeper connection with our audience while educating them on our process, materials and values.” Okelawal, too, sees the future of Orange Culture as something that continues to grow beyond clothing. “It is about storytelling, community and creating space for conversations around identity and emotional wellbeing.” For him, a city that values ideas and authenticity allows for this vision. “At the same time, growing the business side of the brand will always require being present in other markets as well. So for me, Berlin is an important cultural platform, but part of a wider global journey.”
Designs by PALMWINE, photos by Boris Marberg
Okelawal may not feel that his vision can be completely realised by staying in Berlin, but his affection for the city’s fashion scene is clear. “Right now, it’s important to create space for honesty in fashion. Not everything has to be perfect or polished all the time. There is value in softness and in telling stories that feel real. Being in Berlin has reminded me that there is an audience for that kind of work, and that is something I really hold on to.”
All in all, there’s a clear vote for the city from both fashion line helmers. Berlin’s scene is perfectly suited to Sub-Saharan Africa brands launching a more unique fashion narrative, but whether they can achieve a solid fashion future here remains to be seen. The city’s transient spirit and stubborn bureaucracy raises its head. For many people, Berlin is a place that’s passed through rather than lived in – and it may just be the same for designers.