African Prints: A Celebration Of African Fashion

The late Ghanaian fashion designer Kofi Ansah is famous for saying, “Without clothes, we can’t play our part.” He made the first news in Britain in the 1970s after designing Princess Ann’s costumes.

One of the more than 40 designers on display at the V & A exhibition Africa Fashion will launch Ghana internationally, from pioneers like himself to a new generation trying to shake things. I’m Ansah, a graduate of the school. His innovative style catwalk.

Most names will be confusing to those who do not follow the fashion industry. This first exhibition in the UK has also been delayed considerably, as some names are only known in Africa.

The exhibition’s stunning collection of clothing defines it on a vast continent, including textiles, personal testimonies, photographs, sketches, films, as well as the diversity and richness of African fashion, and 54 different countries. Emphasizes the difficulties of each, each with its own history, culture and influence. The rude title of the exhibition betrays this.

According to lead curator Christine Ciessinska, “African fashion explores the work of pioneers of the 20th century and the creatives at the heart of this multicultural and international scene today, and is a carefully selected group of fashion creatives. It celebrates liveliness and originality. “
“I hope this exhibition will rethink the geography of fashion and influence the flow of the industry.”

She is an example of the work of Paris-based designer Imane Ayissi at the opening of the exhibition earlier this month in the 2019 electric pink made of silk and Cameroon’s Raffia, the opening piece of the exhibition. I quoted the costume. This work “is at the crossroads of the fashion system that connects Africa and its diaspora, blurring the line between craft making and haute couture.”

Beyond this impressive exhibit, we will enter the first section of the exhibit. This is the more attractive part in my opinion.It tells the story of the rise of African fashion to the world’s attention, which began in the mid-20th century, with traditional printed fabrics in modern wear and Mali’s Bogolan fabrics in a luxurious western style by Chris Seydou.

It is also important to pay attention to Naima Venice, which combines Moroccan and French haute couture textiles to create a woman equivalent to the hooded cape of Magrebi.

In the post-independence era, the work of pioneers matured to mean an ongoing political and cultural revolution.
Photographed by Kwame Nkrumah, who announced in 1957 that Ghana became independent of British rule, while wearing a traditional Kente robe instead of a Savilllow suit, and by portrait photographers Seiduketa and James Barnor. The stylish young man stands out for this era of pride and promise.

“Modern Creative” goes up to the stage on the second floor, and the museum transforms into a kind of store that actively overturns expectations and prejudices while recognizing the background.

Adevayooke-Use Organza and Pleated Chiffon Laural as part of his orange culture label questioning the super-masculinity from South Africa’s legendary Angora goat and the fluffy white mohair ensemble of Lucanyomdingi. teeth.

I really like the flowing elegance of the Rwandan Mosions brand and the fitted Ankara print worn by Lisa Foravijo.
But the focus is no longer just on design. AwaMeité focuses on cotton in both garments and attempts to promote Mali cotton workers. Meanwhile, Congolese designer IAMISIGO uses his “wearable artwork” to “decolonize the mind.”

Courtesy of content Camden New Journal & NFH

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