Dear Shaded Viewers,
Imane Ayissi embarks on a formidable mission to thrust authentic African textiles into the spotlight, navigating the challenges as a pioneering African couturier amidst the glamour of Paris Fashion Week. The obscure bark of the Obom tree, the vibrant kente cloth from Ghana, and the resilient kapok fibers from Burkina Faso emerge as the unsung heroes in Ayissi’s bespoke creations showcased at his haute couture show in Paris.
Ayissi sheds light on the common misconception surrounding African fashion, emphasizing that the vibrant fabrics often associated with the continent gained popularity only recently. The 55-year-old visionary, who carved his niche as the first Sub-Saharan African designer at haute couture week in 2020, is on a quest to revive traditional fabrics such as raffia, derived from indigenous trees and plants, predating the influx of foreign imports during the colonial era.
This sartorial presentation aligns serendipitously with the release of a UNESCO report, spotlighting the burgeoning potential of the fashion sector in Africa. Toussaint Tiendrebeogo from UNESCO underscores the dynamism of African fashion and its thriving creative ecosystem, acknowledging figures like Ayissi. Notable for his contributions, Ayissi graced the stage in a celebrated exhibition at London’s Victoria and Albert Museum and New York’s Brooklyn Museum last year.
One of his key challenges is sourcing quality materials from Africa, where Ayissi perceives a deficiency in meeting international standards. He points to the industry’s failure to keep pace, compelling him to import cotton from other regions. The UNESCO report aligns with Ayissi’s concerns, revealing that a staggering 81 percent of cotton exported from Africa is in its raw state, processed elsewhere, and then resold to the continent at elevated prices.
Ayissi champions the essence of luxury as rooted in pride in one’s identity. Collaborating with embroiderers in Ghana and beyond, Ayissi endeavors to elevate standards, even as he acknowledges the industry’s current fragmentation.
“Africans must wake up,” he declares emphatically. “They need to understand that fashion is a real, noble profession and a big economic machine.” The resolute designer paints a vivid tapestry of struggle and hope, striving to weave the rich threads of African identity into the global fabric of haute couture.
Later,
Diane
