Lesson number one? Africa — and its fashion — is about abundance, not lack.
Victoria and Albert Museum
The title comes sans the “n,” as in Africa, not African, by design: “The title is ‘Africa’ rather than African because we want to keep that open-endedness. African fashion can look like many, many things. There are many ways to be African or many ways to be fashionable and so to keep that slight ambiguousness in the title, somehow there’s space for all the tension, the contradiction, the beauty, the struggle, the hope.
“Africa Fashion is always a kind of futurism. It takes you forward,” she writes. “…The boldness of Africa Fashion is the complete act of will of it and the drive to creation. The insistence on this. This insistence is the release of Imagination from when it, too, was condemned to be fettered like the body. It is agency at its highest because it creates a future in which African people are not defined by anyone except ourselves. By. Ourselves.
“With the book and the exhibit, it is this idea of broadening people’s understanding of the history of African textiles, the breadth, the depth, the width of it, the richness of it…beyond Dutch wax prints,” Checinska said. “Creativity and fashion allow us to write our own narratives. They are spaces for people who have a vision for the continent and who want to show its strength and its immense humanity, its beauty, and its material and non-material resources. This gives full meaning to the emergence of African and Black creatives, inspiring present and future generations,” she writes.
“There is an acceleration of interest and we can’t ignore the impact of digital platforms and the digital world,” she said. “I also think that we can’t underestimate the fact that we do have people of African heritage at the helm of magazines like Vogue, [with] Edward Enninful and his impact. You’ve got Kenya Hunt [editor in chief] at Elle [UK] and her impact. We had Virgil Abloh, we have Ib Kamara [editor in chief of Dazed magazine].
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