The Hand of Fashion 2nd edition

Susta inab le Fash ion s Rea l Prob lemForever LEATHER in Eth iop iaFLORIANE de SAINT P IERRE

Pap ier-Mach f rom HAIT I BEAT of AFRICA

Ch i ld Labor FreeBURKINA FASO

N a m s a L e u b a

2nd EditionPOST LUXURY

MIMCO design unique accessories collections. This tote and pouch have been crafted in partnership with the International Trade Centres Ethical Fashion Initiative.

MIMCO proudly supports the initiative that plays an active role in reducing poverty by empowering women through work and enabling their communities to thrive. As each piece brings joy to the wearer, know also that it brings joy, self-confidence and empowerment to the artisan that has made it, their entire family and community.

Available online & in-store from November 2015

MIMCO.COM.AU/EFI

5MIMCO design unique accessories collections. This tote and pouch have been crafted in partnership with the International Trade Centres Ethical Fashion Initiative.

MIMCO proudly supports the initiative that plays an active role in reducing poverty by empowering women through work and enabling their communities to thrive. As each piece brings joy to the wearer, know also that it brings joy, self-confidence and empowerment to the artisan that has made it, their entire family and community.

Available online & in-store from November 2015

MIMCO.COM.AU/EFI

6These last months we have seen, and continue to see masses of people leaving Africa and the Middle East to reach Europe in hope for a better life. Many of them are escaping from conflict or extreme hardship with no access to the functionings of their societies. (I use this word in the sense of Amartya Sen). With this digital publication created in collaboration with the revolutionary Black Magazine team, we intend to offer a different view of Africa and other developing nations we work in. Our goal is to present the beauty of their artisans, designers and the immense creative resources available in developing countries around the world. This seems to be the logic of todays work: coexistence of hope and despair. The UN General Assembly discusses Sustainable Development Goals. Here, we highlight some examples of sustainable development. Fashion conceived and made by people who can access dignified work and improve their lives. This is a challenge for those who want to work in this sector, as stated by Floriane de Saint Pierre, the woman behind fashions top human resources consulting firm. The world is undergoing a cultural revolution, sparked by a fundamental shift of priorities from pure profit to caring about people. We hope you enjoy this edition and most importantly, we invite you to join the movement.

Simone Cipriani, ITC Ethical Fashion Initiative

kia ora! buongiorno! jambo rafiki! bonjou! hola! hujambo! habari! malo e leilei! gidday! aloha! bonjour! hallo!

Foreword

Editors/creative direction: Black MagazineGrant Fell & Rachael [email protected]@blackmagazine.co.nz

Art DirectorNina van Lier

ITC Ethical Fashion InitiativeEFI Editor: Chlo Mukai [email protected] editor: MarieJo [email protected]

WritersSimone Cipriani, Grant Fell, Chlo Mukai, Brnice Magistretti, Clare Press, Evelyn Liautaud Quine, Simonetta Gianfelici, Kukua, MarieJo Cartier, Carmen Artigas

PHOTOGRAPHERSThom Kerr, Anne Mimault, Louis Nderi, Tahir Carl Karmali, Namsa Leuba, Chlo Mukai, Marie Arago, Julio Piatti, Daniel Sery, Tamzin Haughton, Justin Polkey, Livio Bez, Brett Rubin & Nicole Van Heerden, Eniko Szucks, Nick Breton, Simon Deiner, Kerry Glanfield, Kyle Boshoff, Chris Saunders, Vanni Bassetti,Nina Van Lier

HAIR & MAKE-UPJustin Henry

ARTISTS/ILLUSTRATORSMaria Muscalu & Brian Omolo

SUB EDITOR:MarieJo Cartier

ADVERTISING:Grant Fell +64 21 407 248

Thanks to: Justin Henry Beauty, Mary Maguet, RPD Models, the weavers of AZPF, the cotton farmers of Bama, Habou Paulin, Nathanal Dagane, Anne Pressoir, Haram Sidib, Ingrid Colonna, Aysylu Yanturina, Almea Bordino, Dawit Yayine, Franco Iacovino, Serge Adeagbo, Elisabetta Facco, Kat Lodes, Kazuko Niwano, Jiali Yang, Nao Tamai, Carlos Ayma, Maria-Elena Moioli, Valentina Pieri, Mariam Maiga, Hussein Feyssa, Macenna Derouen, Charmaine Ayden, Claire Bergkamp, Laura McCuaig, Jessica Evans, Fiona McKillackey, Nelly Oryan, Trisha Shoesmith, Paula Coles, AVSI, les artisans de la Croix-des-Bouquets et de la rue de la Runion, Peace Quilts, Satuguru Travel, Boubakar Doumbia, Ethical Fashion Artisans, Vincent Oduor, Comatex, Segatex, Benkadi, Tissa Sahel, Mme Thrse, Marcelline Sawadogo, Le Groupement de Producteurs de Coton Sagnon, Sanou Augustin, Sanou Ali, Ouattara Bengali, Hotel Sissiman and many other friends of the Ethical Fashion Initiative and Black Magazine.

The Hand of Fashion is published by:

BLK NZ Ltd/Black MagazineP.O.Box 68-259,Newton,Auckland,New Zealand/AotearoaPh: + 64 9 817 9601@ BLK NZ Ltd, 2015

www.blackmagazine.co.nzwww.facebook.com/blackmagazinewww.twitter.com/blackmagazinewww.pinterest.com/blackmagazinewww.vimeo.com/blktvissuu.com/blkonblk

To support: ITC ETHICAL FASHION INITIATIVEInternational Trade Centre54-56 rue de Montbrillant, Geneva, 1202, SwitzerlandTelephone: +41-22-730.0223

www.ethicalfashioninitiative.orgwww.facebook.com/TheEthicalFashionInitiativewww.twitter.com/_ethicalfashionwww.pinterest.com/ethicalfashion1www.instagram.com/ethicalfashion/

The views expressed in The Hand of Fashion are not necessarily those of the publishers and editors and in no way represent the views of the International Trade Centre, the United Nations or World Trade Organization.

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Photography: Thom Kerr Fashion editor: Rachael ChurchwardHair & Make-up: Justin Henry at Viviens Creative Melbourne Model: Mary Maguet at RPD NZ

All Accessories: Stella Jean RTW SS 2015

News at Hand

18. Fashion Revolutionary

24. Child Labor Free

26. Mimcos Kenyan Hands

30. Access Or Rize32. Floriane de Saint Pierre

36. Forever leather in

Ethiopia

Design For Life

44. Beat of Africa46. 1981

48. FOMI

50. Mimi Plange

52. Sindiso Khumalo

54. Loza Malombho

56. Galago

58. Kibonen NY

60. CHICHia London

62. Taibo Bacar

64. Projecto Mental

66. Orange Culture

68. Maxhosa by Laduma

70. Constellation Africa76. The Magic Mtissage

80. Fashion editorial: Return

to Bama

98. Organico Accessorio

Fashion At Work106. Madame Magnifique110. AZPF Artisans by Anne Mimault

Art Is At Hand130. Namsa Leuba142. EFI goes to California144. Papier-Mch

Its Going To Work152. Sustainable Fashions (Real) Problem158. Its Not That Appropri-

ate

O N T H E C O V E R

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THE 1 .618

GUIDETHE FINEST SELECTION OF

CREATIVE & SUSTAINABLE LUXURY BRANDS!

CONTENTS

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GUIDE.1618-PARIS.COM1618.SPOOTNIK.COM

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THE 1 .618

GUIDETHE FINEST SELECTION OF

CREATIVE & SUSTAINABLE LUXURY BRANDS!

O U R P E O P L E

Chlo MukaiCommunication Manager, ITC Ethical Fashion Initiative, GenevaPhoto: Louis Nderi

MarieJo Cartier ITC Ethical Fashion Initiative, Geneva (with Jeniffer Kaari) Photo: Chlo Mukai

Louis NderiPhotographer, Nairobi. Photo: Terilyn Lemaire

Simone CiprianiChief Technical Advisor, ITC Ethical Fashion Initiative, GenevaPhoto: Trevor Stuurman

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Grant FellEditor, Black Magazine, Auckland.Photo: Damien Nikora

Rachael Churchward Creative Director, Black Magazine, Auckland.Photo: Ribal & Gil

Simonetta Gianfelici Talent scout, model, curator, RomePhoto: Angelo Cricchi

Nina Van LierArt director/Designer, Auckland.Photo: Damien Nikora

C O N T R I B U T O R S

PEOPLE OF THE PLANET

Carmen ArtigasDesigner, Sustainability Consultant and Educator, San Diego.Photo: Jerome dAlmeida

Evelyn Liautaud Quine Visual Artist - ConsultantSurface -Textile DesignerCreative Director at CHOUBLAC, Port-au-Prince, Haiti.Photo: Marie Arago

Anne MimaultPhotographer, Ouagadougou Photo: Anne Mimault

Namsa LeubaArt director & Photographer, Lausanne.Photo: Tim Barber

Marie AragoPhotographer, Port-au-Prince.Photo: Tatiana Mora Liautaud

KukuaEditor in Chief and CEO of African Prints in Fashion LLC, Brooklyn, NYPhoto: APIF

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Maria MuscaluCostume Designer & Illustrator, Geneva.Photo: Sorin Florea

Brian OmoloIllustrator & Graphic Artist, Nairobi.Photo: Mark Ayabei

Justin HenryHair & Make-up artist, Melbourne.Photo: Tintin Hedberg

Brnice Magistretti Communications & Editorial Manager at Seedstars World, GenevaPhoto: Brnice Magistretti

C O N T R I B U T O R S

Clare PressFashion Editor-at-large, Marie Claire Australia, Sydney

Thom Kerr,Photographer, Sydney/Paris

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news at

A R O U N D T H E W O R L D O F E T H I C A L F A S H I O N

hand

F A S H I O N R E V O L U T I O N / O R S O L A D E C A S T R O C H I L D L A B O R F R E E / M I M C O J E W E L L E R Y / C H A N L U U A N D S T E L L A J E A N / F L O R I A N E D E S A I N T P I E R R E

FAS H ION R E V O L U TI ONARY

Orsola de Castro, the

co-founder of Fashion

Revolution speaks with EFIs

Simone Cipriani about

luxury and fast fashion, the

curiosity of millennials, and

the importance of goodwill.

Orsola de Castro, the co-founder of the Fashion Revolution movement Photo: Tamzin Haughton18

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Simone Cipriani: Who is Orsola de Castro?

Orsola de Castro: I started as a professional rubbish collector. That was the origin of what I did: collecting leftovers from luxury manufacturers and mills to produce my collections. For some reason this fascination for upcycling/recycling and knowing the story of clothes is still what drives me, it is still unravelling.

The brand you are talking about, when did it start? Is it still active? It started in 1997, but sadly (and also with huge relief) we put it temporarily on hold in January 2015.

On hold because the sector is not ready for such a brand, or because you wanted to devote yourself to other projects?

A combination of both. Actually, I think the sector was far more ready for such a brand 10-15 years ago than now. At the time most terminologies we use now (ethical fashion, upcycling etc) didnt exist, so what I did, my design method, was simply perceived as original. Precious, almost. Unique. And From Somewhere was really, always, a bit strange: a deliberately small label with lots to say. This led us to some very exciting and very big collaborations, such as From Somewhere with Speedo and Topshops Reclaim To Wear, but fundamentally, we were ahead of the times and swimming against the current. Today, with fast fashion and mass-produced luxury, a small and independent brand has less chance of succeeding. Eventually

I became fed up designing for compromise and having to make things constantly cheaper. I was creating a brand with a story, and clothes that are beautifully made and carry a story inevitably cost more. Then of course along came Fashion Revolution, and it has kind of taken over my life, in a very good way. So I turned from fashion designer to fashion activist and I am loving this new role. So you would agree that the arrival of fast fashion changed the game of fashion? I wouldnt say its only the fault of fast fashion. The luxury sector too is inflating sector prices: this is also a major issue.

Why?

Because the quality is no longer the same: everything is glossy now, standard, the same. Hand-made, artisanal products do not have the same value anymore. We dont appreciate the human mistake and dont know the people who make our clothes.The It-Bag is where we spend our money. Followed by cheap fashion. Its the biodiversity between luxury and fast fashion that has disappeared. We no longer appreciate the small independent designer that manufactures clothes that are special. Its either Prada or Primark. And we pay a lot of money for both: fast fashion, because we accumulate garments in quantity, and mass produced luxury because thats where we misguidedly place our investment buy. Over the last 20 years, this culture has obliterated originality, talent, and dignity. Its not only about the

change in quality but also in the values: we dont recognise those values in the same way anymore. We dont look for quality in the products we buy and we dont expect the people who make them to have quality of life. I think design is about finding solutions, not creating problems. Dont you think the presence of social media and the new frontiers of the web enable new designers to propose brands directly linked to consumers? I definitely think social media facilitates communication and interactions between designers and their public, but we are not there yet sales wise for new designers. New designers by implication tend to be more experimental, are all about materials, cuts, shapes etc. Online technologies lack the touch and feel effect allowed by trying the clothes on and this creates a blockage. Equally, it takes brand trust to buy online, and many new designers are still growing their customer base. If you look at luxury and e-commerce, the biggest growth right now is in leisure-wear. Why?

Because you dont have to try the clothes on: you know your size and just buy. Same with Denim. However, what social media can do is tell the story of a young, original, new designer, which will stimulate a generation of people who have been less exposed to such creativity. In this sense, social media creates a huge advantage and symbolises a massive opportunity, that of creating connections.

"It's the biodiversity between luxury and fast fashion that has disappeared"

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24.04.16

__________ SHOW

YOUR LABEL__________ASK BRANDS WHO MADE MY CLOTHES?

#WHOMADEMYCLOTHES? FASHIONREVOLUTION.ORG

@FASH_REV

BE CURIOUSFIND OUT

DO SOMETHING

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What do you think about Millennials? Everyone talks about them and how they will shape the market of the future, but do you think they can really understand quality and value as we got to know it? I think millennials can only take what they were given. If we give them the opportunity to forget what fashion should be like, they will never know. I see them as a generation of curious people, way more than generations before. That curiosity should be fed. Some artisanal skills, like the way in which my grandmother would knit sweaters, are not things that are familiar to them. But this doesnt mean we cant teach them again. A generation is never alone. We have the generation before and the one after. This is what makes evolution: the need to learn and improve from the previous one and try to better them one after the other. Millennials will want what they have been shown. It is for us to look at our supply chain, see what we have now and what went missing. This information and knowledge is what should go to the Z generation. You started Fashion Revolution. Why? We started Fashion Revolution in 2013 as a direct consequence of the Rana Plaza disaster. Carry Somers and I, as well as many other people, saw Rana Plaza as a metaphorical call to arms. Many of the people in Fashion Revolution have been involved in Sustainability and Ethics in the fashion industry for a long time. The organisation is new, but the people involved have been fighting this battle for a long time. Fashion Revolution is a creative campaign promoting transparency and re-igniting lost connections throughout the fashion

supply chain. By raising awareness of issues such as the Living Wage, or water toxicity, we highlight best practice and celebrate positive change. Our motto is be curious, find out, do something and we believe in a fashion industry that values creativity, people, profit and planet in equal measure. Our goal is to improve lives by raising awareness and stimulate change that can effectively promote better buying. We dont believe in boycotting, we are very much pro-fashion. What we want is to see the industry become a cause for good. We want to see the words aspiration and democratic used to describe not just the end-product but the whole supply chain. What are the next steps for Fashion Revolution? There are many. We have been collaborating with the European Union for the European Year of Development and we are taking part in several panel discussions throughout the UK in November. Carry Somers, Fashion Revolution co-founder, will speak in Paris at UNESCO during the Planet Change conference. We are working on a Transparency Index with Ethical Consumer Magazine and various other projects. Then of course we have next years campaign: we had 63 million unique users last year, for a total of 124 million impressions on Twitter and Instagram alone, 75 countries taking part with over 300 events globally. Its grown quite big considering April 2015 was only our second year, and this year we have been working closely with the EU on their Year for International Development 2015, which has been incredibly interesting.

In which country is Fashion Revolution most active? It depends Last year Australia was very strong. South Africa, Italy and Germany are also among our most active hubs. We also have important hubs in South America. Right now, 45 global hubs are creating regular events, on the actual day and throughout the year. Not all Fashion Revolution hubs are funded so a lot of the results are thanks to the passion of the individuals, our Country Coordinators, who created the hubs. Goodwill can produce phenomenal results. Now a more personal question, you work with your husband, Filippo Ricci on Estethica, the first innovative attempt to introduce ethics into the fashion industry. What can you say about that? Filippo and I have been working together on Estethica, the British Fashion Councils sustainable area at London Fashion Week from 2006 to 2014. We are now in the process of redesigning it. Estethica was indeed one of the pioneering initiatives that defined the sustainable fashion movement, particularly so in the UK, where it has reached both mainstream and corporate level. However, Estethica was very much about celebrating fashion design and sustainable thinking, and it thrived whilst in this framework - promoting small, pioneering brands. We believe this is still its raison dtre... watch this space.

www.fashionrevolution.org

www.fromsomewhere.co.uk

www.britishfashioncouncil.com/estethica

"Our motto is be curious, find out, do something

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24.04.16

be curiousfind out

do something

__________ show

your label__________ask brands who made my clothes?

#whomademyclothes? fashionrevolution.org

@fash_rev

24

Earlier this year I met Michelle Pratt and Nikki Prendergast, two positive New Zealand women with hearts worn on sleeves and a proven track record in early childhood education. The pair own and operate the successful New Shoots early child care centres in New Zealand but also have extensive credentials in education: Michelle has been a regular lecturer at Auckland University across a range of early childhood education subjects. She is also a frequent contributor to many international journals and magazines on childrens issues and has a Bachelor of Early Childhood Studies from Melbourne University as well as a postgraduate certificate in future learning from Harvard. Nikki works alongside the NZ Ministry of Education as a specialist consultant for a range of centres across New Zealand, advising on management systems, environmental design, and human resource systems. She has a Diploma in Teaching from Wellington College of Education and is a registered teacher. So between the two there is no shortage of experience in the world of child education and welfare. In June - on the UN International Day Against Child Labor, they launched Child Labor Free (CLF), an international mark that will allow companies across all product categories to have their supply chains independently certified as Child Labor Free. The mark was officially launched at the recent NZ Fashion Week with some of New Zealands top designers participating: Zambesi, Kate Sylvester, NOM*D, Stolen Girlfriends Club, Hailwood, and Ruby. The brands have been working as consultants, helping to refine the accreditation system as

well as documenting and sharing their journey with the industry and customers along the way. Becoming accredited will take some time. Its the beginning of what will likely be a challenging but rewarding journey, says Michelle.Beyond this group, we are currently also in conversation with local and global brands from a broad range of industries including apparel, textiles, furniture, consumables, toys, cleaning products, skincare and automotive. Weve been overwhelmed by the positive interest weve received from both New Zealand and major multinationals. Its clear there is a need out there for this system. Well have more news and brand names to announce soon. Co-founder and Director, Nikki Prendergast explains how the initiative first came about: Child Labor Free came to life two years ago when we were made aware of something that hit at the heart of our own commercial operation. After attending an early childhood conference, we learned about the prevalence of child labor and its presence in almost every industry, including our own. This led us to the question: How do we know the toys were sourcing for children here in New Zealand, havent been made by children somewhere else in the world? We needed to be able to stand behind our own products and verify our supply chains, but when we went looking for a system to give us that assurance, we couldnt find it. Given our working lives have been dedicated to the wellbeing of children, this just didnt feel right to us. So in true intrepid kiwi style, we set about creating the system ourselves which we are making available for any business in New

Zealand, or globally, to provide certainty around their supply chain.CLF is working with Ernst & Young (EY) who are leading the supply chain analysis component of the accreditation system. CLF will also be collaborating with a range of other accreditation partners in future to continue driving innovation across the accreditation process. Saatchi & Saatchi New Zealand has been engaged by CLF since August 2014, providing business strategy, branding and communications consultancy. CLF is also taking expert guidance from child rights organisations on how to provide sustainable alternatives to child labor and to ensure children, families and communities are supported along the way.Dr Amabel Hunting, an expert in consumer behaviour and ethical consumption from Auckland University who led the discussion at the CLF launch said, While ethical consumers were once considered a niche group, recent research has found an increasing number of consumers across the market are concerned about these issues. This is especially true among the younger generation; they care about how workers are treated and will reward brands that share information on their supply chain. An inability to respond to this issue means businesses will miss out on this future market and potentially alienate their existing customers. There is currently a significant gap between what customers expect and what most businesses are delivering, so I believe this system is well timed to help brands meet this need. Hear, hear!

www.childlaborfree.com

Child Labor Free is an accreditation system developed by two remarkable women in New Zealand and backed by Saatchi and Saatchi and Ernst and Young worldwide which will ensure accreditation for brands that do not use Child labor. Grant Fell outlines the genesis of an idea born in New Zealand with the global welfare of children in mind

M A K I N G A M A R K

When Cathryn Wills, creative director of Australian accessories brand Mimco, made her first trip to Kenya in September 2014, she expected the heat and the dust. And she was prepared to see poverty as well as possibility. Shed heard great things about the strong women transforming their communities through the Ethical Fashion Initiative. But no one can prepare you for the warmth of their welcome. Willss trip took her deep into the Kenyan countryside to connect with the Maasai and their tradition of hand-beading, but first she visited the EFI Hub (Ethical Fashion Africa) in Nairobi. I introduced myself, then one of the women started clapping to set the beat, and everyone sang, she says. Ill never forget it. Singing from the heart, a song that has been passed down through the generations, is very emotional.Wills switched on to the EFI after hearing founder Simone Cipriani speak at the Bespoke conference in Sydney (2013.) What he said was so impactful, she explains. I really believe that giving people work, as opposed to just money, is the way forward. Positive endeavour, learning, getting better at what youre doing and producing something you can hold up and be proud of, does a lot for self esteem. The most obvious benefits are a living wage, a roof over your head and feeding your family, but theres

something deeper going on here: youre building something.Wills relates. Mimco is a design business. We never just buy a sample and replicate it. Our process is about building an item from the ground up, learning from mistakes to make something real. I felt that was what Simone was talking about too. While she and her team source materials from all over the world, Mimco manufactures mostly in China. The idea of an ethical, made in Africa capsule was unknown territory for Wills. Could boutique production like this be made to fit into her existing schedule? Would these bags look Mimco enough? Would customers love them? The answer was a resounding yes. The first two-piece collection of black and white Africagraphico bags sold out last year. A second edition, this time christened Bohomania, drops in February as part of Mimcos 20-year anniversary celebrations. Wills says that while working in Africa has its challenges, the key is to turn them into positives: Sometimes manufacturing in China can be a bit of a lolly shop - you can literally have anything you want. But I actually like the parameters that come with making in Africa it pushes you as a designer. When it came to materials, Wills chose to work with the widely available canvas, which she left undyed. Applying an animal print in a muted shade, she had it cut

into a raw-edged fringe to add texture. For the bags linings, she worked with traditional screen printed cotton to inject a shot of joyful colour. We were inspired by Kenya - the way the women put their colours together, and layer clothing is unique.The beading came with its own challenges: We had to really tweak it to make sure it was efficient from a timing point of view for the Maasai women, and keep it true to their style of beading. The truthful and the soulful nature of the product is part of what makes it beautiful. It takes time to get started, so you have to work together, she says. The artisans are fine-tuning their skills as they go. I sat with some of the women as they were sewing our samples, and they were sharing how happy they are to be running this business, and sending their kids to school. That said, brands must think carefully before committing, she counsels. Ethical fashion is very topical right now. It would be the wrong thing, but the easiest thing, for businesses to jump into these hubs for one season, then jump onto the next trend. The point is that we build a sustainable business with these communities. Shes already planning for next season.

www.mimco.com.au

MIMCOS

First sass & bide, then Karen Walker. Now Mimco is the latest Antipodean brand to embrace ethical production in Africa, writes Clare Press.

KENYAN HANDS

26

27

Production of Mimcos latest Bohomania collection, made by artisans in Kenya. Photo: Louis Nderi

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Above: Printed canvas being fringed by hand

in Kenya. Right: Screen-printing is the signature

skill of the Ethical Fashion Artisans in

Nairobi, applied here on Mimcos Bohomania line.

Photo: Louis Nderi

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In a time when the plight of refugees is a global concern, our cover girl Mary Maguet represents a positive refugee story. Mary, of South Sudanese descent, was 2 years old when she arrived in 1990s Auckland, New Zealand with her mother, sister and two brothers from a Kenyan Refugee Camp. They settled with the help of UNHCR - United Nations High Commissioner for Refugees and the New Zealand Immigration & Labor Departments. Mary was scouted by mother agent Rose Packard-Dube of RPD Models aged 13 at a church, but did not embark on her modelling career until she was 15-years-old. On set for this shoot Mary was drawn to the beaded jewellery of Chan Luu as it reminded her of the beading of her hometown Bor region, an area which suffered terribly during the Second South Sudanese war. Education is a priority for Mary - she is in her final year at Massey University in Auckland. Grant Fell finds out more:

Where in the Sudan are you from?

Im from Bor. You are not the only model in your family. Who else models?

My aunty and my cousin.

You were two years old when you arrived in New Zealand as a refugee. What have been the challenges and the good things about growing up as a refugee in Aotearoa? Challenges: I dont think there were many challenges considering that I came here when I was 2, so all I have ever known is New Zealand. A disadvantage is that Im not surrounded by my extended family or get to see them often. Benefits: I guess living in a safer environment. Tell us more about the education you are currently completing?You are studying Social

Anthropology?

I love it because Im constantly learning new things about humans and cultures and why we are all so different but the same.It gives me better insight to the friendships I make and places I visit.

Photo: Thom KerrFashion Editor: Rachael ChurchwardHair & Make-up: Justin Henry at Viviens Creative, Melbourne Model: Mary Maguet at RPD wears: Ms Crabb singlet and knickers, Stella Jean fer decoupe bangle and fruit bracelet made with artisans in Haiti and a paper-beaded necklace and bracelet by Chan Luu.

www.stellajean.it

www.chanluu.com

AC CESS OR RIZE

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FLOR IAN E d e S A I N T P I E R R E

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Simone Cipriani: How did you start your career? How does one become a headhunter for the fashion industry? Floriane de Saint Pierre: I had dreams, and still do today!, and I was determined to achieve them. One, was to work in fashion, as it was the field that knew how to create sustainable development out of constant disruption and innovation, whilst having to be financially autonomous. At the age of 20, as soon as I graduated from ESSEC (lEcole Suprieure des Sciences Economiques et Commerciales), I joined the finance department of Christian Dior Couture, just after the acquisition by Bernard Arnault. It was incredibly exciting, I learnt so much, certainly the best school I could ever dream of. A few years later, I was approached by an Anglo-Saxon executive search firm for a position outside of fashion. I was not interested, they asked me to join the company, and this pivotal decision to leave Dior disappeared when Dior asked me to work on key hires. After six weeks at this executive search firm, I left and started my company with a phone, a few pens and some paper! Headhunting has changed. Today it is about supplying clients with a full rounded HR service and so on. We dont even call it headhunting anymore. Can you tell us about the evolution of this work? Our role has changed, tremendously, fortunately! Years ago it was hard to know who was doing what where. Now everyone can access this information. Our role is not any more about accessing information, it is to help

our clients stay leaders through effective organisation, design, acquisition of the best talent coming from innovative, best-in-class brands, and not necessarily with a past experience in fashion.I see our role as very simple; to help a brand grow and to make people happy. The principle is simple, but the execution is complex! It requires a combination of observing societal evolution, knowledge, empathy for the brand you advise and of course, intuition.To help a company build a sustainable growth, its important to understand and articulate what consumption means today, and what it will mean tomorrow. And then combining this with the knowledge and intuition to identify the talent that shares similar values and mindset. For example, today, designing and producing small leather goods is questionable for the simple reason that sooner or later we will live without banknotes and coins! This will impact many brands. Another example is that brands are now being accessed first through a screen, so do brands have the suitable talent with the leadership in other creative fields than product design? In your opinion, what are the most requested job profiles in this industry today? Brands are social partners.Meaningful and impeccable product is a pre-requisite a beautiful product with meaningful usage and qualitative and ethical production is the minimum expectation or deliverable. However brands cant rely anymore on their transactional dimension, they need to address their audience in a genuine, responsive manner with an empathic, holistic

and more profound relationship.As a consequence, we work on strengthening organisations with positions and people that transform brand from a product provider to a social partner, hence, creating and sharing meaningful content. Positions in content creation and allocation are among the most needed in the industry today, as they are positions that strategise and deliver services. From your perspective, how is social media impacting on the labor market? Social and digital have played a wonderful role to empower companies and talent to get together, bringing a much-needed fluidity to the labor market. Brands have strengthened their in-house recruitment teams heavily using social and digital as a new provider of talent acquisition, reducing the need for third parties or for search. This is precisely why, using the same digital and social media resources as our clients, while knowledge of talent being the minimum expectation, our mission is to be authoritative curators of talent to make a brand grow.Digital, through dedicated digital marketplaces, has also provided the possibility for talent to find work in-house, on a part-time basis or from a remote location. Or from home wherever people are based.In the creative field, a few years ago we launched Eyes On Talents, the first online platform connecting innovative brands with the best creative talent across all visual creative disciplines around the world. Its immediate success is attributable to being able to know who these talents are without having to travel by viewing their portfolios online and being able

Floriane de Saint-Pierre, fashions top head-hunter who has matched leading designers such as Christopher Bailey, Alber Elbaz and Narciso Rodriguez speaks with EFIs Simone Cipriani on her impressive career and the new direction of fashion business today. Photo: Julio Piatti

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The news that Parsons has hired Burak Cakmak, as Dean of Fashion, who doesnt come from academia, but who has a great career in sustainability is just wonderful and very meaningful.

to contact them directly and instantaneously without third party involvement. Eyes on Talents mission is also to give creative talent visibility with brands and the media. In 2015, Eyes on Talents proudly granted two awards and two special mentions to fashion and industrial design talents whose projects had a focus on innovation and/or sustainability. Sustainability is so important to us, Eyes on Talents has a dedicated section on Ethical Fashion Initiative Designers and last August, Eyes on Talents had its first Special Mention for Sustainability at Designers Nest during the Copenhagen Fashion Week for Domantas Smaizys, who focuses on Sustainable Fashion Design at the Copenhagen School of Design & Technology. What new skills and capacities does this industry require and how will they evolve in the future? Creative leadership will remain key. However, innovation and sustainability shall and will become key, so talent with such skills will be needed. I am also convinced that brands will need to strengthen their organisation in innovation as well as in all creative fields surrounding product. As brands are becoming social partners, both the digital and physical, the phygital, experience must interact with the audience in a seamless manner, with empathy and individuality.

Is it still an industry worth approaching, for a young person? Do you want me to answer this question? Without a doubt! What an exciting time for new graduates to be part of the evolution of

fashion. This is a time where tech is of the upmost importance and designers natural ease with the phygital world, passion for our planet and expectations for experiences are changing societal norms and consumption. What is your suggestion for a young person who wants to approach this industry? I would recommend to start in a disruptive manner, to start with a digital pure player. This is certainly the most sophisticated way to learn about merchandising and interacting with a highly educated fashion audience. Or to start with innovators, disrupters. For example, I am amazed by brands such as Warby Parker! I would also recommend to look at brands that have the same audience as fashion. Brands like Apple, or services such as Airbnb and Uber. Fashion will need such profiles, and already does. The role of fashion schools and of colleges: doesnt it need to evolve a bit? Many new designers hardly know the real business dimension of their work or about what makes it sustainable. Shouldnt they be made more aware of the issues of the business of today?

The news that Parsons has hired Burak Cakmak, as Dean of Fashion, who doesnt come from academia, but who has a great career in sustainability is just wonderful and very meaningful. Creativity is key but without an understanding of societal usage, it is useless. Fashion without usage is an aesthetic waste and no business skills can do anything for that. Therefore, I am not sure creatives need to be

taught that much about business, as when you are a creative mind, your creativity shall apply not only to products, but to business paradigms as well. We need strong creative leaders, who are on the pulse of the zeitgeist, who act as creative catalysts of societal innovation, who challenge current usage to invent new usage while bringing a strong aesthetic component. Such creative leaders are successful and then it is easy to get the best leaders to operate and leverage success. If you started today, would you still develop your career in connection with this industry? In fact, my dream to work in fashion would take a different shape! I was fascinated by fashion, because as I said earlier, it was the industry which was at the time the most connected with the zeitgeist, with a high degree of innovation and business drive. Today, I would certainly find the same components in consumer facing connected technology. And I am very happy that such industry now hires top leaders from fashion, as Apple does! I am now interested in the audience, who are very sensitive to aesthetic, sustainability and integrity. Any product or service that has such audience interests me!

www.fspsa.com

www.eyesontalents.com

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At HAFDE Tannery in Addis Ababa Photo: Louis Nderi

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FOR EVE R L E AT H E R At the beginning of 2015 the EFI started working in Ethiopia with HAFDE, a leather tannery producing leather shoes and bags. Chlo Mukai interviews Hussein Feyssa Degaga, the man behind one of the most progressive and innovative tanneries in Africa.

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Hussein Degaga, how did you get into the leather business?

I run HAFDE, a sustainable leather tannery in Addis. I started in the leather business by helping to set up this tannery back in 1995. The construction took five years and we started operating in January 1999. I graduated from Eastern Michigan University where I studied the Science in Polymers and Coatings. It was a very natural progression to move into the leather business after returning from the USA.

What keeps you interested, even twenty years later?

Leather processing is a fascinating field because there is a constant need to develop innovative solutions to daily challenges. To me, doing this while using raw materials from Ethiopia makes it more interesting. Each skin and hide is different, yet our task is to make them as similar as possible. Its tough at times, but I think we are successful at our job. I also enjoy the fact there is room for

innovation in our tannery. Whether its on the creation of new products or in the way we process leather, we are always trying to find new processes to improve ourselves. Not to mention that I am naturally passionate about handling high quality materials and the manufacturing process.

What do you produce in the tannery?

The tannery initially focused on primary products such as pickled and wet blue. Later, we started manufacturing finished leather and initiated a bag-making unit. More recently, we got into shoe production for export and export-oriented markets. Today we produce shoes, bags, gloves and garments using sheep, goat and cow leathers and we also produce camel and crocodile leathers. The tannery has many departments and subdivisions including production, human resources, maintenance, sales & export In total about 300 people work here. Is there something special about

leather in Ethiopia? What are its key characteristics?

Ethiopian leathers, especially sheep and goat, have unique characters. They are ideal for high-quality garment production as generally their fibre structure is compact. The Ethiopian highland selale hair sheep leather is well known in the world for its fine nape, high performance yet light and silky touch. Its a premium choice for the production of gloves, bags, shoes and top fashion garments. When it comes to goat, the Ethiopian bati genuine goat is known for its flowing fine compact nape and light suede and smooth touch. This one is good for garments, shoes and gloves, while the grain lends itself to the application of glazed leathers. Interestingly, our cows have a fine nape and a very tough skin.

You are very proud of your effluent treatment system; can you describe it? What other waste-management systems have you put into place?

Italian-made tanning drums at HAFDE are connected to pipes recycling used water and recovering the chrome Photo: Louis Nderi

39Hussein's blue lab coat is his usual work attire Photo: Louis Nderi

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Our effluent treatment system encompasses all phases of the manufacturing process. We prevent waste from being generated by following cleaner production methods while at the same time controlling our input materials. The tannery has an end-of-pipe treatment, which acts as an accelerated aeration system. We recycle toxic components such as chrome and sour waters where possible and return them into the leather treatment process using vacuum dryers. We also recycle used waters from vacuum dryers that are returned and used for leather processing. After the end of waste treatment, the final treated water has a neutral pH with values between 6.5 to 7.5. Is running a more sustainable tannery more costly? If so, what are

the advantages and why did you choose this road?

Running a sustainable tannery is costly at the beginning because it affects ones price competitiveness. However, in the long term there are many tangible benefits.First, running a sustainable business allows us to realise that as humans, we all have an impact on the direct environment we live and evolve in. It enables us to fulfil our responsibility to care for the environment and reduce our ecological footprint. Then, I truly believe that a sustainable tannery, in a fair and competitive environment, is more reliable and likely to survive in todays fast-paced business environment. We feel the tanning industry overall should transform itself into a more ecological industry. This is hard,

but it is achievable with partners who share the same vision of sustainability. How do you keep yourself informed on these sustainable leather-processing practices? Do you learn from other places, or do you invent some of your methods? I have a background in chemistry. Since I started in the leather industry, I got to know other chemists and technologists who have ground-breaking ideas and skills. Unfortunately, these individuals neither had people who listened to their ideas nor the persistence to put them into practice. Therefore, when I saw a small window of opportunity to experiment their ideas, I tried to use all physical and technical means in my possession to turn them into

In search of new ideas and production techniques, Camper creates a capsule collection from Africa together with EFI. Using artisan techniques and contrasting materials, the result is a very special collection exclusively developed for the Camper & Vitra pop-up store: a temporary store designed by the architect Francis Ker and connected to the major exhibition by the Vitra Design Museum Making Africa - A Continent of Contemporary Design.

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reality. I worked with patience until we could achieve concrete results. I have always been very interested in discovery and I enjoy reading technical books and more recently, browsing the Internet. I am also blessed to be able to see things from a different perspective and hold the belief that there are simple solutions to almost any physical problems as long as we think outside the box. What is your vision for your business in five years?

In five years I hope our company will provide fair and dignified jobs to over 2000 unemployed people, two thirds of which will be women. We aim for sales to reach over USD30 million per year. I want HAFDE to be known as one of the few tanneries in the world

that uses environmentally-friendly production processes, recycles and reuses nearly all its products. Africa is sometimes seen as an unreliable place to produce fashion. What do you think is needed to change this perception? Africa still has plenty of skills and materials that could be a source of inspiration to modern fashion and designers. The fashion world should give Africa a chance.Not only do we have a rich history and culture but some companies and my tannery is one of many examples have environmentally-friendly and sustainable production systems which are comparable to companies located in Italy for instance. All we need is for the world to give us a fair chance and trust us.

What is your favourite leather?

My favourite leather is a chrome-free leather. Even though we have not been producing them in bulk for long we have been researching and developing this leather for a while. I am sure it will become more popular in the coming years as the world is moving to sustainable and greener technologies.

www.hafde.com

www.camper.com

www.design-museum.de

Hides drying on mobile rails in HAFDE photo: Louis Nderi

T H E U N I T E D H A N D S O F F A S H I O N

designfor life

B E AT O F A F R I C A / C O N S T E L L AT I O N A F R I C A / R E T U R N T O B A M A / O R G A N I C O A C C E S S O R I O

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BEAT OF AFRICAIn the last few years, the fashion world has noticed many new talented fashion designers arriving into the international scene with their own interpretation of contemporary African creativity. MsK, the talented blogger behind African Prints in Fashion interviews some of the most promising designers from the continent.

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MaXhosa by Laduma Summer 2016 Photo: Justin Polkey

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1981 Spring/Summer 2014 Photo: Livio Bez

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1981

Where are you from? Nana: I am a Ghanaian-born designer residing in Milan, Italy. What is your professional background?

I have been a fashion designer ever since I graduated from design school.

Why did you become a designer?I became a designer because it was something I discovered I was very good at and it was an outlet for me to express myself creatively. What inspires you?

I am inspired by modern architecture and design and African art, history and culture.

Complete this sentence: African Fashion is

A visual interpretation of African culture and art and the vibrancy of its people.

A statement that expresses you or your brand.

Contrast of ideas and philosophies living in equilibrium, interpreted in a modern context.

What makes your brand unique?

The uniqueness of my brand can be contributed to the fact that it portrays African design in a modern context - borrowing from my African background and Western training and education.

Your vision for your brand?

I want to find more buyers and have a streamlined production process. I see myself branching into accessories and probably

a second line with menswear on the horizon. I see the brand being more accessible across the continent of Africa and gaining traction in the foreign markets.

How should customers feel when putting on your designs?

Elegant, timeless, bold, powerful, carefree, sophisticated, chic, fearless, unique.

The Hand of Fashion - whos hands are involved in your design process?

I design almost everything with the exception of the samples which are made by a sample-maker but I have the last say as to the final design. The prints are designed by print and textile designers with whom I collaborate.

www.studio1981.com

by Nana K. Brenu African design in a modern context

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FOMI Spring/Summer 2015 Photo: Nick Breton

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Where are you from?

Afomia: I am from Ethiopia. I currently split my time equally between Addis Ababa, Ethiopia (where my production is based) and Los Angeles, California (where my US office is based).

What is your professional background?

Prior to starting my company, I worked in fashion marketing and public relations for several years for a number of clothing brands.

Why did you become a designer?

My objective was always to eventually develop a creative business of my own. When I travelled to Ethiopia in 2011 and discovered the quality of the leather, the idea sparked to develop a womens accessories brand. Ethiopia produces some of the highest quality leather in the world, so I feel really fortunate to be able to work with such refined raw materials.

What inspires you? I am lucky to live between two

cities that tremendously inspire my work! Los Angeles is a wonderful, diverse center for creativity. In Ethiopia, I find the way that people dress and adorn themselves with fabric, color, and jewellery all very inspiring. Complete this sentence: African Fashion is

Dynamic! Designers of African descent, like Stella Jean (Haiti) and Duro Olowu (Nigeria) are internationally recognised and appreciated. They both infuse their work with a lot of cultural influence, but in very inspiring modern ways.


I have always thought of accessories as the exclamation point of a womans outfit. My intention with FOMI is to create accessories that enable the wearer to express her personal style in the most original way.


My aesthetic leans towards a classic handbag silhouette, but there is always some kind of funky

twist in the design somewhere. I do not like to use a lot of zippers or metal hardware on the bags; instead I want to showcase the beauty and quality of the Ethiopian leather itself.


My wish is always for the FOMI customer to feel stylish and original wearing one of my designs. I also hope that they walk away feeling good about the fact that it was ethically made in Ethiopia. People are usually surprised when they open a FOMI bag and see a Made in Ethiopia label. The Hand of Fashion - whos hands are involved in your design process? I take pride in that fact that my FOMI bags are handmade, so there are always the hands of many talented, skilled artisans that have put their effort and attention into making each item as beautiful as it can be.

www.fomicollection.com

by Afomia Tesfaye

FOMI I hope my customers feel stylish, original and good as everything is made ethically in Ethiopia.

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Mimi Plange Spring/Summer 2015 Photo: Tatijana Shoan

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MIMI PLANGE

Where are you from?

Mimi: I was born in Accra, Ghana and now live in New York. What is your professional background?

I worked in the fashion industry in New York for over 11 years before launching Mimi Plange. I started as a Merchandiser, then moved on to Assistant Designer and eventually worked up to Creative Director. Why did you become a designer?

I loved art, fashion and music from a very young age. My mother used to share her old photographs of 50s and 60s Ghana with me when I was very little. The beautiful garments I saw in those pictures introduced me to fashion. I would watch fashion shows with her in my early teens and remember at age 12, seeing a Valentino show, and something just clicked. I knew right then and there, I wanted to become a designer. I felt a connection to the idea and craft of designing for bodies, personalities and dreams.

What inspires you?

I am inspired by the beauty and the craftsmanship of lost African Civilisations and the desires of a Modern World. Complete this sentence: African Fashion is...

Untapped. A statement that expresses you or your brand.

Pioneering a new vision of lost African Civilisations in the Modern World. What makes your brand unique?

There is a clear point of view and vision behind every item that is steeped in traditional Africa and todays global world. Our clothing is thoughtful, modern and elegant. We are showing African-inspired fashion in an entirely new way, involving deep research and forward thinking.


I see us competing on a global scale online and on mobile shopping. I see an increase in brand awareness and growth through additional product categories such as handbags and accessories.


Comfortable, complimented, modern, sophisticated, excited and beyond satisfied, confident. The Hand of Fashion - whos hands are involved in your design process?

A small team of artisans and skilled workers from New York Citys garment district and of course my own hands lead to the fine details and making of our garments. We make and produce all of our products in New York and in the future we plan to produce locally in small communities around the world.

www.mimiplange.com

by Mimi Plange

Designing for bodies, personalities and dreams. Our clothing is thoughtful, modern and elegant

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Sindiso Khumalo Spring/Summer 2013 Photo: Brett Rubin & Nicole Van Heerden

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SINDISO KHUMALO

Where are you from?

Sindoso: I am from Durban, South Africa and currently live in Hackney, London.


I am a textile designer; I received an MA in Design for Textile Futures at Central St Martins. Prior to that, I studied architecture at the University of Cape Town in South Africa. Why did you become a designer?

Design is both creative and functional. Its not just about making beautiful objects, but about thinking critically about those objects in the world and the implications of their lifecycle on the world we live in.

What inspires you?

Architecture, space and my Zulu heritage.


Evolving.


A rich multi-layering of Bauhaus, Art Deco and Ndebele references on a womenswear brand.


We are a textile-led design label with all our manufacturing based in South Africa. Our prints are our unique selling point, but also we believe in promoting sustainable practices in our company. My goal for my label is not just a fashion brand, but also for it to be an empowering agent in formerly marginalised parts of Africa. As a brand, we aim to develop more sustainable practices and creating value in my supply chain, hence I am involved with NGOs in the production of some of my products and have my entire production cycle based in South Africa.


Creating a sustainable African textile company, and diversifying

into menswear and home ware markets. I would like to really push my growth this year and see myself in more boutiques and department stores and also retailing online on my website.

How should customers feel when putting on your designs? Optimistic.


Working with an NGO from Kwazulu Natal, weve made a series of textiles by collaborating with an amazing craftswoman, Bertina Khumalo. This collaboration has meant her hand is not purely focused on a tourism market, but moves into a new luxury fashion market. I also have all my screen printing done by hand in Maitland, Cape Town and the hands of my super seamstresses, Shanaaz, Quanita and Angela who turn my designs into reality.

www.sindisokhumalo.com

Not just a fashion brand, but also an empowering agent

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Loza Malombho Spring/Summer 2015 Photo: Daniel Sery

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Where are you from?

Loza: I was born in Brazil but grew up between Cte dIvoire and the United States. I currently reside in Abidjan, Cte dIvoire, for the most part of the year. Other times I stay in New York City.


I worked as a Department Head for Michael Kors at Bloomingdales 59th Street in New York, prior to that I worked at Diesel and ZARA.


I thought the clothes that were sold in stores didnt represent my culture in the way that I wished to see it represented. I am also a passionate for traditions and paradoxically also passionate for trends and modernity, the combination of the two and the lack of this representation in retail is really what encouraged me to

pursue this career.

What inspires you?

African tribes aesthetics often command my interest. I have a slight obsession with anything tribal and always wonder how to communicate these aesthetics or meanings with the modern woman.

Complete this sentence: African Fashion......is growing.

Share a quote that expresses you or your brand.

Do what you can, with what you have, where you are. - Theodore Roosevelt


Loza Malombho is the borderline between African traditions and modernity.


Ultimately Id like to design men, kids and furniture. Id like for Loza Malombho to become a lifestyle brand. How should customers feel when putting on your designs?

My design aim is to empower the modern woman with statement pieces that push the limits of conformity. My customers should feel confident, elegant and culturally aware.


I sketch the designs and create the patterns and work with two head tailors that then train a team of freelance seamstresses. I also work with local artisans on shoes and accessories.

www.lozamaleombho.com

Border line between African traditions and modernity

LOZA MALOMBHO

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Galago shoes Photo: Chris Saunders

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Where are you from?

Adhiambo: I am originally from Kenya and have lived in South Africa for 15 years. What is your professional background?

I am a serial entrepreneur at heart. I started off as model, and slowly worked my way in the industry from model booker to fashion show producer. As a show producer I had the privilege of running many successful productions at SA Fashion Week & Africa Fashion Week, as well as numerous other fashion events in South Africa, Swaziland and Nigeria. I hold a Bachelor of Business administration degree and maintain ongoing networks in the local fashion industry.


To do things a little differently. Mass customisation is the future. The sandals I make allow one to

customizing fashion as the sandals are modular and interchangeable.

What inspires you?

Africa, our continent, our people, our quirkiness and tenacity.

Complete this sentence: African Fashion is...

Vibrant and bold.

Share a statement that expresses you or your brand.

Life is too short to commit to one shoe. What makes your brand unique?

It was born out of a series of trial and error, learning from my past experiences as a businesswoman, driven by my passion of all things local.


To be one of the leading African

footwear collaborative. I want to work more with skilled artisans and incorporate their workmanship into my footwear to make contemporary African footwear.


Proud, special. As the concept of my sandals is around customisability, my customers get to mix and match their own unique color combinations. It becomes a piece of their handprint. The Hand of Fashion - whos hands are involved in your design process?

I have amazing people who work with me, hands that have shared my journey and who s input I value for the organic growth of the brand.

www.galagoonline.co.za

by Adhiambo Mula Lauwers Life is too short to commit to one shoe

GALAGO

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KibonenNY Autumn/Winter 2015 Photo: Eniko Szucks

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Where are you from?

Kibonen: I am from Bamenda in Cameroon and I reside in New York City. What is your professional background?

A certified Image Consultant with a degree in Fashion Design. Creative Director for KibonenNY, Co-founder of Cameroon Fashion Association of America and founder of Made in Camer apparel production factory in Cameroon. Donna Karan Atelier - Celebrity Dress design division intern and LVMH internship inductee. I showcased a collection at the Art Institutes Mercedes Benz Fashion Week New York at Lincoln Center, SS15. Why did you become a designer?

I got into designing by chance. I wanted to represent myself as an authentic African in NYC and started making modern version of the traditional regalia worn by the people of my hometown. Once I realized this is something I really loved, I got excessively excited when I figured I could change a lot about the world through fashion. Besides designing beautiful clothes and getting the

most amazing people to wear them, I could use the medium to inspire others, to empower others, to be socially responsible.

What inspires your designs?

My original inspirations came from the Toghu, an intricate and colorful embroidery made with wool on the garments worn by the royalty and on special occasions by the Tikar and Bamileke people of the North West Region of Cameroon. I also get inspired by cultures of other parts of the world. Nature relaxes me and brings out my deepest inspirations. Zaha Hadids architecture inspires me too.

Complete this sentence: African Fashion...

..is going to help a great deal to alleviate poverty in Africa.

Share a quote that expresses you or your brand.

There is no beauty in the finest clothes if it makes hunger and unhappiness. - Mahatma Gandhi


My brand believes deeply in social responsibility and the confluence of

cultures. The organic growth of my brand and strength in the face of adversity while growing this brand has been phenomenal.


In five years I would like to be selling in several department stores and boutiques around the world, be featured in top magazines, dressing influential people and running a manufacturing plant out of Cameroon, which hires up to three hundred people.


Joyful, authentic and strong as the journey of this brand symbolises strength and resilience.


My designs are created by the independent pattern makers and seamstresses in New York Citys garment district and also by the women who work in the Made in Camer apparel production factory in my hometown in Bamenda, Cameroon.

www.kibonenny.com

by Kibonen Nfi The journey of this brand symbolizes strength and resilience

KIBONEN NY

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CHiCHia Autumn/Winter 2015 Photo: Kerry Glanfield

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CH ICH IA LON DON

Where are you from?

Christine: I am originally from Dar Es Salaam, Tanzania and grew up in London where I still reside.


Fashion design. I have a degree in fashion design and have worked in the industry since graduating.


I have loved clothes and fashion for as long as I can remember. There is nothing else I ever wanted to do.

What inspires you?

People watching (London is the best for this), travel... A great print can trigger countless ideas.


Multi-faceted and rapidly growing. Its not just about using traditional prints, there are so many stories being told by designers from all corners of the continent. To me there is honestly nothing more exciting.


East Africa Meets London Cool.


The CHiCHia brand concept is very personal to me as a designer. I think people value authenticity over anything.


I hope to be collaborating with more established brands and have the label stocked in department stores around the globe.


Fearless!


The concept is usually thought up by myself as well as the designs. I collaborate with print designers who work alongside me to come up with patterns for whatever specific theme is that season. For our AW15/16 collection we worked with several artisans ranging from hand beaders, weavers, screen printers - all based in Tanzania to put together the collection.

www.chichialondon.com

by Christine MhandoEast Africa Meets London Cool

62Taibo Bacar Spring/Summer 2015 Photo: Kyle Boshoff

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Where are you from?

Taibo: Mozambique. What is your professional background?

Fashion. Why did you become a designer?

Because of my passion for feminine beauty. What inspires you?

My everyday life.


Amazing.


Taibo Bacar, from Africa to the World.


We blend high fashion and ready to wear with a touch of African tradition.


Exploring other areas of design and having the ready to wear collection selling everywhere.


Elegant, confident, amazing.


Everyone in our team participates in the process.

www.taibobacar.com

TAIBO BACAR From Africa to the World.

A touch of African tradition

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Projecto Mental Spring/Summer 2016 Photo: Pitti Immagine & Vanni Bassetti

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Where are you from?

Shunnoz & Tekasala: We are from and currently reside in Angola.


Not fashion related - academically nor professionally.


We are and were in arts (music, poetry, spoken word, literature.....not professionally) before doing fashion. Fashion became an extension of our artistic lives.

What inspires you?

God. Nature. Africa. Our experiences.

Complete this sentence: African

Fashion is

Fundamental and part of our daily existence. African Fashion is a channel of communication, where our environment, art, experiences, history, future, culture and spirituality are expressed and affirmed.


Avant-garde African creativity, applied to European fashion concepts.


Our designs are very unique. We dont follow trends. We prefer to be trendsetters.


We are looking for financial backers to help us push the brand forward....to a place and level we feel the brand deserves to be: well established in Africa and the main international markets.


Unique. Class apart. Sense of being Alive. Fashionable.


We, the designers, handle the designs, the concepts and all the creative aspects.Patternmaking and the manufacturing process are handled by other people.

www.projectomental.com

PROJECTO MENTAL PROJECTO MENTAL PROJECTO MENTAL PROJECTO MENTAL by Shunnoz Fiel and Tekasala Maat Nzinga

Avant-garde African creativity. We dont follow trends. We prefer to be trendsetters

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Orange Culture Spring/Summer 2016 Photo: Pitti Immagine & Vanni Bassetti

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Where are you from?

Adebayo: I am Nigerian and I live in-between Lagos and London.


I am a self-taught designer, my educational background surprisingly enough is in finance.


Its the only way I know how to speak. Its my only outlet vocally and emotionally. Designing has been my passion since I was little and drawing in all my schoolbooks at 10.

What inspires you?

My life and its many colorful experiences culturally and developmentally as a Nigerian.

Diversity inspires me and the idea of masculinity in modern day Africa.


The artistic pride of the continent. It is creating a different idea of what Africa really is about.


Clothes that tell a unique story about Africa through the eyes of a modern day African man.

What makes your brand unique? Its the idea that my experiences are so unique and creating clothes for me is so personal and emotional that it makes the clothes very different.


Attending an international fashion week and being stocked in new continents and having my clothing worn by people Ive never met but who are connected to me through my designs.

How should customers feel when putting on your designs? Bold and Enriched - they are wearing interesting stories.


Mine for starters and my amazing team of tailors homegrown and constantly growing in skill.

www.orangecultureng.com

O R A N G E CULTURE by Adebayo Oke-Lawal

Africa through the eyes of a modern day African man

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MaXhosa by Laduma Spring/Summer 2015 Photo: Simon Deiner

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Where are you from? Laduma: I am from Port Elizabeth, South Africa, currently residing in London, UK.


My professional background is textile design, although I formally started with textiles, I had great passion for fashion design.


I first foremost have great passion for design, my late mother was a knitwear designer in the 80s and my grandfather was a painter and sculptor - these influences are what drew me to the decision of becoming a designer. What inspires you?

My Xhosa heritage inspires me a

lot; I love everything about it, from the traditional aesthetics, the food, cultural value etc.


Rich, authentic and draws inspiration from the multiple cultures it has and continues to inspire fashion trends globally.


My heritage, my inheritance. What makes your brand unique?

The distinctive patterns, profound story behind the brand, lastly, the durable and comfortable wool and mohair blend I use to make the knitwear.


I envision myself in five years time elevating MAXHOSA BY LADUMA as one of the most successful African fashion brands and securing a sizable market share in the global fashion market and establishing flagship boutiques in some of the fashion capitals around the world.


Ecstatic, confident, unique, proud and honored.


I create the designs myself, sometime with the help of my sister Tina Ngxokolo, who is also a fashion designer.

www.maxhosa.co.za

by Laduma Ngxokolo

MAXHOSA My heritage, my inheritance

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CONSTELLATION AFRICA

During the 88th edition of Pitti Uomo, Angola, Ivory Coast, Nigeria and South Africa unexpectedly stole the show with four collections designed by Projecto Mental, Dent de Man, Orange Culture and MaXhosa by Laduma. The designers, selected by the Ethical Fashion Initiative, wowed the Italian and international crowd at the Constellation Africa show with their different visions of mens fashion.Each collection dispelled the traditional stereotypes associated with fashion from the African continent no generic tribal references but just fresh and contemporary designs. In doing so, the designers initiated a new conversation about Africa, and made their mark within the fashion industry. The MaXhosa by Laduma knitwear was visually enticing with its strong black graphics softened with Laduma Ngxokolos choice

of colour and you left the show feeling the collection was a must-have in your wardrobe. Projecto Mental proposed suits that tastefully combined different fabrics and were cinched at the waist with pink ribbon. Dent de Man sent out hypnotic and expertly tailored suits made with Vlisco fabric and gave a streetwear touch to the collection with a fun African mask print. Orange Culture brought us to the Nigerian shore with fishermen inspired draped capes, boxy embroidered organza t-shirts and revived flare trousers for men.As a backdrop to the catwalk, the Bologna based artist collective Antonello Ghezzi created a sky of stars as it would have been seen from their country. These star maps suggested the unifying human act of gazing up to the sky in search for inspiration, peace, love, meaning... Looking up to a sky full of stars we can share the same moment

and the same view as another and understand that we all live under the same sky. The sky is not segregated by man-made fences, boundaries or flags but is endless. Looking up at the stars one can travel, hope, dream and feel part of a wider space and reach out to the world. The world is our space, wherever we are in Italy, the Ivory Coast, South Africa, Nigeria or Angola.

www.pittimmagine.com

www.orangecultureng.com

www.maxhosa.co.za

www.dentdeman.com

www.projectomental.com

www.antonelloghezzi.com

Right: Tekasala Maat Nzinga, Adebayo Oke-Lawal, Alexis Temomanin and

Laduma Ngxokolo at Pitti Uomo 88 Photo: Trevor Stuurman

Bottom left: Laduma Ngxokolo making the finishing touches on his look. Photo:

Pitti Immagine & Vanni Bassetti Bottom Right: Dent de Man Spring/

Summer 2016 look backstage. Photo: Pitti Immagine & Vanni Bassetti

STORY BY MARIEJO CARTIER

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Models wearing Dent de Man Spring/Summer 2016 backstage at Pitti Uomo Photo: Pitti Immagine & Vanni Bassetti

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Projecto Mental pink and green suit from their Spring/Summer 2016 collection Photo: Pitti Immagine & Vanni Bassetti

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Starmap of Florence from the evening of the 18th of June 2015 created by the Italian artist collective,

Antonello Ghezzi

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T +39 055 36931 design Laboratorium

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THE KEY TO STELLA JEANS SUCCESS BY BRNICE MAGISTRETTI

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In todays globalised world, where cultures cross over and mix, it is difficult not to be influenced by the eclectic diversity that surrounds us. Fashion is one of the many industries that plays around with this by transposing it into visual wonders. One designer in particular has managed to translate this multicultural vibe into her clothes: Stella Jean. Born from a Haitian mother and an Italian father, Stella combines Haitian ethnicity with Italian modernity, allowing both cultures to co-exist through her designs without one taking over. The designer is not a pioneer in this respect, but she is part of a new school of designers that seek to create fashion in a more ethical and sustainable way. Her work with the Ethical Fashion Initiative has allowed her to broaden her style by including the artisanal works of African women (Burkina Faso and Mali). So what is the key to her success? One word: Mtissage.

Originally, mtissage means a mix of culture and heritage, which not only defines who Stella is as a person, but also defines her work. The term mtissage perfectly describes my brand. If we can mix in a single outfit elements coming from the most distant and different cultures of the world, then we can definitely embrace this juxtaposition of cultures in real

life explains the designer. This is almost a humanitarian message of peace, which comes to no surprise, as Stella is involved in many Haitian and African projects led by the Ethical Fashion Initiative. When asked whether ethical fashion is becoming a thing, Stella replies cautiously, saying that it will not be an easy or a quick transition, but every person is increasingly becoming aware that a change is needed.

And Stella is definitely not exempting herself. Not only does she stand out by selling ethically sourced products, but she also stands out through her original, psychedelic designs. Between patchworks, superpositions, trompe-loeil and cosmic colours, her style is unique. And by mixing ethnicity with modernity, old with new and male with female, Stella revitalises fashion by creating genuine concoctions. This year, the Italo-Haitian designer has set her heart on the Indian Himalayas for the Autumn/Winter 15-16 collections. The theme? Stylistic disobedience.

This irreverence is the starting point of looks where the woman seizes, interprets and usurps moments of masculine routine This ignites an invasive encounter between genders, with extremely

feminine shapes espousing and overlapping with potent masculine forms The encounter is direct, even violent - any attempt to achieve compromise and find middle ground is annihilated as the extreme SHE opposes the extreme HE. This isnt an identity game, but the awareness of the changeable nature of things. This official description of the designers counter-colonisation collection underlines the key component of Stellas work: there are no boundaries in this world. And using ethical fashion to spread this idea is one of the smartest moves yet.

5 Questions for Stella

What is your favourite city?Rome.

Favourite colour? Violet.

Favourite season? Spring.

Favourite material/textile? Cotton and silk.

Favourite designer, past or present?Dries van Noten.

www.stellajean.it

THE KEY TO STELLA JEANS SUCCESS BY BRNICE MAGISTRETTI

T H E M A G I C

Opposite: Stella Jean clutches made with fer dcoup pieces inspired by India, assembled in Italy Photo: Ludovica Arcero

M T I S S A G E

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When two people are angry at each other, their hearts distance a lot. To cover that distance they must shout to be able to hear each other. The angrier they are, the stronger they will have to shout to hear each other to cover that great distance. What happens when two people fall in love? They dont shout at each other but talk softly, because their hearts are very close. The distance between them is either non-existent or very small The saint continued, When they love each other even more, what happens? They do not speak, only whisper and they get even closer to each other in their love. Finally they even need not whisper, they only look at each other and thats all. That is how close two people are when they love each other. He looked at his disciples and said. So when you argue do not let your hearts get distant, do not say words that distance each other more, or else there will come a day when the distance is so great that you will not find the path to return.

Stella Jean working with a painter in Port-au-Prince, Haiti for her Spring/Summer 2016 collection. Photo: Marie Arago

M A H A T M A G A N D H I (Quote from Stellas AW15-16 Collection)

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Stella Jean SS15 inspired by Haiti, fea-turing shorts and bag made from danfani fabric handwoven in Burkina Faso Photo: Stefano Guindani

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R E T U R N T O B A M A

Photography: Anne MimaultFashion Editor: Rachael Churchward:

Producer: Chlo MukaiTailor: Mme Thrse

Models: Arouna, Sibiri, Bruno, Madou, David, and Siaka

In February 2015, Grant Fell & Rachael Churchward travelled to Burkina Faso with the Ethical Fashion Initiative to discover the art of hand-weaving cotton fabric. The trip was a unique opportunity to shoot a fashion editorial featuring the people at the beginning of the fashion supply chain: farmers. This fashion shoot cast cotton farmers that sow and harvest cotton which is then transformed by the women spinners and weavers of Burkina Faso into the traditional striped danfani fabric. Cotton farmers in Burkina Faso wear the end result of their days spent toiling in the fields. The team of Black Magazine joined the Ethical Fashion Initiative in Burkina Faso to shoot Stella Jean and TG United Arrows clothing made with hand-woven cotton picked in the fields of these farmers, closing the cycle of fashion and celebrating the makers of fashion which are often forgotten.

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Arouna wears: Stella Jean jacket and belt from her AW 2015 collection. The belt is made with hand-wo-ven cotton fabric from Burkina Faso. United Arrows TG trousers made with hand-woven cotton fabric from 83

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Sibiri wears: Chocolate brown and royal blue checkered Stella Jean suit made with fabric hand-woven by women artisans in Burkina Faso. Sandals, Sibiris own.

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Bruno wears: Stella Jean AW 2015 barbershop coat and checkered

trousers. The trousers are made with hand-woven cotton fabric from Burkina

Faso. Shoes, Brunos own.

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Madou wears: United Arrows TG waistcoat, jacket and trousers made with hand-woven cotton fabric from Burkina Faso. Sandals, Madous own.

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David wears: Stella Jean SS 2015 jacket made with hand-woven fabric from

Burkina Faso. Above: Camper shoes made by EFI artisans in Ethiopia

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Siaka wears: United Arrows TG jacket made with hand-woven cotton from

Burkina Faso and Stella Jean AW 2015 trousers. Shoes, models own. Above:

United Arrows TG beaded clutch bag made by artisans in Kenya.

94Sibiri wears: Stella Jean SS 2014 shorts and AW2015 belt, both made with hand-woven cotton fabric from Burkina Faso. Sandals, Sibiris own.

95Madou wears: United Arrows TG jacket and Stella Jean AW 2015 trousers. Both items are made with fabric hand-woven in Burkina Faso. Sandals, Madous own.

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Arouna wears: United Arrows TG suit and bag. The suit is made with hand-woven fabric from Burkina Faso. The bag is screen-printed, beaded and made by artisans in Kenya. Shoes, Arounas own.

This Page: KAREN WALKER Hiding Cat tote, hand-screen printed canvas and leather handles. Opposite Page: VIVIENNE WESTWOOD leopard print holdall, hand-screen printed canvas and brass orb made from recycled metal. 98

A C C E S S O R I O !Photography and post production: Nina Van Lier Styling/creative direction: Rachael Churchward

O R G A N I C O

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CARMINA CAMPUS Victor patchwork bag, printed up-cycled canvas, leather sample swatches and end-of-line nylon straps. 100

UNITED ARROWS TG pouch, hand-beaded detailing and upcycled offcut material.

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MIMCO Afrographico pouch, hand-beaded detailing and screen-printed tassle.

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STELLA JEAN Doctor bag, hand-woven cotton danfani and Italian leather.

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O U R W O R L D O F A R T I S A N S

fashion at work

M A D A M E M A G N I F I Q U E : I N T E R V I E W W I T H M M E M A I G A , B Y C H L O M U K A I P H O T O E S S AY : P O R T R A I T S F R O M T H E A S S O C I AT I O N Z O O D O P O U R L A P R O M O T I O N D E L A F E M M E A R T I S A N S , B Y A N N E M I M A U LT

M A D A M E MAGNIFIQUE

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Chlo: What is your name, date and place of birth?

My name is Mariam Maiga. I was born in 1955 in Ouahigouya, Burkina Faso.

When and how did you get involved with the Association Zoodo pour la Promotion de la Femme (AZPF)?

I started the weaving association, AZPF back in August 2013 and at the time the atelier was located in Baoban (a village about 200 km from Ouagadougou). Recently, we moved to Ouagadougou in order to receive technical support from the Ethical Fashion Initiative (EFI). We wanted to enjoy proximity with EFI experts to benefit directly from their know-how.

Why did you start this atelier?

The establishment of AZPF was a result of my love of weaving and wanting to give work opportunities to women living in rural areas. In 1983, I sought help from Religious Sisters who accepted to train two women for a period of 60 days and provide them with two small looms through refundable credit. This was the start of AZPF and since then its grown and grown. In those days, I didnt have an extensive knowledge in weaving, but I remember the great feeling of seeing the women of the association weaving along the roadsides. How big is AZPF now?

Our weaving atelier is located in a peripheral district of the capital of Burkina Faso: Ouagadougou. We started with four weavers and modest logistical means: two big looms, four little looms, a storage warehouse and a few weaving

accessories. Today, thanks to the remarkable support provided by the Ethical Fashion Initiative, we have 14 employees throughout the supply chain, from spinning to weaving. We also have a well-appointed workspace and a suitable means of production. What is the whole s

Documents

The Hand of Fashion 2nd edition