I think African fashion is incredibly broad. Asking me to define African fashion is almost like asking, “What is European fashion?”
Africa is a massive continent made up of different countries, cultures, histories and traditions, so trying to reduce African fashion to a particular aesthetic, fabric, print or silhouette doesn’t really do it justice.
It can be bold, but it can also be understated. It can be playful or serious, traditional or experimental, minimal or elaborate. It can be contemporary and modern while still carrying a history that goes back centuries.
What excites me most about it today is that the world is beginning to see and appreciate the depth of creativity that has always existed on the continent. There is so much talent, history and craftsmanship here, and I think African designers are increasingly getting the recognition and visibility they deserve.
I don’t think something has to look traditionally African for it to be African fashion. A designer can create something deeply rooted in Africa without that reference being immediately obvious. The connection might be in the technique used to make it, the material, the way the garment is constructed, the story behind it, or even an idea drawn from a particular culture or history.
That’s actually what I find particularly interesting: Africanness doesn’t always have to be literal. Heritage can inform a designer’s work without dictating what the final product has to look like.
For me, one of the most exciting things happening in the industry is this idea of going back to the old to reimagine the future. Designers are looking at techniques and materials that have existed for generations and translating them into contemporary pieces that could be worn and appreciated anywhere in the world.
I love when something can be deeply rooted in a particular place or culture without having to look traditionally “African.” The heritage is there, but the expression of it feels new.
Ultimately, what makes me stop and pay attention is a designer with a distinctive point of view, someone who isn’t simply making beautiful clothes, but is doing something with materials, craft, construction or heritage that feels considered and original.
That is what we look for at Gelalli, we’re very intentional about the way we approach curation. Being an African brand is not, on its own, enough for us. There are so many incredible designers across the continent, so the question for us is always: what is this brand bringing to the conversation that feels distinctive?
The first thing I look for is a strong point of view. I want to be able to look at a designer’s work and understand that there is an identity behind it. Of course the piece has to be beautiful and desirable, but I am also looking for that moment that makes me stop and think, I haven’t seen it done quite like this before.
We are interested in good design coming out of Africa. We want pieces that could sit anywhere in the world and be desirable on the strength of the design itself, while still allowing people to discover the richness of where they came from.
Ultimately, Gelalli is looking for design that makes you stop. Pieces that are beautiful enough to want to wear, but interesting enough to make you want to know more.
We want Gelalli to be the place where you come to discover what is being created across Africa now, and perhaps find something you didn’t know you were looking for.