Last week, the Asantii fashion house hosted a breakfast event in Kigali, welcoming the spouses of FIA members as part of the Visit Rwanda Experience. The morning began with a tour of the brand's atelier at Kimihurura, where guests witnessed the intricate craftsmanship behind each piece. Visitors also explored the on-site nursery, which supports Asantii's workers and their families.

 The spouses of FIA members arriving at the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

The event's highlight was a special runway show showcasing Asantii's iconic designs. The fashion house expressed gratitude to all those who made the event possible. "A special thank you to Rwanda Events Group, Rwanda Convention Bureau, the Ministry of Youth, the Rwanda Automobile Club, and our talented stylist Rocky Try for making this event possible," Asantii stated.

The spouses of FIA members enjoying the show by Asantii [Photo Credit: Asantii]

Asantii is a contemporary womenswear brand that celebrates African heritage and artisanship through joyful and effortless fashion. Proudly designed, conscientiously sourced, and beautifully made across the continent, the brand has established a global presence with shops in Lagos, Nigeria; Abidjan, Côte d'Ivoire; Lasne, Belgium; Accra, Ghana; and Kigali, Rwanda.

The spouses of FIA members enjoying the show by Asantii [Photo Credit: Asantii]

The year 2024 marks an exciting milestone for Asantii. The Founder & CEO, Maryse Mbonyumutwa, has been named to The Business of Fashion's (BoF) 500 Class of 2024. This prestigious index, which celebrates the most influential people shaping the global fashion industry, has for the first time included a representative from Rwanda.

Inside the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

The BoF 500 honors leaders driving innovation, creativity, and sustainable change worldwide. Maryse joined an impressive lineup of global fashion industry figures, including Thomas Plantenga, Chief Executive of Vinted Group; Aya Nakamura, the French singer; and Chemena Kamali, Creative Director of Chloé.

Several other African fashion innovators were also included in the BoF 500 Class of 2024, such as Laduma Ngxokolo, Designer of MAXHOSA AFRICA; Wandia Gichuru, Kenyan entrepreneur and Founder of Vivo Fashion Group; and Tyla, the South African singer and songwriter.

The spouses of FIA members enjoying the show by Asantii [Photo Credit: Asantii]

The event took place against the backdrop of another significant occasion – the FIA Awards. Held for the first time on the African continent in Kigali, Rwanda, on December 13, the awards celebrated champions and legends from the world of motorsport. The event was graced by FIA President Mohammed Ben Sulayem and His Excellency Paul Kagame, President of Rwanda, at the BK Arena.

The FIA President Mohammed Ben Sulayem and His Excellency Paul Kagame, President of Rwanda, at the BK Arena [Photo Credit: NT]

FIA President Mohammed Ben Sulayem welcomed the evening's guests, stating, "Here in Kigali, we have shone a light on members of our motorsport family whose commitment, spirit, and endeavor are at the heart of our sport, and we look to the champions of the future, those just beginning their careers and enjoying their first taste of success."

Inside the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

Inside the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

Fashion Trends Africa by RCFS

Asantii Welcomes Spouses of FIA Members, Showcasing Latest Collections

Last week, the Asantii fashion house hosted a breakfast event in Kigali, welcoming the spouses of FIA members as part of the Visit Rwanda Experience. The morning began with a tour of the brand's atelier at Kimihurura, where guests witnessed the intricate craftsmanship behind each piece. Visitors also explored the on-site nursery, which supports Asantii's workers and their families.

 The spouses of FIA members arriving at the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

The event's highlight was a special runway show showcasing Asantii's iconic designs. The fashion house expressed gratitude to all those who made the event possible. "A special thank you to Rwanda Events Group, Rwanda Convention Bureau, the Ministry of Youth, the Rwanda Automobile Club, and our talented stylist Rocky Try for making this event possible," Asantii stated.

The spouses of FIA members enjoying the show by Asantii [Photo Credit: Asantii]

Asantii is a contemporary womenswear brand that celebrates African heritage and artisanship through joyful and effortless fashion. Proudly designed, conscientiously sourced, and beautifully made across the continent, the brand has established a global presence with shops in Lagos, Nigeria; Abidjan, Côte d'Ivoire; Lasne, Belgium; Accra, Ghana; and Kigali, Rwanda.

The spouses of FIA members enjoying the show by Asantii [Photo Credit: Asantii]

The year 2024 marks an exciting milestone for Asantii. The Founder & CEO, Maryse Mbonyumutwa, has been named to The Business of Fashion's (BoF) 500 Class of 2024. This prestigious index, which celebrates the most influential people shaping the global fashion industry, has for the first time included a representative from Rwanda.

Inside the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

The BoF 500 honors leaders driving innovation, creativity, and sustainable change worldwide. Maryse joined an impressive lineup of global fashion industry figures, including Thomas Plantenga, Chief Executive of Vinted Group; Aya Nakamura, the French singer; and Chemena Kamali, Creative Director of Chloé.

Several other African fashion innovators were also included in the BoF 500 Class of 2024, such as Laduma Ngxokolo, Designer of MAXHOSA AFRICA; Wandia Gichuru, Kenyan entrepreneur and Founder of Vivo Fashion Group; and Tyla, the South African singer and songwriter.

The spouses of FIA members enjoying the show by Asantii [Photo Credit: Asantii]

The event took place against the backdrop of another significant occasion – the FIA Awards. Held for the first time on the African continent in Kigali, Rwanda, on December 13, the awards celebrated champions and legends from the world of motorsport. The event was graced by FIA President Mohammed Ben Sulayem and His Excellency Paul Kagame, President of Rwanda, at the BK Arena.

The FIA President Mohammed Ben Sulayem and His Excellency Paul Kagame, President of Rwanda, at the BK Arena [Photo Credit: NT]

FIA President Mohammed Ben Sulayem welcomed the evening's guests, stating, "Here in Kigali, we have shone a light on members of our motorsport family whose commitment, spirit, and endeavor are at the heart of our sport, and we look to the champions of the future, those just beginning their careers and enjoying their first taste of success."

Inside the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

Inside the Asantii's atelier at Kimihurura in Kigali [Photo Credit: Asantii]

Fashion Trends Africa by RCFS

Why Swahili Fashion Week & Awards Withdrew the Male Model of the Year 2024 Crown

"It is with regret that we announce the withdrawal of the Male Model of the Year 2024 award from Hanspopa. This decision has been taken following verified incidents of misconduct, which are in direct violation of the values and standards we strive to uphold as an organization," stated the Swahili Fashion Week & Awards 2024.

Each year, the Swahili Fashion Week & Awards presents more than 15 awards across different categories, including male and female models of the year, according to the announcement from the judging panel. Hanspopa was the winner in the male model category.

Following the initial award announcement, the reactions were mixed. Some models appeared pleased, while others seemed surprised. The usual poster listing all winners received minimal commentary, with only one individual, Mr. [Hanspopa], commenting, "Thanks for having me on board."

Surprisingly, on December 16th, the official statement from Swahili Fashion Week & Awards announced the withdrawal of the Male Model of the Year 2024 award.

"The Swahili Fashion Week & Awards places the utmost importance on upholding the values of professionalism, integrity, and respect within the fashion industry," the statement read. "As a platform dedicated to promoting creativity and empowering talent, we are committed to ensuring that all individuals associated with our awards align with these principles."

The statement continued, "This step is not taken lightly and reflects our dedication to fostering an environment that prioritizes ethical behavior, mutual respect, and the positive growth of the fashion industry across the region. We remain committed to celebrating individuals who contribute meaningfully to the advancement of the industry and encourage all stakeholders to continue upholding the principles that define Swahili Fashion Week."

Hanspopa during the Swahili Fashion Week & Awards 2024 [Photo Credit:S FW]

Following this announcement, many models began commenting, seeking clarification about the circumstances surrounding the event organizers and Mr. Hanspopa. The statement notably lacked specific details about the reasons for the award withdrawal.

Hanspopa addressed the mounting speculation, saying, "Thank you so much, guys, for your good heart. I've received many calls and texts from people wanting to hear my side of the story. You're giving me a headache. I will talk to you via my Instagram Live tomorrow. For now, I need a little space, please."

An RCFS Media reporter spoke with a fashion enthusiast from Dar Es Salaam about the awards controversy. "No one knows what happened in public; we just saw the statement by the Swahili Fashion Week & Awards. I guess some judges supported him, while others did not," the source said.

Another commentator added, "Every year, I wonder how they manage those awards. First of all, there are so many awards in that event, both locally and nationally. I've been told that many participants apply just to add these awards to their CV."

Hanspopa during the Swahili Fashion Week & Awards 2024 [Photo Credit:S FW]

In a subsequent Instagram video, Hanspopa addressed the situation but failed to provide a satisfactory explanation. "Guys, thank you very much for your patience, especially those asking me to comment on the award withdrawal from Male Model of the Year 2024 at the Swahili Fashion Week," he said.

He continued, "I was also shocked and did not expect this to happen, but everything happens for a reason. Sometimes we want to say something about what happened to us, but other times, we decide to remain silent."

The brief video ended abruptly before Hanspopa could fully explain the circumstances, leaving Tanzanians and fashion enthusiasts in suspense about the outcome. In a subsequent post, Hanspopa simply stated, "Guys, I quit. I am no longer going to do this again."

The mystery surrounding the award withdrawal continues, with no clear resolution in sight.

Hanspopa during the Swahili Fashion Week & Awards 2024 [Photo Credit:S FW]

 Fashion Trends Africa by RCFS

Why Swahili Fashion Week & Awards Withdrew the Male Model of the Year 2024 Crown

"It is with regret that we announce the withdrawal of the Male Model of the Year 2024 award from Hanspopa. This decision has been taken following verified incidents of misconduct, which are in direct violation of the values and standards we strive to uphold as an organization," stated the Swahili Fashion Week & Awards 2024.

Each year, the Swahili Fashion Week & Awards presents more than 15 awards across different categories, including male and female models of the year, according to the announcement from the judging panel. Hanspopa was the winner in the male model category.

Following the initial award announcement, the reactions were mixed. Some models appeared pleased, while others seemed surprised. The usual poster listing all winners received minimal commentary, with only one individual, Mr. [Hanspopa], commenting, "Thanks for having me on board."

Surprisingly, on December 16th, the official statement from Swahili Fashion Week & Awards announced the withdrawal of the Male Model of the Year 2024 award.

"The Swahili Fashion Week & Awards places the utmost importance on upholding the values of professionalism, integrity, and respect within the fashion industry," the statement read. "As a platform dedicated to promoting creativity and empowering talent, we are committed to ensuring that all individuals associated with our awards align with these principles."

The statement continued, "This step is not taken lightly and reflects our dedication to fostering an environment that prioritizes ethical behavior, mutual respect, and the positive growth of the fashion industry across the region. We remain committed to celebrating individuals who contribute meaningfully to the advancement of the industry and encourage all stakeholders to continue upholding the principles that define Swahili Fashion Week."

Hanspopa during the Swahili Fashion Week & Awards 2024 [Photo Credit:S FW]

Following this announcement, many models began commenting, seeking clarification about the circumstances surrounding the event organizers and Mr. Hanspopa. The statement notably lacked specific details about the reasons for the award withdrawal.

Hanspopa addressed the mounting speculation, saying, "Thank you so much, guys, for your good heart. I've received many calls and texts from people wanting to hear my side of the story. You're giving me a headache. I will talk to you via my Instagram Live tomorrow. For now, I need a little space, please."

An RCFS Media reporter spoke with a fashion enthusiast from Dar Es Salaam about the awards controversy. "No one knows what happened in public; we just saw the statement by the Swahili Fashion Week & Awards. I guess some judges supported him, while others did not," the source said.

Another commentator added, "Every year, I wonder how they manage those awards. First of all, there are so many awards in that event, both locally and nationally. I've been told that many participants apply just to add these awards to their CV."

Hanspopa during the Swahili Fashion Week & Awards 2024 [Photo Credit:S FW]

In a subsequent Instagram video, Hanspopa addressed the situation but failed to provide a satisfactory explanation. "Guys, thank you very much for your patience, especially those asking me to comment on the award withdrawal from Male Model of the Year 2024 at the Swahili Fashion Week," he said.

He continued, "I was also shocked and did not expect this to happen, but everything happens for a reason. Sometimes we want to say something about what happened to us, but other times, we decide to remain silent."

The brief video ended abruptly before Hanspopa could fully explain the circumstances, leaving Tanzanians and fashion enthusiasts in suspense about the outcome. In a subsequent post, Hanspopa simply stated, "Guys, I quit. I am no longer going to do this again."

The mystery surrounding the award withdrawal continues, with no clear resolution in sight.

Hanspopa during the Swahili Fashion Week & Awards 2024 [Photo Credit:S FW]

 Fashion Trends Africa by RCFS

My Dress My Choice as a Statement of the Class Struggle

Ni nywele yangu. (It's my natural hair.) I have probably said this statement more times than I have said my name is Wavinya—a name that means "the one with power" in any space I have occupied. The capitalist system has mastered the art of commodifying everything, and recently, how we dress has particularly caught my attention. In a world where clothes are mere fabrics, they have been transformed into tools, symbols, and battlegrounds of a broader class struggle. My way of dressing and the business I run are direct reflections of this complex battleground within the Kenyan and global "fashion" industry.

A thrifted pair of boots, a worn second-hand jeans, a branded free t-shirt, and dreadlocks are more than just a look—they are a statement of resistance. Born out of convenience and affordability, these choices represent a defiance against systemic forces of capitalism and colonial legacies that dictate our modes of dress. My thick black locks make a bold statement about the beautiful African woman I am. In a society governed by bourgeois norms, they are perceived as political, viewed with suspicion, and seen as a symbol of defiance.

Historically, dreadlocks have symbolized resistance, cultural identity, and spiritual significance across global societies. In Kenya, the Mau Mau—The Kenya Land and Freedom Army—fighters wore dreadlocks as an act of rebellion against the British colonial army. This sparked stereotypes associating dreadlocks with rebellion, counterculture, and uncleanliness—stereotypes deeply rooted in colonial attitudes that demonized African hairstyles as primitive and uncivilized.

The post-independence era saw another powerful manifestation of this resistance. During President Moi's regime, the Mungiki—a young force of Gikuyu men—adopted dreadlocks as a symbolic return to African roots and a form of political resistance. For them, locked hair was not just a physical declaration of cultural identity but a direct challenge to a corrupt and authoritarian government. The movement grew significantly in Central Kenya and Nairobi's slums, eventually becoming highly militant.

The state's response was brutal. Police launched widespread crackdowns, leading to arrests, extrajudicial killings, and systematic harassment. The mere sight of dreadlocks became synonymous with being a Mungiki member. This legacy of profiling and violence was so profound that when my older cousin got his hair locked, my uncle's immediate reaction was, "Ko wi mungiki?" (Have you become Mungiki?)

Our brothers in the struggle are constantly profiled by police, society, and government institutions. Every time I was stopped, frisked, or arrested, it was never because I posed a genuine threat, but because I represented a class that authorities were conditioned to view with suspicion. The looks we wear in the movement expose an uncomfortable truth: our clothing choices are not truly free but are confined by intricate class struggles.

My connection to clothes runs deep. From a young age, I was fascinated by the processes of making fabrics, the intricate threads that bind pieces together. As a village church girl, I dreamed of a career in "fashion." Upon arriving in Nairobi, I discovered a complex social landscape where clothing seemingly determined one's level of womanhood. I learned I was what the Gen Z now calls "Kienyeji"—a term reminiscent of the old "mshamba," meaning uncivilized or rural.

In Nairobi, a city where women face multiple systemic violence, working-class women have strategically adapted their wardrobes as a form of protection. My personal experience began in the deep slums of Mathare at 17, when puberty and societal perceptions converged. Subjected to constant harassment—spanking, catcalling, objectifying comments—I gradually transformed my wardrobe. Baggy pants, turtlenecks, and heavy jackets became my armor, regardless of the heat.

From eighteen to twenty-four, I was labeled with various appellations: "lele" (lesbian), "rasta," "tomboy," "madam"—each label a reflection of society's attempt to categorize and control. In 2014, a viral video of a woman being stripped in Nairobi for being "indecent" highlighted the broader issue. Now, in 2024, Kenya faces a femicide crisis, with over 500 reported cases since 2016. The "My Dress My Choice" movement emerged as a response to this weaponization of dress, shifting the conversation from women's vulnerability to a demand for bodily autonomy.

My grandmothers, Kalondu and Ngethe, were my earliest inspirations. My paternal grandmother, in particular, introduced me to traditional crafts through evening fireside storytelling. She would weave beautiful pieces while sharing folktales, subtly teaching me about our cultural heritage. This became my gateway into the world of fashion.

Venturing into "sustainable fashion" revealed the deep-rooted impacts of imperialism and capitalism in Kenya and across Africa. I witnessed how colonial cultural hegemony systematically devalued indigenous skills and crafts. While I didn't learn weaving directly from my grandmothers, I saw how this skill could build communities, fund education, and support businesses.

However, a painful truth emerged: African labor, knowledge, and traditions are only considered "valuable" when commodified for European and American markets. Unless legitimized by bourgeois market forces of the Global North, our production systems and knowledge remain marginalized within our own borders.

Sustainable Fashion, I realized, is yet another manifestation of colonialism and imperialism. To truly pursue liberation, we must reclaim our knowledge, our hair, and our clothes, dismantling the invisible borders that constrain us.

My dress is not merely a personal choice—it is a political statement about ongoing class struggles and the fight against systemic oppression. It reflects the complex realities faced by women in working-class and marginalized communities. My locks are inherently political, and as I continue fighting for a world where our choices are genuinely our own, I wear my struggles with pride.

The battle against capitalism, patriarchy, and neo-colonialism continues. But our daily acts of resistance, our choices, and our unwavering spirit can indeed amount to significant, transformative change.

By Wavinya Kavivya & Fashion Trends Africa by RCFS

"The fashion industry needs to change. We search, praise, and educate future fashion designers who have the courage and ambition to overcome this situation" - Fashion Frontier Program

The Fashion Frontier Program (FFP) 2024 finalists are exhibiting in Tokyo, Japan, from December 9th to 14th, 2024. After an intense selection process that began with 17 semi-finalists presenting their work, eight finalists were ultimately chosen. Among these promising designers is Rwandan fashion designer Hakizimana Singizwa Bertrand.

Hakizimana's artistic journey is deeply rooted in his multicultural background. Born in Rwanda and raised in Kenya, these two countries have profoundly influenced his creative path. His artistic exploration began in high school, where he initially expressed himself through rap music, drawing inspiration from groups like Odd Future and ASAP Mob.

In 2021, Hakizimana articulated his artistic vision: to develop an aesthetic that unifies all his creative endeavors. This creative drive led him to fashion, a medium through which he explores self-expression and storytelling. His designs are a powerful narrative of young Africans born in the late 90s and early 2000s, who grew up immersed in cable television culture.

PHOTO: Collection  by Singizwa Bertrand - Alienated Route

His featured collection, "Wrong Things, Wrong Place, and Wrong Time," emerged from an unexpected source: the COVID-19 lockdown. Confined to a small space for extended periods, Hakizimana found inspiration in the everyday household items surrounding him. He began reimagining these ordinary objects as fabric designs, transforming his potential isolation into a creative opportunity.

"This creative energy kept me positive and mentally healthy during the lockdown," Hakizimana explained. "My creations focused on the decorative elements that made our living space beautiful and habitable—from the items I used to keep the space clean, to the objects related to food and footwear, and ultimately, redefining how we perceive and wear a shirt."

PHOTO: Collection  by Singizwa Bertrand -Alienated Route

Beyond the lockdown's creative stimulus, Hakizimana honed his skills at the Delight Fashion School in Nairobi. He also benefited from mentorship programs like Creative DNA 4 by the British Council in the East African region. These experiences were instrumental in developing his brand, Alienated Route, which ultimately secured his place among the FFP2024 finalists.

The Fashion Frontier Program, established in 2021, operates on a transformative philosophy. By identifying, supporting, and educating emerging fashion designers who demonstrate courage and ambition, the program aims to catalyze positive societal change. The application is open to anyone passionate about taking innovative steps in fashion design.

Selected finalists are challenged to create garment designs that embody both social responsibility and creativity. The program provides comprehensive support, including guidance from advisers and experts, and a platform to showcase their innovative work. 

PHOTO: Collections of the finalists of the FFP2024

The other finalists include Kiyoshi Tomiyama, Luna Nakagawa, Mai Suzuki, Misaki Suda, Mitsuki Murata, Sandra Jao, and Tatsumi Iwai.

When asked about his experience and growth through the program's lectures, Hakizimana shared profound insights. Tara's session on circularity particularly resonated with him, inspiring him to adopt the "make to remake" concept. By minimizing seams, he ensured his garment could be easily disassembled, allowing for future repurposing—a testament to his commitment to sustainable design.

Yuima Nakazato's feedback further transformed his approach. Challenging Hakizimana to move beyond conventional upcycling, Nakazato encouraged him to create more personally compelling work. This guidance prompted Hakizimana to integrate the traditions of the Mucubal people with his avant-garde fashion principles.

PHOTO: Collection  by Singizwa Bertrand -Alienated Route

"My work now transcends simple upcycling," Hakizimana explained. "By drawing from the Mucubal's cultural richness and aligning it with my avant-garde vision, I've created something that feels fresh, personal, and innovative. This process has deepened my enthusiasm, as I now see my design as an authentic expression of my style and values."

The program concluded with award announcements:

PHOTO: Winners of the FFP2024

Grand Prize: Misaki Suda "Forest Clothes: In the Glow"

Runner-up: Kiyoshi Tomiyama "KEMMUN"

Runner-up: Mitsuki Murata "WE WANNA"

The Fashion Frontier Program continues to be a beacon of innovation, supporting designers who can meaningfully integrate social responsibility and creativity into their work.

Fashion Trends Africa by RCFS

Rwandese Singizwa Bertrand Among 8 Finalists Selected for Fashion Frontier Program 2024 in Tokyo

"The fashion industry needs to change. We search, praise, and educate future fashion designers who have the courage and ambition to overcome this situation" - Fashion Frontier Program

The Fashion Frontier Program (FFP) 2024 finalists are exhibiting in Tokyo, Japan, from December 9th to 14th, 2024. After an intense selection process that began with 17 semi-finalists presenting their work, eight finalists were ultimately chosen. Among these promising designers is Rwandan fashion designer Hakizimana Singizwa Bertrand.

Hakizimana's artistic journey is deeply rooted in his multicultural background. Born in Rwanda and raised in Kenya, these two countries have profoundly influenced his creative path. His artistic exploration began in high school, where he initially expressed himself through rap music, drawing inspiration from groups like Odd Future and ASAP Mob.

In 2021, Hakizimana articulated his artistic vision: to develop an aesthetic that unifies all his creative endeavors. This creative drive led him to fashion, a medium through which he explores self-expression and storytelling. His designs are a powerful narrative of young Africans born in the late 90s and early 2000s, who grew up immersed in cable television culture.

PHOTO: Collection  by Singizwa Bertrand - Alienated Route

His featured collection, "Wrong Things, Wrong Place, and Wrong Time," emerged from an unexpected source: the COVID-19 lockdown. Confined to a small space for extended periods, Hakizimana found inspiration in the everyday household items surrounding him. He began reimagining these ordinary objects as fabric designs, transforming his potential isolation into a creative opportunity.

"This creative energy kept me positive and mentally healthy during the lockdown," Hakizimana explained. "My creations focused on the decorative elements that made our living space beautiful and habitable—from the items I used to keep the space clean, to the objects related to food and footwear, and ultimately, redefining how we perceive and wear a shirt."

PHOTO: Collection  by Singizwa Bertrand -Alienated Route

Beyond the lockdown's creative stimulus, Hakizimana honed his skills at the Delight Fashion School in Nairobi. He also benefited from mentorship programs like Creative DNA 4 by the British Council in the East African region. These experiences were instrumental in developing his brand, Alienated Route, which ultimately secured his place among the FFP2024 finalists.

The Fashion Frontier Program, established in 2021, operates on a transformative philosophy. By identifying, supporting, and educating emerging fashion designers who demonstrate courage and ambition, the program aims to catalyze positive societal change. The application is open to anyone passionate about taking innovative steps in fashion design.

Selected finalists are challenged to create garment designs that embody both social responsibility and creativity. The program provides comprehensive support, including guidance from advisers and experts, and a platform to showcase their innovative work. 

PHOTO: Collections of the finalists of the FFP2024

The other finalists include Kiyoshi Tomiyama, Luna Nakagawa, Mai Suzuki, Misaki Suda, Mitsuki Murata, Sandra Jao, and Tatsumi Iwai.

When asked about his experience and growth through the program's lectures, Hakizimana shared profound insights. Tara's session on circularity particularly resonated with him, inspiring him to adopt the "make to remake" concept. By minimizing seams, he ensured his garment could be easily disassembled, allowing for future repurposing—a testament to his commitment to sustainable design.

Yuima Nakazato's feedback further transformed his approach. Challenging Hakizimana to move beyond conventional upcycling, Nakazato encouraged him to create more personally compelling work. This guidance prompted Hakizimana to integrate the traditions of the Mucubal people with his avant-garde fashion principles.

PHOTO: Collection  by Singizwa Bertrand -Alienated Route

"My work now transcends simple upcycling," Hakizimana explained. "By drawing from the Mucubal's cultural richness and aligning it with my avant-garde vision, I've created something that feels fresh, personal, and innovative. This process has deepened my enthusiasm, as I now see my design as an authentic expression of my style and values."

The program concluded with award announcements:

PHOTO: Winners of the FFP2024

Grand Prize: Misaki Suda "Forest Clothes: In the Glow"

Runner-up: Kiyoshi Tomiyama "KEMMUN"

Runner-up: Mitsuki Murata "WE WANNA"

The Fashion Frontier Program continues to be a beacon of innovation, supporting designers who can meaningfully integrate social responsibility and creativity into their work.

Fashion Trends Africa by RCFS

The annual Ugandan sustainable fashion event, Kwetu Kwanza 2024, demonstrated Uganda's potential to embrace sustainable fashion. This platform aims to motivate, educate, and empower designers while showcasing emerging talents and innovative creations.

This year's edition brought together participants from Kenya, Rwanda, Japan, and Uganda, including dancers, sustainable fashion designers, visual artists, and filmmakers. They convened to discuss environmental challenges, consumption limits, and share hopeful messages toward a more conscious fashion future. The event took place at the Office Grant Road in Jinja.

Participants: Kwetu Kwanza 2024

"We create spaces for meaningful interactions, skill-sharing, and dialogue," the organizers explained. "IGC Fashion empowers emerging designers, artisans, and individuals from marginalized backgrounds to showcase their talents and contribute to a more inclusive and conscious fashion industry. Our event aims to spread awareness about the impacts of unsustainable fashion consumption and waste."

Participants: Kwetu Kwanza 2024

Uganda's fashion and textile narrative is rich and complex. With more than 50 local fashion designers many still unknown to the broader public, the country's fashion industry has deep roots in its cotton production.

Cotton remains a pivotal element in Uganda's economic and textile landscape. According to the Cotton Development Organization (CDO), it is the country's third-largest export crop after coffee and tea, supporting 259,000 households. These farmers cultivate cotton under rain-fed conditions, using minimal fertilizers and chemicals.

                                        Farmers harvesting cotton in Uganda [Photo Credit: NT ]

The CDO reports that Uganda has 40 ginneries with an installed seasonal ginning capacity of approximately one million bales of lint production, significantly exceeding historical production levels.

Despite its cotton resources, Uganda faced significant challenges in textile consumption. In 2020, the country was among the largest importers of second-hand clothing in the region. Trade figures revealed that Uganda imported around 1,500 tons of second-hand clothing annually from the United States alone, with an additional 2,000 tons from the UK, Canada, and China.

"Most of these clothes end up in landfills," an expert noted. "It's crucial to support young fashion designers who take initiatives to rescue these garments from dump sites, clean them, and give them new life. This is something all African nations can embrace, though many remain skeptical of such approaches."

PHOTOS: Kwetu Kwanza 2024

Kwetu Kwanza 2024: A Sustainable Fashion Showcase

PHOTOS: Kwetu Kwanza 2024

The event's displays revealed a growing sustainable fashion movement among young designers. Participating designers included Seamline Atelier, Motley Minds, Nakimuli Minori, Sanvra, MASA MARA, My Fashion Biography, Quill Clothing Ug, Maisha by Nisria, Amylia Clothing, ORM Streetwear, and IGC Fashion.

PHOTOS: Kwetu Kwanza 2024

However, challenges remain. As one fashion enthusiast pointed out, "We need these creators to educate the public about caring for upcycled clothes. Many people don't understand how to wash these garments, which often have unique fabric combinations and may not fit traditional washing methods."

.    PHOTOS: Kwetu Kwanza 2024

The Visionaries Behind the Movement

IGC Fashion, a Kampala-based brand founded in 2017 by Kasoma Ibrahim and Katende Godfrey, stands at the forefront of this sustainable fashion revolution. Drawing inspiration from African tradition, heritage, and culture, the brand promotes fashion as a tool for positive social change.

PHOTOS: Kwetu Kwanza 2024

The event's name, "Kwetu Kwanza," derives from Swahili, translating to "Ours First." This philosophy encapsulates their core mission: safeguarding our planet as our primary responsibility. As Uganda continues to explore sustainable fashion, events like Kwetu Kwanza 2024 offer hope for a more environmentally conscious and innovative textile industry.

PHOTOS: Kwetu Kwanza 2024

PHOTOS: Kwetu Kwanza 2024

PHOTOS: Kwetu Kwanza 2024

PHOTOS: Kwetu Kwanza 2024

Fashion Trends Africa by RCFS

Can Uganda Embrace Sustainable Fashion? Kwetu Kwanza 2024

The annual Ugandan sustainable fashion event, Kwetu Kwanza 2024, demonstrated Uganda's potential to embrace sustainable fashion. This platform aims to motivate, educate, and empower designers while showcasing emerging talents and innovative creations.

This year's edition brought together participants from Kenya, Rwanda, Japan, and Uganda, including dancers, sustainable fashion designers, visual artists, and filmmakers. They convened to discuss environmental challenges, consumption limits, and share hopeful messages toward a more conscious fashion future. The event took place at the Office Grant Road in Jinja.

Participants: Kwetu Kwanza 2024

"We create spaces for meaningful interactions, skill-sharing, and dialogue," the organizers explained. "IGC Fashion empowers emerging designers, artisans, and individuals from marginalized backgrounds to showcase their talents and contribute to a more inclusive and conscious fashion industry. Our event aims to spread awareness about the impacts of unsustainable fashion consumption and waste."

Participants: Kwetu Kwanza 2024

Uganda's fashion and textile narrative is rich and complex. With more than 50 local fashion designers many still unknown to the broader public, the country's fashion industry has deep roots in its cotton production.

Cotton remains a pivotal element in Uganda's economic and textile landscape. According to the Cotton Development Organization (CDO), it is the country's third-largest export crop after coffee and tea, supporting 259,000 households. These farmers cultivate cotton under rain-fed conditions, using minimal fertilizers and chemicals.

                                        Farmers harvesting cotton in Uganda [Photo Credit: NT ]

The CDO reports that Uganda has 40 ginneries with an installed seasonal ginning capacity of approximately one million bales of lint production, significantly exceeding historical production levels.

Despite its cotton resources, Uganda faced significant challenges in textile consumption. In 2020, the country was among the largest importers of second-hand clothing in the region. Trade figures revealed that Uganda imported around 1,500 tons of second-hand clothing annually from the United States alone, with an additional 2,000 tons from the UK, Canada, and China.

"Most of these clothes end up in landfills," an expert noted. "It's crucial to support young fashion designers who take initiatives to rescue these garments from dump sites, clean them, and give them new life. This is something all African nations can embrace, though many remain skeptical of such approaches."

PHOTOS: Kwetu Kwanza 2024

Kwetu Kwanza 2024: A Sustainable Fashion Showcase

PHOTOS: Kwetu Kwanza 2024

The event's displays revealed a growing sustainable fashion movement among young designers. Participating designers included Seamline Atelier, Motley Minds, Nakimuli Minori, Sanvra, MASA MARA, My Fashion Biography, Quill Clothing Ug, Maisha by Nisria, Amylia Clothing, ORM Streetwear, and IGC Fashion.

PHOTOS: Kwetu Kwanza 2024

However, challenges remain. As one fashion enthusiast pointed out, "We need these creators to educate the public about caring for upcycled clothes. Many people don't understand how to wash these garments, which often have unique fabric combinations and may not fit traditional washing methods."

.    PHOTOS: Kwetu Kwanza 2024

The Visionaries Behind the Movement

IGC Fashion, a Kampala-based brand founded in 2017 by Kasoma Ibrahim and Katende Godfrey, stands at the forefront of this sustainable fashion revolution. Drawing inspiration from African tradition, heritage, and culture, the brand promotes fashion as a tool for positive social change.

PHOTOS: Kwetu Kwanza 2024

The event's name, "Kwetu Kwanza," derives from Swahili, translating to "Ours First." This philosophy encapsulates their core mission: safeguarding our planet as our primary responsibility. As Uganda continues to explore sustainable fashion, events like Kwetu Kwanza 2024 offer hope for a more environmentally conscious and innovative textile industry.

PHOTOS: Kwetu Kwanza 2024

PHOTOS: Kwetu Kwanza 2024

PHOTOS: Kwetu Kwanza 2024

PHOTOS: Kwetu Kwanza 2024

Fashion Trends Africa by RCFS

By Cynthia Mwangi

Last week, I was privileged to represent Maisha by Nisria at the Annual Circular Economy Conference hosted by Sustainable Inclusive Business Kenya. I get excited at every opportunity to contribute to raising awareness about how fashion impacts the environment. This year, we participated in the panel on “Circular Opportunities in Kenya’s Textile Industry: Pathways to a Sustainable, Circular, and Inclusive Future.”

For Maisha by Nisria, the circular economy presents key opportunities, starting with creating job opportunities for youth in the fashion industry. We’ve empowered young people to reimagine their role in this evolving space through skills training and education. Our core practice — upcycling — uses discarded materials and transforms them into durable, high-quality products.

Upcycling holds a special place in my heart because it’s an accessible practice. With scissors, needles, and thread, anyone can redesign old clothing, starting at home, where meaningful change often begins.

But systemic change requires collective effort. For instance, studios specializing in organic dyeing could collaborate with upcycling and recycling initiatives to explore fabric restoration. By pooling our expertise, we could bridge gaps in sustainable practices and amplify our impact

Lilabare’s innovative Banana Waste & Handloom Cotton Jacket

Kenyan fashion brands such as Maisha by Nisria, Africa Collect Textiles, and Lilabare are uniquely positioned to lead the global conversation on eco-friendly fashion. The growing demand for green fashion offers countless opportunities; implementing zero-waste policies, promoting fair trade, using eco-friendly fabrics like linen and organic cotton, and integrating repair and mend initiatives for their customers.

Further, sustainable African brands can set themselves apart by weaving culture and storytelling into their creations.

We have always been natural problem solvers, finding innovative solutions to challenges time and time again. Combating the textile waste issue has led to meaningful outcomes like job creation, policy rethinking, and post-consumer initiatives. But amidst these adaptations, we must also remember what we’ve lost.

Before my time, Kenya had a thriving textile industry with entities like Rivertex and robust cotton-growing farms. Today, much of that has declined. The same can be noted for the demand for once-celebrated Kenyan designers known for infusing culture into fashion.

This intersection of circularity and our culture is missing from today’s conversations. While I appreciate the optimism surrounding circular practices, I believe it’s essential to approach the dialogue with some retrospection. Yes, we must adapt to challenges, but we should also acknowledge what’s been lost in the process; especially within the context of being African, Kenyan, and a former colony now dependent on imported second-hand clothes.

For example, the influx of low-quality textiles into Kenya is still a pressing issue. As our studio, Maisha by Nisria, sources materials to upcycle, we come across tattered, stained garments and wonder, Who let this in? The reality is that we are willingly accepting other countries’ waste. I often think that this can change if we cultivate a sense of pride.

Think about it— would you let your neighbor pile their garbage on your balcony every week? I hope not! You’d expect them to take responsibility for their waste. Similarly, it is a great time to start saying No to being a dumping ground for other countries' discarded textiles.

Return to sender: Africa doesn't need more of your clothes!

In conclusion, circularity in fashion is more than just a sustainability conversation— it’s a question of our collective future. By embracing responsibility, fostering pride, and committing to a Kenyan-driven circular economy, we can uncover the path to more progress.

Mwangi Cynthia

Fashion Trends Africa by RCFS