“The world, including the fashion world, is becoming ever-more global. I think the African influence is more than a trend. Now it’s part of the melting pot.” – Duro Olowu
A long way from the World Cup epicentres of Johannesburg and Durban, catwalkers in New York and Paris are already marching to an African beat. And why not? If global business will have its eye on all things African this month, chiming with the prevailing mood makes economic as well as sartorial sense.
The work of Nigerian-born, London-based Duro Olowu, for instance, combines vintage couture fabrics and silhouettes with African prints (Princess Caroline of Monaco wore an Olowu evening gown at the Bal de la Rose – an annual event in Monaco attended by the royal family – in March). “What’s interesting,” Olowu says, “is the level of sophistication, which reflects the way African people have always combined European fabrics with indigenous culture. For a long time, there was a sense that this was limited to Africa but now it has become global. Combined with an awareness of social responsibility, it makes for a powerful statement.”
Fashion’s big hitters are interested. Diane von Furstenberg has created a “tribal tattoo desert sugar” wrap dress for summer; Dries Van Noten has used Ikat fabrics from Lamu and Zanzibar with abandon; and Alber Elbaz showed fierce feather and bead neckpieces at Lanvin’s autumn/winter 2010 show in March.
But there is more going on here than simple visual pillaging for mood board inspiration. Elbaz’s work, for example, was inspired by a meeting with United Nations officials to discuss potential projects for the brand in sub-Saharan Africa. As for von Furstenberg, back in March she co-hosted the “Women in the World” summit in New York, which included Hillary Clinton, Meryl Streep and female micro-financing collectives from Nigeria to Liberia.