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Nigerian Fashion

The Nigerian fashion scene is becoming more diverse each day. People don’t want to be jack-of-all-trade fashion participants anymore. Now, people are forging on as designers, models, stylists, photographers, makeup artists, hair dressers, cosmetologists, fashion journalists, and the list goes on. Slowly, the industry has received more structure, infrastructure, and exposure. Designers like Deola Sagoe, Tiffany Amber, Ituen Basi, and Jewel By Lisa have graced the New Fashion Week ramps. In major cities in Nigeria, the fashion retail experience has grown considerably and we look forward to having whole streets dedicated to the fashion experience.

In terms of beauty, successful indigenous lines like Tara's Orekelewa and Banke Meshida-Lawal's BM PRO have shown that there is potential for local brands and these ladies have not stopped at just creating beauty lines, they have added training schools to the package. This will go a long way to ensuring the sustainability of the change happening right now.

Fashion vs. Culture

The difficulty associated with promoting Nigerian design and clothing may actually be based on the origin of fashion as a concept. The fashion industry, which is today a multi-trillion dollar business in the world, is understood as part of a cultural and social history. Fashion cannot be separated from our daily lives; even those who refuse to follow fashion, it is argued, do so in order not to partake in trends.

But fashion itself is a modern European phenomenon. Its rise is inseparable from the emergence of capitalism in Europe. Fashion, in a narrow sense, is a development out of the bourgeois 19th Century and the Industrial Revolution. In the words of Folorunsho, in her book Fashion: The African Connection, before fashion evolved, there were traditional costumes or clothing worn by people the world over. Apart from its distinguishing factors, clothing was solely used functionally for covering up of the body and for protection from heat or cold or other environmental factors.

Many people would have owned few clothes if their desire were solely functional. Fashion, instead, suggests that man is not satisfied with functionality of clothes alone. In many African countries, apart from the use of clothes for decoration of the body, the body was equally adorned with scarring, painting, tattooing or by use of jewelry.

Traditional clothing separates social classes and regional groups. It is standard, and its costumes symbolize a community and constancy. It never changes. City and rural dwellers in Nigeria can distinguish the Eastern way of dressing from that of the Northern or Western as each identifies with the various ethnic groups. Traditional clothing hardly ever changes. If any change occurs, it is only in very little details, and this can be very slow. It hardly expresses individual personality as it indicates group membership and is timeless. Fashion, on the other hand, is not standard as it derives its appeal from its transience nature. However, fashion emphasizes belonging to a certain social stratum but it expresses individual personality.

History

PRE-COLONIAL FASHION

Nigerian fashion has always reflected the culture of the hundreds of ethnic groups. In pre-colonial times, Nigerians wore their traditional garb all of the time. Nowadays, many Nigerians only wear 'trad', as it's commonly referred, when there is a special occasion to attend. Nevertheless, here are the traditional wear of some ethnic groups in Nigeria:

Edo people in trad

Edo Nation

The Edo People occupy current Edo State. They are made up of the Binis, Afemais, Eshan, etc. They have a very rich cultural heritage. They are all headed by an Oba who delegates duties to various towns and villages through the Odionweres (Elders) and Enogies (Dukes). The Benin Kingdom is one of the oldest and culturally rich pre-colonial African Kingdom. Edo people are quite reclusive in nature. They are colorful and elegant. The use of beads is commonplace in Benin. It symbolizes royalty and freedom.

Urhobo/Isoko Nation

The Urhobo/Isoko People are the major tribe in Delta State. They occupy Delta Central and Delta South. They are the 5th largest ethnic group in Nigeria, usually dragging position with the Ibibios. The Urhobo people have been grouped here with the Isoko people because of their cultural similarities. They dress traditionally in exactly the same way. The language is overtly similar and the people have same cultural traits. The Urhobo and Isoko people are migrants from Edo nation according to oral history. The people are ruled by an Ovie (King) with variations in appellations such as Orodje, Orosuen, Okobaro, Okpako, etc. The Ovie is seconded by an Otota (Spokesman) who is the traditional Prime Minister. The Otota is also called the "Unuevworo" in Uvwie-Urhobo Kingdom. Urhobo people love titles alot. In most ceremonies, people are announced as "Chief, Professor, Reverend Ovwigho Ogbejiriemu mni cna esq OFR". Urhobos do not have a penchant for hard work and they are known mainly for academic/mental feats. The Urhobo people usually dress by tying a Georgian Wrapper and wearing a Lace Shirt with a Cowboy Hat and a Walking Stick and beads are worn on the hands and neck.

A Yoruba bride

Yoruba Nation

The Yoruba People occupy South Western and North-Central Nigeria and in states such as Lagos, Oyo, Ekiti, Kwara, Kogi, Ondo, Ogun and Osun. They are one of the three major tribes of Nigeria. They have a rich mythological history which dates back to Oduduwa as their earliest progenitor. The Yoruba people are extremely jovial and respectful. A typical Yoruba man can greet you 100 times in a day if needs be. They love partying and enjoyment generally. Their traditional system revolves around the Ooni of Ife and the Alaafin of Oyo which are seen as apex custodians of Yoruboid culture. Most Yoruba towns and villages are ruled by Obas also called Olus or Deji. They have a rich traditional religious system and a Pantheon of gods akin only to the Greek Pantheon. Yorubas are extremely glamorous in dressing! They look songs and food and are known for owning the Music industry in Nigeria. The Yorubas usually wear "Agbada", a oversized cloth which is worn like a jacket over lace or wrapper based clothes.

File:Ude Oko Chukwu.jpg

An Igbo man

Igbo Nation

The Igbo People occupy South Eastern and parts of South-Southern Nigeria which has states such as Anambra, Enugu, Imo, Abia, Ebonyi, Delta North and Rivers. Igbo is one of the three major tribes of Nigeria. Igbo itself doesn't represent any particular group but it is an umbrella term for all Igboid groups such as Mbaise, Ika, Aniocha, Ikwerre(disputed), Orlu, etc. Igbos are highly creative and technocratic in Nature. They do well in business and technology. They have a strong family bond and every successful member of a family becomes the succour for others. Igbo traditional system is modelled after the Benin system. They usually have an Eze or Igwe who is either elected, is the oldest elder in the community or is inherited from father. The Igbos love class and elegance. The Igbos usually dress with a trouser and a simple wool based shirt to go. The women dress like the Edo people with beads on the head. Some Igbo tribes tie a white wrapper across their shoulders.

Hausa/Kanuri/Fulani Nation

The Hausa/Kanuri/Fulani people occupy Northern Nigeria. These people have been grouped together because of the similarities in their culture, dressing and language. They are the most populated people in Nigeria and make up the major tribe. Apart from the Fulani people, most Nigerians won't be able to differentiate between these tribes. Religion has also helped to strengthen the bond shared by this triad as well as other minorities in their region. These people live a quiet, reclusive and pastoral life. They are not known for extravagance. Their traditional system is modelled after the Islamic method of a Caliphate, Sultanate and Emirate. Most towns are ruled by an Emir or his delegate. The Fulanis are remarkably nomadic in nature! These people are mainly farmers and cattle herders while there are also large pockets of politicians and civil servants. They dress with a "Kaftan" or "Jalabiya". The Fulanis in particular are unique in their dressing. The first picture below depicts Hausa/Kanuri while the second depict Fulani/Fulfulde.

Efik/Ibibio/Annang/Oron/Eket Nation

The Efik/Ibibio people occupy Akwa-Ibom and Cross-River States in South-Southern Nigeria. They are one of the lesser known people of Nigeria. However these people have a rich culture and elegance. They are said to be migrants from Cameroon in pre-colonial times. They also have the privilege of being one of the first people to encounter Western education and culture. The cities of Uyo and Calabar today are one of the most neatest, beautiful and secured places in Nigeria. The people are welcoming and have an aversion to violence. Their traditional system revolves around an "Obong" who rules over an "Afaha" (clan). Efik-Ibibio people love food and are known to have a wide variety of delicacies in their menu. Their dress sense is in tandem with that of the Igbo people. However, there are a lot of differences.

Ijaw Nation

The Ijaw people occupy Bayelsa, Rivers, Delta, Akwa-Ibom and Ondo States. They comprise the 4th largest ethnic group in Nigeria. The Ijaws live close to the river and thus, all their myths and legends are water based. Ijaw people are reclusive and quiet. They look drinking as well! Ijaw traditional system is headed by a "Pere" (King) who rules over a clan or village. The Ijaws are fearless and bold! They have cultural similarities with the neighbouring Itsekiri and Urhobo/Isoko people.

Itsekiri Nation

The Itsekiris are a lesser known minority ethnic group whose people occupy Delta South. Itsekiris are aboriginals of Warri North, Warri South and Warri South West local government areas with a large pocket of people in Sapele local government area. The Itsekiris are originally Yoruba people who migrated to their current hold and have, over time, mixed their language with Edo, Urhobo, Ijaw and Portuguese. Itsekiris are jovial, colorful and elegant people. They are fearless and politically conscious. They have some of the richest and well educated people in Nigeria. They are ruled over by an Olu who is a direct descendent of Ginuwa, a Benin prince. Itsekiris dress like the Urhobos and Ijaws. Their royalty put on white with a coloured girdle depending on the occasion.

Nupe Nation

The Nupes occupy Kwara and Niger State in North-Central Nigeria. They are reclusive and quiet in nature. The Nupes are headed over by the Etsu Nupe. Nupes are communal in nature and they enjoy pastoral and simple life. Most Nupe people are farmers. Nupes also has a strong and deeply woven system of traditional thought that guides their day-to-day life.

Tiv Nation 

The Tiv people occupy Benue State in North Central Nigeria. Like most tribes in Northern Nigeria, they are quite reclusive and quiet. The Tiv people were once part of the Wukari Federation of pre-colonial times and they are similar to the Jukun people of Taraba state. They have a rich and wholesome culture and belief system which is headed by the Tor Tiv. The Tiv People are colorful and elegant. They are unique and have some of the most beautiful ebony girls in the country.

POST-COLONIAL FASHION

Nigeria gained independence in 1960. Immediately following independence, Nigerian business fashion was still the same: European and Western blouses, skirts, dress pants, wigs in tow. Fashion in the rural villages has not changed much since colonization. In his 1971 song, “Gentleman,” Fela Kuti made fun of businessmen who rejected their native garb when they they made became mildly successful, and only wore English suits, acting as though they’re better than everyone else. He proudly declares, “I no be gentleman at all-o, I be Africa man, original” in his commentary on the serious cultural inferiority complex preventing Africans from attaining true independence. With time, Nigerian fashion began to mirror its status as an independence nation. People began to wear their traditionally Nigerian outfits---with pride---to work, church, parties, and more. Today, it is fairly uncommon for businessmen in Nigeria to wear English suits (unless they are bankers, who live in suits).

Textiles & Weaving

Weaving in Nigeria is traced to Eastern Nigeria. Archaeological evidence of early textiles supposedly woven from brass and leaf fibers has been discovered and they date over a thousand years. But whether strips were woven simultaneously or individually is difficult to say, as no further evidence was available to corroborate this.

Kano cloths is the 1590s, was said to be used as currency. Researchers such as Barth (1851) observed that dyed and woven cotton were the main products of Kano. He described over 20 different kinds of cloth made in Kano and all its environs.

During the later part of 1800s, locally woven fabrics were exported to other parts of Nigeria and other countries. This was sadly reduced by the large imports of printed cloth from England, which could be purchased more cheaply than hand-woven fabrics. Still, the hand woven cloth remains treasured for important ceremonies and events. This was bolstered by the nationalism generated by the independence in 1960.

Example of an ankara dress

There are two primary types of weaving done on two different types of looms, in Nigeria, especially in the Western region. While men and youth use a narrow, horizontal loom with meddles and treadles to weave strips of cloth infinite yardage, the women are primarily responsible for growing and processing the fibre for weaving. In towns like Oyo and Ilorin, the people plant, cultivate and harvest cotton fibres. They also spin and dye.

Ankara fabric, not referring to the capital of Turkey of the same name, is a 100% cotton fabric filled with vibrant patterns and African motifs. It is commonly referred to as Dutch wax or Holland wax, African print, or African wax prints. Ankara print Fabrics are  made through an Indonesian wax-resist dyeing technique called Batik.In this technique, methods are used to “resist” the dye from reaching all the cloth, thereby creating a pattern. The lack of divergence in color intensity helps with the determination of the (front) right and (back) wrong side of the fabric. Ankara print fabrics are most often sold in 12 yards as “full piece” or 6 yards as “half piece”. The fabric company/producer, The type of fabric/product and registration number is printed on the selvage of the fabric, to notify people of the quality and to protect the designs from imitators. 

The wax fabric can be sorted into categories of quality due to the processes of manufacturing. The colors comply with the local preferences of the costumers.  Some wax prints can be named after personalities, cities, building, sayings or occasions. The Nigerian textile industry is very strong, and nearly all the cloth produced in Nigeria goes to clothing the large Nigerian population.

Ankara Print Fabrics can be worn for both regular outings, and some people wear it as “asoebi” for special occasions such as birthday celebrations, weddings, balls, etc. Asoebi is a Yoruba word and means “clothes of the family”. Family members, relatives and close friends usually dress up in the same print for a special occasion.

There has also been a reawakening of Nigerians to fashionably embrace local fabrics like aso oke, adire, and Nigerian wax. Some designers like Ituen Basi opt to only use Nigerian wax in their designs; she has even designed a line of indigenous ankara footwear, jewelry, bags, and accessories. This print craze recently caught on with the Western fashion world and this time, Africa, specifically Nigeria, has become a major muse.

Embroidery

Embroidery is like a stamp of African aesthetic on an outfit. Modern designs are given exotic embroidery patterns in order to marry western and African imprints. The history of embroidery in Nigeria dates back to centuries. Though not indigenous to the country, embroidery has become integral part of Nigerian dressing. Among the Nupe and Hausa research has proved that embroidery has been a long tradition and it is used on many types of garments, from Hausa farmers cloths to riding robes and ceremonial apparels.

The embroidery done on Men's clothes is traditionally made with dark stitches with asymmetrical and non-representational designs. Gorgeously, voluminous robes, intricately embroidered are a symbol of prestige and rank for men in Nupe and Hausa communities. Designs of the Nupe embroiders are well known and prized by Nupe and Hausa people. Three types of stitches are primarily used. They are the chain stitch, the buttonhole stitch and couching. The stitching is done with either imported or indigenous silk thread on either imported or hand-woven cloth. Often, indigenous silk thread in its own creamy color called Tsmia in Hausa is used for the most prestigious and elegant Rigona robes on hand-woven narrow band cloth which is most times, creamy in color.

There are still other types of embroidery designs in the country. These embroidered cloths are used as bedspread, tablecloth or wall hangings. Some artists say the colorful and cheerful cloths are the examples of “folk art”. But the Hausa call it “Hausa bridal sheets”. What is note worthy in these cloths is that the embroidery designs and traditional house decorations have similar motifs.

Embroidery was not also indigenous to the Igbo but surface designs for body paintings were easily converted to embroidery designs for table linens in the Igbo town of Arochukwu. Yoruba men have also used some embroidery on clothing, round the neck of their traditional agbada.

Headgear

There was time in Nigeria when headgear popularly called "gele" (another Yoruba word) was almost compulsory for Nigerian women. In the 1950s and 1960s, gele was for the fashion diva of that time, the ultimate headgear. The women proudly wore gele to the admiration of other women from other climes.

The glory of gele was however, highest in 1960, the year of Independence. Lagos was agog that year and to reflect the festive mood, Nigerian women wasted no time in upgrading the fashion to catch the euphoria of the moment. Different headgears also came in with the euphoria one of which was Onilegororo. This was one of the sky-scrapping head gears and it marked a new level of sophistication and the status symbol for society women. Today the members of the wealthy elite are easily identifiable by their fancy clothing and hairstyles. Onilegororo, after the independence, was quickly replaced by Flora Azikiwe, the style, in honour of late First Lady and wife of the president of the new republic. From then, it became the vogue to name headgears after public edifices and personalities, from Nnamdi Azikiwe to Johnson Aguiyi-Ironsi, Yakubu Gown, Eko Bridge and National Electric Power Authority (NEPA). NEPA, patterned after the statute of Sango, god of thunder and lightening, which is the logo for NEPA, came into being in the 70s as a mark of recognition of the once mighty corporation. In appreciation of the beauty and architectural excellence of the National Theatre, a replica was fashioned by the lists which became known is National Theatre headgear.

But after the euphoria of independence warned, the love for headgear waned too. By the 1980s, following the ban on importation, the inflow of headgears reduced dramatically and with it, the imagination of the ingenious stylists whose fort it was to come up will names and styles. The Structural Adjustment Programme (SAP) played a significant role in demise of the gele. The fall of the national currency, the naira, forced the prices of gele out of the reach of the average Nigerian woman. The urge then was to satisfy the stomach. This out weighed the desire to spend some time for fashion, as it also required expensive accessory. Gele, to many people, became an occasional wear for Sundays, parties, weddings and other special occasions.

The changing circumstances in the affairs of the gele gave way to a deeper westernization of the average Nigerian teenager’s dressing that very rarely do young women wear gele or traditional attire show in their wardrobe. So, while the gele is for grand occasions like the Christmas and special events, the vogue for her is the hat, the ultimate headpiece. The anger against this is not the appreciation of western dressing but the total rejection for what is African. This danger has perhaps, made some fashion hat designers create a modern version of the gele.

Further researches and studies in the art of hat making have led to the introduction of relevant and constant invitations. The innovations have made hats come to stay as part of modern Nigerian fashion, leading to introduction of “group hats”, uniform hats. Hats are made of different materials such as cynamay, a soft material dyed into a variety of colors and shades. Cynamay can be moved, twisted and cut into different shapes. It is light and suitable for the African weather.

There are also straw hats, the knotted style and the pail boxes. Some are designed with feathers and flowers such as roses and ornament, like sequins. About 80 per cent of the materials are imported. But the preferred hat colors, many people say, are silver, gold and platinum. But hat the colors in vogue are hot pink, lemon and orange.

Fashion Houses

The international world beaming the spotlight on Nigerian fashion. Nigerian publications such as Flair West Africa (Formerly called True Love Magazine), Genevieve, TW and Arise; Websites like Stylehousefiles.com, Bellanaija.com, Ladybrille.com, Fashionafrica.com, Shopliquorice.blogspot.com, continue to showcase and promote the best of Nigerian fashion. Even in Diaspora and online, Nigerian fashion is daily celebrated.

Yet with growth comes challenges, problems and opportunities for pruning of excesses. The Nigerian fashion industry according to up and coming designer Maki-Oh still suffers from, “Mediocrity, electricity [problems] and quality control.” There are no real central bodies regulating the fashion industry neither are there incentives provided by the government to support new comers. At times, “the industry can be such a laugh”, says a prominent designer anonymously. Everybody just does their own thing and call it fashion even if it is just getting a bunch of girls to strut up and down in different clothes to ‘close’ a function. Then there are issues of finishing which nearly every designer suffers from as most of them rely on self-taught tailors. The result is an expensive price tag for less than perfect products.

Despite the successes and failures in the present, one thing is for sure the Nigerian Fashion Industry is here to stay. Here are some of the notable Nigerian fashion houses/centers of today:

Duro Olowo

Deola Sagoe

Lanre Da Silva Ajayi

Lisa Folawiyo

Folake Coker/Tiffany Amber

Maki Oh

Ituen Basi

ALÁRA Lagos

ALÁRA is the creation of Reni Folawiyo, and is dedicated to the celebration of contemporary African luxury, featuring the finest works of design, fashion, art, and food. Source: ALÁRA Website. ALÁRA is a luxury lifestyle store dedicated to promoting contemporary art, fashion, cuisine and more in Lagos. ALÁRA curates exceptional designs from around the world, garnering the world’s most desirable pieces including inspirational objects of African origin alongside renowned international designers. It is this recognition of ALÁRA as a reference point for modern luxury in Africa. Source: Bellanaija. ALÁRA means “wondrous performer” in Yoruba, a Nigerian language and ethnic group. Source: Wall Street Journal

The Founder Reni Folawiyo, wife of Tunde Folawiyo, is commonly referred to as ‘The Wolf of African Fashion’. [need to add more]

Building Design ALÁRA stands tall on Akin Olugbade Street, a building that stands out from the rest of the city. Source: The Wall Street Journal ALÁRA’s intricate exhibit-style architecture that encaptures the store’s ethos of carrying modern luxury in Africa around the globe. Source: Bellanaija. Its peculiar boxy shape and imported design flourishes convey a level of access to resources and long-term planning that's rare in Lagos, where many of the residents improvise a daily living. The structure is a glass facade—covered with intricate metalwork inspired by traditional Yoruban adire textiles—allows passersby to glimpse what's inside: a retail space extending upward in levels, like a giant stairwell within a tall display case. The three-story frame is the color of Nigeria's red soil and cut through with geometric patterns fretted with scores of twinkling lights. Even the ceiling will sparkle. Source: The Wall Street Journal

Located in Victoria Island, Lagos, the ALÁRA flagship concept store was designed by world renowned architect, David Adjaye or OBE, one of the world’s leading architects with a portfolio that includes commissions such as the $500 million Smithsonian National Museum of African American Culture and History, and the Nobel Peace Centre in Oslo. David created a first-of-its-kind exhibition-style retail masterpiece in the heart of Nigeria's commercial capital. The store features a multi-level design and art gallery, rooftop terrace and restaurant within 3,200 square feet of unique architecture. Source: ALÁRA Website

The Service ALÁRA is benchmarked against Colette, Paris; 10 Corso Como, Milan; and London's Dover Street Market, for service, quality and brand mix. ALÁRA features international luxury and fashion brands for men and women, and is the first company in West Africa to officially retail brands such as Bottega Veneta, Saint Laurent, Lanvin, Oscar de la Renta and Stella McCartney, Valentino, Zuhair Murad and Elie Saab. ALÁRA will soon be the first retailer in West Africa to stock the renowned French designer brand, Christian Louboutin. Alongside these international brands, ALÁRA also supports internationally acclaimed African designers such as Maki Oh, Duro Olowu and Loza Malheombo, and has begun projects supporting and exposing emerging African designers and artists in both fashion, interiors and visual art. Source: ALÁRA Website

Fashion in the Nigerian Economy Nigeria is the largest economy in Africa, and growing richer by the day, with cities like Lagos full of moneyed, cosmopolitan fashion consumers. Lagos has emerged as an international capital of commerce and culture. Nigerian consumers of luxury goods have historically travelled abroad to do their shopping -- with London, Paris, and Dubai being regular destinations. ALÁRA Lagos has forever changed the world of African consumers, conceptualized by an African woman, for the African woman. The “ALÁRA woman” is a global citizen, a hyper-busy professional wired into the international grid. Source: Vogue

Victoria Island, where the store is located, has one of the highest concentrations of millionaires in the world. With the energy sector leading Nigeria's fast-growing economy, the government released new gross domestic product figures this year that placed the country well ahead of South Africa, the continent's long-standing economic powerhouse. Abundant natural resources; burgeoning telecom, banking and tech enterprises; and a lucrative "Nollywood" film industry put Nigeria's GDP at $510 billion—89 percent higher than previous projections. Source: The Wall Street Journal

ALÁRA primarily houses African designers like Stella Jean, Duro Olowu, Lisa Folawiyo, and Tiffany Amber amongst others. Source: Vogue Source: Pulse NG

The Deeper Issue However, Folawiyo hopes to address a deeper issue with this store—the fact that so little of what's made in Africa is considered luxurious in the first place. Next to a Valentino dress, you might find a carved and embroidered Tuareg trunk from Mali—but updated, per Folawiyo's instruction, in lemon-colored leather. A chaise longue discovered at Milan's Salone Internazionale del Mobile might sit next to a chair with a Gothic arched back designed by Artlantique, a company that recycles the brightly painted wood of West African fishing boats in Senegal. "Just because we live in a country that has problems does not mean that we are excluded from the enjoyment of beautiful things," she says. "Reni wanted to create an African-inspired store that would be a destination for clients in Nigeria but also for pan-African travelers," says Adjaye, describing Folawiyo's initial pitch, "one that would curate the incredible talent pool on the continent that's been invisible." She is intent on establishing a contemporary visual language for African luxury that doesn't resort to cliché. Source: The Wall Street Journal

Tokini Peterside, ALÁRA’s strategy and project manager, explains that many African intellectuals feel that the responsibility for changing perceptions about the continent ultimately lies with Africans themselves. More than a half-century after Nigeria and many of its neighbors claimed independence from European powers, certain countries in the region are poised to surge ahead culturally and economically within a newly globalized economy—accompanied by a renewed sense of what defines African culture. The conditions for change are right: Sub-Saharan Africa is the youngest region in the world, with 70 percent of the population under 30 years old. Source: The Wall Street Journal