Originally developed by theVictoria and Albert Museumin London, the exhibition touredNew York, Portland, Chicago, Melbourne and Montreal before arriving in Paris.
"There's certainly different resonance indifferent locations, but the story itself hasremainedthe same," says curatorChristineChecinska.
"The narrative has always been about trying to give people a glimpse of the politics and glamour of the African fashion scene.It'sstill a story of agency and abundance and unbounded creativity from multiple African perspectives," she tells RFI.
"With each venue we've been able to add to the original show. We've been able to work with the teams in the various museums to bring additional photography, different additional textiles, for example."
Cut from different cloth
Coming toEurope's fashion capital gives the show special resonance, saysCameroonian designerImane Ayissi, whose hot-pink outfit features on the exhibition poster.
"Its not every day that African craftsmanship and African fashion are showcased inParis," he says.
Many of the continent's first professional designers studied in Paris or London, includingMali'sChris Seydou,Alphadi ofNigerandNigeria's female pioneer Shade Thomas-Fahm.
The show traces the path they charted in the 1950s and '60s as African countries regained their independence.
"1960 was the Year of Africa, when over 17 countries rid themselves of colonial ruleand a new sense of pride rang out through literature, music,artand fashion," Checinska explains.
Cutting new cloth: African designers stitch fresh stories into Paris fashion
African heritage, global influences
Today, Ayissi and his contemporaries draw on this rich fashion heritage, while injecting older traditions and global influences.
"I love creating fusions like this," says Ayissi, who blends African raw materials and textiles with European haute couture. "I love blending the two."
Four of his outfits are featured in the exhibition, includingthe oneon the poster. The pink cape ismade of embroidered silk and linen with a fringe of raffia fromMadagascar,he tells RFI.
"It was made for my 2019 collection and is called 'Mbeuk Idourrou' in the Beti language ofCameroon. It means: 'He or she who wears a garment that is impressive'. So it is ceremonial dress, important dress."
Ayissi, whoin 2020became the first designer from sub-SaharanAfricato present an haute couture collection at Paris Fashion Week, is"really importantto the story of African fashion", saysChecinska.
"He straddles two different fashion systems:the Parisian system, but also the system on the [African] continent. And he also has this wonderful,subtleand elegant blend ofdifferent culturalmixes."
Theresnot one single African style, the curator emphasises, rather nuance and difference across cultures. Yetfor her, there is a common thread running through the African continent.
"Ithinkthereisthisappreciationformaking, fortextiles, foraesthetics, and for theconnectionbetweenmusic,movementand fashion.
"It comes out in many, many different forms across the continent and diaspora. But I thinkultimately there'sa sense of beauty in everyday life.There'sasenseof thejoyof dressing up."
"Africa Fashion" runs until12July 2026at the Quai Branly Museum in Paris.
Originally published on RFI
