The lights dim on the catwalk as a capacity crowd quiets in anticipation. A pounding drum rhythm builds suspense as, backstage, stylists swarm the waiting models, applying last-minute dabs of foundation, glittering lip-gloss and bursts of hair spray. Next to the catwalk, professional photographers jostle for space with fashion bloggers preparing to snap candids with raised iPhones.
The scene could come from any of Europe or America’s frenzied fashion shows, but for two key differences: the models are mostly black and the designers all African. Welcome to Fashion Week Africa in Johannesburg, an annual event that offers a sharp rebuttal to the idea that international fashion begins and ends in the northern hemisphere. “When it comes to fashion design, Africa is the next frontier,” says Precious Moloi-Motsepe, a women’s health doctor and wife of South African billionaire Patrice Motsepe who founded African Fashion International, which organizes the event, in 2007.
Now in its sixth year, Fashion Week Africa—which recently picked up Mercedes Benz’s sponsorship in a sign of its growing prominence (the company also sponsors fashion weeks in Australia, Russia and Mexico)—is a showcase for Africa’s top designers. Headlining designer David Tlale of South Africa makes regular appearances at New York’s fashion week, while Mozambican Taibo Bacar and South African Hendrik Vermeulen wowed audiences in Milan and Rome earlier this year.
The message from Johannesburg is clear: Africa is no longer just a source for ethnic inspiration and fashion shoots, but a fount of original talent that may just give the established global brands a fresh dose of creativity, Tlale tells TIME. “The industry needs fresh blood. Armani is tired. Galliano is trying to resuscitate himself. McQueen is gone. Gucci is failing to reinvigorate and Prada needs a new creative team. It’s time for the big fashion investors to start looking to Africa. Not appropriating our themes, but taking on our design talent.”
The first obstacle may be overcoming expectations. When Tlale, arguably Africa’s best-known designer, first showed in Paris in 2007, reviewers needled him about his line’s lack of leopard print. It still happens today. “There is so much more happening in Africa than animal prints,” he groans. “The time for showcasing the big five is over.” He is talking about the big five safari animals, but he could just as easily be referencing Africa’s big five fashion clichés: Mandela shirts, animal skins, vibrant Ghanaian fabrics, Ndebele beadwork and the red plaid and beaded collars of the Maasai.
Take the clothes on the catwalk in Johannesburg on Oct. 29 to Nov. 2: from diaphanous trench coats to daring hotpants, they have nary a whiff of the African stereotype. Tribal motifs made an appearance, but they were translated into muted knitwear that could almost pass as Nordic.
As much as international fashion design could use a jolt of African creativity, Africa, which has become dependent on imported fashion, needs the economic stimulus of domestic production. In South Africa, the clothing manufacturing sector used to be the country’s biggest employer, even more than mining, according to Anita Stanbury, of the South African Fashion Council. But in the early 2000s changes in the law allowed Chinese imports to take over, and the industry all but collapsed. South Africa’s fashion weeks, of which there are six year round, are one way to encourage interest, and investment, in local production. South African fashion retailers only buy 25% of their product locally, says Stanbury. If they bought 40%, the number of clothing manufacturing jobs in South Africa would nearly double, from 80,000 to 150,000. “That is a huge reason why we should support the domestic fashion scene,” says Stanbury. “It gives us the opportunity to pull people out of poverty, and make them consumers in the market.”
The domestic economic benefit is one of the main reasons Moloi-Motsepe started with fashion, but pride plays a part as well. She believes it’s time for African fashion to take its place in the spotlight. “We see ourselves as global fashion players,” says Moloi-Motsepe. Just as she pairs Prada with creations by local designers, she is waiting for the day she spots a Londoner mixing Stella McCartney with Tlale. Global fashion, she says, would be better for the cross-pollination.
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