Posts Tagged ‘fashion’

A Very Nigerian Opinion on E-Commerce and Online Fashion Startups

Folake Shoga shares her opinion on the recent spate of tech startups and apps mean to serve Nigeria’s fashion and fabric industry.

Two recent articles in Techpoint, the Nigerian online technology magazine, feature initiatives dealing with aspects of the clothing business. One is a startup letting studio space and equipment to makers, 360 Creative Hub; and one is an internet based fabric selling business, Fabricsphere. Reading up on the feasibility of these two initiatives has been an interesting experience, very much encouraged by the richness of Techpoint’s coverage of Nigeria’s tech and business ecosystem.

Having said that, as just a humble, occasional and above all provincial Nigerian, I’ll start by paraphrasing L P Hartley: “Lagos is another country; they do things differently there.” Sometimes, reading official accounts, reports etc of events in Nigeria really jarrs with one’s lived experience of the country (even though being as the standard of written professional journalism is generally excellent, this hardly every happens when reading the actual quality newspapers, Punch and The Guardian and their ilk.) In the aforementioned Techpoint articles some of the prices quoted for goods and services seem steep to me, which surely militates against takeup, but I am, as I said, provincial, and moreover brought up by Ijebu people. No doubt everything costs more in Lagos.

Startup culture is a thing in itself; current, progressive, innovative, aiming to breach new ground or disrupt! received conventions – although strictly speaking away from the comfortable global North there may already be more disruption going on than we are entirely comfortable with. But the term itself, startup, comes surrounded by an effervescence of aspiration, floating on an expectation of the power of a tech-determined state change in human affairs. “First we’ll click here, then we’ll be in tomorrow today already! Yay!!”

As recently as 12 years ago it was impossible to prejudge which casual, frivolous digital activity would end up as an engine of massive social change. Nobody could possibly have foretold, for instance, how a site for rating the comparative attractiveness of your female fellow students could have morphed into a giant data-gatherer, news disseminator and influencer of global public opinion. Or how a site for online shopping could evolve to be at the forefront of research into the logistics of drone technology and other automated delivery systems. So there is a hope and a hype around web-based startup culture, an eye for the next big thing, the next new system that will prove that from small beginnings come big changes. Nigeria, as a vast untapped market, has the potential to be a hive of new technology activity, and Techpoint in it’s many articles provides an interesting and thorough overview of the local scene, though concentrating almost entirely on Lagos.

Read On…

Launching Our Digital Documentation Project: Ibadan’s Tailors, Traders, and Textiles by Nigerian/British artist Folake Shoga

finalcopyAfter months of hard work, I am very honoured and proud to announced our new digital documentation project by my friend Folake Shoga, a Nigerian/British multidisciplinary artist with more than three decades of experience.

She went on a journey of discovery through the twists and turns of the informal value web that holds together West Africa’s famed textiles and fashionably styled culture.

Her window to this world is centered around Ibadan, Nigeria, and she takes us through an illustrated, personally narrated documentary that spans the experience of getting a new dress, from choosing the right fabric, all the way through building a fashion brand.

Come and join us for this fascinating peek behind the scenes! You can also find this unique photo-documentary again on my portfolio page.

What will it take for African-made clothing to become available for mass market?

When we talk about fabric in West Africa, there is no doubt that wax (also called ankara) is one of the first thing that comes to mind. Vlisco, the Dutch fashion textile brand, has been for long THE fabric par excellence bringing prestige and elegance to those who wear it. As 2016 marks the 170th anniversary of the brand, a celebratory campaign has been launched in several West African countries to share the history of the brand, re-print classic fabrics with a modern touch and weigh on the stakes for the future.

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Vlisco’s campaign with 8 brand ambassadors

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Cocktail for the launch of the celebratory events around Vlisco’s anniversary in Cotonou

Speaking of stakes, competition from China has been the most damaging to Vlisco’s sales and image. Cheaper Chinese fabrics that happen to be look-alikes of Vlisco patterns have created two shifts in society:

  1. wax has become widely available to working class who can now frequently purchase fabric; and
  2. a rise of fashion labels creatively using wax for accessories, clothing, and shoe apparel.

Fashion labels using wax have flourished, at low scales, remaining more custom made than ready-to-wear. Yet whether they are designed with Vlisco or cheaper wax fabric, prices remain high. Let’s have a closer look:

Case 1: Woodin, part of the Vlisco group, boasts to be the “first African brand offering a contemporary and wholly African fashion range”. Vlisco owns two textile factories in Ghana and Côte d’Ivoire yet ready-to-wear designs remain expensive, according to consumers. Prices range between $50 and $120. Interestingly enough, Woodin aspires to produce ready-to-wear collections accessible to all.

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Case 2: newly launched clothing lines that produce small scale collections with (cheaper) wax prints. Designers work with tailors and seamstresses to produce their clothing/accessories items. Volumes produced depend on demand from customers, personal funds (access to funding) or requirements for expo/private sale designers are attending. Prices are also deemed expensive and closely mirror those of Woodin.

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Left: Nanawax from Benin who aspires to be the Zara of Africa; Right: Dakrol creation from Togo

Admittedly, despite the current trend in wearing wax, African consumers still have a hard time purchasing ready-to-wear wax prints because of alternative options such as buying fabric and sewing preferred design directly with a tailor or seamstress or second hand clothes. However, mindsets are changing and demand is rising, especially from the middle class.

So, despite the democratization of fabric, both cases highlight important points:

  • Cheaper fabric, even when produced locally, does not significantly reduce cost of clothing
  • Labor costs remain expensive
  • Economies of scale could be reached if demand rose significantly so mass market clothing in wax (or other locally made fabric) could be readily available

This begs the question: will manufacturing enable reducing the cost of ready to wear Ankara clothes and accessories in Africa?