The Power Of Wo-mentorship

"Because it’s so hard to climb the ladder, it feels like people think that there is just that one spot up there ..."

In the final part of our interview with Hazel Aggrey-Orleans, we converse about the importance of support networks and mentorship. The discussion then concludes with some of Hazel’s pivotal successes and exciting future ambitions.

And so the conversation continues …

Support Networks

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Yaaya:

A while ago we posted on our blog the question, “who/what are your most valuable support networks?” We pose the same question to you.

Hazel A:

I guess my family - for financial reasons and for just being there for me emotionally and physically. Definitely, they have been very supportive. I also do a lot of personal development training. For example, going on courses or listening to tapes. And that has helped me – I am a huge fan of Anthony Robbins, I don’t know if you know him. I am able to pull from his advice during difficult times. It is quite a lonely journey when you start your own business. So the motivational talks have really helped. Like “you can achieve anything in life if you put your head and heart into it”.

It is so easy to quit, but if you know for the journey you are on that there is goal at the end, then you just keep going with the vision. That has really helped me. Good support systems are all about positivity and surrounding yourself with the right kind of energy and people around you. It's tough, but you have to be part away with negative people that won't be supportive.

Yaaya:

How much of an influence was your support system during that transition period of moving back to Europe, starting up your own company, and releasing your collections?

Hazel A:

My family's help with the different aspects of the transition was hugely important. I can't be appreciative enough with the personal assistance of having my mum look after the kids while I did all my running around. If I didn’t have my mum, it would have been a nightmare. And then I guess my husband financially supporting me while the business was growing was definitely hugely important.

Yaaya:

That 'Ndani' Selfridges project you spoke about, do you consider the group of you that came together were a support system for each other?

Hazel A:

I wouldn’t call it a support system. We didn’t have any connection with each other like that. I mean I know all of them, but there wasn’t really a connection. It was more of a professional relationship.

Sometimes I feel when it comes to African fashion, that there is too much competition. Because it so hard to climb the ladder, when someone has climbed the ladder, they sort of push the ladder down for no-one to follow. And I feel that there should be more coming together and helping each other. Even if it just means mentorship and helping new designers start up their business or even mentoring by collaborating with them. I just feel there is this notion that “this is mine, and I don’t want to help anyone else.” Because it’s so hard to climb the ladder, it feels like people think that there is just that one spot up there, and therefore only they can or should grab that one spot.

I see this more with black fashion designers trying to get their fashion lines out into stores in Europe or getting exposure from the press here. That’s when the competition really starts. And I feel it is because there seems to be only that one slot for an African designer. So there is that huge competition, and I feel maybe we should forget that and come together and create our own platform to open up fantastic stores within Africa and Europe, and not just rely on the opportunities that only seem to have one vacant slot.

Black Women As Role Models

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Yaaya:

Which black women are you most inspired by?

Hazel A:

One lady is Noella Coursaris. She’s Congolese. She has really inspired me because she used to be a model, and then she came up with this idea that she wanted to help young girls in Congo. She started building a school, not knowing how she was going to fund it, and now she has a school with ... I don’t know how many thousand children. It was all based on donations and charity. For me, that is so inspiring - to see someone like that have an idea and see it through. And now she has met Bill Clinton and Ben Affleck … many top people making donations.

And then I guess an inspiration is Michelle Obama. Someone like that is hugely influential. I mean, to be the first lady, the wife of America’s first black president! To see how is she is gracefully handling that responsibility is hugely inspirational to me.

Yaaya:

Do you feel there is somebody of her status and influence, as a strong public role model for black women or that you can identify with, in Europe?

Hazel A:

(Long pause) I don’t think I know many black female role models like that. I’m sure there are, but … no I can’t think of anyone.

Yaaya:

Do you think it’s because the U.S. is a bit more progressive with its representation of strong black female figures in the media?

Hazel A:

You hear more of top senior black women in the U.S. more so than here in the U.K., I don’t know why.

Yaaya:

This is where the issue of the social invisibility of black women comes in. Through the interviews we’ve been doing, we’ve met lots of black women at the top of their game, but you -

Hazel A:

You don’t get to hear about them. Exactly! But why is it you don’t get to hear or know about them? Because I met a black woman who was a very very senior person at IBM, and just thought to myself “this is huge!” But I didn’t know about her, I’d never heard of her. Even mainstream talk show hosts … there are no black female talk show hosts, whereas in the U.S. there are a lot more. When I think of famous black women in Europe, I find it hard to think of many. In the U.S., I can think of so many. I don’t know what America has got that Europe doesn’t. I don’t know if it’s because of the well-documented history with slavery and racial relations.

Sometimes Europe seems to appear multi-cultural, so it is not made an issue. But it is still an issue. When I think about the top black women in Europe, I really have to think very long and hard. And I shouldn’t have to, they should be more accessible. Even when I get asked which black female celebrity in the U.K. I would love to dress, I just can’t really think of anyone that comes immediately to mind.

Yaaya:

Do you feel it is a two-way street, and that maybe more of the black female community need to put themselves forward? Or do you believe they are putting themselves forward and they are allowing their work to be seen -

Hazel A:

But they are not getting the recognition? I think that is really more it, because I don’t see why they wouldn’t put themselves forward. I think it’s that they are not getting written about.

The Importance of Mentorship

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Yaaya:

How important do you think it is to mentor others especially black girls and women?

Hazel A:

I think it is very important. It gives a woman a sense of importance that they can help someone else. But I think being a mentor is important full stop. Regardless of race or gender it is important. I guess it might be more relevant and interesting for a black woman to mentor another black girl or woman because then they would know that she [the mentor] would have gone through similar hurdles, and it would be interesting to know how she overcame those hurdles. So for someone who is trying to follow in her footsteps, they know how to avoid or overcome those hurdles, because in this country, it is harder for a black woman than it is for a white woman.

So it would be great to know such black women, to know more about them and how to even access them as mentors. Seriously, I mean .. like how do you access them? I wouldn’t even know where to go. I just know that when I meet someone and I think it would be good to their advice, I would do well to ask them.

Yaaya:

What advice do you have for someone wanting to begin a career in the textiles and fashion industry?

Hazel A:

I always say you need to have enough financial backing to last you for at least three seasons. I say three in particular because the first one, I feel like you are experimenting. The second one, you’re still discovering who are you. I think maybe by the third collection, you’ve been able to create an solid identity for yourself and your brand. Buyers want to see a consistency, maybe not so much in Africa, but I talk about buyers here. They want to see that you will last, and that it’s not after the second collection you will be broke. I feel like after the third collection, you’ve had at least three seasons to show progression such that the collections are getting better and that they are consistent. And I mean a consistency in terms of the brand. If a buyer buys into you once, he or she should know more or less what to expect.

And then it’s all about having a story, you can’t just have nice garments. They need to tell a story because you need to have some unique selling point that differentiates you from others. Everyone has nice garments, so when buyers ask “why should I buy you?”, it’s because of the designer or the story being told. Branding is also important, because you can find nice garments [everywhere]. But people buy into a brand, so the branding is very important.

You need to have so much passion, because fashion is not just the fashion show. That’s like two-percent of it! There is marketing, there is accounting, there is admin, there is … it just goes on. It’s a business you are running, it’s not just “oh, I’m designing nice clothes, and that’s it.” No, it’s the whole brand. I didn’t know that when I started, so when you go into fashion you have to understand that it is a business. From the social media to the press releases … everything needs to come together.

Lastly, it’s hard work, so you need to have a great work-ethic. When you start out, you tend to do most of it yourself. I still do most of it myself, I guess because I am a control-freak (laughs). I just like to know that I can rely on myself. If I rely too much on other people, I often get disappointed. I have someone that sort of works with me and she is great. She understands the business inside out, but I don’t have her full-time. I think when you are starting out, I wouldn’t say invest in a PR company because people don’t really know you yet. It takes some time for them to build your reputation, so you’re just paying them for not much in return. That was my mistake, because immediately they shoved me into: “oh, she’s an African designer, let’s put her in that corner there”.

Achievements And Future Ambitions

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Yaaya:

Congratulations on releasing your AW13 (Autumn Winter 2013) collection. Nature, patterns and vibrant colours was the story of your Spring/Summer 2013 collection, and we see this story also being narrated in your latest collection.

Hazel A:

Yes, the Spring/Summer collection was butterflies and so I continued that theme in the Autumn/Winter [collection]. It's the story of the migration towards the desert. So it was inspired by the turquoises and the royal blues, earthy colours, the desert, and the journey to North of Africa. With my collections, I am always in a holiday mood. You’ll never see coats! It’s more like “it’s cold, so where can we jet off to, where can we go somewhere warm?” And then I guess you saw the scarves.

Yaaya:

Yes we did. In the Spring/Summer showing, you accessorised the garments by placing butterflies on the models' lips. That was really cool.

Hazel A:

Yes, that was my favourite collection, I felt I was really inspired then. The one after that, I wasn’t so personally inspired by. But for the collection coming out, I am giving it my all. With designing clothes, I think sometimes that where your frame of mind or emotions are at the moment in time is reflected in the product. You’re not always as enthusiastic or always as inspired. But I am really excited about the next one. It is in production at the moment, because you always have to be like six months ahead before the fashion show [for that season] starts.

Yaaya:

You talk about being excited for the next collection, what are you most proud about it so far? Without giving too much away!

Hazel A:

Well, there is a political issue to it which I am really passionate about. It involves Africa. So it’s about a current issue, and it’s also about a part of my journey so far.

Yaaya:

What would you say are some of your other greatest personal and professional achievements to date?

Hazel A:

One of them has got to be being stocked in Selfridges. And I guess just the growing recognition that I get. Because literally when I started, it was I that was reaching out to everyone, and now I feel like I’ve got to a point where people are coming to me. Which confirms to me that I must be doing something right. It’s very humbling.

People now reach out to me to collaborate or ask if I could dress this person or that person, where before I was really just knocking on everyone’s door. And so that’s what I am really proud, to have done all these things and had not even come from a fashion background, but just being self-taught. And now I’m taken more seriously.

I’m definitely most proud of being a mum (laughs). Especially being a working mum, because it’s hard enough being a mum, but being a working mum is even harder. You know, balancing both to make sure you have enough time for your kids while still being successful with your business. Speaking for myself, I never want to ‘just’ be a mum, which itself is still hard work, but I wanted to own something that they [my children] would be proud of. I took both of them to South Africa and watching their little faces see me coming onto the catwalk was just … (smiles) … I didn’t care about the people in the audience but my kids. And I feel like “oh wow, they are proud of me, of their mum.” So them being proud of me is one of the things I am most proud of. Yes.

Yaaya:

What are some of your future projects you are most excited about that our readers should look out for?

Hazel A:

Nothing is concrete yet. But for me, I would love to do a collaboration. That’s my next goal, either with a bigger fashion house or with homeware. Like I’d love my prints to be on Ikea or Habitat’s plates or cups. Also I just started bridal wear. Then, everyone who sees the garments, they always comment on the prints. And so I was like “why don’t we just start selling prints?” And that’s what I started doing, and so I’d love to be known as the main provider of African Silk in Africa.

So yes, those are some of the things I am working towards. I don’t have everything set yet, but it’s all very exciting.

And So The Conversation Ends … For Now :)

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Yaaya:

To conclude, we’d like you to complete the following sentences.

What I most treasure about my heritage is …

Hazel A:

Hmm … the history? Because I’ve used some of that in the prints because Africa has a rich history.

Yaaya:

Femininity to me means ...

Hazel A:

Having a voice, and to be equal to man. The internalised recognition that you do have a voice, and that you can voice your opinion and not be silenced by a man. Because that’s the way I have been brought up, that women are equal to men. But I know in many cultures that is not the case. So it’s also about knowing that we are equal and having that confidence to speak up and use that voice.

Yaaya:

I am still learning to …

Hazel A:

Perfect my craft. It’s still a learning curve, there still so many things I need to learn in fashion. And it’s not just because I didn’t have a fashion background. I think even if you had that, there would always be areas to develop. I think when you get to a point where you are perfect, I think you need to change careers. You need to challenge yourself. I learn all the time – I learn from my mistakes, learn to perfect the [design] process, listen to your customers and what they want.

My fashion design is very much interlinked with my experiences and where I go, and my experiences don’t stay static, they always change. So the way I would want to present those new stories will change over time. Because you always need to rejuvenate … reinvent yourself with time. You can’t keep doing the same thing as the environment around you changes and you need to adapt with it.

Yaaya:

One of my ambitions is to ...

Hazel A:

Hmm … to be known as the African provider of silk.

Yaaya:

Yaaya to me represents …

Hazel A:

Fairer, complete, and more diverse interpretations of black women in today’s society.

Yaaya:

Thank you for your time Hazel, we look forward to hearing and seeing more great things from you!

This post concludes the final part of our interview with Hazel Aggrey-Orleans. Catch-up on the earlier parts of our conversation.

Part 1: Hazel Aggrey-Orleans, The Quintessential ‘Eki Girl’

Part 2: Being African. Being European. Being Afro-European

Part 3: The Black Woman Still Wears An Invisibility Cloak

Image Source | These images do not belong to Yaaya. Images courtesy of Hazel Aggrey-Orleans, the Eki Orleans website, the Eki Orleans Facebook Page, and Selfridges

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The Black Woman Still Wears An Invisibility Cloak

"Surely, you can’t be telling me that there are not
at least five
good black
female
designers
worthy of being in a magazine?"

Part 3 of this four-part interview post begins with Yaaya asking what ‘African fashion’ means to Hazel. Then we proceed into a candid discussion about the concerning limited representation of the black women in the fashion industry, and her own experiences of feeling socially invisible in the fashion world.

And so the conversation continues …

Africa In Her Fashion

 

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Yaaya:

What does ‘African fashion’ mean to you?

Hazel A:

(Sighs) “What does ‘African fashion’ mean to me?”

Yaaya:

Just for the record that was a very long sigh!

Hazel A:

(Laughs) Africa is a very diverse continent.

Yaaya:

Okay, so what do you identify most with?

Hazel A:

In my stuff?

Yaaya:

Yes.

Hazel A:

I’d say definitely it’s my experiences of having travelled and lived in Africa that I interpret onto my prints.

Yaaya:

Continuing that thread ... we’ve noticed this concept of Africa being a narrative in your fashion, whether it’s the patterns or the fabrics. Can you elaborate that, maybe even speaking to the silhouettes as well?

Hazel A:

For me, it is mainly the prints. The silhouettes are very Western. But then what is an African cut, apart from the wrapper? I don’t know, I guess you have the caftan. The silhouettes in my stuff are very Western.

My passion is the prints, so that’s where the ‘African-ness’ comes in. There is more of a tendency to bring in the African than the German [influences]. I feel more culture and more of a story to tell with Africa than Germany. And I guess also it is all about colours with Africa. That is what I relate to and choose the earthy colours, for the example burnt oranges. But you wouldn’t really see black or dark brown colours in my designs, it’s really the bright colours.

Yaaya:

We’ve read in several articles that the memories of your childhood in Nigeria are strongly reflected in your designs - particularly your choice of fabric. Could you elaborate more on that?

Hazel A:

Okay, one of them was … I remember going on my first school trip to a lake called Abraka. Actually, I think the area was called Abraka. Anyway, there was this beautiful lake there – it had transparent turquoise waters … I’d never seen anything like it in Nigeria. Turquoise blue waters … gorgeous! I think I was 13 or 14 when I went there, but I remember that so vividly. And I brought that into one of my prints and mixed it with … So I was bringing that as well as peacocks, which was the Western, but I was using those turquoise colours from my memories going back there. So that was one.

And then another was we always used to go every Sunday to the beach and those were some of my fun memories. So I'd bring in the whole [idea of] the waves, the beach and I’d bring that into the print so you’d see again blues and shapes that sort of look like waves. That was something related to my childhood. And also it’s not just childhood, it’s travelling around. Like I travelled to Mauritius and brought something from there into the designs. We went into this place which was full of butterflies and so I thought “okay, we’ve got to the next collection on butterflies”. But these are African butterflies. So it may not be my childhood memory but there is something related to Africa.

Yaaya:

What’s an ‘Eki Girl’?

Hazel A:

(Laughs) Oh, I knew you were going to ask me that! An ‘Eki Girl’ for me is someone who walks into the room and quietly commands the centre of attention. So she is not a loud, in your face kind of person. Someone who is confident in herself and beautiful. There has to be some elegance in her and some gracefulness [about her].

Yaaya:

So your definition of an ‘Eki Girl’ … is that synonymous with what you feel your fashion line represents and who would buy your clothes?

Hazel A:

Yes. It’s for someone who quietly commands the centre of attention. Because there are some dresses that scream “I want you to see me, I want you to see me!” But this [Eki Orleans’ aesthetic] is not like that. The prints naturally draw the attention. But that’s not your foremost intention when you walk into a room.

Are Black Women Visible In Fashion?

 

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Yaaya:

One of the issues that we are very passionate about at Yaaya is bringing more attention to the social invisibility of black women in Europe. I am curious to know what you understand by the term ‘social invisibility’ - and particularly within the context of the fashion industry.

Hazel A:

I guess being always … either labelled maybe an ‘African fashion designer’ rather than just a ‘fashion designer’ for the wrong reasons. It’s like, without me having to speak, I’m already labelled and I haven’t even had a chance to express what I do or say what I am about: it’s the assumption that “it’s an African designer, therefore it’s an African print”. So I always feel like it’s shoved to the side.

And even when I speak to or try to reach out to European press, it’s always a lot more difficult. Speaking to African press is no problem, I always get so much love and support from them. But with European press, I feel like once you are an African designer, you have to fight hard to prove your point. They don’t seem to get passed “oh, it’s an African designer”. I find it quite frustrating that it can’t just be the case “we like the garments, let’s just write about it”. I feel like maybe they’ve researched “oh, she’s an African designer, we have to see if we’ve filled our quota before we can [publish this]”. That’s just sometimes how I feel.

If you put them [the garments] next to, I don’t know, Diane von Fürstenberg, they are just as equally nice, but it’s harder when you are black to get that kind of recognition. But it’s still possible, you just have to fight harder. And I guess you are sort of invisible in that sense. African designers are invisible in the press. And it really frustrates me. Surely, you can’t be telling me that there are not at least five good black female designers worthy of being in a magazine?

Yaaya:

Do black female designers get enough mainstream attention or global opportunities to showcase their work? For example, during fashion week in Europe and/or spreads in leading magazines?

Hazel A:

No. It’s only like, for example, when we came together for the Selfridges project ‘Ndani’, that we got more mainstream attention. But, individually? No. There are good designers, there are good African designers, not just in Nigeria, but you don’t get to hear about them. I think it’s when African designers come together than they get more recognition. I’d been knocking on Selfridges’ doors, but no-one ever responded, but when we came together for this project, which was like picking who they thought were the five or six best designers in Nigeria, then yes, [we got a response].

Yaaya:

Do you feel the project strongly required support from the European fashion designers for it to be pushed forward or was it sufficient that there was enough black female designers coming together?

Hazel A:

It was enough. But I think from their [Selfridges’] point of view, the only reason it was done was because they wanted to attract more Nigerians to come to Selfridges. But I mean that’s how shops think, you know “what can we get out of this?”, because Nigerians are one of their biggest consumers. So it wasn’t necessarily just helping us, but we took advantage of it. For the top senior buyers, this was the first time such a project had ever been done. Part of me was a bit annoyed that this was the first time it had ever been done. But I am happy and pleased that I was a part of history. We’re in [the year] 2013, and for it to be the first time something like 'Ndani' was done is … (disappointed sigh). So yes, back to your question. No, I don’t think there is enough representation of black female designers in the press.

Yaaya:

It’s interesting because sometimes when you look through the magazines, you see prints that are clearly ‘African-inspired’. But they are just trends.

Hazel A:

Yes, they are trends. They are either H&M or Burberry or … they are not from an African designer. And you get African-inspired garments by African designers sold in mainstream stores every now and again, but it shouldn’t be “every now and again”. I mean, if you are promoting African prints, why wouldn’t you pick an African designer. You know someone who does these prints. Like if I am thinking of buying Oriental-inspired prints, I am going to pick an Oriental designer because that makes sense to me. They would understand and know those prints the best. But it doesn’t put me off. You just have to push harder.

Yaaya:

Do you feel there is a growing progression in the diverse representation of black female models on the catwalk and in fashion magazines?

Hazel A:

I still don’t think there are enough. Top designers will have their top female black model, for example, maybe Joan Smalls or Jourdan Dunn. But even I struggle to find strong black models here in the U.K., and that shouldn’t be a problem. You can find them easily in New York. But here I find it is a struggle. You have your two or three main ones, but you should have more than [that]. Because you have an abundance of white female models, but when it comes to black female models … no. I’d still say no. There’s definitely more than there used to be, but it’s like agencies and/or designers will have their one trophy black model. You’ll have Naomi [Campbell] as the one model or Alex Wek. That’s it. And when they have them, it seems they are doing it to make a point. It should just be normal, it’s just a model. I’d still say they are not fully represented.

Yaaya:

Do you feel like it’s your responsibility to give more opportunities to black female models in Europe when you are showing your garments on the catwalk? Or do you feel like this is something you shouldn’t have to think about? Because, like you said, it’s not about using a black female model to make a statement about your work, as it should be an opportunity afforded to all female models regardless of colour.

Hazel A:

I definitely try to work with black models. I’ve used white models before, and I got slated for it, because it was like “why are you using white models? You are a black designer!” I was like “[For] Pete’s sake, just leave me alone”. But then it’s like I am both … I am white as well. I’m both heritages. But I do feel yes, I need to use black models, because if we can’t even use them, who is going to use them? And there are gorgeous black models. But it shouldn’t really be about skin colour. For me it is someone who either fits the project, who fits the dress. But there should definitely be more black models. That’s why it is nice when I do the Arise show, because it is mainly African models.

Yaaya:

But on the flip side, it’s probably also important that the focus shouldn’t have to be on a model of a particular colour modelling your work, because it’s the idea that African fashion or fashion in general can appeal to anybody.

Hazel A:

Exactly, exactly … and if you are trying to make your brand or project an international brand or international project, you don’t want to be only seen with one kind of model all the time. You need to change. But for me, I look for a certain look so that I can say “yes, that’s an ‘Eki Girl’. Yes!”, and believe that she can fit into my brand. But she doesn’t have to be black, she can be white, she can be Asian, she can be anything. But I will always use black models.

Yaaya:

So you mentioned that there weren’t enough black fashion designers and black models getting enough media attention. What more do you think can be done?

Hazel A:

I guess doors need to be opened to be represented in shops, in Europe, in the US. The buyers need to open their doors to be able to give the exposure to more black designers and models. The buyers need to be more open-minded, as do the local and intentional press. If the garment is nice, why not just write about it. There is something, there is a barrier, because it is just really tough to get represented in the Elle’s and the Vogue’s. So there must be some criteria that they have. Maybe they have a quota, I don’t know. There must be something, because I don’t understand why it’s such an issue. So it’s just being more open-minded to open the doors to black designers.

Yaaya:

Do you feel the people that put on the fashion events in Lagos, Johannesburg etcetera or any fashions shows typically catered to the black community are doing enough?

Hazel A:

Yes, yes … I really think so. The likes of Arise and MTN are really putting Nigeria on the map as a fashion city. They invite the international press, they had Selfridges there, they have had Suzy Menkes there. She’s the head fashion reporter for the International Herald Tribune. I am particularly grateful to Arise and MTN, because they have helped elevate my brand in Africa and also to international press as well. Because it is so hard to get into the London, New York or Paris fashion weeks, Nigeria have sort of given the African brands and designers the opportunities to showcase their work to demonstrate that “we can do stuff that is equally nice”. And Jo’Burg as well.

Yaaya:

How much of a role do you feel the fashion industry plays in how black girls and women identify themselves or how society views them positively or negatively? So I guess the former part of the question is speaking addressing the impact on self-esteem, and the latter is addressing impact on social perceptions.

Hazel A:

I don’t think when we look at clothes in magazines we are always looking at the skin colour of the model who is wearing them. We’re just more so “we like the dress”, “we like the garment”, or “we don’t”. I think when you flip it around, based on what someone has told me before is, if it’s a black model wearing the clothes, they [non-black people] feel that the clothes may not suit them because of the skin colour against the print. Whereas, when we [black people] look at the garments, we just look at garment. But I don’t think it makes any difference what the model’s skin colour is. I never look at the colour of the skin, I’m just looking at the garments, and whether I think it would look nice on me or not. But if it’s the other way round, then maybe it's a different story.

Yaaya:

But what if you’re a young black girl with a particularly distinct culture and don’t see that represented in the magazines?

Hazel A:

But I guess that’s where you get a lot of African magazines and blogs … I guess they are catering for that gap in the market because they weren’t fully represented in the Elle’s and all those mainstream magazines. So they are catering for that gap. There are a lot of African magazines and blogs where young black women can find someone to look up to.

Yaaya:

And you feel those magazines are accessible enough for it not to be big deal that those same pictures and articles aren’t in your Vogue’s and Elle’s?

Hazel A:

Yes, because you have African fashion being represented on global media and entertainment platforms like Nollywood, you have them in music videos being worn on African models. And there are a lot of popular African blogs such as 'Bella Naija', which we never used to have.

Look out for the final part of our interview with Hazel on Monday 29th July, where we talk about the importance of support networks and mentorship. We then conclude with some of Hazel’s pivotal successes and exciting future ambitions.

Hazel also has her own fashion blog, Eki Orleans Blog. Check out moments of style from behind-the-scenes on a recent bridal-wear photo-shoot done with photographer Jide Alakija, Alakija Studios.

Image Source | These images do not belong to Yaaya. Images courtesy of Hazel Aggrey-Orleans and Bella Naija

Read More

Being African. Being European. Being Afro-European ...

"My personality and experiences mirror a mixture or bowl of cultures. I wouldn’t just say I am “one-bit” -
I love bits of and pieces of different cultures. "

Hazel was born in Germany, raised in Nigeria and schooled in London.

In Part 2 of this four-part interview post, we discover how the dynamics of Hazel’s multi-cultural upbringing has influenced the person she is today as a woman living in Europe.

And so the conversation continues …

A Bowl of Cultures

 

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Yaaya:

Can you briefly explain your ethnic background?

Hazel A:

My mom is German, and my dad is Nigerian. My mom met my dad here [London] and then they decided to go back to Nigeria. She was here working and he was here studying.

Yaaya:

Where did you grow up in Nigeria?

Hazel A:

I grew up in Lagos. I went to Corona School and then I went to German School Lagos (Deutsche Schule Lagos). And for me, it was the best childhood I could have ever had. Most of my closest friends I met from growing up there [Nigeria]. So yeah, it’s the freedom, the great weather. It’s just very different than growing up in Europe. It’s a lot more enclosed here. Like I noticed with kids, they don’t go out and I’m more protective of them, whereas in Nigeria you have these big compounds they can run around in. And then you can go to the beach. There’s more outdoors, whereas here it’s more indoors.

Yaaya:

What is it like to have lived/grown up in three different countries and cultures?

Hazel A:

I guess Germany and Nigeria are very different. I mean, when you think of Germany, you think it’s very organised. Nigeria is very … (laughs) … chaotic, buzzing … just very different. And London to me is somewhere between both of these countries. It’s not as organised as Germany and not as crazy as say Lagos.

I loved growing up in Nigeria. I loved the space, I loved the freedom. What I love about Nigeria is that it is a very friendly community, and everyone sort of knows each other, whereas here in the U.K., in Germany or in the Western world, everything has to be pre-planned. You can’t just show up to visit your neighbour, and it’s all very structured. But in Nigeria, everything was just so … open and free. It was great to grow up there.

And so I guess, I embody both cultures. From my German side I have that habit of being organised and structured, and from my Nigerian side, I have these entrepreneurial qualities. Which I find compliments each other to help me get things done.

Also, I just happen to live in London. I wouldn’t say I feel English. But I definitely feel German and Nigerian.

Yaaya:

You speak very fondly about growing up in Nigeria. What is your favourite childhood memory of growing up in Nigeria?

Hazel A:

I think school! All my friends are from school – from Corona and the German School. Because that’s where my social life was. I wasn’t really allowed to go out. When you have a Nigerian dad you’re not really allowed to go out (laughs), and I could see why. So all the social activity happened at school – at the German school you’d have your Christmas parties, your this parties, so that was my social life. And so I’d say school.

Yaaya:

Do you feel the multicultural aspects of your life experiences to date are reflected in your personality? For example – we know you are interested in languages, love Oriental food, and are an avid traveller.

Hazel A:

I think definitely so because I love travelling. For me culture is very important, and I think I understand it better because I am well-travelled. When I travel, I bring back a bit of the culture of country I went to. So with oriental cooking, having travelled to Thailand, you bring that back here. My personality and experiences mirror a mixture or bowl of cultures. I wouldn’t just say I am “one-bit” – I love bits of and pieces of different cultures.

Gifting Her Children The Beauty Of Their Heritage

 

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Yaaya:

How would you say your children feel … do they identify with the German and Nigerian culture as well, or is mostly with the English culture?

Hazel A:

They identify with the African culture, not so strongly with the Nigerian culture as they haven’t been there. They’ve been to Ghana. Also, they surround themselves with a lot of our friends who are Nigerian. I’d say it’s a mixture, but they probably feel more English-African than German, because they are also growing up and schooling here. So I guess they probably have less affinity with Germany.

Yaaya:

And how important do you think it is for them to know about your African and German heritage?

Hazel A:

I think it is important. I speak German to my kids, and they understand everything. When you go with them to Ghana they still look quizzically at some of the people in the street markets selling stuff and carrying their goods and merchandise on their head. They look at that like “this is foreign to us, but fascinating at the same time”. My daughter would say when we land there [Ghana], “there’s a lot of black people, so we’re in Africa!” (laughs).

But I think the more they travel there, the more they understand the differences between parts of Europe and parts of Africa. And I think from a small age, it is important to get them to understand their culture. We take them to Germany as well, to understand their German culture.

Coming From Africa

 

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Yaaya:

Was it a culture-shock for you and your family when you moved to Nigeria from Germany?

Hazel A:

For me, it wouldn’t have been because I was too young. I was three months old. So for me, it wasn’t a culture shock. For my mom, it wasn’t a culture shock either because at that time it was exotic, it was new. It was more my dad who was disappointed that things hadn’t moved forward in Nigeria. But my mom was really excited about moving to Africa, she really enjoyed it.

I guess the culture shock was when I went from Corona School, which is more like an English-Nigerian school, to the German School. In Corona School, the way they bring you up there is stricter. When I went to the German School, some students would talk back to the teacher. That was a culture shock, because at the English-Nigerian school, you dared not say anything back to your teacher otherwise you would get caned. And then coming from the German School to Germany was even more of a culture shock, because there it was all over the place. I didn’t find there was any respect for the teachers. I guess for me that was the culture shock – in the schooling from the Nigeria to Germany.

Yaaya:

Did any aspects of a patriarchal culture surface in the way the male and female students interacted with one another?

Hazel A:

Yes. I still even struggle with that now when I go back to Ghana or to Nigeria, where it’s like the woman has a particular role. I am a bit of a feminist so I don’t believe in all that nonsense. I believe roles can be shared.

Here it is a bit more equal than back home. I guess you are seen in a certain role and the man is there to take care of you.

Yaaya:

So do you feel you have a bit more freedom as black woman in Europe compared to Africa?

Hazel A:

Yes, I’d definitely say so because even when you have kids, you [the woman] are meant to look after the kids by yourself in Africa. Also you have more involvement [from immediate and extended family], and in Nigeria or Africa you also have people [Nannies] to help, so the man doesn’t feel any need to [be involved]. Whereas here, you don’t, so everyone kind of has to pull their weight.

Yaaya:

Why did you decide to study in London for your undergraduate degree?

Hazel A:

We came from Nigeria to Germany, and we lived in a small little town for a year, and I absolutely hated it; coming from Lagos to a small little town. The reason we moved there was because my grandparents lived there. I never experienced racism, but it was just that you’d walk down the street and people would stare at you. Coming from Lagos where you just blended in and no-one would stare at you in a funny way. So I’d been persuading my mom for a whole year to move to London, because we used to come to London every summer. So I knew people, she knew people [in London]. So I came and just started schooling here.

There is a Nigerian community here in London and of course you have the European element. In Germany, I felt the Nigerian element was completely gone, I felt I had no connection with Nigeria because there wasn’t really a Nigerian community. Generally, where we were, the Nigerians there were mainly asylum seekers. I had no connection with them whatsoever; we would have been brought up completely different. Whereas here you can meet Nigerians who are lawyers, who are this, who are that. There’s no overt sense of inequality of opportunities here for Africans compared to Germany.

Yaaya:

So was it that the Nigerian community wasn’t accessible?

Hazel A:

Yes it wasn’t as accessible. Also the middle class or the educated ones, there weren’t many of them. Or if I did meet a mixed race girl, she was brought up in Germany and I couldn’t find a connection with her because I still longed to find someone who’d lived there [Africa] to have that conversation where we could reminisce about ‘home’. But yeah, even the mixed race girls I’d met there [Germany] had no connection with Africa, so I just felt a bit lost.

Everyone treated me really nicely, it was more me. I missed that African part of myself and I wanted to find someone to share those jokes, those stories with and I couldn’t find anyone.

Also, the parties that would happen there [Germany], it was all about drinking and smoking. Whereas the parties in Nigeria were about dancing and so I couldn’t understand … I just didn’t enjoy it. I don’t smoke, I don’t drink, it was really not my scene, whereas in Nigeria everyone would just have fun. And so, I was searching for people and I just couldn’t find any. I was quite depressed to the point that my hair was falling out. And I tried, I really worked on my mom and so we came to London and actually loved it here.

Living In Europe As A Black Woman

 

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Yaaya:

Can you draw on any obvious or subtle social differences between living in Africa and living in Europe as a black woman?

Hazel A:

I guess I was too young in Nigeria, because I didn’t really know about colour. I was just me. I think it was when I came here [Europe] that I understood there was a difference in colour.

(Pauses to think) Hmm, I’d say I haven’t really noticed much difference in the way I’ve been treated. I’d say more so entering the [European] fashion world is where I’ve noticed “okay, I am a different colour, and people treat me differently”.

Yaaya:

Can you elaborate on that?

Hazel A:

When you have a little drop of black in you, you’re not mixed, you’re black. They look at your clothes, and they just automatically put you in as “you’re ethnic” or “you’re a minority”. You’re not really taken that seriously; you have to really fight hard. It can be quite a racist world, the fashion [world]. I mean you open up all these magazines, and you hardly ever see a black designer, which really frustrates me. You look at London Fashion Week, I don’t think there’s any black designer. At New York [Fashion Week], maybe you’ll have one or two. Paris, I don’t think … maybe Paris. You can name the [black] designers who have been in these top fashion shows, because there are maybe only like five of them if you’re lucky. And that is where I have noticed that as a black woman, you’re treated slightly differently.

Sometimes, I don’t think you’re taken as seriously, I don’t know, it’s just harder to get in as it is a very tight-knit [community] and you have to actually know someone in that circle to be pulled in. And then once you’re pulled in, you’re only that one person that has been pulled in, probably just to fill out that quota to say “we’ve got one [black] person there”.

And that is it … yeah, because I’d never really experienced racism until I started fashion.

On Friday 26th July, Yaaya will post the penultimate part of our spotlight mini-series on fashion designer Hazel Aggrey-Orleans. This part of the conversation will explore Hazel’s interpretation of ‘African fashion’. Then we will delve into an important subject concerning the social invisibility and representation of black women in the fashion industry.

Want to see more of Hazel’s stunning collections? Check them out on her website http://www.ekiorleans.com!

Image Source | These images do not belong to Yaaya. Images courtesy of Hazel Aggrey-Orleans and the Eki Orleans website

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Hazel Aggrey-Orleans, The Quintessential ‘Eki Girl’

Hazel Aggrey-Orleans is the founder and creative director of the London-based fashion house ‘Eki Orleans’. Her creative skills and business mindset are self-taught, but the boldness of her love for fashion, which dared her to leave the comfort of her career in the corporate world to start her own business, is something she has always naturally had in her possession. Yaaya had the honour of meeting with Hazel, the quintessential ‘Eki Girl’, where we explored some of the defining moments of her personal life and career journey to-date.

In Part 1 of this four-part interview, Yaaya invites you to understand the birth of Eki Orleans and how Hazel navigated into the world of fashion.

And so the conversation begins …

Meeting Yaaya

 

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Yaaya:

Hi Hazel, it’s very nice to meet you. So, like we said before, our approach at Yaaya is about creating dialogue and encouraging people to join our conversations. So we’re very interested hearing why you decided to join “this” conversation?

Hazel A:

Well when I got the invitation, I took a look at the blog, as I’d never heard of it, and I thought it was quite an interesting concept. And so I thought, there was no harm in speaking and just … seeing if there was anything I could do to help and work with you.

Eki Orleans

 

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Yaaya:

You are the creative force behind the London-based fashion label ‘Eki Orleans’ -

Hazel A:

Oh wow you pronounced the name well, because some people aren’t sure how to say it: “Is it eee-kay-eye or it is eee-kee?” But it’s "eh-kee". So, yes … you got it spot on! (Laughs)

Yaaya:

What is the story behind the name ‘Eki Orleans’?

Hazel A:

Well it started off with ‘Orleans Designs’ and I had a consultant brand manager who said “that name doesn’t represent what the clothes are like.” So we decided to change it into something else. We looked around and asked ourselves “what could we call it?”

‘Eki’ is actually my middle name and it means ‘centre of attraction’. And so it was quite a fresh and short name, and quite sassy and quite innovative. So it’s like, when you wear on one of the dresses you become the ‘centre of attraction’. Therefore, the name fitted well, there was a story behind it, and also it was concise … it was young, whereas “Orleans Designs” was a bit frumpy and old.

And it really makes a difference what kind of name you have, because, even if you don’t know the brand, if you see the name and it sounds interesting you will tap [into] it. If it doesn’t [sound interesting], then you won’t. So ‘Eki’ just fits in more with the brand, and that’s why we changed it.

Yaaya:

And ‘Orleans’ comes from your surname?

Hazel A:

Yes, Orleans comes from there [my surname].

Yaaya:

When did ‘Eki Orleans’ start?

Hazel A:

Eki Orleans started … I will say late 2009. I was doing scarves before, but I wouldn’t say I was really pushing it. So mid-2009 I thought to myself, “Okay, I really need to take this to a different level” and do something that is a bit more unique to myself rather than using certain textiles that were out there already. So then I was asking myself “why don’t we design our own prints?” Then the thinking evolved into “why don’t we design our own silk?”, because it’s not really something that has been done, because it’s usually cotton that’s experimented with like that. So yeah, I’d say late 2009 was when I brought out my first collection.

Yaaya:

You say that the label wasn’t quite where you thought it would be in mid-2009, but your scarves were being stocked on shelves in Selfridges, no?

Hazel A:

The scarves were sort of just still being publicised through word of mouth. And the scarves I started off with were very different from the scarves I do now. Before, I used Kente fabric and mixed it with Indian silk. It was nice, but I didn’t really feel like it really [represented me] … I wanted something that was a part of me. So now, I kind of tell my story on the prints. And you can’t just go out and buy the fabric, it’s very unique to Eki Orleans.

Yaaya:

And so you don’t use Kente fabric anymore at all?

Hazel A:

No not really, just because of the way my dresses are. They are quite “flowy” and so it wouldn’t fit in the style because Kente fabric is more stiff.

Yaaya:

How did ‘Eki Orleans’ start?

Hazel A:

Hmm … how did it start? (Reflective pause) Okay, I guess I will take it back to ‘Orleans Designs’. It was when I was working in banking and I was pregnant with my first child, and I just realised that I needed to do something that I was passionate about. It’s not that I always knew I wanted to be a fashion designer, I didn’t know that. But I knew that I loved colour, I loved culture … and so I was trying to find something that had could translate colour and culture into art. And for me, I wasn’t going to be an artist, so that was out of the question. So then it just became “okay, art is fashion” – so I guess drawing on the prints was something that came close to what I wanted to do, and it just became a translation of my culture.

I guess I am quite creative, which I didn’t know before. When I was working in banking, my creative side never came out. So yeah, it was just something I dug out and brought out. So yeah, that’s how it started. I was doing that on the side while working in banking.

Yaaya:

Your journey into fashion doesn’t appear to be the conventional one. For example, you studied European and Hispanic studies, not Fashion Design. Additionally, you had a career in European Marketing within finance for ten years. What prompted you to leave Finance for a career in fashion?

Hazel A:

I always knew that I didn’t want to be in finance forever. But I think [something changed] when was when I pregnant. Okay, I think your hormones go a bit crazy when you’re pregnant (laughs), so your ideas, outlook … everything [changes]. And so it was like, I knew I wouldn’t be happy doing a 9-to-5 and having a child being looked after by somebody else. I wanted to be close to them and do something that they would be proud of. Because I thought after my banking role, “what else could they be proud of mommy about?” So this [Eki Orleans] was something that I could maybe give to my daughter and something she could get involved in. I think it was really when I became pregnant that I got the courage to do something different.

Yaaya:

So, was it that you were always interested in fashion, or was it family that was the dominant factor to encourage you to try something new?

Hazel A:

I don’t know if it is an African thing, but it’s very much like you look for jobs that will give you money and that will pay a good salary. You don’t think fashion or art or these unconventional jobs will pay. It’s only later on in life that you realise that actually you can make a living – it maybe it takes longer [to have something that is stable and successful] but you can.

And I think when you’re older, life becomes too short to do something you’re not passionate about because you can’t give it your all. For example, this [Eki Orleans] to me doesn’t feel like work. I wake up in the morning and I just can’t wait to switch my phone on and check my e-mails. That was not the case with banking (laughs). So yes, when you’re just so passionate about something, you will succeed, whereas if it [passion] is not quite there, you’ll always be … sort of in the middle.

Yaaya:

Do you feel your journey demonstrates that a formal education in fashion design or textiles is not necessarily required for a successful career in the fashion industry?

Hazel A:

I wouldn’t say you don’t need that [a fashion/textiles degree], I think it is good to have. But then I guess from my perspective, I am not rigidly set in the way of the rules you learn in fashion. I just come with a blank canvas, and I like this. I don’t have rules or tell myself “you can’t do this because this is not how it should be put together”. That is I guess an advantage.

Also, I guess when you’re “too creative” you can get lost in the creativity. Rather, I come from more of a business background. So it’s like “okay, I am making these garments and they need to be sold”. So we construct them in a way that can be easily manufactured and sold, or the prints are commercial so that they can be sold. Rather than creating this spectacular piece on the runway which cannot be sold. But then it also good to have the training you get from a fashion degree. But I would say, if you’re very creative, have a business person with you.

You can do it without training, but I wouldn’t shove it to the side and assume you don’t need to do fashion training. But if you have an eye for it, then you can work things out. So yes, it is possible.

The Transition and the Challenges

 

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Yaaya:

Change is naturally a scary process as familiarity is a great comfort blanket. Did you find the transition to being self-employed difficult?

Hazel A:

It was hard. I worked on the label in the evenings. So I would be doing financial marketing during the day and then in the evenings, I would come home and be a fashion designer. So it was hard to put on those two different hats. But I think it was when my contract came to an end that I could fully commit to the label. This was in 2011.

I don’t know if would have had the courage, probably a bit later, to leave my paid banking job to focus on the label. It takes a lot of courage, that’s why I would always say keep a steady income while you are building your brand. Don’t necessarily leave that and go into something new. So by that time [when I left] I would have saved enough. Because with fashion, you have to have a quite a bit of money to produce collections. For instance, with me, I was printing the fabrics and designing the dresses. Also when you release your first collection, buyers don’t buy it immediately. That’s something you probably learn in fashion school. Because you think “oh, I’ll bring out a nice collection and [people will buy it]”. But no!

I’ve learned so much from when I first started. My collections are so different to what they are now; they are more cohesive, they tell a story. Initially, when I came out, they were just individual dresses, they didn’t really come together. But that’s something you would learn at fashion school, which I didn’t.

Yaaya:

What are some of the challenges you faced?

Hazel A:

Regarding challenges, you make a lot of business mistakes. I’ve made a lot of financial mistakes as well. Challenges … (pauses to think), I guess for me it was also the pressure of coming out with a collection that had to surpass the last collection. But you can’t always surpass your last collection. It was a learning curve, but now it’s okay. I bring out collections and some are stronger, for me, than others, and you just have to accept that.

And people will criticise you anyway, so you just have to accept that [also]. Coming up with an idea that is always interesting and coming up with prints that people would like is a challenge as well. I don’t know if people will like my designs, I just design what I like. If they like it, they like it … if they don’t, they don’t.

Yaaya:

That’s a good attitude to have, because you can’t please everyone. More importantly, you don’t want to lose sight of who are in the process of trying to make everyone happy.

Hazel A:

Yes, if you try to please too many people your brand is going to dissolve, because it will be all over the place. You have to kind of just stick to what the brand is about. Going back to your previous question, I guess also when you’re working with suppliers [there are also challenges]. Initially, they way I liked to work with suppliers was to treat them like friends. But I’ve learned as well that you can’t necessarily do that because it’s a business. And when it comes to money, things change.

Yaaya:

When negotiating with suppliers or external vendors, are any of your challenges due to maybe because you’re a woman, you might not be taken seriously?

Hazel A:

You get that sometimes. But all my suppliers now are actually women. So I’m really happy with the supply chain, like I have one here [U.K.] and one in China. I worked with a production company here who was a man, and I guess there was no respect whatsoever for me. I don’t know [specifically] if it was because I was a woman or black, but the business relationship had to be cut off and I lost money through that as well. But I guess that’s just the process of this business – you will lose money, but the important lesson is to learn from your mistakes.

Yaaya:

What about the challenges of being a mother and running your own business as well?

Hazel A:

I don’t really see it so much as a challenge. I think if I didn’t have my kids, I don’t think I would have pushed the business [forward] as much. They are my drive. Yes, it’s hard with them, and when I started out I would take them in their prams to the factory. I mean they were involved in everything. We travelled all over the U.K., we travelled to India … all over the world. To me, they are a part of my business. And that’s why I don’t see them as a challenge, I think if I didn’t have them, I wouldn’t push myself as much as I do now, because I want them to be proud of me.

Look out for Part 2 of this four-part post on Wednesday 24th July, where Yaaya discusses with Hazel her African and European identity.

Leave your comments below to let us know what you have found inspiring about Hazel’s journey. Invite others to the conversation by sharing this post!

Image Source | These images do not belong to Yaaya. Images courtesy of Hazel Aggrey-Orleans (Eki Orleans)

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