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