Hello, and welcome to the third week of The Global Fashion Files! This week, we will explore Nigeria! The traditional fashion in this beautiful country is often a colorful expression of an individual’s ethnic group, social class, religion, and region. We will discuss the traditional and Western (American and European) styles of women’s fashion in Nigeria, and we will look forward to Nigeria’s flourishing future in fashion!
Past: Some of the earliest African articles of clothing were created in Nigeria. Evidence suggests the garments may date back to 2000 B.C. or earlier. Single, full-length pieces of fabric were wrapped around the body, forming the basis of African dress. With the emergence of trade routes, Nigeria acquired loom-spun textile technology and the world began to take notice of African fashion.
Early in its history, textiles and patterns became an integral part of Nigerian fashion. Developed in the 1800s by Yoruba women in southwestern Nigeria, adire was an indigo-dyed textile that was produced using resist-dye techniques. In modern day, adire has more color options than just indigo. It is possible to create more than four hundred unique patterns with this method. Traditionally, the patterns are hand painted or stenciled onto the fabric prior to its immersion in the intense blue dye. Every symbol in the patterns has a universally-acknowledged meaning, allowing the fabric to speak for itself.
As Africa’s most populous country, Nigeria is divided into many ethnic groups and tribes, each with a distinct style of traditional clothing. The main three ethnic groups include Hausa-Fulani, Yoruba, and Igbo. The traditional garb from these ethnic groups has been worn by Nigerians for many years.
Hausa-Fulani women often wear colorful abaya, or a loose robe-like dress, with matching blouses. It covers the entirety of the body, excluding the head, hands, and feet. Its main function is modesty, but it is still found in brilliant colors and prints.
The Yoruba people take great pride in their clothing, donning beautiful garments to showcase their wealth and status. While typical traditional styles are quite elaborate on their own, garments worn for special occasions are particularly stunning. Some of the garments frequently worn by women in the Yoruba ethnic group include iro, buba, and gele. Iro is a rectangular skirt draped around the body and tucked in at the end. A buba is a flowing, long-sleeved blouse with a V-neck or rounded neckline that falls slightly below the woman’s waist. A gele is a customary material that a woman wraps around her head in a variety of ways.
In the 1960s, traditional styles, or “trad styles,” in the Yoruba ethnic group became more fashionable than their older counterparts. The Oleku styles emerged with an emphasis on lace and damask fabric. In the 1970s, women wore their iros longer—past the knee—and the layering of garments was quite common. Yoruba women in the 1980s gravitated toward vibrantly-colored iro and buba in heavier, striped fabrics. The 1990s saw a rising interest in colorful silk fabric with unique accents, such as punched holes and fringes. In the early 2000s, premade gele styles came out, allowing women freedom from having to tie the garment.
In contrast to the Yoruba, the Igbo people did not prioritize fashion over function. For centuries, the Igbo wore clothing for the purpose of modesty. The primary article of clothing for Igbo women is a wrap. Some wraps are designed to be worn on a daily basis while others are created for special events. Formal wraps are created with more expensive fabric.
Despite the somewhat structured appearance of most traditional Nigerian attire, it is very light and prioritizes the combination of different fabrics and prints. Many of the garments and symbols serve a purpose, acting as a nonverbal expression of an individual’s social status and creative identity. The beauty of traditional Nigerian clothing certainly lies in the storytelling of each garment.
Present: Today, fashion in Nigeria is incredibly varied with daily styles ranging from Western clothing to traditional Nigerian garb. Young women in present-day Nigeria tend to favor modern Western styles, but they can also be found donning traditional, albeit slightly more contemporary, Nigerian apparel. Despite the disparity in fashion styles, bright colors and striking patterns are still the prevailing choices among Nigerian women, regardless of what they wear.
While many young women associate traditional Nigerian styles with their mothers, some designers have modernized African dress to attract a younger customer. Shade Thomas-Fahm, a formally-trained fashion designer, created premade geles and transformed iros into zip-up wrap skirts. These adaptations of traditional styles are helping younger women develop a growing appreciation for trad styles.
Image: Nigerian Trad Style
The popularity of Western styles as well as the desire to preserve traditional Nigerian garb has led to a plethora of style options in the country. In Lagos, many individuals seek out tailors or high-end Western brands, such as Prada or Moschino, when purchasing clothing. However, there is a growing interest in local designers who are merging the traditional Nigerian and modern Western styles. Because many Nigerians designers study aboard and return to the country after completing their education, there is a large variety of fusion fashion.
With its distinctive blend of old and new, Nigeria’s fashion industry, especially its designers, is gaining international attention. Amaka Osakwe, considered one of Nigeria’s most interesting designers, made headlines when Michelle Obama sported a chiffon blouse made by Osakwe’s brand, Maki Oh, while on a tour of South Africa. In addition, nineteen-year-old Taofeek Abijako became the youngest designer to present his menswear collection—a minimal streetwear collection that incorporated some bold colors and traditional garments— at the 2018 New York Fashion Week: Men’s. All of these designers take cues from the European and American fashion industries while incorporating elements from Nigerian trad style.
As well as cultivating new design talent, Nigeria is beginning to expand its fashion industry with the creation of fashion magazines, local fashion shows, and schools dedicated to training individuals for the fashion industry. Arise—a pan-African fashion magazine that started in 2009—features articles about the continent’s creative talent and even organizes fashion weeks in Lagos to promote local designers. Omoyemi Akerele, a driving force behind Lagos Fashion and Design Week, started the Modern Day School of the Arts in 2012 to expose Nigerian students to courses in fashion, photography, and other creative endeavors. It is clear many individuals are committed to expanding the Nigerian fashion industry.
Nevertheless, Nigerian designers still face many challenges. The lack of resources and proper training force many fashion designers to seek materials and training abroad. Furthermore, the lack of financial support as well as the need for fashion regulations and a better retail market to promote local designers are other hindrances that require attention from the government. If taken into account, the fashion industry in Nigeria could play an important role in the country’s economy.
Future: Despite some challenges, Nigeria’s fashion industry is growing quite rapidly, gaining ground locally and internationally. Many influential individuals are working toward the expansion of the country’s fashion industry and greater exposure for the nation’s designers. Furthermore, worldwide fashion trends, including sustainable fashion and 3D printing, are seeping into the Nigerian fashion industry, encouraging it to embrace the future.
It is predicted that Africa will have the leading population of working adults—with many individuals in the middle class and wealthy sectors —by 2040. This could mean a greater number of individuals with a higher disposable income, which is beneficial for the fashion industry. Because of this information, Nigeria is gaining attention from international brands and becoming a premier shopping destination. The changing retail market in Lagos means that many consumers will not have to leave the country to purchase luxury international brands. Instead, it will be possible for consumers to shop at destinations where luxury European and American brands are sold alongside apparel created by regional designers.
When it comes to future trends in fashion, some Nigerian designers are taking cues from abroad, utilizing sustainable materials and 3D printing technology. Trashion A La Mode, an event held to celebrate World Environment Day, is organized annually to bring attention to the waste problem in the fashion industry and Nigeria. Nigerian designers are encouraged to reuse or recycle materials into fashionable garments. Some of the garments presented at the 2018 show included a light blue blouse with a woven aluminum can embellishment around the neckline, a dress with the bodice made of a nylon tarp and the skirt constructed of balloons, and a Styrofoam garment that resembled leather. The designers who participate in this show attempt to increase awareness of the country’s waste problem and promote the need for more sustainable fashion in the future.
In addition to sustainable fashion, 3D printing is attracting attention. The lack of materials to make garments and scarcity of manufacturing facilities that can produce apparel provides Nigeria with a particular incentive to investigate 3D printing as a possible fashion manufacturing method. However, 3D printing technology still needs time to develop. If the technology continues to improve, it could stimulate a fashion manufacturing rebirth in Nigeria.
The Last Stop: Nigeria is a fascinating country with a burgeoning fashion industry. On the streets of Lagos, it is common to see modern apparel alongside traditional styles as many of the country’s designers blend the best elements of fashion from the past and present. Despite its challenges, the country’s colorful prints, bold designs, and a growing demand for fashion distinguish the nation from its counterparts, making it a true contender on the world’s fashion stage.
Thank you to all of my readers! If you found this information helpful and inspiring, or you would like to see a specific topic featured in one of my weekly blog posts, leave a comment! Be sure to check out my previous posts on the past, present, and future of fashion in France and Egypt, and stay tuned for my next post on the past, present, and future of fashion in Japan!
My Resources, Your Resources:
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Olarewaju, Olamide. “How Trad Styles Have Changed Over the Years.” Pulse, 10 Jan. 2017, https://www.pulse.ng/lifestyle/fashion/nigerian-fashion-how-trad- styles-have-changed-over-the-years-id7399346.html. Accessed 29 Sept. 2018.
“Sustainable Fashion In Nigeria: Where Are We?” Leadership, 14 July 2018, https://leadership.ng/2018/07/14/sustainable-fashion-in-nigeria-where-are-we/. Accessed 29 Sept. 2018.
“The Evolution of Nigerian Fashion.” Open Skies Magazine, https://openskiesmagazine.com/the-evolution-of-nigerian-fashion/. Accessed 29 Sept. 2018.
Udé, Iké. Foreword. New African Fashion, by Helen Jennings. Prestel, 2011, pp. 7-23.
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