A DIFFERENT KIND OF ARRIVAL

Too often, as humans, we have a way of naming things. We have a way of defining who is successful and who is not. Who has “arrived” and who is still behind? Even in today’s fashion scene, that reality is evident.

We tend to regard only designers whose creations have been featured on popular runways as “successful”, while others are perceived as still “managing” or, as we say in this part of the world, “local”.

But for brands like Kenneth Ize this idea is not only limited but also unnecessary.

From where I stand, I see a team committed to giving clothes second chances. From outsourcing second-hand clothes from Katangua to dyeing, bleaching, and restitching these clothes, the result has left a special “wowing” effect on the audience, including me.

But amidst all this seeming perfection, some questions are crucial: Do the clothes communicate any of the brand’s message, or are they another fashion concoction? What creativity and legacy has Kenneth and his team brought to the fashion landscape? What does it really mean to be different or redefine what success means in this part of the world?

I will be answering these questions based on three global perspectives.

The first is the Design Expression, where I look at the structure, silhouette, and details of each piece.

The second is Concept and Creative Interpretation, where I think about how the idea of “Forward Ever, Backwards Never” is shown in the clothes.

The third is Industry Positioning, where I compare Kenneth Ize to fashion brands and think about how they fit into the bigger conversation about fashion and the environment.

It is within this framework that the collection is considered, whether it has truly captured the brand’s ethos or whether it is just another nomenclature on paper.

With that in mind, I begin with the opening look.

Design Expression & Concept and Creative Interpretation

Look 1

On the surface level, the design gives a subtle “DIY” vibe. The look features a longline, asymmetric, sleeveless blue tunic with side slits, and is paired with semi-wide flared blue and black trousers. This design creates a dramatic profile, especially with the net hat, wrapped with a matching blue bow.

Equally important is the street life energy evident in this look. But beyond that, the construction looked like it was made either by a teenager practising tailoring with YouTube videos.

In a bid to creatively interpret the look, I could also argue that the chopped or lean tailoring is a nod to the “rough, rugged, and rowdy” characteristics of a typical Lagosian. Similarly, while the fabrics appear to have been made from the raw texture of upcycled materials, such deliberate textile sourcing can also be interpreted as designers’ efforts to give “new life” to discarded objects and materials.

Look 2

The first thing that comes to my mind about this look is a concept known as “Global Artisan”. This is a stylistic effort by designers to create ensembles that challenge norms. Take, for example, this design features a fitted, ribbed tank top in deep indigo blue, and is contrasted by bubbly red trousers, all pointing to bright colours often associated with the womenfolk. Kenneth and his team are saying that men can literally wear sharp colours if they choose to, and want to express themselves in a certain way.

Additionally, the sun hat can be interpreted as one of the major aesthetics of an urban traveller. Similarly, the aso-oke bag tells the brand’s philosophy of recontextualization or reinvention. Lastly, the green rubber sandals are a bit of a choice, but they do add a sense of movement and progression to the look.

That said, the only irrelevant “extra” in this design is the double layering of the tan top. While this looks like a deliberate fashion drama, it still forfeits its purpose. It’s okay to be different. It’s okay to be “wild” and boisterous like a notorious street in Lagos. But what’s the point if context and meaning are lost? Perhaps, this is something Kenneth and his partner need to consider if they want to play differently without compromising on the brand’s values.

Industry Positioning

I have decided to place both designs side-by-side when it comes to the brand’s relevance, in that, in a way, Looks 1 and 2 share something in common: slow fashion and local production. While Look 1 addresses the crisis of second-hand clothes in Africa by challenging the industry to rethink waste as a valuable resource, Look 2 supports local weaving communities, thereby reducing the carbon footprint associated with industrial mass production. But when compared with a contemporary brands like BODE, and Jacquemus, Kenneth Ize possess the traits of an artisanal alchemist with a focus on streetwear that are steeped in vibrant colours and culturally rooted in heritage.

Design Expression & Concept and Creative Interpretation

Look 3

Here’s another relaxed tunic design, expressing the brand’s philosophy behind adaptability and functionality. But while this is a profound brand expression, I believe it has to be done right. Creating streetwear designs doesn’t mean precision and intentionality have to be lost. The cream-hued tunic piece for the make looks like it is rushed and maybe made for someone else.

While this design appears to have been inspired by the trending West African Senator style, which was originally crafted for the male audience. However, over time, it became a gender-inclusive ensemble. Now, having assessed Kenneth Ize’s designs so far, there’s been a certain kind of allowance that gives female folks room for self-expression, too. Speaking of how this looks is a reminiscence of heritage; the intricate tonal embroidery on the bib is a nod to the traditional buba attire famous with the Yorubas. But this time, it lacks that sharpness a normal Senator would give. Perhaps if the brand had been more precise with their cuts, this ensemble would have been a real occasion wear, rather than just a casual piece of clothing found on the street. Likewise, the combination of blue leggings was an “over-remixed” attempt to blend real styling and athletic gear. I don’t know what the designers have in mind, but this combination has little to no effect on the fact that it is a streetwear collection.

Look 4

I personally find this design the most expressive in the collection. From top to bottom is a display of thick redness inspired by the tie-and-dye technique often associated with adire. This automatically creates a magical effect of bold vertical rhythm whenever the wearer moves.

By extension, this craftsmanship also echoes the brand’s standard about “transmutation”. I see a designer who has taken streetwear as a runway. The renewal of what looks like “fairly-used” materials serves as a visual metaphor for the brand’s “forward ever” cycle of rebirth.

Look 5

In fashion, there’s always a focal point. For this design, the focal point is the open chest cardigan with a fringe that appears to be tickling the floor. For me, this is a good start, and possibly appeals to an audience who wants to live and express Lagos’ street life through what they wear. Since the trailing fringe is the highlight of the design, this piece can therefore be interpreted as the “threads of the past” being pulled forward into a new reality, re-echoing the brand’s philosophy about future fashion.

As an expression of the past, the brand have basically just reinvented what African masculinity looks like. In those days, when men are of a certain age, they wear revealing outfits to show off their endowment, and this look right here captures that life.

Paired with a three quarter off-white short is another nod to the functionality and ease that comes with being in one’s element. But does crafting a chest-baring cardigan truly define streetwear? Perhaps not. The brand doesn’t need to create an outfit that looks like the wearer had just escaped a fight scene or is about to enter one, to make a fashion statement. In other words, streetwear doesn’t equal topless styling. This will be much appreciated as beach or pool wear.

Industry Positioning

Barely looking at Look 5, this piece revisits the minutes of the meeting held on zero-waste practices. Here, the brand challenges the industry to see value in incorporating local Nigerian weaving techniques. More often than not, “local” designers chase foreign fabrics because they feel they are of better quality. Kenneth Ize is saying that while we pursue fancy fabric, our textiles are rich and beautiful, too. Plus, they also position “Made in Nigeria” designs, not as mere traditional attire, but as high-concept art.

For Looks 4, I see a brand mindfully shifting the standards of global streetwear from fancy runways and aisles. I also see the brand’s hybrid approach (mixing sportswear with couture-level detailing) as a local reinvention of what global designers like Marine Serre and Virgil Abloh are doing to fashion as a tool for social survival.

Finally, look 3 basically positions the brand as a fast-rising authority in the global upcycling movement. This, in a way, challenges the seemingly “perfection” of famous luxury brands like Hermès or Loro Piana by offering a “perfectly imperfect” alternative that feels more authentic to the modern, socially conscious consumer.

In the end, the Fall/Winter collection proves that the brand’s vision is clear but needs some tightening here and there. Also, while it moves towards a more global audience, greater precision in tailoring, stronger editing, and clearer design cohesion will be necessary to ensure that its message is not lost in execution. If the brand keeps making clothes and stay true to their brand identity, even if it means being the “odd” one, they will not only lead the charge but also gain a voice that others listen to. And by the way, the Fall/Winter 2023 collection is a start.

Abisola Omolade