The Luminous Three Looks

Collections sometimes make declarations the runways cannot. This triptych does so with clarity, using clothes as instruments of visibility, not spectacle, not pity but rendered with care for skin that photographs differently and deserves to be styled with intention. Across the three looks, the designer writes a short hymn to light, how to shape it, how to meet it, how to play in it. This is the Inclusion Collection 2024 created in celebration of World Albinism Day!, released on June 13th, 2024, by Boriah Couture with the Creative Direction of Goodluck Jane Okwuchukwu.

The Night Note: micro-mohair and lace-up sandals, A long sleeve mini in ink black, cut close to the body, trimmed with soft pile at cuff and hem. It’s the simplest idea for an evening wear, a little black dress, rethought for a face and body that turn light into narrative. The fabric choice is genius, a velvet adjacent knit that drinks highlights rather than throwing back glare, so the complexion reads dimensional, not blown out. The high neck and elongated sleeve create a modern column; the micro length keeps it young. Strappy sandals spiral up the calf like calligraphy, introducing negative space and rhythm.

It works well in texture management. Matte dress against luminous skin creates chiaroscuro worthy of portraiture. Arms raised, the silhouette choreographs itself, there’s a dancer’s instroke to the frame.

Although a hairline belt in satin could mark the waist for cameras shooting from a distance, restraint is the point here. Keep jewelry minimal and the body becomes part of the ornament.

The Day Edit, voile blouse and a pencil skirt. This look is the counterpoint, a boardroom poise with a romantic accent. A milk white voile blouse in high ruffle collar, scalloped yoke, tiny pearl buttons tucked into a matte black pencil skirt that lands just below the calf. The blouse’s translucence is calibrated; it casts a soft halo without reading sheer. The skirt’s texture is crucial, zero shine, all lined.

The value of this look is in the contrast. The white near the face serves as a reflector, the black skirt absorbs light, sharpening the vertical. The silhouette says competence with tenderness, the blouse’s vintage whisper against the skirt’s modern line.

For refinement, swap the sandal for a block heel pump if the brief is corporate, keep the sandal for gallery afternoons and press days. A narrow onyx bangle and tiny pearl studs would complete the conversation without crowding the neckline.

The Field of Flowers; an oversized print set

A wide leg trouser and draped tunic in a riot of crimson, coral, and leaf green florals on midnight ground. The print scale has large and generous petals that read from six rows back, yet the cut is serene, dropped shoulder, easy sleeve and a liquid trouser. Movement turns the pattern into cinema, you see a bouquet in motion rather than a wallpaper.

The chroma strategy, warm reds and greens lift the complexion. The dark ground prevents washout, the oversized cut resists the industry’s old habit of shrinking boldness on delicate bodies. Here, the wearer owns space.

For refinement, a gentle front tuck or side knot could create waist articulation for certain frames; otherwise, let the ease be the message. Keep accessories tactile rather than metallic to avoid competing flashes.

Hems fall perpendicular, armholes sit high, the pencil skirt’s waist seam is clean, no rippling under studio light. The matte and pile fabrics dominate, a thoughtful choice for albinism where surface glare can steal contours. The blouse’s voile is opaque where it must be and diffusive where it flatters. Makeup and hair softly groomed brows, a grounded lip, minimal highlight, proof that luminosity for albinism doesn’t require frost. Hair is sleek and center parted in looks two and three, though loose in look one. All three allow garments to frame the face rather than fight it.

Representation, but make it fashion. What feels vital here is the refusal of tokenism. The clothes are not costumes for a cause; they are desirable garments that also model best practices, avoid over reflective satins near the face; use texture to draw contour, ensure shade where needed (long sleeves, high neck) without denying sensuality. Even the footwear decision, repeat the lace up, builds a throughline, treating the model as protagonist, not prop.

Look I; is suitable for night galleries, small stages and award greenrooms. Look II; press junkets, panels, the office that understands elegance and Look III; weekend openings, garden parties, travel days when ease must look intentional.

The collection does not ask us to stare, it invites us to see. It reminds editors, stylists, and photographers that albinism is not an exception to style but a new grammar for it. One that rewards sensitivity to light, respect for texture, and the courage of colour. These three looks are not simply inclusive; they are excellent. And excellence, worn with ease, is the best visibility.

Yemisi Suleiman