Fashion Forward: A Critical Review of Folus Couture’s Newest Collection at the AGC Tradefair 2025

By Connie Aluoch

7th sept, 2025

On the 30th of August 2025, the vibrant grounds of Pearson Park in Hull, United Kingdom, came alive with the AGC Tradefair, a cultural and commercial hub bringing together innovators, entrepreneurs, and creatives from across industries. One of the best parts of the event was the highly anticipated runway show by Omorinsola Mofoluwasho Akinyele, a rising fashion designer whose newest collection made a lasting impression on both attendees and industry insiders. As a fashion editor and critic, I had the privilege of witnessing this showcase firsthand, and this review aims to critically examine the aesthetic direction, craftsmanship, and cultural resonance of the collection while placing it within the broader context of today’s global fashion landscape.

Pearson Park was a great place for a show that tried to combine modern design with cultural storytelling. The open-air setting, made even better by well-thought-out lighting and immersive music selection, created a lively atmosphere that made the presentation more than just a regular runway show. The audience, which included fashion editors, buyers, influencers, and cultural critics, brought a lot of energy, showing that AGC Tradefair is becoming more and more known as a place for new talent to show off.

Mofoluwasho’s show was set for the golden hour, when natural light would play with the textures and embellishments of the clothes. This was a deliberate choice that brought out the fabrics’ tactile qualities. It was clear from the start that this was more than just a display of clothes; it was a story told through pictures, a conversation between heritage, innovation, and identity.

The collection was inspired by Mofoluwasho’s cultural heritage but also had a design philosophy that looked to the future. The pieces combined traditional African textile techniques like handwoven Aso-Oke and intricately dyed Adire with modern shapes that are popular on runways around the world. The collection had a unique visual language because it combined traditional crafts with modern minimalism. This made it culturally authentic while still being commercially relevant.

Structured kaftan-style outerwear, floor-length gowns with architectural pleating, and tailored separates with subtle metallic embroidery were some of the most important looks. The designer used a limited colour palette of earthy neutrals with jewel tones to let the textures and shapes of the fabrics stand out. The accessories were few but carefully chosen, with handmade jewellery pieces that went well with the clothes without being too much.

One particularly memorable piece was a hand-dyed indigo gown with cascading layers, which seemed to pay homage to traditional Yoruba indigo dyeing techniques while adopting a silhouette that felt decidedly modern and international. The collection was successful because it played with the past and the future, as well as the local and the global.

From a technical point of view, the collection showed great craftsmanship and sartorial accuracy. The tailoring was sharp but also flowed well, showing that the designer was getting better at making things fit and look good. The fabrics used, many of which were sustainably sourced, showed that people in African and diaspora fashion spaces are becoming more aware of how clothes are made in a way that is good for the environment.
Handmade decorations were used sparingly, but they were done very well. Metallic beadwork on evening wear caught the light in a way that made the movement stand out without going overboard. The hems were clean, the seams were perfect, and the draping techniques were new but still comfortable. These are all signs of a designer who knows how to make art and sell it.

The cultural intention behind this collection made it stand out. Mofolusho helped to change the way people think about African fashion on the world stage by using African textile heritage as a base for her designs and global fashion styles.
In an era where global fashion weeks increasingly spotlight diversity and inclusivity, this collection positioned itself as both a cultural statement and a commercial proposition. It asked Western audiences to see African design not as something strange and different, but as an equal part of shaping global fashion stories.

The show ended with loud applause, and people in the industry noted how stylish and easy to wear the pieces were. Talking to other editors and buyers showed that they were especially excited about the collection’s potential to sell well in multicultural fashion markets like London, New York, and Lagos.

Several people at the event pointed out that the designer was able to make different pieces look good together, which is a sign of an up-and-coming designer who is becoming more relevant around the world. After the event, there was a lot of talk on social media about it, which showed how important it was to culture. Pictures of the collection spread quickly on Instagram and fashion blogs.

There were some great things about the collection, but some things, like the occasional over-layering in some evening looks, show that there is room for more restraint and refinement in the future. Still, these small criticisms didn’t take away from the fact that the collection was both visually interesting and culturally important.

In my professional opinion, Mofoluwasho has the vision, skill, and storytelling ability to go from being a promising talent to a global fashion leader. The AGC Tradefair 2025 showcase was more than just a display of clothes; it was a cultural conversation and proof of the designer’s growing importance on the world stage.

There is no doubt that Mofoluwasho has the potential to become a defining voice in contemporary fashion, shaping how African heritage and modern design come together in the years to come. This is because of international residencies, fashion incubators, and cross-cultural collaborations.