BoF’s class of 2024 speaks volumes for Africa

Business of Fashion, the Imran Ahmed-founded fashion media and business intelligence company, recently announced this year’s BoF 500 list — an “index of people shaping the global fashion industry”.

The index, curated by editors at Business of Fashion, is based on nominations from around the world, based on “on-the-ground intelligence”. Its influence, and that of Business of Fashion, has been steadily growing in recent years, culminating in one of the most closely watched events in global fashion.

For the second time since it launched in 2013, the list features Africans beyond the confines of the fashion industry itself. This year, SA’s Tyla, and Aya Nakamura, the most streamed singer in France, who is of Malian descent, join Burna Boy (who appeared on the list in 2023) as the only African music stars whose influence on fashion has been recognised by BoF as globally significant.

“Nakamura’s journey to stardom began in Bamako, Mali, where she was born before moving to France as a child. Growing up in a multicultural environment in the Paris suburbs, she developed a unique musical style that combines her African heritage with contemporary sounds,” BoF said in a statement.

“Her breakout single Djadja in 2018 marked the beginning of her rise to fame, catapulting her into the international spotlight. Since then, she has released multiple successful albums, solidifying her status as a leading figure in the global music scene.”

Nakamura has since become the first black woman to cover Vogue France and was named a global brand ambassador for Lancôme in 2023.

As for Tyla, BoF describes SA’s favourite niece's fashion influence as “bold” and “high octane”.

“​​With the help of stylist Katie Qian and creative director Thato Nzimande, Tyla (has a) quintessentially noughties wardrobe: a mix of high-end labels like Versace, Marc Jacobs and Mugler; emerging designers like Asai and DiPetsa; as well as SA brands Naoserati and Thebe Magugu. She has fronted covers for the likes of Dazed, Billboard magazine, Cosmopolitan, and The New York Times’ T Magazine.”

Podcaster Recho Omondi of The Cutting Room Floor, and Street Souk founder Iretidayo Zaccheaus also appear on this year’s list, further expanding the number of Africans whose impact on fashion demonstrates the continent’s ever-expanding cultural influence.

Zaccheaus of Street Souk is Nigerian, and founded Africa’s largest streetwear convention in 2018. Street Souk has since “made significant strides in brokering deals between local street culture entrepreneurs and international brands looking to expand in the region,” BoF says.

“Her leadership in this space has also provided an export platform for African brands. In 2023, she toured the event, bringing Street Souk exhibitors to other cities on the continent like Accra, Ghana and Cape Town, South Africa and further afield to London, Los Angeles and Dubai.”

Omondi, who is of Kenyan descent, has made a name for herself tackling controversial issues in fashion. A trained designer, Omondi made it onto the list due to her “ability to dive headfirst into controversial topics — like critiquing luxury conglomerates and “fashion nepo babies” — and her unapologetic approach (has) made her an influential voice in fashion media,” BoF said. She stands out as someone who sparks meaningful and impactful fashion dialogue”.

These additions differ from the appearance of designers such as SA’s Thebe Magugu, or Lukhanyo Mdingi and Laduma Ngxokolo (the latter two are making their debut this year).

There have been Africans on the BoF 500 list since its founding back in 2013 where Adrian Jofee, the president of Dover Street Market; Lagos Fashion Week founder Omoyemi Akerele; Hanneli Rupert, founder of Merchants on Long and Okapi; and her father Johann, the chairman of luxury conglomerate Richemont, all appeared. 

Over the years, the list’s expansion into areas such as music, podcasting and streetwear, demonstrates that the influence of Africans on the global fashion industry goes beyond those whose role has been largely behind the scenes, defying cultural and structural constraints to pique the interests of global observers. It goes beyond corporate executives to include celebrated figures with mainstream cultural relevance. 

We’ve seen how the likes of Beyonce, through her Black Is King project, have used their clout to elevate African fashion on the world stage. We’ve seen our designers showcased at the world’s leading fashion capitals, and how Hollywood can put a lens on us through hits like Black Panther.

Still, we should not take lightly the historic nature of our own; whose clout can reach a more mainstream audience. It’s a big significant stride for a continent whose people haven’t had the space to write their own stories on such a large scale.