Harrow Park, a private golf course in Abuja, teemed with fashionistas on December 10, 2023. They had come for the food, the cocktail, but most of all for Africana Xperience, Africana Couture’s inaugural fashion show. The night’s centerpiece was The Art of Life, Africana Couture’s new fashion collection. Several of society’s upper crusts were in attendance, but most people would have been searching for Charles Orosanye.
Then living in Benin City, Orosanye founded Africana Couture in 2011. He wanted to champion a new aesthetic in men fashion, and he matched that androcentric impulse with a political one. He imagined a reality where local wears like kaftans and agbadas became de rigueur for most occasions on the continent. Suits and ties, as in most parts of the world, are the sartorial standard in Nigerian formal spaces; but Orosanye deems them vestiges of British colonialism. By specializing in local African menswear, Africana Couture has proven to be a consistent outlet for Orosanye’s ethos, a piston driving the engine of his anti-colonialist crusade.
The brand’s scope is African, not Nigerian, its Pan-Africanism evident in its name. For years, Africana Couture has imparted traditional African designs with a contemporary feel. It flaunted this aesthetic at its inaugural fashion show: models strutted across a runaway wearing modern shirts that sometimes flow into Benin-style wrappers, the latter a likely homage to Orosanye’s heritage. With retail stores in Abuja, Abidjan and Dakar, Africana Couture is a leading African menswear brand, but its beginnings were far less glittering. It didn’t always go by its current name, known previously as Tony Cream Fashion, a name linked to Orosanye’s former life as an up-and-coming musician—as an artiste, he went by Tony Cream. Leaving behind music, and Benin City, and a potential law practice (he studied law at University of Benin), he moved to Lagos, Nigeria’s center of fashion and hustle, to pursue a fashion career full-time. Newly arrived in Lagos, Orosanye stalked luxury hotels like Sheraton and Oriental, ambushing passers-by he’d sized up as fitting his ideal clientele, pitching to them his dreams, his fledgling brand.
About ten years have passed since then. He no longer haunts pricey hotels in hunt of potential clients, but he is still animated by the same “hunger” that drove him all those years ago, a “hunger for high quality,” as he puts it. In this interview, the fashion head reflects on his company’s journey through the years.
What inspired Africana Xperience?
The show is an expression of my creative vision, showcasing the richness of African culture and prosperity. When an artist paints, you can touch the painting physically. Now, I’m not painting. I’m curating my thoughts. But I still want you to feel it. It’s an immersive experience where every aspect, from the fashion to the overall presentation, tells a story of African potential and success. That Africans will be prosperous and you will see prosperity in its finest form.
Africana Couture emerged over a decade ago. What has changed since then, and what has stayed the same? And I mean in terms of your creative direction, your values, and how you both think about and approach fashion, both the craft and business sides of it.
The constant has been our hunger and pursuit of quality. Changes include adapting to new markets and consumer behaviors, learning from product reactions, and continually evolving our designs. I’ve shifted to creating products that not only embody functionality and beauty but also have the potential to either establish a new culture or integrate into existing ones, much like how Sneakerheads became synonymous with sneaker culture. My focus remains on creating long-lasting, culturally significant, and aesthetically pleasing products.
What drives your Pan-African approach?
My Pan-African approach is driven by the belief that Africans deserve prosperity. From prosperous economies to the arts, music, and numerous other fields, African contributions have driven prosperity and growth in various global contexts. So, embracing African identity should become increasingly valued and if we set out to change our narratives, it becomes a collective force of culture.
How would you characterize your aesthetic/style?
My style is rooted in simplicity. I often draw inspiration from the past to create relevant and impactful designs. I believe for every valid creation, there must be an element of nostalgia because the past is the biggest present. So, while it’s beautiful to create from scratch, you should also infuse functional designs that people can connect with.
As a fashion brand founder, what major challenges have you faced in the course of your journey? And how have you navigated them?
The main challenges have been personnel management and the different personalities, backgrounds, and ambitions that each person has. Besides that, I’ve also faced challenges in navigating the complexities of the Nigerian work environment. Funding is another significant issue; there’s a need for better financial support and collaboration between the fashion and corporate sectors. Funding will give us autonomy without having to wait on foreign fashion shows to express our art.
Who and what have been your influences, and why?
I’m more influenced by projects than individuals because I found out that when you follow people, you become a reflection of them. While there are many incredible role models that inspire me, projects influence me. Public portrayals can sometimes be misleading, so I focus on how brands and initiatives evolve and impact the industry, especially those that have existed for a century or more. I also study projects that are unrelated to fashion, to gain insights and inspiration.
You’ve previously stressed the importance of questioning everything. How can this apply to fashion?
Questioning everything in fashion leads to a deeper understanding and drives innovation. It involves exploring the functionality and purpose behind designs, resulting in more meaningful and creative outcomes. When someone is creative, it’s because they saw something and interpreted it in a way that no one has seen before. They just played it back and installed it in the current situation.
What distinguishes a good design from a great design?
A good design is good for the eyes. A great design is good for the mind. I’ll explain that. A good design is beautiful to behold at that moment because it is hinged on trend, it is hinged on lifestyle. So, it ticks some boxes, but a great design resonates aesthetically and addresses deeper needs and challenges that go beyond mere trends.
Can you explain more about your new collection being shaped by nostalgia, optimism, creativity, and culture?
These elements form the foundation of my designs. What you’ve survived is preparation for what you will see in the future. Nostalgia brings historical elements, optimism reflects a positive outlook, and creativity ensures beauty and functionality. My designs aim to be impactful, practical, and culturally relevant. Jane Birkin’s story with Hermes is a prime example of great design. She was traveling with a basket that spilled its contents, inspiring the Hermes CEO beside her to design a bag that was both functional and beautiful. This bag, designed to hold a woman’s essentials, appealed not just visually but practically. It stood out with its structured design and functionality, epitomizing creativity by merging aesthetic appeal with practicality.