Africa
‘Africa Fashion’ Exhibition Hit Brooklyn Museum With New Designers, Unique Textiles
A mannequin stands with head tilted, a knee jutting from the deep bias chiffon and woven fabric hemline of Papa Oppong’s Takari T, a T-shirt worn as a dress from the Ghanaian-born designer’s celebrated 2021 Yopoo collection, which evokes a Ghanaian woman’s life from birth to marriage to death. A “Ghana Must Go” bag — the ubiquitous blue, white and red reusable bags that have come to symbolize the forced migration of millions of Ghanaians from Nigeria — sits on the floor next to the mannequin.
It’s one of two looks from Oppong included in the Brooklyn Museum’s iteration of “Africa Fashion,” the blockbuster exhibition that opened last summer at London’s Victoria and Albert Museum, and which runs Friday through Oct. 22 in New York.
“I can’t believe this is my work,” muses Oppong, as he raises his hands to his cheeks. “It doesn’t seem real. Coming from Ghana, I dreamed of creating work that could be this accessible. So this,” he says, spinning around to take in the work of fellow designers on display in a large central gallery, “is truly a dream come true.”
Like many of the additional designers included in the Brooklyn Museum exhibit, Oppong’s pieces evoke the heritage but also the political and socioeconomic realities of the African diaspora; from political satire and adherence to traditional weaving, hand-dyeing and beading techniques to collaborations with other African artists, from illustrators to weavers to photographers and musicians.
Organized thematically, the exhibition features garments, textiles, photography, books, music and catwalk footage from more than 40 designers and artists from 20 of Africa’s 54 countries, including pioneering 20th-century designers Kofi Ansah (Ghana), Naima Bennis (Morocco), Shade Thomas-Fahm (Nigeria), Chris Seydou (Mali), and Alphadi (Niger) in the “Vanguard” section. “The Cultural Renaissance” section explores the independence era, from the 1950s through the 1990s, a period of dramatic political, social and cultural upheaval reflected in the Pan-African fashion and art scene. “Politics and Poetics of Cloth” surveys the rise of Indigenous cloth as a political act; textiles from the museum’s Arts of Africa collection complement the V&A’s wax prints, commemorative cloth, àdìrẹ, kente cloth and bògòlanfini. “Capturing Change” chronicles the independence years through artists such as Seydou Keïta (Mali) and Malick Sidibé (Mali), from the museum’s collection, as well as fashion photography by James Barnor (Ghana). “Cutting Edge” is organized around concepts including “Afrotopia,” “Artisanal,” “Co-creation,” “Provocation,” “Minimalist,” and “Mixologist” and showcases a new generation of fashion designers and creatives, including South Africa–based designer Thebe Magugu, winner of the 2019 LVMH Young Fashion Designer Prize. “Through the Photographer’s Lens” examines the power of contemporary photography with a series of images of intricate African hairstyles from Nigerian photographer J.D. ‘Okhai Ojeikere, and work from New York native Kwame Brathwaite, the father of the 1970s “Black is Beautiful” movement who died last April. The exhibition concludes with “Global Africa,” which explores how the digital world accelerated the expansion of Africa’s influence in the fashion industry.
Photographer J.D. ‘Okhai Ojeikere’s images of African hairstyles are among more than 50 additional items from the Brooklyn Museum’s collection.
Additional new contemporary pieces also include Brother Vellies designer Aurora James’ Mother Nature gown with a raffia skirt and basket bodice, which the Ghanaian-Canadian designer wore to the 2019 Met Gala; a basket bag from Sudanese-American designer Eilaf Osman; and a shirt and skirt ensemble from Studio One Eighty Nine that features a pineapple husk belt and dried raffia straw hat.
“Haute couture, notions of the handmade and luxury, slow fashion, using dyes or materials that are non-invasive to the environment, this conversation around sustainability has always been part of the African continent,” says Ernestine White-Mifetu, the Brooklyn Museum’s Sills Foundation Curator of African Art, who adapted the exhibition with Annissa Malvoisin, the museum’s postdoctoral fellow in the Arts of Africa.
“And the contemporary designers from the continent have continued those traditions while taking the making and design of African textiles to a new level that’s extremely exciting,” continues White-Mifetu. “And this is an opportunity for audiences in North America to get to know what that looks like.”
The exhibit includes more than 50 items from the museum’s collection, including Egyptian jewelry from B.C.E. through 1st century C.E. and 19th and 20th century jewelry from Niger, Nigeria, Ghana, Ethiopia, the Democratic Republic of Congo, Burkina Faso. Many of the items have not preciously been on view. (The museum’s African galleries are currently undergoing a major renovation with a reinstallation slated for 2025.)
“African regions and culture and art isn’t stuck in a specific time period,” says Malvoisin. “The African fashion scene has always been vibrant, even 3,000 years ago. It was really important for us to include our collection because our collection highlights the cultural continuity and technological and manufacturing production that has continued for thousands of years and which are still being used today by the designers featured in the show.”
The contributions of African-born designers is already obvious in the fashion industry, but the exhibit is arguably the first comprehensive recognition of that legacy.
“We do fashion shows a lot [at the Brooklyn Museum], but to focus on African fashion in an expansive way, and to bring something like this to North America and in New York, which is one of the fashion capitals of the world, is really important. These shows are quite commonplace for European and North American designers,” says Malvoisin, invoking the Brooklyn Museum’s recent retrospectives of Christian Dior and Thierry Mugler. “This is placing African fashion designers on the same level as all of these other luxury fashion houses and designers. I feel like it’s just the beginning. Perhaps this will also lay the foundation and groundwork for something like that happening for an African fashion designer.”
Standing in the exhibit’s large central hall, Oppong — dressed head-to-toe in black Balenciaga, right down to his kitten-heeled shoe socks — takes in the designs from his contemporaries. “I know so many people in here,” he says, raising an arm toward a mannequin draped in Christie Brown’s She is King gold and black gown.
“I did art direction at Christie Brown for a year,” he says. “I love Kenneth Ize, Imane Ayissi. This hall is just magical.”
Global Construction Review, the online media outlet of the international organization The Chartered Institute of Building (CIOB), reported that Chinese company China Light Industry Nanning Design Engineering has finished building the largest cocoa bean factory and warehouse in Côte d’Ivoire (the Ivory Coast). The facility is located in the African country’s largest city and its former capital, Abidjan. (Note: This is the second cocoa plant built by the Chinese company in Côte d’Ivoire; the other is located in the port city of San-Pédro.)
According to the South China Morning Post , the Chinese government paid US $200 million to build the new plant in Abidjan and “will be repaid in cocoa beans” — 40 percent of the output of the two plants will be given to China to repay its loan.
The Ivory Coast is the world’s largest cocoa bean producer, producing more than 2 million tonnes a year, accounting for approximately 40 percent of global cocoa production and exports. Cocoa beans is the country’s major export product: in 2022, the Ivory Coast exported US$3.33 billion in cocoa beans, with nearly half going to the Netherlands, Belgium, and the United States.
[NOTE: A tonne equals 2204 lbs. or 1000 kilograms, whereas a ton, the more commonly used metric in America, equals 2000 lbs or about 907 kilograms.]
Kristy Leissle, founder and CEO of the African Cocoa Marketplace, said: “Buyers everywhere are struggling to secure cocoa supply, and if 50,000 metric tonnes are now going to China instead of Europe or North America, chocolate makers in those regions will feel the loss.” (Chocolate’s main ingredient is cocoa beans.)
Each of the new cocoa bean plants in the Ivory Coast will have an annual processing capacity of 50,000 tonnes, and they will together be able to store 300,000 tonnes.
Africa
PeacePro Urges Djibouti to Evacuate Foreign Military Bases as France Loses Last Military Base in Ivory Coast
The Foundation for Peace Professionals (PeacePro) has called on the government of Djibouti to take immediate steps toward initiating the evacuation of all foreign military bases from its territory. This appeal follows France’s official withdrawal from its last military base in Ivory Coast, marking another significant step in the ongoing demilitarization of Africa.
In a statement issued by PeacePro’s Executive Director, Abdulrazaq Hamzat, the organization emphasized the need for African nations to reclaim full sovereignty over their security affairs. Hamzat noted that Djibouti, which currently hosts military bases from multiple foreign powers—including the United States, China, France, and Japan—should take proactive steps in line with the growing movement of African nations rejecting external military presence.
“We commend Ivory Coast for this decisive move, which strengthens Africa’s sovereignty and independence in security matters. Djibouti must now follow suit and reconsider its role as a hub for foreign military operations,” Hamzat stated.
PeacePro has been leading an aggressive campaign for the demilitarization of Africa, setting a target to achieve at least 80% reduction of foreign military bases by the end of 2025. Hamzat noted that the closure of French bases in Mali, Burkina Faso, Niger, Chad, and now Ivory Coast is a testament to the success of this movement.
Djibouti, located at the strategic Horn of Africa, remains one of the most militarized territories on the continent due to its hosting of multiple foreign forces, often under the justification of counterterrorism and maritime security. However, PeacePro insists that African nations should prioritize self-reliance in defense and security matters rather than depend on external forces.
Recall that PeacePro had recently condemned the United States’ proposal to bomb alleged terrorist camps across Africa, urging African governments to reject the plan. The organization argued that previous U.S. military interventions have escalated crises rather than resolving them.
As momentum builds across Africa for military independence, PeacePro vows to intensify its advocacy in 2025, ensuring that more countries take concrete action toward closing foreign bases and strengthening indigenous security frameworks.
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The United States government funds HIV prevention, treatment and research programmes across the world but especially in sub-Saharan Africa.
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US President Donald Trump issued an executive order on 20 January that halts foreign aid for 90 days.
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The order, which is not clearly worded, has left in doubt the future of many life-saving HIV programmes in Africa.
The sudden decision by United States President Donald Trump to halt and review all foreign aid for 90 days could be devastating for HIV programmes in African countries. After Trump’s inauguration on 20 January, he signed numerous executive orders. One of these suspends aid to “foreign countries and implementing non-governmental organisations, international organisations, and contractors” pending review for whether it aligns with “American interests and … values”.
The order said, “no further [US] foreign assistance shall be disbursed in a manner that is not fully aligned with the foreign policy of the President of the United States”.
Foreign aid includes the US President’s Emergency Plan for AIDS Relief, known as PEPFAR. PEPFAR has saved millions of lives since it was launched by former president George W. Bush in 2003.
PEPFAR statistics show that at the end of 2024, it was providing life-saving antiretroviral treatment to nearly 21-million people across 55 countries, many of them in sub-Saharan Africa. PEPFAR is also delivering pre-exposure prophylaxis (PrEP) — which stops people from contracting HIV — to about 2.5 million people. In 2024, PEPFAR provided HIV testing to about 84-million people. It funds HIV treatment and intervention in Uganda, Namibia, Botswana, Mozambique, Zimbabwe, and many others.
South Africa has about 5.6-million people on antiretroviral treatment. The medicines themselves are paid for by the South African government, but PEPFAR funds some of the staff at some ARV programmes. It also funds much of the prevention and information effort, including ARV user clubs, medical circumcision and public messaging.
South Africa does leading research on HIV and TB. Much of this is funded by the US National Institutes of Health. It’s unclear what the future status of this funding is.
It’s also unclear what the status is of money that has been committed. For example, some programmes get monthly tranches based on contracts that have already been signed. At least one project manager we spoke to said he wasn’t sure if commitments for February onwards would be arriving, and US government representatives who he deals with are themselves unsure.
This uncertainty is due to this phrase in the executive order, “shall immediately pause new obligations and disbursements”. It’s unclear if already-committed disbursements are affected.
Professor Linda-Gail Bekker, an infectious disease scientist at the Desmond Tutu HIV Centre at UCT, said that it’s unclear whether the PEPFAR funding will be reduced or stopped but that the outcome in African countries could be “disastrous”.
Bekker said that HIV treatment “doesn’t stand still” and that treatment, PrEP, and quality healthcare have to keep on getting to people.
Bekker also said that other countries in Africa are far more dependent on PEPFAR funding than South Africa. For example, Malawi, which has a minimal health budget.
“There is no doubt our own national governments need to step up. We know there needs to be more self-reliance,” she said, but added that the sudden stop of donor funding can be “disastrous”.
A study from 2024 looking at the rate of mortality amongst South African adults who experienced interruption in antiretroviral treatment, shows that interrupting antiretroviral treatment leads to much greater risk of death.
Over the years, Bekker says, PEPFAR funding has also gradually transitioned from where there was an emergency situation, at the height of the AIDS epidemic in the early 2000s, to helping countries’ health systems cope.
PEPFAR allocations in Malawi for 2024 and 2025 are $180-million and $178-million respectively. It is one of two of the biggest funders of HIV interventions in Malawi, along with the Global Fund, according to the National Aids Commission (NAC) of Malawi. In a recent strategic plan, the NAC noted that, “There is an urgent need to sustain and accelerate the national response between 2020 and 2025 in order to put Malawi on the path towards ending AIDS as a public health threat in Malawi by 2030.”
It is unclear how Trump’s order to pause and review foreign aid will affect PEPFAR in the future. The US Agency for International Development (USAID) media office did not respond to questions by the time of publication.
Trump also issued an executive order withdrawing the United States from the World Health Organisation (WHO). According to Reuters there is a 12-month notice period for the US, the WHO’s largest funder, to leave the organisation and stop all financial contributions to its work.
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