Made-in-Africa Fashion, youth creativity take centre stage at IAF54 Exhibition

Africa’s fashion and textile industry is no longer seen only as culture and tradition. It is becoming one of the continent’s fastest-growing creative and business sectors, driven by rising global interest in African identity, indigenous textiles and local craftsmanship.

Research by Cognitive Market Research values Africa’s fashion market at $61.1 billion. Reports from the African Development Bank and McKinsey & Company project the industry could grow to between $50 billion and $60 billion in luxury and commercial value by 2030.

From Nigeria’s Adire and Aso-Oke to Ghana’s Kente, Cameroon’s Ndop and Senegalese textiles, African fabrics support thousands of local weavers, dyers, tailors and small business owners across the continent.

That growing economic and cultural influence was at the centre of the Inside Africa Fashion 54 (IAF54) exhibition held from May 11 to 13 at the Ecobank Pan African Centre in Lagos.

Organised by The Fashioned Museum under its “Bridging The Gap” initiative, the three-day exhibition brought together designers, artists, students, business leaders and creatives to explore the future of African fashion, textile manufacturing and cultural preservation.

The exhibition, themed ‘IAF54: A Textile And Fashion Exhibition Across 54 African Industries,’ showcased textile histories, indigenous fabrics and fashion identities from all 54 African countries through curated installations, symposiums, designer spotlights and archival storytelling.

Founded by Tejumola Maurice-Diya, a cultural archivist and fashion storyteller, the project was created to preserve African fashion history from an African perspective.

“At a time when African fashion is gaining global recognition, it is important that Africans document and tell their own stories,” Maurice-Diya said.

“This project exists to preserve our heritage, celebrate our creativity, and help the world understand Africa through fashion, textiles, craftsmanship, and culture.”

She explained that the exhibition became the physical representation of nearly two years of research and documentation by The Fashioned Museum.

“For almost two years, The Fashioned Museum has been documenting African fashion country by country through research and storytelling,” she said.

“IAF54 became the physical representation of that documentation because Africa’s stories deserve to be seen, experienced and preserved.” Maurice-Diya also warned that preserving indigenous textiles has become increasingly important as global demand for African fashion continues to grow.

“If we do not document our heritage, someone else may one day attempt to claim ownership of these textiles,” she said. “Documentation removes doubt and ensures future generations understand the origins and significance of African fabrics.”

Students Explore Fashion Careers

The exhibition welcomed secondary school students from across Lagos, giving them the opportunity to experience African textiles beyond social media and digital platforms.

Students explored fabrics such as Aso-Oke, Adire, Kente, Raffia, Akwete and Ndop while learning about the history, craftsmanship and cultural meaning behind the textiles.

According to Maurice-Diya, one of the goals of the initiative is to help young Africans reconnect with their identity and heritage through fashion. “We want young people to ask themselves important questions about identity, heritage and creativity,” she said.

“It is one thing to see textiles online, but it is another thing entirely to touch them, feel them, and understand the stories behind them.”

The event also featured symposium and panel sessions where students asked questions about careers in fashion, entrepreneurship, design and the broader creative industry.

Speaking during one of the conversations, Lisa Folawiyo, a Nigerian fashion designer, encouraged students to remain confident in their creativity and originality.

“There is still opportunity to create, build structures and systems that continue to make this a growing and successful industry,” she said.

Folawiyo also reflected on leaving her legal career to pursue fashion full time, explaining that she wanted to build something unique using African identity and indigenous fabrics.

She added that exposing students to creative industries early could help them understand that fashion and storytelling can become successful careers and businesses.

Fashion Investment and Creative Economy Growth

Beyond culture and storytelling, speakers stressed the need for stronger investment, infrastructure and documentation across Africa’s fashion industry.

Maurice-Diya said support from Ecobank helped bring the exhibition to life, but noted that more sponsors and investors are needed to expand the initiative and create a permanent exhibition space. “We need more sponsors. We need investors who want to contribute to the future of Nigeria and Africa,” she said.

Industry experts say Africa’s fashion sector still faces major challenges, including weak production systems, poor infrastructure, limited funding and dependence on foreign manufacturing. Many speakers warned that African fashion brands could lose economic opportunities if local industries fail to scale quickly.

Folarin Falana, a Nigerian rapper and actor also known as Falz, told students that creativity remains one of the most valuable skills in today’s economy. “The only way you can stand out is by being creative,” he said.

He encouraged young Africans to stay curious, ask questions and develop original ideas rooted in African experiences and identity.

Adding her voice, Stella Uwaechue, a corporate event host who attended the event, said Africans must invest more intentionally in local fashion and textile businesses instead of depending heavily on foreign products.

“It’s time for us to adopt our fabrics, wear Africa and promote Africa,” she said.