Let’s be clear: “Made in Africa” is an origin story, not a positioning strategy. The real work is in what happens next, living and articulating a promise for those you are uniquely positioned to serve. Brands who suceed do so, not because they are African, or made in Africa but because they dare to make relevance, listening, and deep value central to everything they do.

When it comes to hospitality, what truly defines an African luxury hotel ? The question may seem straightforward, but the answer is far more nuanced and often varies from person to person. Recently, I came across a post on Instagram praising the Sofitel in Cotonou, Benin — now recognized as one of the continent’s emerging hotel landmarks — and it sparked my curiosity, drawing me into the conversation.

The September-October fashion season represents more than just trend showcasing—it's a masterclass in how pricing strategy enables brand evolution. Creative brands that approach these opportunities with well-structured, market-informed pricing strategies will find themselves better equipped to navigate the complex dynamics of modern fashion commerce, whether they're showcasing in Paris showrooms or trading within the African continent.

Success lies not in choosing between wholesale and retail, but in building pricing architectures that enhance both channels while staying true to your brand's creative vision and commercial objectives.

Mrs. Adenike Ogunlesi's journey offers profound insights for Africa's creative industries. Her transformation from frustrated consumer to continental industry leader demonstrates that authentic African businesses can achieve international standards while creating substantial employment, developing local skills, and influencing policy frameworks.

Last month, from July 22 to 26, we were immersed in a dynamic week in Cotonou, Bénin. We celebrated innovation and cultural fusion, with the creative community through two landmark events: Design Week, driven by Africa Design School, and the 7th edition of Benin Fashion Month, organized by the Ministry of Arts & Culture and operated by ADAC, an operational agency for Arts & Culture. These gatherings marked Benin’s ambition to position itself as an African reference in the creative and textile industries, asserting a strong identity rooted in heritage yet truely future-oriented.

As I moved through the space, I was struck by how Gather House Lagos had transformed from its origins as pop-up markets at Alliance Française into this permanent beacon of community-driven commerce. The evening's celebrations felt like a natural extension of the space's mission—recognizing not just individual success but the collective power of creative's entrepreneurship in Lagos.

The Création Botswana experience, by uniting talents, mentors, and institutions around a shared vision, demonstrates the possibility of moving beyond individualism to build a resilient, inclusive, and innovative ecosystem. Sustainability in Africa is plural: it is rooted in heritage, fueled by innovation, and embodied by social and economic impact. The testimonies of industry leaders remind us that a brand’s strength lies not only in its aesthetic or market appeal, but also in the depth of its story, management rigor, and community commitment.

The mausoleum, designed by Francis Kéré, stands out for its blend of tradition and modernity. Its form is inspired by the eye, a symbol of vigilance and transmission, while the circular arrangement of the tombs, the monumental ramp, and the thirteen segments evoke unity and collective sacrifice. The materials used—compressed earth blocks, laterite, granite—embody the choice of autonomy, simplicity, and the valorization of local resources, echoing Sankara’s vision for endogenous and sustainable development.

Christie Brown’s experience shows that investing in fashion can no longer be limited to mentoring programs that aim to turn creatives into CEOs without equipping them with strategic skills in marketing, distribution, and financial management. It also demonstrates the value of innovation: reinterpreting tradition, adapting to the times, developing an omnichannel sales strategy, forging strategic collaborations, and placing sustainability and craftsmanship at the heart of customer loyalty. Christie Brown is a model of sustainable African success, built on cultural authenticity, local production, solid governance, and a multichannel distribution strategy, despite major operational challenges and the absence of significant external funding.

In African markets, a garment, a beauty product, a design object, or a lifestyle article made locally often costs more than a product imported from China, Turkey, or Europe. This reality is not accidental, but the result of an economic system struggling to find its balance or specialization.

Let’s remember the impatience that preceded the evening of May 5th 2025: on social networks, in studios, in specialized media, Africa and its diaspora held their breath. For once, the Met Gala seemed ready to do justice to an entire chapter of fashion history Met Gala—Black Dandyism, elegant resistance, and identity reinvention. Expectations were immense, pride palpable.

Madame Koyo’s legacy is immense. She leaves behind a transformed landscape for contemporary African art, marked by stronger institutions, empowered artists, and a more inclusive global discourse. Her leadership at RAW Material Company and Zeitz MOCAA set new standards for advocacy, excellence, and community engagement. Through her writing, exhibitions, and mentorship, she nurtured a generation of creatives who will carry her vision forward.

Often dominated by cities like London, Paris, Milan, and New York, the fashion world is increasingly influenced by West African trends. Brands such as FREE THE YOUTH (Ghana), Pith Africa, Severe Nature & WAF (Nigeria) are establishing themselves locally and building bridges with international brands such as Patta (Netherlands). Their growth is driven by a dynamic, highly connected youth market—half of the African population is under 25—and a growing middle class, representing nearly 35% of the continent's population.

By gathering diverse perspectives, we aim to help our sector, global institutions and policy makers on the continent to better understand the challenges faced by creatives while identifying actionable solutions to transform the potential to enable prosperity.

As I left the John Randle Center for Yoruba culture that day, I passed a group of children participating in a creative workshop. Their enthusiasm reminded me why all this matters: these works are not just objects; they are mirrors through which our children can see their history, identity, and potential.

The return and preservation of African artworks on the continent are not merely questions of historical justice—they are necessities for inspiring future generations. And it starts with us—collectors, institutions, entrepreneurs—who have the power to change this narrative.

The end of AGOA would mark a major turning point for African countries that have structured their textile industries around exports to the United States. The strategies adopted by Rwanda, Kenya, Benin, and Lesotho offer valuable lessons on resilience and vulnerabilities in this scenario.

Design in Africa reflects a constant dialogue between yesterday and today, between know-how, innovation, and contemporary perspectives or designers of our generation.

As the world younguest’s continent economy is emerging, a powerful narrative is unfolding with stories such as Eki,s. While conventional wisdom often casts doubt on creative pursuits, viewing them as risky career paths, a new generation of visionaries is rewriting the rules of success.