What are the main challenges that African designers face in positioning themselves in global luxury craftsmanship?

For a decade now, I have been committed to investing, supporting, valuing and promoting the exceptional talent of African designers and crafts, in the sectors of fashion, design and other forms of contemporary creations sensitive to art and culture at large.
To last these last ten years, I have spared no effort: from pop-ups to the gallery rue du Faubourg Saint Honoré - which the Parisian social crises of the yellow vests and Covid have picked up in their path - to various exhibitions in prestigious places such as the Grand-Palais, the Artcurial house on the Champs Élysées, my teams and I have never stopped putting exceptional African crafts and crafts at the heart of the global luxury scene.

Supporting and promoting African designers internationally is no easy task.

It is above all a costly affair, if these efforts for more than 150 creative entrepreneurs have generated a little more than 2 million euros, they have cost as much or more if we consider the entire value chain from design to after-sales service.

But as some would affectionately say: who sent you?

After these years of efforts that have been combined with those of other initiatives by ambitious entrepreneurs for the sector, it is clear that despite the beginnings of success, the challenges to position african brands in the global luxury craft industry remain numerous.

Some brands have been able to establish themselves on the world stage thanks to the efforts of the ecosystem and their own determination. We can mention IMANE AYISSI, which combines tradition and modernity in its haute couture collections presented regularly in the official fashion week calendar, MAISON INTÈGRE which has established itself as a reference in contemporary design Made in Burkina Faso, MAXHOSA, which celebrates South African cultural heritage through its bold textiles, or AAKS which magnifies natural raffia fibers with the centuries-old tradition of Bolgatanga.

The challenges facing African brands conquering the world

All these brands show that African craftsmanship can compete with the biggest luxury brands. Imane Ayissi, for example, has managed to integrate traditional craft techniques into contemporary creations, attracting the attention of fashionistas and critics internationally. Similarly, Maxhosa has created a strong brand identity, with a focus on authenticity and Xhosa craftsmanship, which has allowed it to gain a place in wardrobes around the world and set up a flagship in New York.

However, despite these successes, there is still much to be done. African designers must continue to overcome challenges such as access to international markets, financing, and recognition of their craftsmanship.

My goal after all these years of adversity remains the same: to create a platform that celebrates talent and craftsmanship, and encourages other artisan entrepreneurs to take a leap of faith and innovate.

By supporting these talents, we can help build a luxury craft industry in Africa that is sustainable, inclusive and globally recognized.

Yet, to succeed, African designer brands must overcome many barriers, the most significant of which are:

1. Access to International Markets

One of the major challenges is limited access to regional and international markets. African designers often face trade barriers, high shipping costs and complex regulations that make it difficult to export their products. This limits their visibility and their ability to make themselves known beyond African borders and often even on the continent. And when this access is facilitated, particularly with digital platforms such as Industrieafrica.com, the African product often finds itself less competitive and sometimes less attractive in a global environment where everyone is fighting for the attention of the consumer and where the glitter of communication campaigns shines more than the authenticity of exceptional products.

2. Financing and investment

Lack of financing is a significant obstacle. Many artisans and designers do not have access to the capital needed to develop their businesses, invest in quality materials or participate in international fairs and exhibitions. Micro-financing initiatives and entrepreneur support programs are essential to overcome this challenge. A program like Lagos x Paris, even if it is not supported by an investment fund, is a format adapted to the African context. It provides support with mentoring, seed funding and the facilitation of access to the international market through professional meetings and customer meetings: actions and operations that brands can hardly undertake alone when commercial success is not immediate. This need for considerable support and strategic partnerships to establish themselves internationally is essential to consolidate the efforts of young brands.

3. Recognition and Promotion of Know-How

There is a lack of recognition and promotion of African artisanal know-how on the world stage. Designers often have to work hard to educate the market on the value of their products, which are often perceived as less prestigious than those of established brands in Europe or America. This requires an effective marketing strategy to highlight the authenticity and quality of African craftsmanship. However, this option is expensive and out of reach for young brands without significant resources or investment funds. Investments in strategic marketing and branding are essential to develop a brand image, perfect the story of African history and heritage and finally make a brand known and develop a strong community.

This is the angle on which moonlook.africa is currently positioning itself to support brands in understanding the preferences and behaviors of target consumers groups, developing Go-to-market strategies and key partnerships to help brands find their place in the market.

4. Infrastructure, support and Logistics

The lack of suitable infrastructure and support organizations to structure the sector taints production capacity as well as logistics tools; making it difficult to produce to meet growing demand and integrate regional and international distribution channels. Considering brands under our management, one found itself last year having to relocate its production to China to meet a large order from an American retailer. These “African” products Made in China are a loss of revenue for the creation of sustainable jobs on the continent.

5. Competition with Established Brands

African designers must also face competition from well-established brands that have considerable resources for marketing, distribution and innovation and who often are borderline on cultural appropriation to polish their artisanal brand image. Standing out in a saturated market requires not only high-quality products, but also a strong brand identity that takes years to build.

6. Adaptation to Global Trends

Design trends are evolving rapidly. African designers must be able to adapt to these changes while remaining faithful to their cultural roots. This requires a deep understanding of global market trends, as well as an ability to innovate while maintaining authenticity. Which is not easy to achieve when you have not received quality training to understand creative and effective methodologies.

7. Institutional Support

The support of governments and institutions is crucial for the development of a luxury crafts sector. Favorable policies, subsidies and training programs can help build capacity among artisans and promote African crafts on the international scene. African governments are very often absent from these projects. For them, fashion, design or creation seem to be complex hobbies but in no way strategic sectors that can create value.

These challenges are not exhaustive but already highlight the essentials of what is missing to radically continue to transform the potential of creators on the African continent.

What could support from a virtuous ecosystem change ?

In summary, although the potential is enormous, African luxury artisans must overcome many challenges of financing, infrastructure, branding and recognition to establish themselves in the highly competitive international luxury market. But their unique creativity and ancestral know-how are valuable assets to succeed in this challenge.

And despite these challenges, African craftsmanship has enormous potential to position itself in the global luxury market. With appropriate initiatives, technical support and a valorization of authenticity and know-how, African designers can not only overcome these obstacles, but also become key players in the luxury industry in Africa and around the world.

The task remains arduous, but today, more than 10 years ago, the professional ecosystem around designers is consolidating.