The Rise of Afro-fashion: A 3-Part Series

The recent rebrand of fast fashion brand PrettyLittleThing and the current web of creative upheaval in high fashion have fashion lovers and consumers alike searching for stability in the industry. If it’s not a complete transformation in aesthetics, then it’s a tangled web of exits, appointments and unexpected moves of creative directors. This decade has seen Western fashion houses scrambling to keep up with the ever changing socio-cultural climate and the constantly shifting needs of Gen-Z’s hyper-consumerism and how it shapes their identities. Though their adaptability to change is admirable, one thing remains clear: Western fashion is dying. 

Before we begin, I want to clarify that by “Western Fashion,” I mean any clothing brand that was founded, based, and operates in the Global North, excluding brands from Asia, Africa, or South America. 

Market trends in the industry have increasingly highlighted Western fashion’s constant struggle to maintain relevance and popularity in the cultural zeitgeist. In June 2024, Business of Fashion released an article titled, “The Fashion System Is Creaking. Will It Collapse?” written by Imran Amed. In it, he stated, “There are a variety of forces at work, but I think it has something to do with a gradual breakdown of the social contract between creatives and their corporate bosses, who are not championing creativity in the way they once did.” And I couldn’t agree more. 

Major luxury houses like Kering, LVMH, and Chanel are showing signs of internal struggles, hinting at potential structural shifts in the industry. With departures of Gucci’s Alessandaro Michele and Sabato De Sarno, the “revitalisation” systems are proving to be nearly unattainable.

I would also go on a tangent to say that Western fashion houses are not entirely on the total brink of collapsing, thanks to the new generation of brands taking creative risks and crafting unique identities–labels like Loewe, MiuMiu, Avavav, Schiaparelli, DSquared2 among others. But is this enough?

The fashion industry is fiercely competitive, and more diverse than ever. Millennials and Gen-Z’s are seeking a newness in fashion, one that will outlive whatever “core” is trending. In the last 20 years, Western fashion has undergone a de-evolution. Brands like Gucci, which once thrived on maximalism, or PrettyLittleThing, which drove influencer fashion to the moon and stars, are now chasing internet micro-trends like corporate core, quiet luxury, or the old money aesthetic. Consumers are shifting toward independent designers that offer fresh perspectives and cultural authenticity. (Key word: Authenticity). 

It is now unable to sustain itself, proving its lack of identity by constantly mirroring shifts in pop culture, socio-economic conditions, and political climates. For instance, the 2000s marked a departure from the corporate aesthetics of the 1990s, embracing maximalism with low-rise jeans and oversized logos, where status symbols were worn loudly rather than subtly. Flashy accessories and denim dominated the scene with heavy influences from hip hop culture (propagated by the Black community), while the economic optimism of the early decade fueled a more-is-more mentality. However, the 2008 financial crisis ushered in 2010s’ soulless minimalism, where austerity was reflected in fashion, with skinny jeans, muted palettes, impractical high heels, and an obsession with designer sneakers. 

Now, in the 2020s, Western fashion has become increasingly fragmented. Ultra fast fashion brands like Shein and FashionNova churn out micro trends at breakneck speed, making it difficult for any one aesthetic to dominate for long. We are now in a cultural shift where skinny is back and conservatism is in. The rise of quiet luxury,  the “clean girl aesthetic,” and the “old money aesthetic” signifies a return to understated, timeless pieces, toned-down makeup looks, and a less- is-more approach. This reflects a broader conservative cultural shift, with trends that romanticise traditional gender roles like the “tradwife” and the growing  adoration of traditional femininity and modesty. 

This generation has left the fashion industry confused. Unlike previous decades, when a trend would last for at least three years, we are now faced with a new trend every three to five business days. Western fashion houses are caught in a frantic effort to maintain their identity while staying impactful. 

So…which is it? What will the Western fashion industry look like in five years, two years, a month? Not to mention how it is heavily intertwined with racial dynamics, particularly in how Black bodies and aesthetics have been commodified. 

In the late 2010s, the rise of club style fashion, often characterised by bodycon dresses, biker shorts, and over exposed crop tops, became synonymous with the glorification of Black female bodies. Celebrities like the Kardashians, who famously latched onto features like fuller lips and curvier hips (traits naturally associated with Black women), capitalised on these aesthetic choices while often distancing themselves from the culture that inspired them. This trend, like many before it, helped brands like PrettyLittleThing, Fashion Nova, Boohoo, and Shein thrive by marketing clothing that celebrated curvier, Black-inspired beauty ideals and what is known as BBL Fashion. These brands prominently featured Black and Brown models, presenting an image that was aligned with these looks. 

However, as the decade shifted, so did the trends and the narratives around beauty. The rise of quiet luxury and the clean girl aesthetic, which promotes a more minimalist, natural, and “effortless” look, have moved away from the previously celebrated curvier, louder beauty standards. With the resurgence of the skinny ideal and the Ozempic mania, often accompanied by conservative, old money inspired aesthetics, brands like PLT began to rebrand, shifting a focus to slimmer, whiter models, reflecting a more homogeneous, Eurocentric standard of beauty.

This pivot highlights the cynical nature of  Western fashion that commodifies marginalised aesthetics when they are trendy and profitable, but quickly abandons them when they no longer fit the dominant cultural shift. This dissociation of Black bodies from these new, conservative archetypes illustrates how Western fashion, once again, molds itself to dominant social and political movements. 

The instability of Western fashion, driven by fleeting consumer trends and shifting cultural influences, stands in stark contrast to the sustained authenticity and reinvention of African fashion. Unlike western brands that cycle through aesthetics like the plague, Afro-fashion remains deeply rooted in heritage while evolving in a way that does not compromise its originality.

In the next part of this series, we’ll dive deeper into how African fashion isn’t just holding its ground but actively shaping the future of the global fashion industry. As western fashion struggles with its identity crises, Africa is stepping forward with a blueprint for the future of fashion.