This collection is an extension of the Yiminwe circle artefact. I explored traditional African hand craft techniques and applied them in a contemporary manner. The purpose is to document processes to contribute content to the decolonisation of fashion education. This aligns with my research as I explore my positionality as a white designer and educator in fashion, and how I can contribute to the decolonisation of fashion education. The fingerprint motif throughout the collection represents my contribution, while celebrating African craft.
Pan-African hand craft techniques are explored and applied to contemporary fashion silhouettes. Hand carving is explored through Lino carving of the signature fingerprint motif from the Yiminwe collection, which is then hand stamped in a large format to garments as placement / all over prints. Oversized sportswear inspired silhouettes and finishes bring inspiration from a traditional and historical space, into a contemporary celebration – connecting my collection with my research, where I also touch on the concept of appreciation vs appropriation of a culture.
Head shrines are a prominent feature in cultures across the African continent. This concept is explored and represented through oversized fashion headwear, accessorizing and complimenting the garments. The headwear is created from different techniques previously explored in the Yiminwe circle artefact, such as braiding, hand stitching inspired by scarification and accentuation from cowrie shells details. By looking at the collection, the audience can identify the cultures explored, appreciating them in a contemporary space, creating a renewed excitement to learn about African techniques that should be primary content in fashion education.
