African fashion in the 50s paved the way for women’s empowerment. We unpack fashion’s influence in Africa and how the continent revolutionized global style.
The evolution of African fashion
A great part of the African fashion evolution was influenced by colonisation and Western culture, but over the years African designers and creatives have managed to master the art of merging the two worlds, creating garments that exude originality by going back to their African roots. These designers include Nigerian designer Lisa Folawiyo, whose ability to transform Ankara fabric into high-fashion pieces has revolutionised the way we view Africa’s ability to adopt and recreate
The ever-evolving landscape of fashion has always been a reflection of the time, influenced by seasons, historical moments, culture and trends.Estimated to be worth 31 billion dollars, African fashion makes up 1.2% of the global fashion market, an increase from 0.55% in 2017. Since it originates on one of the most culturally diverse continents, African fashion has gone through different phases from leopard skin to kaftan; crafting a globally recognised post-colonial style.
1950 saw a shift in the political landscape on the continent, from Libya’s independence in 1951 to the South African Women’s March that took place in Pretoria in 1956. Africans were not only striving for change politically; they were finding new ways to deal with colonialism and oppression, and music and fashion became a big part of it.
50s fashion trends
As the world celebrated the end of World War II, Africa was still finding its feet and fighting for survival. This era meant restructuring and change, but it also saw the rise of African curiosity in global fashion trends. “A lot of the same trends popular in the Western world disseminated throughout SA, Nigeria, Kenya and Egypt, such as the fit-andflare femininity of Dior’s New Look, the straighter cut suiting popularised by Chanel, Balenciaga and Dior, and practical sun and wrap dresses as pioneered by American designer Claire McCardell,” says fashion historian Khensani Mohlatlole.
Khensani explains the influence of African American celebrities, where a lot of urban fashion followed the style of popular jazz musicians, athletes and actors. “North African countries like Egypt would also take cues from the Middle East, and you’d often see kaftans. In Nigeria and Kenya, there was evidence of more traditional garments, such as wrappers and tunics.” As the continent was journeying to independence, fashion became a significant distributor to daily activities, which included casual designs steering clear of intricate glamorous costumes, producing linear silhouettes that put less emphasis on the waist.
Popular fabrics
With the continent’s advanced skills in crafting and resources, sourcing fabric was less of a worry and natural materials were at our disposal. However, there were creative restrictions, which meant designers had to tread carefully. But that did not stop African women from remaining poised and elegant, creating garments that exuded confidence and individuality with references from local media publications, which played a big role in highlighting African popular culture in the 1950s.
Although beaded fabric is one of the obvious associations with African design, Khensani explains that for both Western and African styles, cotton was one of the most popular fabrics in the 50s. “Lots of African nations have long traditions of handwoven, dyed and embellished cotton textiles, such as Nigeria’s adire, aso oke and akwete, Mali’s bogolanfini or mudcloth, and Egyptian cotton.” She further explains that South Africa uses a cotton mix in umbhaco (Xhosa cultural attire) and shweshwe (Sotho traditional wear), and has a reliance on animal hide and skin.
African fashion icons in the 50s
We cannot talk about the 50s without mentioning the women who made this era unforgettable. While the world was at Marilyn Monroe’s feet, Africa had its own beauty queens who were setting the tone and paving the way for future generations of fashion followers. Influential jazz artist Dolly Rathebe was at the forefront of South African entertainment. Her style was sought after by many, and her ability to assimilate
Western style with African embroidery and jewellery was fascinating. Egyptian actress and musician Dalida became one of the continent’s most influential artists whose impact in fashion left a mark in haute couture. The list also includes South Africa’s Miriam Makeba, Nigerian Shade Thomas, who became Nigeria’s first fashion designer, and Juliana Norteye of fashion label Chez Julie, who put Ghana on the map by fusing the intricate designs learnt during her time in Paris with local styles. “Beauty pageant queens possessed the same celebrity status as actors and singers, sometimes even more so, and would determine the fashionable ideals of the time. Some prominent pageants included Black Miss South Africa, Miss Africa, Miss South Africa, along with regional contests. There were a lot ofpageants,” explains Khensani.
Empowerment through fashion in the 50s
The rise of women’s empowerment in the 20th century laid a foundation for what would become Women’s Day in South Africa. In 1956, 20 000 women marched to the Union Buildings, led by Helen Joseph, Lillian Ngoyi, Albertina Sisulu and Sophia Williams-De Bruyn. “Two out of four of the march’s most prominent figures both worked in textile and clothing factories,” says Khensani. “Fashion was definitely a significant player in women’s empowerment at the time. The Women’s March and textile unions such as the Garment Workers Union brought women together across colour and class lines to campaign for better pay and living conditions.
Many similar unions played a pivotal role in advocating against the Afrikaner nationalism and sexism of the time.”Fashion not only focused on the exterior; women were forcefully expressing their frustrations through this art form, and it also provided employment. “It was a means of income and livelihood for a lot of these women and their families,” Khensani reiterates.
The 50s style was accessible to every woman, its signature look demonstrated a relaxed, sophisticated appeal that encompassed a play with texture and fabric, from ruffled shirts to tweed suits, and swing skirts. “Many women took to clothing to make a statement against the apartheid government. When you look closely at the images of the day, not only were all the women well-dressed, but there was a conscious effort on the part of several African and Indian women to wear their cultural clothing to the march.”
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