.........and the erosion of African identity
African fashion continues to gain international recognition, designers and cultural leaders are warning that success should not come at the expense of identity.
That conversation took centre stage during the Luju Fashion Indaba, where speakers challenged creatives to rethink how African fashion is evolving in an era increasingly influenced by global trends, fast fashion and commercial demand.
Rather than celebrating every modern reinterpretation of traditional attire, several panelists questioned whether some adaptations are slowly stripping cultural garments of the very stories they were created to tell.
One of the strongest concerns came from designers in attendance, who raised the growing commercialisation of Imvunulo, Eswatini's traditional attire.
While acknowledging that fashion naturally evolves, they argued that the cultural significance of garments such as the Lihiya is being diluted as they are redesigned to suit commercial markets.
For generations, the Lihiya has carried meaning beyond its appearance. The colours, patterns and way it is worn communicate identity, history and belonging.
Yet, speakers observed that many contemporary adaptations prioritise aesthetics over cultural significance.
Some warned that younger generations may soon recognise the redesigned versions without ever understanding the stories behind the originals.
The discussion broadened into a larger conversation about Africa's relationship with its own heritage.
Meanwhile, Professor Dr. Brea Heidelberg urged African creatives to critically examine the lasting influence of colonialism on the continent's creative industries.
She argued that many Africans continue to measure success using standards established elsewhere, often overlooking the richness of their own cultures.
Rather than waiting for international validation, she encouraged creatives to embrace indigenous knowledge, traditions and aesthetics as valuable foundations for innovation.
Her message suggested that preserving culture does not mean resisting creativity. Instead, it means ensuring that innovation grows from authentic African identities rather than replacing them.
Fashion entrepreneur Kwenzie Zwane echoed similar sentiments, arguing that African designers possess stories that cannot be replicated anywhere else in the world.
Those stories, he said, represent one of Africa's greatest competitive advantages.
Instead of imitating global fashion movements, he encouraged designers to build brands rooted in their own histories, languages and communities.
According to Zwane, authenticity has become one of fashion's most valuable currencies.
The panel also turned its attention to fast fashion and the growing dominance of international brands across African markets.
Speakers questioned why African consumers continue to invest heavily in imported fashion while local designers struggle to build sustainable businesses.
They argued that multinational brands frequently draw inspiration from African prints, silhouettes and craftsmanship, yet the communities that originated those traditions often receive little recognition or economic benefit.
This imbalance, panelists said, highlights the importance of protecting indigenous intellectual property while strengthening local industries capable of competing globally.
Lecturer Letsiwe Mabuza added that preserving culture should extend beyond museums and ceremonies.
Fashion, she argued, remains one of the most visible expressions of identity, making designers important custodians of heritage.
By incorporating traditional techniques, textiles and stories into contemporary garments, designers have an opportunity to keep cultural knowledge alive for future generations.
However, she cautioned that such reinterpretations should always respect the meaning embedded within traditional dress.
The discussion ultimately challenged attendees to reconsider what progress in African fashion should look like.
........Banks don't bank ideas: Standard Bank Eswatini
Talent alone will not build a fashion industry. That was one of the clearest messages delivered during the Luju Fashion Indaba as designers, academics and business leaders explored one of the sector's biggest challenges, turning creativity into sustainable enterprises.
Although Eswatini continues producing gifted designers, many struggle to secure funding, expand production or reach larger markets.
According to Mlamuli Hlatshwayo, Head of Business and Commercial Banking at Standard Bank Eswatini, one reason is that many creatives approach financial institutions before building businesses capable of attracting investment.
"Banks don't bank ideas. We bank businesses," Hlatshwayo explained.
His remarks highlighted a reality many entrepreneurs find difficult to accept. Financial institutions do not evaluate artistic talent alone. Instead, they assess business structures, financial records, profitability, governance and long-term sustainability.
Without these foundations, even the most creative brands face significant barriers when seeking finance.
Hlatshwayo encouraged designers to strengthen their operations before approaching lenders.
He stressed the importance of maintaining accurate financial records, understanding production costs, developing sustainable revenue models and demonstrating consistent profitability.
He also challenged creatives to stop working in isolation.
According to him, collaboration can help businesses access new markets, reduce operational costs and create stronger value chains capable of attracting investors.
His comments aligned closely with concerns raised by other panelists regarding the fragmented nature of Eswatini's fashion industry.
Letsiwe Mabuza argued that many designers remain disconnected from one another despite facing similar challenges.
She called for shared creative spaces where designers could exchange ideas, access equipment, mentor younger creatives and collectively develop the industry.
Such hubs, she said, would strengthen the entire ecosystem instead of leaving individual businesses to navigate the same obstacles independently.
Fashion entrepreneur Kwenzie Zwane expanded the discussion by pointing to visibility as another business challenge.
While designers often focus on producing garments, he argued that many underestimate the importance of storytelling and media engagement.
"The media has a huge role in this sphere," he noted.
Consistent media coverage, he explained, can expose designers to investors, customers and international opportunities that would otherwise remain out of reach.
Professor Dr. Brea Heidelberg also challenged creatives to embrace entrepreneurship with the same passion they devote to design.
She encouraged designers to professionalise every aspect of their businesses, arguing that creativity becomes more valuable when supported by structure.
Her advice reflected a broader theme throughout the discussion, quality, consistency and professionalism often create stronger businesses than simply producing more products.
The panel ultimately agreed that Eswatini possesses the talent needed to compete internationally.
The missing ingredient is not creativity but the systems that allow creativity to become commercially sustainable.
That includes stronger collaboration, permanent fashion infrastructure, improved financial literacy, greater access to funding and businesses built on solid foundations.
While Eswatini's creative economy continues to expand, the conversation at Luju suggested that the country's next breakthrough may depend less on discovering talented designers and more on equipping existing talent with the business skills needed to thrive.
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