Flashmag Digizine Edition Issue 96 August 2019 - Page 25

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Flashmag August 2019 www.flashmag.net

models with black skin who were very present on parades, but perhaps less in the advertising, that's what has changed probably. Once again, this is a progress that pleases me, and shows that sometimes things are moving forward ...

Was it easier to go from model to fashion designer and as a fashion designer did you try to correct some of the disadvantages that you had experienced as a model?

No going from model to fashion designer is not obvious and there are very few examples of success ... Except maybe, Ines de la Fressange... I cannot complain about abuse when I was a model, so I have nothing to correct, but it's true that I'm probably more faithful with the models I work with than most designers.

African seasoned connoisseur of fashion circles, what do you think is missing for African and black fashion in general to reach its full potential? production structures and a market made up of Africans and Afro descendants who are interested in fashion and consume the creations of their peers, or an adaptation of Afros fashion designers to the desire of fashion consumers?

Both: for African fashion to develop, a complete ecosystem must be put in place, ranging from the production of textiles to the manufacture of clothing and accessories, to the establishment of a real market with distribution and buyers through training. It is clear that it is very important that African consumers start by consuming the creations of their creators so that this can develop. But if African creators also want to sell on the international market, they also have to adapt. Not only in terms of creativity, because they must bring a new and singular vision to succeed, but in terms of quality standards, respect of deadlines ... etc.

In the digital era, your creations have since become available on Lago54.com, in what way internet sales have fundamentally influenced your conception of the job of style creators?

It means "the one who wears a garment that imposes". It came from a reflection on the notion of Western haute couture and what would be its equivalent in Africa. This idea of clothing adds to its cultural, personal, social status, but it takes different forms on the African continent and in Europe.

What themes inspired this collection and what fabrics did you use to make it? And how did Mbeuk Idourrou's realization process unfolded?

Imane Ayissi: the initial idea was therefore the confrontation between the idea of the great African boubou and therefore the notions of volume, quantity of fabrics, decorative effect, squares ... etc. And the idea of the notion of tailoring, excellence and precision of the cut, related to the Western body. Then, it is very difficult to explain the complete process of creation of a collection, because there are devious ways, sometimes fortuitous events ... etc.

For a fashion pro like you what is the definition of beauty? Is there a difference between luxury and beauty?

The definition of beauty is a highly philosophical question; it would take more than a day to discuss it. On the other hand, there are many differences between luxury and beauty. There are many different definitions of luxury today, but the luxury is still related to the notion of scarcity and high price, while the beauty can be free and sometimes witnessed, when we know how to look, all around us.

You've been a model for a long time and have had a certain success paring for the greatest fashion designers in the world. In your opinion, do today's fashion models have more opportunities than in your time?

I do not know. It is true that there is a craze for fashion and luxury brands at the moment for models with very dark skin and very African type of beauty, and that's good. Adut Akech for example, which is really beautiful, it must be said, trustees all the covers of the biggest magazines at the moment and is the face of an Italian fashion designer and perfume brand. But in the 90s there were already many famous