African Designers’ NYFW Breakthrough Highlights Deeper Industry Challenges

As New York Fashion Week (NYFW) Fall-Winter 2025 draws to a close tomorrow, February 11, the six-day showcase has brought some of the most celebrated names in global fashion to the city. Once sidelined from the mainstream, African designers now command space on the official calendar, and their impact is undeniable. This season, the presence ofAfrican designers highlights not just their creative ingenuity but also the challenges they continue to face in gaining equal footing on the world stage.

Chuks Collins, a Nigerian British designer based in the U.S., has witnessed this evolution firsthand. After working with brands like Ralph Lauren, he launched his label in 2018 and has advocated for greater representation of African designers ever since. "Last season was the first time we had about eight African designers on the official NYFW calendar," he told OkayAfrica. "It took work — many designers don't know how to navigate the system, whether it's creating a proper collection deck or connecting with the right PR agencies."

One of the key barriers remains access to resources. The fashion industry is notoriously expensive, requiring production, marketing and distribution capital. While some designers have the backing of international sponsors, many must rely on personal funds. Even the logistics of participating in a major fashion week — travel, accommodation and venue costs — can be prohibitive.

Collins pointed to a lack of institutional backing as a major challenge for African designers trying to establish themselves globally. "I've contacted many African consulates in New York, and most don't respond. If they do, getting a meeting takes forever," he shared. "But the South African consulate opened their doors to us. We were able to do something we had never done before: host a welcome mixer for South African designers, create activations and invite people who hold power in the industry." Without this kind of structural support, many African designers struggle to access the networks and funding that could help them propel their careers forward.

Cameroonian designer Kibonen Nfi echoed similar concerns to OkayAfrica, particularly around manufacturing. Despite a growing demand for African fashion, the continent still lacks the industrial infrastructure to produce garments at scale. "A continent that does not manufacture is not developing," Nfi states. "We need to look into our raw materials… we're too busy importing from China and everywhere else." Without large-scale production capabilities, many African brands remain confined to small-batch luxury fashion, limiting accessibility to the wider market.

Some designers are turning to technology to work around this issue. Nfi, for example, has embraced a made-to-order model to avoid overproduction and waste. "We don't invest a lot in inventory," she says. "It's a made-when-ordered model, which is very sustainable, as we are not producing many things and then trashing them." She also highlighted the importance of digital security: "Our intellectual property is heavily protected because we work with NFTs and blockchains." Though this approach reduces costs, she acknowledged that producing in high volumes without a well-developed garment industry remains challenging, keeping many African brands in the high-end market rather than the mainstream.

While some see industrial production as the missing piece, Collins took a different stance, arguing that accessibility can be achieved through a stronger mid-tier fashion market rather than fast fashion. "I don't believe in a H&M for Lagos or a Zara for Lagos," he says. "I believe in a contemporary store or concept that can amplify designers and creatives to earn a living." He believes that investment in infrastructure, government support, and a shift in consumer mindset are key to making African fashion more sustainable and widely accessible. Still, this leaves the question of affordability in the here and now.

While designers like Collins and Nfi are gaining recognition at NYFW, their work remains inaccessible primarily to lower-income African consumers. Most designers on the NYFW calendar focus on high-end fashion, with price points reflecting the high production cost. "If it took me $100 to produce a simple Ankara dress because I have to factor in light, I have to factor in labor and all that, and I'm selling for $150, I understand that that might be a lot for some people in Nigeria," Collins explains. Without lower-cost manufacturing options, many African designers find themselves appealing more to Western buyers than to mass markets back home.

Collins re-emphasized that while African designers are making strides, real progress requires financial and structural support. "The same way they're investing in music, they should invest in fashion like that," he said, pointing to the globalsuccess of Afrobeats as an example of what's possible with proper backing. "Fashion has a pivotal role in the whole ecosystem."

For now, global fashion weeks like NYFW give African designers visibility, but without long-term industry support, many will continue catering primarily to Western markets. The challenge ahead is ensuring that African fashion is celebrated abroad and built into a thriving market back home — one that benefits both designers and the consumers who inspire them.