derived from the secret and elitist men’s-only cult of the Ekpe tribe in the Calabar province of Nigeria. It is worn as an oversized ruff around the neck and usually accompanied by a horned helmet and staff. The dyes in the raffia lent them a colour palette for the collection in which olive black, oily yellow and fiery red dominated. Translating the cultural gap, she sums up the national dress: “I suppose it’s the art of costume”. Now the Ekpe masquerade is only seen at festivals, “It’s a bit like Brazilian carnival, it’s all very colourful and you see all the raffia. It was great to put that into London Fashion Week”, says Bunmi. I ask whether her inclination towards spectacle was developed whilst working under showman Alexander McQueen. I’m learning that their response is a typical reply to my comparison: she recognises his influence, but Bunmi clarifies that “there’s Alexander McQueen and there’s also Bunmi Koko”. This designer holds firmly onto her own brand’s emerging personality.
“It’s a bit like Brazilian carnival, it’s all very colourful and you see all the raffia. It was great to put that into London Fashion Week”
“It’s just such a shame that there’s not much of that in the fashion industry. We hope that people can see what we’re trying to do” correctness or move away from attaching themselves to such impacting statements in order to later escape criticism. There is much about this couple that works against the grain of fashion, they feel it is needless to talk in the cryptic ‘fashion speak’ of other designers and claim that to work for them is to be part of the family. Like their name suggests, this willingness to openly wear their heart on their sleeve could appear too saccharine for the hardened heart of the fashion industry, but it is a misnomer you forgive them for instantly upon meeting them. Their enthusiasm is infectious, and with the personal blessing of Nelson Mandela and his wife, there might be something to their unusually personal approach. Unlike the masked warriors they set on the catwalk, there is nothing covering the faces behind this successful young brand.
Less than a week before this interview, Naomi Campbell criticised the fashion industry once again for the retrogressive steps made in the name of ethnic diversity whilst picking up her Special Recognition award at the British Fashion Awards. In contrast, Bunmi Koko’s mission statement boldly promotes multiculturalism within all levels of the brand: ‘At the heart of diversity and inclusion is respect for people of all backgrounds’. “It’s just such a shame that there’s not much of that in the fashion industry. We hope that people can see what we’re trying to do”, says Bunmi, looking to Francis for recognition of a mutual understanding, this is a simple and nonnegotiable expectation of a company that is “trying to change these perceptions” he adds. Growing up, Bunmi’s mother would bring her back Vogue and Harper’s Bazaar from travelling, but she learnt quickly that the width of the spine was not always in direct relation to the variety of the content, “There weren’t any other black designers that I could see anywhere” she tells candidly. Is this too heavy a responsibility for the shoulders of this fledgling design house to bear? Their vision is more than the optimism of youth, it is the foundation to all their work. Bunmi Koko is prepared to metaphorically ‘bare all’ where other designers avoid political
Words / Danielle Dzumaga