Problems Facing African Fashion

Rovine (2009:134) states that African fashion appears in the global, Western-dominated realm of Haute couture as well as in indigenous fashion economies, where designers may draw from International styles yet remain distinctly local. Teunissen (2005: 129) states that is important to seek contact with the Western tastes and international trends. In the light of this both Rovine and Teunissen agree that as important local tastes are, it is also important to step out of borders and find inspiration in all aspects of fashion around the world. In a world where there is increasing globalisation, it is inevitable that contact with other nations will surface in order to further expand on your network. In a world that is predominately ruled by the West, one must their roots with stimulation from them to survive. Rovine (2009:134) goes on to say fashion is difficult to define in a global context, requiring a negotiation of the slippery territory between practices classified as “African” and categories associated with the Western Cultures. The language of fashion is a global phenomenon, though diverse, it needs to have different accents in order to work and stand. Nations must attempt to seek another countries language but treading carefully not forgets their own. The Auto-Exotic Gaze as defined by Teunissen (2005: 129) is a way of looking at your own culture with western eyes and translates it into an ‘exotic’ product that they can offer back to the West. It is important to adapt to the globes preference when seeking to capture attention with Rovine (2009: 135) elaborating that it is important to recognize that the presence of the West in Africa today often constitutes a creative adaption rather than capitulation. In order to progress one must adapt or get left behind! Fashion is, after all, about change, and change happens in every culture human beings are creative and flexible.“ Eicher (2001:17). Teunissen and Rovine capture the essence of Western influence on other culture, thought Rovine links it more with the African roots and Teunissen focuses more on how the West has an influence on other Non-Western cultures and how important it is to seek cumulative from the West.

Teunissen (2005: 130) goes to new exotic inspirations are almost always important in implementing a new aesthetic in fashion and shifting boundaries. Thought the West has an influence in the functionality of other culture, the West also