To Vogue or not to Vogue is the question

I really wasn’t going to write this. Thank you Naomi Campbell for saying “There should be a Vogue Africa” specifically during the ARISE Fashion Week, Lagos.

Never was there a more strategic moment. Remember ARISE magazine? It was, for a brief beautiful moment, the most spectacular showcase of African fashion, culture, art, music and politics. CNN anointed it “Africa’s fashion bible”.

Owned by a Nigerian billionaire Nduka “The Duke” Obaigbena, owner of Nigeria’s largest newspaper, This Day, ARISE magazine was a literary diamond polished to glorious radiance by editor Helen Jennings. She cracked Africa marvelously. Kenyan stories did not particularly get centre stage.

Back then we were recalcitrant pre-teens in an adult world, knowing little of ourselves and our potential. It was aeons before anyone could have conjured up A-List star Lupita on three Vogue covers. ARISE disappeared mid 2013. Just like. Its corresponding TV station on Sky TV vanished, later stripped of its license. Google “what happened to arise magazine”. You get exactly 127 million hits. Ironically, ARISE Fashion Week is a This Day property revived by public demand.

It would be easy to dismiss my perspective from here on as one that is in defence of my turf. This would be insane and simplistic. I rejoiced when Vogue Arabia picked a style icon cum princess as an editor for her vast networks and reputation.

Heck, I even wrote about it here! I marvel at all the growing number of international Vogue editions (23), Elle (45), Marie Claire’s 10 brand extensions and yes, the most successful magazine in the world for young women, Cosmopolitan (64) – which lasted in the Kenyan market for all of what, 5 or 6 months a decade ago.

NO NEED TO RUSH

I simply do not think Vogue Africa is an idea we should rush to debate. Not when local and regional fashion brands are struggling. Not when the majority of Kenyan women will hardly take a leap of faith when it comes to style. Not when our own celebrities do not understand the potent nature of being a vibrant brand, as an individual, with enough machinery to sustain and even feed a village.

Not when hairstylists have such a slew of safe, conservative clients. Not when film and music still haven’t tapped into fashion. Not when tech only means social media to the fashion industry.

Not when young creatives turn into copycats to make a living instead of innovators who understand the value of expression. Because this is the fuel that drives fashion. 

Behind all this Vogue chatter lies one overlooked point – business. South Africa and Nigeria are recognised as home to African fashion. They generate far more interest, social capital, cachet and savvy. We know this.

That’s why we laud their culture, style and celebrities. Their desirability factor is high even to the untrained eye. They are also straight up capitalist economies allowing influencers to make a solid living with a cross-section of gigs. Personalities can collaborate with brands and sell. Nightlife is lit and sponsored. Image, that thing we love to hate as hollow and insignificant, make the engine of a powerful car.

The pulse of Africa beats stronger yonder than it has ever throbbed in Nairobi. Despite our very cosmopolitan, melting point feel and the spectacular advantages we have as locals. I swear to you all there is nothing to fear about that West African swag.

We have a lot more going for us over here. A Vogue Africa could likely be a digital version to minimise challenges of distribution. Africa, as we love to remind America, is a continent; with its oddities and peculiarities generously sprinkled across a people and regions. A print Ryan Coogler would certainly struggle appeasing us all with a Pan African rendition. Someone is going to feel left out.

The beauty of this conversation though is this. Vogue, like any other magazine, nay, business, thrives in a strong capitalist environment with a solid consumer base. In a market where readers are willing to spend substantially on fashion, beauty, lifestyle, events, arts and culture because basic needs have been met. Where politicians willingly have incisive interviews.

Should Vogue come home it would be an indicator as to how the middle of the financial pyramid is swelling pragmatically and on the ground. Not in theory.

Of course it also means more credit card debt. Still, a Vogue Africa that actively includes Kenya’s contribution would be a leap towards unifying a fractured industry. The thing is, we are not yet Vogue. We can see what we can get from them. But what do they really get from us?

This is the crunchy part. The sheer investment Conde Nast would have to make to realise this dream does not just ask a lot from them. It demands a lot from us.