African fashion "it's part of our culture": meet Alphadi (left)--real name Seidnaly Sidhamed Alphadi--the pillar of the creative world of African fashion. As one of Africa's best known male designers, he has made Africa proud in Europe, America and of course Africa itself, climbing many hurdles on his way up. His creations as seen on these pages, are breathtaking. Feriel Berraies Guigny profiles and interviews the icon.

Alphadi is the founder of the International Festival of African fashion (FIMA), and is also the chairman the Federation of African fashion designers (FAC). Through his African fashion events and the biannual FIMA, he has always strived for the just recognition of African culture and fashion. His career, which spans 20 years, has been a constant struggle as he has fought to put African fashion in its rightful place--there among the best in the industry. An unrelenting fashion activist and a visionary, he has managed to introduce his fashion house into the inner luxury circle.

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For Alphadi, Africa's creations are synonymous with richness and diversity. His creative universe is the sum total of his life, his multiculturalism and his human encounters. His couture designs are a faithful ambassador to African roots, but they also depict the best of pan-African design. He was born Seidnaly Sidhamed on 1 June 1957 in Timbuktu, Mali, of a Touareg father from Niger and a Moroccan mother, who were both traders. Growing up in Niger with his eight brothers and sisters, Alphadi discovered at a very early stage the fun of putting make-up on his sisters and mother. He would also spend hours watching Bollywood films admiring the work of make-up artists and how they would enhance women's beauty. But growing up in a Muslim country meant that fashion was an area forbidden to boys. His father wanted him to become a doctor or to take over the family business. After completing his baccalaureate, Alphadi chose to study tourism in Paris. Coming to Paris enabled him to get closer to the world of fashion. He started attending shows and taking evening classes at the Chardon Savard Workshop. At the end of his studies, he returned to Niger to work as director of the Tourism Ministry. Nevertheless, his passion for fashion did not diminish and he continued to hone his training in fashion design.

In 1983, he decided to devote himself entirely to fashion. Two years later, he created his first Haute Couture range, which he introduced to the world during his first fashion show at the Paris International Tourism Exhibition and it was a runaway success! Since then, Alphadi has gone from strength to strength. He now organises fashion shows in many parts of the world including Niamey, Abidjan, Paris, Brussels, New York, Washington, Quebec and Tokyo. He is also the proud owner of a number of boutiques in Africa, the United States and Europe which bear the internationally acclaimed label: ALPHADI.

In 1987, the French Federation of Couture and Ready to Wear awarded him the accolade of "Best African designer", which is just one of the many international awards he has been bestowed with over time. He also holds breathtaking fashion shows around the world, which without doubt set a benchmark for the African continent.

Despite all his success, Alphadi has never betrayed his roots or the richness of his traditions. His designs tell the story of a people--the ancient reference points of Songhai, Zarma, Bororo, Hausa and Touareg.

Here are excerpts of his interview with New African Woman.

What is the current state of fashion in Africa and what should we do? Do we need to kill some taboos?

I think African fashion is growing; we are now increasingly present at exhibitions and we are also at many fashion shows. The FIMA is a great arena. I also believe that African fashion continues to face some misunderstandings, because some tired cliches are hard to shed. Some African governments are not always very positive towards this industry and it is difficult to get funds for investment in this sector. Yet fashion is part of the culture and it is vital for the development of a country. It also underpins a positive image. I am convinced fashion creates jobs and that is why I continue to fight for its rightful recognition. This is more necessary because African culture is a culture of beauty; we must strive to protect it. It offers chances for creativity.

It's not only about designers. Africans who can afford to must also invest in the sector. We must encourage African designers. It is not always a question of money. There is a certain unease, leading investors to prefer Western brands to homegrown brands.

But in some regions, African fashion is increasingly gaining recognition: in Gabon, Cameroon, Cote d'lvorie, true African design is sought out. But in Niger, Mali, Senegal, things are moving more slowly. Some parts of Africa are afraid of modernity, especially if they are strictly religious. But there is also another Africa, which wants to progress and grow. African modernity exists in fashion and this is not an antithesis to religion.

Apart from your fashion crusade, what else is your priority in Africa?

I am fighting against poverty, and I am also an ambassador in the fight to combat HIV/Aids. But I am constantly promoting African culture. I want an authentic culture--a culture with a human face--where you can discover the wealth of talent from our continent. I have always defended the mixed rapport between the West and Africa, we must see the advantages whilst shying away from potentially dangerous shortcuts. In terms of cultural exchange, there is much to be done and we must take advantage of positive initiatives.

Fashion creates jobs and provides resources for the country. My collections are manufactured in Niger and Morocco. I reject the idea of Chinese manufacturing, even if that is cheaper. For me, we are capable of manufacturing in Niger, Morocco and Tunisia. Tunisia is the next stop, inshallah--with AfDB [African Development Bank] participation. Why not?

Do you think there is a link between fashion and politics?

I was once an adviser to the late President [Ibrahim Mainassara] Bare. But in relation to African culture I'm still very active and I am also a goodwill ambassador. I have remained an adviser to many ministers in Niger and I encourage them to become more open to culture, to provide grants in this field, to create jobs, organise shows and to give a chance to African artists so that we can stop the brain drain to the European eldorado where many of our people only end up doing unwanted dirty jobs.

It is about time Africa stopped begging. We need to work to further our own interests and we must demonstrate more imagination, creativity, willpower and endurance. If we stop the mistakes of the past and the politics of victimisation, we can be masters of our own destiny and architects of our new history.

What do you think about the dominance of Asian textiles in Africa? Some fabrics are copied and brought back cheaper from China, for example.

It is a very serious problem and it can do us a lot of harm. Our African leaders and their policies have not done enough to deal with the problem. The Chinese investing in our continent see Africa as a market where they can sell their products, even if that leads to the asphyxiation of local production. They are also taking away the little jobs that we have created. Apart from that, 25 to 30 years of local design are threatened by the phenomenon of copying African designs.

In addition to actual clothing, we must not forget that they have also infiltrated the textile sector, with reproductions of poor quality and cheaper batik, basin, and wax. Some of these investors are ultimately gagging Africa.

You draw your inspiration from African cultural diversity; how do you blend it with the West?

I blend African embroidery, colours and, trends, because they are a testimony of our heritage. Africa in essence and values is now a blend which underpins the coming together of people with openness and tolerance. My ambition is to see Africans able to export to Europe, the United States, whilst remaining at home. In Niger, I have built large estates such as the ALPHADI mall in Niamey, which brings together fashion, music, culture under one roof. We want to be able to exhibit at home. In Bamako, we have a second ALPHADI mall, which includes 80 stores where African textiles, jewellery, etc, are promoted. These malls are the showcases of Africa to the world.

Tell us about FIMA, its challenges and limitations, and who will be the host country for the next one?

The last FIMA in 2007 was a wonderful opportunity for young people--for the first time we offered the opportunities to 300 music groups in Niger. The Street Wear has entered our way of life--Didier Awadi and Stomy Bugsy came to FIMA.

We are preparing FIMA 2009 and it is a real economic challenge as we want to give designers their own stands and the opportunity to sell direct to big groups such as Galeries Lafayette, H&M and others.

What is the theme of your collection at the moment?

I have created a very fluid range, light and transparent. I wanted to mix silk and other textiles. The idea was to go towards international fashion whilst using African influences, as well as those from the Maghreb and West. You will find in this collection African tunics but also revisited versions of Moroccan kaftans, sarouals, djellabas; dresses with corsets. There is a lot of embroidered silk, with motifs from East and Central Africa. The ALPHADI corsets are handmade and incrusted with pearls. The colours are a pastel palette.

Who are your African icons/inspirations?

During our last fashion show in Cote d'lvorie, we wanted to pay tribute to the late model Katoucha. In the past, I have worked with Naomi Campbell, but I now want to bring my icons down to earth; I am designing for all women, who enjoy wearing ALPHADI and embody the ALPHADI ethos.

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