African fashion has been at the vanguard of continental culture for decades, but over the last decade, it has also made its way into global red carpet conversation. What was once confined to Lagos catwalks or Johannesburg pop-ups is now being celebrated on the Met Gala, Broadway openings, and even Hollywood wardrobes. From Nigerian labels like Orange Culture and Maki Oh to Rwandan brand House of Tayo and Ghanaian-British couture by Ozwald Boateng, the reach of African fashion has never been larger. What is so compelling about this shift is not that the clothing is particularly stunning, but rather who is being spotted wearing it and the manner in which that visibility generates a feedback loop towards broader global awareness of African fashion.
One of the highlights of the 2025 Met Gala was thanks to actor Brian Tyree Henry. Always one for a fashion risk, Henry appeared in a red two-piece suit underlayered with a draped textured coat, courtesy of Adebayo Oke-Lawal of Orange Culture. Not only risky but also unapologetically Nigerian in its inspiration. Orange Culture became known for subverting perceptions of masculinity within fashion, and by sporting it upon one of the most-watched carpets on the planet, Henry brought to life in a global audience a Lagos-centric vision that was smart and firmly rooted in heritage.
Jonathan Owens, a husband of Olympic gymnast Simone Biles and an American football player, also ventured into Nigerian heritage at the same event. He wore a hand-weaver-liaising bespoke Aso Oke tuxedo from Deji & Kola. His appearance combined smooth tailoring with the intricacies of Aso Oke cloth, a fabric long associated with Yoruba ceremonies. To have it redrawn on a Met Gala red carpet brought Nigerian textile heritage’s adaptability to a global outlook into sharp focus and firmly placed it within the vocabulary of international luxury.
Not all of it was spent on red carpets. Junior Nyong’o, Lupita Nyong’o’s younger brother, wore a statement white ensemble by House of Tayo during the opening night of Twelfth Night at Central Park, New York. Hand-beaded eye motifs symbolising the dual perspectives of the Shakespearean play embellished Rwandan designer Matthew Rugamba’s ensemble. This was not costuming; it was a quiet assertion that African fashion could bear intellectual and symbolic weight in classic Western drama.
Hollywood’s new guard has also drawn inspiration from African design. Jaden Smith wore the 2025 Met Gala in Ozwald Boateng, a glossy black suit with a grand cape that alluded to Kente print. Boateng, of British-Ghanaian heritage, has been credited with bridging Savile Row tailoring with conversation with African roots. For Smith, who likes to experiment, the look offered a space to merge futurism with the past to create a silhouette that spoke transversally.
Colin Kaepernick, the athlete and activist, also chose Boateng for a burgundy three-piece tailored suit with a flowing cape. The African-inspired trim was not an accident. Kaepernick has used fashion for a long time to comment on politics and culture, and his choice of African-inspired tailoring at a red-carpet event was a reminder that clothes can be both celebration and statement.
The women who have embraced African fashion have done so with the same seriousness. Beyoncé has also gone out of her way to include African designers in her wardrobe. Working with Nigerian designer Maki Oh made the brand international, known for traditional indigo dye and bold silhouettes. When Beyoncé goes out in African fashion, it tends to create shockwaves that reverberate throughout fashion magazines and social media networks.
Michelle Obama once sported a Maki Oh blouse, which was showcased widely as a subtle but strong affirmation of African creativity. It was not just a matter of taste when one of the world’s most public women decided to employ a Nigerian designer. It was a move that opened doors for African brands in the American mainstream.
Finally, Naomi Campbell has been a trailblazer in advancing African designers, often seen in Tiffany Amber or Kenneth Ize. The latter bears witness as part of a larger dedication to bridging African creative endeavours to global fashion frameworks for Campbell, who has been well-engaged with African fashion weeks.
Each of these moments, individually, may appear to be a basic red carpet option. But collectively, they reveal how African fashion is no longer on the fringes. It is being brought to the centre by some of the most prominent faces in culture, and they are demonstrating that the continent’s design language can go everywhere from Lagos to Hollywood.
