In brief
Ghana’s Black Star Fashion Week wrapped up on a Saturday in Akosombo with designers displaying heritage‑inspired outfits amid music and dance. Speakers including the event coordinator and prominent designers highlighted the creative process and called for increased investment and media attention. The gathering brought together traditional leaders, government officials and international partners to discuss opportunities for growth, tourism and global collaboration.
On Saturday night, the final showcase of the Black Star Fashion Week unfolded on Akosombo’s presidential runway, drawing traditional rulers, government officials, industry leaders and international partners to the eastern Ghanaian town of Akosombo. The gathering welcomed models as they walked past displays of vivid fabrics and dramatic silhouettes that echoed Ghana’s cultural heritage, setting the tone for a night that celebrated both the country’s artistic legacy and its contemporary fashion scene.
The week‑long event had taken the temporary capital’s blank slate and turned it into a stage for music, dance and haute couture. After a clear, organized two‑day schedule, the Saturday evening run‑way felt like a culmination of days of design, willingness and ingenuity, all under one roof – a presidential runway that was planted between historic riverbank trees and the recent high‑tech resorts that host Ghana’s elite.
During the opening remarks, Rex Owusu Marfo – coordinator of the Black Star Experience Secretariat – emphasized that the week’s coordination “was a move away from conventional city halls into a serene, well‑resourced area” so that the event could showcase the beauty of Ghana beyond its capitals. He stated that the goal was “to position Akosombo as a premium tourist destination” while raising Ghana’s profile in the global fashion industry.
In a parallel address, designer George Tetteh noted, “A lot of things go into a creative process, but predominantly it is our heritage, our culture, and then also fashion trends and everything that comes together for a creative to make a collection.” Tetteh’s comments were captured in a
“Ghana has to make it an intentional effort and investment and then also create avenues like this for us to be able to show our work.”following him. His message reflected a broader sentiment that the raw creative spark behind Ghanaian design must be matched with systemic support.
Designer Titus Nartey Doku also contributed to the conversation, stressing the importance of repurposing used garments. He added that clothes that once existed should “become trendy designs” rather than clubbing the neighborhood garments in one layer and send them to an airport for disposal. He called for a concerted effort from the media, buyers, and the government to “push the designers out there, outside the shores of Ghana.” The designer’s comments echoed the week’s underlying demand for visible pathways that connect local talent to international markets.
These remarks were not made in isolation; they were part of a larger conversation that took place after industry leaders gathered around a conference table at the local hotel. The discussion addressed the mechanics required for Ghana to export its fashion techniques; attention was turned to the local textiles sector, press attention, and the role of buyers in global fashion itineraries.
The presence of traditional rulers added a dimension of cultural continuity. The chiefs, host to the event in many different capacities, expressed buoyant excitement about the creativity that had descended on the region. Their participation served as a stamp of approval that the event was not simply a commercial or media exercise, but a community affirmation of Ghana’s cultural capital.
International partners turned their focus toward potential collaborative ventures. For instance, an unnamed consortium of fashion agencies from Nigeria and the United Kingdom had set up a booth at the exhibition, absorbing designs made by young Ghanaian fashion houses. The group was interested because the week’s fashion runway had highlighted the use of local patterns, which a lot of designers said were unique to Ghanaian communities. They pointed out that this uniqueness could be a selling point for foreign buyers who value authenticity and local heritage.
The exploration of how Ghana’s fashion can be integrated into the tourism sector was substantiated by the fact that Akosombo, the obvious holiday spot of the region, was the location of the event. The secretariat of the event coordinator was optimistic that an intensified partnership between tourism and fashion could serve a two‑pronged goal: one, spark visitor interest in the new cultural landmark designs, and two, attract tourists with a leaning toward sustainable, locally driven products.
Despite a shared optimism, the committee’s statements left several open questions unanswered. How will government investment be allocated? What concrete media briefs are being drafted to promote Ghanaian designers abroad? And does the local textile industry have the capacity to supply modern, high‑quality materials in the numbers required?
These questions underscore the next steps for the fashion week’s stakeholders as they move beyond the runway. The expectation set by speakers such as Marfo, Tetteh and Doku is that the next year's events will build on the momentum, ensuring that Ghana’s
