by Dimeji Alara

Former fashion editor of ELLE South Africa, currently weekly columnist of Grazia South Africa and freelance stylist, Asanda Sizani talks exclusively to Dimeji Alara about her personal style, what makes a great stylist, racism in fashion, why she’s looking forward to visiting Lagos for the first time for the Lagos Fashion and Design Week and more. All photographs by Trevor Stuurman, Tsholo Dikobe and Ulrich Knoblauch.

Asanda Sizani and I

How would you describe your style?
Colourful, whimsical and modest. My style is shaped by bygone eras, art, music, global cultures, tradition, film and the women of style and substance who raised me. I love clothing that have tactile detailing and a mad explosion of print. I love streamlined, clean lines, but also complex drapes and vibrant colours. I also love playful items with a sense of humour. I am very resourceful and always find pleasure in layering simple pieces and making it look more interesting.

How has your style evolved?
My style has not evolved very drastically. I have loved unexpected styling, demure lengths and sophisticated dressing from when I was in my early teens. My skirts were calf-length and I loved volume. I clashed prints, for example a cartoon print with polka dots at 13. I began collecting ties, hats and vintage brooches when I was 16. I loved classic, quality pieces, vintage and quirky styling then and still do now.

Fashion blogger, Bryan Boy and Asanda Sizani

What would you consider this season’s must haves and why?
I don’t believe in seasonal dressing. The key pieces every woman should invest in are items that have longevity beyond just one season. A perfectly tailored, cropped tapered trouser in the best quality you can afford; an impeccable white shirt because it’s a classic staple; a lightweight, sporty minimalist coat; a kimono inspired jacket – think Etro; a quality denim item that can be dressed up or down; a romantic dress, for example a trapeze dress – Iike at Mary Katrantzou, or a feminine ruffled one like at Gucci or sheer with floral appliqué like at Erdem; the new low heel like at Anna Sui and Louis Vuitton; a ladylike top-handle handbag in premium leather. My favourite item, which was also seen on nearly all the menswear collections, is the plain white 100% cotton T-shirt. These items are relevant in terms of the fashion trends now, but will see you through season after season.

How would you rate the African fashion industry on a scale of ten?
I would say 7. There have been great strides in the last few years and we are coming to our own. Africans are realising the need to not be copycats of what is happening internationally, but realising our own potential as innovators, not imitators. We are not in the same position we were in say five years ago – we are trying.

What do you look forward to the most about the Lagos Fashion and Design Week?
It will be my first time visiting Lagos. Oluchi said to me last week, “What took you so long?” And I wonder that indeed. I have heard so much about Lagos’ vibrancy. It will be worlds apart from quiet Cape Town. I look forward to discovering new design talents, reconnecting with Nigerian friends, networking with new ones and being inspired.

It’s going to be your first time in Nigeria. What are you expectation of the designers? 
I expect a fashion feast!

Which Nigerian designers are you familiar with and which are your favourites?
Maki Oh, Ituen Basi and Jewel By Lisa. Their work is contemporary and they have a strong signature. It is fashion-forward, but also has a commercial edge.

What do you think makes a great stylist?
A stylist does more than just put outfits together. There is a ton of research involved. A good stylist puts tireless work into what they do and goes the extra mile. They love what they do with passion. They obsess over their work. They also have a clear vision which they can articulate, as sometimes a stylist must put mood boards together and liaise with the client. They are committed and dedicated to their vision and work well with a team – it’s always a joint collaboration between the photographer, stylist, art director, hair and makeup.

Who are some of your favourite stylists?
My favourites in fashion editorial and film costume design include Grace Coddington, Patricia Field, Chris Viljoen, Julia Sarr Jamois and Sharon Becker. I also like personal and image stylists that work with every day people, helping to regain their confidence like Gok Wan and what Nina Garcia does on Decoding Style.

What do you think is the biggest challenge facing the African fashion industry and how do you think it can be solved?
Financial support when funding is given out. Many fashion businesses are barely surviving and it breaks my heart to see that. Access to quality textiles is also problematic. The African continent also needs to work together to support each other grow. We must buy African design, and value our own just as much if not more than international brands. We must all do what we can to support the industry, and create solutions to the problems.

Would you say racism is still a big issue in fashion? 
It would be naïve to say that racial prejudice is no longer an issue in the fashion industry. We are still discussing the lack of diversity on the runways, within the editorial teams of fashion magazines and in model agencies. Words such as “tribal” that perpetuate stereotypes are used. We are fortunate in Africa in that we do use as many of our strong diverse models as possible, but I sometimes struggle to find Black models for editorials. Some agencies will send one or two. Once, an agency told me they do not have any Black models within their agency. I found that appalling. Glossies also feature very few cover models. The balance isn’t right. I am tired of seeing Beauty pages of most glossies cater to only Caucasian women. Not just in the images, but the content – for example not including hair and beauty products that are specific to Black women. The entire industry needs to make a conscious effort to include people of colour. In fact, we demand it. We must do away with jargon that is insensitive and uninformed. We need to speak up and speak out about these issues. It is a problem that is real everywhere – not just within our industry. We need more Bethann Hardisons if we want to see change happen.