Boateng talks about his vision of fashion

What makes a man a “man”? Certainly not the size or girth of his bank account, nor his ability to down a six-pack. In the inaugural issue of GQ Style, Savile Row designer Ozwald Boateng who is photographed for the cover and an inside fashion spread, discusses his philosophy of style, his vision of the African future and his latest film, A Man’s Story.

Beyond simply documenting the past 12 years of his career as a fashion designer, the film which premiered at Africa Fashion Week towards the end of last year, touched on the deeper personal aspects of his life, offering a glimpse into his experience as an African visiting the continent for the very first time.

For those unfamiliar with him, Boateng is a second-generation Brit of Ghanaian decent.

He came from humble beginnings but soared to great heights and is a living testimony of Africa’s artistic and economic potential.

He has designed suits for presidents and international celebrities alike, including suits worn by various characters throughout The Matrix trilogy.

He was creative director of menswear for Givenchy between 2004 and 2007.

Instead of selling out to one of the major fashion conglomerates that run the industry, Boateng remained headstrong and independent.

He is planning a $150 million expansion before 2016, which is likely to ensure his rightful place in the zodiac of top luxury brands.

To this day he remains the only black designer in Savile Row offering a synthesis of traditional British tailoring and contemporary Africana.

He’s been referred to as the “black Tom Ford”, “the African Armani” – and while these compliments certainly honour the designer – the truth is that Boateng is completely original.

His first visit to Ghana was an overwhelming experience.

For once, he was no longer in the racial minority.

This experience inspired and strengthened his sense of “Africanness”.

Africa has always been of utmost significance to him: not strictly from an ancestral perspective, but also as a continent of prospects. His parents insisted that he remain connected to his cultural identity throughout his life.

The tradition of storytelling, for example, manifests itself through his preoccupation with film, as well as through his elaborate and deeply symbolic collections that always tell a story.

In several African cultures a young man is expected to leave the homestead to seek work abroad in an effort earn respect.

Upon returning, the wealth he has accumulated is reinvested in the homestead as a way of of earning the right to be called a “man”.

This particular rite of passage is reflected in several of Boateng’s humanitarian efforts throughout Africa.

For him, “it’s a sense of cultural responsibility”.

The Made In Africa Trust is an NGO that he and a small collective of like-minded friends started.

The organisation focuses on sustainable development in African countries. Areas of focus include new technologies (cellphone banking, etc), renewable energy and intra-continental transportation.

“When people talk about Africa being poor, that’s absolute nonsense. After all, it controls 50-70 percent of the world’s natural resources. That’s huge. The question is: ‘How are they tapping into their resources and how are those resources being managed?’

“The key to development is infrastructure. By developing the infrastructure, these countries can begin taking advantage of their resources.”

Boateng believes many of the issues that afflict Africans can be solved through sustainable industrialisation, and by developing a transportation system that would make the distribution of food and medication possible. One of the key organisations Boateng is investigating is the Himalayan Foundation, which tries to alleviate famine and poverty in India by planting Pongamias, a “miracle” tree that provides bio-fuel, grain and shelter in even the most arid conditions, and in doing so provides a source of income to local farmers.

Political corruption and lack of co-operation among nations are Boateng’s biggest concerns.

SA – a country with a great deal of infrastructure – is in a position to assist neighbouring countries. However, in his opinion, it hasn’t taken enough of an active stance.

“The only way this continent can develop is as a whole.

“To unlock the unimaginable wealth of the continent, African nations first need to start connecting properly.”

In his final offerings on the continent, Boateng spoke about the African diaspora, particularly those of Africans who have been successful abroad.

“I think they need to understand that they are going to be responsible for the future development of this continent.”

Africa needs to develop on African terms. Africans abroad need to be more involved in the continent’s steady evolution.

In this age, fashion has evolved beyond the aesthetic. You need only look at SA’s 46664 brand to know that this is true.

The fashion industry as a whole is one of the highest grossing sectors of the international consumer market, and therefore, also holds one of the greatest potentials to become a life-changing instrument.

A Man’s Story, is a poignant reminder of our humanity and an homage to traditional modes of masculinity that place the notion of community and social responsibility before that of the ego.

The man of the future is not only fashion conscious, but self-aware and conscious of his responsibility to his immediate and global community. In this sense, Boateng’s film is not just A Man’s Story; it’s every man’s story. - Sunday Independent