Probably to coincide with New York Fashion Week, Vice released the Nigerian installment of its “Fashion International” series. It’s not bad considering how Vice usually treats Africa (reference: Congo, Liberia and Ghana) and it definitely captures some of the energy of Nigeria. But it can’t help itself. We’re barely a minute into Vice’s report (“looking for something beautiful behind the depressing headlines”) on Nigeria’s 2011 fashion week when we’re told Lagos is troubled by “civil unrest, religious tension and wide-spread corruption” that “have lead to calls for the resignation of long-standing president Goodluck Jonathan.” Pretty prescient. The first Nigerian to get some words in is the “fantastically named” fashion week’s organizer Lexy Mojo-Eyes “who looks like Don King”; next up are the fashion week’s female models (but it quickly gets too “naked”, so the reporter moves on to the male models), wondering why they love “to represent Africa.”

It gets better after the 5:00 mark, pitting general male vanity against the recently proposed self-righteous anti-gay bill and homophobic sentiments in local press. (We’ll ignore how the reporter slides from ‘traditional African beauty’ over ‘pure Nigerian beauty’ to back-stage ‘pure Nigerian chaos’ — do French fashion back-stages look anything less chaotic?)

It’s a decent document (and rare in its portraying of gay figures –albeit in a stereotypical fashion context– where Nigerian pastors and politicians would rather see them outlawed).

One question though: what is it about “being on a yacht under African skies” that makes journalists “lose control of [their] senses”?

Further Reading

No one should be surprised we exist

The documentary film, ‘Rolé—Histórias dos Rolezinhos’ by Afro-Brazilian filmmaker Vladimir Seixas uses sharp commentary to expose social, political, and cultural inequalities within Brazilian society.

Kenya’s stalemate

A fundamental contest between two orders is taking place in Kenya. Will its progressives seize the moment to catalyze a vision for social, economic, and political change?

More than a building

The film ‘No Place But Here’ uses VR or 360 media to immerse a viewer inside a housing occupation in Cape Town. In the process, it wants to challenge gentrification and the capitalist logic of home ownership.