The politics of fashion and beauty in Africa

44 | Feminist Africa 21
identities. The characters are not just dressed, but have their own styles.
An African City forces the viewer to defamiliarise the familiar and wait in
anticipation for what the women will wear next, knowing that one character’s
dress is not simply substitutable for another. As a case in point, the show’s
executive producer, Millie Monyo, states that:
everything the girls wear tells a story. In season 1, you will notice Nana
Yaa’s evolution from when she first returns and slowly see how her
fashion choices change with the more comfortable she becomes with
being back home. If you pay close attention you will see that the fashion
in the series is telling a story all [on] its own. 2
Moreover, the show demonstrates that African fashion is indeed geographic
by using designers who have retail locations across the globe. Finally, by
putting the show on YouTube, the fashion trends gain a broader reach and
contribute to the production of a cosmopolitan sartorial mapping of African
women. In sum, through the conscious use of fashion and upscale spaces
as a counter narrative in An African City, the show’s creator promotes a
postcolonial approach that dislocates the hierarchical divisions that “continue
to ascribe innovation and dynamism – modernity – to cities in rich countries”
(Robinson, 2006: 2). By inserting fashion as the sixth character on the show,
the narrative that African women are “the people without fashion” (Allman,
2004: 3) is displaced.
The Afropolitan Answer or the Afropolitan Question?
We’re showing a different view of Africa that, for some people, they say
they didn’t even know existed. They didn’t realize that there’s people
in Africa spending money, who have money .... And fabulous clothes!
People have no idea that this actually exists on the continent and that’s
what we really want to show.
– Millie Monyo, Executive Producer, An African City
While I have commended the ways in which An African City dislocates the
hegemonic geographical practice of locating the cosmopolitan aesthetic of
fashion in the West, it is also important to question the ways in which this
dislocation is able to take place. It happens, I contend, by locating Africa’s
progress on the bodies of upper-middle-class women who are also portrayed
as Afropolitan. Afropolitan, here, refers to bourgeois, transnational feminine
subjects whose classed positions and mobility enable them to challenge