The recently concluded Kigali Triennial Festival provided a platform for Rwandan creatives to showcase their various expertise. From February 16 to 25, the event gathered over 200 artists from 25 countries, engaging in new narratives, participating in workshops, and forming connections while showcasing the vibrancy of the African cultural scene.
The festival highlighted African culture, featuring performances, exhibitions, and events encompassing music, dance, fashion, theatre, film, cuisine, and visual arts.
Examining the fashion part of the festival, enthusiasts confirmed its importance, stating that it raised Rwandan collections to reputable fashion brands. The platform empowered them to sell independently and sustain the industry’s growth while bringing to light some of the untapped potential of Rwandan arts.
From the fashion show at the Kigali Marriott Hotel on February 24, during the ninth day of the event, participants were able to witness the exceptional talents of local fashion designers.
Matheo Studio by Maurice Niyigena, Inkanda House by Patrick Muhire, and Masa Mara Africa by Amza Niyonzima, showcased distinctive creations.
Matheo Studio showcased its collection ‘Prayers’ highlighting the significance of religion in our society, while Inkanda House presented ‘Umutware w'Imongi’, a representation of Rwandan culture.
Masa Mara, founded by South Africa-based Niyonzima, showcased the ‘Umugongo Wahetse Intore’ collection as "a tribute to those who came before us.”
"I wanted to show appreciation for what they did for us to be here today, and to celebrate with them,” Niyonzima said.
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Franco Kabano, the founder and CEO of Webest Model Management, has been walking runways for more than 20 years. The inconsistency in fashion modelling jobs he faced prompted him to consider ways to enhance the modelling industry, hence setting up a modelling school in 2015.
"Our industry is growing day by day. I see a brighter future and we are heading somewhere everyone will be proud of.”
"In particular, working with young designers is always amazing and I can simply tell they have got positive expressions. Most of them saw a couple of things they didn’t expect and had never seen anywhere.”
Kabano believes that young designers work passionately from their inspirations and attendees witnessed a progressive industry.
Masa Mara, whose collections featured various styles, including designs with cow horns, stated, "The horns are very special to me. You cannot talk about Rwandan culture without mentioning ‘Inyambo’ - long-horned cows.
"I must always make sure that I carry a signature that defines the identity of Rwandans, that’s why whenever I do a collection, I make sure to show the world who we are [Rwandans].”
Niyonzima stated that the festival was of great importance, as he believes Rwandan collections are now acknowledged as fashion brands. This acknowledgement allows them to sell independently and thrive, benefiting many industry stakeholders.
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Marie Sandra Giramata, from YRunway, a local fashion house, paid homage to the artistic craft of ‘Impuzu’ and ‘Ubuhivu’, traditional textiles from ancient Rwanda, and ‘Faso Dan Fani’—fabric that is commonly worn in Burkina Faso— known for its vibrant colours and intricate designs.
She said: "The platform primarily facilitated networking and connecting renowned names. This, in turn, led to collaborations with famed figures, including local and foreign artists.”
According to Giramata, the Made in Rwanda collection is now widely recognised, particularly by high-profile individuals. At major events, these clothes are easily identifiable, highlighting the achievement of a long-awaited status, "although we haven’t yet reached the desired level.”
Regarding ‘Impuzu’, Giramata is of the view that it should be acknowledged in the same way as ‘Imigongo’, ultimately helping Rwanda’s products to gain international recognition.