As more artistes confront the reality that streaming numbers do not always translate into steady income, many are looking beyond music for sustainability. Merchandise has become one of the more visible extensions, with emerging acts attaching fashion pieces to album releases and personal brands.
What began as simple logo tees and hoodies is slowly evolving into more deliberate collaborations, with musicians teaming up with established streetwear labels to create collections that carry narrative weight.
We spoke with RoMeo Rapstar about his first collaboration with streetwear label STRIVE (Take No Shortcut).
Both are building momentum in their respective lanes, and Rapstar says the alignment felt natural from the outset. Their first collection, "AHAZAZA,” which translates to "the future,” is tied to his recent song and reflects a shared interest in storytelling through style.
ALSO READ: Sonia Mugabo, Ethiopian brand join forces to expand African fashion craft
Asked what inspired the collaboration and how their creative identities intersect, Rapstar points to the longstanding relationship between hip hop and fashion.
"This collaboration was mainly inspired by the cultural connection between hip hop and fashion,” he says. "As an artist who focuses on lyricism and expression, it was easy to work with STRIVE because the brand is also rooted in artistic expression, imagination and deep feeling.”
The idea that artiste merchandise could outlive the trend cycle is one Rapstar readily agrees with.
"Yes, of course, it is a long-term movement,” he says. "Beyond the natural connection between hip hop and fashion, it is a primary way of self-expression, identity and cultural authenticity. It also carries commercial power. I would say this is only the beginning.”
ALSO READ: Power of fashion: How our clothes shape our identity, influence society
Local culture, he adds, remains central to the collaboration, even as more Rwandan artistes begin touring and reaching global audiences.
"Some of our designs were inspired by the AHAZAZA lyrics,” he says. "That helped us create a brand narrative grounded in local identity, with emotional connection and cultural heritage. It honours our origins and adds value to the merch.”
In the imagined world of 2035, the promotional material depicts time travellers confronted not just for cutting corners, but for allowing fear to dictate their pace. The reference ties directly to the song’s call to resist shortcuts and commit to steady progress.
As for the next generation of creatives looking to merge music, fashion and business, Rapstar sees collaboration and entrepreneurship as nonnegotiable.
"The impact can be huge,” he says. "First, they need to understand that this industry is built on collaboration and sharing ideas and resources. Second, they have to unlock their entrepreneurial mindset. Fashion is not just clothing. It can be a storytelling tool that gives artists a competitive edge in global markets.”
If this wave of artist-brand collaborations signals anything, it is that merchandise is becoming central to artistic identity in Rwanda, not an afterthought.
That shift aligns with a broader policy backdrop. Since 2016, Rwanda has upheld a ban on second-hand clothing imports, prioritizing local industry even at the cost of AGOA trade benefits.
The results are beginning to show in the data. According to the National Institute of Statistics of Rwanda, manufacturing of textiles, clothing and leather goods grew by 9 percent in 2025, making it one of the fastest-expanding sub-sectors in the formal industrial economy, second only to beverages and tobacco at 9.7 percent. Overall manufacturing grew by 5.5 percent.
The market space created by the second-hand clothing ban, and the appetite for locally made goods it sought to build, is now the ground artists and designers are stepping onto.
The demand for a Rwandan aesthetic, expressed through music, fashion, and live experience, is not incidental to that policy history. It is, in many ways, its most visible return.
STREAM AHAZAZA: