By Josephine Agbonkhese
Let me tell you what I was not expecting at the Emmy Kasbit show this season. I was expecting the tailoring, because it is always the tailoring with Emmy—that specific architectural precision that makes you want to stand up straighter just watching the clothes move. I was expecting the colour story, which this season had a muted, almost geological quality to it, the kind of palette that takes confidence to commit to. I was expecting to be impressed, because Emmy Kasbit shows are those kinds of shows where you definitely would leave impressed. What I was not expecting however, was to spend half the show watching the bags. The accessories were Paciencia. If you know the brand, and more people are starting to, then you already understand why this is a significant statement.
If you do not know it yet, here is what you need to know:
- The Founder: Joy Fache James
- The Origin: Handcrafted in Lagos, Nigeria
- The Philosophy: Almost aggressively uninterested in trends, entirely focused on the specific quality of what happens when you make something slowly and correctly from real leather.
The bags that walked the Emmy Kasbit runway this season were everything the brand is known for and then some. The Lagom in a deep navy—compact, structured, with that woven leather edge detail running the sides that you need to see in person to fully appreciate—came out about six looks in and just sat there in the model’s hand looking absolutely right. Not complementary. Not serviceable. Right.
As though the designer of the garments and the designer of the accessories are operating in the same frequency, and absolutely purpose-driven. I mean, these accessories were chosen not to fill gaps but to complete a thought. Anyway, Emmy Kasbit does not choose accessories to fill a gap.
Watching the Paciencia pieces move through the show, a few things became clear that you do not always get from a product shot or an Instagram post:
- Proportions Hold in Motion: This sounds like a low bar and it is not. A bag that looks perfect in a still photograph can completely undermine a garment when it is moving with a body, when the visual weight shifts and the size relationship to the silhouette becomes live and three-dimensional. The Paciencia pieces did not undermine anything. They moved with the collection the way accessories should move: present, purposeful, and not trying to be the loudest thing in the room.
- The Runway Light Effect: There is a specific quality to the woven surface. The way different sections catch light at different angles depending on which strips face outward is something that flat leather does not have, and that a photograph can suggest but not fully deliver. Under the runway lights, it was doing something genuinely interesting. And I noticed other people noticing it too.
- Impeccable Hardware: The hardware—gold, clean, without excessive detailing—was exactly right for the palette Emmy was working with this season.
These are not the kinds of alignment decisions that happen by accident. Somebody thought carefully about this collaboration. Both somebodies did.
After the show, I spoke briefly to a stylist I know who had been sitting two rows ahead of me. She had pulled out her phone before the last look had even cleared the runway. She was looking up the brand.
That is the specific kind of response that a runway placement produces when the accessories are actually right for the collection rather than simply present in it. That didn’t look like a polite appreciation, but an active interest. I would say, it’s the immediate, slightly urgent need to know more.
I read them up, and I found out Paciencia is a brand in its second commercial year. It just walked one of the most credible runways at Lagos Fashion Week. Those two facts exist simultaneously and together they tell a story about a brand that did not wait for permission to operate at the level the work was already at.
Watch this one. It is only going to get more interesting from here.