By Yemisi Suleiman
There is something about Amenawon Monica Okoh’s Autum/Winter 2024 collection under her brand Mhenase Touch, that immediately feels familiar. Familiar in the way women approach style and not in the sense of “we have seen it before”. We like garments that can do different things and achieve different results.
We like drama, yes, but we also want value for money. If I buy one piece, I should be able to wear it five different ways and still have people asking me, “Where did you get this from?”
At first glance, Amenawon’s collection which was showcased in Morocco through a fashion show organised by the University of Salford and later exhibited in London during London Fashion Week, feels very earthy and calm. The neutral tones, the army greens, the browns, the animal prints, all blends so naturally with the outdoor setting that the garments almost look like they belong there. Even the models look relaxed in the pieces, which honestly says a lot because some collections wear the model instead of the other way round.
Some of the garments in the collection looks very practical yet keeps its editorial feel and that is what makes it stand out for me. Those khaki trousers especially caught my attention. From afar, they look like a regular wide leg utility trouser, but then you notice the detachable lower half. The pockets can be removed so the trousers become shorts, then attached back again when you want the full look. Hmmmm, I love when designers think outside the box like this.
The styling of the khaki trouser look also deserves attention because pairing those trousers with the olive green organza jacket was such a smart choice. Organza usually gives soft, feminine energy, but this jacket still has structure to it. And then you notice the detailing. The back is designed with features you would normally expect at the front, and vice versa. It’s subtle, but it makes you look twice. That kind of detail is what separates interesting fashion from just nice clothing.
Some women just love to live life to the fullest. One minute it’s brunch, next minute it’s a fashion event, then suddenly plans change and the night stretches into something else entirely. It’s garments that can shift moods with you that will always make sense for this kind of lifestyle, and that’s what the Mhenase Touch collection seems to understand.
Now can we talk about the animal print pieces for a second?
Animal print can go wrong very quickly, but this collection handled it well. The leopard print trench-dress hybrid was probably one of the strongest looks for me. I bet you won’t know it’s detachable but yeah, it is. I love that it can exist as both a full gown and a crop jacket by detaching the skirt from the bottom. It’s entirely up to you how you want it styled. That instantly gives the piece more life and choices beyond the runway. You can already imagine somebody pairing the crop jacket with a nice pair of black pants and beautiful heels/sneakers for a lunch in Lagos, then styling the longer dramatic version for a fashion event or birthday party in America.
The collection understands silhouette. The shapes stand out without trying hard. The oversized collars, the dramatic sleeves, the loose tailoring, all moves beautifully. Even the burnt orange two-piece set with the leopard bandeau crop top felt very effortless. It gave rich girl on holiday energy without looking too serious about it.
My personal observation about this collection by Mhenase Touch is that it doesn’t chase perfection. Some of the garments feel intentionally uneven, slightly undone, a little experimental, and I could say that’s where the beauty comes from. It feels like the designer allowed herself to play with the designs instead of staying inside the box of what womenswear is “supposed” to look like, because the truth is, the most stylish women are rarely the ones who look perfect at all times. They are usually the women who wear clothes with personality. Women who mix softness with confidence. Women who are not afraid of structure, volume, texture or a little drama.
The only downside to this collection would be where some of the oversized styling almost overwhelmed certain looks. In the Burnt orange set, even with the rich girl energy, there seemed to be a lot going on with volume. The wide trousers already carry movement, so adding the oversized cropped layer on top sort of hides the styling underneath instead of enhancing it.
Also, the colour palette worked for the collection overall, but I actually think it played things a little too safe. The earthy tones, khakis, olive greens and browns helped the garments feel grounded and wearable, which suited the collection well, but after a while, I found myself wanting one unexpected colour moment to break the rhythm slightly.
But overall, none of these observations made the collection feel weak. If anything, they made it feel like a designer experimenting confidently rather than playing safe.
The collection is also outstanding for not feeling restricted to one fashion audience. The styling and silhouettes still carry enough edge to work internationally, especially now that global fashion is becoming more open to relaxed tailoring, modular dressing and pieces that can shift shape depending on styling, But at the same time, the collection still feels connected to the Nigerian woman. Not in the overly literal way some designers approach “African fashion”, but in the understanding of how Nigerian women actually dress, confidently, creatively and rarely in just one mood.
The collection from my point of view is imperfectly beautiful and it appears to have been designed for women who embrace individuality, confidence, and authenticity, finding elegance in the unexpected details and beauty in imperfection.