By Yemisi Suleiman
For some time now, African designers have struggled to move beyond being defined solely by African fabrics and aesthetics. They are often expected to adapt these fabrics into contemporary styles that the rest of the world may not always relate to.
However, it was a different ball game for Pmclady-Pearl-Marie Creations. At her recent showcase at Cheshire Fashion Week UK, where she presented her Transition Collection, the looks were largely Western-oriented.
Though of African, Nigerian descent, the designer’s presentation was a clear departure from the usual projection of African fabrics, styles, and culture. Instead, she opted for a predominantly Western aesthetic, using Chantilly lace, silk, and velvet. The collection resonated strongly with the excited crowd.
Pmclady showcased about six outfits on the runway, sending models down in an utterly feminine collection that was elegantly alluring. The collection tells a woman’s story through life’s transitions. Each piece captures a chapter, from playful silhouettes of independence to non-conforming outfits for the aisle and refined ensembles for the life she builds beyond the vows.
Of significant note was a chic pink satin butterfly mini dress. It featured a sophisticated off-shoulder silhouette, highlighted by a large bow-like detail at the bust that added a playful yet elegant touch. The fitted cut accentuated the model’s figure and was paired with strappy metallic heels that elongated her legs and enhanced the overall glamour. Her tousled, shoulder-length hair and radiant smile completed the look, conveying confidence and grace.
Next was an all-white high-waist trouser paired with a sexy butterfly bow detail, covering the model’s cleavage in a delectable way. The thin, almost invisible strap on the top was classy, and the overall look—combined with tousled hair and minimal jewelry—allowed the outfit to shine on the runway.
The designer also sent a model down the runway in a stunning red strapless dress with ruffle detailing at the back, which highlighted the beauty and sophisticated niche of the piece. The fabric worked perfectly with the colour, while the style, cut, shape, structure, and design sat flawlessly on the model. The long blonde hair was an absolute pass mark for the entire look.
However, one of the most outstanding looks was the green sequined maxi dress. The attention-grabbing emerald green piece featured a strapless, form-fitting bodice that accentuated the figure. It had a high slit on the left leg, adding a touch of allure. The most attractive detail was the gathered flare at the back of the dress, which swayed beautifully with the model’s movement.
The look was completed with simple black open-toed heels and the model’s hair styled in an elegant updo. Elegant and glamorous, it was suitable for any formal or red-carpet event and was well received by the audience.
One can clearly tell that craftsmanship is one of the designer’s greatest strengths. The cuts are clean, the proportions well placed, and the overall collection reflects a solid understanding of structure and fit. The collection resonated strongly with the audience and, no doubt, has the potential to scale the global stage, as the pieces are wearable in any part of the world, albeit with layered jackets for colder seasons.
However, for a designer of African descent, the absence of African fabric does not speak well to her creative intuition. I expected to see at least a mix of one African fabric, maybe the Ankara or Adire, with Chantilly or silk for a more rounded presentation. The lack of African influence makes the collection feel like everyday looks seen on Western streets or from any Western emerging designer.
This raises the question: where does the brand truly stand? The collection, though refined, risks blending into an already saturated market.