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The Development of African Luxury Brands Explorative Study on Awareness of South African Luxury Brands Among Congolese Sapeurs from Brussels

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The Development of African Luxury Brands Explorative Study on Awareness of South African Luxury Brands Among Congolese Sapeurs from Brussels Masterproef in Afrikaanse Talen &Culturen - A002516 MA2015/2016 The Development of African Luxury Brands Explorative study on Awareness of South African Luxury Brands among Congolese Sapeurs from Brussels Promotor: Annelies Verdoolaege Mutunku Datsha Annie 24/05/2016 Contents Acknowledgements ......................................................................................................................... 5 I. Introduction ............................................................................................................................. 7 II. Theoretical framework .......................................................................................................... 14 Part 1 - What is luxury? ........................................................................................................... 14 1. Definition of luxury .................................................................................................... 14 2. Function of luxury goods. ........................................................................................... 21 3. Luxury industry .......................................................................................................... 24 4. Focus on apparel industry ........................................................................................... 26 5. Africa and luxury ........................................................................................................ 27 6. Luxury Ubuntu. Case of Maxhosa by Laduma ........................................................... 37 Part 2 - What is branding? ....................................................................................................... 47 1. Brands and brand awareness ....................................................................................... 47 2. Brands in Africa.......................................................................................................... 50 3. Luxury fashion African brands ................................................................................... 54 Part 3 - Africa and dress .......................................................................................................... 62 1. Functions of dress ....................................................................................................... 63 2. Dress as symbols of prestige and social success in Africa ......................................... 64 3. Stereotypes on African production ............................................................................. 66 4. Diffusion and appreciation of Western dress ............................................................. 71 Part 4 - Sapeurs........................................................................................................................ 75 1. The Sapeurs ................................................................................................................ 75 2. Origin of the Sape ....................................................................................................... 75 3. The sape ...................................................................................................................... 77 4. Large influence of the sape ........................................................................................ 79 III. Methodology and case study .............................................................................................. 88 Part 1 - Methodology ............................................................................................................... 88 1. Choice of methodology .............................................................................................. 89 2. Interviews and limits. ................................................................................................. 90 3. Questionnaire. ............................................................................................................. 93 1 Part 2 - Case study. Awareness of African luxury brands among sapeurs from Brussels (focus on South African brand, Maxhosa by Laduma). Analysis and results.......................................... 96 1. Identification questions............................................................................................... 96 2. Brand recalling ........................................................................................................... 97 3. Brand recognition ..................................................................................................... 100 4. Country of origin ...................................................................................................... 102 5. Evaluation of Africa as a luxury place of production ............................................... 106 6. Perception of South -African luxury brands. Focus on Maxhosa by Laduma brand 109 Part 3 - Discussion of results ................................................................................................. 115 IV. Conclusion ....................................................................................................................... 118 V. Bibliography ....................................................................................................................... 123 VI. Appendix .......................................................................................................................... 133 2 3 4 Acknowledgements First and foremost, I am grateful to God for given me the energy to write this dissertation. I am thankful to all who take part to this project. Specially my promotor prof. Annelies Verdoolaege, for her advice, her help and corrections and prof. Kaputu for sharing some ideas with me about my thesis. I would like to thank all the interviewees, Thebe Ikalafeng, Laduma Ngoxokolo, Ndalo media, Elle South Africa, prof. Kristien Geenen for their contributions. I am especially thankful to my proof-readers Sabrina Rodono and Anaïs Vantieghem. Thanks to Tony Lumbwe for his advices and for being my guide in JOZI. Writing this dissertation was a challenge and I have always could count on my family and friends. Thanks for your love, patience, and support all these years. And to you, my sister Solange from whom I received immeasurable support. Annie Datsha Mutunku 5 6 I. Introduction As a continent, Africa brims of resources. Its cultural inheritance is exposed across the globe such are the examples of the Congolese and the Bambara masks now present around the world. The Coptic crosses of Ethiopia, the masks of the Egyptian pharaohs, the necklaces of Tuaregs or adornments of the Ashantis epitomized the talent of its craftsmen (Martin-Leke and Ellis, 2014: 177). For instance, West Africa’s ancient urban tradition is enriched with specialized craft production (Iliffe, 2007:87). Inside Iliffe’s book (2007) on the History of African continent, the author reports that, in West Africa, “Nupe was famous for glasswork, one of many specialties […]. Within Yorubaland, Ijebu Ode became renowned for work in precious metals, Ilorin for pottery, and Oyo for leatherwork.[…]. Specialization was most advanced in the textile industry.” (2007: 86-87). The quality of cloth produce in Wolof and Mande country is recognized to be of high quality (Iliffe, 2007:87). On March 2008, Victoria Rovine’s article titled: “Couturiers: L’Afrique est une muse.” (Literally translate it to “Couturier: Africa is a muse”) gives an oversight of the influence of Africa on the European fashion designers from the twentieth onward. French Paul Poiret (1879-1944), well known for the exoticism of his creation (Africanism), and manufacturer Rodier represent this first generation of French dressmakers inspired by African patterns, colors or textiles. More contemporary designers such as Yves Saint Laurent and Christian Dior presented in 1967 collections with “art nègre” inspiration. Other examples are Todd Oldham who got his inspiration from the Ndebele during the nineties (Missoni, 1990); or Issey Miyake with his West African bogolan patterns. The first collection of the British stylist John Galliano for his haute couture collection for Christian Dior in 1997 included Masai-inspired clothing designs and accessories (Mbow, 1998: 135). African inspiration grew stronger in the twenty-first century. In 2003 Donna Karan presented a described as “ode to Africa” by Suzy Menkes (renowned mode journalist for the International Herald Tribune and New York Times ) ; Jean-Paul Gaultier named his dresses after Kilimandjaro or Bambara in 2004. In 2008 Oscar de la Renta and Comme des Garçons also used African textiles for their Spring/summer collection. Austrian designer, Lena Hoschek have celebrated African print with her spring/summer 2015’s collection Hot mama Africa. So the 7 African richness and beautiful crafts are still inspiring international artists elsewhere. Actually, some native artists try to break into the high-end fashion industry such as Alphadi (Niger), Oumou Sy (Senegal), Pathé O (Ivory Coast) that started in the nineties to give an African voice to global catwalk. And Africa is currently still bursting of luxurious “Made in Africa” brands such as David Tlale (South Africa), Marianne Fassler (South Africa), Gavin Rajah (South Africa), Lisa Folawiyo for Jewel of Lisa (Nigeria), Lanre Da Silva Ajayi (Nigeria), Christie Brown (Ghana), Ituen Basi (Nigeria) to name only a few. They all have started to build a name for themselves locally and internationally. Of course, the high-end quality and aesthetic of their designs are
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