Showbiz
South African Fashion Expands into Eurasian, Russian Markets
By Kestér Kenn Klomegâh
Organized by the Fashion Foundation with the support of the Moscow Government, the second Moscow Fashion Week was held from March 2 to 7, 2024. As part of the bilateral cooperation agreements signed at the BRICS+ Fashion Summit, directors of fashion weeks and councils from Brazil, Russia, India, China and South Africa, and new members, including Ethiopia, Egypt and UAE, were represented.
Generally, most designers are keen on creating routes for new business and focusing on cultural exchanges a step forward in exporting brands beyond the United States and Europe.
The Moscow Fashion Week attracted designers from Brazil, China, India, Indonesia, Turkey, Serbia, South Africa and other foreign countries, who had an excellent opportunity to showcase world-class brands with premium quality and long history to a wide audience and attract new buyers and customers. Designers and brand specialists used the chance to gain exposure and network with industry professionals.
The South African designers participated and presented their unique collections at the Manege Central Exhibition Hall.
Stephen Manzini, the organizer of the South African group’s participation in this spectacular grandest business event, is the founder and CEO of Soweto Fashion Week.
In this interview, Stephen Manzini offers his assessment and the importance of the Moscow Fashion Week and further emphasizes diverse fashion trends in the global markets. Here are the interview excerpts.
As the founder of Soweto Fashion Week, is it interesting to know the common sentiments among fellow Russian participants and other foreign designers during the recently held Moscow Fashion Week?
The current Moscow Fashion Week has been rebranded due to cities becoming global trendsetters. You will notice that all the big fashion weeks around the world are named after cities or towns (Soweto Fashion Week), hence, the rebranding from the Russian Fashion Week to Moscow Fashion Week.
It is my understanding that the sentiments are similar, and these include production challenges, costs of production, understanding and cracking foreign markets and differentiating between cultural and propriety in materials, as well as meeting business overheads at the end of each month.
What are your corporate views about potentials in South Africa for Russia, and in Russia for the South African designer industry?
Russia and South Africa have an excellent relations. Based on the existing cordial relations, I truly believe there’s great potential for both countries. The potential for South Africa in Russia includes access to an open and curious market. We bring our rich cultural background to the table, cultural materials, design, print and overall make which is very colourful based on tribal colours and inspiration. It’s something different for the curious fashions in Russia. It may be a niche market today B2C until with time it is tapped into the B2B economy.
Russia for the South African designer industry. I truly view it as a much easier transition. Our mainstream wear in retail stores is very much inspired by European apparel, if they can match the final price tags in the market, they should be able to make way in a short space of time B2B.
Have you anything to say about setbacks, challenges and policy blocs in penetrating the Russian and Eurasian markets? What are the popular complaints in the fashion industry?
One of the most popular setbacks, challenges and policy blocs include financial backing for South African design houses to expand into Eurasian and Russian markets. It is not only that; if you pay attention to the import-export index, it is mostly about importing to South Africa rather than exporting. Sometimes, little or too much leads to product dumping and fast fashion. The BRICS bilateral political agreements have made it easier and simpler for the removal or reduction of policy blocs to Russia and Eurasia.
Do you consider market competition and the changing corporate realities as challenges?
Of course, every business has to consider these factors. There are always bigger and international brands with advanced access to information or sometimes absorbing a traditional South African designer to get inside trade secrets on cultural propriety. This squeezes the emerging designer’s niche marking and forces them to close or better yet adapt and reinvent themselves. I reckon it is the same in Russia and Eurasian markets.
Do you think the media as part of a decisive factor in building effective cultural ties, including the fashion business, with Russia and South Africa?
Media is one of the decisive factors in my point of view. The media drives the narrative and paints a picture that makes ties desirable, it carries a message that will attract newer ties and build stronger current ones. Even more so in the fashion business which is driven by visuals that the media projects across the globe giving evidence and a track record of the ties.
From the above narratives, what measures or steps do South African designers together with Russian counterparts suggest for unlocking and tapping for cooperation?
The necessity to establish continual exchange until tangible results are realized. The goals we seek to achieve will not happen after a once-off attempt of continual media coverage, exchange, learning and adapting to each country and consumer needs. South African designers are all emerging in Russia and Russian designers are emerging in South Africa, this narrative alone suggests that there is a lot of work to be done and we look to achieve solid cooperation.
What other areas have you already identified, besides fashion, to engage in as part of fostering the scope of people-to-people gathering (public outreach) between Russia and South Africa?
I have identified a unique water purification process that caters for self-service or an intimate community which could work well in South Africa. The business of purified water is the future gold business in my viewpoint as we already have a shortage of healthy clean water in certain parts of South Africa. That’s another industry that needs to engage as a matter of urgent necessity.
Any wider possibilities such as the BRICS platform, both Russia and South Africa are members of this association?
As you may be aware BRICS (Brazil, Russia, India, China and South Africa) platform is expanding. That is the main focus at the moment, and emerging global markets are coming together to build for each other industries outside of Western Europe and the United States. It doesn’t get wider than that, in my point of view, as that is the future of the world.
By Adedapo Adesanya
The UK-Nigeria Technology Hub has launched its Creative Fund, a first‑phase grants initiative designed to address critical technical capacity gaps across Nigeria’s film, fashion, and music industries.
According to a statement on Tuesday, the fund will support the development of local digital production capacity, encourage the adoption of modern creative technologies, and promote the responsible use of Artificial Intelligence (AI) to strengthen Nigeria’s creative value chain.
The initiative directly supports the priorities of the UK‑Nigeria Economic Transformation and Investment Partnership (ETIP) Creatives Working Group, launched in March 2025 and delivers on commitments made during President Tinubu’s State visit to the UK in March 2026.
It is designed to ensure that high-potential creative projects can access the technical talent, tools, and resources required to produce, scale and complete their work locally.
Funded by the UK-Nigeria Tech Hub, under the UK Government’s Digital Access Programme and implemented by Tech4Dev, the Creative Fund responds directly evidence gathered through the State of the Creative Innovation Ecosystem in Nigeria, study in 2024. Drawing on over 1,700 survey responses, and fieldwork across seven states, the research showed that Nigeria’s creative economy employs approximately 4.2 million people and contributes around US$3 billion to GDP annually.
Despite this scale, the sector continues to face structural constraints – over 80 per cent of practitioners are self-taught, fewer than 10 per cent have access to formal financing, and high-value technical work is routinely outsourced outside the country. The Creative Fund is a direct response to these gaps and is central to the work of the ETIP Creative Working Group.
Speaking on this, Mrs Oyinkansola Akintola‑Bello, Director of the UK‑Nigeria Tech Hub, said, “Nigeria’s creative sector already delivers real economic value, and both governments have committed under the UK‑Nigeria Economic Transformation and Investment Partnership to supporting its growth. Through the ETIP Creatives Working Group, we are moving from ambition to action.
”The Creative Fund is a practical first‑phase intervention that addresses critical gaps in skills, infrastructure, and access to advanced tools, enabling Nigerian creatives to produce and scale high‑quality work locally.”
The fund will support high-potential creative projects covering three industries: Film, Fashion, and Music and will focus on initiatives that demonstrate strong potential for impact, scalability, and job creation.
It will subsidise projects that need to close technical gaps, including critical specialists like VFX artists, sound engineers, post-production editors, and design professionals, or the digital tools and resources that make professional-quality work possible locally, for example, digital asset management systems, content delivery tools, Digital Rights Management solutions, and AI-driven production technologies. The aim is straightforward: Nigeria’s best creative work should be made in Nigeria.
On his part, Mr Abraham Akpan, Tech4Dev’s Country Manager for Nigeria and Sub-Saharan Africa, said the Creative industries are a core part of the digital economy, bringing together technology, culture and entrepreneurship.
“This Fund is about ensuring that Nigeria’s creative success is underpinned by sustainable local talent and capacity, while deliberately expanding access to tools, skills and finance for those who have been historically excluded. By prioritising women-led enterprises, youth-led ventures, and underrepresented groups, the fund embeds inclusion into every stage of delivery.”
The Fund is open to creative companies, studios, production houses, fashion enterprises, and music labels leading projects with clear technical needs. Applications will be assessed on project quality, their potential for local and international impact, and the applicant’s level of commitment to co-investment. The initiative also encourages the responsible use of emerging technologies, including artificial intelligence, with selected projects expected to explore its application in production, storytelling, and innovation.
Applications are open now and will be accepted on a rolling basis throughout the programme period.
The world’s most prestigious culinary competition has finally landed in Nigeria, bringing with it global standards, high-stakes drama, and a powerful celebration of local flavours.
MasterChef Nigeria premiered on Africa Magic Showcase (Channel 8) and Africa Magic Family (Channel 7), introducing viewers to a new era of culinary excellence.
At stake is a life-changing grand prize of ₦73 million and the coveted title of Nigeria’s first-ever MasterChef.
Ten exceptional home cooks from across the country have stepped into the MasterChef kitchen, not as professionals, but as passionate individuals driven by ambition and talent.
From a content creator in Magboro to a lawyer in Abuja, a domestic staff member in Lagos, and a cloud kitchen manager in Lekki, each contestant brings a unique story, but shares the same hunger to win.
Leading the competition are two of Nigeria’s most respected culinary figures: Chef Stone and Chef Eros.
Known for their influence and expertise, they bring both discipline and personality to the kitchen.
“I have trained over 7,000 students. Nigeria is one of the most diverse countries in the world, and our food reflects that. We just need to tell that story on a plate,” said Chef Stone.
Chef Eros adds: “MasterChef Nigeria is set to be incredibly competitive. From demanding tasks to defining moments under pressure, viewers will witness the true depth of culinary talent in this country. As we like to say, Naija no dey carry last.”
Contestants will face a series of intense, high-pressure challenges designed to test their creativity, technical skill, and resilience.
And for some, it’s strictly business.
“I am here for business. I am here to cook. I am not here to play or make friends,” said contestant Derry.
Across 13 episodes, viewers can expect a compelling mix of tension, discovery, and unforgettable moments as the competition unfolds.
MasterChef Nigeria airs every Sunday at 7:00 PM on Africa Magic Showcase (Channel 8) and Africa Magic Family (Channel 7), with repeat broadcasts on Thursdays at 12:00 PM on Africa Magic Family.
There was a time in our lives when life was simple. Not perfect, not fancy, but simple in a way that just felt complete.
We weren’t thinking about bills, deadlines, or what the future would look like. Our biggest concern? Whether NEPA would take light before our favourite show came on or if someone would change the channel at the wrong time.
Back then, happiness didn’t need planning. You’d rush through homework, eat quickly, and settle in front of the TV like it was the most important part of your day. And honestly, it was.
Those shows weren’t just shows, they were moments.
Then we grew up. Life got busier, louder, and a lot more demanding. But somehow, those memories stayed.
Sometimes it hits you out of nowhere, like a theme song or seeing your niece or nephew watching something familiar. And just like that, you’re taken back.
Back to when watching SpongeBob SquarePants felt like the highlight of your day. Back to singing along to Mickey Mouse Clubhouse like you were part of the cast. Even those “I’m too grown for cartoons” days still had room for The Thundermans and Henry Danger.
It’s funny how those shows did more than just entertain us. They gave us something to look forward to. Something that made the day feel lighter, no matter what.
But every now and then, there’s something comforting about knowing that those moments still exist somewhere. The things that once made us laugh, relax, and forget everything for a while are still there, unchanged.
Channels like Disney Junior and Nickelodeon are still running those same shows, holding onto that same kind of joy we didn’t even realise we’d miss. And platforms like GOtv quietly keep that connection alive. Because after a long day of trying to figure life out, sometimes what you need isn’t something new.
Sometimes, you just want something that reminds you of who you used to be, something that lets you sit back, laugh a little, and for a moment forget all the noise. And maybe, without even realising it, you smile, because for a few minutes, life feels simple again.
To upgrade, subscribe, or reconnect, download the MyGOtv App or dial *288#. For catch-up and on-the-go viewing, download the GOtv Stream App and enjoy your favourite shows anytime, anywhere.
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