Fashion & Style
Prison Inmates Showcase Exquisite Designs at First-Ever Fashion Show Promoting Rehabilitation
Kumasi Central Prison has staged its maiden runway fashion show for inmates, marking a rare and symbolic moment in Ghana’s correctional system.
The historic move is part of efforts by prison authorities to reposition incarceration as a tool for rehabilitation rather than punishment.
The groundbreaking event transformed the prison yard into a fashion runway, drawing an enthusiastic audience that watched as inmates confidently modelled professionally crafted garments, many of which were designed and sewn by the prisoners themselves.
The showcase featured a mix of traditional kente, batik and tie-dye fabrics, alongside contemporary casual and formal wear, reflecting both local heritage and modern fashion influences.
Highlighting Rehabilitation Through Creativity
Speaking at the event, the Officer-in-Charge of Kumasi Central Prison, Deputy Director of Prisons (DDP) James B. Amum, said the fashion show aligns with the “Think Prisons 360 Degrees” initiative, a transformational agenda introduced by the Director-General of the Ghana Prisons Service.
According to DDP Amum, the initiative seeks to highlight the correctional and reformative role of prisons, using creative arts, vocational training and advocacy to change public perceptions about inmates.
“As a command, we are looking beyond this event to ensure that inmates who demonstrate talent and interest are given the opportunity to be groomed,” he said, adding that such platforms help prepare prisoners for productive reintegration into society.
Tackling Stigma Against Ex-Convicts
The Officer-in-Charge of the Kumasi Female Prison, Chief Superintendent of Prisons (CSP) Florence Eua Asabia Taylor, commended the inmates for their dedication and creativity, while urging the public to move beyond stigma against former prisoners.
She noted that programmes such as the runway show motivate inmates to fully engage in vocational training and challenge the widespread belief that “nothing good can come out” of incarcerated individuals.
“That impression must be reduced,” CSP Taylor said, stressing that with the right support, ex-convicts can make meaningful contributions to society.
Inmate-Designed Fashion and Vocational Training
The event was creatively directed by Assistant Superintendent of Prisons Rashid Kenin, with most of the outfits produced as part of ongoing vocational training programmes within the prison. Fashion designers who mentored the inmates said the show revealed untapped potential among prisoners, particularly in the creative and fashion industries.
The runway showcase formed the grand finale of the Inmates’ Fan Fair 2025, which began on December 22 and included a range of recreational, educational and empowerment activities aimed at inmate development.
Calls for Support and Investment
DSP O. Pua Chibuya praised the collaboration between prison officials, sponsors and creative professionals, calling for increased investment in recreational and rehabilitation programmes within the prison service.
“Times are changing. Imprisonment shouldn’t be punitive; it should reform,” he said, stating that rehabilitation improves the chances of successful reintegration and social harmony.
Several individuals and organisations, including fashion designers, foundations and local businesses, supported the initiative, demonstrating growing private-sector interest in prison reform efforts.
Fashion & Style
Wyclef Jean Gives Ghanaian Kaftan a Global Spotlight After ‘Chineke’ Fashion Inspiration
Wyclef Jean is making a statement in African fashion, proving that a striking outfit can carry a message far beyond appearance.
The Grammy-winning musician has showcased an embroidered Ghanaian kaftan inspired by the regal traditional looks worn by Busta Rhymes and Tobe Nwigwe in their Chineke music video, bringing Ghanaian craftsmanship and cultural symbolism into an international fashion conversation.
The chocolate-brown ensemble features intricate cream embroidery, green detailing and a flowing silhouette, complemented by dark sunglasses and a statement pendant necklace.
A particularly meaningful detail is the Gye Nyame Adinkra symbol embroidered on the upper right arm. Representing the supremacy of God, the symbol is widely recognised in Ghana and gives the outfit a distinct cultural identity.
While the Chineke video draws on Yoruba Nigerian traditional styling, Wyclef’s interpretation highlights Ghanaian fashion through the decorated kaftan.
The distinction illustrates how African-inspired fashion can travel across borders while retaining connections to individual cultural traditions.
Known for his work with the Fugees and solo hits such as Gone Till November, Wyclef has long occupied a space where music, personal expression and cultural identity intersect. This latest fashion moment continues that conversation.
The inspiration comes from CHINEKE, the collaboration between Nigerian-American rapper Tobe Nwigwe and hip-hop legend Busta Rhymes, released on October 9 as the opening track of Nwigwe’s album The Bridge. Its visual presentation celebrates heritage through bold styling and imagery.
Wyclef also paired his outfit reveal with a reflection on freedom, writing: “Freedom is using the present to rewrite the future that the past tried to steal from us.”
By choosing a Ghanaian kaftan, Wyclef turns a fashion reference into something more personal: a statement about heritage, creative freedom and the power of African style to speak to the world.
African fashion made a statement in Maputo, Mozambique, where Fancy Africa 2026 celebrated a decade of creativity with a message that reached beyond the runway: cultural identity deserves both recognition and commercial opportunity.
Held from 28 September to 3 October at the Centro Cultural Moçambique-China, the event brought together designers, models and industry professionals under the anniversary theme, “Ubuntu: Temos História. Somos Cultura. Africa Rise” — a celebration of shared history, culture and African progress.
But the 10th-anniversary edition was about more than spectacular clothing. Founder and creative director King Levi Dapper positioned Fancy Africa as a meeting point for fashion, education, entrepreneurship and cultural exchange.
The programme opened with a two-day summit featuring workshops, masterclasses, networking and a hackathon, followed by a cultural day and three days of fashion shows.
Pop-up stores, exhibitions and the Fancy Bazaar gave visitors additional opportunities to engage with African creativity.
One of the event’s most significant developments was the Digital Fancy Store, which enabled participating designers to promote collections and begin selling before the shows. Under the announced arrangement, designers receive 85 per cent of each sale, while the platform retains a 15 per cent commission.
That commercial focus matters in an industry where talented African designers can attract attention without always having the infrastructure to turn recognition into sustainable income.
The Fancy Africa Awards extended the celebration to modelling, with South African model Tsebo Phasha, 36, winning Model of the Year through public voting.
With support from Vodacom as connectivity sponsor and Sir Motors as mobility partner, the event also highlighted the partnerships needed to grow the creative economy.
As Fancy Africa enters its second decade, its ambition is clear: African fashion should not simply inspire audiences on the catwalk. It should build businesses, create opportunities and carry the continent’s stories into international markets.
A crown can win a competition, but the welcome waiting at home can turn a victory into a national statement.
For Jihan Dimack, Tanzania’s newly crowned Miss Grand International 2026 queen, that moment arrived with cheering fans, a motorcade and a spectacular water salute at Julius Nyerere International Airport in Dar es Salaam.
The extraordinary reception transformed her return into a celebration of beauty, ambition and national identity.
As airport fire engines sent arcs of water over the arriving aircraft, the ceremonial gesture offered a striking welcome for a woman whose pageant achievement has captured the imagination of supporters across Tanzania.
For the fashion world, Dimack’s homecoming highlights how beauty queens can become powerful cultural ambassadors.
Their influence extends beyond evening gowns, carefully styled hair and the confidence required to command an international runway.
Through their public appearances, they also represent their countries, carrying national pride into spaces where fashion, entertainment and cultural identity meet.
The motorcade and enthusiastic airport crowds gave Dimack a different kind of runway: one shaped not by judges or stage lights, but by the people celebrating her success.
The occasion demonstrated how pageantry can create a shared moment of excitement, connecting the glamour of international competition with the emotions of home.
Her achievement also offers an encouraging image for young African women who aspire to enter fashion, modelling and other creative industries.
A crown can open doors, but the visibility that comes with it can create opportunities to influence conversations about representation, confidence and ambition.
“Karibu nyumbani, Queen Jihan!” — welcome home, Queen Jihan!
With Tanzania embracing its returning queen, Dimack’s story shows that the most memorable fashion moments are not always about what a woman wears.
Sometimes, they are about what she represents when she comes home.
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