Culture
Meet Kwame Adusei: The Ghanaian Designer Dressing Hollywood’s A-List
Ghanaian fashion designer Kwame Adusei is steadily cementing his place on the global fashion map, dressing some of Hollywood’s biggest stars while redefining gender-fluid luxury with distinctly African roots.
Adusei’s rising profile was highlighted in a 2024 Vogue feature, which described him as “quickly becoming a staple in celebrity closets.” He has also been featured in other top news media in America.
His designs—celebrated for their bold tailoring, sensuality, and exploration of androgyneity—have been worn by international stars including Beyoncé, Kylie Jenner, Lori Harvey, Kali Uchis, Ciara, and Reneé Rapp.
From Ghana to the Global Fashion Stage
Before gaining international attention, Adusei spent a decade building his craft in Ghana, where precision tailoring and construction formed the backbone of his work. That foundation, he says, shaped his ability to respond creatively under pressure.
“In Ghana, people bring two or three yards of fabric from the market and show you a picture of Beyoncé and say, ‘I want the same outfit,’” Adusei recalled in the Vogue interview. “You’d better not say you can’t make it.”
That demanding environment refined his technical skills and eye for detail, even leading him to collaborate closely with French ateliers, where he became fluent in French and deepened his understanding of couture-level craftsmanship.
A Cold Start in New York, a Creative Home in Los Angeles
Seeking new challenges, Adusei moved from Ghana to New York City, only to discover that winter was an unexpected test. “Moving straight from a tropical place to New York, you find out that the trench coat is not as warm as you think,” he joked.
He later relocated to Los Angeles, where his brand found a more natural fit. In just two years, Adusei has opened a storefront on Doheny Drive in West Hollywood, placing his label at the heart of one of the world’s most influential fashion and entertainment hubs.
African Identity at the Core
Despite relocating abroad, Adusei made a conscious decision to place his African identity at the center of his brand. He chose to name the label after himself—a move he initially found daunting.
“It is very vulnerable,” he said. “If you have your name on something, you have to earn it.”
For Adusei, the decision reflects a desire to challenge global perceptions of African fashion.
“When I moved to LA, I realized that a lot of people didn’t have a reference when it comes to African fashion,” he noted, despite the continent’s rich design heritage.
Redefining Androgyny Through Tailoring
Adusei’s work is widely recognized for its exploration of gender-neutral fashion, though he is careful to distinguish his approach from conventional menswear-inspired designs. His philosophy centers on tailoring garments to flatter women’s bodies while drawing inspiration from masculine silhouettes.
“With most gender-neutral clothing, the cut is fundamentally for the male body,” he explained. “There’s a way to cut the same fabric so the female body looks way sexier, more protected, and very comfortable.”
This balance of form and function has become a signature of his brand.
Inspired by Kente and West African Tradition
One of Adusei’s key inspirations comes from traditional West African wedding ceremonies, where families use the same Kente cloth but create unique designs through individual tailors.
“It’s the most beautiful ceremony because everybody looks very different, but it’s the same type of fabric,” he said.
While the African influence may not always be immediately visible, Adusei describes it as the “beating heart” of his fashion philosophy—informing his emphasis on individuality, craftsmanship, and cultural continuity.
Ghana on the Global Fashion Map
As Adusei’s designs continue to appear on red carpets and in high-profile editorial spreads, his journey underscores the growing global influence of Ghanaian creatives.
His success highlights how African designers are not only participating in global fashion, but actively reshaping it—on their own terms.
Every memorable art gallery begins with someone who believes a painting deserves more than a wall—it deserves an audience.
In Accra, that belief has shaped Berj Art Gallery into one of Ghana’s enduring champions of West African art.
Founded in 1996 by collector Joyce Quarshie, Berj emerged at a time when many Ghanaian artists were still searching for spaces that could connect their work with wider audiences.
More than three decades later, Quarshie’s commitment has grown into a gallery that celebrates both established masters and emerging voices under one roof.
A Living Story of West African Art
Walking through Berj feels less like entering a showroom and more like stepping into a conversation across generations.
Bold paintings share space with finely carved wooden sculptures, bronze works catch the light from different angles, and photographs add contemporary perspectives to centuries-old artistic traditions.
The gallery’s strength lies in that balance. Acclaimed painters stand alongside rising talents, creating a rare opportunity for visitors to see Ghana’s artistic evolution unfolding in real time.
It is a reminder that culture is not frozen in history; it continues to grow with every new brushstroke and every fresh creative voice.
More Than a Gallery
For international visitors exploring Accra, Berj offers something deeper than a sightseeing stop. It opens a window into Ghana’s creative identity, where craftsmanship, storytelling and heritage intersect.
As the gallery continues hosting exhibitions that bring together local and international artistic influences, it reinforces a simple but powerful truth: preserving culture is not only about protecting the past.
It is about creating spaces where the next generation of artists can imagine—and exhibit—the future.
Ghana’s social media spaces were ablaze on Tuesday, September 7, 2026, as a potent mix of celebrity worship, relationship debates, and viral security concerns captured the nation’s attention.
The digital streets of Facebook and X (formerly Twitter) were anything but quiet, showcasing the country’s unique blend of humour, outrage, and cultural commentary.
@prophetelbernardsfanpage Prophet Bernard Elbernard Nelson-Eshun weeks ago invited Medikal and he showed up at Spiritlife Revival Ministries #prophetbernardelbernard #bernardelbernard #viral #fyp #SpiritlifeRevivalMinistries ♬ original sound – ProphetElbernards_fanpage
One of the most surprising viral moments featured Ghanaian rapper Medikal, whose surprise appearance at Prophet ElBernard’s Spiritlife Revival Ministries sparked widespread discussion.
Dressed sharply and actively participating in worship, the rapper’s presence challenged perceptions about the intersection of secular celebrity and faith, quickly becoming a top-trending conversation.
Meanwhile, a major debate erupted over the Joy Prime podcast ‘Talk Your Shhh‘ after a panellist advised women to pursue married men they considered “good”.
The comments, perceived as promoting infidelity, drew sharp backlash. Celebrities like Efia Odo and Moliy condemned the advice, fueling a fiery debate about morality and media influence.
Adding a lighter, cross-border twist, a new Ghanaian marriage registry app named Marrify went viral—but for an unexpected reason.
The app’s promotional image featured South African actor S’dumo Mtshali, who has become a pan-African meme for infidelity.
Ghanaians and South Africans flooded the timeline with jokes, dubbing him the “Face of Cheaters” as the app allowed users to check marital status.
Concerns over security also trended after a disturbing CCTV clip of a daylight armed robbery circulated widely, sparking outrage and fear.
TRENDING 🇬🇭🚨:
— WithAlvin 🇬🇭 (@withAlvin__) September 7, 2026
CCTV Footage Shows How Robbers Entered a Home, Shot, and Made Off With Valuables
These robbers are getting bolder by the day! I trust the Ghana Police pic.twitter.com/35ZZXfTOpS
The nation’s social mood oscillated between humour and serious debate, reflecting a society deeply engaged with faith, celebrity culture, and pressing social issues.
A family photograph resting on a shelf may look like decoration. A half-finished piece of woven cloth may seem incomplete. A living room may simply be a place to sit.
At Nubuke Foundation in Accra, however, these familiar things are being asked to tell deeper stories.
Weight of the Ordinary, a group exhibition featuring Josiah Tsibu Manu, Priscilla Agbeti, Blanche Boni-Mississo, King David Osabutey (Kakalicka) and Sena Burgundy Appau, turns its attention to the overlooked details of daily life—and finds history hiding there.
Manu’s domestic interiors are particularly evocative. Furniture, photographs and household details become unofficial archives, recalling how Ghanaian homes often carry memories that never enter formal histories.
In Agbeti’s unfinished woven works, meanwhile, labour refuses to disappear behind polished craftsmanship.
The incomplete becomes deliberate, leaving viewers to consider the economic and social histories carried by textiles.
Elsewhere, Boni-Mississo examines how spaces determine who can move freely and who is kept at the margins. Kakalicka draws on Akan cosmology through his Ɔhɔhoɔ, or stranger, connecting questions of displacement and belonging with indigenous ideas.
Appau’s monumental blue figures turn inward, contemplating the uncertainty and possibility of becoming.
Together, the artists suggest that the everyday is not neutral. It is where memory is stored, identities are formed and social boundaries are experienced.
For audiences in Ghana and abroad, the exhibition offers an invitation to look again at what familiarity can conceal. Sometimes, the objects closest to us have the most to say.
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