Probably to coincide with New York Fashion Week, Vice released the Nigerian installment of its “Fashion International” series. It’s not bad considering how Vice usually treats Africa (reference: Congo, Liberia and Ghana) and it definitely captures some of the energy of Nigeria. But it can’t help itself. We’re barely a minute into Vice’s report (“looking for something beautiful behind the depressing headlines”) on Nigeria’s 2011 fashion week when we’re told Lagos is troubled by “civil unrest, religious tension and wide-spread corruption” that “have lead to calls for the resignation of long-standing president Goodluck Jonathan.” Pretty prescient. The first Nigerian to get some words in is the “fantastically named” fashion week’s organizer Lexy Mojo-Eyes “who looks like Don King”; next up are the fashion week’s female models (but it quickly gets too “naked”, so the reporter moves on to the male models), wondering why they love “to represent Africa.”

It gets better after the 5:00 mark, pitting general male vanity against the recently proposed self-righteous anti-gay bill and homophobic sentiments in local press. (We’ll ignore how the reporter slides from ‘traditional African beauty’ over ‘pure Nigerian beauty’ to back-stage ‘pure Nigerian chaos’ — do French fashion back-stages look anything less chaotic?)

It’s a decent document (and rare in its portraying of gay figures –albeit in a stereotypical fashion context– where Nigerian pastors and politicians would rather see them outlawed).

One question though: what is it about “being on a yacht under African skies” that makes journalists “lose control of [their] senses”?

Further Reading

Sovereignty beyond the nation

A new history of the interwar Latin American left recovers the rich debates over race and self-determination that shaped the region’s anti-imperial politics—and still resonate today.

Fields of dependency

As the US-Israel war on Iran disrupts fertilizer supply, Africa’s reliance on imported inputs exposes the deeper political economy driving food insecurity.

Whose progress?

A new documentary reveals how Ethiopia’s manufacturing push redistributes land, labor, and opportunity—delivering gains for some while displacing others.