Tia Adeola brings Movement in More Ways than One to the Runway

February 16, 2022

When walking into the back entrance of the Prince George Ballroom, you can immediately sense that more than the clothes walking down the runway are going to be impactful. New York-based designer Tia Adeola, floats through the chaos of backstage models, photographers, and set crew preparing for the show with calmness and confidence. The designer had decided not to show last season giving her months of preparation, since July 2021 to be exact. “I was meant to show in September but for various reasons, I decided to sit out the season. So, I had a lot of time to think and even prior to that so much happened and there was just so much to say. From the End SARS movement that happened in Lagos to personal experiences,”she mentions.

Harpist Elizabeth Steiner began the performance while wearing Tia’s signature ruffle top in white. The show began as we all teleported to Tia Adeola’s version of the Renaissance. Delicate silks, ruffles, and feathers graced our eyes while Ella Fitgerald’s musings played in the background. To complete some of the looks Tia pays homage to the Black experience with classic Nike Air Force 1s. Tia’s signature layered ruffles are reimagined with a new contrast to her usual elegant softness. She experiments with graphics adding the text, “You were supposed to protect us” on a refined floor-length slip dress. Another example of this is her use of the chant “Break down the gates!” printed all over a sheer reflective skirt paired with a sequined long sleeve tie top.

Interview by Kerane Marcellus
Photos courtesy of Tia Adeola

Nigerian musician Kela Kuti is played as models continue to walk the runway. He’s known for his Afrobeat-reggae style of music that served as an anti-government soundtrack for protests. We see even more experimentation with her signature Jesus print. She tells office, “Being in the fashion industry as a young designer and also the foundation of my brand has always been the Renaissance period. And so, just continuing to push that notion, a lot of the pieces you’ll see a Black Jesus figure. In 2019 when I was showing in Spring Studios, I had the same image, but the Jesus was printed white. After research and learning and gaining that knowledge, I then worked with my graphic designer to alter that and make him Black as he is.”

Tia obviously loves a challenge as she chose to delve into the world of menswear. She said her biggest inspiration is none other than the beloved Prince, known for his effeminate style. Tia had no prior experience in menswear starting from ground zero learning about inseams on men’s clothing. Something else she wanted to address was toxic masculinity needing the notion to be broken starting with her work and those after her.

I feel like I haven’t seen anything with my community IRL in such a long time, and I wanted them to take a step into my mind, into my creative process, immerse themselves and the idea of the Black Renaissance.

Every single detail of this show held significant meaning. Even Flo Milli closing the show with her new song “PBC” standing for pretty, Black, cute addressing that she’s not just pretty for a Black girl, but is in fact — that girl. Tia Adeola does what she does best and that’s push boundaries while staying true to her original narrative. Look through the full collection here.

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Born in the Moroccan town of Tétouan and educated in Paris, Khattabi’s upbringing required him to make sense of how the different influences surrounding him could align. In turn, his designs explore the embedded codes and history of his bicultural background. Total Recall addresses this phenomon by including garments meant to reflect adaptation and transformation. Skirts made of tire covers and motorcyle tarpaulins refashioned into dresses are scattered across the collection, conveying notions of displacement. Blending these elements adds an industrial touch to the pieces while still keeping a sense of movement.

From sweatpants infused with polka dots to nostaglic slogans and banner display, the ensembles symbolize hidden identities and memories. Giving us a glimpse into his own memories, Khattabi's work evokes affection for the past. It's a nod to the interconnectedness of culture and how we interact with its complexitites creatively. View the collection below.