Aina Fadina celebrates individualism and achievement with progressive original content. The series features Africans and friends of Africa, performing progressive work around the world, be it in art, fashion, music or business. I of Africa broaches the greater topic of what it means to be an African through a kaleidoscope of individual stories. She curates the beauty, culture and spirit of Africa. Her creative lens passionately explores the global influence the continent has on the entire world.
The series ‘show’ guests in their element. Aina has shot in Lagos, Cape Town, New York, Paris and London where she interviewed innovators in Africa and the Diaspora. Some of her guests include Nigerian Designer Deola Sagoe, Kenyan DJ of BBC extra DJ Edu, British Nigerian Yinka Ilori, Ghanaian American rapper Blitz the Ambassador, South African design team Kluk CGDT, and Nigerian artist Seun Kuti. Previous episodes include Lisa Folawiyo, Tsemaye Binitie, and Andy Okoroafor.
"The rise of haute couture in the early 20th century dovetailed with advances in communication and travel, and so, too, the public’s unusual interest in this rarefied world. There are well-known stories of Paris policemen and taxi drivers being able to recognize couture, like a cop in the ’30s who refused to arrest a feminist agitator on the grounds that she was dressed by Molyneux. By the ’60s, everyone knew about the latest fashion, if not from Mary Quant, then from the Beatles. But sometime in the late ’80s, fashion discovered semiotics. Clothes suddenly acquired meaning (think of the efforts to “decode” a Helmut Lang show or almost any by Martin Margiela). You truly needed to be an expert to appreciate why a jacket was worn inside out or why a dress that made you look like a bag lady was cool. Susan Sontag described a similar shift in the arts in the mid-60s, noting that “the most interesting and creative art of our time is not open to the generally educated; it demands special effort; it speaks a specialized language.” Today, as high fashion moves closer to mass media — with brand-hosted YouTube channels, films, huge spectacles — there is pressure to simplify. I also wonder whether the surge of new brands — their shows often crammed with weird and banal designs — hasn’t caused elite designers to rethink matters. Hence more straightforward clothes."