Boosting Tourism in India with Surfing Culture

Tourism has experienced decades of growth and diversification and is now considered one of the fastest-growing economic sectors in the world. According to the UNWTO – the United Nations World Tourism Organization – modern tourism is “a key driver for socio-economic progress.”

The scale of global tourism means it rivals other sectors, such as oil exports, food products and automobiles in terms of economic clout. With such an important role to play in global commerce, it has become a top income source for developing countries in the global South.

International tourist arrivals grew by 4 per cent in 2012, reaching a record 1.035 billion worldwide (UNWTO). Emerging economies led the growth in tourism, with Asia and the Pacific showing the strongest gains. Tourism outpaced growth in the wider world economy in 2012, contributing US $2.1 trillion to global GDP and supporting 101 million jobs (WTTC).

“2012 saw continued economic volatility around the globe, particularly in the Eurozone. Yet international tourism managed to stay on course” said UNWTO Secretary-General Taleb Rifai. “The sector has shown its capacity to adjust to the changing market conditions and, although at a slightly more modest rate, is expected to continue expanding in 2013. Tourism is thus one of the pillars that should be supported by governments around the world as part of the solution to stimulating economic growth.”

One country that has found tourism becoming a key contributor to its national income is India. The country’s travel and tourism industry is now three times larger than its automotive manufacturing industry, and generates more jobs than chemical manufacturing, communications and the mining sector combined (World Travel and Tourism Council).

Indian Tourism Minister Subodh Kant Sahai called for the sector to create 25 million new jobs over the next five years and it is hoping to grow the market by 12 per cent by 2016 (The Economic Times).

Travel and tourism now contributes 6.7 billion rupees (US $124 million) – or 6.4 per cent – of the country’s total GDP (gross domestic product). The sector supports 39 million jobs directly and indirectly.

But competition for global tourist dollars is fierce. As more flight routes open up – Africa for example, is seeing new airlines and routes emerge every year – a person looking for somewhere to holiday has an ever-growing range of options to choose from. Will it be Africa this year, or shall we go to Asia?
One way to attract tourists and gain an extra edge in the global travel marketplace is to show imagination and innovation. Being different and novel can be the clincher for a tourist, especially one who is widely travelled and is searching for new experiences.

In Southern India, the state of Kerala is well known for its ayurvedic medicine (http://en.wikipedia.org/wiki/Ayurveda) and food tradition going back centuries, combined with its laid-back beach culture. It is a heady combination that successfully attracts many people, who come to relax and boost their health.

Now, Kerala is offering a new dimension to this experience: surfing. Surfing is a water sport involving a person riding ocean waves (https://en.wikipedia.org/wiki/Surfing), usually on a long board. India has enormous and mostly untapped potential as a surfing destination, with its hot weather and 7,000 kilometres of coastline.

Soul and Surf (http://soulandsurf.com) in Golden Beach, Varkala is within walking distance of the Varkala Cliff tourist area and an hour away from the closest major airport, Trivandrum International Airport.

The founders of Soul and Surf, Ed and Sofie Templeton, were captivated by “surfing warm, empty waves, eating wonderful fresh, cheap seafood, practicing yoga and receiving ayurvedic treatments”, according to their website.

“Enchanted by India’s magical, spiritual atmosphere, the warmth of the local people and the raw natural beauty of the area,” they set up a combined surfing and yoga retreat in 2010.

They have become part of a growing surfing scene in Kerala, and an increasing awareness in the country that its long ocean coastline is perfect for water sports.

As surfing grows in India, the owners wanted to create a business that supported the local area, particularly coastal fishing communities surrounding Varkala.

They have also expanded to run a luxury surf and yoga retreat in Sri Lanka and guided trips to the Andaman Islands.

Soul and Surf was inspired by the Surfing India Surf Ashram (surfingindia.net), a 12-hour trip up the coast from Surf and Soul in Karnataka.

Their so-called “Surfing Swamis” have discovered the best places to surf in India and are spirited champions of the whole surfing lifestyle. A swami (http://en.wikipedia.org/wiki/Swami) is a Hindu male religious teacher.
Surfing India promotes adventure sport in India and was started in 2004. At the time, surfing in India had a very low profile. Surfing India offers a sophisticated experience to travellers, including Wi-Fi Internet access, vegetarian food and all the equipment required.

All the staff are volunteers and work for room and board. Profits are plowed back into keeping the surf ashram going and helping its activities, which include adventure tours, a surf camp, surf school, yoga retreat, bodyboarding, snorkelling and wakeboarding.

The Surfing Swamis Foundation is a non-profit organization whose goal is to “teach surfing and environmental awareness to children, orphans, and handicapped persons of any age or gender.”

It also sponsors the All India Surf Team for boys and girls across India.

By David South, Development Challenges, South-South Solutions

Published: April 2013

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

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Crowdfunding Technology Start-up Success in Africa

 

Technology is the future for the South, and South African start-up culture is trying to get a foothold on the African continent and forge a more supportive environment for entrepreneurs and innovators.

Modelled on the successful approaches pioneered in U.S. high-technology centres like California’s Silicon Valley (http://en.wikipedia.org/wiki/Silicon_Valley) , Crowdfund (http://www.crowdfunding.co.za) aims to connect start-up technology companies with cash, experience and contacts, helping them get to the crucial prototype stage so that they can go big and go global.

It works like this: in order to build up a fund of cash to invest in start-ups, 1,000 people get together and invest R1,000 (US $128) into a Crowdfund – a pool of investment cash. A board is set up and uses the pooled cash to invest in between 10 and 20 of the best start-up ideas submitted. The ideas are funded and developed into working prototypes in return for a stake in the business. Once the working prototype is up and running, traditional venture capitalists are approached for further funding and usually Crowdfund will then cash in its equity.

The concept of crowdfunding allows groups of people to use the internet to pool their money together to help support a person or a cause (http://en.wikipedia.org/wiki/Crowd_funding) . There are now many variations on the concept, with online services providing crowdfunding for artists, designers, film-makers, causes, scientists and technology pioneers.

As a model for raising funds for small businesses, the concept has a long history in poor communities across the South. Often, it can be a group of poor women pooling their resources to help each other start small businesses. Technology in the form of the internet and mobile phones has helped the concept jump to the next level, and expanded the pool of people who can support a crowdfunded idea around the world.

It is an answer to the need for so-called “angel funding” (http://en.wikipedia.org/wiki/Angel_investor) : somebody with lots of cash who is willing to help a start-up entrepreneur. Crowdfund’s founders felt South Africa lacked enough angel funders to meet the needs of the country’s technology start-ups. This can be a big problem in countries where there is no history or culture of angel funding and searching far and wide for the “next big idea.”

In April of this year, Crowdfund was able to raise R1 million (over US $128,000) from 229 investors.

Venture capitalists (http://en.wikipedia.org/wiki/Venture_capital) – people or investment groups looking for high-growth start-ups to invest in – usually prefer to put their money into proven ideas for big, fast returns. They often lack interest in smaller ideas that may grow more slowly. It is a classic dilemma: how can an entrepreneur know if their idea will work if nobody will give them the cash to prove it?

This is a critical problem in the information age. As broadband technology spreads across Africa, the opportunities for online businesses will just grow and grow. But few will be able to benefit and African start-ups will not stand a chance against global competition if funding is not available to nurture new businesses.

Crowdfund assesses ideas and identifies skill shortfalls. The cash is used to help with the skills shortage, provide office space, bandwidth, hosting and mentorship. The funded team will also have access to legal, marketing and management experts to get through the development stage and avoid costly mistakes. The development process in stage one takes three months. The Crowdfund Board will then search for potential investors to take the start-up to stage two and a working prototype.

By this stage negotiations will take place to set the start-up off on the path to global success. They are helped with the tricky negotiation process with investors.

Apart from the start-up cash, the powerful idea behind Crowdfund is the network of support and advice that comes with it. Two of the board members are South Africans based in San Francisco, USA, and can make that crucial connection with the buzzing U.S. technology scene. Investors are asked to mentor the start-up concepts, meaning start-ups are accessing normally costly business advice.

Crowdfund tries to get a response back to potential start-ups within 48 hours (http://digitalgarage.co.za/2010/04/12/filtering-the-applications-for-funding/) , so, if you have a great idea, get submitting!

By David South, Development Challenges, South-South Solutions

Published: June 2010

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

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Berber Hip Hop Helps Re-ignite Culture and Economy

Music is being used to revive the ancient language of the original North African desert dwellers, the Berbers (http://en.wikipedia.org/wiki/Berber_people). And in the process, it is spawning a whole new generation of entrepreneurs and generating income.

The Berbers are North Africa’s indigenous people, primarily living in Morocco, Algeria, Libya, and Tunisia, but their language and culture – called Amazigh – were replaced as the lingua franca of the region after the Arab conquest in the 7th century. But all these years later, the language is enjoying resurgence under Morocco’s king, Mohammed VI, who is helping to promote the language through television programming and a new law making teaching of the language compulsory in schools by 2010.

Amazigh people – the name means “free humans” or “free men” – total more than 50 million. Their group languages, called Tamazight, are spoken by several million people across North Africa, with the largest number in Morocco.

For young Moroccans, promoting the language is more interesting when hip hop (http://en.wikipedia.org/wiki/Hip_hop_music) is thrown into the mix.

Where once Berber culture was shunned in Morocco and the language banned in schools, the revival of the Tamazight language has led to a flourishing of summer arts festivals, thriving Tamazight newspapers _ and Tamazight hip hop.

One hip-hop outfit, Rap2Bled from the Moroccan city of Agadir, stick to social issues, singing about unemployment, drug addiction and the emancipation of women.

“My mother and grandfather don’t know any Arabic…Before they couldn’t watch television, read a newspaper. They hadn’t got a clue what was going on in the world. They didn’t know anything,” Rap2Bled singer Aziz, who goes by the street name Fatman, told to Radio Netherlands Worldwide.

“But now there is a TV channel in our local dialect and a newspaper. But our aim is to put the language on the map by fusing it with hip hop. More than 60 per cent of young Moroccans only listen to rap and western music. So we thought why not fuse Berber with that and make it really accessible?”

Just 10 years ago, rap and hip hop were virtually unknown in Morocco, with only a small group of hip hop aficionados listening to big American stars like Dr Dre, Tupac Shakur and Notorious BIG.

But today hip hop culture and way of life (of which rap and hip hop music are a part) have become a powerful force in Moroccan culture. Moroccan rap focuses on local issues like unemployment and injustice and is ubiquitous on radio and TV.

The Casa Crew, from Casablanca, has become so successful since their beginnings in 2003 that their fan base stretches to Spain and Algeria.

“First of all, to designate rap simply as mere ‘music’ deprives it of its real impact,” Caprice from the Casa Crew (http://casa-crew-00.skyrock.com/), told the Arab Media News, Menassat.

“Rap is a life style, and mainly a culture of convictions. The fact that rap is spreading in countries like Morocco is an excellent sign. On the one hand, it’s proof that the youth are starting to react, to think they have the right to express themselves in any way they see fit, without anyone judging them or denying them of that right. On the other hand, the development of rap means that the space for artistic freedom is growing particularly when considering that a majority of Arab rappers are dealing with subjects that we were forbidden to speak about a few years ago.”

The Amazigh revival industry centres around large music festivals. Timitar Festival in Agadir (http://www.moroccofestivals.co.uk/timitar.html) gets crowds surpassing 500,000, with more than 40 artists. Morocco’s biggest festival helps Amazigh artists meet world musicians and learn how to reach music fans outside of Morocco.

Another pioneer of Morocco’s music industry is Mohamed ‘Momo’ Merhari, a young music entrepreneur and winner of the British Council’s International Young Music Entrepreneur of the Year award in 2008 (http://www.creativeconomy.org.uk/).

Momo is a music consultant and co-founder of the “Boulevard des Jeunes Musiciens” (http://www.boulevard.ma/), the largest contemporary music festival in North Africa, featuring 50 bands over four days, and reaching a live audience of 130,000 people. The annual event showcases new talent from the worlds of hip hop, rock and jazz fusion from all over the region.

In January, Morocco’s culture minister Touriya Jabrane promised to introduce a range of measures to financially support Moroccan musicians, composers and the industry as whole.

By David South, Development Challenges, South-South Solutions

Published: March 2009

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

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Like this story? Here is a dirty secret: this website is packed with stories about global South innovators. We spent 7 years researching and documenting these stories around the world. We interviewed the innovators to learn from them and we visited them to see how they did it. Why not use the Search bar at the top and tap in a topic and see what stories come up? As for my work, I have been involved with start-ups and media ventures since the early 1990s. While most tech entrepreneurs were either still in their nappies in the 1990s (or just a drunken night away from being conceived in the 2000s), I was developing content for this new thing they called the "Internet". In the years since I have learned a great deal about innovation and digital and have shared these insights in the stories on this website as well as in the 5 issues of Southern Innovator magazine. So, stick around and read some more!    

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Nollywood: Booming Nigerian Film Industry

The digital revolution in filmmaking over the last decade has given birth to an African success story: Nollywood – Nigeria’s answer to Hollywood, uses low-cost digital filmmaking and editing to tell local stories — in the process making money and creating thousands of jobs.

This do-it-yourself (DIY), straight-to-DVD and video market has in just 13 years ballooned into a US $250 million-a-year industry employing thousands of people. In terms of the number of films produced each year, Nollywood is now in third place behind India’s Bollywood and America’s Hollywood. Despite rampant pirating of DVDs and poor copyright controls, directors, producers, actors, stars, vendors and technicians are all making a living in this fast-growing industry.

The power of creative industries to create jobs and wealth has been a focus of UNESCO, through its Global Alliance for Cultural Diversity. UNESCO has been in the forefront in helping African countries re-shape their policies to take cultural industries into consideration. The promotion of cultural industries also has been incorporated into the New Partnership for Africa’s Development (NEPAD).

What is particularly attractive about Nollywood to the poor in the South is its rough-and-ready approach to filmmaking: combining low-cost digital cameras and film editing software on personal computers, with small budgets and fast turn-around times. Films are made on location using local people. These factors make getting into filmmaking accessible and within reach of more people.

Nollywood grew out of frustration, necessity and crisis: in the late 1980s and early 1990s, Nigerian cities became crime hotbeds. People were terrified to go out on the streets, and this led to the closing down of many movie theatres. Desperate for entertainment at home – and unsatisfied with foreign imports from India and the West – Nigerians turned to telling their own stories to stave off the boredom of staying in.

The film credited with sparking off the industry is 1992’s Living in Bondage – a huge financial hit credited with raising the level of professionalism and production values in Nigerian cinema.

Now, between 500 and 1,000 feature-length movies are made each year, selling well across the continent of Africa. Average productions take 10 days and cost around US $15,000 (www.thisisnollywood.com). Nollywood stars are famous throughout Africa – and Nigeria culturally dominates West Africa just as the US does the world. It is estimated there are 300 producers and that 30 titles go to shops and market stalls every week. On average, a film sells 50,000 copies: a hit will sell several hundred thousand. With each DVD costing around US $2, it is affordable to most Nigerians and very profitable for the producers.

“These are stories about Africa, not someone else’s,” well-known actor Joke Silva told the Christian Science Monitor.

Focused on Africa, the films’ themes revolve around AIDS, corruption, women’s rights, the occult, crooked cops and prostitution. They do so well because they speak directly to the lives of slum-dwellers and rural villagers.

“We are telling our own stories in our way, our Nigerian way, African way,” said director Bond Emeruwa. “I cannot tell the white man’s story. I don’t know what his story is all about. He tells his story in his movies. I want him to see my stories too.”

The big brands – Sony, Panasonic, JVC and Canon – all produce cameras capable of high-definition digital filmmaking and these have become the staple tools of this filmmaking revolution.

More and more, the films are capitalising on the large African diaspora around the world, on top of Africa’s large internal market. And this is offering a step-up into the global marketplace for Nigerian directors and producers.

The Nollywood phenomemon has been documented in the documentary This is Nollywood, directed by Franco Sacchi, a teacher from the Center of Digital Imaging Arts at Boston University.

The prospects for the industry are only looking up: the Nigeria in the Movies project has been launched to help grow the industry, establish standards, improve distribution and broaden its international appeal and awareness. It also offers filmmaking grants for neophyte filmmakers.

Of course, filmmaking can be a tricky business: authorities in largely Muslim northern Nigeria have imposed 32 restrictions on the local film industry — nicknamed “Kannywood” after the city of Kano. A six-month ban lost the industry US $29 million and put thousands out of work: a sign of the economic importance of this DIY filmmaking business. The message is clear: filmmakers need to be sensitive to the cultural norms of the communities in which they work.

Kannywood, started in 1992, has 268 production companies and 40 editing studios, employing over 14,000 people.

Adim Williams is one Nigerian director who is getting an international audience. He spends about US $40,000 on films that take two weeks to shoot. He has already secured an American release of a comedy, Joshua. Another director, Tunde Kelani, is regularly featured at international film festivals, where Nollywood screenings are more common.

And some, like young director Jeta Amata, believe Nollywood’s cheap, fast-production, DIY approach has a lot to teach Hollywood, with its expensive filmmaking and ponderous production cycles.

By David South, Development Challenges, South-South Solutions

Published: March 2008

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

Cited in Innovation Africa: Emerging Hubs of Excellence edited by Olugbenga Adesida, Geci Karuri-Sebina, Joao Resende-Santos (Emerald Group Publishing, 2016)

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African Culture as Big Business

In the last decade the world’s creative industries (including crafts, fashion and design) have gained greater respect for being the spark that drives economic development and entrepreneurship. They are seen as fast growers and good job creators, and importantly, the lynch pin in cultural identity and cultural diversity. UNESCO, through its Global Alliance for Cultural Diversity, has been in the forefront of helping African countries re-shape their policies to take this into consideration. The promotion of cultural industries also has been incorporated into the New Partnership for Africa’s Development (NEPAD).

The global clothing industry is estimated to be worth US $900 billion a year. Culture and creativity are big businesses: according to UNESCO, in 2002 the UK exported US $8.5 billion in cultural goods, the United States US $7.6 billion, and China US $5.2 billion. The UK’s Burberry fashion label alone made £157 million in 2006.

This is good news for Africa’s growing fashion industry, which is finally getting the attention and respect it deserves. Entrepreneurs are tapping into this awareness as a great way to make money. Well-known Nigerian fashion designer Alphadi says the continent’s fashion industry is “giving Africa a chance to show its true self, its solidarity, its huge generosity and its greatness.”

Africa’s fashion entrepreneurs are showing more and more confidence and striding with pride across catwalks around the world. And despite the problems faced by black models – as highlighted by supermodel Naomi Campbell in her recent press conference in Kenya – some African models have a growing international profile: these include Alek Wek from southern Sudan, and Waris Dirie from Somalia. Campbell has said she plans to set up a modelling agency in Kenya to increase opportunities.

Just as African music has fans around the world, the continent’s growing fashion scene is gaining fans and more attention. From Hollywood stars to European catwalks, African fashion designers and apparel makers are feeding the industry’s hunger for novelty and new ideas.

African entrepreneurs, from village craftsmen to ambitious and creative urbanites, are finding ways to cash in on this rising awareness.

The rising stars of South Africa were on full display at this August’s Cape Town Fashion Week. David Tlale, who produces glamorous haute couture creations, places community empowerment in his hometown of Johannesburg at the centre of his business. Tlale was joined by rising stars Thabani Mavundla, Thula Sindi, and Craig Jacobs.

Creator and founder of the Fundudzi label of Johannesburg, Jacobs presented a couture collection at Paris Fashion Week in July. A former TV presenter-turned-fashion designer, Jacobs sees a renewed pride in African creativity and a new dialogue about Africa’s place in the world. His motto is: “Africa reworked…Africa re-inspired… Africa renewed”.

Established in 2004, his clothing company for women strives to be socially and environmentally responsible: “Fundudzi is also an eco-conscious label, utilizing materials such as organic cottons, soy and bamboo as well as cashmere produced in Africa which is not harmful to the environment,” he said. “The message which we want to resonate with the rest of the world is that Africa has always been organic.”

“Our label has grown out of the desire to help change the perception of our home, Africa, by presenting clothing designed and created here which can compete on the world stage.”

Jacob benefited from support from various organizations in South Africa to get his business plans sorted out. The country’s tourism body has focused on fashion with its C’est Couture campaign. But he has also struggled with the complexities of exporting his designs and navigating global customs regulations.

“There has been a lot of interest internationally in our collection, but I am not sure what the rules and regulations are … We need an over-riding body to help assist us young entrepreneurs. My experience in Paris, in July, has been that we do have something new and fresh to say in fashion, and we can produce at the same standard as the rest of the world.

There was validation of that. But we as Africans need to follow our own signature, look internally to come up with inspiration, and show that to the rest of the world. “The global village environment, and the access that technologies such as the Internet have provided, means that we can tune into the same stimuli in terms of trends and fashion directions to ensure that we are on par with the rest of the planet. I do believe that the world, bored with the same trends they have been exposed to for so long, are looking for a new guard of inspiration – and we need to empower ourselves with the right tools to answer that call.

“Our positioning is quite simple – our label is dedicated to creating jobs in Africa, thereby reducing our dependency on aid in securing our future …I wanted to create a label which is rooted in Africa, which tells African stories, but which is not tradition or museum curio – rather, intelligent pieces which can fit seamlessly into the global firmament of fashion. The label is focused on redressing the prejudices about the “dark continent” – each collection is designed as a travelogue, informing the world about the rich tapestry of life in Africa.”

Another hub of dynamism in the African fashion scene is Nairobi, Kenya. Kikoromeo connects its catwalk fashion designs with the principle of community development. The label uses mostly Kenyan materials – cotton, silk and wool – and works with local artisans, including women’s groups. Its bags are woven with Kenyan Sisal by Machakos women’s groups, and the beadwork is done by Maasai women’s groups.

Anna Trezbinski of Nairobi, who is popular in Hollywood and has contracts to provide items to top designers like Paul Smith, employs 800 people – mostly Masai women in her workshop in the Great Rift Valley.

This new wave of African fashion designers is proving that anyone with talent, a website and a fan base can puncture the bubble of the European and New York catwalks and make a splash.

“Africa is a haven of inspiration,” says the Tanzanian-born, Nairobi-based designer and collector Lisa Christofferson, who has clothed Ralph Fiennes, Rachel Weiss and Jane Seymour. “Africa for many years now has been the flavour of fashion,” she says. “It has really opened the door for us.”

She believes the internet has expanded her business and her brand. It gives clients and boutiques around the world the ability to import her hand-painted, African-inspired cashmere sweaters, bedspreads and throws. Many are ceremonial cloths of the Kuba Kingdom in Congo.

Another designer based in Kenya, Annabelle Thom, believes changes in the last seven years are responsible: access to TV and film, music channels and a burgeoning middle class with money. “People care more about fashion and if you look around in Nairobi, the average person is beautifully dressed – people are spending money on themselves,” she said.

Ethiopia has also been identified as a bubbling fashion hot spot for its indigenous raw cotton and potential to produce other natural fibres. Ethiopian designer Guenet Fresenbet launched Ethiopia’s first fashion magazine, Gigi, to help take the lead.

By David South, Development Challenges, South-South Solutions

Published: October 2007

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

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Southern Innovator Issue 5: https://books.google.co.uk/books?id=6ILdAgAAQBAJ&dq=southern+innovator&source=gbs_navlinks_s

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