Maputo’s Modernist Moment

Folded concrete church with angular roof forms against blue sky. Igreja de Santo António de Polana, modernist architecture in Maputo, Mozambique, designed by Nuno Craveiro Lopes, 1962.

Between the late 1940s and the early 1960s, in the city then called Lourenço Marques, a generation of architects produced a body of work

Woven Histories: Hair in East and Southern Africa — Ritual, Resistance, and Rebirth

Woven Histories: Hair in East and Southern Africa — Ritual, Resistance, and Rebirth Eembuvi braids worm by women of the Mbalantu tribes in Namibia

Woven Histories: Hair in East and Southern Africa — Ritual, Resistance, and Rebirth The eembuvi-plaits of Mbalantu women before the Ohango initiation ceremony, Namibia, 1930s. Photograph by C.H.L. Hahn. Collection Antje Otto. Editor’s Note: This feature is part of Guzangs’ ongoing exploration of African hair traditions, tracing their evolution from spiritual practice to global artistry. […]

Woven Histories: Hair in North Africa

Black-and-white photograph of Amazigh women from Morocco, their long braids decorated with charms and beads, wearing traditional garments.

Hair across Africa has never been a mere accessory. It has long functioned as a living archive, carrying messages of lineage, spirituality, and social status. In every braid and parting, identity is inscribed. Today, conversations around African hair have widened beyond what past generations could have imagined. On Instagram, TikTok, and YouTube, hairstylists, cultural historians, […]

Woven Histories: A Series on African Hair

Black-and-white photograph of Amazigh women from Morocco, their long braids decorated with charms and beads, wearing traditional garments.

A three-part Guzangs series on African hair: how it has been styled, what it has signified, and how those traditions are evolving region by region. Hair across Africa has long carried lineage, spirituality, and social standing. Woven Histories traces that record across three regions, beginning in the Maghreb and ending in East and Southern Africa. […]

WORN OUT — Part III: Return to Sender

WORN OUT — Part III: Return to Sender 00B98278 8E2A 464A AEB5 00079418D650

How African Designers Are Reclaiming Waste and Rewriting Fashion’s Future The bales arrive as they always have — compressed, labeled, shipped across oceans like cargo without conscience. They still overwhelm ports and markets, a visible symptom of a system that hasn’t stopped. But something has shifted in how they’re received. Across Accra, Cairo, Dakar, workshops […]

What Makes a Brand African? Rethinking Made in Africa Fashion

What Makes a Brand African? Rethinking Made in Africa Fashion IMG 9727

While African fashion has reached greater heights—the question of what makes a brand “African” resists easy answers. It can’t be answered through surface-level aesthetics or generic motifs, but instead, it demands a deeper interrogation of history, structure, and power. At first glance, one might say an African brand is one founded or designed by an […]

WORN OUT — Part II: How African Governments Are Responding to the Textile Waste Crisis

WORN OUT — Part II: How African Governments Are Responding to the Textile Waste Crisis WhatsApp Image 2025 07 19 at 22.19.04

Western wardrobes don’t end in Europe or North America. They spill quietly, devastatingly onto African soil, packed into shipping containers and sold in open-air markets under the guise of “donations.” But from Accra to Kigali, Dakar to Lusaka, something is shifting. The bales keep arriving. The markets keep choking. But across the continent, a patchwork […]

WORN OUT: The True Cost of Your Donated Clothes

WORN OUT: The True Cost of Your Donated Clothes thrift1

Part I — The History of a Heap Kantamanto doesn’t sleep. It breathes, wheezes, and heaves under the weight of foreign fabrics. Bales arrive daily—tightly bound, often soaked in chemical stench or rainwater from cargo ships—marked “donation” in faded marker. They are not gifts. They are transactions. They are waste. And they are profitable for […]