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Shade Thomas-Fahm: Nigeria’s ageless fashion matriarch

By Chidirim Ndeche

26 October 2024   |   9:35 am

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Celebrating 91 years of timeless elegance and enduring influence The past few days have seen the Nigerian fashion industry, designers, and creatives getting their deserved applause. Birthed 13 years ago, Lagos Fashion Week (LFW) has, for more than a decade, amplified the appreciation of Nigerian fashion. But long before the advent of LFW, Shade Thomas-Fahm…

Celebrating 91 years of timeless elegance and enduring influence

The past few days have seen the Nigerian fashion industry, designers, and creatives getting their deserved applause. Birthed 13 years ago, Lagos Fashion Week (LFW) has, for more than a decade, amplified the appreciation of Nigerian fashion. But long before the advent of LFW, Shade Thomas-Fahm held sway.   

At 91, Shade Thomas-Fahm is credited as Nigeria’s first and most enduring fashion matriarch, whose visionary designs are known for seamlessly blending traditional Nigerian fabrics with Western styles for over six decades.

In this exclusive interview with Guardian Life’s Chidirim Ndeche, the fashion icon reflects on her pioneering journey, recent recognition by the Victoria & Albert Museum, and the invaluable lessons she imparts to today’s emerging designers.

Fashion weeks today are a major platform for designers to showcase their work, but during your time, how did events like these help shape your journey as a businesswoman? Did they influence your understanding of global trends and open doors for your designs to gain visibility?
During my time—when I came back to Nigeria—I was able to project fashion to the Nigerian people by hosting charity fashion shows. Women’s organisations or groups would ask me to organise these events to raise money for various causes. I didn’t profit from the gate fees; that went to charity. All I probably got was from the sale of my fashion pieces after the show. Usually, the organisations behind a charity would ask me to present a fashion show to bring in or entertain the crowd. These events brought donors and supporters together, and my fashion shows helped entertain and engage them. The whole idea was for the organisations to raise funds for charity.

At the beginning of your career, European and American women were your banner. They took your fashion forward. Can you tell me about some of the women who attended these shows?
Usually, these foreign women were serving at the embassies here. They were diplomats or the wives of diplomats. They were the ones who projected Shade’s Boutique. They even sold it abroad or gave outfits as gifts. They invited me abroad as well to give fashion shows on Nigerian fabric and Nigerian fashion. I went to various places in Europe to show. That was how it was done.

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You’ve always been proud of your heritage. How has this cultural pride influenced your designs over the years?
I’ve always thought that Nigerian women are very beautiful, active, and passionate. This is something I saw in us then and even now, and I try to protect that. When I went abroad, I saw that people were very proud of their women, their culture, and thought their women were beautiful. I felt the same about Nigerian women, so it came naturally to me to promote our own beauty. That’s what I still feel. Nigerian women have always been active in fashion. In a way, we have always been proud of our appearance, especially Lagosians. This was what I felt when I arrived in England and saw what was there. I said I’ll take it back to Nigeria because I know Lagosians will love this. This blend was a way to showcase the beauty and pride of Nigerian women.

Can you share the inspiration behind integrating traditional Nigerian fabrics with Western styles, particularly in the 1960s and 1970s?
The idea of the boubou came from agbada. In French, boubou means big. We started adding some lines, frills, and designs on the neck and sleeves as a forward-looking approach to continuously projecting fashion. The boubou was taken out of the agbada, a loose-fitting garment that makes a woman look more feminine. Making a woman look more alluring and comfortable was key. Even when you’re moving around the house, you don’t wear a fitted outfit but a loose one. The boubou is stylish and comfortable, which is why it has remained.

Many contemporary Nigerian collections feature elements that reflect your innovative designs, particularly the boubou. How do you feel seeing that styles like the boubou have become a staple, especially post-pandemic when comfortable fashion became even more popular?

The boubou makes a woman more alluring and comfortable. It’s a constant style for women. Even when you’re at home, moving from the kitchen to the sitting room, you opt for a loose outfit instead of something fitted. This trend towards comfort is a natural progression in our lives today. People still want to dress stylishly, even if they’re dressing down. You can dress a boubou up in many ways to look highly stylish. Comfortable fashion is already there in the boubou’s design, making it versatile and timeless.

You were recognised last year by the Victoria & Albert Museum as a ‘Fashion Vanguard.’ Looking back at your legacy, how does receiving this honour compare to other recognitions you’ve achieved? How does it feel to be celebrated at this stage in your career?

I feel highly honoured to be part of the history of fashion. The entrance of my work into the Victoria & Albert Museum is the height of recognition for me. It’s been a four-year exhibition that started in the UK and has travelled to various places, including Australia and the US and is now back. The V&A has six of my dresses in their permanent collection, which makes me a bona fide historical figure. It’s an honour not just for me but for Nigeria.

Can you share any memorable moments or favourite eras in your career?
Over the years, I’ve seen many fashion trends come and go. One of my favourite moments was designing the ‘Katy Rose’ blouse, inspired by paper roses I saw a friend’s daughter making. This design became a signature piece in my collection and exemplified the blend of traditional and modern styles that I always aimed for.

You opened Nigeria’s first boutique and introduced a new level of business sophistication to the fashion industry. How did your business approach shape the way modern Nigerian designers now turn their creativity into commercial success, particularly at events like Lagos Fashion Week?

Opening Nigeria’s first boutique was about more than just selling clothes; it was about raising designers to showcase their creativity commercially. I always wanted designers to balance creativity with commercial viability. Events like Lagos Fashion Week provide visibility to designers. I don’t know much about the Internet, social media and things, but I’m told this is a very powerful way of promoting your designs and spreading your message. We didn’t have this in my day, but I took every opportunity to make sure I promoted Nigerian design wherever and whenever I could.

As someone who has sustained a remarkable legacy over the decades, what advice would you give to today’s Nigerian designers, particularly those striving to balance creativity with commercial viability and seeking international recognition?

My advice is to stay true to your local roots while being open to what’s going on in the world. Balance creativity with practicality, and always seek quality in your designs. Networking and participating in international events can open you up to great things. Most importantly, persevere and remain passionate about your craft.

Your influence is deeply rooted in the Nigerian fashion industry. How do you see the younger generation of designers interpreting and continuing that legacy? Do you feel that they are adequately embracing the cultural elements you championed?
I see the younger generation interpreting my legacy by blending traditional elements with contemporary styles, much like I did. They are embracing cultural elements and adding their unique touches, which keeps the tradition alive while innovating. It§’s heartening to see this continuity and evolution in Nigerian fashion from generation to generation.

Do you actively follow the work of young Nigerian designers today? How do you engage with their collections, and do you ever find elements of inspiration in their designs that might influence your current work?
Yes, I actively follow young Nigerian designers. I engage with their collections by attending their shows and providing feedback when I can. I’m 91 now, so I don’t get about quite as much as I used to. New perspectives and new innovative ideas inspire me. Collaborating, joining together and mutual inspiration are vital for the growth of the fashion industry.

Having built such an iconic legacy, how do you plan to pass on your knowledge and experience to the next generation of designers? Is there someone you are personally mentoring, or any initiatives you’re involved in to help continue shaping the future of Nigerian fashion?
I plan to pass on my knowledge, as I have always done, through mentorship programmes and by sharing my experiences with upcoming designers. I have tried in my own way to nurture young talent. I started FADAN (the Fashion Designers Association of Nigeria). It will be 35 years next year. I also helped institute the fashion department at the Yaba College of Tech with Chief Olaiyiwola Olumegbon (Lai The Tailor), bringing in my old tutors from Central Saint Martins in the UK. I’m currently working with a company that is focused on Nigerians understanding that true legacy is ensured by creating generational wealth. This is what I want for all Nigerian designers, to keep passing on and passing on so that we all contribute a great story. 

*Special thanks to Fauzi Fahm for his invaluable assistance with this piece.