The world has been formally introduced to Mcensal’s newest cohort, 29 emerging designers ready to shape the future of fashion in Kenya and beyond. The AfriHue team had the privilege of meeting and engaging with some of them. And what an experience it was! The stories behind their collections are as breathtaking as the garments themselves.
Photographed by Lenny Lenya
Take Aweng Dhol, for instance. Her piece, Roho Sancta, is a Milan Fashion Week-worthy creation inspired by African masks, the Roman Catholic Church silhouette, and the Japanese Shibori tie-dye technique. Through intricate binding, twisting, and dyeing, Aweng created vibrant, earthy patterns that speak of both tradition and innovation. The Roman influence is subtly reflected in the way the garment hugs the body like a second skin, dignified yet dynamic.
Photographed by Lenny Lenya
Keziah Murugi also employed Shibori, using an intricate combination of stitches to produce a blossom-like texture. Her design is both voluminous and textured, a testament to the complexity of technique. Keziah admitted to fearing that her work might not be fully appreciated, especially since the design demands a model with very specific features to do justice to the look. While some might interpret this as exclusionary, it’s a reality in the fashion world: garments often require a precise fit to communicate the designer’s vision, and models must creatively adapt to bring that vision to life on the runway.
Photographed by Lenny Lenya.
Designer: miss_mystiquekezz
Then there's Philip Waiganjo, whose collection Archive Fashion channels the Victorian era with its round silhouettes and corseted waists. One standout piece featured a bold, armor-like structure, visually heavy but deceptively light, as the model revealed. Philip's work plays with illusion, combining lightweight materials with designs that evoke strength and elegance. "Clothes are our armor," he explained. "They protect us from the elements but also give us the confidence to stand tall." Despite technical hurdles, like balancing petticoats or debating the use of rubber waistbands, his creations made a powerful impact.
Photographed by Lenny Lenya
On the historical side, Andrea Salma’s The Garden of Eden used a palette of gold, pink, and red to reflect the mythical garden’s abundance and diversity. Her cuts varied from soft and delicate to edgy and assertive. This was a refreshing blend of contradictions that echo nature’s own variety.
Photographed by Lenny Lenya
David Kuria followed with Matthew 11:28, a spiritually grounded collection with a minimalist message: clothing should offer freedom and comfort. The lightness of his fabric allowed for fluid movement, yet was strong enough to assure a sense of safety. Achieving this delicate balance required rejecting heavier materials, a common challenge for designers pursuing both aesthetics and functionality.
Photographed by Lenny Lenya
Architecture also inspired Dorcas Mwenge, who turned African masks into wearable art with her collection Yabingi Masquerade. Drawing from Congolese folklore, she crafted garments with eye-shaped openings and contrasting pleated sections stabilized using gum. Her work is both theatrical and deeply cultural.
Flora Muthenga presented the Kelitu Collection, envisioning what a cultural marriage between Kamba and Italian styles might look like. The result was a beautiful exploration of intercultural romance that felt both rooted and adventurous.
Photographed by Lenny Lenya
Designer: florakatindaa
Likewise, Naomi Kiche honored her heritage with a collection that came alive not just through clothing but also through traditional dance. Her goal: to modernize without erasing cultural identity. "Access to better materials and techniques should elevate tradition, not strip it of its soul," she said.
Photographed by Lenny Lenya
Taking a more somber path, Wendy Kibia’s Ashes to Light paid tribute to the victims of the 1994 Rwandan Genocide. Her work urges us to reflect on how culture, our most valuable asset, can also be misused. She hopes her designs serve as reminders to use technology and heritage as tools for peace, not alienation.
Photographed by Lenny Lenya
On the other hand, Bantu Jessica (aka Flexy) drew from the Sahara’s Blue Nomads, whose indigo-dyed clothing leaves a tint on their skin. Her designs struck a rare balance between femininity and masculinity. Model Arm Carlito described the outfit as both delicate and elegant, an uncommon feat in African male fashion, where rigid gender norms often limit expression.
Photographed by Lenny Lenya
Tearing down those norms is central to Clinton Muthui’s work. His collection challenges stereotypes around masculinity and speaks to mental health, an often overlooked issue. Through symbolic, restless designs, Clinton conveys the journey from darkness to healing. "What feels like the end now may just be the tunnel to something better," he shared.
Photographed by Lenny Lenya
From that same place of emotional depth came Tekle Yearbsra’s Alchemy Elementals. Her designs represent nature’s infinite materials and manifestations. Raised by a mother who encouraged curiosity, Tekle sees her collection as a tribute to exploration, transformation, and the elemental world.
Photographed by Lenny Lenya
Model's Name: koki.wabule
Finally, Joy Wachuka’s Art and Fabric honored her mother who has been and is a constant pillar of support despite health struggles. Her collection radiates gratitude, strength, and unconditional love.
Photographed by Lenny Lenya
Designer: __wachu._the_designer
Each of these designers dares to be vulnerable, to express their values and fears through their craft. They are unafraid to challenge norms, to be misunderstood, and to redefine beauty on their terms. Meeting them was more than a privilege. It was a glimpse into the future of Kenyan fashion.
We cannot wait to see where their creativity leads next. The world better be watching.
