Guzangs

“Legacy isn’t something you inherit. It’s something you armor up for.” For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent. → Read Helmet of Heritage now on guzangs.com. CREDITS Talent : Jeremiah Owusu-Koramoah @owu3.0 Editor/Creative Director : Ekow Barnes @ekowbarnes_ Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn Grooming by Antoinette Kwofie @annroselynnn Photographs by Gideon Boadi @deonnboadi Photo Assistant : Daniel Kwame Mawuena Gomadonku @dangeeart Post Production: Deon Studios @deonstudioss Fashion Video by : Henry Akrong @mr_akrong / Package Studios @packagestudios Video Assist: Derrick Addo @thirty_one_1 Producer : Gamel Baba Apalayine @gamelapalayine Production Assistant: Samuel Ampomah@bigsament Production Set Design Curation: Joel Gyamera @joelgyamera_ at Redclay Studios @redclay_studio Production Runners: Neindow David @neindow_dave , Amponsah Amos Asamoah @tyrone_blaccck Service Production Company by : WB Group @wbgroupreps Transport Logistics : Ayisi Wheels @ayisiwheelspro

Dakar Fashion Week turns twenty-five this December. Adama Paris launched it in 2002 and has staged it every year since, building one of the continent’s longest-running fashion weeks. Guzangs partners with Dakar Fashion Week as publication of record for the anniversary year, with editorial coverage of the December program and a series of gatherings leading up to it. Video: DFW 2025 by @alex_photography2310 for Guzangs.

“The helmet becomes symbolic… not of a heritage left behind, but of one that lives now, one that you must choose to wear.” For our debut digital cover, we traveled to Tamale with NFL linebacker Jeremiah Owusu-Koramoah—not to talk football, but to trace what it means to return. Rooted in Ghana, his story isn’t about choosing sides. It’s about legacy worn like armor, fashion as testimony, and the soul’s journey home. → Read Helmet of Heritage now at guzangs.com CREDITS Talent : Jeremiah Owusu-Koramoah @owu3.0 Editor/Creative Director : Ekow Barnes @ekowbarnes_ Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn Grooming by Antoinette Kwofie @annroselynnn Photographs by Gideon Boadi @deonnboadi Photo Assistant : Daniel Kwame Mawuena Gomadonku @dangeeart Post Production : Deon Studios @deonstudioss Fashion Video by : Henry Akrong @mr_akrong / Package Studios @packagestudios Video Assist : Derrick Addo @thirty_one_1 Producer : Gamel Baba Apalayine @gamelapalayine Production Assistant : Samuel Ampomah @bigsament Production Set Design Curation : Joel Gyamera @joelgyamera_ at Redclay Studios @redclay_studio Production Runners : Neindow David @neindow_dave , Amponsah Amos Asamoah @tyrone_blaccck Service Production Company by : WB Group @wbgroupreps Transport Logistics : Ayisi Wheels @ayisiwheelspro Jeremiah Is Wearing A Custom Woven Kente

On the Andoni River, in Rivers State, Nigeria, the day begins before the city is awake. The photographer Chukwudi Nwachukwu spent several mornings on the water with the men who fish it — the long hours of stillness, the catch, the trade at the bank, the slow return to shore. “The river is the only employer that has not closed,” he says. “The Labour of Rivers” is now on view in The Guzangs Eye, our visual archive. See the full series at the link in bio. Photographs by Chukwudi Nwachukwu, @chocwrld . Port Harcourt, 2026.

In Nigeria, the way a woman dresses has never been left to her alone. Colonial rule, religion, and state power have all had a hand in it. Lola Coker (@lolahenrietta_ ) on Tia Adeola (@tiaadeola ) and Tolu Oye (@mejimeji.co ), two designers building wardrobes for women who want to dress more expressively than the local market has typically allowed. Read the full story at the link in bio. Photography; From Lagos With Love. Photo: #1 Danielle Mbonu #2Photo: Ayanfe Olarinde Meji Meji, Sista Sista. Photo: Jurnee Peter Chukwu Meji Meji ‘Sisi Ologe’ Photo: @unavailable_______p

N’Dobine, a short film by Ahmad Cissé (@cixixix.night.skin ), premiered May 11 at Lincoln Center as part of the New York African Film Festival. The film draws from Odinala, the Igbo cosmological system, and follows the passage from belief into the practice that belief asks for. “Heavy was the word from above,” the tagline reads, “the birds carried its weight.” Cissé describes the project as a record of his own monologues, an inquiry into how the actions a person takes on spiritual instinct can return them, eventually, to the reasoning behind them. The Brooklyn-based filmmaker was born in Sénégal and co-founded Jollof Films and the Pan-African collective WESHHH before turning his camera on the question that gives N’Dobine its shape: what happens when a spiritual conviction is followed all the way to its source. Cinematography is by Kevin “GK” Frederick, with accessories by Nneoma Angel of Angel’s Jewelry New York and an original score featuring Kamauu, Aveiri Fanfair on drums and Malang Jobarteh on kora. Sound design is by Kenneth Misael Pineda. The cast is led by Jay McKenzie, Kadia Ba, Kayra Theodore and Papi Diagn.

In Osu, Accra, a clay tennis court sits inside Ghana’s first precast rammed-earth enclosure. Backyard Community Club, designed by @derocheprojects , was commissioned by @amoakoboafo , the painter who grew up in Osu, where he played tennis as a young man before becoming one of Ghana’s most prominent contemporary artists. Thirty-three wedge-shaped panels, four metres high, wrap the regulation court, with a 230-square-metre garden of edible and medicinal plants running along one edge. Lessons are free for local children under eighteen. Read the full piece by @valchief at the link in bio. Photography Prince Gilbert Attipoe / @daakpestudios

Beauty is one of the fastest-growing consumer categories on the African continent and across the diaspora. The capital reaching the founders building inside it is not keeping pace. In our latest, Oury Sene (@ceedalstudio )reports on what determines which brands scale and which do not, from manufacturing infrastructure and pricing perception to retail access and the geographies institutional capital still treats as peripheral. Read the full piece at the link in bio.​​​​​​​​​​​​​​​​

The Africa Magic Viewers’ Choice Awards (AMVCA) red carpet on Saturday night in Lagos arrived in the same week as the Met Gala in New York, and on the same brief: fashion as art. The looks committed. 01 Nana Akua Addo in Mohammed Abbas Designer @abbaswoman.ng · Styling @styled_by_nk_ · Photography @edos_artistry · Makeup @forteglamour · Hair @dpmhairstudio_ng · Video @the.kendave · Art @igeraldarts 02 Mercy Eke in Amy Aghomi Styling @styled_by_maklinscout · Photography @mrlenns · Makeup @glambyomoye · Hair @adefunkeee · Set @3030events.ng · Earrings @portableaccessoriess 03 Idia Aisien in AMBAOSA Designer @ambaosa · Styling @henrysklue · Photography @felixcrown · Makeup @houseoftunmi · Hair @abbeymattheworks · Wig @elite_wiigs · Jewelry @akano_diamonds 04 Lydia Lawrence-Nze in Maya and Stitches Dress @maya_and_stitches · Styling @by_mickeycreates · Photography & Creative Direction @tosin_josh · Makeup @fixandbeat 05 Eniola Florence in Tiannah Outfit @tiannahsplacempire · Photography @segun_wealth · Makeup @zinys_pro_mua 06 Osas Ighodaro in Veekee James Dress @veekeejames_official · Styling @touchofibee · Photography @felixcrown

The Lucie Rie pots that sit in the Met, MoMA, and the V&A are scored, pitted, marked. Andile Dyalvane (@andiledyalvane ) is doing the same thing from a studio in Cape Town, coiling Eastern Cape river clay by hand and carving it with marks drawn from Xhosa scarification. Vessels from his 2024 OoNomathotholo: Ancestral Whispers show at Friedman Benda are sold by inquiry. A Rie pot from the 1970s runs $14,000 at Graham Shay 1857. See the full #IFTTT piece at guzangs.com - link in bio.​​​​​​​​​​​​​​​

Shot entirely on iPhone by director Prince Suasie, the film *Process* follows Amoako Boafo between his studio, the tennis court, and the Museo di Palazzo Grimani, where the Ghanaian painter presents his first solo exhibition in Italy as part of the 61st Venice Biennale. The film moves between intimate behind-the-scenes moments and the act of making , offering a closer look into Boafo’s practice and creative rhythm. Led by exhibition designer Glenn Deroché, the installation embraces an “economy of means” repurposing structural materials from a previous exhibition to create a dialogue between Boafo’s work and the historic palace rather than placing them in contrast. Featuring an original score by Worlasi (@worlasigh ), Process is a meditation on art, space, collaboration, and process itself. Film credits Commissioned by @amoakoboafo & @derocheprojects Director: @prince_suasie Production Company: @daakpestudios Producers: @daakpe_ & @efo_yao Creative Director: @gderoche01 DOP: @danielattoh_ Gaffer: @eric_larbi_01 Drone: Ben Ace Edit: @ayo.miid Sound: @nicozruiz Colour: @hostynek_colorist VFX Cleanups: @newdawnmagic Special thanks: @wbgroupreps

On Gorée, Signarame (@signarame ) photographs its mboubou collection against the architecture that made the silhouette in the first place. The Signares, the 18th-century women of Gorée and Saint-Louis who ran households, held property, and moved through the colonial economy on their own terms, dressed in volumes of imported cloth that did the talking for them. La Dakaroise (@la_dakaroise_stylee ) picks up that wardrobe and keeps going, holding the mboubou wide, stacking the headwrap into something closer to architecture than accessory, layering polka dots over brocade and indigo over geometry, so the whole thing reads less as period reference than as a wardrobe that never actually stopped.​​​​​​​​​​​​​​​​ 📷 @alex_photography2310 Models: @fatouuu_w @hollyfreesia @ceedalstudio Location: @maison.crespin