Centuries of cultural erasure and a historical lack of capital account for the underrepresentation of African fashion in mainstream media, but Farai Simoyi is on course to correct that. The Zimbabwean-born, Brooklyn-based entrepreneur runs The Narativ House, a concept store in Bed-Stuy championing designers from the diaspora. Simoyi sources these makers, whom she calls “The Narrators”, from all over the continent. They include jewelry sculptors, handcrafted leather accessories, and shoe designers such as Maria McCloy, the husband and wife duo Simba Nyawiri and Pam Samasuwo-Nyawiri of Vanhu Vamwe, and Zoezi.
“I love this work,” she tells ESSENCE. “What makes me optimistic about the future is that there’s always going to be talent from the continent. Nothing will stop us from creating.”
The niece of a trailblazing lingerie manufacturer in South Africa, Simoyi owes much of her passion for fashion to her aunt Amaiguru Mai Fungai. She turned a small lingerie factory into a full-fledged retail operation in Harare—paving the way for young Farai. Simoyi would go on to study fashion design and merchandising at West Virginia University, apprentice at Nuova Accademia di Belle Arti in Italy, and star in Netflix’s fashion competition “Next in Fashion.”
With this rigorous training and a keen eye for business administration, Simoyi is poised to continue delivering on her mission. The Narativ House fosters a dialogue between Africa and the rest of the world, amplifying untold narratives and providing much needed support to African artists.
ESSENCE caught up with the entrepreneur to discuss the impact of her work. Below is the conversation, slightly edited for clarity.
ESSENCE: How has the representation of African designers, based in the States or abroad, changed since you entered this business?
Farai Simoyi: Since I entered the fashion industry, the representation of African designers, both in the States and internationally, has evolved significantly. There has been a growing recognition and appreciation for the rich diversity and unique perspectives that African designers bring to the global fashion landscape. Initiatives and platforms such as ours, The Folklore, Industrie Africa, NYCXCLOTHES, and Awet NYC that are dedicated to showcasing African talent have increased, leading to greater visibility and opportunities for these designers. Also, the collaborations that we have done with major brands and media outlets such as W Hotels, Vice Media, Refinery29, and Afropunk have also contributed to amplifying the voices and works of African designers. This positive shift highlights the dynamic contributions of African designers and reinforces the need for ongoing support and representation in the fashion industry. We’re all doing the work.
E: What do you think sets the fashion coming from the continent apart from anywhere else?
FS: Deep storytelling. I’ve never met an African designer without a rich story about how they design or where the fabrics are sourced. Our spiritual beliefs are so rooted in culture, that’s why I called our company The Narrativ—storytelling through design.
E: In an interview with Brownstoner, you talked about how a lot of the products from back home don’t necessarily translate to the U.S. market, so what you’ve had to do is help brands alter things. What did you mean by that, and how do you walk the line between preserving the African essence and tailoring it to American tastes?
FS: I do think there’s a way to both preserve cultural heritage and cater to Western tastes. At the end of the day, fashion is a business; we need to make money, and my brands need to make money to support themselves and their families. I work closely with our artisans, who will send me designs or ideas they’re working on, and I’ll help them either edit or add details to fit what the girls here want. It’s never to take away from the traditional craftsmanship or the heritage of the design, only to enhance and cater to a specific market.
E: What are the challenges African brands are still facing today?
FS: Capital is the biggest one. I mean, there are stats that show how African or Black women are the least funded group of all time. Look at what’s happening with the Supreme Court and Fearless Fund! When I look at a designer, I know there are at least 10 people this person is supporting, so the questions are: can we create more opportunities, scholarships, or funding initiatives? I look up to organizations like Fearless Fund that are doing the work, and I love supporting them.
E: How do you discover brands?
FS: Before the pandemic, we were traveling a lot. I would go to South Africa, Zimbabwe, Nigeria and find the brands myself. I don’t do that anymore, so we work with brand partners in Africa to scout and bring different brands to our attention. Also, a lot of people now know the work we do, so we’ll have strangers on the streets tell us to check out this Nigerian, Kenyan or Tanzanian designer. It’s very natural. I think we have people in our community who really appreciate the work we do.
E: What’s been the highlight of having The Narativ House?
FS: It means so much to me when I see the potential of a designer who’s been knocking on doors and hearing that their work isn’t good enough. I’ll take their garments and put them on a rack in my store or at the W Hotel pop-up, and you can see their eyes fill up with tears of joy when they come to see them in a contemporary luxury retail space. This is why I do what I do: because you can see the confidence, the hope, and all the designers’ hard work paying off. I just want to be that person who helps a designer realize that they’re better than good enough.
