Needle, Thread, Nation: Stitching Together a Regional Fashion Powerhouse
“I do not just make clothes, I create East African stories. Every fabric I use has crossed a border, carrying culture, craft, and connection,” she remarks as she receives a shipment of earthy Ugandan bark cloth just hours after the arrival of vibrant Tanzanian khanga fabrics. This kind of East African fashion integration is transforming the region’s creative industry, turning clothing into a tool for economic and cultural connection.
Mary Wamboi, a designer with the Nairobi workshop of Fashion, exemplifies the burgeoning cross-border collaboration among players in the East African textile and fashion industry.
This seamless exchange of fashion products, Wamboi notes, is a relatively recent benefit of the East African Community (EAC)’s regional integration.
A Product of Cooperation Among Member States
George Morara Bw’Akuma, a constitutional and legal matters lawyer practicing in Kisii and Nairobi, said EAC is a product of cooperation among member States, formalized through a Treaty signed in 1999 and operationalized in 2000.
The original member states Kenya, Uganda, and Tanzania were later joined by Rwanda, Burundi, the Democratic Republic of Congo, South Sudan, and Somalia, expanding the bloc’s regional footprint.
“The driving vision behind the EAC Treaty is the establishment of a common market, with seamless movement of people, goods, services, and capital,” he says.
He notes that the protocol allows citizens of member countries to move freely, conduct business across borders, and reside within member states without the need for a visa, albeit for a limited period.
“This integration has created tangible growth,” Bw’Akuma observed.
He says fashion entrepreneurs are reaching new markets beyond major cities like Nairobi and Kampala.
“Designers and traders are now setting up shops in smaller towns such as Mbarara, Entebbe, Mombasa, Nakuru, and Kisii, reflecting vibrant market expansion,” he says.
Bw’Akuma explains that a major success of the EAC has been the harmonization of trade policies and regulatory frameworks. This, he notes, is a sign of progress.
“When you see policies being reviewed, regulations being aligned across borders, which is the dynamism of integration in action,” he says, “It reflects an evolving system that seeks continuous improvement.”
Rise of Seamless Cross-Border Fashion Industry
The Community has given rise to seamless cross-border fashion industry and Wamboi says customers love the stories behind their fabrics.
“Whether it is bark cloth from Uganda or tie-dye from Tanzania, every piece has a journey and now it is easier than ever to make that journey part of my design,” she as she spreads a khanga gown.
Agnes Talikwa, a designer from Nyamira County, echoes this sentiment.
“My first interaction with the Tanzanian khanga fabric at an Expo in Arusha, Tanzania, ignited my fashion creativity,” she says.
Today, these fabrics are a hallmark of her collections, demonstrating the tangible impact of regional unity on the fashion landscape.
Edward Otieno, a trader in Kisii, has witnessed this transformation firsthand, having been in the fashion industry for over a decade involving sourcing of khanga and bark cloth from Uganda.
He says that what used to take a week to reach him now takes just two days, thanks to improved road infrastructure and streamlined customs processes.
“I have seen profits grow, and my network expand beyond borders. Now I do not just trade fabrics I trade culture,” Edward says proudly.
Samuel Okello, also a trader in Kisii County, says the significant improvement in transporting fabrics from Kampala is attracting many to the fashion industry.
“We are growing in number,” he says.
Young designers are also finding markets beyond their borders.
“The creative economy especially fashion is emerging as a strong soft power tool that highlights East Africa’s diversity and cultural integration,” says Donya.
It is, therefore, not surprising that young entrepreneurs like Joyce Ntugane, originally from Congo and now based in Kenya, are thriving.
“Integration has allowed me to dream bigger,” she says, now thinking regionally.
Since moving to Kenya in 2017, the freedom to conduct her business without previous visa restrictions has led to increased customers and profits, with regional fabrics prominently featured in her collections.
Part of a Growing Network of Designers, Artisans, and Traders
Wamboi, Talikwa, Otieno and others are part of a growing network of designers, artisans, and traders thriving on increased cooperation within the Community.
The Community brings together the partner states of DRC, Burundi, Kenya, Rwanda, Somalia, South Sudan, Uganda and Tanzania.
The easing of visa restrictions, trade-friendly policies, and improved transport across the region have cultivated a vibrant, interconnected fashion economy, liberating creativity from geographical constraints within the seven-nation EAC.
Kisii County Woman Representative, Dorice Donya, says the Community has adopted several key reforms to support free movement, key among them, the EAC Common Market Protocol, which allows free movement of persons, labour, goods, and services.
“For creatives, this means they can travel more easily to participate in exhibitions, fashion shows, or collaborations without restrictive work permits,” she says.
The EAC Simplified Trade Regime also helps small traders, many of whom work in textiles or clothing, to move goods across borders with minimal paperwork and duty exemptions under a certain threshold.
“We are seeing increased regional collaborations between fashion designers, textile producers, and stylists,” she says.
Events like Swahili Fashion Week in Tanzania and Nairobi Fashion Week now host participants from all EAC member states.
The reforms have been pivotal in transforming previously fragmented national markets into a dynamic, interconnected fashion ecosystem.
“Integration has redefined the way I do business,” Mary says, “In days gone by, getting materials from Tanzania, Uganda or any other country in the region meant delays and bribes.”
She says that, now, the process is faster, legal, and more affordable giving the players in the fashion value chain access to diverse regional fabrics and techniques thereby enriching the region’s fashion identity and fostering cross-border collaborations that fuse cultural heritage with contemporary design.
Joyce Kemunto says she used to sell to local customers in Kisii County before attending a fashion workshop in Kampala, Uganda, last year.
“I soon started getting orders from Uganda and even Tanzania,” she says.
Now she travels by bus with her clothes and fabrics since the border clearance processes are much easier and one just needs their identity card and a business permit.
“The freedom to move has helped me grow my business and learn new designs from other cultures,” Kemunto says.
But there is more.
“It is s not just about selling; it is about learning,” she says, “During the workshop I learnt about new stitching techniques, for example, how to blend Ankara with our local kitenge.”
She is even sharing her new skills by teaching those designs to girls she trains in Kisii.
“Some of my clients come from across the border during market days,” she says, “We are no longer just ‘village tailors’ we are now East African designers!”
She is dreaming big.
“My dream is to one day to be the owner of brands sold in shops across East Africa with the label Designed in Kisii, worn across Africa,’ she says.
In short, she wants the young women to know that they do not have to leave Kisii to succeed.
“They just need to think beyond our borders,” she says.
Collections That are Both Modern and Rooted in Heritage
The journey of an elegant garment on a Nairobi runway often involves artisans in Dar es Salaam, Tanzania, models from Kampala, Uganda, and textile traders navigating the Kenya Busia border.
Artisans are also benefiting from consistent work and recognition.
For instance, Edward collaborates with Ugandan bark cloth artisans, incorporating sustainable materials and providing mentorship on adapting traditional techniques for modern fashion.
Ruth Atieno, a fashionista, emphasizes that recent regional policies have dramatically eased artistic collaboration.
“The integration is not just economic, it is cultural since designers are now able to blend elements from different East African cultures to create collections that are both modern and rooted in heritage,” says Atieno.
This cultural fusion is evident in cross-border themed fashion shows and the rise of pan-African trends on social media, forging a distinctive East African fashion identity.
Models now enjoy regional opportunities, supported by agencies and digital platforms that promote cross-border talent, contributing to a shared aesthetic that celebrates diversity and unity.
Cultural Fusion As A Competitive Edge
East Africa’s fashion narrative is one of cultural exchange, with designers blending regional elements into garments that appeal to a borderless identity.
Wamboi’s latest collection, combining Ugandan bark cloth, Tanzanian khanga, and Kenyan Maasai beadwork, exemplifies this.
“We are building something bigger than ourselves,” she says, “This isn’t just about fashion it is about who we are as a region.”
Pan-regional events like Swahili Fashion Week and online marketplaces are further amplifying East African fashion on a global scale.
Integration of Fashion is Driving Economic Growth and Creating jobs
The integration of fashion is also driving economic growth and creating jobs across the supply chain.
The African Development Bank (AfDB) says, in Africa, the fashion and textile industry is the second largest sector after agriculture.
“With an estimated market value of USD$31 billion in 2020 it is growing every year. Africa’s fashion industry has the potential to create jobs for millions, especially for women and youth,” AfDB says.
Wamboi’s fashion business has grown significantly, and she now proudly employs interns even from Uganda and Tanzania.
Barriers to Full Integration of the Region’s Creative and Fashion Industries
Despite the progress, the cross-border fashion industry faces a number of challenges, including uneven border processes, infrastructure gaps, and financing limitations.
Bw’Akuma says despite the milestones, there are persistent barriers to full integration of the region’s creative and fashion industries, key among them, weak enforcement of intellectual property rights (IPRs).
“IPRs belong to its creator,” he explains, “Without proper enforcement across the region, innovators remain vulnerable to exploitation and infringement.”
He calls for harmonized and robust IP laws in the region.
Donya says one of the main challenges is infrastructure and logistics, especially for transporting fashion goods across borders.
“Lack of harmonized customs procedures for creative products, which can delay shipments or cause confusion,” she says.
She also cites the digital barriers such as the differences in mobile payment platforms or inconsistent e-commerce regulations.
“The biggest challenge, however, is intangible, the mindset. We need to encourage more trust, collaboration, and visibility for regional talent so that East Africans can fully support each other’s creative work,” she says.
“There is more to be done,” notes fashionista Atieno, advocating for greater investment in creative hubs, smoother logistics, and stronger copyright protection.
However, Atieno affirms, the groundwork has been laid. The fashion industry is showing what regional integration can achieve not just economically, but culturally and socially.
Kemunto say the biggest problem is transport and capital.
“Sometimes I want to go to a trade fair in Arusha or Kampala but I do not have enough money,” she says, “Moreover, sending clothes by courier is expensive.”
In addition, some women fear crossing borders business because they do not understand the rules.
“If we had more training in Kisii maybe from the county or women’s groups many of us would go far,” she says.
She calls for more support for women in the micro, small and medium entreprises (MSMEs) with things like affordable transport, group travel for trade fairs, and maybe even sewing machines from the government.
“If the county government can support us with marketing, branding, or helping us register our businesses officially, then we can grow faster and even export to other countries,” says Kemunto.
The Future is Woven Together
In her Nairobi studio, Wamboi presents a finished dress – a bark cloth bodice and khanga skirt, a true East African original.
“My clients see it and ask, ‘Where is this from?’” she says with a smile, “And I tell them it is from all of us.”
As East Africa continues its journey towards unity, its fashion industry is a vibrant testament to the inspiring power of collaboration, weaving a future where creativity, culture, and commerce flourish together.
This fashion renaissance celebrates shared history and creativity. Cross-border collaborations preserve traditional crafts while reimagining them for contemporary markets.
“At its core, fashion is about storytelling,” Wamboi concludes. “And with regional integration, our stories are becoming richer, more layered and definitely more beautiful.”
The future of East African fashion, driven by regional integration, holds immense potential, from regional fashion weeks to integrated e-commerce platforms.
The thread that binds this future is one of cooperation, innovation, and cultural pride. The success of designers like Wamboi signals that the region’s style revolution is just beginning.
Joseph Mwangi, the Senior Deputy County Commissioner for Kisii Central, assured the fashion industry of security as they go about their cross-border business.
Framework Proposes a Regional Artist Visa or a Creative Permit
Donya says the EAC is currently working on a Regional Creative Economy Framework that includes fashion, film, music, and digital arts. One of the focus areas is to ease mobility for creatives, with proposals for a regional artist visa or a creative permit.
“We are also looking into harmonizing taxation on creative products and simplifying cross-border e-commerce systems, which are key for digital fashion sales and brand exposure,” Donya says.
As the East African Community (EAC) moves towards deeper regional integration, women-led enterprises, designers, and small-scale traders are finding new opportunities for cross-border trade, innovation, and collaboration in fashion and textiles. This transformation is not just about style it is about stitching livelihoods, culture, and policy together to create a robust regional economy. With bold designs, digital tools, and harmonized trade policies, East Africa’s fashion frontier is being reshaped from the grassroots.
Watch mini documentary here:
Disclaimer: This content is produced as part of the Move Africa project, commissioned by the African Union Commission and supported by GIZ. The views and opinions expressed are those of the authors only and do not necessarily reflect those of GIZ or the African Union Commission.
Click here to read the Original Article
Author Elizabeth Angira
Leave a Reply