The contemporary fashion world has created space and platforms for young Black fashion designers around the world to express their creativity and develop cultural representations of their heritage. This is a period in fashion when the African continent has truly elevated its continental and diasporic value, contributing to an emerging industry that is expanding exponentially. Today, several African countries host their own fashion weeks, including Nigeria, South Africa, Senegal, Ghana, Tanzania, Kenya, Ethiopia, Niger, Morocco, and Togo, with most of these events taking place in their respective capitals.
Even countries such as the Democratic Republic of the Congo host fashion week events, such as Kolwezi Fashion Week, organised by Marie Natacha Masuka, which is dedicated to fashion, culture, and entrepreneurship. Other events provide platforms for Congolese influencers and creatives to showcase their creativity through clothing, celebrating the cultural identity of La Sape, a proud expression of Congolese culture, just as Congolese rumba is recognised as part of UNESCO Intangible Cultural Heritage. To understand the cultural significance of contemporary Congolese fashion, it is important to look back at the country’s history, particularly during the reign of Mobutu Sese Seko. Among the most memorable aspects of his presidency was the social and cultural ideology that shaped his rule. Mobutu remains one of the most influential presidents in the country’s history because of his impact on the mentality and cultural identity of its citizens. During his reign, Zaire, now the Democratic Republic of the Congo, sought to strengthen its national identity and cultural influence through a policy known as authenticité.
This ideology promoted the preservation of Zairian culture and encouraged citizens to take pride in their African identity. One example can be found in Mobutu’s televised interviews in the early 1970’s, in which he advocated for Zairians to embrace Bantu names for their children rather than French or Christian names. For Mobutu, Zairians should be proud of their culture, identity, and nation. Another significant aspect of this cultural policy was the introduction of the abacost, derived from the French expression “à bas le costume” (down with the suit). This dress code discouraged Western-style suits and promoted a distinctive form of national attire as part of the broader effort to establish a Zairian identity. Although La Sape and Mobutu’s dress code emerged within the same historical and cultural context, they represented different approaches to clothing and identity. La Sape developed as a distinctive culture of elegance, refined dressing, and sartorial self-expression, embracing fashion as a means of asserting dignity, individuality, and social identity.
The FIFA World Cup is more than football. It is an opportunity for countries to share their culture, identity, and history with the world. The Democratic Republic of the Congo’s return to the World Cup stage after 52 years of absence since its 1974 appearance, when the country competed as Zaire, carries particular historical significance. Against the backdrop of continued instability and conflict in the eastern part of the Congo, football offers an internationally visible platform through which the country can share its identity, raise awareness, and draw attention to issues that extend far beyond sport. When the Democratic Republic of the Congo national football team arrived in Houston, Texas, they made a strong impression through fashion. Their look celebrated the richness and history of Congolese culture, showing how fashion can tell a meaningful story.
The MONIAMA suit, designed by Alvin J. Mak, founder and creative director of JMAKxPARIS, draws inspiration from La Sape and the Kingdom of Kongo, one of Africa’s great historical civilisations. In 1907, German ethnologist Leo Frobenius wrote about the Kingdom of Kongo and other Central African societies, documenting their cultural sophistication, craftsmanship, and artistic traditions. Historical accounts of the region also highlight the importance of textiles, including velvet and silk, as well as the social structures and craftsmanship that shaped these societies. MONIAMA brings this history into the present. Through its elegant tailoring, rich textures, and attention to detail, the suit expresses confidence, pride, and tradition. It is a contemporary design rooted in a powerful cultural heritage, connecting the historical legacy of the Kingdom of Kongo with the sartorial identity of modern Congolese culture.For Alvin J.Mak and JMAKxPARIS, fashion is about more than clothing. It is a way to share stories, honour history, and create pieces that connect cultural heritage with modern style.
The historical meaning and cultural memory embodied in this African fashion collection have the potential to be remembered for decades. After 52 years of absence from the World Cup, the return of the Congolese Leopards national team provides a significant moment for the country to reclaim international visibility. At a time when conflict in eastern Congo continues to affect countless lives, the global exposure of an international football competition offers an opportunity to awaken public awareness and encourage people around the world to engage with the country’s history and present realities.
This message extends beyond the football field. Through the powerful gesture of players such as Cédric Bakambu, who has used his public profile to draw attention to the conflict in the Congo, and through Alvin J. Mak’s work, Congolese identity gains another form of international representation. With MONIAMA, Mak gives his country a new means of expressing its heritage through clothing, a medium that has long served as one of the most powerful forms of expression, identity, and protest for the Congolese people.
The MONIAMA suit can therefore be understood as a commemoration of Zairian and Congolese culture, particularly La Sape, while also reflecting the National team named Leopards by Mobutu. It brings together the ideas of authenticity, elegance, national identity, and cultural pride, transforming historical references into a contemporary fashion statement. Ultimately, MONIAMA demonstrates how fashion can become a form of cultural memory and communication. By connecting the legacy of the Kingdom of Kongo, the history of Zaire, the spirit of La Sape, and the international visibility of Congolese football, Alvin J. Mak and JMAKxPARIS present a vision of fashion that goes beyond aesthetics. It becomes a statement of identity, a tribute to heritage, and a reminder that clothing can tell stories that deserve to be seen, understood, and remembered.