Top 15 Reni Folawiyo Quotes

When I’m trying to define African luxury, and this is not an exclusive definition, it has to benefit the person who’s buying it in terms of its value, but it also must benefit the person who was making it and the people in that chain of making it.

I devote a lot of time reading about and consuming the different art forms that we live with. I have tried to paint, I have made furniture, I have designed clothes, and I have always created experiences.

It was important for us to have an aesthetic that we believed was our aesthetic...we chose designers who reflected the ideas of bold, unapologetic beauty, [had a] conscience and celebrated craftsmanship. We realised quite fast that people wanted to pay for brands they knew and coveted and if we were to succeed we had to first of all listen to our market, get them super comfortable with us and then start to explore other brands.

There’s a great appetite for consumption of luxury goods by Nigerians, but in terms of experiential retail with a concept...that is completely new...We have definitely had to educate the customer with regard to African Luxury, getting them to pay more for African goods that they have hitherto seen as craft and substandard.

I think we needed a symbol of what is now called the African renaissance, a showpiece that is unapologetic in its approach about who we are today,...that we have people who make and consume luxury and that we have done it all by ourselves.

ALÁRA was created to be a window to the world, an authentic curation of contemporary Africa...[it is also] a symbol of my personal journey of self affirmation and belief...a fulfillment of a burning desire to celebrate and elevate a lot of what I had come across on my journeys in Africa.

We are selling our culture. We’ve clearly become an epicenter for cultural exchange for all kinds of creative people. In my native Yoruba language, alára means “wondrous performer, one who thrills endlessly”—that’s how we see African fashion and design, and how we want global audiences to experience it and embrace it.

I understand the connection: female founders, a strong and unique point of view, curated and presented with a focus on art and its interaction with fashion. But our mission is different: upliftment.

I taught myself to make furniture and then started a furniture factory that still exists. But I realized I wanted to be around creative people. I started to travel within Africa, and discovered people making fashion and design pieces that were contemporary iterations of what you see traditionally—not what we would call contemporary in the Western sense, but in our context. And I thought that was very intriguing.

I felt that we needed something iconic that would change our city, change the way we see ourselves and also change the way the world sees us.

I got the impression that although people were making these things, they didn’t feel as though what they were making was good enough to be on a certain level. A lot of what people were doing hadn’t been properly celebrated and there were these very beautiful, very well-crafted African items that people didn’t know about.

I used to spend a lot of time with artists and designers and I had a lot of friends that were doing creative things and I enjoyed spending time with them.

I decided it would be interesting to have the best stuff from all over the world along with the very best from Africa all in the same space to get people from outside Africa to see what was possible, but also to get people in Africa to understand the value of what they had. It was a bit of an education on both sides.

It’s about beautifully made, bright, colorful, expressive things that have a story behind them. It’s about art, clothing, and design that’s unique and beautiful. It’s African but contemporary

We are women. We are meant to rule the world. We are super.