Mfumukazi take over where are they now - Lynne Kayenne. From model, producer to fashion designer

To commemorate International Womens day in 2018 we launched the 'Mfumukazi MGR Take Over' on all our social media platforms for the whole month of March.

The aim was to experience the life of different Malawian women and what it means to be a woman in their world. We wanted to celebrate their achievements while calling for gender equality. Years later we are back with the same women to find out what has changed since 2018, knowing this, meet Lynne Kayenne.

Q: HOW DID YOU DECIDE THAT YOU WANTED TO CREATE A WOMENSWEAR BRAND?

A: If I am completely honest with you, I believe it was all a part of God’s plan. I have always loved the fashion industry and have worked in fashion since my teens. I started off as a commercial model doing shoots and ads whilst still in school. I dabbled in retail, blogging, styling as well as PR for an African multi brand called lalibella.co.uk - Made in Africa. Whilst working there, I was commissioned to do a small capsule collection. The deal fell through which at the time was heart breaking, but it gave me the drive to try and tell my African fashion story, using my Malawian heritage, culture and craftsmanship in a fresh way to appeal to an international audience. In 2020, Lynne Kayenne Studio was born, with the desire to build a socially impactful, contemporary, African inspired womenswear label - Made in Africa for the world.

Q: WHY DID YOU DECIDE TO MAKE IT SPECIFIC TO MALAWIAN CRAFTERS?

A: This is an incredible question! I made is specific to Malawi because I am Malawian. Malawi has some of the most talented and creative artisans in the world. When you drive from Lilongwe to Salima (the lake) have you taken a moment to appreciate the level of artistry on the road sides? Think about the creativity that runs through that community! I decided to collaborate with local artisans to allow them to express their creativity and have the opportunity to earn a decent income. Our fashion ecosystem is in its infancy however, when you look out to West Africa and see women like Viola Labi, brands such as A.A.Ks creating beautiful weaved bags in collaboration with rural weavers and artisans and made to an international standard……their success is an indication that there is desirability for local African products. Also, for a long time, as Africans there was a great deal of assimilation, trying to fit into the world and I spent so much time also assimilating because I didn’t know better. I woke up to the fact that our heritage and our culture are currency and our inheritance that we must maximise and leverage. Working with these artisans makes me so proud to be Malawian and also, I believe that our culture is the only thing the world cannot steal from us so it is really important for me to tell these stories through our collaborations with local artisans.

Q: WHAT HAS THE PROCESS OF GETTING TO WHERE YOU ARE BEEN LIKE AND HOW DOES IT FEEL TO BE A SUCCESSFUL MALAWIAN DESIGNER?

A: The process has been very intentional. I put it into the universe that I wanted to share my heritage and culture with the world by utilising fashion as that vehicle and from the outset, I have been very clear about the messaging. I have said this and will continue to say this, culture and heritage in the only thing the world cannot steal from us so we must embrace what it means to be Malawi. I dug deep and researched our ancestors, the Maravi Empire! They were monarchy and if you realise that your ancestors the people that were running around in Nyasaland, present day Malawi were kings and queens you will start to take pride in who you really are on a deeper level. I am really grateful for all the support and everything that has been happening at Lynne Kayenne Studio but there is more that I would like to do personally as well collectively for the fashion ecosystem in Malawi.

Q: HOW FAR HAVE YOU COME SINCE THE FIRST MFUMUKAZI?

A: OMG, such a long way, even on a personal level. When I did my first Mfumukazi, I was so frustrated about my job, I felt I had failed in my modelling career. At the time I had written and produced a pilot TV show called ‘Malawi Stars’ a ground-breaking, inspirational television show that highlighted the brightest and the best talent in Malawi from the worlds of music, fashion and entertainment which I worked so hard on but did not get picked up but what I remember so vividly was how candid and vulnerable I was in what I was sharing. I revisited Mfumuzani archives the other day and it shows the love I had and still have for fashion.

Q: WHAT DOES FASHION ECONOMICS MEAN TO YOU?