Born in Abia State and raised in Eastern Nigeria, Emmanuel Okoro is the visionary founder and creative director of the luxury contemporary brand Emmy Kasbit. His journey into fashion evolved from sheer passion and resourcefulness. As a university student, he started upcycling denim jackets to fund his education, later moving to Lagos in 2015 to immerse himself fully in Africa’s fast-paced fashion capital. Okoro’s defining moment arrived in 2017 when he won the prestigious Lagos Fashion Week Fashion Focus Prize. Seeking a signature identity that would set his work apart, he re-discovered Akwete—a traditional, handwoven textile native to southeastern Nigeria, craft-woven exclusively by female artisans. Recognising that fast fashion was threatening this centuries-old heritage, Okoro pivoted his brand toward sustainable luxury and cultural preservation. By pairing clean, architectural tailoring with vibrant Akwete weaves, Emmy Kasbit transformed a declining indigenous craft into a high-fashion statement while creating economic opportunities for local women weavers.
Since its pivotal breakthrough, Emmy Kasbit has grown into an international powerhouse. The brand gained widespread acclaim after winning the 2021 Africa Fashion Up competition, earning a feature at Milan Fashion Week through Vogue Scouting, and dressing global icons such as Theresa May and John Legend. Known for its unapologetically African aesthetic, sustainable philosophy, and sharp structural silhouettes, Emmy Kasbit proves that contemporary design can seamlessly honor cultural roots.
In this interview with Yinka Olatunbosun, Emmanuel Okoro shares his creative process, the challenges of building a sustainable luxury brand in Nigeria, and his mission to preserve African heritage for future generations.
You started out embellishing denim jackets in university before taking the leap to move to Lagos in 2015. Looking back at those early days of interning and navigating the city, what prepared you for the role of running a structured fashion house?
Looking back, I think those early years taught me the value of discipline, patience, and being willing to learn. I started by embellishing denim jackets in university, driven purely by my love for creating and expressing myself through fashion. Moving to Lagos in 2015 was a turning point. Interning and navigating the industry gave me a deeper understanding of the business beyond the creative side — the importance of structure, consistency, craftsmanship, and building the right team.
You earned global attention following your winning the Lagos Fashion Week Fashion Focus Prize in 2017 after an initial setback. How did that moment teach you what it takes to survive and stand out in modern fashion?
Winning the Lagos Fashion Week Fashion Focus Prize in 2017 was a defining moment for me, especially because it came after an initial setback. It taught me that rejection does not necessarily mean you are not good enough; sometimes, it is an opportunity to reassess, grow, and come back stronger.
The traditional Akwete fabric has become the definitive signature of Emmy Kasbit. What first drew you to this indigenous Igbo textile, and how did you overcome the initial challenge of scaling handwoven fabric production?
Akwete first drew me in because of its rich cultural history, distinctive texture, and the skill involved in producing it. As an indigenous Igbo textile, it carries a sense of identity and heritage that I felt deserved greater visibility in contemporary fashion. I was inspired by the possibility of presenting it in a way that felt modern while still respecting the tradition behind it. The initial challenge was that Akwete is handwoven, so production can be time-consuming and difficult to scale. We had to build strong relationships with weavers, improve communication around our designs, and plan production much further in advance. It required patience.
You see fashion as a vessel for historical storytelling rather than just aesthetics. How do you strike a balance between preserving the sacred tradition of Akwete weaving and delivering modern, globally appealing silhouettes?
For me, the balance begins with respect for the story behind the textile. Akwete is more than a fabric; it represents Igbo heritage, indigenous knowledge, and generations of weaving expertise. At Emmy Kasbit, my intention is to honour that legacy while exploring how it can exist within contemporary fashion. I achieve this by allowing the textile to retain its identity while experimenting with modern cuts, structure, layering, and proportion. The silhouette may be contemporary and globally relevant, but the craftsmanship and cultural meaning remain at the heart of the garment.
What is unique about your collection unveiled at the Lagos Fashion Week this year?
What makes the collection unique is that it goes beyond fashion to explore the relationship between women, craftsmanship, cultural identity, and the preservation of tradition across continents.
How has your partnership with Alara deepened your contribution to the fashion ecosystem?
My collaboration with Alara contributes to the fashion ecosystem in several important ways. Beyond the commercial value, it creates an opportunity to connect Nigerian craftsmanship with a sophisticated retail platform, bringing greater visibility and value to the Brand and African design in general.
Your work directly preserves a dying craft by empowering female weaving communities in Abia State. How has your relationship with these weavers evolved, and what does ethical sustainability mean to you in the African context?
My relationship with the weavers has evolved from a creative collaboration into a deeper appreciation of the people and knowledge behind the craft. Working with these women in Abia State has taught me that preserving Akwete is not just about keeping a tradition alive; it is also about ensuring that the people who carry that tradition can continue to practise it with dignity and purpose. Ethical sustainability ethical sustainability in the African context must begin with our own communities. It means valuing indigenous knowledge, creating opportunities for local artisans, ensuring fair compensation, and building a fashion industry that does not separate the finished product from the people who make it possible.
Many creative directors struggle with the commercial side of fashion. What has helped you to make commercial success in a volatile economy?
I believe commercial success comes from finding the balance between what you want to create and what the business needs to survive. At EK, we have sort of found that balance.
From high-profile moments like dressing John Legend, Theresa May to showing internationally via Vogue and the African Fashion Foundation, Emmy Kasbit has caught global eyes. What does it take for a luxury African brand to convert international media attention into sustainable retail operations?
International visibility is important, but the real work begins with what you do with that attention. Dressing personalities like John Legend and Theresa May, alongside being featured on platforms such as Vogue Runway, has helped bring Emmy Kasbit to a wider audience however this means investing in the right production systems, maintaining consistent quality, understanding our customers, and building reliable distribution channels.
Lagos Fashion Week has served as a launchpad for your brand. In what ways has the runway evolved since your debut, and what critical role does the platform continue to play for contemporary African designers?
Since my debut, I’ve seen Lagos Fashion Week evolve from primarily being a platform to showcase collections into a more influential space for building brands, creating industry connections, and positioning African designers within the global fashion conversation. For Emmy Kasbit, the platform has been an important part of our journey, giving us the opportunity to develop our voice, share our cultural narratives, and reach audiences beyond Nigeria. Each season presents an opportunity to challenge ourselves creatively, refine our craftsmanship, and communicate the evolution of the brand.
Lagos is known for its intense energy, raw talent, and unique infrastructure hurdles. How does the grit and rhythm of the city feed into the creative identity of your collections?
Lagos has taught me to be resourceful, adaptable, and constantly evolving. There is an energy to the city that is difficult to replicate — it is fast-paced, expressive, and full of contrasts. That environment naturally influences how I see design and approach creativity. There is always something happening around you, from the people and their style to the architecture, history, and everyday experiences that shape the city.
At the same time, navigating the challenges of working in Lagos has taught me to be intentional about the way I create. Limited infrastructure often requires you to think differently, find solutions, and make the most of the resources available to you. I believe that resourcefulness has become part of my creative process.
As a designer known for dressing fierce, unconventional men and women, how would you define your personal lifestyle and everyday wardrobe philosophy?
My style is pretty much understated. I appreciate pieces that have character, whether through their construction, texture, or the story behind them. I’m not necessarily drawn to trends; I’m more interested in pieces that feel authentic and allow me to express myself without trying too hard.
When you aren’t in the studio drafting patterns or collaborating with artisans, how do you recharge and maintain creative inspiration amidst the demands of running a brand?
I’ve learned that stepping away from work is just as important as being immersed in it. Running a brand can be demanding, because fashion is such a personal and creative process, it’s important to give yourself room to breathe and experience life beyond the studio. I find inspiration in observing people, exploring different cultures, travelling when I can, and one notable mention is Partying! I do love a good party.
With global fashion increasingly turning its eyes toward authentic African craftsmanship, where do you see Emmy Kasbit positioning itself in the global luxury market over the next five years?
My vision is to build a brand that can stand confidently on the international stage while remaining deeply rooted in Nigerian heritage. I want us to expand our presence in key global markets through strategic retail partnerships, collaborations, and stronger distribution channels, while continuing to invest in the artisans and indigenous techniques that shape our work. Over the next five years, I see Emmy Kasbit becoming a globally established African luxury brand, recognised not only for its distinctive aesthetic but also for its commitment to craftsmanship, cultural preservation, and thoughtful design.
What infrastructure do you hope for the future generation of African fashion entrepreneurs to enjoy as the sector grows bigger?
We have incredible talent and cultural resources on the continent, but talent alone is not enough. We need accessible financing, modern manufacturing facilities, reliable access to quality raw materials, technical education, and stronger distribution networks that connect African designers to global markets. I hope the next generation of African fashion entrepreneurs will have access to the infrastructure that allows them to focus on creating while building commercially sustainable businesses.
