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“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

“Legacy isn’t something you inherit. It’s something you armor up for.”

For Guzangs Digital Issue 01, Jeremiah Owusu-Koramoah ( @owu3.0 ) appears once more dressed with purpose, not performance. Shot in Tamale, in @kentegentlemen , @theshoeblocc , @maisondosso and pieces sourced from Mauritania by LaFalaise Dion (@lafalaisedionn ), each frame carries weight: of ancestry, discipline, and intent.

→ Read Helmet of Heritage now on guzangs.com.

CREDITS
Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku
@dangeeart
Post Production: Deon Studios @deonstudioss
Fashion Video by : Henry Akrong @mr_akrong / Package
Studios @packagestudios
Video Assist: Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant: Samuel Ampomah@bigsament
Production Set Design Curation: Joel Gyamera
@joelgyamera_ at Redclay Studios @redclay_studio
Production Runners: Neindow David @neindow_dave,
Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by : WB Group @wbgroupreps

Transport Logistics : Ayisi Wheels @ayisiwheelspro

Dakar Fashion Week turns twenty-five this December. Adama Paris launched it in 2002 and has staged it every year since, building one of the continent’s longest-running fashion weeks. Guzangs partners with Dakar Fashion Week as publication of record for the anniversary year, with editorial coverage of the December program and a series of gatherings leading up to it.

Video: DFW 2025 by @alex_photography2310 for Guzangs.

“The helmet becomes symbolic… not of a heritage left behind, but of one that lives now, one that you must choose to wear.”

For our debut digital cover, we traveled to Tamale with NFL linebacker Jeremiah Owusu-Koramoah—not to talk football, but to trace what it means to return.

Rooted in Ghana, his story isn’t about choosing sides. It’s about legacy worn like armor, fashion as testimony, and the soul’s journey home.

→ Read Helmet of Heritage now at guzangs.com

CREDITS

Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku @dangeeart
Post Production : Deon Studios @deonstudioss

Fashion Video by : Henry Akrong @mr_akrong / Package Studios @packagestudios
Video Assist : Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant : Samuel Ampomah @bigsament
Production Set Design Curation : Joel Gyamera @joelgyamera_ at Redclay Studios @redclay_studio
Production Runners : Neindow David@neindow_dave ,Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by :WB Group @wbgroupreps
Transport Logistics : Ayisi Wheels @ayisiwheelspro

Jeremiah Is Wearing A Custom Woven Kente

“The helmet becomes symbolic… not of a heritage left behind, but of one that lives now, one that you must choose to wear.”

For our debut digital cover, we traveled to Tamale with NFL linebacker Jeremiah Owusu-Koramoah—not to talk football, but to trace what it means to return.

Rooted in Ghana, his story isn’t about choosing sides. It’s about legacy worn like armor, fashion as testimony, and the soul’s journey home.

→ Read Helmet of Heritage now at guzangs.com

CREDITS

Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku @dangeeart
Post Production : Deon Studios @deonstudioss

Fashion Video by : Henry Akrong @mr_akrong / Package Studios @packagestudios
Video Assist : Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant : Samuel Ampomah @bigsament
Production Set Design Curation : Joel Gyamera @joelgyamera_ at Redclay Studios @redclay_studio
Production Runners : Neindow David@neindow_dave ,Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by :WB Group @wbgroupreps
Transport Logistics : Ayisi Wheels @ayisiwheelspro

Jeremiah Is Wearing A Custom Woven Kente

“The helmet becomes symbolic… not of a heritage left behind, but of one that lives now, one that you must choose to wear.”

For our debut digital cover, we traveled to Tamale with NFL linebacker Jeremiah Owusu-Koramoah—not to talk football, but to trace what it means to return.

Rooted in Ghana, his story isn’t about choosing sides. It’s about legacy worn like armor, fashion as testimony, and the soul’s journey home.

→ Read Helmet of Heritage now at guzangs.com

CREDITS

Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku @dangeeart
Post Production : Deon Studios @deonstudioss

Fashion Video by : Henry Akrong @mr_akrong / Package Studios @packagestudios
Video Assist : Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant : Samuel Ampomah @bigsament
Production Set Design Curation : Joel Gyamera @joelgyamera_ at Redclay Studios @redclay_studio
Production Runners : Neindow David@neindow_dave ,Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by :WB Group @wbgroupreps
Transport Logistics : Ayisi Wheels @ayisiwheelspro

Jeremiah Is Wearing A Custom Woven Kente

“The helmet becomes symbolic… not of a heritage left behind, but of one that lives now, one that you must choose to wear.”

For our debut digital cover, we traveled to Tamale with NFL linebacker Jeremiah Owusu-Koramoah—not to talk football, but to trace what it means to return.

Rooted in Ghana, his story isn’t about choosing sides. It’s about legacy worn like armor, fashion as testimony, and the soul’s journey home.

→ Read Helmet of Heritage now at guzangs.com

CREDITS

Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku @dangeeart
Post Production : Deon Studios @deonstudioss

Fashion Video by : Henry Akrong @mr_akrong / Package Studios @packagestudios
Video Assist : Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant : Samuel Ampomah @bigsament
Production Set Design Curation : Joel Gyamera @joelgyamera_ at Redclay Studios @redclay_studio
Production Runners : Neindow David@neindow_dave ,Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by :WB Group @wbgroupreps
Transport Logistics : Ayisi Wheels @ayisiwheelspro

Jeremiah Is Wearing A Custom Woven Kente

“The helmet becomes symbolic… not of a heritage left behind, but of one that lives now, one that you must choose to wear.”

For our debut digital cover, we traveled to Tamale with NFL linebacker Jeremiah Owusu-Koramoah—not to talk football, but to trace what it means to return.

Rooted in Ghana, his story isn’t about choosing sides. It’s about legacy worn like armor, fashion as testimony, and the soul’s journey home.

→ Read Helmet of Heritage now at guzangs.com

CREDITS

Talent : Jeremiah Owusu-Koramoah @owu3.0
Editor/Creative Director : Ekow Barnes @ekowbarnes_
Styled by Lafalaise Dion @lafalaiseeeee @lafalaisedionn
Grooming by Antoinette Kwofie @annroselynnn

Photographs by Gideon Boadi @deonnboadi
Photo Assistant : Daniel Kwame Mawuena Gomadonku @dangeeart
Post Production : Deon Studios @deonstudioss

Fashion Video by : Henry Akrong @mr_akrong / Package Studios @packagestudios
Video Assist : Derrick Addo @thirty_one_1

Producer : Gamel Baba Apalayine @gamelapalayine
Production Assistant : Samuel Ampomah @bigsament
Production Set Design Curation : Joel Gyamera @joelgyamera_ at Redclay Studios @redclay_studio
Production Runners : Neindow David@neindow_dave ,Amponsah Amos Asamoah @tyrone_blaccck
Service Production Company by :WB Group @wbgroupreps
Transport Logistics : Ayisi Wheels @ayisiwheelspro

Jeremiah Is Wearing A Custom Woven Kente

African textiles have been moving through luxury collections for more than half a century, and the press cycle around them is familiar by now. The harder question, and the one fashion has mostly avoided, is what the runway moment actually produces for the communities that hold the textile knowledge being borrowed.

At the link in bio, Bernard Dayo writes about three designers working against the pattern. @imane_ayissi ‘s haute couture practice in Paris is built on raffia and faso dan fani sourced through artisan networks across the continent. @hertunba ‘s Florentina Agu paid surviving wood carvers from her father’s network above market rate for a recent collection, and built much of the season around weaving and pottery sourced from artisans she has worked with for years. @kilentar’s Michelle Adepoju has spent six years building her label around supplier relationships with weavers and dyers across Nigeria, Burkina Faso, Côte d’Ivoire, and Senegal.

Read the full story at the link in bio.

Photo: Olapemi Oniyan for Guzangs

At BAKUS ORAYA, the Cotonou house founded by Abdoul Manane Bakary (@bakus_oraya) , Coton brut arrives at its final chapter. The cotton, the cut, the unhurried tailoring, all in their most reduced form. Read the final chapter and watch the film at the link in bio.

Photographs and film by @through_mpo
Creative Direction and Art Direction: Manane Bakary (@manane_bakary)
Art Direction Assistants: Mahougnon Dan (@mahougnon_dan), Christ M’po
Models: Donald Ganfon (@donald_blvckmodel), Dorinda Vodounou (dorinda_vdn), Pio Thon (@thonpiari), Madeleine Adonnonde (@madeleine.adonnonde), Christ M’po (@christ_mpo), Jean-Michel Amoussou (@monsieur_amoussou), Monwanou Nikita (@nikita_mwn), Régis Dansou (regis_dansou33), Jaudhy Zomahoun (@jaudhy_model), Cédin Dagbeto (@mr_dacee), Kobre Fatim (@ftm_2ee), De Sucre Granda (@reforma__01), Koliyardo Moukounou Gabrielle (@melougadi)

At BAKUS ORAYA, the Cotonou house founded by Abdoul Manane Bakary (@bakus_oraya) , Coton brut arrives at its final chapter. The cotton, the cut, the unhurried tailoring, all in their most reduced form. Read the final chapter and watch the film at the link in bio.

Photographs and film by @through_mpo
Creative Direction and Art Direction: Manane Bakary (@manane_bakary)
Art Direction Assistants: Mahougnon Dan (@mahougnon_dan), Christ M’po
Models: Donald Ganfon (@donald_blvckmodel), Dorinda Vodounou (dorinda_vdn), Pio Thon (@thonpiari), Madeleine Adonnonde (@madeleine.adonnonde), Christ M’po (@christ_mpo), Jean-Michel Amoussou (@monsieur_amoussou), Monwanou Nikita (@nikita_mwn), Régis Dansou (regis_dansou33), Jaudhy Zomahoun (@jaudhy_model), Cédin Dagbeto (@mr_dacee), Kobre Fatim (@ftm_2ee), De Sucre Granda (@reforma__01), Koliyardo Moukounou Gabrielle (@melougadi)

At BAKUS ORAYA, the Cotonou house founded by Abdoul Manane Bakary (@bakus_oraya) , Coton brut arrives at its final chapter. The cotton, the cut, the unhurried tailoring, all in their most reduced form. Read the final chapter and watch the film at the link in bio.

Photographs and film by @through_mpo
Creative Direction and Art Direction: Manane Bakary (@manane_bakary)
Art Direction Assistants: Mahougnon Dan (@mahougnon_dan), Christ M’po
Models: Donald Ganfon (@donald_blvckmodel), Dorinda Vodounou (dorinda_vdn), Pio Thon (@thonpiari), Madeleine Adonnonde (@madeleine.adonnonde), Christ M’po (@christ_mpo), Jean-Michel Amoussou (@monsieur_amoussou), Monwanou Nikita (@nikita_mwn), Régis Dansou (regis_dansou33), Jaudhy Zomahoun (@jaudhy_model), Cédin Dagbeto (@mr_dacee), Kobre Fatim (@ftm_2ee), De Sucre Granda (@reforma__01), Koliyardo Moukounou Gabrielle (@melougadi)

At BAKUS ORAYA, the Cotonou house founded by Abdoul Manane Bakary (@bakus_oraya) , Coton brut arrives at its final chapter. The cotton, the cut, the unhurried tailoring, all in their most reduced form. Read the final chapter and watch the film at the link in bio.

Photographs and film by @through_mpo
Creative Direction and Art Direction: Manane Bakary (@manane_bakary)
Art Direction Assistants: Mahougnon Dan (@mahougnon_dan), Christ M’po
Models: Donald Ganfon (@donald_blvckmodel), Dorinda Vodounou (dorinda_vdn), Pio Thon (@thonpiari), Madeleine Adonnonde (@madeleine.adonnonde), Christ M’po (@christ_mpo), Jean-Michel Amoussou (@monsieur_amoussou), Monwanou Nikita (@nikita_mwn), Régis Dansou (regis_dansou33), Jaudhy Zomahoun (@jaudhy_model), Cédin Dagbeto (@mr_dacee), Kobre Fatim (@ftm_2ee), De Sucre Granda (@reforma__01), Koliyardo Moukounou Gabrielle (@melougadi)

At BAKUS ORAYA, the Cotonou house founded by Abdoul Manane Bakary (@bakus_oraya) , Coton brut arrives at its final chapter. The cotton, the cut, the unhurried tailoring, all in their most reduced form. Read the final chapter and watch the film at the link in bio.

Photographs and film by @through_mpo
Creative Direction and Art Direction: Manane Bakary (@manane_bakary)
Art Direction Assistants: Mahougnon Dan (@mahougnon_dan), Christ M’po
Models: Donald Ganfon (@donald_blvckmodel), Dorinda Vodounou (dorinda_vdn), Pio Thon (@thonpiari), Madeleine Adonnonde (@madeleine.adonnonde), Christ M’po (@christ_mpo), Jean-Michel Amoussou (@monsieur_amoussou), Monwanou Nikita (@nikita_mwn), Régis Dansou (regis_dansou33), Jaudhy Zomahoun (@jaudhy_model), Cédin Dagbeto (@mr_dacee), Kobre Fatim (@ftm_2ee), De Sucre Granda (@reforma__01), Koliyardo Moukounou Gabrielle (@melougadi)

Between London and Cameroon, Huguette Tchiapi (@huguettetchiapi) built her debut menswear collection, Numéro 01, working with Ndop weavers in Douala, the curator Christian Nana at the Blackitude Museum in Yaoundé, and a bamboo furniture maker named Paul.

The British-Cameroonian designer, a Central Saint Martins graduate, presented the collection in April at Scarlett Green in Soho, London. Longline cotton shirts, cropped Ndop blazers, wide trousers in indigo, white, and muted earth tones. Recycled glass beads from Ghana. Stones sourced in the UK.

“It’s just the beginning,” she says.

Read Iyanuoluwa Osatimehin’s (@iiyannu) full feature on the designer’s debut collection at guzangs.com, link in bio.

Photography: Vladimir Kaminetsky, Maite de Orbe, Alice Carfrae

Between London and Cameroon, Huguette Tchiapi (@huguettetchiapi) built her debut menswear collection, Numéro 01, working with Ndop weavers in Douala, the curator Christian Nana at the Blackitude Museum in Yaoundé, and a bamboo furniture maker named Paul.

The British-Cameroonian designer, a Central Saint Martins graduate, presented the collection in April at Scarlett Green in Soho, London. Longline cotton shirts, cropped Ndop blazers, wide trousers in indigo, white, and muted earth tones. Recycled glass beads from Ghana. Stones sourced in the UK.

“It’s just the beginning,” she says.

Read Iyanuoluwa Osatimehin’s (@iiyannu) full feature on the designer’s debut collection at guzangs.com, link in bio.

Photography: Vladimir Kaminetsky, Maite de Orbe, Alice Carfrae

Between London and Cameroon, Huguette Tchiapi (@huguettetchiapi) built her debut menswear collection, Numéro 01, working with Ndop weavers in Douala, the curator Christian Nana at the Blackitude Museum in Yaoundé, and a bamboo furniture maker named Paul.

The British-Cameroonian designer, a Central Saint Martins graduate, presented the collection in April at Scarlett Green in Soho, London. Longline cotton shirts, cropped Ndop blazers, wide trousers in indigo, white, and muted earth tones. Recycled glass beads from Ghana. Stones sourced in the UK.

“It’s just the beginning,” she says.

Read Iyanuoluwa Osatimehin’s (@iiyannu) full feature on the designer’s debut collection at guzangs.com, link in bio.

Photography: Vladimir Kaminetsky, Maite de Orbe, Alice Carfrae

Between London and Cameroon, Huguette Tchiapi (@huguettetchiapi) built her debut menswear collection, Numéro 01, working with Ndop weavers in Douala, the curator Christian Nana at the Blackitude Museum in Yaoundé, and a bamboo furniture maker named Paul.

The British-Cameroonian designer, a Central Saint Martins graduate, presented the collection in April at Scarlett Green in Soho, London. Longline cotton shirts, cropped Ndop blazers, wide trousers in indigo, white, and muted earth tones. Recycled glass beads from Ghana. Stones sourced in the UK.

“It’s just the beginning,” she says.

Read Iyanuoluwa Osatimehin’s (@iiyannu) full feature on the designer’s debut collection at guzangs.com, link in bio.

Photography: Vladimir Kaminetsky, Maite de Orbe, Alice Carfrae

Between London and Cameroon, Huguette Tchiapi (@huguettetchiapi) built her debut menswear collection, Numéro 01, working with Ndop weavers in Douala, the curator Christian Nana at the Blackitude Museum in Yaoundé, and a bamboo furniture maker named Paul.

The British-Cameroonian designer, a Central Saint Martins graduate, presented the collection in April at Scarlett Green in Soho, London. Longline cotton shirts, cropped Ndop blazers, wide trousers in indigo, white, and muted earth tones. Recycled glass beads from Ghana. Stones sourced in the UK.

“It’s just the beginning,” she says.

Read Iyanuoluwa Osatimehin’s (@iiyannu) full feature on the designer’s debut collection at guzangs.com, link in bio.

Photography: Vladimir Kaminetsky, Maite de Orbe, Alice Carfrae

In Ethiopia’s walled city of Harar, the traditional home known as the gegar is built around a single idea: that the wall is where a family keeps its record. Handwoven baskets and enameled platters cover every surface, arranged from floor to ceiling in registers so dense they read as one continuous surface.

Most of it is women’s work, much of it brought into the household at marriage, and the composition is understood locally as a measure of taste and standing.

Harar Jugol has been a UNESCO World Heritage Site since 2006, though its interiors remain largely unwritten about outside Ethiopia.

Traditional Harari home interior, Harar. Photo: A.Savin / Francisco Anzola / Sailko (CC BY-SA).

In Ethiopia’s walled city of Harar, the traditional home known as the gegar is built around a single idea: that the wall is where a family keeps its record. Handwoven baskets and enameled platters cover every surface, arranged from floor to ceiling in registers so dense they read as one continuous surface.

Most of it is women’s work, much of it brought into the household at marriage, and the composition is understood locally as a measure of taste and standing.

Harar Jugol has been a UNESCO World Heritage Site since 2006, though its interiors remain largely unwritten about outside Ethiopia.

Traditional Harari home interior, Harar. Photo: A.Savin / Francisco Anzola / Sailko (CC BY-SA).

In Ethiopia’s walled city of Harar, the traditional home known as the gegar is built around a single idea: that the wall is where a family keeps its record. Handwoven baskets and enameled platters cover every surface, arranged from floor to ceiling in registers so dense they read as one continuous surface.

Most of it is women’s work, much of it brought into the household at marriage, and the composition is understood locally as a measure of taste and standing.

Harar Jugol has been a UNESCO World Heritage Site since 2006, though its interiors remain largely unwritten about outside Ethiopia.

Traditional Harari home interior, Harar. Photo: A.Savin / Francisco Anzola / Sailko (CC BY-SA).

In Ethiopia’s walled city of Harar, the traditional home known as the gegar is built around a single idea: that the wall is where a family keeps its record. Handwoven baskets and enameled platters cover every surface, arranged from floor to ceiling in registers so dense they read as one continuous surface.

Most of it is women’s work, much of it brought into the household at marriage, and the composition is understood locally as a measure of taste and standing.

Harar Jugol has been a UNESCO World Heritage Site since 2006, though its interiors remain largely unwritten about outside Ethiopia.

Traditional Harari home interior, Harar. Photo: A.Savin / Francisco Anzola / Sailko (CC BY-SA).

Roland-Garros qualifying begins tomorrow. Valdes Tita grew up in Cameroon and didn’t watch tennis. He learned about Yannick Noah by accident, bedridden after foot surgery in his aunt’s apartment in the United States, looking up a name he half-recognized. He felt the way you feel when a relative has done something significant and the world informed you before your own family did.

In 2015 he flew to Paris during the tournament to find out how a boy from Yaoundé had ended up holding the Coupe des Mousquetaires. The story begins in Yaoundé in February 1971. Arthur Ashe was on an exhibition tour. An eleven-year-old was hitting clean returns with a wooden board his father had cut into the shape of a racket.

Forty-three years after Noah’s 1983 title, he is still the last French man to have won the tournament.

Read the full essay by Valdes Tita (@valchief), at the link in our bio.

Photos: Alamy and Valdes Tita.

Roland-Garros qualifying begins tomorrow. Valdes Tita grew up in Cameroon and didn’t watch tennis. He learned about Yannick Noah by accident, bedridden after foot surgery in his aunt’s apartment in the United States, looking up a name he half-recognized. He felt the way you feel when a relative has done something significant and the world informed you before your own family did.

In 2015 he flew to Paris during the tournament to find out how a boy from Yaoundé had ended up holding the Coupe des Mousquetaires. The story begins in Yaoundé in February 1971. Arthur Ashe was on an exhibition tour. An eleven-year-old was hitting clean returns with a wooden board his father had cut into the shape of a racket.

Forty-three years after Noah’s 1983 title, he is still the last French man to have won the tournament.

Read the full essay by Valdes Tita (@valchief), at the link in our bio.

Photos: Alamy and Valdes Tita.

Roland-Garros qualifying begins tomorrow. Valdes Tita grew up in Cameroon and didn’t watch tennis. He learned about Yannick Noah by accident, bedridden after foot surgery in his aunt’s apartment in the United States, looking up a name he half-recognized. He felt the way you feel when a relative has done something significant and the world informed you before your own family did.

In 2015 he flew to Paris during the tournament to find out how a boy from Yaoundé had ended up holding the Coupe des Mousquetaires. The story begins in Yaoundé in February 1971. Arthur Ashe was on an exhibition tour. An eleven-year-old was hitting clean returns with a wooden board his father had cut into the shape of a racket.

Forty-three years after Noah’s 1983 title, he is still the last French man to have won the tournament.

Read the full essay by Valdes Tita (@valchief), at the link in our bio.

Photos: Alamy and Valdes Tita.

Roland-Garros qualifying begins tomorrow. Valdes Tita grew up in Cameroon and didn’t watch tennis. He learned about Yannick Noah by accident, bedridden after foot surgery in his aunt’s apartment in the United States, looking up a name he half-recognized. He felt the way you feel when a relative has done something significant and the world informed you before your own family did.

In 2015 he flew to Paris during the tournament to find out how a boy from Yaoundé had ended up holding the Coupe des Mousquetaires. The story begins in Yaoundé in February 1971. Arthur Ashe was on an exhibition tour. An eleven-year-old was hitting clean returns with a wooden board his father had cut into the shape of a racket.

Forty-three years after Noah’s 1983 title, he is still the last French man to have won the tournament.

Read the full essay by Valdes Tita (@valchief), at the link in our bio.

Photos: Alamy and Valdes Tita.

Roland-Garros qualifying begins tomorrow. Valdes Tita grew up in Cameroon and didn’t watch tennis. He learned about Yannick Noah by accident, bedridden after foot surgery in his aunt’s apartment in the United States, looking up a name he half-recognized. He felt the way you feel when a relative has done something significant and the world informed you before your own family did.

In 2015 he flew to Paris during the tournament to find out how a boy from Yaoundé had ended up holding the Coupe des Mousquetaires. The story begins in Yaoundé in February 1971. Arthur Ashe was on an exhibition tour. An eleven-year-old was hitting clean returns with a wooden board his father had cut into the shape of a racket.

Forty-three years after Noah’s 1983 title, he is still the last French man to have won the tournament.

Read the full essay by Valdes Tita (@valchief), at the link in our bio.

Photos: Alamy and Valdes Tita.

Roland-Garros qualifying begins tomorrow. Valdes Tita grew up in Cameroon and didn’t watch tennis. He learned about Yannick Noah by accident, bedridden after foot surgery in his aunt’s apartment in the United States, looking up a name he half-recognized. He felt the way you feel when a relative has done something significant and the world informed you before your own family did.

In 2015 he flew to Paris during the tournament to find out how a boy from Yaoundé had ended up holding the Coupe des Mousquetaires. The story begins in Yaoundé in February 1971. Arthur Ashe was on an exhibition tour. An eleven-year-old was hitting clean returns with a wooden board his father had cut into the shape of a racket.

Forty-three years after Noah’s 1983 title, he is still the last French man to have won the tournament.

Read the full essay by Valdes Tita (@valchief), at the link in our bio.

Photos: Alamy and Valdes Tita.

Roland-Garros qualifying begins tomorrow. Valdes Tita grew up in Cameroon and didn’t watch tennis. He learned about Yannick Noah by accident, bedridden after foot surgery in his aunt’s apartment in the United States, looking up a name he half-recognized. He felt the way you feel when a relative has done something significant and the world informed you before your own family did.

In 2015 he flew to Paris during the tournament to find out how a boy from Yaoundé had ended up holding the Coupe des Mousquetaires. The story begins in Yaoundé in February 1971. Arthur Ashe was on an exhibition tour. An eleven-year-old was hitting clean returns with a wooden board his father had cut into the shape of a racket.

Forty-three years after Noah’s 1983 title, he is still the last French man to have won the tournament.

Read the full essay by Valdes Tita (@valchief), at the link in our bio.

Photos: Alamy and Valdes Tita.

On the Andoni River, in Rivers State, Nigeria, the day begins before the city is awake. The photographer Chukwudi Nwachukwu spent several mornings on the water with the men who fish it — the long hours of stillness, the catch, the trade at the bank, the slow return to shore.

“The river is the only employer that has not closed,” he says.

“The Labour of Rivers” is now on view in The Guzangs Eye, our visual archive. See the full series at the link in bio.

Photographs by Chukwudi Nwachukwu, @chocwrld. Port Harcourt, 2026.

On the Andoni River, in Rivers State, Nigeria, the day begins before the city is awake. The photographer Chukwudi Nwachukwu spent several mornings on the water with the men who fish it — the long hours of stillness, the catch, the trade at the bank, the slow return to shore.

“The river is the only employer that has not closed,” he says.

“The Labour of Rivers” is now on view in The Guzangs Eye, our visual archive. See the full series at the link in bio.

Photographs by Chukwudi Nwachukwu, @chocwrld. Port Harcourt, 2026.

On the Andoni River, in Rivers State, Nigeria, the day begins before the city is awake. The photographer Chukwudi Nwachukwu spent several mornings on the water with the men who fish it — the long hours of stillness, the catch, the trade at the bank, the slow return to shore.

“The river is the only employer that has not closed,” he says.

“The Labour of Rivers” is now on view in The Guzangs Eye, our visual archive. See the full series at the link in bio.

Photographs by Chukwudi Nwachukwu, @chocwrld. Port Harcourt, 2026.

On the Andoni River, in Rivers State, Nigeria, the day begins before the city is awake. The photographer Chukwudi Nwachukwu spent several mornings on the water with the men who fish it — the long hours of stillness, the catch, the trade at the bank, the slow return to shore.

“The river is the only employer that has not closed,” he says.

“The Labour of Rivers” is now on view in The Guzangs Eye, our visual archive. See the full series at the link in bio.

Photographs by Chukwudi Nwachukwu, @chocwrld. Port Harcourt, 2026.

On the Andoni River, in Rivers State, Nigeria, the day begins before the city is awake. The photographer Chukwudi Nwachukwu spent several mornings on the water with the men who fish it — the long hours of stillness, the catch, the trade at the bank, the slow return to shore.

“The river is the only employer that has not closed,” he says.

“The Labour of Rivers” is now on view in The Guzangs Eye, our visual archive. See the full series at the link in bio.

Photographs by Chukwudi Nwachukwu, @chocwrld. Port Harcourt, 2026.

In Nigeria, the way a woman dresses has never been left to her alone. Colonial rule, religion, and state power have all had a hand in it.

Lola Coker (@lolahenrietta_ ) on Tia Adeola (@tiaadeola) and Tolu Oye (@mejimeji.co), two designers building wardrobes for women who want to dress more expressively than the local market has typically allowed. Read the full story at the link in bio.

Photography;
From Lagos With Love. Photo: #1 Danielle Mbonu #2Photo: Ayanfe Olarinde
Meji Meji, Sista Sista. Photo: Jurnee Peter Chukwu
Meji Meji ‘Sisi Ologe’ Photo: @unavailable_______p

In Nigeria, the way a woman dresses has never been left to her alone. Colonial rule, religion, and state power have all had a hand in it.

Lola Coker (@lolahenrietta_ ) on Tia Adeola (@tiaadeola) and Tolu Oye (@mejimeji.co), two designers building wardrobes for women who want to dress more expressively than the local market has typically allowed. Read the full story at the link in bio.

Photography;
From Lagos With Love. Photo: #1 Danielle Mbonu #2Photo: Ayanfe Olarinde
Meji Meji, Sista Sista. Photo: Jurnee Peter Chukwu
Meji Meji ‘Sisi Ologe’ Photo: @unavailable_______p

In Nigeria, the way a woman dresses has never been left to her alone. Colonial rule, religion, and state power have all had a hand in it.

Lola Coker (@lolahenrietta_ ) on Tia Adeola (@tiaadeola) and Tolu Oye (@mejimeji.co), two designers building wardrobes for women who want to dress more expressively than the local market has typically allowed. Read the full story at the link in bio.

Photography;
From Lagos With Love. Photo: #1 Danielle Mbonu #2Photo: Ayanfe Olarinde
Meji Meji, Sista Sista. Photo: Jurnee Peter Chukwu
Meji Meji ‘Sisi Ologe’ Photo: @unavailable_______p

In Nigeria, the way a woman dresses has never been left to her alone. Colonial rule, religion, and state power have all had a hand in it.

Lola Coker (@lolahenrietta_ ) on Tia Adeola (@tiaadeola) and Tolu Oye (@mejimeji.co), two designers building wardrobes for women who want to dress more expressively than the local market has typically allowed. Read the full story at the link in bio.

Photography;
From Lagos With Love. Photo: #1 Danielle Mbonu #2Photo: Ayanfe Olarinde
Meji Meji, Sista Sista. Photo: Jurnee Peter Chukwu
Meji Meji ‘Sisi Ologe’ Photo: @unavailable_______p

N’Dobine, a short film by Ahmad Cissé (@cixixix.night.skin), premiered May 11 at Lincoln Center as part of the New York African Film Festival. The film draws from Odinala, the Igbo cosmological system, and follows the passage from belief into the practice that belief asks for. “Heavy was the word from above,” the tagline reads, “the birds carried its weight.” Cissé describes the project as a record of his own monologues, an inquiry into how the actions a person takes on spiritual instinct can return them, eventually, to the reasoning behind them.

The Brooklyn-based filmmaker was born in Sénégal and co-founded Jollof Films and the Pan-African collective WESHHH before turning his camera on the question that gives N’Dobine its shape: what happens when a spiritual conviction is followed all the way to its source.

Cinematography is by Kevin “GK” Frederick, with accessories by Nneoma Angel of Angel’s Jewelry New York and an original score featuring Kamauu, Aveiri Fanfair on drums and Malang Jobarteh on kora. Sound design is by Kenneth Misael Pineda. The cast is led by Jay McKenzie, Kadia Ba, Kayra Theodore and Papi Diagn.

N’Dobine, a short film by Ahmad Cissé (@cixixix.night.skin), premiered May 11 at Lincoln Center as part of the New York African Film Festival. The film draws from Odinala, the Igbo cosmological system, and follows the passage from belief into the practice that belief asks for. “Heavy was the word from above,” the tagline reads, “the birds carried its weight.” Cissé describes the project as a record of his own monologues, an inquiry into how the actions a person takes on spiritual instinct can return them, eventually, to the reasoning behind them.

The Brooklyn-based filmmaker was born in Sénégal and co-founded Jollof Films and the Pan-African collective WESHHH before turning his camera on the question that gives N’Dobine its shape: what happens when a spiritual conviction is followed all the way to its source.

Cinematography is by Kevin “GK” Frederick, with accessories by Nneoma Angel of Angel’s Jewelry New York and an original score featuring Kamauu, Aveiri Fanfair on drums and Malang Jobarteh on kora. Sound design is by Kenneth Misael Pineda. The cast is led by Jay McKenzie, Kadia Ba, Kayra Theodore and Papi Diagn.

N’Dobine, a short film by Ahmad Cissé (@cixixix.night.skin), premiered May 11 at Lincoln Center as part of the New York African Film Festival. The film draws from Odinala, the Igbo cosmological system, and follows the passage from belief into the practice that belief asks for. “Heavy was the word from above,” the tagline reads, “the birds carried its weight.” Cissé describes the project as a record of his own monologues, an inquiry into how the actions a person takes on spiritual instinct can return them, eventually, to the reasoning behind them.

The Brooklyn-based filmmaker was born in Sénégal and co-founded Jollof Films and the Pan-African collective WESHHH before turning his camera on the question that gives N’Dobine its shape: what happens when a spiritual conviction is followed all the way to its source.

Cinematography is by Kevin “GK” Frederick, with accessories by Nneoma Angel of Angel’s Jewelry New York and an original score featuring Kamauu, Aveiri Fanfair on drums and Malang Jobarteh on kora. Sound design is by Kenneth Misael Pineda. The cast is led by Jay McKenzie, Kadia Ba, Kayra Theodore and Papi Diagn.

In Osu, Accra, a clay tennis court sits inside Ghana’s first precast rammed-earth enclosure. Backyard Community Club, designed by @derocheprojects, was commissioned by @amoakoboafo, the painter who grew up in Osu, where he played tennis as a young man before becoming one of Ghana’s most prominent contemporary artists.

Thirty-three wedge-shaped panels, four metres high, wrap the regulation court, with a 230-square-metre garden of edible and medicinal plants running along one edge. Lessons are free for local children under eighteen.

Read the full piece by @valchief at the link in bio.

Photography Prince Gilbert Attipoe / @daakpestudios

In Osu, Accra, a clay tennis court sits inside Ghana’s first precast rammed-earth enclosure. Backyard Community Club, designed by @derocheprojects, was commissioned by @amoakoboafo, the painter who grew up in Osu, where he played tennis as a young man before becoming one of Ghana’s most prominent contemporary artists.

Thirty-three wedge-shaped panels, four metres high, wrap the regulation court, with a 230-square-metre garden of edible and medicinal plants running along one edge. Lessons are free for local children under eighteen.

Read the full piece by @valchief at the link in bio.

Photography Prince Gilbert Attipoe / @daakpestudios

In Osu, Accra, a clay tennis court sits inside Ghana’s first precast rammed-earth enclosure. Backyard Community Club, designed by @derocheprojects, was commissioned by @amoakoboafo, the painter who grew up in Osu, where he played tennis as a young man before becoming one of Ghana’s most prominent contemporary artists.

Thirty-three wedge-shaped panels, four metres high, wrap the regulation court, with a 230-square-metre garden of edible and medicinal plants running along one edge. Lessons are free for local children under eighteen.

Read the full piece by @valchief at the link in bio.

Photography Prince Gilbert Attipoe / @daakpestudios

In Osu, Accra, a clay tennis court sits inside Ghana’s first precast rammed-earth enclosure. Backyard Community Club, designed by @derocheprojects, was commissioned by @amoakoboafo, the painter who grew up in Osu, where he played tennis as a young man before becoming one of Ghana’s most prominent contemporary artists.

Thirty-three wedge-shaped panels, four metres high, wrap the regulation court, with a 230-square-metre garden of edible and medicinal plants running along one edge. Lessons are free for local children under eighteen.

Read the full piece by @valchief at the link in bio.

Photography Prince Gilbert Attipoe / @daakpestudios

In Osu, Accra, a clay tennis court sits inside Ghana’s first precast rammed-earth enclosure. Backyard Community Club, designed by @derocheprojects, was commissioned by @amoakoboafo, the painter who grew up in Osu, where he played tennis as a young man before becoming one of Ghana’s most prominent contemporary artists.

Thirty-three wedge-shaped panels, four metres high, wrap the regulation court, with a 230-square-metre garden of edible and medicinal plants running along one edge. Lessons are free for local children under eighteen.

Read the full piece by @valchief at the link in bio.

Photography Prince Gilbert Attipoe / @daakpestudios

In Osu, Accra, a clay tennis court sits inside Ghana’s first precast rammed-earth enclosure. Backyard Community Club, designed by @derocheprojects, was commissioned by @amoakoboafo, the painter who grew up in Osu, where he played tennis as a young man before becoming one of Ghana’s most prominent contemporary artists.

Thirty-three wedge-shaped panels, four metres high, wrap the regulation court, with a 230-square-metre garden of edible and medicinal plants running along one edge. Lessons are free for local children under eighteen.

Read the full piece by @valchief at the link in bio.

Photography Prince Gilbert Attipoe / @daakpestudios