Trendy Casuals, Same Old Story?

Today, young fashion enthusiasts are increasingly drawn to casual wear. While it is no secret, it is worth noting that much of what is celebrated as modern casual fashion originates from sportswear. The reason is simple: comfort. In recent times, the demand for attire that prioritises ease and comfort has surpassed nearly every other consideration. This explains why sportswear giants such as Fila and Adidas continue to dominate fashion headlines. Many other fashion labels have embraced this revolutionary path, climbing the steadily rising ladder toward rewriting the rules of fashion. Among them is Blvck Kulture.

Founded by Razaq Ayomide Rahman, Blvck Kulture draws its inspiration from what they choose to call a ‘Kulture of Expression.’ In other words, the brand believes that fashion is showcased when people have the freedom to express themselves with it. But even more than just individuals, the brand is passionate about using its piece to tell the African story. And this time, not with pity or overused clichés, but with power, celebration, and confidence.

This ardour and their experience with the Nigerian Lagos street fashion market gave flight to their 2023 collection themed ‘Made In Lagos.’ In this review, attention will be directed toward a critical examination of the collection, assessing both its strengths and its limitations.

Made in Lagos, from the looks of it, is a collection made to fit into the fashion market for the younger generation. It is made up of two of the brand’s preceding signature styles, polos and tennis shorts. However, while they share this similarity, there is a line of difference. The contrast highlights their individuality, while the similarities create a cohesive identity that ties the collection together.

Outfit number one would probably be the crowd’s favourite. Interestingly, it was made in twos to fit both genders. The first thing that caught my attention was the bright orange fabric used in creating its polo shirt. A closer look, however, will tell you that orange wasn’t the only colour used. Sprinkles of white were also added to the mix to give it that rough-textured look, even when it’s not.

Like most polo shirts, this one came with a round neck and short sleeves to complement. This upper layer was followed by a pair of tennis shorts that stopped a few inches above the knee. These simple features were compensated not by adding layers of complex designs but by adding a stand-out highlight, inscriptions.

At the front of the shirt are inscriptions of different faces of African artefacts. This brand symbol could be said to be backing up the brand’s claim of wanting to tell the African story through clothing. In addition to this inciting inscription is the brand identity. Written in block letters, the words ‘BLVCK PRIDE’ sit proudly at the front of the shirt.

All these gestures made their statement, but not as much as the inscription on the tennis shirt. The shorts carried the whole theme of the collection with a picture of Lagos city’s skyline inscribed as a part of it. This inclusion is symbolic because of how it further accentuates the theme of the collection. It may also interest you to know that this piece also comes in the colour brown.

The make‑up of this piece closely mirrors Balenciaga’s matching sets or Adidas summer sport attire. Still, it retains a distinct identity of its own. This unique balance of familiarity and originality makes it highly appealing to casual fashion lovers, particularly within the African market, while also calling to style enthusiasts across global audiences.

From an industry perspective, the design shows the blend of luxury fashion and sportswear, a trend that has reshaped the casual wear segment in recent years. By aligning with the aesthetics of established global brands while introducing localised identity, the piece positions itself within the broader athleisure movement that continues to dominate fashion headlines.

But of course, nothing is without its flaws. Some features of the piece could be better. First, the shirt fitting has to be attended to, especially for female wear. It looks oversized. Now, while this is also a fashionable feature, especially with the current casual fit, it was slightly overdone. Also, both the top and bottom features bold graphic elements that, while appealing, could stand as a distraction to the fit itself.

The second design is centred on texture. Made from a spandex/polyester fabric, it offers elasticity and a smooth surface, giving the attire a distinct identity compared to the previous piece, which was composed solely of cotton.

Unlike the first attire, the inscription on this shirt interprets the theme ‘Made in Lagos’ in a more personal way. Positioned at the centre, a bold white print cuts across the garment, with the text placed beneath the city’s skyline. The shorts remain identical to those in the first piece, maintaining continuity within the collection.

This attire also comes in a varying colour of navy blue. This inclusion was made to create a balance of brighter and darker colour shades.

What stood out the most in this piece was the bold typography of the collection’s theme. It made the message very direct and clear in the same way brands like Fila and Adidas always include their identity and style boldly across their wear. Also, bringing the skyline’s inscription to the shirt also gave the piece a very distinctive appeal and a sense of storytelling. Lastly, the piece maintained a level of consistency. Both pieces carry the same message and signature symbol of the collection’s theme.

Furthermore, the reliance on typography and symbolic imagery from an industry relevance standpoint showcases a sense of visual branding in fashion, where more narrative elements are used to strengthen identity and consumer connection. This strategy makes the piece align with already established practices in global sportswear and emphasises brand storytelling.

A few things that can be made better are the printing depth and sleeves. The white print is strong, but a textured or layered version could add a touch to the sight. Presently, what sits on the shirt is not aesthetically pleasing, and this may affect its market positioning. Furthermore, the plain sleeves look too thin in width, unlike the first shirt. It also feels like the sleeve could do a bit better if a few more inclusions were made, like maybe a mini logo, a stripe, or subtle embroidery could give them more life.

Inherently, Blvck Kulture displayed core mastery of current trends in this collection. Through the detailing of the collection, the designer clearly infused identity into the garments, ensuring that each T-shirt spoke to the broad demographic of both genders but still maintained a place for self-expression. Their commitment to quality and comfort is equally commendable, but the creative dimension is noticeably limited. Taking a closer look, much of the uniqueness comes only from varied inscriptions on ready‑made polos, rather than original design innovation. This reliance on text over form leaves the collection feeling more like a remix of existing ideas than a fresh perspective. Therefore, the brand still needs to keep refining its art. With minor refinement from the designer, these outfits undoubtedly have the potential to become the next big names in the world of casual fashion.

Finally, Razaq Ayomide Rahman and Black Kulture made a mark with this collection, but the next step will be moving beyond inscriptions and exploring deeper creative initiatives or ideas. I acknowledge the brand’s effort to remain at the forefront of fashion by pushing boundaries and setting trends. Looking forward to seeing more casually inspiring pieces that Blvck Kulture will have to offer soon.