Shortly before Head of State designer Taofeek Abijako’s spring show kicked off at the WSA building downtown this afternoon, guests were greeted with the calming sound of rolling beach waves crashing in and out—a welcomed ASMR-worthy soundtrack, given that the chaos of New York Fashion Week is anything but serene. Once the collection started coming down the catwalk, that sense of grounding continued: The first look saw a model slowly saunter down the runway barefoot, wearing a simple white sleeveless dress with a shapely circular hemline, achieved with built-in wiring along the trim. It was like the fashion equivalent of a breath of fresh air.
Abijako—who founded his label when he was just 17-years-old—is also refreshing in his own way. He has been a welcomed addition to the New York Fashion Week calendar, aiming to fuse his current New York home base with his distinctive memories growing up in Nigeria. This season, the designer was particularly interested in exploring what a pillar American uniform—the business suit—could look like from a more West African point-of-view. “There’s a huge influx of us coming in right now, and the blending of both of these cultures makes way for the creation of new uniforms,” he said backstage shortly before showtime. “I find that very interesting.”
This direction made for a very grown-up feeling collection for the brand, which has typically excelled in cool, easy wearable separates. Abijako’s take on suits leaned into vibrant color, a signature of West African design. The looks ranged from sky-blue two-pieces, featuring an asymmetrical buttoned blazer, to lavender or bright-red short suits, the buttonless jackets cut on a bias to reveal the belly button. The shapes were interesting takes on such rigid business uniforms, instantly given more of a sense of fluidity and fun. Some pieces, like the striped dress shirts, also had wooden African beads dangling at the neck, a subtle nod to back home.
The distinctive color palette, meanwhile—mints, chocolate browns, tangerine orange—drew influence from the divine beings Abijako grew up hearing about in Nigeria. “I’m of Yoruba background, so I referenced my own deities,” he said. “I wanted to bring the mythology from home through the color palette.” His rusty browns, for instance, were inspired by Ogun, the god of Iron; the deep blues referenced Oshun, the goddess of the river. While these all lead into traditional motifs, it was his fusion with more contemporary cuts that made it all feel fresh. The more wearable offerings, like an oversized green button-up shirt, or studded black technical jacket, proved he still excels at menswear the most—and offers customers an elevated take on everyday basics that feel just a little more interesting. Abijako can do clean, classic American style, only better.
