Interview “Africa Has Always Produced Luxury”: Eva Omaghomi on Putting African Fashion Front and Centre
Omaghomi knows something about the power of access. For 17 years she worked within the Royal Household, becoming the first Director of Community Engagement to a British monarch and playing a role in landmark moments including the Coronation of King Charles III and Queen Camilla. Today, she remains a Community Engagement Advisor to The King while building Forster Jones & Associates and Brand63Africa, taking a career spent connecting people and institutions into the worlds of fashion, culture, and business. Her work now extends into the creative industries too, including serving as Executive Producer of the King’s Music Room, an Apple Music broadcast curated by His Majesty The King and launched on Commonwealth Day 2025. Her portfolio moves easily between palace, boardroom and studio.
The timing is particularly apt: Brand63Africa’s Harrods residency continues through Black History Month, though its ambitions stretch well beyond a single season or spotlight. As Omaghomi puts it, “Africa has always produced luxury.” The Wick caught up with her to talk about building a new chapter after the Royal Household, why African fashion belongs in the global luxury conversation and the responsibility that comes with using influence to open doors for others.
THE WICK:
What does a typical Monday look like for you?
Eva Omaghomi:
I’m not sure there is such a thing as a typical Monday! My work takes me across several different worlds, from strategic advisory, production and business to fashion, culture and philanthropy, so no two weeks are quite the same.
I like to start the week by taking stock of priorities and making time for the people and projects that matter most. There will usually be conversations with my teams, meetings with partners and collaborators, and quite a lot of creative thinking.
I’m naturally someone who enjoys bringing people together, so much of my day is spent connecting ideas, opportunities and individuals who might not otherwise cross paths.
What I’ve learnt is the importance of creating space to think, rather than simply moving from one meeting to the next.
TW:
After 17 years in the Royal Household, you launched Forster Jones & Associates and have since moved into a new chapter spanning culture, business and the creative industries. What made you decide it was time to build something of your own?
EO:
My years within the Royal Household were an enormous privilege and shaped how I approach leadership, relationships and the responsibility that comes with having a platform.
I reached a point where I wanted to apply everything I had learnt in a different way, bringing together my experience in strategic communications, international relationships and cultural engagement to build something with a clear sense of purpose.
Forster Jones & Associates gave me the opportunity to work across sectors with people whose ambitions and values I share. Brand63Africa grew from that same desire to create meaningful connections and open doors.
I’ve always believed that relationships are among our greatest assets, but what matters is how we use them. For me, this chapter is about turning those connections into opportunities that create lasting value for others.
TW:
What is Brand63Africa and why do you think global African fashion is ripe for centre stage?
EO:
Brand63Africa is a social enterprise connecting established fashion designers of African heritage with the global luxury market, creating greater visibility, access and long-term commercial opportunities.
Africa has always produced luxury. The craftsmanship, creativity and cultural heritage have always existed. What’s often been missing is sustained access to international platforms and markets that enable designers to build globally recognised businesses.
We’re witnessing a shift in how luxury is understood, with increasing appreciation for provenance, authenticity and craftsmanship. Designers from Africa and its diaspora have incredibly rich perspectives to contribute.
Our inaugural collective brings together five designers – Christie Brown, Abiola Olusola, Sukeina, Studio Namnyak and The Cloth – each with a distinctive creative identity.
Our first retail partnership with Harrods marked an important milestone, but our ambition extends far beyond one moment. It’s about building lasting opportunities and recognising that African and diasporic designers have always belonged in the global luxury conversation.
TW: Your career has taken you into some extraordinary rooms. Who is the most culturally inspiring person you have ever met?
EO:
I’ve been fortunate to meet people from many different backgrounds and disciplines, and what inspires me most isn’t necessarily someone’s profile or position, but their ability to use their influence to create positive change.
I’m particularly drawn to people who challenge established thinking, bring different communities together and create opportunities for the next generation.
One of the greatest privileges of my career has been seeing how powerful those connections can be. Often the most interesting conversations happen when you bring people from entirely different worlds into the same room.
TW: Which emerging artist, designer or creative/cultural voice should everyone have on their radar right now?
EO:
One of the joys of establishing Brand63Africa has been working alongside designers whose creative perspectives deserve a much wider audience.
I’d encourage people to look at Studio Namnyak, founded by Kenyan designer Namnyak Odupoy. Hers is the newest brand we featured and her work offers a distinctive perspective on contemporary African design, drawing on cultural identity and craftsmanship while creating something that feels entirely relevant to today’s international fashion landscape.
What excites me is seeing designers confidently tell their own stories, on their own terms, without feeling the need to conform to a particular idea of what African fashion should look like.
TW: What’s the last exhibition, performance or cultural experience that you still can’t stop thinking about?
EO:
There are so many!
Nigerian Modernism at Tate Modern earlier this year was such a treat. I went to see it a few times.
Kerry James Marshall’s The Histories at the Royal Academy was breathtaking.
I am never disappointed by what Aki Abiola has on display at Hope 93 Gallery.
SXSW London is a treasure trove of experiences. I learn something new every day.
Claudette Johnson’s exhibition, Presence, at the Courtauld in 2024 was flawless.
Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys at the Brooklyn Museum in 2024 was stunning.
The Royal Collection’s Windrush Portraits in 2023, which I had the privilege of working on, was a career highlight.
I recently watched Jay-Z’s documentary, JAY-Z in 8, and I was very inspired by how much vulnerability he puts into his work. It reminded me about the need to make your work personal and intentional.
I saw Idris DJ for the first time ever in Abu Dhabi last year and, for someone who doesn’t really party much, I had a ball! His ability to get people to focus on the joy in the music is special. It was a vibe.
Our Brand63Africa launch party at The Grill in Harrods was a lot of fun too. Watching the Harrods security guards dancing to Afrobeats while still doing their job was not on my bingo card, but Rachel Anson’s DJing made it very difficult to stand still.
Events such as 1-54 Contemporary African Art Fair demonstrate the breadth of that creativity and the increasingly important place African artists occupy within the international cultural landscape.
I’m particularly interested in the conversations between art, fashion, design and identity. These disciplines are becoming increasingly interconnected, and I find it fascinating to see how artists and designers are challenging perceptions and presenting their cultural narratives to the world.
TW: You’re stranded on a desert island. Which book, film and artwork are you taking with you?
EO: Film – The Color Purple. Book – Purple Hibiscus. Artwork – Tutu by Ben Enwonwu.
TW:
What’s your favourite Culturally Curious spot in London?
EO: I like what Aki Abiola is doing with Hope 93 Gallery in Eastcastle Street. Apart from the art, his intention to make art more accessible is very inspiring.
TW: What is the best piece of advice you have received and would pass on?
EO:
Never confuse speed with progress.
It’s something I’ve reflected on a great deal, particularly since establishing my own businesses. We live in a world that often celebrates immediacy, but I’ve learnt that the most meaningful achievements take time.
Whether you’re building a business, developing a creative platform or nurturing relationships, it’s important to invest in strong foundations, remain true to your purpose and have the patience to see things through.
I also believe in being generous with your knowledge and connections. You never know the difference a single introduction or opportunity might make to someone’s life.
Never confuse speed with progress.
Eva Omaghomi
