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Communities at Work, the event organized by Michelle Francine Ngonmo of Afro Fashion Association, confirmed itself as a valuable meeting between BIPOC talents and representatives of the creative industry. Ngonmo’s determination and the support of Vogue Italia, present at the event with Head Of Editorial Content Francesca Ragazzi, made possible a high-level meeting in the middle of Milan Fashion Week. Two tight hours filled with interesting insights into the not always easy relationship between those from marginalized communities and those who firmly hold the reins of the fashion system.
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“My compliments to Francesca Ragazzi for organizing such an important morning to shine a spotlight on the issue of diversity in Italy. Also because, when I go to the different showrooms and meet the various designers in Milan, there is still a desirable lack of diversity of background,” said Anna Wintour, the guest of honor at the event. “I am convinced that anything that can help increase the visibility of these incredible young talents we met today should be encouraged and supported. I hope we will have a wonderful response to this initiative.”
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The event was hosted by fashion creative Tamu McPherson, who impeccably introduced and managed the speeches of five BIPOC talents and mentors such as the American designer Edward Buchanan. The latter’s speech immediately highlighted the difficulties that BIPOC people, and particularly Afro-descendants, face on a daily basis. Buchanan recalled his beginnings in the fashion world, without glossing over the rejections he received from major brands despite a respectable education. “Thirty years ago, when I arrived here, there were not many people like me, and even today I think it’s crucial to make allies within these spaces,” explained the creative who took his first steps in Italy, holding prestigious roles such as creative director of Bottega Veneta from 1995 to 2000.
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A theme, that of alliance, also taken up by Ragazzi. “I am here as an ally,” the head of Vogue Italia indeed stressed in her speech, reaffirming the magazine’s support for initiatives such as Communities at Work. “We want to reaffirm our commitment to amplify BIPOC voices on our platform. Being here as Vogue means believing in the future,” Ragazzi explained.
Byron Rosero, Gisèle Claudia Ntsama, Victor Hart, the Toledo sisters, and Susanna Owusu Twumwah are the BIPOC talents who spoke during the event. Owusu’s words are an effective summary of what her colleagues and peers said. “We need data to be used in these meetings as well,” Owusu reminded. “Mentorship programs need to be created. We need a long-term process to include our voices. Representation is not enough. Photos to post online at the end of events like this are not enough. We need to invest in new talent and create spaces.”
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Among the personalities who took part in this appointment were Sara Sozzani Maino (“we need to give support and make a system, that’s why we’re here”), Diego Della Valle (“a very interesting initiative that gives a voice to young people”) and Laetita Loffredo, Off-White’s brand strategy and communications manager. For Loffredo, events like this are crucial, even thinking about the work of the late Virgil Abloh. “His finest legacy is that of someone who opened doors not only for himself, but also for others. The black community present in Milan, as super-creative as it can be and as incredibly energetic as it can be, does not necessarily have the means or the platforms to make itself heard and worthwhile. This is why it is crucial within the fashion system to have a force like Michelle Francine Ngonmo who believes in these talents and is not afraid to knock on the doors of companies and media. This is an invaluable gift. For us because it keeps our eyes open and for these creatives who have a chance to be heard and seen. For everything else you can only work with your talent, but sometimes to get through that door you need extra help, and I think Afro Fashion Association does an incredible job of achieving that.”
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Lebanese-born designer and creative director Christel Abboud knows this well. “As Arab designers we are forced to navigate a fine line: embrace our identity in our work, but not too much so as not to make others uncomfortable. It’s a delicate balancing act of carrying the weight of our feelings and those of others while trying to stay true to who we are,” Abboud explains.
For Ecuadorean-born director Byron Rosero, “being a BIPOC creative in Italy means confronting a system that still struggles to fully recognize the complexity of identities outside of a set canon.” According to Rosero, “the biggest challenge is to refuse to reduce oneself to a mere symbol of ‘exotic diversity’ and instead establish oneself as an integral part of the cultural fabric without having to justify one’s presence.”
Italian-Indian designer Eileen Akbaraly goes straight to the heart of the matter: “In Italy, change is frightening, but welcoming diversity with curiosity and enthusiasm means creating inclusion, stimulating confrontation, enriching dialogue and building bridges between cultures so that each individual can feel part of a harmonious community.”
Gisèle Claudia Ntsama, a designer and creative director originally from Cameroon, has also encountered many difficulties. “Thirteen years have passed since my arrival in Italy. Four years ago I graduated in Fashion Design from the Academy of Fine Arts, I worked as an intern for Valentino and Giorgio Armani, but I have not yet been hired by a company. We are tired of seeing that a black person can only be a bouncer or a salesperson when it comes to fashion. We want to see black fashion designers, buyers, stylists, photographers and illustrators in this industry.”
Isabella Sozinho, a photographer born in Busto Arsizio to Angolan parents, explores black identity through her work. “Often brands and agencies only want BIPOC photographers for specific projects on ‘diversity and inclusion,’” Sozinho says. “It happens frequently that you are called for the image you represent, without really valuing your work and without the opportunity to be involved in projects that fully reflect your creativity.”
Age is another factor to consider, as stylists and art directors Luciana and Adriana Toledo recall. The Brazilian sisters have a background in the dance world: “At 50, we decided to reinvent ourselves, trying to show that there are no age limits to express your creativity. Our mission is to break down barriers and show that creativity has no boundaries.” Not even age ones.
For Indian designer Shivin Singh, one of the biggest challenges for a BIPOC creative in Italy “is navigating an industry that often operates in a Eurocentric context. In Italian fashion, there is a deep appreciation for cultural heritage, but there is little room for narratives that don’t fit into the Western perspective,” Singh says.
Ghanaian fashion designer Victor Hart is even harsher. “Underpaid and discriminated against, as a BIPOC designer in Italy I have often been marginalized for being black. The truth is that I have to work ten times harder than my Italian colleagues to get the opportunities I strive for,” Hart says.
Hart and Ntsama’s testimonies are joined by suggestions from Ghanaian designer Steve French. “For BIPOC creatives to truly thrive, we need a supportive infrastructure that ensures equal access to resources, networks and opportunities. This includes fair pay, mentorship programs and platforms that showcase our work without bias.” Creative industries in Italy are often criticized for their lack of diversity. “Being inclusive means more than just being present, it means having an active voice in shaping the narrative,” French recalls.
One voice redefining narratives through plural and inclusive communication is that of Susanna Owusu Twumwah, Diaspora Migration Expert with an innovative approach to communication. Writing is her medium for exploring and reinterpreting the present, weaving together themes such as art, fashion, bodies and blackness. “In Italy, those who work in communication and come from migration backgrounds struggle to access spaces that are still white and not decolonized. Dominant perspectives remain Eurocentric, making it difficult to narrate a truly plural Italy. We need to build spaces of real representation, where people are heard not just because they are racialized, but because they are competent.”
You can also find this article in the March 2025 issue of Vogue Italia.
Photo IMAD SKHAIRI
Stylist SORELLE TOLEDO
Hair CYNTHIA OWUSU
Make-up SHEILA CARDOSO, THEO CARIAS
Assistant Photographer BEN DRAME
Executive Producer MICHELLE FRANCINE NGONMO
Production CLEOLEEN HANCILES, CAROLINA ANJOS CHRISTELLE NGONMO
Location ACCADEMIA DEL LUSSO MILAN