Mai-Gidah

Grey Sheep

@maigidah

Location

london / United Kingdom

University

SASK

Graduation year

2012

Contact

Mai-Gidah is the London-based contemporary menswear brand by Ali (Alec) Abdulrahim, a Ghanian Belgian working in London.

Mai-Gidah is typifed by the modern but very personal nature of the designs. Each collection reflects the designer's personal path through life. The goal is to find an equilibrium between the contemporary and the classic. While exploring new ways of cutting old patterns Mai-Gidah is about creating new, interesting silhouettes, allowing traditional ways of masculine dressing to exist alongside modern men’s styles. Innovative and experimental patterns are developed for each individual piece. Although the garments may appear simple the actual construction is the result of a long process. Bold cuts, juxtaposed fabrics and refinement through elegant detail are recurring themes in the collections.

Mai-Gidah launched after Ali graduated from the Academy of Fine Arts in Sint-Niklaas, Belgium. Benefitting from the famed Belgian fashion education and the undeniable influence of the Antwerp Six and the Belgian fashion-scene.
The knowledge and techniques he gained while studying are complemented by the way he blends the emotions and memories he carries with him since his childhood into his collections. Ali’s experience of growing up in Ghana with his sister, who presided over a small sewing-atelier, and later in Belgium working in a theatre-costume atelier are still reflected in dramatic cuts and the play with textures and colours he uses in his designs.

Ali’s aesthetic has been heavily influenced by his exposure to a range of cultures and traditions; born and raised in Ghana, lived and studied in Belgium and now currently working and living in London. European customs and codes in art, fashion and architecture are fused together with traditional African dress & culture. These cultural differences and similarities as well as the ways people respond to the world outside have introspectively lead Ali to reflect on his own roots, adding a deeper layer of expression to his work.

The integration of all these elements are at the heart of Mai-Gidah: a label dedicated to quality, craftsmanship, experiment & innovation.

Latest Collection

Keepsake, Keep Safe - Autumn/ Winter 16

Autumn and Winter bring ochre, auburn and mud-colours to the Mai Gidah pallet, exploring the underlying tones of the spectrum of colours found in Flemish primitive paintings by Van Eyck, Petrus Christus, Van der Weyden and their contemporaries.

Expanding the notion of Keepsakes and Keeping Safe by adding ever more pockets and layers to coats and trousers. The same idea is applied to jumpers and shirts.
Inspired by the wearing of protective amulets by the Dagombe tribe in Ghana and the keeping of memorabilia as a way of protection has inspired Mai Gidah to investigate the use of pocketing. The traditional dance performed by the Dagombe is reflected in the panels of coats.

The silhouettes have softness but a boldness too, mirroring and translating the 15th century dress codes. Replacing the ermine and silk velvet of the time with wool and technical fabrics. The length of the coats is the exact same as the length of the coats worn in the Arnolfini portrait. The burgundy red is a clear reference to the turban worn by Van Eyck himself in the self-portrait.

A jacket and jumper with the harness of a 20th century dungaree finds origin in the clothes donned by many workmen. The workwear counters the elitist nature of the subjects of the Flemish primitive-paintings.

Through out all the garments remains the African heritage of the designer. Intricately interweaving both European and African influences until they can no longer be told apart. As an outsider looking in it would seem Mai Gidah is fine tuning and evolving the strengths from previous collections making for an outspoken and mature AW16.

For the first time the collection features two knitted pieces. The merino-wool jumpers depict a double-faced woman. She could be a 15th century noblewoman painted by Van Eyck or an African Princess depicted in an Ashanti bronze statue.

Little slit-pockets, belts and oddly placed double-pockets are also a reference to the humour artists use in their artwork. Such as the “Johannes Van Eyck Fuit Hic” (Van Eyck was here) inscription on the wall of the Arnolfini-portrait, it’s a recognition of the viewer and spectator for those in the know but also a funny footnote in art history.