Ghana’s biggest fashion and music showcase, Rhythms on Da Runway (RODR), will return on November 28, 2026, at the Palms Convention Centre for its 16th edition.

Described by the BBC as “the biggest cultural exposé in Africa,” this year’s event is themed ‘UNBOUND’; a celebration of fashion, music and individual expression without limits.

According to organizers, the idea behind ‘Unbound’ – Because You’ve Got Style is simple: “if fashion is made for everyone, everyone should be able to see themselves in it.”

For years, the statement noted, fashion has been shaped by narrow ideas of who belongs on the runway, with certain body types, ages and abilities placed at the center while many others are left out. UNBOUND seeks to open that picture.

This year’s runway will welcome people with different abilities, backgrounds, body types and personal stories, influencing model casting, the collections, the stories told through clothes and the way guests experience the event.

Beyond the runway, UNBOUND will create room for young people to learn from established designers, gain practical experience and explore careers within fashion and the wider creative industry. It will also open conversations around adaptive fashion, accessible event design, talent discovery, mentorship and employment.

Organizers say the theme also presents opportunities for sponsors, development organizations and donors to support disability inclusion, youth training, creative enterprise and accessible experiences, helping new talent enter the industry and creating practical pathways into Africa’s growing Orange Economy.

The night will bring together a formidable lineup of fashion designers and music stars from Ghana and across the African diaspora, with strong collections, live performances and an all-star cast of celebrity models.

The evening will also feature the Black Star Awards, a celebration of public figures shaping Africa’s future through bold leadership, transformative development and contributions to the continent’s Orange Economy.

Participating designers, artists, award recipients and other event details will be announced in the coming weeks.

By Edem Mensah-Tsotorme

The management of renowned gospel musician Ohemaa Mercy has officially addressed public commentary surrounding her ceremonial outfit at the just-ended Tehillah Experience 2026.

The 13th edition of the annual worship concert, themed The Altar of Fire, was held at the Oil Dome, Royalhouse Chapel last Sunday and drew thousands of worshippers. Following the event, discussions on social media focused heavily on the distinctive costume worn by the host to lead worship.

In an official statement titled “The Message Behind The Mantle: Decoding Ohemaa Mercy’s Altar Entry at Tehillah Experience 2026,” management explained that the outfit was deeply symbolic and biblically inspired.

“At this year’s Tehillah Experience, Ohemaa Mercy did not simply mount the stage, she made an altar entry. Long before she lifted the microphone, her attire had already delivered a sermon,” the statement noted.

Management broke down the attire into four key elements:

The Cap, representing the Priestly Mitre, mirrors the Miznefet worn by the High Priest as instructed in Exodus 28:36-38, which bears the inscription “Holiness to the Lord.”

According to the team, it was not a fashion statement but a declaration of priesthood, referencing Leviticus 6:13. The cap also symbolises covering and submission to divine authority.

The Cross carried ahead with white linen was described as the heart of the Christian faith, signifying that Christ went ahead and that access to the altar is by His righteousness and resurrection, not human strength.

Citing John 19:17, Galatians 2:20 and Colossians 1:20, management said the cross had to go first to make peace for God’s presence to enter.

The Garment of white, gold and crimson reflects three biblical truths: white for purity and consecration (Revelation 19:8), gold for glory and royal priesthood (1 Peter 2:9), and crimson for sacrifice (Romans 12:1).

The Entry itself, management added, was an intentional procession likened to Esther approaching the royal courts (Esther 5:1-2) and the priest entering the Holy Place. With horns sounding and intercessory prayers, it mirrored 2 Chronicles 5:13-14, when the glory of the Lord filled the temple.

“On that night, the Oil Dome ceased to be an auditorium of fans awaiting a concert. It became a tabernacle. And her entry was a prophetic reminder that God still answers by fire when the altar is kept burning,” the statement said.

Management concluded that what was worn was not a costume but “Priestly Regalia for an Altar Assignment” and thanked all who attended and supported the mandate.

By Edem Mensah-Tsotorme