Fashion
Ghana Goes Pink for Breast Cancer Awareness Month
This October, something special is happening in Ghana’s fashion scene. Everywhere you look—on the streets, in classrooms, at events—people are wearing pink. Not just for fun, but to express themselves.
From soft baby pink to bright fuchsia, the colour is showing up in dresses, shirts, sneakers, headwraps and even jewellery.
Young people especially are leading the trend. They are mixing pink with jeans, sneakers and African prints. Some wear pink to feel bold, others wear it to feel calm.
“Pink makes me feel soft but strong,” says Ama, a student in Accra. “It is my way of showing up with confidence.”
Local designers are also joining the wave. Some are creating pink-themed collections with flowing fabrics, playful cuts and bold patterns. Others are using recycled materials to make pink bags and accessories. It is not just about fashion – it is about creativity and pride.
Social media is buzzing with photos and hashtags like #GhanaGoesPink and #PinkMood. Friends are sharing their outfits, encouraging others to try something new. Even small shops are decorating their windows with pink fabrics and flowers.
This pink wave is more than a trend. It is a feeling. It is about joy, softness and standing out. In a world that can feel heavy, Ghana’s youth are using fashion to bring light. And this October, pink is the colour of self-love, style and togetherness.
By Beatrice Princess Kpeglah
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KPALANGA-INSPIRED fashion designs took centre stage in Tamale during the launch of the ‘Fugu Wednesday Wear’ initiative by the National Investment Bank PLC.
The Tamale-based fashion brand SNIKIA NEWLUK showcased a collection of modern outfits made from traditional Fugu fabric, presenting creative designs that blended Northern Ghana’s iconic smock with contemporary fashion styles.
Models walked the runway in uniquely tailored outfits that highlighted the versatility of Kpalanga, a modern interpretation of the traditional Fugu designed to appeal to younger generations and professionals.
Speaking on the side-lines of the event, the founder of SNIKIA NEWLUK said the brand aims to modernise Northern Ghanaian fashion while preserving its cultural identity.
The event formed part of activities marking the launch of the National Fugu Wednesday initiative, which encourages Ghanaians to wear locally made smocks every Wednesday to promote Ghanaian culture and support the local fashion industry.
From Geoffrey Kwame Buta, Tamale
In the bustling streets of Accra, braided crowns, coiled Afros, and beaded locks are more than fashion statements. They are living testaments to heritage, resilience, and identity.
The Afro, which rose to prominence in the 1960s and 70s, was more than a hairstyle. It became a symbol of defiance against Eurocentric beauty standards and a proud declaration of Black identity.
But the story of African hair stretches back centuries. Ancient carvings from Egypt depict intricate braids and cornrows, styles that carried messages of social status, age, and even spirituality. Across West Africa, beads and cowrie shells were woven into hair, turning each head into a canvas of culture and artistry.
“Hair was never just hair,” says cultural historian Ama Ofori. “It was a language, a way of telling the world who you were and where you came from.”
Colonial rule attempted to suppress these traditions, branding natural hair as ‘unruly.’ Yet, generations later, the revival of the Afro and traditional styles has reclaimed that narrative. Today, braids, twists, and Afros are celebrated on runways, in music videos, and on city streets worldwide.
For many young Africans, embracing natural hair is both a fashion choice and a way of honouring ancestors while shaping modern identity. “When I wear my Afro,” says student and stylist Efua Mensah, “I feel connected to history. It’s not just style, it’s strength.”
As the global fashion industry increasingly embraces African-inspired looks, the Afro reminds us that beauty is not only about trends. It is about heritage, pride, and the stories carried in every strand.
By Beatrice Wornovi
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