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Peter Nkansah Wiafe: Fashioning inclusivity with creativity and purpose
For Peter Nkansah Wiafe, fashion is more than fabric, thread, and stitches. It is a calling to solve problems and make a difference.
Over the past four years, the young Ghanaian designer has been using his creative skills not only to build a thriving career but also to touch the lives of people often overlooked by mainstream society.
Through his flagship initiative, Fashion for Special People, Peter has dedicated himself to designing clothes and creating inclusive fashion experiences for children and young people with special needs, including students from schools for the Deaf and the Blind.
In an interview with The Spectator in Accra New Town, on Monday, he was of the view that fashion is not just about beauty, glamour, or trends; it is a basic human necessity, just as important as food.
“Without designers, we are nothing,” he says with conviction. “Everyone wears clothes every day, and everyone deserves to feel good in what they wear. These children deserve that dignity, too.”
Fashion for special people started as a simple idea and as a tool to bring joy, confidence, and empowerment to children with disabilities.
It began as annual visits to the Dzorwulu Special School to design clothes and stage mini fashion shows. It has grown into a broader movement.
Beyond creating garments, Peter and his team also teach basic skills such as modeling, hand-weaving, and introductory sewing. “We don’t just dress them,” he explains.
“Modeling helps them gain confidence. Hand-weaving and sewing give them practical knowledge. It is about inclusion, empowerment, and proving that they are capable.”
The initiative has been running consistently for four years. This November, it will extend to the Akropong School for the Blind.
“The first time we went to take their measurements, I was amazed, “they walked confidently by following sound. Watching them was inspiring. I can’t wait to see them on the runway, and I believe the audience will be just as inspired,” he said.
Roots and education
Peter’s passion is rooted in his upbringing. Born into a family of six, he is the second child, of four children. He completed St. Peter’s Junior High School in 2004 and St. Peter’s Secondary School in 2007 before pursuing Sales and Marketing Management at Ho Technical University between 2010 and 2013.
After national service in 2014, he worked at Assemblies of God Printing Press and later in insurance, building a career in sales.
On paper, nothing in his educational journey pointed toward fashion. But his inspiration had been quietly growing since childhood.
This early influence deepened during his nine years as a professional model. While studying at Ho Technical University, he modeled for the fashion department and was often backstage watching designers bring creations to life.
Later, he joined professional modelling agencies, walking runways for numerous designers and gaining exposure at major shows such as Glitz Fashion Week and Global Fashion Week.
Training and transition
In 2020, Peter enrolled at Riohs College of Design for a six-month fashion course.
It was a turning point. Balancing his corporate job with evening classes was difficult, so he resigned to fully commit.
After completing his course, he was invited back as an assistant instructor. Within a year, he was promoted to full instructor, and today he serves as Head of Instructors, mentoring aspiring designers and shaping the next generation of fashion talent.
Among his career highlights, Peter’s graduation collection was selected out of 150 students for the runway at Glitz Africa Fashion Week, one of the continent’s premier fashion events.
Since then, he has showcased his collections at multiple platforms, steadily building his reputation in the industry.
Truly Black
Peter’s brand, Truly Black, carries deep personal meaning. During his modelling career, he was nicknamed “Nana Black” because of his rich dark complexion.
“I am proudly African and proudly Black. My complexion, my heritage, it’s all part of who I am. That’s why I chose Truly Black as my brand name. It celebrates authenticity and strength.”
Challenges and resilience
Like many social projects, Fashion for Special People faces significant challenges, especially funding. Sponsorships are difficult to secure, leaving Peter to rely largely on personal resources and the goodwill of fellow designers he has trained or worked with.
He stressed the importance of collaboration. “I can’t do this alone. That is why I reach out to other designers, and thankfully, many have been willing to help.”
Vision
Looking ahead, Peter hopes to expand Fashion for Special People into a larger non-governmental organisation that reaches more communities across Ghana.
His dream is to create a sustainable model that combines fashion education, skills training, and empowerment for people with disabilities.
For Peter Nkansah Wiafe, fashion is not just a career, it is a language of empowerment, dignity, and transformation.
By Esinam Jemima Kuatsinu
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When the world’s eyes turn to the King’s Baton on its global journey, one of Ghana’s most profound artistic stories travels with it. It will be a story of creativity, culture, and national pride crafted by Albert Litela Obidiaba.
From the quiet town of Old Baika in the Oti Region, Albert’s journey as an artist has always been about telling stories. It is not just through words, but through symbols, textures, and meaning.
“From a young age, I was drawn to the power of art, knowing how colours and textures can capture not just emotion but culture and identity,” he recalls.
Today, his name has become synonymous with innovation rooted in traditional bridge between Ghana’s past and its global creative future.
Albert’s love for art was born from curiosity. Surrounded by the vibrancy of Ghanaian culture; the patterns of kente, the stories behind Adinkra symbols, and the textures of daily life, he began sketching and crafting early on.
“Simple things told deep stories,” he says. “That fascinated me.”
As he matured, his art evolved into a personal mission to preserve and reinterpret Ghana’s heritage for a modern audience. His style reflects a seamless blend of culture and contemporary design, each piece a narrative of unity, history, and pride.
“I see art as storytelling through form and symbolism, it should feel rooted in purpose yet speak to today’s world,” he explains.
When the call came to design Ghana’s version of the King’s Baton, Albert saw it as both a national duty and a creative calling.
Recommended by mentors like Mr Charles Osei Asibey, who trusted his talent and understanding of Ghanaian symbolism, he embraced the project wholeheartedly.
His vision was clear; to create a piece that would embody unity, pride, and the enduring spirit of Ghana.
Drawing from traditional motifs, he integrated textures inspired by kente weaving, representing hard work, continuity, and creativity. The golden tones symbolise strength and dignity, while the contours and natural motifs mirror Ghana’s landscapes and people.
“The King’s Baton had to tell our story of who we are, what we value, and how we see the world, it is more than art, it is identity in motion,” he said.
Every etch, every pattern carries meaning. From concept to completion, the entire process took three intense weeks which were filled with research, design sketches, consultation, and collaboration with skilled artisans.
“It was days and nights of work, but a lifetime of meaning,” he says with quiet pride.
Creating a design that represents all of Ghana’s diverse cultures was no small feat. Albert had to balance aesthetics, authenticity, and technology thereby using sustainable wood, carefully treated and certified, to reflect the nation’s commitment to nature and preservation.
“It wasn’t easy finding the right mix,” he admits. “But those challenges pushed me to think deeper. They made the final piece stronger — both artistically and symbolically.”
For Albert, Ghanaian culture is both muse and message. His works echo the values of unity, strength, persistence, and wisdom, drawn from Ghana’s traditions.
“Art preserves who we are and every line and symbol tells a story of belonging,” he said, and believes art is one of the most powerful tools for building national pride.
Designing the King’s Baton has been a defining moment in his creative journey and that it deepened his appreciation for cultural storytelling. “It taught me that creativity is also a form of service,” he said.
The experience has opened new professional doors, but more importantly, it gave him a renewed sense of purpose making him embrace a call to national duty.
“My soul will be glad even after my days on earth are over,” he said beaming with smiles.
Beyond the King’s Baton, Albert has worked on numerous projects celebrating Ghanaian identity through contemporary art and design. His ongoing works explore symbolism and heritage in new forms which includes blending materials, stories, and styles from across Ghana’s regions.
He is currently preparing projects that continue the conversation the baton began. They are about unity, creativity, and Africa’s evolving artistic voice.
To young artists aspiring to make their mark, Albert’s advice is for them to believe deeply in their craft and that the world is always looking for authenticity “which comes from knowing who you are and where you come from.”
On how he wants to be remembered, he said, “I want to be remembered as an artist who used creativity to celebrate culture and connect people. If my name is remembered as the one who designed Ghana’s version of the King’s Baton, that will be enough, because it means I carried Ghana in my hands, and shared her with the world.”
By Esinam Jemima Kuatsinu
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A ‘trotro’ bus heading to Nsawam was filled with the usual sounds from conversations, music, and sometimes a preacher delivering a message.
But when Margaret Odame Donkor rises to speak, she does not preach salvation or sell herbal remedies. Instead, she shares her journey as a breast cancer survivor, urging passengers to examine their breasts regularly, seek medical help early, and never lose hope.
Her pulpit is not a church, but the crowded minibuses of Ghana’s public transport system. Her message is not about repentance, but about survival.
She urges women to check their breasts regularly, encourages men to support their wives during health challenges, and reassures everyone listening that a cancer diagnosis is not the end of life.
For Margaret, creating awareness is more than a duty-it is a calling born out of personal pain, fear, and triumph.
Her words carried weight because they come from lived experience.
At age 48, Margaret has walked through the valley of fear and pain, battled stage three invasive carcinoma, and emerged not just a survivor but an advocate determined to educate others.
Cancer journey
Margaret’s encounter with breast cancer stretches back decades. At 22, she discovered a lump in her left breast. It was removed and declared benign. Relieved, she skipped regular checks and moved on. Then in 2021, the lump reappeared—this time spreading toward her armpit.
At a church screening in October 2022, doctors detected suspicious lymph nodes. Further tests confirmed her worst fear: stage three invasive carcinoma.
“It wasn’t easy,” she recalls softly. “But my faith in God kept me strong. My husband, children, family, friends, and colleagues formed an army behind me. Their prayers, visits, and encouragement gave me the courage to fight.”
“Be grateful every day because you never know what tomorrow may bring. No one has it all, but with love and support, you can endure,” she stated.
Her greatest fear remains recurrence and not living long enough to see her children graduate and become the people she dreams for them to be.
Before cancer disrupted her life, Margaret had found purpose in interpretation. In 2020, a friend spotted a Judicial Service vacancy and encouraged her to apply. After years of unsuccessful attempts at government jobs, she was reluctant, but she tried once more. This time, she succeeded and was posted to the Eastern Region, her home.
Today, she works at the Nsawam District Court, one of the busiest in the area. On a typical day, she arrives at 7:30am, prepares dockets, and confers with magistrates. She interprets proceedings in Twi, Ga, Hausa, and occasionally Ewe, ensuring that justice was accessible to all.
Her role is demanding. Cross-examinations require her to switch quickly between English and local dialects, while marriages often call for interpreting vows in couples’ preferred languages. Still, she thrives. “The registrars and magistrates I’ve worked with have been amazing. They make the environment very comfortable,” she stated.
Beyond the courtroom, Margaret is also an entrepreneur. In 2017, she founded Nubreed Décor, an events decoration business born from her childhood love for beautifying spaces. She recalls cutting paper decorations as a child and helping her cousin rent out chairs and decorate venues.
Balancing décor with court work was tough, and her health struggles after surgery made it even harder. Radiation left her with persistent rib pain, forcing her to slow down. “Now I hire more hands, which makes business expensive, but it helps me achieve my goals,” she explained.
Her biggest challenge as an entrepreneur remains finance. “The event industry is huge, but I have to work at my own pace and focus on my niche,” she admited.
Cancer changed how Margaret values people and relationships. She learned that those you least expect often become your strongest supporters. She urges families to stand by patients with prayers, encouragement, and financial support, reminding society that a cancer diagnosis is not the end of life.
Her advocacy extends beyond awareness talks. She dreams of establishing a counselling centre for young people and hopes Ghana will expand access to mammograms and radiotherapy centres. “Every patient deserves a chance at survival,” she said firmly.
She urged the youth to live peacefully and be their brother’s keeper, learn to be content and rely on God.
To women, she asserted that, “love yourselves and make breast checks routine while calling on Ghanaians to be open-minded, avoid being judgmental, and show love.
By Esinam Jemima Kuatsinu
