Fashion
Tote bags, all about style, purpose
Tote bags are simple handbags used in modern times for shopping and offers a classic look for young women.
The Founder and Chief Executive Officer (CEO) of Girly Gem Atelier, Caroline Tinoleg Fynnba Amoah, is one of the brains behind it and believes fashion should be simple, useful, and meaningful.
Her work is inspiring young women to explore fashion as a form of self-expression and business. With every stitch, Caroline is showing that style can be strong, soft, and proudly Ghanaian.
She designs customised and handmade tote bags that are stylish, practical, and full of personality.
Caroline started her tote bag business to give people something to carry every day with pride and comfort. Her brand operates in Accra, but her bags are loved by students, workers, and creatives across Ghana.
Using African prints, bold quotes, and clean designs, Caroline creates tote bags that tell a story.
Whether one is going for classes, heading to the market, or a weekend hangout, Girly Gem Atelier has a bag that fits your vibe.
By Beatrice Wonovi 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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