Gomesi touch. PHOTOS/BEN CLARKE MEDIA FWS PARIS AW25
In the fast-paced swirl of global fashion, Samuel Kaiser speaks with style. The British with part of his raising in Uganda now creates magic in London. He is the creative director of Gveny, turning heads for all the right reasons.
I stumbled on his work thanks to a friend’s snaps from Paris Fashion Week. Sleek tailoring, daring silhouettes, and a deeper message stitched into every seam, Kaiser is part of a rising generation of designers rewriting fashion’s rulebook, where every garment is a statement of identity and intention. His latest drop, Synergy, hit the runway in Paris with power.
East African soul met European polish in a collection. It is storytelling through fabric, craft, and culture. Kaiser reflects on his creative journey, cultural roots that shape his work and his dream to see Ugandan fashion on the world stage.
Ben Clarke Media FWS Paris AW25.
Congratulations upon showcasing at Paris Fashion Week! What sparked the vision behind your latest collection, and how did it land with the audience on such an iconic stage?
Thank you, Gloria. The Synergy collection was inspired by society today, viewed through the lens of unification and the pursuit of harmony in diversity. I aimed to create something that reflects the beauty of unlikely combinations and illustrates how contrast, when embraced with intention, creates magic.
Synergy is a celebration of unexpected harmony, where bold structure meets soft fluidity, and modernity meets heritage. The reaction in Paris was phenomenal.
From the energy in the room to the ripple effect afterwards, the response to Gveny reminded me that when fashion speaks with authenticity, people everywhere listen.
How would you define your design aesthetic, and how has it been shaped by your journey from East Africa to London’s fashion scene?
Gveny is a luxurious reimagining of power dressing, designed to show that strength and femininity can coexist beautifully. I am fascinated by how women navigate power, not just in their careers but how they present themselves.
My upbringing in East Africa and my exposure to European fashion have given me a unique lens. I draw from the regal, graceful silhouettes of traditional attire and reinterpret them for the modern, global woman.
What did it mean for you to present your work in Paris, a city known for its fashion legacy?
It was surreal. Paris is the pinnacle for many designers, a city synonymous with fashion history and innovation.
To return to the industry and debut there felt symbolic. More powerful was the opportunity to challenge dated perceptions of African fashion. People often expect bold prints and tribal patterns when they hear “African fashion”. I wanted to present the gomesi, a traditional Ugandan gown, but with a modern twist; couture-level craftsmanship, minimalist lines, and refined structure. My way of telling a new story.
Ben Clarke Media FWS Paris AW25.
Can you share a notable behind-the-scenes moment from Paris Fashion Week showcase?
Absolutely. When I met other designers such as Nkosi and Ika Butoni backstage. They were genuinely surprised when I said I sketch, design, and construct all my pieces. That reminded me how rare it is in fashion, especially at this level, for a designer to be so deeply involved in every step. That is what makes my work personal; it is not just design, it is storytelling through craftsmanship.
Your work draws inspiration from Ugandan, Rwandan, and Ethiopian heritage. How do you weave these cultural influences?
Cultural influence is not always loud or obvious. It seeps into my work through the structures, silhouettes, and philosophies behind each garment. Whether it is the elegance of Ethiopian draping or the formality of the Ugandan gomesi, I reinterpret these cultural references subtly through tailoring, fabric choice, and construction. Even when I use European textiles, the story they tell is grounded in African heritage.
Do you believe there is a distinct East African narrative or aesthetic that global fashion needs to see more of?
Absolutely, East Africa has an incredibly rich tradition of craftsmanship. We have a deep connection to natural materials such as sisal, wood, clay, and reeds. Our artisans use these elements in everything from weaving and jewellery-making to fabric dyeing. Beyond technique is the storytelling and attention to detail that defines the East African aesthetic. We have so much more to offer.
How do you balance the influence of your African roots with your experiences in London’s creative and cosmopolitan environment?
London opened my eyes to new possibilities in fashion, especially in terms of structure, sustainability, and minimalism. But I never lost touch with my roots. Each Gveny collection features something distinctly African.
For instance, my debut collection Amasunzu was inspired by the traditional Rwandan hairstyle worn as a symbol of status and identity. Synergy featured the gomesi reimagined for a global audience. That blend of cultural pride and modern fashion sensibility is where Gveny lives. And now, sustainability is also a core pillar. I aim to produce ethical fashion that tells stories without compromising the planet.
How do you view the current state of Uganda’s fashion industry?
Ugandan fashion is blooming, though still underrepresented globally. We may not have as many internationally known designers as West Africa, but the talent is undeniable. What’s exciting is that more designers are beginning to understand branding, digital marketing, and storytelling which are just as important as design skill. We are on the cusp of something big.
What do you think is needed for more Ugandan and East African designers to make a mark on the international stage?
Three things: brand identity, exposure, and strategic positioning. Designers need to craft a unique voice and then find the right platforms to amplify it whether it is fashion weeks, international collaborations, or editorial features. Europe’s trend toward minimalism is different from the boldness we celebrate in Africa. So striking a balance between the two, without compromising identity is key.
Are there any Ugandan or East African brands you are interested in collaborating with?
Yes, I have worked with Brenda Maraka before, and I admire her sense of structure. I am also watching Claire Nadora, Beryl Qouture, and Mickyz Designs. Their work is glamorous yet grounded in quality; something I respect. I am always open to collaboration if it aligns with the Gveny philosophy.
What challenges have you faced navigating Europe fashion industry?
Stereotyping. As an African designer, people often expect a certain aesthetic before they even see your work. When my designs veer toward couture or avant-garde, it confuses people’s expectations. I use this to my advantage and the element of surprise becomes a statement.
Do you have plans to bring your work to the broader East African region?
Definitely. I am working on building my network across East Africa, particularly Uganda. I would love to stage a Gveny showcase in Kampala; a full-circle moment. I believe in creating opportunities for the industry back home to grow and be seen.
