this is bbc news, the headlines: tearful mourners have gathered in tokyo to await the coffin carrying formerjapanese prime minister shinzo abe, after he was assassinated at a political rally. world leaders have reacted with shock to the killing. the attacker was a former member of the japanese navy. the world's richest man, elon musk, has pulled out of a $41; billion bid to buy twitter. a lawyer for the tesla chief executive has written to twitter�*s legal office, accusing the company of not complying with its contractual obligations. but twitter�*s board says it will sue musk to enforce the deal. president biden has signed an executive order to help safeguard women's access to abortion. the move follows the supreme court overturning the landmark ruling that made the procedure legal across the united states.

mr biden called the ruling "an exercise in raw political power" good saturday morning to you. now on bbc news: brenda emmanus explores the global impact of african fashion, and travels to ghana to look at how designers are putting culture and traditions front and centre of their designs. african creatives are shifting the landscape of fashion by simply being themselves. there has evolved a single—mindedness when coupled with creativity has produced a generation of innovators who have caught the world's attention and on a trip to ghana i got to understand why. i to ghana i got to understand wh . ~ . , to ghana i got to understand wh . ~' . , why. i think it has a very fresh energy, _ why. i think it has a very fresh energy, a - why. i think it has a very fresh energy, a very - why. i think it has a very i fresh energy, a very vibrant

energy. fresh energy, a very vibrant ener: . �* fresh energy, a very vibrant ener. ,�* , fresh energy, a very vibrant ener .~ h, energy. african bands are ownina energy. african bands are owning what _ energy. african bands are owning what we - energy. african bands are owning what we have - energy. african bands are owning what we have andi owning what we have and projecting it in however they see fit _ africa has been shaped by diverse histories, cultural positions and influences. these serve to create an exciting contemporary fashion scene which is dynamic and eclectic as the confident itself. this ever evolving creative scene and booming fashion industry has inspired a landmark exhibition at the victoria and london. highlighting this explosion of creativity while

celebrating them designers, the ingenuity and the unstoppable global impact of african culture, using an fashion. doctor christine is the curator in charge of the show. she and her team have dedicated the last two years to discovering the key creatives, stories and historical legacy of african fashions. so christine, i know we caught you in the middle of installing the exhibition. what is your ambition for the show? the ambition for the show is really to give a platform for these wonderful creatives on these wonderful creatives on the continent to showcase their work in a way that they would like to be seen. i have always conscious that there are many stories that can be told about the african fashion scene and our story, the story we want to tell, is one of unbounded creativity and the idea of fashion as a self defining art form. ~ , .,, ., , form. well this looks fabulous. you have _

form. well this looks fabulous. you have got — form. well this looks fabulous. you have got mixed _ form. well this looks fabulous. you have got mixed colleges, i form. well this looks fabulous. | you have got mixed colleges, as it were, your co— creators. have you put the exhibition in stories that tell the story you want to tell?— stories that tell the story you want to tell? absolutely. the exhibition — want to tell? absolutely. the exhibition is _ want to tell? absolutely. the exhibition is split _ want to tell? absolutely. the exhibition is split across - want to tell? absolutely. the exhibition is split across two | exhibition is split across two floors. we are on the mezzanine floors. we are on the mezzanine floor at the moment. downstairs the exhibitionjumps floor at the moment. downstairs the exhibition jumps from the area of independence. downstairs we have cloth from independence, we have vanguard designers from independence. we have to tog affairs, this idea of self—definition through cloth, through fashion, through photography downstairs. so the historical period is from 1957 through to the mid—19 90s to coincide with the end of the apartheid era. the story of agency begins in that swell of creativity that was the cultural renaissance. mi; creativity that was the cultural renaissance. my name is africa- _ cultural renaissance. my name is africa. gather _ cultural renaissance. my name is africa. gather around - cultural renaissance. my name is africa. gather around me. . is africa. gather around me. gather— is africa. gather around me. gather round my writers, musicians, artists.-

gather round my writers, musicians, artists. the 1966 film by william _ musicians, artists. the 1966 film by william grays - musicians, artists. the 1966 film by william grays of - musicians, artists. the 1966 film by william grays of the | film by william grays of the first world festival of light arts. this groundbreaking event featured over 2000 writers, artists and performers from africa and the african dyas bra. and was viewed as a mark of the cultural renaissance taking place at a period of time when fashion, music and the visual arts formed a key part of africa's moment of self—definition. i part of africa's moment of self—definition. 150 part of africa's moment of self—definition. i 50 years on from the festival, the v and a will again explore africa's ambition to do itself but this time through fashion. 0ver ambition to do itself but this time through fashion. over 250 jecks will be on display including new acquisitions for the museum. this is one section that you are just about finishing now.- that you are just about finishing now. that you are just about finishin: now. ~ ., ., . finishing now. what do you have here? this _ finishing now. what do you have here? this section, _ finishing now. what do you have here? this section, we - finishing now. what do you have here? this section, we are - here? this section, we are calling it alp mix ology section. it is the idea of showcasing the diverse nature of the fashion athletics on the continent. this one is about

showcasing designers for whom it is about mixing every pattern in the pattern swatch book, mixing every colour, drawing on many different cultures to create these very unique looks. 0n the one hand you have to mix ologist mixing everything up. the other minimalists, very keen architectural cutting, you also have this section which is artisanal, showing the mark of artisanal, showing the mark of a hand. whether it is handmade couture with handcart art cloth flowers, you have this hand organic cotton woven in mali. all of the pieces in the artisanal section are here because they show the mark of the hand. �* , because they show the mark of the hand. 3 ., because they show the mark of the hand. �*, ., , the hand. it's not 'ust the designers h the hand. it's not 'ust the designers that h the hand. it's notjust the designers that are - the hand. it's notjust the| designers that are serving the hand. it's notjust the i designers that are serving to shape the narrative of competitor pre— african fashion. the geographers, content creators and style is like this mantra can you have been central as storytellers of the current movement.- been central as storytellers of the current movement. over the ast i the current movement. over the past i would _ the current movement. over the past i would say _ the current movement. over the past i would say 10-15 _ the current movement. over the past i would say 10-15 years, - the current movement. over the past i would say 10-15 years, i i past i would say 10—15 years, i think there has been an

interesting shift in african fashion and african designers being able to influence global fashion. i think for a long time the perception was that trends add fashion kind of moved from the global north towards the global south. i think we are well aware in many cases there has also been times when fashion has moved from the global south towards the global north, although its movements and influences are usually not credited, not believe, not compensated properly and often appropriated. i think from anaesthetic perspective, the concert it has been given an opportunity to present its athletic and design offerings in the way that it currently is and i think we are seeing a lot more of that and there is a kind of reef bash environment energy because we are able to see the work from designers from different parts of the

continent and because the continent and because the continent is so diverse in its culture anaesthetics. there really is a unique and diverse variety of athletic offerings we are seeing. there is such an effort and such a push back against this idea of bold colours. we think people whose work is extremely minimalist, we see people whose work is maximalist. we see people who are kind of creating this new athletic that is unique to themselves or unique to their areas. a me all about as valid and all that is african. as valid and all that is african-— as valid and all that is african. ~ . ., , ., ., african. we travelled to ghana, a country's _ african. we travelled to ghana, a country's central _ african. we travelled to ghana, a country's central to _ african. we travelled to ghana, a country's central to the - a country's central to the story the b and a plan to tell, intent on expressing both and

some of its famous landmark sides and tourist spots while meeting some of the reactive is making waves at home and abroad. first stop, the buzz of this market, the heart of commercial activity in the city and the place divide almost anything, including the traditional vibrant coloured handwoven costs associated with this region. she shops and cool restaurants are constantly restau ra nts a re co nsta ntly opening restaurants are constantly opening up around the capital and as a journalist covering fashion culture and the arts it is easy to see why ghana's creatives have been inspired by this magical blend of the trendy and the traditional to produce work that has brought some of them global success. with both fashion and ghana being close to her heart, i played a visit to lady ashley, wife of the international

david. the couple left london to make africa their cope. we have seen constantly african designers making them up on an international level. not recreating what has been done by western designers, holding onto their own culture and history and legacy was of dealing that is distinctive? i think it is that important aspect of it. i think there is aspect of it. i think there is a lot of hybridisation. i think social media has allowed for so much of an exchange. i think ghanaian desired that are learning from nigerians who are learning from nigerians who are learning from nigerians who are learning from centre lease, we are all, there is a synergy, we are all, there is a synergy, we are all, there is a synergy, we are all bouncing up each other and learning from each other. there is a competence that has grown out of the confidence. do you think are not hazardous specific experience and energy about it? , , ., about it? yes, exactly. i love how when — about it? yes, exactly. i love how when you _ about it? yes, exactly. i love how when you walk _ about it? yes, exactly. i love how when you walk down - about it? yes, exactly. i love how when you walk down the j how when you walk down the street you see women who are in tailored clothes. you don't see

that in many places around the world. there is a sense of pride in how you dress and clothes that fit you for your body. it is not generally, off—the—shelf. and so, i think at any scale, at any budget, you have people who are really wearing their bodies and their clothes as a presentation and as a celebration. so yeah, i think that that spirit, the world is now seeing that and thinking oh, wow, those colours, though shapes. there is creations that are really expiring. —— inspiring. in orderforthe expiring. —— inspiring. in orderfor the world to expiring. —— inspiring. in order for the world to really receive it and understand it, they need to come to west africa. this shouldn'tjust be an exporter but this should actually be an entry into this place and space so you can really see how it is part of the larger culture.-

the larger culture. her traditional— the larger culture. her traditional wedding . the larger culture. her traditional wedding garments are one of several items in the exhibition source from a public all outdoor objects, and clothes that represent memories of the continent. he clothes that represent memories of the continent.— of the continent. he was in extraodinary _ of the continent. he was in extraodinary design - of the continent. he was in extraodinary design an - extraodinary design an extraordinary man. he passed away before the world got to see how extraordinary he was. i am thankful that i can have a piece that i commissioned a piece that i commissioned a piece that i commissioned a piece that can be shared and that his legacy can live on alongside his foundation. it is important to share traditions and yes, it is a very personal day, but it was important to me for other, particularly black and brown kids, to see you could wear on your special day, you could wear your own tradition. you can wear something that speaks to who you are and not to a

international ideal of what that they might be or what beauty is. what is your beauty, what is your heritage. i'm excited to share that. the v and a on — excited to share that. the v and a on of _ excited to share that. the v and a on of the _ excited to share that. the v and a on of the designer . excited to share that. the v and a on of the designer by| excited to share that. the v i and a on of the designer by up showcase of his garments. he is known of the place who put ghana onto the international fashion stage. he studied at chelsea art school and created his first collection while working for other people in london, finessing his skill. all the while knowing that he wanted to go back to have his own brand. i remember speaking to one of his sons, ryan, who said that he remembers his father's work being the piece that we get you notice at a party, that it would be unforgettable. you could only where the thing once, it was unforgettable. he was renowned

as the ipod terrible of guardian fashion. ~ , ., guardian fashion. why was that? i think because _ guardian fashion. why was that? i think because he _ guardian fashion. why was that? i think because he wasn't - i think because he wasn't frightened of doing the unusual and pushing boundaries. i love this piece but it wasn't the thing to do to tailor this sort of fabric when he was working. he is seen as one of the first people to tailor and cut and make a garnered from this. traditionally, it would have been wrapped. in this period, it would have been wrapped. apparently he made a pair of jeans in that fabric which must have been scandalous then because you're not supposed to do it. it is originally the fabric the aristocracy. the significance _ fabric the aristocracy. the significance of _ fabric the aristocracy. the significance of cloth - fabric the aristocracy. the significance of cloth in - fabric the aristocracy. the significance of cloth in many african countries is the focus of a particular section of the show. ., ., ~ ., show. you cannot think about african fashions _ show. you cannot think about african fashions without - show. you cannot think about african fashions without firstl african fashions without first thinking about the place of the cloth. 0f thinking about the place of the cloth. of course, the african continent has this long and industrious history of multiple fabrics and textile traditions,

whether that is kanga, kente, as a ray, prince cloth. we wanted to show a bridge of that long history of techniques in the exhibition. architectural silhouettes have resonated with a global audience and seen the ghanaian design addressing celebrities and entrepreneurs with her new take on power dressing. africa fashion once again defining itself. ., ., ., ., itself. the whole idea around the brand _ itself. the whole idea around the brand is _ itself. the whole idea around the brand is to _ itself. the whole idea around the brand is to use _ itself. the whole idea around the brand is to use our- the brand is to use our tradition or inspiration from our tradition and our culture and textile. and all this influence that we see around us every day. and create like interesting pieces, modern, contemporary pieces, that women the whole world round get to experience another because it fits into her closet

seamlessly, but still pays homage to that african heritage. there is an interesting period in african history around 2008, all the talk of the continent rising, there was an optimism, and everyone was in a certain spirit of sandy continent in the best light, betraying the content in the best light, and i needed to be a part of that movement. so that is why decided to start a fashion brand that spoke to that, that spoke to the new africa, or the africa that i knew. it’s spoke to the new africa, or the africa that i knew.— africa that i knew. it's not close but _ africa that i knew. it's not close but bold _ africa that i knew. it's not close but bold accessories africa that i knew. it's not - close but bold accessories that have defined the success of another ghanaian creative. 0n have defined the success of another ghanaian creative. on a mission to inspire the next generation of artisans and keep the tradition alive, she has trained 50 young apprentices at

her design school. her work has grace catwalks, been featured in magazines or editorials, films and theatre productions, and she has attracted royal and celebrity clientele, drawn to her statement pieces inspired by iconic historical and cultural leaders. there are a lot of people _ cultural leaders. there are a lot of people outside - cultural leaders. there are a lot of people outside africa | lot of people outside africa who want to connect and learn more about who they are in when they come from. so incorporating the artefacts in fashion helps them connect. there was a collection of design which talks about african history and how we have been able to rise from slavery. how we have been able to fight and still standing tall and not letting our history define who we are. so they collection talks about our ancestors and how far they have fought for

us. �* , . how far they have fought for us. m . how far they have fought for us. aphia sakyi has created a new unique _ us. aphia sakyi has created a new unique piece _ us. aphia sakyi has created a new unique piece for- us. aphia sakyi has created a new unique piece for the - us. aphia sakyi has created a new unique piece for the v i us. aphia sakyi has created a i new unique piece for the v and a show. inspired by the ghanaian president. it was insired ghanaian president. it was insoired by _ ghanaian president. it was inspired by the _ ghanaian president. it was inspired by the straws - ghanaian president. it was inspired by the straws and | inspired by the straws and marks, where you see a face, and the start which represents the star of africa. the colour is black which represents the black race. putting this together represents african unity. together represents african uni . ., ., ,, . together represents african uni. .., unity. retail outlets such as de lot, unity. retail outlets such as be lot, had _ unity. retail outlets such as de lot, had become - unity. retail outlets such as de lot, had become focus l unity. retail outlets such as| de lot, had become focus on this new breed of stars. both local clientele and tourists serve to promote excellence. i started the lot in 2019, and it

was a lot going on in african fashion, but people have come into a one stop shop to see brands from all over the country. country. —— continent. i guess it has a lot to do with social media. in ghana there has been a huge influx of people coming from all over the world and present, so we have a lot of travellers who have seen or heard about the store through that time as well who come in here.— through that time as well who come in here. the digitalworld has accelerated _ come in here. the digitalworld has accelerated the _ come in here. the digitalworld has accelerated the expansion | has accelerated the expansion of the african fashion industry and provided its creatives with and provided its creatives with a host of platforms beyond retail outlets and catwalks to define what african fashion can be. focus is also turned on a new generation of photographers and image makers like nigerian

stephen tayo. the and image makers like nigerian stephen tayo— stephen tayo. the impact of recognition _ stephen tayo. the impact of recognition it _ stephen tayo. the impact of recognition it might - stephen tayo. the impact of recognition it might be - recognition it might be bringing for me to challenge myself do not think i have arrived or have made it in life, even though there is some paveley beauty. for me it is like how do i challenge myself to do much more better than i did last year or two months ago? every day, i'm constantly thinking what story i can develop. thinking what story i can develop-— thinking what story i can develop. thinking what story i can develo -. ., ., develop. featured in the v and a show as _ develop. featured in the v and a show as one _ develop. featured in the v and a show as one of— develop. featured in the v and a show as one of nigeria's - develop. featured in the v and l a show as one of nigeria's most exciting photographers, producing images that are both cutting—edge and original, he encourages viewers to rethink their perception of african style beyond the stereotype. people should perceive fashion from africa from that headspace of berwick being a lot of intellectual property involved,

a lot of critical thinking involves, a lot of creative thinking involved. stephen tayo is amongst _ thinking involved. stephen tayo is amongst the _ thinking involved. stephen tayo is amongst the number - thinking involved. stephen tayo is amongst the number of - is amongst the number of photographers and image makers reflecting the dynamism and reflective nature of the continent's creatives. part of the story _ continent's creatives. part of the story of _ continent's creatives. part of the story of the _ continent's creatives. part of the story of the power- continent's creatives. part of the story of the power of - the story of the power of fashion on the continent, it is also about self representation. so you will see on both floors of the exhibition photography features really strongly. in this section we are looking at contemporary photographers like sarah weisfer who looks at festival—goers. she builds relationships with these wonderfully doubly dressed gentleman and women, and then she will follow them through the festivals like afropunk for example. but you get these wonderfully intimate pictures of the fashion, the contemporary fashions. is where we focus on designers. this is

the wearer through the photographer's land. this is by guled ahmed who explores their identities. these are wonderful photographs staged in their bedrooms. you get is wonderful backdrops set up, but it is about exploring non—binary identities, non—binary muslim identities, non—binary muslim identities, and i think they are fabulously engaging works, and you it is about exploring non—binary identities, non—binary identities, non—binary muslim identities, and i think they are fabulously engaging works, and using this of and there is also a reference to many different cultures as well.— cultures as well. also challenging _ cultures as well. also l challenging perceptions cultures as well. also - challenging perceptions in a radical way is a nigerian designer and founder of orange culture, adebayo. he has been inspired for his androgynous creations that combine traditional nigerian patterns with modern styles. his close explore intersectional identities and critiqued toxic

masculinity. identities and critiqued toxic masculinity-— identities and critiqued toxic masculinity. this idea of how render masculinity. this idea of how gender is _ masculinity. this idea of how gender is supposed - masculinity. this idea of how gender is supposed to - masculinity. this idea of how gender is supposed to be - gender is supposed to be perceived, serious as gender, i have boys been passionate about it. evenjust challenging have boys been passionate about it. even just challenging the issues that we face as nigerians, talking about things that we experience. as a creative i think it is part of a job to fight for our community and speak to issues we face and our communities face. that is that my brand has or has been doing. i will always continue to do. because i think this is our community, this is who we are, and so we cannot have it ——we cannot have a deaf ear when things are happening. we need to fight for our people. i like the idea of creating close. for anyone and everyone. yes, in that space of community and unity, but i like the idea of creating clothing for people who don't necessarily fit into the stereotype, people who are looking for clothes that add more, that are more exciting, more, that are more exciting, more adventurers, have a story to tell. ., ,

more adventurers, have a story to tell. . , ., ., , �* to tell. that tells no doesn't guarantee — to tell. that tells no doesn't guarantee his _ to tell. that tells no doesn't guarantee his excess. - to tell. that tells no doesn't i guarantee his excess. adebayo 0ke—lawal believes his vision have put him and his peers centre stage. brute have put him and his peers centre stage.— have put him and his peers centre stage. we have been nominated _ centre stage. we have been nominated for _ centre stage. we have been nominated for awards - nominated for awards internationally, shown in different countries, we have spoken about what we do about our country in a positive way, despite the fact that maybe things are not 100, we're still pushing to build something here for ourselves. and i think that is where you can see the resilience of the nigerians. we always find a way to push. even just around quality, people are always so "africans, their clothes are so terrible, badly made, there are no good, they cannot scale up. " and now we're selling everywhere. so even a perception is well, that is something that made that many designers are trying to change, producing locally but still to sell to people. it may

not be the way it is in different countries because they have all the facilities, but with the small we have, we are looking to build something. we have this idea of where we want to go and this idea of what nigeria could be, and what are that industry could be, and we are building towards that. with a spotlight on talent from over 20 countries, the v and a has shown the potential of fashion to tell great stories, challenge perceptions, and inspire innovation. while it is providing a glimpse of the glamour and politics of what is an ever evolving and globally influential contemporary scene. if you look at the history of the submissions that have taken place at the v and a, it ranges from the queen to dior, to balance iago. it is integral to have african designers in that space. —— balenciaga. it is

very innovative. i space. -- balenciaga. it is very innovative.— space. -- balenciaga. it is very innovative. i believe that african creators _ very innovative. i believe that african creators in _ very innovative. i believe that african creators in general, i african creators in general, whether— african creators in general, whether it is music or art or fashion, _ whether it is music or art or fashion, they are just really only— fashion, they are just really only their space. we're awaiting or knocking on doors. when — awaiting or knocking on doors. when awaiting for acceptance or anyone — when awaiting for acceptance or anyone to — when awaiting for acceptance or anyone to say it as 0k, when awaiting for acceptance or anyone to say it as ok, you can join — anyone to say it as ok, you can join the _ anyone to say it as ok, you can join the cool club now, we're just— join the cool club now, we're just being, and it is beautiful to watch _ just being, and it is beautiful to watch. . ., just being, and it is beautiful to watch-— just being, and it is beautiful to watch. . ., , , to watch. the continent is this wonderful _ to watch. the continent is this wonderful place _ to watch. the continent is this wonderful place of _ to watch. the continent is this wonderful place of diverse - wonderful place of diverse cultures _ wonderful place of diverse cultures and _ wonderful place of diverse cultures and histories - wonderful place of diverse cultures and histories and| wonderful place of diversel cultures and histories and i think— cultures and histories and i think fashion— cultures and histories and i think fashion could - cultures and histories and i think fashion could be - cultures and histories and i think fashion could be a . think fashion could be a catalyst _ think fashion could be a catalyst with— think fashion could be a catalyst with which - think fashion could be a catalyst with which to l think fashion could be a . catalyst with which to talk think fashion could be a - catalyst with which to talk of that — catalyst with which to talk of that i — catalyst with which to talk of that i hope _ catalyst with which to talk of that. i hope you _ catalyst with which to talk of that. i hope you were - catalyst with which to talk of. that. i hope you were inspired to find — that. i hope you were inspired to find out— that. i hope you were inspired to find out more _ that. i hope you were inspired to find out more and - that. i hope you were inspired to find out more and perhapsl to find out more and perhaps think— to find out more and perhaps think about _ to find out more and perhaps think about the _ to find out more and perhaps think about the continent - to find out more and perhaps think about the continent in i to find out more and perhapsj think about the continent in a more — think about the continent in a more expensive _ think about the continent in a more expensive way. - think about the continent in a more expensive way. this - more expensive way. this exhibition _ more expensive way. this exhibition is _ more expensive way. this exhibition is amazing - more expensive way. tiiriii exhibition is amazing because people finally seep more about us than just malaria or music. there is a much more. and people are finally able to experience us. in a very beautiful way. through our

actual talent. so i think for me that is what is exciting. hello there. plenty of sunshine around this weekend, medically forand weekend, medically for and england and weekend, medically forand england and wales. put across southern britain on sunday afternoon. this area of high pressure is bringing all this fine weather, the weather fronts close to the north of the uk bringing cloud and spots of rain to northern scotland. through saturday much of england and wales will be dry,

widespread sunshine here. more cloud for northern ireland, northern and western scotland. the centrica breakthrough in northern ireland later on. splashes of rain for the northern isles. temperatures in the low teens. for each in scotland and northern ireland, the low 20s, but we could see highs of 26 in the south—east. another sunny day for england and wales on sunday. more sunshine for scotland and northern ireland. it will be a warmer day for all, but we could see 29 or 30 degrees in the south—east but it could turn even hotter into the start of next week across southern areas.

this is bbc world news, i'm rich preston. our top stories: tearful mourners gather in tokyo to await the coffin carrying formerjapanese prime minister shinzo abe, after he was assassinated at a political rally. a standoff between the world's richest man and twitter, as elon musk says he wants to pull out of his $40 billion deal to buy the company. president biden signs an executive order, he says, to help safeguard american women's access to abortion. what we're witnessing wasn't a constitutionaljudgement, it was an exercise in raw political power. the tech war in ukraine. we follow ukrainian forces trying to hold back russian troops with drones. just hearing some sound of aircraft. they have told us, the ukrainian soldiers here,

to take cover under the trees.