
Kenya's plus-size fashion show says 'big is beautiful'
"We have seen the media really trying to focus on a certain body type of women," she told AFP. "And in so doing, this has really affected their self-esteem." In front of more than 300 screaming spectators, a dozen amateur models walked and danced their way along the catwalk this weekend. Unlike traditional haute couture shows, there was a lot of smiling.
Among them was Oprah Odhiambo, a Kenyan entrepreneur, who wanted to show that "plus size can do what the petite can do, so I feel joyous." "There are those plus-size women who are in hiding because they are afraid that people will body shame them," she said, adding that she hopes the show will make them reassess their self-image. Singer and model Rosemary Odire, stage name Nyakusa Nyamama, spoke of the sneers she has faced when performing.
"I have encountered so many problems... people are like 'Yo big mama, what are you going to do there, you cannot dance, get off the stage,'" she said. "But I am here portraying... not just any beauty, not just plus-size beauty, but the African beauty in me," added Odire, who swayed her hips on the runway in a leopard-skin skirt.
Coming from all walks of Kenyan society, the models did not have this level of confidence when they started training in March. "They were very timid about their body sizes," recalled Walcott, adding that there was now a "huge difference". The fashion show addresses health issues but also focuses on "accepting curvy women" and "celebrating their appearance by blending it with fashion due to the difficulty they face finding clothes," said Walcott. Walcott created the show to honour her own mother -- so she could "see herself as beautiful." 'You see how big I am, I really hated my body, but she really encouraged me," said Walcott's mother, Seline Aoko, speaking at the fruit stall in Kisumu where she works. "Big is beautiful!"--AFP
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Kuwait Times
a day ago
- Kuwait Times
First permanent Pokemon theme park to open in Tokyo
A man and his child look at Pokemon characters displayed at Seokchon Lake in Seoul on April 26, 2024.--AFP The wildly popular Pokemon franchise will open its first permanent theme park in Tokyo in spring 2026, the Pokemon Company -- a subsidiary of Japanese gaming giant Nintendo -- announced. Japan has welcomed a record influx of visitors in recent months, boosting demand for tourist attractions, including a 'Making of Harry Potter' film-studio park that opened in Tokyo in 2023. Named 'PokePark Kanto,' the new 2.6-hectare (6.4-acre) area will be located within Yomiuri Land, the Japanese capital's largest amusement park, the company said Tuesday. 'We want to create a space where Pokemon are always present and where people can have fun with them,' its chief creative fellow Junichi Masuda said in a video announcement. The park will have two areas: a Pokemon 'forest' described as a 'spacious wilderness' and an area for shopping and rides. Pokemon became a global hit after its 1996 launch as a role-playing game for Nintendo's handheld Game Boy console. Inspired by the Japanese summer childhood tradition of bug-collecting, players catch and train in battle hundreds of round-eyed 'pocket monsters' inspired by everything from mice to dragons. The franchise also includes movies, an animated TV show, and the 'Pokemon Go' augmented-reality mobile game.—AFP

Kuwait Times
3 days ago
- Kuwait Times
National Ballet of Japan to make UK debut
Dancers from the National Ballet of Japan (from left) Risako Ikeda, Shunsuke MIzui, Yui Yonezawa and Shun Izawa pose on stage with the company's artistic director Miyako Yoshida (center), during a preview rehearsal of the ballet "Giselle" at the Royal Opera House, in central London.--AFP photos The National Ballet of Japan makes its debut at the London Royal Opera House on Thursday, pirouetting into a void left when Russia's Bolshoi Ballet was cancelled over the war in Ukraine. In 2022, the Opera House called off the internationally renowned Moscow-based company's tour and proposed instead to open up their prestigious stage to the Japanese dancers. Founded in 1997, Japan's resident ballet company will perform in London for the first time from Thursday to Sunday. It will perform a production of Giselle, a classic romantic ballet which first premiered in 1841. The production is led by artistic director of the National Ballet of Japan Miyako Yoshida, 59, who was the first Japanese principal dancer at the British ballet institution between 1995 and 2010. Eleven Japanese dancers, including three principal dancers, now perform at the Royal Opera House and make up around 10 percent of the company. Returning to the prestigious stage was not only 'a dream coming true,' but also a lot of 'pressure', Yoshida told AFP. When the Bolshoi's tour was cancelled, director of the Royal Ballet Kevin O'Hare approached his ex-classmate Yoshida to discuss bringing her company to London as a replacement. Japanese ballet dancer Yui Yonezawa as Giselle (left) and Japanese ballet dancer Shun Izawa as Albrecht (right), both from the National Ballet of Japan, perform on stage. Japanese ballet dancer Yui Yonezawa as Giselle (right) and Japanese ballet dancer Shun Izawa as Albrecht (left), both from the National Ballet of Japan, perform on stage. Japanese ballet dancers Risako Ikeda (left) and Shunsuke MIzui (right), both from the National Ballet of Japan, perform on stage. Dancer from the National Ballet of Japan Yui Yonezawa speaks with members of the press during a preview rehearsal of the ballet "Giselle". Aiming for accessibility The ex-ballerina 'never imagined' it would happen 'this quickly', and recalled that scheduling and funding issues had slowed the plans. The chance to perform came 'too soon,' she said. She admitted that the Japanese company, which even though it boasts its capacity to dance a wide repertoire, was perhaps not quite ready to replace one of the oldest and most prestigious ballet companies in the world. The young company put on productions in the US in 2008, and at the Bolshoi Theatre the following year, but this is the first time it will perform a classic Western ballet in Europe. 'I tried to make it easier to understand,' said Yoshida, explaining that 'young people' would not be interested in the ballet 'if it was very old-fashioned'. She wanted to capture the essence of the romantic ballet, which tells a story of forbidden love. Supported by choreographer Alistair Marriott, Yoshida hoped the production would distinguish itself with its pared-back simplicity. For Yoshida, the five London performances aim to 'make the National Ballet of Japan known around the world' and enable its 75 dancers to evolve with other companies from Europe and beyond. 'I want to make the company known worldwide,' she said.--AFP

Kuwait Times
3 days ago
- Kuwait Times
Versailles orchestra plays New York in ‘Affair of the Poisons'
Acrobatics, fortune tellers, opulent gowns and palace intrigue: the New York debut of the Versailles Royal Opera Orchestra was a performance befitting the era it recalls. Monday's immersive show 'Versailles in Printemps: The Affair of the Poisons' centered on France's 17th-century period of excess and seediness that its creator, Andrew Ousley, told AFP has parallels to the present day. At the evening staged in Manhattan's new Printemps luxury emporium, guests and performers alike donned velvet waistcoats, silky corsets, feathered headdresses and powdered makeup. Core to the performance's tale was the discovery of arsenic, Ousley said -- the first 'untraceable, untastable poison.' 'Everybody was just poisoning everybody.' And at the web's center? A midwife and fortune teller named La Voisin, he said, a 'shadowy-like person who basically would peddle poison, peddle solutions, peddle snake oil.' 'She was the nexus,' Ousley continued, in a scheme that 'extended up to Louis XIV, his favorite mistresses' -- inner circles rife with backstabbing and murder plots. The poisoning scandal resulted in a tribunal that resulted in dozens of death sentences -- until the king called it off when it 'got a little too close to home,' Ousley said with a smile. 'To me, it speaks to the present moment -- that this rot can fester underneath luxury and wealth when it's divorced from empathy, from humanity.' Along with a program of classical music, the performance included elaborately costumed dancers, including one who tip-toed atop a line of wine bottles in sparkling platform heels. The drag opera artist Creatine Price was the celebrant of the evening's so-called 'Black Mass,' and told AFP that the night was 'a beautiful way to sort of incorporate the ridiculousness, the campness, the farce of Versailles with a modern edge.' Drag is 'resistance,' she said, adding that her act is 'the essence of speaking truth to power, because it really flies in the face of everything in the opera that is standard, whether it's about gender or voice type.' An artist performs during a show called "Versailles in Printemps: The Affair of the Poisons." at the Printemps store in Lower Manhattan, New York City. Madame Athenais de Montespan played by Erin Dillon performs. Madame Athenais de Montespan played by Erin Dillon performs. Madame Athenais de Montespan played by Erin Dillon performs. An artist rides an escalator at a show called "Versailles in Printemps: The Affair of the Poisons." at the Printemps store. An artist performs during a show called "Versailles in Printemps: The Affair of the Poisons." at the Printemps store. Versailles Royal Opera Orchestra performs during a show called "Versailles in Printemps: The Affair of the Poisons." at the Printemps store. Period instruments The Versailles Royal Opera Orchestra formed in 2019, and its first stateside tour is underway: the series of shows kicked off at Festival Napa Valley in California before heading to New York. On Wednesday it will play another, more traditional show at L'Alliance New York, a French cultural center in Manhattan. The orchestra aims to champion repertoire primarily from the 17th and 18th centuries, and plays on period instruments. 'Playing a historical instrument really gives me a feeling of being in contact with the era in which the music was composed,' said Alexandre Fauroux, who plays the natural horn, a predecessor to the French horn distinguished by its lack of valves. Ousley runs the organization Death of Classical, an arts non-profit that puts on classical shows in unexpected places, including the catacombs of Brooklyn's Green-Wood Cemetery and crypts in Manhattan. Monday's spectacle included over-the-top performance, but Ousley emphasized that the evening was ultimately a celebration of classical artists. 'These are players who play with such energy, to me it's more like a rock band than an orchestra,' he said. And the mission of putting on such shows is about something bigger, Ousley said: 'How do you fight against the darkness that seems to be winning in the world?' 'When you can sit and feel, with a group of strangers, something that you know you feel together -- that's why I work, because of that shared connection, experience and transcendence.'--AFP