For 24 years, the ANNUAL SHOW has been a beacon of creativity and opportunity in the fashion industry, starting from humble beginnings in Cameroon and now preparing for a landmark edition in Paris. Mr. Piwele Gregoire, the visionary behind the event, shares the inspiring journey, the challenges faced, and the future ambitions of the ANNUAL SHOW, highlighting its impact on young talents and the broader fashion landscape.
Can you tell us about the beginnings of the ANNUAL SHOW 24 years ago? (We know you have already talked about it in other media, but our readers would like to know more.)
The origins of the ANNUAL SHOW are quite straightforward. At that time, I was, and still am, a businessman, distributing the Toshiba brand in Cameroon. One day, the late JEMANN, a stylist who is no longer with us (may his soul rest in peace), came to my office and asked for my help in organizing his fashion event, Africa Zimut. He needed financial support to pay the artists and models. I contacted Toshiba to see if they were interested in associating their brand with the event. The export director at the time responded positively, indicating their interest in cultural events. They agreed to credit my supplier account with the amount needed, and I would handle the local payments.
However, there were issues with the models who complained about their payments and asked for my help in organizing them. Around that time, I met Flammarion OLOMO, the artistic director of Smalto in Paris, who became a close friend. Together, we decided to create the ANNUAL SHOW. Before the event, I had already established a modeling agency called First Model Agency to support and guide young talents. The name “Annual Show” came about almost by accident during a brainstorming session with Flammarion. And that’s how it all started.
What were the main challenges over the years, and how did you overcome them? (Some anecdotes would be appreciated.)
In the early days, when I met people from Canal 2 International, they were just starting out and immediately embraced the idea of the ANNUAL SHOW. This explains my strong ties with the channel. As a businessman, I had no knowledge of the fashion industry and didn’t realize we could seek sponsorships. Initially, we financed the project with our own resources to contribute to a social cause. Over time, partners like Orange approached us, and we realized we could associate with brands like MTN and others. TV5 also joined us from the start, with our first patron being Sonia Rolland, Miss France 2000, and Katoucha, a renowned model who attended the first ANNUAL SHOW in Douala in 2000. We were received by the mayor of the city.
What are the main milestones in the evolution of the ANNUAL SHOW to date?
A significant milestone was in 2010 when we transitioned from a single-day event to a week-long fashion week, featuring different productions beyond the gala evening. We organized parades at Saint John’s Plaza in Douala, free for the public, while only the gala evening was ticketed.
Why did you choose Paris for this special edition of the ANNUAL SHOW?
In 2021, after personal investments, I felt unnoticed and unheard. I declared in my opening speech that it was the last ANNUAL SHOW. However, young people urged me not to give up. Reflecting on the issue, I realized that making the ANNUAL SHOW international was the solution. Initially considering Nigeria, I ultimately chose Paris, a symbolic fashion capital, as our first international destination. It’s a bold move, but here we are.
Can you tell us about the planned activities for this edition?
We had to reschedule the ANNUAL SHOW to next summer, still in June, due to logistical issues related to the Olympics in Paris. We realized that holding the parade on the Champs-Élysées and the Seine River was impractical due to security concerns requiring numerous permits. We decided against forcing the gala evening, as our goal is to showcase our full agenda, including visibility for disabled young creators often sidelined. Many people in Africa live off culture and especially fashion, including those in orphanages and markets who have the talent but lack resources. Thus, the ANNUAL SHOW has evolved into a socially oriented association, in addition to being an event.
Providing visibility to young models helps prevent them from resorting to prostitution, a notable achievement. Beyond these youths, many others possess incredible skills in creating, manufacturing, and sewing but lack visibility and resources. Our challenge is to bring these invisible talents into the spotlight.
Will the program remain unchanged after the postponement in terms of the cities hosting the event?
We haven’t finalized the other cities due to the schedule change. However, Paris is confirmed, featuring the boat parade and possibly parades at the City Hall plaza. Today, I had the pleasure of meeting the director of the Paris City Theater, who is keen to support the ANNUAL SHOW. We are considering free concerts, exhibitions at the City Hall plaza, etc. The new program is still in development, but it will remain in June, and we will determine which other French cities will host the event.
What about the invited guests?
Most influencers involved in the project remain committed, and we have additional requests from other influencers wanting to join. This is positive, and the delay allows us to better organize and institutionalize the event.
What impact has the ANNUAL SHOW had on the fashion industry in Central Africa?
The ANNUAL SHOW has helped many creators and models gain recognition. Many models who participated in the ANNUAL SHOW are now internationally known, and several have become Miss Cameroon. We have played an incubator role in developing fashion and related industries.
How do you see the influence of this event on an international scale, especially with this edition in France?
We hope to influence and reshape the perception of African fashion on the European continent, extending beyond France to Europe as a whole.
What are your goals for the future of the ANNUAL SHOW?
Our goal is to evolve the ANNUAL SHOW from being African-focused to becoming an international event, expanding beyond Europe.
What is the economic impact of the ANNUAL SHOW on the local economies of participating countries?
Developing these creations significantly contributes to the economy. For instance, in 2022, the fashion industry in Italy generated €98 billion, and France saw €17 billion in profits during the same period. Although this impact is not fully realized in Africa yet, it is inevitable.
How does the ANNUAL SHOW contribute to the professionalization of models and fashion industry actors in Central Africa?
We showcase the quality of our models to organizers who need stylists and event managers. By bringing them into the spotlight, we have had a significant impact, leading to opportunities on major stages in South Africa, the United States, and more. Without the ANNUAL SHOW, they might have remained unseen.
What initiatives are taken to make these professionals more competitive internationally?
Everyone has to play their part. Our role is to present these talents and their collections, and we believe that the rest will follow naturally.
How do you see the evolution of African fashion in the coming years?
Historically, black models were rarely seen on European runways. Today, they are everywhere, even on posters. The latest Chanel poster features a black woman, something unimaginable not long ago. Change is happening naturally.
What are your plans for future editions of the ANNUAL SHOW?
We plan to make the ANNUAL SHOW an annual event again. Given its current scale, we will hold it every year.
What message would you like to send to young talents and aspiring African fashion designers lacking confidence and direction?
Believe in yourselves and work hard. That’s the only way to succeed.
A MESSAGE TO THE PARTNERS
We want to thank them for their continued support and encourage them to keep backing us. We are on the right path and cannot exist without them.
