If Tongoro’s ready-to-wear line is about versatile statement pieces that can be worn daily, then the brand’s recently launched couture offering is for ultra-special, once-off occasions. Featuring bold silhouettes that accentuate the body and elaborate details like bronze cowrie shells intricately embellished on gowns, headwraps, and thigh-high heels, this collection is a grand celebration of African tailoring and artisanship.
Founded by entrepreneur and former magazine editor Sarah Diouf in Dakar, Senegal, in 2016, Tongoro has achieved global acclaim for its billowy, now signature monochrome dresses inspired by the black-and-white portraits of Malick Sidibé and Seydou Keïta. Over the years, the brand has built a loyal and global A-list clientele ranging from Beyonce and Kelly Rowland to Naomi Campbell and Alicia Keys.
As the brand enters a new phase in its journey, we chatted with its founder, Sarah Diouf, about her debut couture collection, design philosophy, and the motivations that keep her going.
YLA: What inspired you to introduce a couture line?
Sarah: Tongoro Couture has been in the works since 2020. I started playing around with the golden cowrie shell embellishments on a few custom items for friends and clients, and the feedback encouraged me to explore further. I never rush when it comes to creating, firstly because I have to consider sourcing. Because I source locally, I had to make sure that all the elements I wanted to work with were readily available, and secondly, I trusted it was the right time.
Next year, Tongoro turns 10 and that’s an important milestone for any African brand. It’s a sign of resilience because fashion is not an easy business but also of relevance. It’s easier to launch a business than to stay in business and grow, and I want to keep growing. Tongoro Couture is a prelude to this new chapter and decade to come. It re-introduces the foundation of what Made in Africa is about while strengthening the brand’s position to highlight, support, and take local craftsmanship to the global stage.
YLA: What’s your vision and philosophy behind Tongoro Couture?
Sarah: In Senegal, local tailors’ boutiques brand themselves by carrying the owner’s name and adding the word couture at the end. This particular way of branding means it’s positioned like a fashion house with a signature that differentiates them from the ordinary tailor. Tongoro Couture is an homage to that. It’s about celebrating a practice that is anchored in our lifestyle and the beauty of our craftsmanship. African couture is so rich and creative. There’s something highly unique about it that embodies pride and regality.
YLA: What factors influenced your decision to launch it at this particular moment?
Sarah: We filmed the [runway] walk on the Mosi-oa-Tunya bridge in Zambia in September [2024], and I shot the images in Dakar in November. I originally wanted to launch it before the holidays [last year], but [I felt] something was missing, so I made a few silhouette changes. While replanning the launch I thought the closing of couture week in Paris [this season] would be the perfect moment.
YLA: How does Tongoro Couture distinguish itself from your other collections, and what unique elements can people look forward to?
Sarah: Compared to the main ready-to-wear line, couture is made-to-order and made-to-measure and produced in limited editions. Couture implies personalisation, much more details and confection time, and a higher price point. Styles can be ordered as such, or with alterations to best match the client’s wishes. Hopefully, in the future, we’ll be able to create this experience in real life but I think it’s still a beautiful way to get something unique tailor-made.
YLA: Can you describe the differences in your creative and design process for couture compared to your ready-to-wear collections?
Sarah: Working on the studio line is more like being on autopilot. I don’t work around collections but drops and seasonal wardrobes, and the process has become much more goal-oriented over the years. We have our best sellers and seasonal hits, and with every drop, try to introduce two to three new silhouettes.
I source the fabrics, work around the prints for visual cohesion and organise the production. I’ve visual references organised in an inspiration folder: films, African portraits, editorials, [and] landscapes. To be honest, it’s never linear.
Working on couture is different; the story comes first. Sometimes it stems from a personal obsession, a detail, or an image. I love documentaries, and history and culture books, and spend a lot of time perusing the internet for imagery. I also do mood boarding, and once I have a broad map of the direction to take, I try to find one element and tie the story together.
YLA: As always, your campaign visuals are exceptionally captivating. Could you elaborate on the creative inspirations and narrative behind this campaign?
Sarah: Thank you! Creating visuals is my joy. Couture Chapter 1 revolves around the cowrie shell, a familiar, meaningful, and spiritual item for many of us. I’m highly inspired and guided by African spirituality. The broader narrative will unfold as I unveil each chapter over time.
YLA: You mentioned that you’re celebrating a decade of Tongoro next year. What keeps you going?
Sarah: God, my belief in myself, my vision, and the faith I have in the future of the continent in terms of development and infrastructure. I look at the evolution of European fashion powerhouses like Louis Vuitton established in 1854 and Hermès established in 1837, respectively 171 and 188 years old. As a continent, Africa turns 68 this year [since its first country to gain independence in 1957]. A decade is little. I like to think of my brand and my business as a child. And at 10 years old, we still have a long way to go.
