Solomon Tazibone needs no introduction. If you’re avid follower of this platform you know a thing or two about him. However, for this interview, he does introduce himself. “I’m an award-winning personal, celebrity and editorial fashion stylist, and also both ready-to-wear and couture designer,” he says. “The designer aspect is something I got into recently after realizing, from my experience as a fashion stylist, that I had to actually make the clothes that I use in my styling craft.”
Read on for our chat with him
Would you say you are a stylist, designer or both?
For now, I am a fashion stylist and designer, and also recently, I have ventured into costuming for film. So, Tazibone is a fashion stylist, designer, and film costumier.
What’s your back story?
I studied Microfinance at Kyambogo University. It was a course I opted for because my family wanted me to do a course with high employment prospects. What I intended to do, however, was industrial design. But whenever I applied for that course, I never got it at Makerere University. I think I was offered Urban Planning, and I completely did not know what it was about. I had to look around for something relatively newer and one with higher employment prospects at the time. That’s how I zeroed in on Microfinance, which I pursued at Kyambogo University for three years.
At the tail end of my studies, I had an issue with my dissertation. A dissertation is a research report that you’re meant to submit in your final year. I think I submitted it late. And when the graduation list came out, my marks were missing, so I was not on the graduation list. I was a bit heartbroken, worried, terrified, and panicked. Whenever I approached the faculty, I would get told that my name not being on the graduation list did not mean I would not get my transcript.
Still, when the transcripts came out, mine was missing. When I reported that, I was asked to wait for an entire year. My transcript was supposed to come out with the next set of graduates. I had to wait an entire year to get a transcript despite having completed. I had to figure out what to do with myself during that one-year gap.
That’s when an internship opening came up at Sylvia Owori. She was looking for fashion interns. I did say earlier that I wanted to pursue art and industrial design. However, I did not get that course from Makerere. But naturally, I’ve always been an art-driven person. I pursued fine art at both O and A levels, and ‘aced’ it both times.
Fashion, to me, was very strange territory because, as much as I loved art, I had not done anything fashion related. But you know how artists are – we are always bold and are un afraid of stepping out into unchartered territory. I applied, and you know, things worked out, and I was picked up. I was selected along with one of my friends, and I started interning for Sylvia Owori. At the time, my work field was in the workshop, and my tasks were sketching.
Sylvia Owori, at that time, wanted to put out a collection, and she needed fresh minds. She would come to you and tell you, “OK, guys, I’m working on a collection, and this is the theme I want to go with.” Do your research. come up with a couple of sketches.
To conceptualize is when you are presented a brief to go out there, do the research and execute based on the designer’s needs. When we made the sketches, she would approve them based on her aesthetic as a designer and where she wanted the collection to go. The next stage was production.
During production, we were tasked with production supervision. This is how you sketch something, and then it’s made. You have to be involved in every step of the way. You have to see it come to life the way you envisioned it. Production supervision is very simple. I’ll give you an example; if you sketch something and take it to the tailor, and then you have to sit with the tailor and direct them like, “No, the pockets have to be here, the zippers have to be there, that kind of thing.” Whenever the pieces in the collection were finished, we also helped her cast models.
That was my first experience in fashion and design. I worked my way up the ranks. I was promoted from intern to production designer.
After that, there was an opening at African Woman magazine online, and I was picked up as fashion editor, and then, later on, another opportunity presented itself. NTV reached out to Sylvia because they wanted her to create content. The content was a fashion TV show. Since I’d worked closely with her for quite a while, I’m grateful that she also picked me up for NTV style project, on which I was a panelist alongside her. I think that sums up my experience, especially coming from an unrelated field and breaking into fashion.
How would you describe your styling/ design aesthetic?
I don’t know how exactly to describe it because, first of all, I acknowledge the fact that, as a Ugandan creative, the time has passed where fashion was for purely entertainment. Very passionate fashion designers would showcase and put out work, but the reception was not very motivating because the Ugandan crowd had not fully embraced Ugandan designers. The narrative, however, has changed and that’s one thing I am really thankful for.
With that said, first and foremost, as a Ugandan creative, fashion stylist, and designer, the most important thing you need to make sure of is that whatever you create at the end of the day is able to sustain you and put food on your table. That’s a very important thing to note. With everything I create, I have that at the back of my mind. I like to create very functional, practical clothes that people can actually wear, not things they see on a runway, admire and can’t wear on a normal day.
As a fashion designer, I am very inspired by designs that can easily make it from the runway to the normal day-to-day wardrobe, but as a fashion stylist, with the ready-to-wear aesthetic noted, I also love to experiment, play with ideas with unconventional fabrics and concepts. That’s why I have done a bunch of editorial shoots in collaboration with other creatives.
One of the most worthy makeup artists I have worked with is Make Up by Olga, because Olga has always inspired us to push our creative limits and not play it safe. You need to be versatile and have the aptitude where you are placed. Olga, for me, is one of the most inspirational artists I have been able to work with. I have worked with a bunch of other Ugandan makeup artists. I can’t mention them all. It’s quite a long list.
I’m very proud of the movement the creatives are making. The whole industry is taking notice. It’s like there is an awakening. Creatives are realizing that they need to push the limits and think beyond this market if they are going to be taken seriously.
My aesthetic as a designer is in between functional and ready-to-wear, also bold, daring, and conventional; basically, work that pushes the limit and is thought-provoking. It’s a balance between the two. I can say I go both ways when it comes to ready-to-wear and functional, and when it comes to editorial, it pushes the boundaries.
You have had experience styling personalities, editorial and now film. Which of these 3 is your favourite?
Oh wow, they all present different challenges. I immensely enjoy all three of them.
You styled Pia Pounds for our December story, briefly take me through the looks and their significance.
First of all, I was very excited when she was picked because she’s worked so hard, and I have mad respect for her craft and how relentless she is.
She’s already a very stylish and fashion-forward person, I didn’t necessarily want to portray that. I just wanted to make her seem slightly softer and vulnerable because people who know Pia from music already know she’s up there. I just wanted to tap into the vulnerable side of her. That’s why the first thing I made sure of was that there were no shoes (laughs) because I think shoes have a certain level of confidence they give a woman. So I’m like, OK, let’s take away the heels and see if she’s still going to be in her element. I wanted to make it very soft, relatable, vulnerable, but still not move away from the fact that she’s star quality.
I created three looks. The first look was a corset I made from paper and a voluminous skirt. The second look was still a maroon corset and a sequined skirt. The last look was a mesh dress that had panels that were strategically placed to cover some parts of her body. What I had in my head with all these looks was to try to humanize her as much as possible but not take away from the fact that she’s a star. That’s what I was thinking the whole time I was creating for that shoot.
You also did Nana Kagga. How was that one?
Every time I am with Nana, there is a vibe! I should say it’s by far one of the most comfortable and laid-back photo shoots I have ever had. She is a very flexible person, open to ideas, and as a creative, it’s a beautiful thing to work with someone who is like that because you are not limited.
Shooting Nana, for me, was a vibe. It was really laid back and enjoyable. I did really feel like (laughs) playing dress up with my big sister. It was very enjoyable because she always tells stories. When she was doing the interviews there are things that I learnt at the time that I did not know about her. It was an experience for the books!
You also did Natasha in 2019. How was that one too?
The shoot was in partnership with ICONIC UG. I was a bit worried in the beginning because I did not know what the store had. Before the shoot, I had a challenge, and I was like, how am I going to work with someone for the first time and then also work with a store I have never been to? But when I got into the space, I pushed myself with what was available. Especially for a platform such as Satisfashion UG, I never think ordinary, I always think over the top.
It eventually did turn out to be a bomb, and as a creative, you also feed off the energy of the person you’re shooting. And Natasha literally gives it, she’s a character in front of the camera and that also pushed me. I had to make a few last minute switches to the clothes I had prepared and styled. I had to change shirts into tops, blouses into head wraps, and in the end, I was so glad it was a success.
2022 is here…
I do not want to let the cat out of the bag. I have things planned out that I am not going to say because I don’t want to jinx them. It takes me back to the beginning of 2020 when we had conversations about what we were going to do. And then COVID came and everything came to a standstill.
So for 2022, just to stay safe, there is a lot in line that I am excited about, but I am not going to mention it for now (laughs). You’re just going to see it unfold with time. Hopefully we just don’t go into another pandemic.
Do you believe there’s a stylist’s place in the current job market?
Definitely! In the beginning, there was a bit of a challenge, but now there are so many opportunities for stylists. There are commercial opportunities which include; shooting for companies, advertising, campaigns, celebrities, handling wardrobe and costuming for celebrities, styling for film, and normal day-to-day clients. I believe styling in Uganda is just getting better.
How can a young budding stylist forge their way through?
This is a question I have been asked time and again. I can’t say the advice I give is a magical formula because for me, I had a different experience. I was blessed to have very comprehensive experience because I worked with the best in the beginning. I interned for Sylvia Owori, who put me on African Woman, where I had an editorial job and later put me on TV. I don’t think every person gets to have those opportunities or gets to be as lucky as I am. There are always the basics, which include; the right connections. You need to talk to people and have the right acquaintances with people. You must be connected and know people.
Secondly, you have to work super hard and push yourself to the limits where you feel you can’t push any more. You have to work super hard. For us, we have always had to work hard to be recognized and have a seat at the table. So you should also approach your work with the same mindset and put in the work. You can’t clout chase. Even when you know people and you are not putting in the work, it’s not going to work.
Finally, you should always seek inspiration by following creatives all over the world. The world is a global village. There is so much shared online. We have all these platforms like TikTok, Instagram, Facebook, and YouTube, so there are a lot of people to pick inspiration and learn from. There is so much out there for you to learn. Even as a stylist, I can’t say I have accomplished much, but I have got somewhere. I am still on a learning curve because every day there is always something new, so it’s very important to learn.
Lastly, you have to be patient because I have seen a bunch of people who get into careers and then give up, maybe because their expectations were high and they thought things were going to work out faster.
Let me tell you, nothing that is meaningful just happens in one night. Everything that eventually works out requires a lot of consistency, patience, blood, sweat, and tears. Nothing worthwhile happened over night.
You have to be patient, consistent, put in the work, surround yourself with the right people, and be in touch with your spirituality through prayer. It’s very good to have a spiritual grounding. Just believe there is a higher power in whom you can find refuge, resonance, and purpose. It’s a bonus, but very important.
Tell us about Prestige.. How did you land that role?
I’ve always known and admired Nana Kagga. She has always had high capabilities as a Ugandan actress and as one of the Ugandans that have held the Ugandan flag high. I do not remember exactly how I met her, but we’ve been friends for quite a while. So she did reach out to me about a concept for a show. At the time, it was a pilot, and she was like, “Hey, solo, um, you know, there’s this opportunity. There’s a pilot we’re working on for a TV show, and you know, I’d love it if you’d come on board.” At the time, I had never done film, so it was a very scary space to get into. But since it was lockdown, and you know how it stunted things. We were all terrified and not sure of how things were going to turn out. People had lost jobs, the economy was struggling, and it was a very scary space to be in at the time. When an opportunity like that presented itself during a very difficult time, I had no option but to take it up. It was a pilot for the TV show Prestige.
It was pretty challenging because even when we were filming, there was curfew. And then we had to have permits to move, let alone assemble or gather, and you know how film sets are, it’s usually a large crew. We shot a pilot for Prestige. And at that time, I did not know that Nathan Magoola was co-producing the show with Nana. So, you know, the pilot gets shot and then it gets submitted. And then, fortunately, its very first season was commissioned for 100 episodes.
When it was commissioned, the real work began. For someone that had never worked in film before, there was a lot that I needed to learn. Styling for film is quite challenging. But it’s also an experience I’m very thankful for because it has opened my eyes to realize that you can spread your wings as a creative and not be stagnated in one specific area.
I was contracted to costume Prestige for season one. Then my contract was extended to costume it for the second season. I’m very hopeful, excited, and anticipatory to see the journey and where the show is going. But besides Nana Kagga, I think there’s definitely an honourable mention that I have to make. And that’s for a gentleman named Nathan Magoola, who is the executive producer for Prestige right now.
Like I mentioned earlier, I only knew Nana, I did not even know who Nathan was. With time, I learned that he is the executive producer of the show. Nathan is a visionary and one of the Ugandan creatives who is at the forefront of pushing the Ugandan film industry, especially now when Uganda is just recovering from the COVID pandemic.
It’s an honour to be around people like him. The cast has renowned and seasoned Ugandan actors like Cleopatra Koheirwe, Simon Kalema and Raymond Rushabiro, Daniel Omara, Sally Bwamimpeke. Then there’s also this new breed of first-time actors, who are also bringing the heat. You have the likes of Evelyn Kironde and Carolyn Ninsiima, one of my favourite characters. There’s a whole bunch of them, but it’s a very beautiful thing to see how easily people have adapted. I believe the pandemic was a blessing in disguise because it pushed everyone as a creative to venture out into the unknown and see how far their capabilities can take them.
What’s is your experience creating looks on set?
Creating looks on set for me is one thing I’ve always been pushed to think about on my feet. So even when I prepare earlier, there are always things I feel I must have done. The most beautiful work I’ve ever put out was that I did last minute. I could prepare for a shoot for weeks. However, when I get on set and analyze the mood, I may sometimes feel like it’s not working, and then I need to switch up a few things. Those experiences have always been the best. As much as I prepare in time, I enjoy last-minute things like switching things up and sometimes even creating from scratch on set.
Who is your favourite character to style and why?
I cannot actually pinpoint a favourite character because I’ve been blessed to work with a cross-section of people, and I have worked with so many people and Ugandan celebrities. I’ve worked with every day, normal day-to-day people and clients. But honestly, at this point, sometimes I even forget when I’m mentioning them, but what I can comfortably say is that, maybe I am one Ugandan stylist who’s been blessed to work with the largest clientele, like a cross-section of it, because, uh, I’ve worked with Juliana Kanyomozi, Bebecool, Vinka, Irene Ntale, Azawi, Pia Pounds for satisfashion, Karole Kasita, Ykee Benda, Allan Tonixs, Slick Stuart, Roja, Fille, Sheila Gashumba, Barbie Kyagulanyi, Judithiana, Zuli Tums, Hellen Lukoma, Nina Roz and more. The list is long.
Having rubbed shoulders with the best in Ugandan entertainment, every personality comes with different needs, expectations, and challenges, which all also push you to think as a creative. You have to be open-minded and not biased towards a specific client. I can’t say I have a favourite personality. Though there are personalities that are easy to work with.
I’ve also had commercial gigs where I’ve been able to costume for companies like Wild Aid and Africell at the time, BAT Uganda, Ori-flame, Idroid at the time when it launched, the list is really long. I would take an entire day just breaking them down.
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