Made in Africa 1 : Why are African goods so expensive?
This question often comes up among consumers who are discovering the continent’s offerings. Yet, for an equivalent product, this question is rarely asked of a French, Italian, or even Portuguese brand. Indeed, the perception is persistent: an African good can not be “expensive” and it is difficult to think of it as luxury which means here scarcity, accessibility, positioning and prestige. The narrative of Africa is changing certainly, but for many, you cannot compare it with a made in France or Italy good. That is not the common story about Africa. Even if personally, I believe that luxury started in African kingdoms, remember Mansa Moussa, the richest man who ever lived ? he was from now Mali, imagine the life he was living at that time, swimming in gold.
Pricing is a delicate matter for any business and it is obvious in recent years, major luxury houses have been challenged to review their pricing. The perception of luxury goods has taken a hit and major international brands are forced to review their pricing strategy, especially those who offer not so good quality or goods manufactured in China. The consumer wants an honest price, not one based on perception. Therefore some clients would rather choose the dupe.
The deeply rooted preconception about Made in Africa underestimates the true value of African artisanal work, which isn’t like in China. In most workshops across the continent, each piece is the result of a long, meticulous, patient, and sustainable process. Creation in Africa - as you can see in this beautiful serie of images by Anne Milmaut for Ethical Fashion Initiative & from Sophie Garcia at Maison Intègre- is rooted in a tradition where skill, transmission, and respect for time are essential-far removed from the industrial pace that prevails in Europe, Asia, or the Americas. So quite often, Made in Africa goods which are well made have the right price. Of course if the process was optimized pricing could be different, the complexity of perception and actual value could
Historically, Africa did not follow the same path of industrialization as other continents. While Europe and Asia accelerated their industrial development, Africa was fighting to free itself from the chains of colonialism. In the wake of independence, attempts at industrialization emerged, but the structural adjustment policies imposed in the 1990s favored privatization and opened the door to an economy largely focused on extraction, serving foreign industries. Today, as labor costs rise in Asia, attention is once again turning to Africa for low-cost production. But the African tradition is not one of mass production. African artisans excel in creating unique pieces, mastering ancestral know-how, rather than large-scale standardization. This reality, often overlooked, explains why African handmade goods come at a price that reflects patient processes, rarity, and authenticity, far beyond the simple laws of the globalized market.
In my daily work, I collaborate with fashion designers, furniture and decor designers, founders of beauty brands, and exceptional artisans (see below some pieces curated for our clients). This allows me to see how the commercial success of these brands depends not only on talent or originality, but above all on their ability to structure their creativity into a clear offering, controlled production, a strong creative narrative, a well-assumed heritage, and effective distribution. This journey as a consultant, guide, and facilitator for international market access working behind the scenes with African brands across sectors as diverse as fashion, beauty, design, fine crafts, and lifestyle-has allowed me to closely observe the rise of a new generation of creatives serving Africa. This generation brings a unique creative energy and a determination to reinvent Africa’s offering both on the continent and beyond. I have seen brands emerge and assert themselves on the international stage, led by bold entrepreneurs who take on the challenge of combining heritage, innovation, and excellence in the execution of their vision.
My years of experience in the luxury sector have taught me valuable lessons about how an artisanal watch brand can become a major international house, with sustained distribution worldwide, starting from the small village of Le Brassus in the canton of Vaud, Switzerland. The small manufacture, vertical integration of the value chain, precise logistics management, and the power of the distribution network, these are all levers that major houses like Hermès or Audemars Piguet have mastered perfectly. When faced with the structural challenges of Made in Senegal, Made in Nigeria, or Made in Côte d’Ivoire, I have always wondered how to adapt the strategies of international brands to African realities in order to support the emergence of a competitive, desirable, and sustainable “Made in Africa.”
My commitment to African creative space is fuelled by a conviction forged through contact with major European luxury houses, where I worked in selective distribution. From these conglomerates, I learned the importance of an integrated logistics chain, from demand planning to flow management, including restocking and delivery speed. I have seen how the pace of a structured organization, with tremendous resources, optimizes every link of the value chain and can transform a brand into a world leader, all while maintaining artisanal roots, relevance to the times, and an exceptional large-scale customer experience.
It is this dual perspective-on-the-ground experience in Africa, rich in creativity but still structurally fragile, and the international luxury standards based on rigor, high expectations, and anticipation-that informs my approach today.
Supporting African brands means understanding their specificities, valuing their stories, but also providing them with the tools and methods that will allow them to break through the glass ceilings of competitiveness, distribution, and international recognition.
My assessment of the price and competitiveness of African goods
In African markets, a garment, a beauty product, a design object, or a lifestyle article made locally often costs more than a product imported from China, Turkey, or Europe. This reality is not accidental, but the result of an economic system struggling to find its balance or specialization.
In fashion, for example, an artisanal t-shirt in Abidjan or Dakar can cost three to five times more than its imported industrial equivalent. In beauty, African natural cosmetics, though rich in local ingredients, struggle to compete on price with mass-produced international brands: Nivea’s moisturizing cream, which contains allergens, can also perform better commercially than Skin Gourmet’s 100% natural body cream made in Ghana, because of their presence : if you are based in Gaborone and want to buy a body cream, this option is present and right under your eyes. If you want Skin Gourmet, you might not even be aware of the brand existence as an alternative. Beiersdorf Consumer Products (Pty) Ltd, who owns Nivea has the capital to set a facility in South Africa to produce locally. So producing locally is not a problem, the problem is why african creators are supported on this journey to created products and spread them across the continent ?
In design and fine crafts, unique or small-batch pieces are precious but often cannot compete to get in the basket of to the average consumer because of the price point.
Nivea Presence in a supermarket in Gaborone - Botswana
Creative industries (Fashion, Design, Crafts, & Beauty)share the same structural challenges
Low industrialization and highly artisanal production prevent capitalizing on economies of scale. In fact, the vast majority of African products are made on a small scale, by hand, which drastically limits the optimization needed to reduce unit costs at every stage of the value chain. The cost and availability of raw materials is a real challenge, as little raw material is processed into semi-finished goods locally. Although the continent is rich in quality raw materials (cotton, plant fibers, precious woods, unique ingredients), these are often exported in raw form to be processed elsewhere, and mostly reimported as waste. This is the case for Kano leather, which is sent to Italian tanneries, serves European brands, and returns as dead stock for leather goods brands in Lagos, Dakar, or Abidjan. This impacts production costs, reduces margins, and, by extension, the competitiveness of an equivalent product made in Portugal.
The value chain is fragmented, meaning that the stages of production, transformation, and distribution are rarely integrated locally, complicating optimization, scaling, and ensuring consistent quality. Above all, consumer habits and the perception of local products are major barriers. African consumers, faced with high prices and limited purchasing power, naturally turn to imported products, perceived as more affordable and of better quality due to packaging and presentation. Sometimes, for the more daring who want to opt for a local product, collaborating with an artisan to make a very imperfect copy of a dress or table by a local or international designer spotted on Pinterest or Instagram is the most financially accessible option.
How do optimized production systems work : China vs. Portugal models of efficiency
China dominates the global market thanks to its gigantic resources, optimized factories, vertical integration, and massive economies of scale. Portugal, for its part, combines a tradition of know-how, a strong adaptability (small series, custom-made products), strict social and environmental standards (OEKO-TEX, ISO 9001 labels), and geographical proximity to Europe, offering quality products at competitive prices. These models are based on simple economic principles such as the division of labor and the vertical integration of sectors, which, coupled with strong political support, enable the development of comparative advantages.These elements are sorely lacking in Africa. If implemented, they would drastically reduce unit costs, ensure consistent quality, and allow response to demand to be quicker. Such a less fragmented and less artisanal African production would guarantee greater competitiveness.
Economies of scale are a key and central economic principle when considering industry. The more a company produces, the lower the cost of each unit. Even in the luxury sector, the same principle applies: a certain quantity is required per unit to Control the price of the in-store offering. Although customization and exclusivity for rare items is more common, for entry-level products, it is essential to share marketing, advertising, and distribution costs. In Africa, the lack of this mutualised cost and low volumes keep production costs high.
Despite these challenges, some local brands managed to overcome these limitations, succeeding through innovative approaches, unique products, and strong cultural preferences that cast them in a new luxury wave 100% made in Africa.
Rooting for “Made in Africa” means demanding excellence and affirming the unique value of african heritage. Faced with the challenges inherited from history and the expectations of a globalized market, it is essential to move beyond the logic of the lowest price and fully embrace the richness of our territories, the diversity of our cultures, and the strength of our know-how.
Each African good carries a story, a vision, and a level of excellence that cannot be compared to standardized products with no soul or roots. At MoonLook, we believe that the future of “Made in Africa” relies on our collective ability to assert our difference, to value both tradition and innovation, and to build memorable brands that are part of a sustainable development dynamic and positive impact. Rather than asking our creators to conform to external standards, let us commit to defending what makes us strong: creativity, authenticity, and a dedication to a fairer future. By supporting the emergence of talent, strengthening local ecosystems, and striving for excellence, we can transform the perception of “Made in Africa” and create genuine value for tomorrow. Excellence is not a luxury—it is a necessity to build a future where Africa inspires, transforms, and shines on the global stage.