What Amaka Ubaka's Measurement Approach Actually Looks Like
Amaka Ubaka built a following not because she follows standard sizing charts, but because she treats body measurements as the starting point for structural design decisions. Her brand, Amaka Studio, operates out of Lagos and draws heavily on tailoring principles that are more aligned with bespoke garment construction than ready-to-wear conventions. When people talk about The Rise Of Amaka Ubaka Understanding The Measurements Behind The Fashion Phenomenon, they are usually referring to how her garments fit differently on different body types in ways that mass-produced fashion does not. The core of her approach breaks down into three parts: taking actual body measurements rather than relying on guessed size labels, drafting patterns that account for posture and movement, and then adjusting the final piece through fittings or precise remote instructions when working with clients outside her immediate studio.
The Rise Of Amaka Ubaka Understanding The Measurements Behind The Fashion Phenomenon
If you want to replicate even a fraction of what makes her garments work, start by understanding which measurements actually matter. Most amateur designers focus on chest, waist, and hip. That is not enough. For Amaka-style construction, the critical measurements are the shoulder-to-shoulder back width, the armhole depth, the nape-to-waist length, and the sleeve pitch angle. These four determine whether a garment sits correctly on the body or drapes in all the wrong places. I learned this the hard way. A few years back I attempted to draft a pattern based on a client's chest and waist alone for a structured blazer. The result looked fine flat on the table but sat three centimeters too high at the back when worn. The shoulder slope was slightly asymmetrical in the client, and without capturing the shoulder-to-shoulder width and the nape-to-waist measurement, there was no way to compensate. I ended up recutting the back panel and redrafting the sleeve cap with a higher pitch to match her natural posture. That process took about forty minutes instead of the fifteen I had originally budgeted.
How The Measurement Process Works In Practice
The method is not complicated, but it is detail-sensitive. Here is the sequence I use and what I have observed from her studio output: Step one: Take measurements on the person wearing the undergarments they intend to wear with the garment. Do not measure over bulky clothing. This alone prevents roughly half of the fitting errors that come up later. Step two: Record all measurements with the tape snug but not tight. A common mistake is pulling the tape too firmly on the bust and waist, which creates patterns that are too small by one to two centimeters across the panel. The tape should rest flat against the skin with minimal resistance when you slide a finger underneath it.
Get the Full Details
Step three: Draft the basic block using the full set of measurements, not the three standard ones. Include shoulder width, back length, armhole depth, and upper arm circumference. Skip any of these and the sleeve will either gap or pull. Step four: Add ease allowances based on the fabric and the intended fit. Woven fabrics like the cotton prints and linen blends Amaka commonly uses require different ease than jersey or stretch materials. A structured cotton gown needs about two to three centimeters of ease at the bust, while a flowing dress in the same fabric can go with zero to one centimeter depending on the desired silhouette.
Common Mistakes People Make When Trying This
The biggest issue I see is people treating African print fabrics the same as Western woven fabrics during the pattern stage. These fabrics often have less stretch recovery and can behave unpredictably when cut on the bias. I have seen multiple designers cut a bias panel in a stiff Ankara, expecting it to drape fluidly, only to find the seam twisting after the first wash. The workaround is to pre-wash and press the fabric, then test a small bias strip before committing to the full cut. It adds maybe twenty minutes to your process but saves you from ruining an entire garment. Another mistake is ignoring grainline alignment. Amaka's work consistently shows clean grainlines running vertically through the front and back panels. When the grainline is off by even a few degrees, the garment will twist on the body over time. This is especially noticeable in heavier fabrics like tailored cottons and denim blends.
When This Approach Does Not Work
Let me be straightforward about the limitations. This measurement-first, draft-from-scratch approach requires access to a client or a dress form that closely matches the client's proportions. If you are trying to produce at scale without individual fittings, the model is that this method does not translate well to bulk production unless you have a comprehensive graded size set already tested on real bodies. Many designers who try to jump from custom drafting into factory production fail because the grade rules they use are based on generic size charts, not on the proportional relationships their original block established. If you are working in a region where remote clients are the norm and you cannot take in-person measurements, the alternative is to use a standardized measurement questionnaire combined with a video fitting session. This is less accurate than physical measurement but significantly better than guessing a size based on weight or height alone. I typically recommend at least a phone or video call where the client holds the tape themselves while you guide them through each measurement. It adds about ten to fifteen minutes per client but reduces remakes by a meaningful amount.
Tools And Resources
You do not need expensive software to start. A flexible measuring tape, a set of French curves, a ruler, and pattern paper are sufficient for the initial blocks. Once you have drafted several garments and identified the patterns that repeat in your work, investing in digital pattern-making tools like CLO3D or even free options like Opentype can speed things up considerably. For fabric sourcing in the West African context, the major markets in Lagos like Balogun and Tejuosho still offer the widest selection of quality cotton prints, lace, and tailored fabrics. Online retailers exist but the fabric quality can be inconsistent, and returning bolts of cloth is rarely worth the hassle. I usually order a meter or two of anything new to test the hand and shrinkage before committing to a larger purchase.
Bottom Line
The measurement philosophy behind Amaka Ubaka's work is not a secret technique. It is basic bespoke tailoring applied with discipline and an understanding of how different fabrics and body types interact. The garments look the way they do because the patterns were built from real measurements and adjusted for real posture, not because of any proprietary trick. If you approach it that way, the results will be closer to what you are aiming for than if you start from a standard size chart and hope for the best.
