If you’ve been there since the early days of the Zimbabwean creative rennaissance, the name Ebbernezer Muchuwa is one you would be quite familiar with.
At the time, he emerged from the shadows with superstar aura that most had only witnessed in magazines and on TV. His passion and talent shone so bright he inspired awe in everyone he met. Curating looks to die for and developing never-seen-before branding concepts, Ebbernezer quickly became a big fish in a budding industry.
But one thing was painfully clear—Zimbabwe was a mere fishbowl for Ebbernezer, he was just way ahead of his time. In mid-2024, he relocated to Tokyo, Japan to swim with the sharks.
This wasn’t your regular “looking for greener pastures,” immigration; it was a well-calculated move meant to unlock the next level for the fashionista. Tokyo is one the fashion capitals of the world, which makes it paradise for Ebbernezer.
One year on, the move has proven to be just what the 23 year-old model and creative director needed to elevate himself and his career.
We were unfortunate to miss the chance to document Ebbernezer’s story when he was still in Zimbabwe. Nevertheless, the perfect opportunity presented itself at this juncture—a milestone moment.
We caught up with the fashionista over the phone; where we revisited the big move, broke down his year in Japan and took it back home. Here’s an excerpt of our long-overdue conversation with Ebbernezer. Enjoy!
Hie Ebbenezer. You surprised everyone when you moved to Japan last year. Can’t believe its been a year already! What motivated your move to the Asian country?
Hie! Yeah, time really flew. It’s been a year already, and I’m still processing how much has changed.
Moving to Japan was something I felt deeply led to do it was a mix of personal growth, creativity, and faith. I wanted to challenge myself by stepping out of my comfort zone and immersing in a culture that’s so rich in art, style, and discipline.
Japan has always intrigued me from its fashion to its music and spirituality and I knew being here would help refine my perspective, not just as a creative but also as a person. So far, it’s been beautiful, humbling, and inspiring.
At the time of your departure, were there any projects you were working on or looking forward to?
Yes, definitely. As much as I tried to clear my schedule before leaving, there were still a few projects I was involved in or looking forward to.
Right after I left, I started receiving calls from different artists and collaborators back home, so there were definitely projects that were meant to be done. Some had to be paused or postponed, but it showed me how much was beginning to align creatively — which made the transition even more meaningful.
I still carry those connections with me and try to keep the momentum going, even from a distance.
You’ve been in Japan for a year now. What has been the biggest culture shock to you?
Honestly, I wouldn’t say anything has been shocking.
Before coming here, I mentally prepared myself and reminded myself that I was stepping into a completely different culture. So I came with an open mind and a willingness to understand rather than be surprised.
That said, when comparing our cultures, yes there are clear differences, from communication styles to social dynamics and everyday routines. But instead of seeing them as shocks, I see them as opportunities to learn, adapt, and appreciate a new way of living.
In terms of fashion, what is being done differently in Japan? How has the experience in Japan changed your perspective on fashion?
One thing Japan has really taught me is to respect the power of everyday wear pieces that are both wearable and stylish, things you can actually put on daily without overthinking, yet still look intentional.
The Japanese approach to fashion emphasizes practicality with taste, and that’s something I’ve come to appreciate more deeply.
I’ve also become more aware of how important color is to your style. It might’ve seemed like something only kids cared about bright colors in kindergarten and all but it still matters. Maybe it’s because the world often feels dressed in grey and black, but adding color to your wardrobe is like adding life. It’s not just aesthetic, it’s emotional.
What similarities can you find between Japanese and Zimbabwean fashion culture?
One similarity I’ve noticed between Japanese and Zimbabwean fashion cultures is a shared appreciation for conservatism and recycling. Both cultures value styles that are thoughtful and often more reserved rather than overly flashy.
Also, there’s a strong culture of thrift shopping and recycling fashion here in Japan, thrift stores and secondhand markets are everywhere, which reminds me a lot of Zimbabwe’s approach to reusing and repurposing clothing. It’s sustainable and creative, showing respect for garments and resources.
So far, you have worked on a couple of campaigns with top Japanese brands. Can you list and describe them?
Yes, I’ve been fortunate to work on a couple of high-profile campaigns since arriving in Japan.
The first one was with Häagen-Dazs a high-budget commercial directed by the renowned Yūichi Kodama, while Peter Amodeo Gould was the Director of Photography (DoP). It was an incredible experience working alongside his talented team and Japanese singer SANA, who’s also a member of the South Korean girl group Twice.
The concept was set around a tennis match, with two sides of the audience watching intensely. SANA’s role was unique — while everyone else was focused on the match, her attention was completely captured by the new Crispy Sandwich Häagen-Dazs was launching in 2025. It was a subtle yet clever way to show how irresistible the product was.
The second major campaign I did was for Beyblade X, a hugely popular game in Japan that involves battling metal spinning tops inside a cage. This one had a Boys vs Girls concept, bringing a fun, competitive energy to the shoot.
It was another high-budget production, and the pace, energy, and creativity involved made it an exciting one to be part of.
What is your end goal in Japan? What have you set out to achieve for yourself?
My end goal in Japan is to build genuine relationships and strong connections not just professionally, but personally too.
I’m focused on creating something lasting, almost like setting up a second home that I can always return to, no matter where life takes me. It’s about establishing a presence, leaving something meaningful behind, and knowing I’ve built a foundation I can stand on for years to come.
Would you come back to Zimbabwe? How would you use your Japan experience to bring impactful change to Zimbabwe fashion?
Yes, I would definitely come back to Zimbabwe. Home is always home.
If there’s one thing Japan has taught me, it’s the value of comfort and wearability fashion that’s intentional but still fits into everyday life.
I’m not exactly sure how I would impact Zimbabwean fashion just yet, but I know that by sharing what I’ve learned the balance of practicality and style, the attention to detail, and the confidence to express individuality I could contribute to a fresh wave of creativity.
Sometimes it’s not about changing everything, but introducing small ideas that shift how people feel in what they wear.
While in Japan, have you been staying tapped in to Zimbabwean brands and designers? Who’s caught your eye?
Yes, absolutely I’ve been staying tapped in to what’s happening back home. Even while being in Japan, I make an effort to follow Zimbabwean brands and designers closely because that’s where my roots are, and the creativity there keeps evolving.
Some names that have really caught my eye are iCATHA, ROZEBOWL, SOLEIL, SAMORA CENTRAL, Haus of Stone, NWOTH and Corropt. Each of them brings something distinct—whether it’s storytelling, fabric innovation, or bold cultural expression. It’s inspiring to see how they’re pushing boundaries in their own way.
You’re now looking at Zimbabwean fashion from the outside. What do you see—in the present and in the future?
Now that I’m observing Zimbabwean fashion from the outside, I see so much untapped potential. There’s a strong need for our scene to be included in global conversations not just as an afterthought, but as a serious contributor to culture, creativity, and innovation.
Unfortunately, Zimbabwe is often overlooked or underestimated, but there’s so much more happening beneath the surface. The talent, the stories, the identity it’s all there. Maybe the world hasn’t caught on yet, but I believe with time, it will.
The future holds space for Zimbabwe to rise in its own unique voice, and I’m hopeful to see more bridges being built.
While in Zimbabwe, you were one-half of Maddawgs alongside Donnel Mango. Have you also tried to get into the music scene in Japan?
Yes, I’ve had a chance to tap into the music scene here as well. I managed to represent once in Tokyo at a club called Zero Tokyo, performing alongside Ecec as a DJ. It was an incredible experience — different vibe, different crowd, but the same energy.
As for Maddawgs, that’s something that exists in both dimensions Zimbabwe and Japan. No matter the distance, the movement continues. It’s more than just a duo.
Taking you back. How did you get into fashion in Zimbabwe? Who were your key inspirations to get into the game?
Going back to the beginning, it was really my family that inspired me to get into fashion. They’ve always had a strong sense of style not just in terms of what they wore, but how they carried themselves.
That presence, that intentionality, left a mark on me early on. It showed me that fashion is more than just clothes; it’s expression, identity, and storytelling. Growing up around that energy naturally pulled me into the world of fashion, and from there, I just kept building learning, observing, and eventually creating my own voice in the space.
You obviously have people who have contributed to your journey in fashion. What do you have to say to them?
Definitely my journey in fashion wouldn’t be what it is without the people who’ve walked with me—my family, friends, and associates. I don’t need to name-drop; they know who they are.
I just want to say thank you. There’s still so much more to be unleashed, more to create. I’m still building the foundation, still shaping the vision and strategy but everything I am today carries pieces of what you’ve poured into me. You raised a good one. I appreciate you.
We’ve seen Ebbernezer the model and creative director. Will we ever see Ebbernezer the designer?
Absolutely in time. Being a model and creative director has allowed me to understand fashion from multiple angles: how it moves, how it’s styled, how it tells a story.
Designing feels like the next natural step, but I want to approach it with intention, not rush it. When the time is right, and the vision is clear, you’ll definitely see Ebbernezer the designer.
And it won’t just be clothes, it’ll be a world.
One last random question. What’s been your most favorite Japanese food so far?
It has to be Soba & Udon! These are Buckwheat and thick wheat noodles, which can be served either hot or cold.
[End of excerpt]
Twelve months in, Ebbernezer is well on his way to rubbing shoulders with the who’s who of Japanese fashion. It would be unsurprising to see him at Tokyo Fashion Week 2026, or in the next edition of Vogue Japan.
You can stay tapped in to Ebbernezer’s Japan journey via Instagram.
Ebbernezer Muchuwa’s story is a premonition of the inevitable rise of Zim fashion on the world stage. It’s only a matter of time until our homegrown names and brands are part of the global fashion conversation. Let’s not wait on the world to take notice for us to start paying attention to our own.
This is our role as Mcheno and More—to make you notice. The future of Zimbabwean fashion needs a strong foundation, and documentation is how we build that foundation.
Since 2022, we have been nurturing talented creatives simply by telling their stories. And now three years later, the seeds we planted then are slowly bearing fruit. The story can only get better, and we’ll be there to document every moment of it.
Meanwhile, follow Mcheno and More’s WhatsApp channel for quick, compact updates on everything Zimbabwean fashion, art and culture.
