Can you tell me more about where you were born and raised?
Absolutely. I was born in Togo and lived there until I was nine. In 2007, my family moved to Chicago, so I grew up between those two places. From an early age, I was already very interested in fashion. My grandmother rented part of her home to seamstresses, and I was fascinated watching them create beautiful pieces. My father also worked in the clothing trade, selling salvaged pieces from America and Europe in local markets. So, I was always completely engulfed in the world of fashion.
That’s such a rich foundation. How did you end up studying fashion?
When I moved to the U.S., adults would often ask what I wanted to be. I didn’t have a clear answer, but I knew I wanted to make clothes. Thankfully, I had supportive educators and family who pushed me in that direction. I studied fashion design at Parsons, focusing on textiles, specifically knitwear and denim.
December 22, 2025
Collaborations
Weaving Heritage into Denim
With THE DENIM series, we push the boundaries of our signature fabric, transforming it into a canvas for storytelling and cultural dialogue. Our latest collaborator is Jacques Agbobly, the designer behind Agbobly. A brand rooted in heritage, identity, and empowerment. Born in Togo, raised in Chicago, his work embraces duality: tradition meets innovation, softness is empowered by strength. Known for vibrant knitwear and sculptural denim, Agbobly’s designs pay homage to the women who raised him and the textures of his upbringing. We sat down with Jacques to explore his design philosophy, the evolution from Black Boy Knits to Agbobly, and the story behind our latest collaboration: a pair of jeans fused with a corset that redefines support, structure, and storytelling.
Why knitwear?
It felt like a natural extension of my upbringing. My mom braided hair to support our move to America, and I spent a lot of time in hair salons watching her work. To me, knitwear feels like braiding, intertwining strands to create something beautiful. I also fell in love with denim during my time at Parsons. I love how malleable it is. You can distress it, reshape it, and more.
It felt like a natural extension of my upbringing. My mom braided hair to support our move to America, and I spent a lot of time in hair salons watching her work. To me, knitwear feels like braiding, intertwining strands to create something beautiful. I also fell in love with denim during my time at Parsons. I love how malleable it is. You can distress it, reshape it, and more.
"You can transform denim into something completely different, with its own unique patters"
I can definitely see that. After your studies you started Black Boy Knits during the pandemic, right? How did that come about?
Yes. I graduated in 2020, right as the pandemic hit. There were no jobs, so I had to rethink everything. I’d collected knitting machines during school and reached out to a former professor who let me use her studio. She even helped me launch a GoFundMe to set up my own space. I started knitting sweaters daily, and that became Black Boy Knits: a one-person operation that got me through the pandemic both mentally and financially.
And now you’ve transitioned to Agbobly. What inspired that shift?
After a few years, I was accepted into the CFDA/Vogue Fashion Fund, where I gained industry insight and mentorship from designers like Thom Browne. I realized I wanted to build a legacy, like Louis Vuitton or G-STAR. Naming it Agbobly, my family name, was a way to reclaim and honor my heritage. Even if people struggle to pronounce it, it’s important to me.
Your heritage clearly plays a big role in your work. How does it shape your creative vision?
It’s central to everything I do. Growing up, people couldn’t pronounce my name, and many didn’t know where Togo was. That used to frustrate me. Now, I use my brand to educate and celebrate my identity. I want Agbobly to reflect the unique experience of growing up between Togo and America, neither fully African nor fully American, but something in between.
Who inspires you creatively?
The women who raised me, my mom and aunts. They were the breadwinners, always working hard and dressing beautifully. My brand is an homage to them. My mom, especially, is incredibly resilient. She moved to a new country alone and built a life for us. In fashion, I’ve always admired Alexander McQueen. His theatrical storytelling really resonated with me.
Yes. I graduated in 2020, right as the pandemic hit. There were no jobs, so I had to rethink everything. I’d collected knitting machines during school and reached out to a former professor who let me use her studio. She even helped me launch a GoFundMe to set up my own space. I started knitting sweaters daily, and that became Black Boy Knits: a one-person operation that got me through the pandemic both mentally and financially.
And now you’ve transitioned to Agbobly. What inspired that shift?
After a few years, I was accepted into the CFDA/Vogue Fashion Fund, where I gained industry insight and mentorship from designers like Thom Browne. I realized I wanted to build a legacy, like Louis Vuitton or G-STAR. Naming it Agbobly, my family name, was a way to reclaim and honor my heritage. Even if people struggle to pronounce it, it’s important to me.
Your heritage clearly plays a big role in your work. How does it shape your creative vision?
It’s central to everything I do. Growing up, people couldn’t pronounce my name, and many didn’t know where Togo was. That used to frustrate me. Now, I use my brand to educate and celebrate my identity. I want Agbobly to reflect the unique experience of growing up between Togo and America, neither fully African nor fully American, but something in between.
Who inspires you creatively?
The women who raised me, my mom and aunts. They were the breadwinners, always working hard and dressing beautifully. My brand is an homage to them. My mom, especially, is incredibly resilient. She moved to a new country alone and built a life for us. In fashion, I’ve always admired Alexander McQueen. His theatrical storytelling really resonated with me.
Speaking of storytelling, your collections are full of narrative and color. How did you approach your collaboration with us?
For me, when I think about my brand and what I want it to stand for – legacy is a big part of that. G-STAR already has that legacy. You’ve been around since the ‘90s and have been part of the community for so long, which I really respect. So, this really felt like a natural progression. The way I approached it was by pulling in elements of womanhood and empowerment, which are things I really care about. I wanted to build something that speaks to that.
What was the design process like?
Visiting the G-STAR archive was a highlight. It felt like being in a candy store. I extended my trip just to spend more time there. One piece that inspired me was a vintage back brace, which led to the corset design. It’s about support and strength, turning something traditionally seen as restrictive into a symbol of empowerment.
Were there other design elements inspired by your past work?
Yes, the curved waistband was inspired by dresses from my previous collection. They felt like armor, and I wanted to bring that curvature into this project to maintain continuity and brand alignment.
How do you know when a piece is finished?
I never really do. I studied Fine Arts before fashion, and my teachers used to say a painting is never done. I tend to over-design, and my team helps me refine things. The challenge with G-STAR was creating just one item, it forced me to be intentional and focused.
For me, when I think about my brand and what I want it to stand for – legacy is a big part of that. G-STAR already has that legacy. You’ve been around since the ‘90s and have been part of the community for so long, which I really respect. So, this really felt like a natural progression. The way I approached it was by pulling in elements of womanhood and empowerment, which are things I really care about. I wanted to build something that speaks to that.
What was the design process like?
Visiting the G-STAR archive was a highlight. It felt like being in a candy store. I extended my trip just to spend more time there. One piece that inspired me was a vintage back brace, which led to the corset design. It’s about support and strength, turning something traditionally seen as restrictive into a symbol of empowerment.
Were there other design elements inspired by your past work?
Yes, the curved waistband was inspired by dresses from my previous collection. They felt like armor, and I wanted to bring that curvature into this project to maintain continuity and brand alignment.
How do you know when a piece is finished?
I never really do. I studied Fine Arts before fashion, and my teachers used to say a painting is never done. I tend to over-design, and my team helps me refine things. The challenge with G-STAR was creating just one item, it forced me to be intentional and focused.
Do you see fashion as a tool for activism?
Definitely. Fashion connects us all; we’ve all worn clothes. It’s a universal language and a powerful tool for storytelling and social change.
Are you experimenting with any new techniques or materials?
We’re pushing the boundaries of denim, introducing new washes and artwork. It’s exciting to explore its full potential.
As your brand grows, how do you maintain creative integrity?
It’s a constant balancing act between art and commerce. Fashion is personal to me, but it also needs to be accessible. I want people to connect with the story and wear the pieces. That’s Agbobly, artful yet relatable.
Definitely. Fashion connects us all; we’ve all worn clothes. It’s a universal language and a powerful tool for storytelling and social change.
Are you experimenting with any new techniques or materials?
We’re pushing the boundaries of denim, introducing new washes and artwork. It’s exciting to explore its full potential.
As your brand grows, how do you maintain creative integrity?
It’s a constant balancing act between art and commerce. Fashion is personal to me, but it also needs to be accessible. I want people to connect with the story and wear the pieces. That’s Agbobly, artful yet relatable.