In Kinshasa, the capital of the Democratic Republic of Congo, a distinctive style from the Mobutu Sese Seko era is experiencing a revival among both younger and older generations. The abacost jacket—recognized for its closed-front design and Mao-style collar, typically worn without a tie—was once emblematic of the country’s national identity during Mobutu’s rule from the 1970s until he was ousted in 1997. Originally intended as a symbolic departure from Western suits and ties, which were largely banned under his regime, the abacost has returned as a fashionable statement amid Kinshasa’s dynamic tailoring scene.

At the heart of this resurgence is the Okasol workshop, located near the city’s center behind a petrol station. Run by brothers Serge and Auguy Okasol—both trained in Paris—the atelier blends traditional craftsmanship with contemporary influences. The brothers inherited the family business and now lead a team of around 30 workers, producing high-quality abacost suits for a diverse clientele that includes government ministers, military officials, diplomats, and executives. Orders can reach up to 15 suits per customer, with prices averaging about $1,000 per piece.

The modern iteration of the abacost features bold African fabrics, intricate embroidery, and vibrant patterns that differ markedly from the restrained Western suits of the past. Customers frequently incorporate personal touches, such as floral designs, beads, or even embroidered initials and portraits. The design process is highly collaborative, often inspired by Congolese musicians and cultural figures who have helped popularize the style. Serge Okasol emphasizes the importance of individuality, stating, “Express your identity,” as the guiding principle for each creation.

The Okasol atelier prides itself on superior craftsmanship, employing advanced machinery imported from Germany and Japan. The brothers highlight that fabric quality is crucial to the jacket’s comfort and durability, contrasting their offerings with mass-produced abacost-style jackets imported from Asia, which retail for around $50 and frequently use polyester blends. “The fake ones trap heat. With real fabric, you can breathe,” Auguy noted.

In a country facing widespread poverty, clothing serves as a significant form of self-expression and social assertion, particularly in Kinshasa, known for its flamboyant “sapeurs” who invest heavily in fashion as a mark of pride and identity. Serge Okasol described dressing well as “like putting on armour,” underscoring its role in cultivating self-esteem and credibility. The abacost’s renewed popularity reflects this broader cultural importance, signaling a reclamation of heritage through style nearly three decades after its initial decline.