Dakar — On Feb. 14, 2026, Senegalese fashion designer and costume maker Maguette Gueye used the opening of her exhibition “La cour royale de Maam” at the Grand Théâtre National to call for a national museum dedicated to Senegal’s clothing heritage. The proposal, she said, aims to safeguard, preserve and transmit an ancestral legacy that she believes has been overlooked by formal cultural institutions.
The exhibition, which is currently on view at the Grand Théâtre National, serves as a pilot project for what Gueye envisions as a permanent museum of Senegalese dress. In a press statement, she explained that the show “revisits the language, identity, artisanal know‑how, elegance and dignity” that characterize African values, using historic garments and contemporary reinterpretations to illustrate the evolution of the country’s sartorial culture.
“Ce que nous voulons, c’est monter le musée du vêtement sénégalais pour que, comme dans les plus grands pays au monde, les gens viennent visiter et voir ce riche héritage que nous ont laissés nos ancêtres,” Gueye told reporters, urging officials to create a space where visitors can explore the depth of Senegal’s textile traditions.
Gueye is the founder of La Penderie de Maam, a cultural initiative that curates and produces costumes rooted in Senegalese history. She also heads MAGCI, a design house that blends heritage with modern aesthetics. Her LinkedIn profile describes her as a “créatrice de costume, designer et directrice artistique” who “explore le lien entre héritage et modernité, en réinventant les codes vestimentaires du Sénégal du XXᵉ siècle à aujourd’hui.” Maguette Gueye LinkedIn profile
Clothing has long been a marker of status, region and ceremony in Senegal. From the brightly patterned wax prints of the boubou to the intricate hand‑woven fabrics of bazin, the nation’s textile arts reflect centuries of trade, migration and artistic exchange. Yet, unlike many European and North American nations that boast dedicated museums of fashion, Senegal lacks a central institution that archives, researches and displays these artifacts for public education.
The “La cour royale de Maam” exhibition showcases garments inspired by royal courts, traditional ceremonies and everyday life, highlighting the skill of local artisans who hand‑craft textiles using techniques passed down through generations. By placing these pieces in a museum context, Gueye hopes to elevate the perception of Senegalese dress from commercial fashion to a scholarly field worthy of preservation.
According to the Agence de Presse Sénégalaise, the museum project is intended to grow “reconnu au Sénégal et en Afrique,” positioning the future institution as a regional hub for African textile heritage.APS press release If realized, the museum could attract scholars, tourists and designers, fostering economic opportunities for artisans and reinforcing national identity on the global stage.
The call for a museum arrives at a moment when Senegal’s creative industries are gaining international attention. Designers such as Oumou Sy and the collective Dakar Fashion Week have highlighted the country’s vibrant fashion scene, but the absence of a formal repository for historical garments remains a gap in cultural policy. Gueye’s advocacy therefore aligns with broader efforts to institutionalize African creative heritage.
Even as funding and governmental endorsement have not yet been detailed, Gueye emphasized that the museum should operate “comme dans les plus grands pays au monde,” suggesting a model that combines public support with private partnerships. She added that the museum would serve as an educational platform for future generations, ensuring that “nos ancêtres” are not forgotten.
The next public update on the museum initiative is expected to come from the Ministry of Culture, which has been invited to attend the ongoing exhibition. Gueye and her team plan to apply the momentum generated by “La cour royale de Maam” to draft a formal proposal and seek both local and international partners.
Readers with insights or questions about the museum project are invited to share their thoughts in the comments below and to follow our coverage for further developments.
Background on the exhibition
“La cour royale de Maam” opened at the Grand Théâtre National in early February 2026 and runs for several weeks. The show features a collection of recreated royal costumes, contemporary designs that reinterpret historic motifs, and interactive displays that demonstrate traditional weaving and dyeing processes.
Why a museum matters
A dedicated museum would provide a permanent venue for research, conservation and public engagement with Senegal’s textile legacy. It would also create a repository for endangered techniques, such as hand‑loomed bazin and natural indigo dyeing, ensuring that artisans can transmit their knowledge to apprentices.
Potential impact on tourism and education
By offering a curated experience of Senegalese clothing history, the museum could become a cultural attraction for both domestic visitors and international tourists. Schools could incorporate museum resources into curricula on art, history and cultural studies, fostering a deeper appreciation of national heritage among young Senegalese.
Next steps
The museum concept remains in the planning stage. Gueye has indicated that a formal proposal will be presented to the Ministry of Culture later this year, and that she hopes to secure partnerships with regional cultural institutions and private sponsors.
