Jermaine Bleu is reimagining Ghanaian tradition
Shaped by a childhood around his seamstress mother’s work and guided by a steady love for the arts, Jason Jermaine Asiedu began exploring his creativity early on. In 2016, that exploration took form as Jermaine Bleu. What started modestly has grown into a label with a clear focus: to tell stories through clothing that reflect his reality, his upbringing, and the duality of his identity.
To Jason, fashion is memory. It reminds him of his upbringing and of his mothers work. It’s his way of connecting cultures. By using his “Jermaine is my [second] name. Bleu came from wanting to assign emotion and tone to the brand,” he explains. The colour blue, in his view, embodies opulence, freedom, strength, serenity, and growth. The French spelling acknowledges his love for design and fashion’s history. Together, the name balances the personal and the expressive.
“Jermaine Bleu is about being seen,” Jason says, “and finding power in vulnerability, softness, structure, and culture.” His vision extends beyond aesthetics. It’s a testament to the power of storytelling, community, and cultural pride. At its core, the brand seeks to bridge tradition and modernity. Each design reflects Ghanaian craftsmanship, created with care to remain relevant beyond passing trends. For Jason, fashion has always been more than clothes—it is memory. It’s how he recalls his mother and aunties, the women at church, uncles who overdressed, and rebels who underdressed. It is a way to capture emotions that might otherwise go unspoken, an archive of people, places, and moments.
Pictures by Andrew Antwi
His story telling starts with his fabric. “I choose materials based on how they can bring my vision to life - whether it’s texture, movement, or how they sit on the body. I’m always searching for fabrics that feel special and bring deeper meaning to the collection,” he explains. Sometimes, that pursuit means developing custom textiles to ensure the pieces feel unique and intentional.
One of the brand’s most recognizable signatures is its reimagining of Batik. Traditionally printed on cotton, Batik has long been central to West African identity. Jason wanted to transform it for a new generation. “I was interested in elevating it - I wanted to give it a more fluid, luxurious feel so I started working with a silky base. That shift not only makes the prints drape beautifully but also gives them a softness that feels refined while still being rooted in tradition.” Over time, this fabric has become a hallmark of Jermaine Bleu: a modern take on a craft that carries deep history and culture.
Developing a brand in Ghana has its own set of challenges. The local fashion industry is rich with talent but under-resourced, with barriers ranging from access to quality fabrics and skilled labour to finding reliable manufacturing. Yet Jason views these limits as opportunities: “The lack of resources forces us to be innovative. It pushes us to find our own voice rather than copy systems that don’t work for us.” That belief in doing things differently is why Jermaine Bleu is produced entirely in Ghana, despite the higher costs. “It’s not easy,” he admits. “But it matters when your work contributes to something bigger. The energy and craftsmanship here can’t be replicated overseas.” His approach to production is equally intentional. Collections are small, not made in bulk, and carefully considered. “Survival is in the connection,” Jason says. “I’m not in a race. I’m building something sustainable, even if it takes time.”
Picture by Andrew Antwi
As for the question of whether Accra could become like Paris or Milan, Jermaine is clear: “Accra doesn’t need to be like Paris or Milan. It needs to be its own thing—and it already is. We just need to create systems that work for us and invest in what we have.”
Through Jermaine Bleu, Jason continues to shape a brand that is personal yet expansive, rooted in heritage yet forward-looking. It is fashion as story, memory, and craft—a reminder that clothes can carry more than style; they can carry identity.
Picture by Andrew Antwi