This paper focuses on analyzing the process of neutralizing the binary category of gender (Greimas & Courtès, 1979) that traditional African dress undergoes when it enters the fashion system, with a focus on the Namibian context. The aim is to explore how clothing and fashion influence and transcend binary gender norms in Africa, considering various intersecting factors like ethnicity, age, rites, and class (Reilly & Barry, 2020).During the memorial of the late Namibian President Hage Geingob, his daughters made a unique fashion statement by wearing pinstripe Damara dresses, paying tribute to his distinctive style in a culturally significant way.With this gesture, they transformed the traditional Damara dress into a tuxedo-style dress through a process of transposition or transference (Lévi-Strauss, 2021) - translation, according to Fabbri (2017) - of elements from the male dress code universe into the female domain, giving it an air of ambiguity (Lotman,1998). It is not only a reinterpretation of the YSL smoking dress but also a recreation of the Zoot (suit) dress or an evocation of Papa Wemba’s way of dress. Not just a statement: wearing stripes is neither neutral nor natural (Pastoreau,1991), unlike the word dress, which is gender neutral.Therefore, the meaning of dress is fluid because the norm has no distinctive features (Lotman, 2009): sharing a blurred vision of masculine and feminine is now the new norm (Reilly & Barry, idem). “To be able to blend. That's what realness is”, explains Corey in “Paris is Burning” (cited by Hendrickson, 1996).