How fashion could greater influence the music industry in Nigeria
What artist merchandise tells us about the links between music and fashion
Back in 2018, when Wizkid casually strutted down the runways of Milan, clad in a gold-studded ski mask and embroidered jacket for Dolce & Gabbana, a part of me couldn’t help but wish that he had made this remarkable debut for a Nigerian brand. Growing up, you’ll probably remember watching your favourite music videos on MTV and catching glimpses of your favourite artists adorned in luxury brands and designer items while toasting to the good life. It was commonplace – and it still is – for artists to use their music to brag about their successes or rap about their ambitious hustle in opulent fashion; luxury and wealth are ingrained in the fabric of music, particularly within the hip-hop community.
Over the past few years, many luxury brands have featured artists in their advertisement campaigns and in turn, been given branded product placement in artist’s videos or social media. Many rappers realised the power of personal branding which means something more important than a T-shirt, baggy jeans, or a tracksuit. Branded product placement within rap music and fashion became a means of expression for those who wanted to flex their newfound success and comfort of their celebrity lifestyle, and in essence, brag about their wealth.
Whether it’s Jay-Z assembling the rich and wealthy in “Roc Boys” or Lil Kim setting the coloured Versace hair trend in motion, or even Nicki Minaj forming an exclusive collection with the designer brand, Fendi following her famous “fendi prints on” line from her 2018 release “Chun-Li”, artists quickly became tastemakers for an entire generation. Brands also saw an avenue to capitalise on artists’ influence, a collaboration that in turn helped these artists improve their streaming numbers if the collection was tied to an album or song release.
Music and fashion have been inextricably linked over the decades, but here in Nigeria, the links between the two have always been somewhat tenuous. When hip-hop made its entry into the Nigerian shores, back in the ’80s and ’90s, rappers wholly adopted the American ‘90s hip-hop culture, donning baggy shirts, jeans, and dungarees inspired by the tastes of the musicians they were watching from the West. Given that the order of the day was a wholesale adoption of Black American hip-hop culture, there was no embrace of the fashion houses that were in existence in Nigeria at that time.
The rise of afropop acts like Wizkid, Tiwa Savage, Burna Boy, Yemi Alade, Davido, and more, at the turn of the decade, saw partnerships bloom with banks, telecom providers, and multinational brands as businesses were keen to partner with these promising acts who were amassing cult followings through the burgeoning afropop genre. But despite the buzz these artists were generating, the fashion industry – which was marred by its own problems, such as funding, and as such had very little understanding or appreciation of African artists and how to capitalise on their growing success – was left out of the collaborative promotion process.
The lack of structure plaguing the fashion and entertainment industries has meant that verifiable data is hard to come by and, without data, it becomes difficult to prove that clothing brand collaborations, international or local, will bear tangible fruit for both the artist and the brand. Take, for example, the 2018 spat between Nicki Minaj and Travis Scott where his ‘Astroworld’ album beat Nicki Minaj’s ‘Queen’ to Number One on the coveted Billboard 200 charts, with help from a generous assortment of merchandise bundles – T-shirts, hats or hoodies, digital downloads, pre-sale concert tickets, and more. Minaj complained that Billboard should change its rules concerning counting albums sold within merch and ticket bundles because of its role in boosting chart position and revenue for the artist. Her concern was not unfounded, and showed just how much the fashion industry and the music industry work hand in hand to promote sales and revenue for artists.
Here in Nigeria, we seem to only just be wisening up to this, delayed, as usual, by infrastructural issues: There no a verifiable one-stop-shop for accounting for music streams across all DSPs in Nigeria. There is some data – such as the Apple Music Top 100, and the music chart publication, TurnTables, which accumulates charts across different channels such as Triller, TV, airplay, and more – but pertaining to a verifiable source for all cumulative streams, there is little data. In recent years, however, as the music industry’s infrastructure continues to develop, the relationship between musicians and fashion – specifically through merchandising – has been cultivated and fortified.
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(@wizkidayo)Over the weekend, Wizkid revealed the official ‘Made In Lagos‘ jersey, in collaboration with athletic footwear brand, Puma. Earlier this year, to add another layer to the multifaceted universe he forged back in May 2019, Santi rolled out ‘Mandy & the Jungle’ gift boxes, including an exclusive song, a signed poster, and of course a ‘Mandy & The Jungle’ tee, in celebration of the album’s first anniversary. Similarly, to commemorate a year of ‘rare.‘ Odunsi (The Engine) re-released the album in the format of the ’80s/’90s music that so heavily influenced his production, sharing limited edition vinyls, including two new songs for his devoted fans. Though no clothes were attached to this bundle, Odunsi’s move to promote his debut a year later, through yet another release, speaks to the emphasis of branded releases artists have been more closely paying attention to, in recent years.
One of the first whisperings of musical talent taking advantage of fashion’s broader reach in a deliberate and cross-promotional way, was when Davido launched his capsule collection with one of Nigeria’s most prominent fashion houses, Orange Culture. Now known for their collaborations with influential Nigerians – actors Temi Otedola and most recently Denola Grey, have both created Orange Culture collections – Davido x Orange Culture’s Selfridges debuting collection centred around promotion of the first song from his unforgettable 2017 single run, “If”. A clear merchandising move, in which fans of both Davido and high fashion could literally wear the hit single, Davido’s Orange Culture collaboration was followed a year later by Wizkid’s Starboy jersey, designed by Nike who have been imperative in strengthening the bond between streetwear and music. On ground, labels like Vivendii and Daily Paper have made strides in doing so too, the former creating the merch for Odunsi (The Engine)’s ‘rare.‘ tour, the latter teaming up with Wizkid last year for another edition of Starboy merch.
Official figures on how many of these merchandise sales actually helped boost streams are still difficult to ascertain, due to the lack of verifiable data, but the fact that it hasn’t stopped more artists from taking an interest in building worlds beyond music and diversifying into fashion and style, proves that the venture has been more than lucrative.
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Recently, Burna Boy debuted his collaboration with Boohoo Man, an exclusive collection of streetwear arriving in promotion of his recently released third major-label album ‘Twice As Tall’. Heralded as authentically out of the rapper’s style book, the new collection was created in design studios from Lagos to Manchester featuring 120 pieces co-designed and executed through virtual meetings during the coronavirus-induced lockdowns. As his first proper debut in the fashion industry, it is important to notice how much thought and effort was put into this collaboration. As an artist who has been around for quite some time and has amassed such a huge following of people who look up to him – not only for the music but for the fire kicks, the clothes and the jewellery – Burna Boy needed to deliver merch that stood twice as tall amongst the previous collaborations his counterparts have ushered out over the years.
Speaking to his sister and stylist, Ronami Ogulu shared that Burna Boy’s collaboration with Boohoo was really important for the rapper. “He choose to collaborate with Boohoo as a way to give his fans access to the items on the line, he could have collaborated with Gucci or other high-end designers but accessibility was very important for his first collection,” she tells NATIVE. The collaboration was just another vessel for Burna Boy to capture this moment in his life, using fashion as a second means of communication for his artistry and self-expression. With Boohoo also shipping to Nigeria (for one week only), Burna Boy has found a brand that aligns with his family-oriented disposition and one that elevates his brand and adds another distinct layer to Burna Boy’s renowned.
The clothes from this new collection speak to a willingness in Burna Boy to build around the sonic world he has created with ‘Twice As Tall’ giving fans and followers the access to immerse themselves further by donning styles selected by him which cover every single occasion, from loungewear to occasionwear and more. While this is a worthy step for the African Giant, it would have been huge to see this worthy fashion moment bestowed on a Nigerian or black-owned brand (as Davido did with his “If” tailored merch) who deserve all the hype. Especially after the events of this year, considering the disproportionate ways in which many African-brands have been affected by the global health pandemic and its ensuing effects, African or Nigerian brands would have been a more glorious fit for the self-proclaimed African Giant.
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Still, Burna Boy’s collaboration makes clear of one thing, Nigerian artists are increasingly seeing the value of branded collaborations with fashion brands, however, it takes two to tango so for the two industries to truly benefit off each other, Nigerian brands must also be willing to collaborate with musicians.
Releasing teasers to his boundary-pushing EP standout, “body count”, Odunsi (The Engine) and Mowalola pioneered a moment between music and fashion in Nigeria, typical of the characterisation of the hip-hop cultural movement. Styling the quartet’s Sims avatars in exclusively Mowalola, the maverick artist-producer and Yeezy co-signed designer are hailing in a time where our music videos will be lined with It Nigerian designers, turning them into sights for the Nigerian people to spot new trends, discover new brands and lust after the wealth that affords our musicians these home-grown luxury labels. With afropop at the forefront of conversations emerging from the continent, now is a good time than ever for fashion stakeholders to place their bets and ‘fits on these artists, and capitalise on the self-sustaining cross-promotion that collaborative ventures between fashion and music have to offer.
Featured image credits: BurnaBoy/Boohoo
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NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
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Togo YEYE & VLISCO’s new collaboration is a celebration of Lomé’s thriving creative scene
Togo YEYE is a community we are building for us by
Togo YEYE, a creative duo formed by Lomé-based creative director Malaika Nabillatou and London-based photographer Delali Ayivi, is a conceptual publication that was created to empower and champion Togo’s young fashion creatives. Since its inception in 2021, Togo YEYE has released several personal projects and has also partnered with a number of brands to further its hugely imaginative aesthetic mandate. For their latest collaboration, Togo YEYE teamed up with textile printing company VLISCO to present Blossoming Beauty. Tagged as a love letter to Togo’s creative community, the campaign captures Lomé’s scenic beauty alongside VLISCO’s vibrant prints with the aim of connecting the feminine grace of nature with identity and artistry.
What does Togo YEYE mean?
Malaika Nabilatou: My name is Malaika Nabilatou, I’m the creative director of Togo YEYE. I’m Togolese and I was born and grew up in Lomé. I see myself as a West African creative director and I’m working to be the best in a few years. Togo YEYE means new Togo in Ewe, one of the most popular languages spoken in the South of Togo.
What inspired you to create Togo YEYE?
Malaika Nabilatou: We started this project, my friend Delali and I, 5 years ago. We just wanted to show that Togolese youth are also creative. Togo YEYE is a community we are building for us by us. It wasn’t just a project for Delali and I. It’s become something for the creative scene of Lomé. Lomé is like our studio.
What role does Togolese culture play in your creative process?
Maryline Bolognima: For me, Togolese culture comes first. For example, in the South, there are the people of Anero. If you come, you can go to Anero. In the North, there are the Evals, so if you come to Togo, you’ll learn a lot.
What’s the most exciting part of working as a team on projects like this?
Malaika Nabilatou: I need to tell the truth, we dreamt about this campaign before [it happened]. When VLISCO contacted us, we were like wow. I can’t really explain how thankful we are to VLISCO for trusting us. Because it’s a risk that they took by trusting us, making that campaign here with our team and honestly we are going to keep it in our hearts for the rest of our lives.
Claudia Sodogbe: For me, it is the first big contract of my life that I had with Togo YEYE. I still remember, on the last day of the shoot, I was feeling nostalgic about separating from the teams and the others. It went well in any case, and I’m very grateful to have been on this project.
What has been your proudest moment as part of Togo YEYE?
Malaika Nabilatou: I think the proudest moment I had with this campaign was when I saw the result first on the website. When I saw the story, I was like “wow, we finally made it.”
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Inside The Parties Breathing New Life Into Lagos’ Nightlife Scene
No matter who you, these parties provide a safe space to let loose without fear of objectification or...
The crowd marches along on the dancefloor, vibrating to a pulse that is both familiar and electrifying. It takes a second to identify Grammy nominee, Rema’s “Ozeba,” pouring out of the speakers and whipping the crowd into a frenzy as it takes on new life as a turbulent EDM track. The crowd growls and screams in approval of the DJ’s remix, yet another banger in a night filled with back-to-back hits. Hands in the air, sweat dripping from glistening bodies, smoke floating around the dancefloor and young people gyrating with reckless abandon, Element House provides the people with the release they deserve and they reward it with an undying loyalty to its rhythm and raves as they keep coming back.
Party culture has taken on new dimensions in Nigeria over the last two decades as a reaction to economic, social and cultural progressions. This evolution of the way we party is significant considering that Nigeria is a society that lays heavy emphasis on certain accepted standards of moral behavior, rooted in culture and tradition. But that has never once stopped a good time from happening. Millennials and older gen-z will remember the street parties and carnivals of old, usually held at the end of summer holidays or in December, where music by TuFace, Mo’Hits, Akon, Shakira, Lady Gaga and 50 Cent were the staple, among others. There were certain songs automatically expected from any DJ worth his salt otherwise it was not too far-fetched to see a DJ, with his equipment on his head, fleeing for his safety while being chased by an irate mob of partygoers.
The more things change, the more they stay the same. These carnivals and street parties might have been phased out but the idea remains the same while the power and influence of communities powering party culture in Lagos and Nigeria at large has only gotten stronger, especially with the advent of social media. The Block Party series–started in Lagos, Nigeria as the Mainland Block Party–has become the go-to event to celebrate youth culture and foster connections that cut across multiple African cities and walks of life. Today, with curated events in Ibadan, Abuja, Lagos, Accra and others, a community of partygoers is assured maximum enjoyment whenever the Block Party organisers announce an event in their city of the month. The people will always return to where their tastes are catered to, bringing along friends, family and newbies eager to bask in the atmosphere of loud music and togetherness.
In 2012, Warner Bros. Pictures released Project X–a film that follows three friends and high-school students who attempt to gain popularity by throwing a party which ends up escalating out of their control and reaching epic proportions. This idea propagated by Hollywood would go on to influence several house parties thrown in Lagos during the mid to late 2010s. The idea that with the right DJ/music playing at the right venue and with just the right crowd, then immortality was possible–a party so grand that it would be spoken about in glowing terms for years to come until it became lore. Today, house parties are more intimate and controlled, the degrees of separation between attendees reduced by a mutual friend or WhatsApp group they all have in common. From game nights to karaoke sessions to kinky sex parties, whether it’s at Balloons & Cups, a Vogue Boys pool party, or a get-together by the ‘Lagos on a Budget’ IG Community, the role house parties play in the ever evolving party culture is not insignificant, creating a pipeline that feeds into the much larger raves which weekends in Lagos are becoming synonymous with.
Whether it’s Element House today, Mainland House tomorrow, Group Therapy next weekend, WIRED or a host of other house and EDM inspired movements, partygoers are spoiled for choice when it comes to where to indulge their fundamental music tastes in a secure and controlled environment. Nothing is off the menu and a good time is the only badge of honor worth collecting. The increasing popularity of the rave movement in recent years is testament to the fact that it works for both organizers and attendees. The Covid-19 lockdowns changed the way Nigerians party; after months of being isolated from their communities and having to socialize in more intimate and private spaces, it’s no surprise that raves, with their underground nature, became the outlet of choice for several young people as soon as the world opened back up. According to Tonia, a medical doctor and frequent raver living in Lagos, her first few times at parties following the end of the lockdowns were not fun. “I was partying with caution, wearing face masks constantly and carrying hand sanitizer around. It became a much better experience subsequently when everything relaxed and soon enough, I was back enjoying the time of my life at Lagos parties.”
Unburdened from the heavy spending, bottle-popping culture that characterizes Lagos nightlife and cloaked in the embrace of judgment-free anonymity and numbers, raves have become a safe haven for a community of partygoers determined to turn up in the midst of the sheer craziness of living in this day and age. For Michael-Peace, a brand & creative assistant and frequent raver, the appeal goes beyond a need to unwind and the feelings of peace he experiences at raves. “Whether I’m listening to the DJ or just watching the crowd move to the music, it’s a very mindful experience for me,” he says.“I’m grateful to just be there and appreciative of how we can all be one community or family for that period of time.”
The appeal of the rave scene is its inclusivity and it’s a common theme for the new wave of parties exploding in Lagos and environs. No matter who you are or what you stand for, these parties provide a safe space to let loose without fear of objectification or discrimination resulting from socio-economic and political differences, misogyny and other less elegant occurrences which are part of mainstream Nigerian nightlife. This is important to Tonia who, on multiple occasions, has been prevented by bouncers from entering clubs without a male companion. “I’ll always prefer raves, they are much freer and nobody is performing here. There’s no need to show off the number of bottles you bought like there is in a club. Everyone just wants to turn the fuck up and have the time of their lives.”
For five or six hours, the disco lights, turbulent music and fellow ravers provide solace from the outside world. “Dancing the night away” is not merely a suggestion but a divine mandate from the gods of the rave. It is almost impossible to emerge after such an experience and not want to do it again. The music beckons all and sundry to come out, purge yourself of all inhibitions on the dancefloor, then return home and spread the gospel of the electronic music scene to all who might listen. In Michael-Peace’s own words: “There are people I’ve put onto raves and who loved the experience and constantly thank me for introducing them to it. Once you get hooked on it, you’ll never want to let go.”
Party culture in Nigeria continues to evolve as the new wave of parties mark their time and place in history. But the street parties and carnivals of yesteryears are not to be forgotten. The power of community continues to connect the old wave with the new wave, ensuring that actual people remain the focal point of these events, and party goers can enjoy nightlife experiences uniquely tailored to their ever changing wants and needs.
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