Mowalola Brings Fashion’s Dystopian Future to London Fashion Week
her take on dystopian fashion
her take on dystopian fashion
British-Nigerian designer Mowalola Ogunlesi is hot off the heels of her Fall AW’23 Collection reveal at London Fashion Week. Titled Darkweb AW23, Mowalola’s latest collection is created to encapsulate her idea of fashion’s dystopian future presenting a collection of bootleg sartorial creations that pay tribute to the Big Apple.
Pulling inspiration from her idea of the apocalyptic universe, Mowalola blurs the lines between imitation and appropriation of IP, while merging NY-style sportswear with futuristic elements that were punctuated by the designer’s own signature, sexy leather look and donned by stars such as Rico Nasty and BK the Rula. The collection wields the classic logos of the New York Yankees, Musuem of Modern Art (MoMA), McDonalds and the National Basketball Association, with the words ‘Sue Me’ boldly printed across look 17, and stylising MoMa as MoWa in another instance.
It’s a daring take on fashion in our current age, one perched between humour, shock, engagement and rebellion. Ogunlesi explains that the collection represents the power of capitalism in modern society as well as the ever-increasing hold big corporations have over our lives. “It’s about the collapse of society. What I envision people wearing at the end time…low-key we’re literally in the last fight between life and tech,” she shares in a recent interview with Vogue.
While the legality of these intentional “knock-offs” can de debated, a larger conversation is currently bubbling around the lines between borrowing for inspiration and wholesale co-opting and appropriation of Black African American culture. Despite how often the topic is discussed online, no one actually likes to talk about cultural appropriation, let alone be accused of it.
The advent of social media and globalisation has meant that the world is now a more connected place than it once was. You don’t have to come from a particular country to know what is going on within it or the cultural trends that they adhere to, because it’s simply available to peruse at the click of a button. Mowalola herself has spoken at length about her childhood and her exposure to Western pop culture. In her NATIVE 004 cover story with Odunsi The Engine, she shared: “Also being exposed to MTV in the early 2000s and just seeing how real [it was]. Seeing a different kind of Black person on my screen than what I was used to seeing also just made me feel like I could dream bigger than anything…or [be] opposed to what I was being taught in school. I guess to me, like MTV and that stuff did more for me than like going to school and learning about everything else.”
Not one to shy away from controversy, Mowalola confronts this head-on in her latest collection, daring to poke at what’s acceptable and what’s not, a common aspect of her brand. As a disruptor brand always keen to investigate and observe the hypocrisy of the gatekeepers and the industry at large, Mowalola’s AW23 debut at New York Fashion Week was as bold as it was refreshing.
Other highlights of the show included Slawn’s walk on the runway with his son, bold splashes of hooded capes and denim-inspired balaclavas, cow prints, pants-down jeans and skirts. In all, Mowalola’s ‘Darkweb AW23’ provided a new perspective on her older works, juxtaposed alongside the long-standing conversations of our current realities as ruled by modern technology and gargantuan corporations.
Featured Image Credits/Instagram
As the city grapples with some of its darkest times, the display of creativity at Lagos Fashion Week...
In 2019, a news report warned that the world’s coastal cities were at risk of being submerged by 2050 due to rising sea levels. Furthermore, CNN reported that Lagos might be uninhabitable by the end of the century for similar reasons. 2024 is coming to an end and despite being 25 years away from that outcome, the city’s fate has already come to pass – but not for the reasons predicted.
It is the 25th of October 2024 and every driver on Marina Road is committing the cardinal driving sin, texting behind the wheel. They have not moved for an hour plus and their cars are partially submerged. It has been a wet day and now passengers are playing quasi hopscotch as they try to keep their feet from getting soaked.
Mine are on the dashboard, as I head to the Federal Palace Hotel, Victoria Island, for the annual Lagos Fashion Week. I am relaxed because if I am stranded, then most people are too. Like Kuvira from the animated series Avatar, the floods of Lagos are a great unifier. The upper echelon who reside in Lagos’ wealthy but frequently-flooded enclaves might even argue that they suffer more.
That day would mark the second time I had found myself in water that month. By the 30th of October, that number would have risen to five. Yet the wet day at Marina is the only one that was not on my schedule. The rest were occupational bonuses, four fashion shows that had ocean-themed collections.
UNDERSTANDING THE LAGOS FASHION WEEK CALENDAR:
Each year, the final days of October are reserved for Lagos Fashion Week. The official calendar reads October 23rd to 27th. However, fashion insiders know that several private shows are held throughout the city the week before. There is only so much one can do in a week, so private off-site shows are organised by a select few brands. These shows appear on the calendar but are not open to the Lagos Fashion Week audience and are invite-only.
THE BANKE KUKU SHOW:
The first of these shows was the highly anticipated Banke Kuku show. At the beginning of October, the founder of the eponymous label, Banke Kuku, held a press conference.
In a Zoom meeting with tens of media houses, the soft-spoken designer read, “Did you know that there used to be dolphins in Lagos? Dolphin Estate got its name because that was a hot spot for dolphins migrating to the Southern African coast. I want to bring that back. I want to tell stories of how our coast once looked before the plastics pollution.” The 18th of October is still a week away and with just a few sentences, the show has already demanded everyone’s attention.
Kuku promised that her Spring-Summer 25 show titled Oceans would be a conscious fashion experience. The brand gained fame through its distinctive prints. “Each print is created by me, and this year’s is no exception.”
Kuku cites the Federal Government Of Nigeria’s announcement to ban single-use plastics from January 2025 as her inspiration. “I saw several comments about how unnecessary it was for the government to focus on that when we have bigger issues. This led me down a rabbit hole and I began to research plastic pollution. That led me to discuss how damaged our marine ecosystem is. The coast used to be pretty, you could swim on the beaches, and at Dolphin Estate, the water was shallow enough for you to pet dolphins.”
Kuku’s words led me down my own rabbit hole. Growing up, I assumed the Atlantic Ocean was ugly because the oceans I saw on National Geographic looked nothing like it. Then I saw more of the Atlantic Ocean and thought Lagos got the short end of the stick. There are no turtles to return to the ocean like in Florida, but hearing that if I was born long ago, I could have petted dolphins and bubble fish sounds impossible.
Nevertheless, Kuku’s story checks out as Forbes details the efforts the Biodiversity Preservation Center in Akwa Ibom is making to save the Atlantic Humpback Dolphins.
Kuku wanted to remind the audience of these better days and her collection was an ode to that. According to Saharan Style, she teamed up with Mikano Motors, MAC Cosmetics, Meeyas Jewels, Beauty Hut, Polo Avenue, and Moët and Chandon. The show was held at the Mikano Motors headquarters which Kuku transformed into an aquarium.
The jewellery and prints referenced marine life and watersports. Meeyas Jewels made dolphin and coral reef-themed pieces for the collection, with the standout piece being an 18-karat gold coral-themed choker.
The garments featured aquatic flora and fauna motifs, including crustaceans and goldfish. The shapes were made to be fluid because the ocean is synonymous with movement. This form helped create a quasi-5D experience for viewers, including a bubble machine that was turned on when the free-flowy dresses with bubble prints walked down the runway.
THE DESIREE IYAMA SHOW:
Another established designer who sought the waves for inspiration was womenswear founder, Desiree Iyama.
The eponymous label’s show at the 2023 Lagos Fashion Week was one of the year’s most talked about. Its Meraki dress became a fan favourite and was the subject of an online debacle earlier this year.
For its 2024 show, the brand took fans to the beach. The Lagos Fashion Week tents at Federal Palace do not give designers enough room for individual decorations, so on the 26th of October, Iyama had a video of the waters on a beach playing as models walked to the sounds of waves.
“Crab and Lobster/A Timeless Resilience,” she called the collection. Iyama leans into her strengths, as she is known for her intriguing silhouettes. The collection also sees the return of the Meraki dress, this time in stripes and polka dots. The similarities start with the use of aquatic motifs but end with the animal choice; Iyama opts for Koi fish instead.
Iyama uses the ocean as a metaphor for the perils of life. “Each piece is crafted to empower, reminding you to seize life’s opportunities, and adapt uncertainty and thrive amidst life’s turbulent tides,” the press release read.
This is a befitting message for a show that was held a day after the streets of Lagos were flooded and fashion week guests faced a catch-22 obstacle; They either walked in the flood to get into the venue or sat in a 30-minute traffic at its gate.
THE EKI SILK SHOW:
As its name suggests, EKI Silk is home to some of the finest silk on the continent. Like Desiree Iyama, EKI Silk is a fashion week fixture and has redefined the way silk is viewed. “I want people to think about the prints too, they tell stories,” Hazel Eki Osunde, founder of EKI Silk, said.
The ever-charming Osunde states her focus is always on women. “Each piece in this collection was designed for the modern woman, graceful, calming, and flowy,” Osunde explains. “Inspired by the calming depths of the Ocean. I take you on a journey through the depths of the ocean; through the shades of blue and green; from the bright shallow waters to the tranquil abyss.”
Deep Dive by EKI Silk aims to astral project viewers into the ocean trench, dangerous, deep, yet beautiful. The collection palette stuck to shades and tints of blue, green, and black. The colours interacted with each other like the seaweeds in the ocean. Osunde took the Mariana Trench and made it into a print.
THE LFJ SHOW:
When it comes to consistency, Love from Julez, colloquially known as LFJ, is at the top of the game in Africa. The designer, Juliet Olanipekun, often creates cohesive collections that connect to their predecessors. Every collection feels like a sequel to the previous year.
In 2023, her debut Lagos Fashion Week collection was titled Under the Sea. She used jellyfish-like silhouettes to redefine the way our fashion industry relates to shapes. She returned with a similar outline, silhouettes and texture with this year’s Shores, where she told a story of migration and diversity.
“Shores was inspired by the rich beauty and diversity of our coastline, as well as the powerful stories of migration, resilience, and hope tied to these waters,” Olanipekun explains. “Each piece reflects the contrasts and harmony between strength and tranquillity that you find at the water’s edge, as well as the vibrant energy of Lagos, where we began our journey.”
ABOUT THE TREND:
Fashion has always been a mirror for society and in Nigeria, it has become even more conscious. So just as skirt lengths can telegraph a country’s economic status, or an increase in fantasy-based experiences can be read as an attempt to boost the morale of its audience, social commentary is never far from the minds of Nigerian fashion designers.
Banke Kuku tackles this by telling stories of our history and teaming up with organisations to get young people excited about nature. As she disclosed, “I am partnering with Nigeria Conservation Foundation (NCF), we will be creating a project to build 100 trees.”
Desiree Iyama, Hazel Eki Osunde and Juliet Olanipekun approach this metaphorically. Crab and Lobster uses the waves and tides to represent resilience, Deep Dive reminds us that there is more to us than what meets the surface, while Shores focuses on the ocean’s animals, how diverse they are, and how they migrate and adapt.
The repeated use of the ocean as a key theme in these collections serves as a powerful reminder to remain hopeful. The city is not the same neither are we but the ocean has outlasted us. Nigerian fashion has taken a conscious turn and our designers want to entertain and yet inspire us.
As the city grapples with some of its darkest times, the display of creativity at Lagos Fashion Week highlights the potential for resilience and hope. They want to say to you that there is a light at the end of the tunnel; so instead they have their collections say: there is an ocean south of Lagos.
As the fashion industry continues to evolve, Lagos Fashion Week remains a driving force, fostering...
Kaly is a rooftop restaurant and bar lounge overlooking the Eko Atlantic. It is a hub for young adult Lagos-based influencers. However, on October 23, it became the venue for a party celebrating the first day of the Lagos Fashion Week calendar.
It is my third fashion week in Lagos and my favourite part of the show is the models. So when Nigerian supermodel, Rebecca Fabunmi, walks in, I see her and ask, “Are you wearing Lisa Folawiyoo?” She and everyone within a certain radius corrects my horrendous Yoruba, “It is Folawiyo.”
Then it hits me, everyone knows our designers. Our designers are praised and almost everyone at this party is wearing a Nigerian label. During a BBC Radio interview the next day, the host inquired, “If Nigerian fashion is to have a place on the international agenda, is it attracting the money because that is what it is about? And is that money going to support these younger designers?”
IN THE BEGINNING, THERE WAS TEXTILE
This question has troubled the Nigerian industry since the 2000s; how to make the fashion industry a lucrative one. The 2020s perception of Nigerian fashion is a far cry from its 2010s counterpart; back then, there was a stigma about wearing Made In Nigeria clothes that affected both the social and financial efforts made by our established textile industry.
In 2011, New Cloth Market published an article about Nigeria’s dying textile industry. A paragraph in the article states, “In any developed or developing economy, the indices used in judging growth is primarily based on the producing power of that country. Industries form the bulk of these indices. In Nigeria for instance, more than 80% of all finished consumer products are imported. Nigeria relies more on imports while its once vibrant industries are facing near extinction.”
Nigeria’s textile industry was once one of the country’s most vibrant. According to New Cloth Market, it played a pivotal role in stemming the tide of unemployment between the late 1950s and early 1990s. This started in 1956, when Nigeria began to process locally grown cotton, and by the 1970s and 1980s, our textile industry was Africa’s third-largest. This period saw significant growth, with an annual expansion of 67% between 1985 and 1991, employing 25% of the manufacturing workforce in 1991. By the 2000s, rates were abysmal, with the New Cloth market reporting, “Exports of textile products dipped below $11m in 2008 from $44m five years earlier.” Soon, the influx of cheaper textile products from countries like China would further erode the market share of Nigerian textile manufacturers, and the dream of Nigerians wearing home-grown garments as a norm, became more and more distant.
THE MODERN PERCEPTION OF NIGERIA’S FASHION SCENE.
In recent years, Nigerian fashion has experienced a remarkable surge in global popularity, captivating international audiences with its unique blend of traditional African aesthetics and contemporary design sensibilities. Today, the country’s high fashion community boasts household names like Kenneth Ize, Orange Culture, Tolu Coker, Tokyo James, Lagos Space Programme, and many more.
Its high street industry created a movement in Africa with breakout brands like Street Souk (the largest streetwear convention in Africa), WAF, Motherlan, PITH Africa, and many more. Even Nigerian subcultures such as the Alté community are forces to be reckoned with within the country’s fashion scene. In the words of South African fashion Tiktoker, Tanatswa Amisi, “Especially in South Africa, specifically in Johannesburg and the fashion community here, people are inspired by the Alté scene and I don’t even think they realise it.”
Nigeria has also become one to watch out for in the industry with homegrown fashion figures appearing on the Business Of Fashion 500 list over the last ten years. In a discussion with the Kenya entrepreneur, Wandia Gichuru, founder of East Africa’s fastest-growing fashion chain, Vivo, she pays homage to the pace set by Nigerian fashion: “Nigeria’s fashion is ahead and established but here in East Africa, we are getting there. It is beautiful to see how far Nigeria has come.” Gichuru’s statement is reflected in other African countries according to Nigerian head designer for ATAFO, Mai Atafo. Atafo mentioned that he is frequently invited to design outfits for government officials in various countries. “They pay attention, they appreciate what we are doing and it inspires them.”
Nigeria accounted for about 15% of the $31 billion fashion market in Sub-Saharan Africa in 2015, and grew to 17% between 2010 and 2019, as reported by Business Day Nigeria in 2024. Lagos Fashion Week attracts the attention of international publications like Vogue, Dazed, and i-D. Several Nigerian designers have gained global success including Kenneth Ize, Orange Culture, Mowalola, Tolu Coker, and Banke Kuku.
HOW LAGOS FASHION WEEK CHANGED THE GAME:
One can not discuss fashion in Nigeria without mentioning Shade Thomas-Fahm. Born in 1933, she was the first fashion designer to open a fashion boutique, Maison Shade, in Nigeria.
The now 91-year-old Fahm recently sat down with The Guardian’s Life Magazine to discuss how she built her career. During the interview, she noted the difference between modern fashion shows and what they used to be like. “When I came back to Nigeria, I was able to project fashion to the Nigerian people by hosting charity fashion shows,” she explains. She did not profit from the gate fees as they went to charity. Women’s organisations often asked her to create these events to raise funds; similar to Nigerian singer Tems’ annual wardrobe sale in partnership with Women at Risk International Foundation (WARIF).
The modern shows usually act as bridges to connect independent designers with buyers. The most renowned of these shows in Nigeria is Lagos Fashion Week, and it’s also the continent’s largest annual fashion show. Established in 2011 by Omoyemi Akerele, the show set out to bring the Nigerian and African fashion scenes to the global stage, by bringing together media, buyers, manufacturers and consumers. Akerele aimed to excite Nigerians about local fashion and help them see beauty in themselves. She reaffirms, “That is why after 13 years, we still strictly use Nigerian models. We are promoting Nigeria.”
Hazel Eki Osunde, the founder of Eki Silk, has been part of the Lagos Fashion Week family since its inception. “Lagos Fashion Week has had an incredible impact on EKI SILK, significantly elevating the brand’s visibility and credibility in the fashion world,” Osunde explains. “Through this partnership, EKI SILK has had the remarkable opportunity to have collections stocked at Selfridges, a pop-up at Bluebird in the UK, and even a showcase at Clarence House, where King Charles himself hosted an event before embarking on a trip to Africa. Such high-profile exposure would have been challenging to achieve independently.”
Osunde also spoke about the exposure that comes with showcasing at the event. “In addition to these prestigious placements, EKI SILK has gained international media coverage in top-tier publications, including Vogue, Harper’s Bazaar, and the Financial Times.” She has been able to sustain her brand by relying on Lagos Fashion Week to do the heavy lifting when it comes to marketing.
Juilet Olanipekun of LFJ, who debuted at Lagos Fashion Week in 2023, believes that the exposure from the event is unprecedented. “Lagos Fashion Week has been pivotal for us,” she says. “The exposure and media attention have introduced our work to a global audience, and the platform has connected us with buyers, editors, and fashion enthusiasts worldwide. It has not only helped us grow our customer base but also strengthened our connections within the industry, leading to incredible partnerships and collaborations.”
Founder of Dust Of The Earth, Temetan Omolabake, made her debut as a finalist for Lagos Fashion Week’s Green Access Programme in 2023. This year, she returned to its runway as an emerging designer. For her, this was mind-blowing. “Looking back, the experience felt surreal, as though I was still lost in a fantasy world, watching my creation stride confidently down the runway.”
The Green Access Program is a joint initiative by Lagos Fashion Week and Style House Files to promote sustainable fashion. It supports young designers by providing resources and training to focus on eco-friendly practices like using sustainable materials, reducing waste, and creating long-lasting designs.
Akerele has set up products like Woven Threads, Green Access Programme, and XRetail to find and harness the next big brand. This year, she partnered with the global talent incubator Qaisimi Rising to boost newer designers in Nigeria. She has also held several advisory positions at Industrie Africa and Jendaya, and has been an advisor to the MoMA, the Victoria & Albert Museum, the UN, the British Fashion Council and the State of Fashion Netherlands. She takes care of the larger business propels designers to where they need to be.
In the last few years, the Nigerian fashion industry has seen an array of highlights, with 2024 being a banner year for Nigerian fashion, with several groundbreaking achievements. Designers Tolu Coker, Priya Ahluwalia, and Torishéju Dumi graced the cover of British Vogue, a significant milestone for African representation in global fashion, while Tokyo James made waves by taking over Milan Fashion Week, showcasing his designs on the international stage.
Banke Kuku, a visionary designer, captivated audiences with her ocean-themed fashion show, a stunning collaboration with renowned brands like Mikano Motors, MAC Cosmetics, and Moët & Chandon. Her talent earned her a spot in Moët & Chandon’s prestigious cross-cultural exchange program, making her the first African brand to collaborate with the luxury house.
The momentum of extravagant shows began with ATAFO hosting a high-quality fashion show at Eko Hotel, showing the rising standards of Nigerian fashion production. Additionally, popular Nigerian artists Ayra Starr, Victony, and BNXN graced the cover of Teen Vogue, wearing designs by esteemed Nigerian brands like Fruche, Lisa Folawiyo, and Abiola Olusola, further elevating the visibility of Nigerian fashion on the global stage. The worldwide recognition of Nigerian fashion was further solidified by the inclusion of African fashion in prestigious exhibitions. The Brooklyn Museum showcased Africa Fashion from June 23 to October 22, 2023, while the V&A South Kensington hosted the Africa Fashion exhibition from July 2, 2022, to April 16, 2023. These highlighted the rich heritage, innovation, and diversity of African fashion, attracting international attention.
Nigerian fashion’s journey to global prominence is also marked by the recognition of talented designers like Kenneth Ize, who was listed by Vogue editor-in-chief Anna Wintour as one of the exciting young designers to watch. These achievements collectively demonstrate the growing influence and impact of Nigerian fashion on the global stage.
Lagos Fashion Week has undeniably played a pivotal role in shaping the trajectory of Nigerian fashion. By providing a platform for both established and emerging designers, the event has catalysed the industry’s growth and international recognition.
As the fashion industry continues to evolve, Lagos Fashion Week remains a driving force, fostering innovation, creativity, and sustainable practices. By nurturing talent, connecting designers with global opportunities, and promoting African culture, the event has secured its place as a leading force in the global fashion landscape. In 13 years, Akerele’s brainchild has transformed the fashion industry and for the first time, we can proudly answer, “Yes, we are attracting the money.”
Celebrating 15 of the most iconic trailblazers, pushing boundaries and transforming culture across West...
In spite of stifling government policies and harsh economic realities, creators across West Africa remain dogged in pushing the envelope of culture, expanding and reimagining experiences for African youth, both locally and globally. Celebrating these creators who keep pushing the boundaries of culture is not only essential to acknowledging the present but also to forging a future that honors the innovation and rippling influence of culture changemakers.
The third installment of THE BLACKLIST, in collaboration with our friends at GUAP Magazine is an initiative set out to celebrate the remarkable individuals who are not only defining but actively transforming West African culture. By giving them their flowers in real time, THE BLACKLIST ensures these trailblazers receive the recognition they deserve, amplifying their contributions and inspiring the next generation of creatives and visionaries. This list underscores the importance of honoring culture-shapers while they’re making history, not just in retrospect.
This year, we highlight 15 of the most iconic voices propelling West African culture to new heights. From groundbreaking visual artists to visionary thinkers and creators, these individuals are crafting a legacy of empowerment, resilience, and innovation.
ABIODUN
Abiodun Oladokun is a multifaceted individual, excelling as a crypto research analyst, lawyer, and DJ. He is the founder of ILÉ IJÓ, a monthly house music rave that operates under the brand name MELT. He has gained recognition in the vibrant Lagos and Ibadan rave scene. In just a short span, he has performed at top-tier raves and cultivated a loyal following for ILÉ IJÓ, with returning attendance growing from a few hundred to over a thousand.
Abiodun is not just a talented DJ but also a catalyst for change. With initiatives like ILÉ IJÓ’s ByUSB program, he provides a launchpad for emerging DJs and cultivates a thriving multi-state rave culture that captivates music lovers in Lagos and Ibadan. Beyond the local scene, Abiodun is a virtual resident DJ at Oroko Radio, a prominent Ghanaian music community platform. He also holds residencies at Redlightfashionroom, an elite community of EDM and House Music enthusiasts in Ibadan.
ANIKO
Aniko is a leading electronic music DJ and Founder of Group Therapy, an electronic music event and community in Nigeria which has quickly become a staple in Lagos’ underground nightlife, known for its high-energy parties and top-tier lineups. Known for her dynamic sets, blending afro house, deep house, techno, and progressive beats, her intricate layering, seamless transitions, and ability to connect with audiences have made her a standout figure in Nigeria’s dance music scene and beyond.
Aniko’s influence extends far beyond Nigeria, making waves across the globe with performances that are consistently hailed as some of the best in the space. Her contributions continue to shape the industry, inspiring both peers and fans alike with her dedication, talent, and passion for electronic music. Aniko’s talent has seen her performing prestigious stages and platforms across the world including HOR Berlin, Boiler Room, Homecoming, Nyege Nyege Festival, and many more.
ASHERKINE
Asherkine’s rise from a grassroots content creator to one of Nigeria’s most beloved figures in entertainment is a tale of vision, hustle, and an unmistakable knack for turning ordinary moments into captivating, unforgettable experiences. Originally finding his footing behind the camera, Asherkine first gained widespread attention when he directed the visuals for Asake’s breakout anthem, “Omo Ope.” But while “Omo Ope” thrust him into the spotlight, Asherkine quickly evolved beyond the role of a director, transforming himself into a one-man powerhouse of generosity and social impact.
In the years following his viral success, Asherkine has become something of a phenomenon, often compared to the American YouTube star, Mr Beast, for his seemingly boundless generosity. Whether handing out cash to struggling market vendors or supplying students with essentials, Asherkine redefines what it means to be a creator in Nigeria, bridging the gap between social media stardom and genuine community outreach. His giveaways aren’t simply about social media virality but are rooted in a deep-seated belief in uplifting his fellow citizens. Asherkine’s journey is a reminder of the evolving power of Nigeria’s creative scene — not just to entertain, but to impact lives directly, leaving an indelible mark on the communities that shaped him
AYANFE OLARINDE
Ayanfe Olarinde is redefining contemporary Nigerian art, carving out a space for herself in a scene she has thoroughly transformed with her layered, evocative creations. Known for her intricate scribbling technique and bold exploration of Nigeria’s social realities, Olarinde’s work has not only shaped the visual identity of a generation of artists but also elevated the
conversation around everyday Nigerian life. Self-taught and driven by a fierce commitment to documenting cultural truths, Olarinde blends mixed media, including ink, acrylics, and found objects, to construct textured pieces that speak to self-image, mental health, and identity formation. Her work often doubles as a critique of contemporary society, using imperfections and layered images to question the constructs of beauty, acceptance, and collective memory.
Olarinde’s accolades speak to her growing influence. She’s exhibited at landmark galleries like SMO Contemporary Arts and Rele Gallery, won the First Bank Magic 125 Creative Contest in 2019, and stood as the only Nigerian recognized at the AWIEF Prize for Creativity Award in South Africa in 2020. Her celebrated series “Dem Bobo,” a visually rich commentary on the ironies of urban life, has been featured by CNN, Vogue, and RADR Africa, reinforcing her reputation as one of Nigeria’s most gifted contemporary artists. Last year, Olarinde made waves as the artist behind the cover art for Asake’s celebrated Work of Art album, and she founded the fashion-forward streetwear brand, WWYD. Currently a mentee at The Nlele Institute and director of Unearthical, where she delves into fine art and fashion photography, Olarinde continues to stretch the boundaries of her medium, solidifying her place as one of the most compelling voices in Nigerian art today.
BRYAN IBEH
Bryan Ibeh (He/they) is a 22-year-old Nigerian-born and Lagos-based filmmaker and multidisciplinary creative working mainly as a director, photographer, producer, and editor. Currently in his final year at the University of Lagos, pursuing a Bachelor’s degree in Mass Communication, Ibeh has established himself as a talented filmmaker, photographer, producer, and creative director. His career as a creative began in 2018, experimenting with alternative-style short films, music videos, and images that showcased his unique visual perspective.
Ibeh’s portfolio includes notable collaborations with Lady Donli, Solis4evr, 808vic, Fave, Bloody Civilian, and others, as well as production credits for Adidas, MAC Cosmetics, DAZED, and SHOWstudio. He exhibited his experimental films at EXPO Lagos in 2021 and co-directed the experimental short fashion film “We Are Looking For Ourselves In Each Other,” which premiered exclusively on Nataal Media in 2022. His latest film, “Nowhere is Safe To Be,” a music film for contemporary artist Yinminu, tackles themes of trauma, bullying, and resilience, reflecting Bryan’s commitment to exploring complex social issues through innovative storytelling.
CHINASA ANUKAM
Chinasa Anukam is an award-winning writer, actor, stand-up comic, & digital content creator. Her first degree is in Law from the University of Bristol, UK. She has subsequently studied acting and improv comedy in the U.K & U.S. She has performed on global stages in cities ranging from New York and London to Abuja & Lagos.
She currently produces, directs and hosts the hit Youtube show, “Is this Seat Taken” which has been widely received and viewed in 120 countries with combined views of 8.5 million across 4 seasons. Additionally, ITST is currently airing on television in 42 countries via the Trace Africa TV network. Outside of work, Chinasa is passionate about travel, dancing, pounded yam, young Africans, women’s rights and telling stories. It is one of her deepest hopes that her career is a testimony of possibility to young Africans, young Nigerians, Nigerian women & black women, that we can take up space anywhere as long as we put in the work and believe.
EKOW BARNES
Ekow Barnes is a distinguished fashion writer, producer and creative strategist, with an impressive portfolio of clients across the continent and beyond. He specializes in fashion writing, creative production, and consultancy with several commissions in Ghana and England. Ekow has worked with brands such as Puma, New Balance, Mercedes-Benz, Emirates, Burberry, Spotify, Qatar Airways, Adidas, WSGN, Vogue, i-D , Ebony, GQ , Guardian and more.Ekow holds a degree in Mass Communication from BlueCrest University (Public Relations Major) in Accra, Ghana.
Ekow is the Co-Founder and serves as Chief Creative Officer of Will and Barnes Group; a creative production and talent management agency based in Accra, supporting creatives and sharing inspirational, thought-provoking narrative and audio-visual stories across the globe. Ekow is passionate about promoting emerging talents and showcasing their works to the world. He contributes to Vogue Italia, Guardian, and GQ South Africa as a writer on sustainable fashion stories with 30+ bylines in notable publications including (but not limited to) Glamour, Ebony, Essence, CNN.
ELSIE AHACHI
Elsie Ahachi, also known as “Elsie not Elise,” is a dedicated music enthusiast who’s turned her love for music and storytelling into a full-time passion. Starting out in 2022 with TikTok videos diving into the music she enjoyed, Elsie quickly built a following of people who resonate with her eye for talent and knack for finding artists who deserve more shine. Now, through her engaging
content and platform, Elsie spotlights emerging voices, creating a space where artists can share their work and stories without the usual industry pressures.
What began as sharing the music she loves has evolved into a multifaceted approach that includes artist interviews, documentaries, and storytelling that dives deeper into the creative processes of musicians. She’s also built a thriving community of music lovers across social media, connecting fans and artists over a shared passion for good music.
FEYIKEMI AKIN-BANKOLE
Feyikemi Akin-Bankole is a Business Management graduate from the University of Warwick and the co-host of F&S Uncensored, a leading Nigerian podcast that has transformed music discourse in the country. With over 200 episodes, F&S Uncensored has become an essential voice in Afrobeats, driving conversations that shape and amplify Nigerian and African pop culture. A lifelong
music enthusiast, Feyikemi has always been drawn to the Nigerian entertainment scene, particularly the vibrant Afrobeats landscape.
Upon returning to Lagos in 2019, Feyikemi began her career as an A&R at Aristokrat Records, later becoming Head of Music at Bounce Networks. She now brings her expertise to Spotify Sub-Saharan Africa as a PR & Communications Executive. In her role, she leads the VIP program for SSA and acts as a central liaison between Spotify and its creative agency, skillfully managing talent relations and campaign strategies. Feyikemi’s dedication to fostering talent in Africa’s music ecosystem makes her a crucial player in elevating African pop culture on the global stage. With her forward-looking vision and impact-driven approach, she is committed to empowering the next generation of artists and creators, championing African music and culture far beyond its borders.
JEMEDAFE CALEB UKOLI
At just 24, Caleb Jemedafe, known across Lagos as the “Party Boy of Lagos,” is transforming Africa’s creative scene with a vision that reaches far beyond parties. Starting from his university dorm room, Jemedafe has spent years championing young African talent, guiding emerging artists to global recognition and multi-million-dollar deals. His journey began with a knack for spotting potential, fueled by a Mechanical Engineering background from Landmark University that offered him dynamic knowledge to navigate the business landscape. At 18, he launched “Let’s Relate,” a groundbreaking festival that blended music and sports, drawing over 20,000 young Africans and capturing the attention of top brands like Hennessy, Ballantine’s, Coca-Cola, and TRACE and attracting performers like Rema. This early success led him to found KVLT, a multifaceted creative cloud and talent accelerator that has fueled the rise of talents such as Victony, Llona, Abstraktt, and DJ Six7even. KVLT isn’t just a company—it’s a thriving community of creative enthusiasts who together represent a new wave in African entertainment.
But his influence doesn’t stop there. Through his flagship event series, Even in the Day, Jemedafe is at the forefront of the reimagination of Africa’s party culture, producing 23 high-energy events across West and South Africa and attracting over 50,000 attendees. Featuring internationally renowned DJs like Tyler ICU and DJ Spinall, the series has become a platform for showcasing Africa’s best DJ talent, creating unforgettable experiences for thousands across various nationalities. Driven by a mission to build a global Afro-creative community, Jemedafe is not just rewriting Africa’s entertainment narrative—he’s building an inclusive, opportunity-filled world where young African creatives can thrive. His journey is a testament to vision, resilience, and the power of community.
LAYI WASABI
Layi Wasabi, whose real name is Isaac Ayomide Olayiwola, is a Nigerian comedian, actor, content creator, and lawyer who is best known for his unique style of comedy, often portraying a comical lawyer in his skits. Layi knew that comedy would be his vehicle to connect with audiences and share his unique perspective on life. Armed with a smartphone and a creative spark, Layi ventured into the world of skit-making, using social media as his stage and a canvas for his imaginative sketches.His infectious energy and relatable characters quickly caught the attention of viewers, propelling him into the spotlight of Nigeria’s vibrant comedy scene. His signature style—lively expressions, clever dialogues, and a knack for memorable quips—resonates with fans across generations, turning his social media platforms into a hub for laughter and joy.
Layi Wasabi is more than just a comedian; he’s a storyteller at heart, weaving narratives that reflect the complexities of life in Nigeria. Whether tackling societal issues or simply celebrating the quirks of daily living, he approaches each skit with authenticity and a keen sense of observation. As he continues to push boundaries and explore new creative avenues, Layi remains committed to his roots, reminding us all that laughter is not just entertainment—it’s a powerful tool for connection and understanding. With his sights set on even greater heights, the world truly is his oyster, and Layi is just getting started.
ORRY SHENJOBI
Orry Shenjobi is a British-Nigerian multidisciplinary artist and Creative Director of Studio ORRY, based in London. Her work crosses boundaries, merging techniques and materials to create immersive art that delves into identity, culture, and social narratives. Shenjobi’s dedication to sustainability plays a central role in her practice, with her studio maintaining a zero-waste policy and a strong commitment to upcycling, reflecting her belief in the transformative power of art as a vehicle for social change. In 2024, Shenjobi showcased her solo exhibition A Wà ńbè: A Celebration of Community and Culture at the Venice Biennale, as part of the “Foreigners Everywhere” series curated by Usen Esiet at the European Cultural Centre in Venice, Italy. This milestone affirmed her position as an artist focused on exploring the importance of community and cultural identity.
Shenjobi holds a degree in Product Design from the University of Leeds and an MA in Social Innovation and Sustainable Futures from UAL, blending creative practice with a deep sense of social responsibility. Her mixed media paintings and product design expertise form the foundation of her practice, while her personal background – born in London and raised in Lagos – brings a vibrant duality to her work. This cultural interplay heightens her sensitivity to diverse social experiences, which she translates into her art.In addition to her own work, Shenjobi is committed to artist development through her program, the Laho Initiative, which supports emerging artists in realizing their potential.
PITH AFRICA
Pith Africa founded in 2021 by Adedayo Laketu, Cosmas Ojemen and Nnaemeka Anazodo, began with a goal: to create a brand that resonates with the vibrant spirit of African youth, celebrating creativity and innovation through fashion, narratives and curated experiences that highlight a new age. Founded in Lagos, Nigeria, Pith Africa was born from a desire to reshape global perceptions of African fashion by creating a brand that tells authentic African stories through bold, expressive designs. From the outset, our mission has been clear: to build a brand that doesn’t just create fashion but fosters a cultural dialogue that resonates locally and globally.
At the heart of Pith Africa’s identity is a deep connection to our community. Our brand draws inspiration from the vibrant streets of Lagos—the energy, the pace, the culture. Pith Africa sees fashion as more than clothing; it’s a canvas for storytelling, a medium to amplify the voices, dreams, and experiences of a new age of Africans. Each collection is a celebration of diversity, innovation, and community, encapsulating the combined dreams of us all while challenging conventional narratives of African fashion and creativity. PITH Africa’s aim is to position African streetwear/fashion on the global stage, proving that our designs can compete with—and redefine—the standards of global fashion. Pith Africa is not just a brand; it’s a platform for celebrating African excellence, creativity, and resilience.
TOLU OYE
Tolu Oye is a visionary entrepreneur and creative force with a passion for celebrating Nigerian culture and heritage. She founded Meji Meji, a fashion brand inspired by a love for community and culture during the pandemic. Over the years, she has established Meji Meji as a platform to connect people through fashion, art, and storytelling. Known for innovative designs that blend nostalgia with modern aesthetics, Tolu has created collections like the Midnight Snack Collection, paying homage to Nigerian sweets and snacks, and “Sisi Ologe,” which reimagines classic hairstyles in extravagant, expressive ways to honour hair as an essential to our identity.
Meji Meji has become a beloved brand for its authenticity as Tolu’s vision and creativity never fails to invoke memories while committing to the preservation of the Nigerian identity across all her projects.
TUNDE ONAKOYA
Tunde Onakoya is a dreamer, social reformer, and Nigerian National Chess master. In 2018, he founded Chess in Slums Africa, a non-profit organization that uses the game of chess as a framework to give children in impoverished communities access to education, technology, and mentorship.The impact of this initiative has reached far beyond the borders of Nigeria, with stories of transformation featured on global media platforms like BBC, Al-Jazeera, and Deutsche Welle. Over 10,000 children’s lives have been touched, with 500 receiving fully funded scholarships to local and international institutions.
Tunde Onakoya actively engages in games of chess with fellow thought leaders, fostering connections that have the potential to amplify the impact of Chess in Slums Africa globally. His ability to articulate the mission and vision of his organization constantly garners attention and admiration, reinforcing the organization’s commitment to making chess an agent of change. Onakoya’s efforts have earned him numerous accolades, including The Future Awards Africa Prize for Community Action in 2021, the Business Insider Award for Social Entrepreneur of the Year in 2022, the JCI Ten Outstanding Young Persons of Nigeria Award for Contribution to Children, World Peace, and/or Human Rights in 2022, the Trendupp Award for Force of Social Good in 2022, Leadership newspaper Humanitarian of the year and the Royal African Award in 2022. Tunde Onakoya continues to be a beacon of inspiration, not just within the realm of chess but in the broader context of using strategic thinking to shape a better world for all.