Yinka Olatunbosun

The Young Leaders for Arts & Health Ireland Summit, held from 4–5 September 4th to 5th at RCSI University of Medicine and Health Sciences and the Irish Museum of Modern Art (IMMA), concluded with resounding success. The summit saw a convergence of emerging leaders, global experts, and cultural institutions committed to transforming public health through creativity.

Co-produced by RCSI, Global Arts in Medicine Fellowship, IMMA, Arts in Health Ireland, Réalta and Trinity College Dublin, the two-day summit showcased youth-led innovation and explored how the arts can reshape health systems, amplify community voices, and drive policy change across Ireland and beyond.

Speaking at the Summit, Dr. Niall Muldoon, Ireland’s Ombudsman for Children and Clinical and Counselling Psychologist, said: “It’s time for the government and state in general to take a look at the biopsychosocial creative movement to recognise that people’s health, people’s medicine, is not just about drugs and surgery. There’s much more to the holistic person to be cared for. The movement to a biopsychosocial creative medical system would be to everybody’s advancement.”

The opening day at RCSI featured keynote presentations, expert panels, performances, and parallel plenary sessions addressing climate grief, neurodiversity, cultural spaces, and youth mental health. Delegates engaged with leading voices including Dr. Michael Daly, whose pioneering work at the intersection of cardiology, medical humanities, and immersive learning is an asset to humanity.

The Experts Panel assembled policymakers, researchers, and cultural practitioners who examined how evidence-based creative practices are influencing policy, shifting public narratives, and transforming support systems for young people.

In his speech, Dr. Kunle Adewale, Founder and Executive Director, Young Leaders for Arts and Health, remarked: “We need to translate government policies into actionable steps that support youth mental health and wellbeing through cross-sector and interdisciplinary collaborations.

“When young people lead with imagination and purpose, health and hope become possible. Their creativity lights the path toward a world where art is not only expression, but transformation, where every voice contributes to building a more compassionate, resilient, and thriving society.”

Dr. Trudy Meehan, Lecturer and Researcher at the Center for Positive Health Sciences, RCSI University of Medicine and Health Sciences, reiterated the value of the summit in highlighting the way the arts can create safe spaces for young people and open pathways to participation.

“The summit opened a space for neurodivergent people’s lived experience to be valued and heard. Not only our lived experience, but our actual whole selves were supported to be in the space in an authentic way without pressure to mask or perform to neurotypical norms. It was a beautiful way to be ‘Divergently Together’.”

One of the highlights of the day was the activation of the Young Leaders Design Lab, a flagship global creative health innovation programme. It is designed to empower young people with the knowledge, expertise, skills, tools, mentorship, and collaborative platforms needed to design arts-based solutions for mental health and community wellbeing.

The Young Leaders Design Lab is purpose-built to generate scalable, high-impact prototypes that respond to pressing health and social challenges, positioning youth as co-architects of transformative change.

The second-day at IMMA offered immersive workshops, performances, and cross-cultural exchanges, reinforcing the summit’s commitment to participatory practice and community-driven design.

Melissa Ndakengerwa, Equality, Diversity and Inclusion Executive, Public Engagement, Irish Museum of Modern Art, said: “What stood out to me at the YLAH Ireland Summit was its truly interdisciplinary design. We were able to bring artists, health practitioners, students,
museum professionals, and people from different arts organisations into one shared space.”

She stressed how the summit created a rare opportunity to hear different perspectives, exchange knowledge, and break down the barriers that often keep sectors apart.

In the same vein, Dr. Jennifer Donnelly, Postdoctoral Researcher, RCSI reflected on the summit.

“Watching the young leaders in the room, their energy, curiosity, and inspiration felt genuinely powerful. It reminded me why this kind of cross-sector gathering matters. It’s inspiring to see so many young people doing amazing initiatives in this space and creating some incredible work that’s inspired me that I’m going to take forward into my research and hopefully we’ll just see ripples and more ideas and collaborations coming from events like these. Youth leadership is so important. Youth leadership is the way forward.”

The Young Leaders for Arts & Health initiative, launched in 2025 by Global Arts in Medicine Fellowship in collaboration with the Commonwealth Secretariat, Commonwealth Leadership Institute, and 100+ organisations across the world, has already reached over 300,000 people across 16 cities worldwide, demonstrating the global momentum behind creative health youth leadership.

The 2026 Ireland Summit stands as a landmark gathering celebrating youth leadership, strengthening cross-sector collaboration, and advancing a future where arts and health work together to build thriving, inclusive communities.

Yinka Olatunbosun

Building on the foundation laid by its inaugural gathering, the African International Film Festival (AIFF-S) Saskatchewan is gearing up for its anticipated 2026 edition in Regina from September 23 to 26. The festival will feature as its official selection ‘Mothers of Chibok,’ a documentary film by Emmy-winning filmmaker, Joel ‘Kachi Benson.

The movie follows four mothers as they embark on a quiet but extraordinary journey to rebuild their lives in Chibok, ten years after the abduction of some school girls. Over the course of a single farming season, these mothers work the land, provide for their families, with an unwavering determination to send their children to school with the hope of a better future.

The AIFF continues to expand its mandate as a major cultural bridge, positioning Saskatchewan as a vital hub for African, Afro-diasporic, and Black Canadian cinema.

The upcoming iteration aims to deepen connections between African filmmakers and Prairie creative ecosystems through expanded programming, industry forums, and community engagements:

The 2026 lineup includes short films, and investigative documentaries from across the African continent and diaspora, with dedicated slates highlighting West and East African indie cinema.

Partnering again with academic institutions like La Cité at the University of Regina, the festival will host symposia focused on cinematic archive preservation, diaspora storytelling, and the global reach of African pop culture and media.

Designed to bridge local and international talent, workshops will connect emerging Saskatchewan filmmakers with visiting directors, producers, and distributors to explore cross-continental co-productions.

For the organisers, the previous edition marked the beginning of a commitment to uncover compelling and thought-provoking African cinema of the twenty-first century.

“This year, we build upon that foundation with a curated selection of features, documentaries, and short films that speak directly to our 2026 theme: “African Lens: Reflections, Resistances and Revolutions.”
At a time when stories shape understanding, it is both imperative and timely to bring to Saskatchewan the voices of some of the most distinguished African filmmakers in the world.

“We extend our sincere gratitude to our sponsors and partners for their steadfast support, to our audiences for embracing this vision, and to our dedicated volunteers whose tireless efforts have made this edition possible,” Babatunde and Julianah Onikoyi, Co-Founders AIFF-S.

As the African diaspora in Western Canada continues to grow, AIFF Saskatchewan offers a dedicated platform where universal themes—identity, history, resilience, and belonging—are explored through an authentic African lens. The 2026 edition promises to further establish the Prairies as an essential stop on the international African film festival circuit.

Yinka Olatunbosun

The crime fiction, Flaming Ice is anchored on a typical slow-burn story, with pulsating suspense and romance that keep the reader curious till the last page. Set in Onyx, a fictional African country where a form of Aristocracy is being practised, the author Oluseyi Fagbuyiro with the pen name Oluseyi Albert prepares a low-heat romance between Ava Woods and Lord Clay Aster, who would look later develop friendship across front lines. A powerful tale of courage and leadership, the conflict in Onyx rests in power dynamic, lingering classicism and romantic rivalry which collectively unfold through a series of isolated yet related incidents.

Clay, also known as Lord Aster, is an aristocrat serving with the Upper arm of the parliament. His encounter with the brown-skinned structural engineer, Ava solidifies his perspective on how building projects can be used to erase existing structures of class and biases in Onyx. Clay belongs to the class of forward-thinking nobles called the New Order that want to create equity in a country where everyone is made to feel seen, valued and respected. His character speaks strongly to modern-day leadership rooted in humanity. The author, on her part, positions Flaming Ice within the framework of UN Sustainable Development goals with its thematic engagement with leadership, sustainability, inequality, inclusion and social justice in the suspenseful storytelling.

In Flaming Ice exists a multi-layered conflict reinforced by crime, misplaced passion and class war. Flora’s vicious attack on Ava over Clay echoes the earlier sentiment of some associates of Ava who had warned her of any romantic ties with Clay. The latter’s display of resilience in love shows in his introspection as well as determination to work through a series of allegations against Ava and her mother in the wake of a sudden disappearance of Ava’s construction team members.

Suspense is meticulously situated on a framework of frightening incidents: An unknown caller. Cryptic Messages. Missing Individuals. Threats. The author allows the dialogue to fully develop as the detectives solve the puzzle behind the abduction of construction workers.

In delivering a storytelling that spotlights worsening ecological degradation, poverty, oppression and discrimination, the author tilts the mirror to reflect the verisimilitude of the characterisations as well as the scenarios. The media hounding of Ava will resonate with the readers in various parts of the world where public opinion is shaped by the powerful. Nudged by the desire to change lives for the better, Ava and Clay form an alliance that runs deeper than shared civic duty- a love for humanity. In the midst of the chaos, the author creates a juxtaposition between Clay’s masculine show of strength and Ava’s impermeable mask of vulnerability to create a yearning in the reader for a fairytale ending.

In an almost cinematic pace, Albert unfurls the plot using quick-witted dialogue with occasional use of African languages such as Hausa and Swahili. Language becomes Albert’s double-edged tool of character delineation showing the cultural difference between Clay and Ava while leveling the intellectual strengths of both characters.

Albert is mindful of reinforcing femininity through Ava. Instead of hypersexualising her as most romance novelists do, the writer breaks down the complexity of her professional life in simple, understandable English and dialogue laden with a running stream of sarcasm and swift clap backs.

Through the character of Clay, the author recreates the dignity in modern dating culture in a largely non-conforming world. Most conservatives still approach romantic relationships within the work dynamics with much…

Yinka Olatunbosun

Kayvee Microfinance Bank Limited has announced its financial statement for the year ended December 31, 2025, reporting profit before tax (PBT) of ₦1.01 billion, up from ₦371 million in 2024. This profitability growth reflects the bank’s expanding business operations and improved efficiency.
Interest income increased to ₦3.10 billion, from ₦954.8 million in the prior year, while profit after tax (PAT) climbed to ₦687.8 million, compared to ₦227.9 million in 2024, underscoring the bank’s strengthened profitability.
The bank’s balance sheet expanded significantly during the period. Total assets increased to ₦12.45 billion in 2025, from ₦6.65 billion reported in 2024, and customer deposits rose from ₦5.25 billion in 2024 to ₦10.01 billion at the close of the 2025 financial year, underscoring growing customer confidence in the institution’s stability and services. Loans to customers expanded to ₦5.87 billion, up from ₦3.27 billion in 2024, highlighting the Bank’s commitment to its microfinance mandate.

The Managing Director of the Bank, Mrs. Olatoun Ogunnaike, noted that the Bank’s 2025 results reflect sustained growth in profitability, with both PBT and PAT exceeding 160% growth. She emphasized that the growth in interest income reflects loan expansion and improved performance, adding that the Bank is well positioned to consolidate its gains in 2026.
The Chairman of the Bank, Mr. Adebayo Ibileke, remarked that the relocation of the Bank’s Head Office to the former Ecobank building in Arena Market, Oshodi, Lagos, was one of the highlights of the financial period. He explained that this decision reflects the Bank’s commitment to accommodating more customers and its dedication to serving them in a befitting environment, while ensuring customer transaction needs are fully met.

Commenting on the Bank’s performance, Mr. Ayoku Liadi, a Non-Executive Director, emphasized the institution’s growth trajectory under the leadership of the management team appointed in 2023. He noted that the Bank surpassed the ₦1 billion profitability milestone within just three years, rising from a profit of ₦61 million in 2023. “This achievement stands as a clear testament to the dedication and enhanced productivity of our people, who remain committed to continually raising the bar of performance excellence in the microfinance segment.”

Mr. Liadi emphasized that this achievement reflects the bank’s strategic leadership, resilience, operational efficiency, and commitment to sustainable growth. He further noted that the bank’s strong performance positions it to expand its footprint and strengthen its role in Nigeria’s microfinance sector.

Yinka Olatunbosun

The air inside the Shell Zenith Hall at the MUSON Centre, Onikan Lagos buzzed with an electric energy that only literature and lived experience can brew. Outside, the Lagos sun was aglow. Inside, the auditorium lights were dimmed to heighten the effect of the warm glow of the stage lights where eleven distinct poetic voices were articulated to transform ink on paper into a living, breathing symphony.

It was the 17th CORA-NPL Book Party, an annual literary feast hosted by the Committee for Relevant Art (CORA) in partnership with Nigeria LNG Limited (NLNG). The gathering was designed with a simple yet radical purpose: to bring books off the cold shelf and thrust them directly into public conversation. From a fierce field of 223 submissions vying for the $100,000 Nigeria Prize for Literature, eleven poetry collections had emerged on the prestigious 2026 longlist. On this Sunday afternoon, writers, critics, students, and cultural enthusiasts gathered to celebrate the power of the written word.

A convergence of people who value the craft and power of words as well as the economy of language made the book party an elite item on the culture calendar. As the audience settled, the atmosphere felt less like a stiff literary reading and more like a family reunion of masters and trailblazers. A quiet buzz swept through the hall as literary veterans Tanure Ojaide and Ogaga Ifowodo took their places, marking a dramatic reunion nine years after their near-miss for the same prize. Ojaide’s collection, Adult Love, offered tender, reflective windows into the childhood memories that shape mature values, while Ifowodo’s fierce, probing Why Does God Need a Gun? confronted contemporary power dynamics with unmistakable weight.

When the readings began, the stage became a canvas of sprawling African realities, displacement, memory, and spiritual reclamation.

One by one, the poets—some joining physically under the Lagos lights, others beaming virtually across time zones—gifted the audience snippets of their craft. Paul Akpomuje’s Black Passport and Ajibola Tolase’s 2000 Blacks struck deeply emotional chords, mapping the anxieties, political motivations, and spiritual costs of modern African migration. Saddiq Dzukogi took the microphone to share stanzas from Bakandamiya: An Elegy, a sweeping epic poem that reimagines the ancient legend of Bayajidda to mourn lost horizons.

The room grew quiet as the elegiac tones of Rasaq Malik Gbolahan’s The Origin of Wounds and Adedayo Agarau’s The Years of Blood echoed through the speakers, delving fearlessly into historical conflicts, Yoruba cosmology, and the tragic price of human violence. Yet, amidst the weight of history, there was profound healing. Theresa Lola’s Ceremony for the Nameless explored the sacred dignity of naming and belonging, while Ayo Oyeku’s Corpus: Animistic Verses invited listeners into a lyrical realm where nature and spirit collide. Tares Oburumu brought the ecology of the Niger Delta into sharp focus with Floral’s Love Colony, confronting resource exploitation through intimate verse, while James Ugwu Eze’s Unbind Me Now resonated as a passionate cry for personal and collective liberation.

In her address, Sophia Horsfall of NLNG noted that while the company produces energy to power homes, literature provides the energy that powers hope and critical thought across generations. CORA Secretary-General Toyin Akinosho reminded everyone that the Book Party exists to ensure books are not merely announced on a podium, but read, dissected, challenged, and loved.

As the afternoon dissolved into vibrant panel debates, musical performances, and clinking glasses, the competition faded into the background. Though only one author would ultimately walk away with the grand prize in October, the party proved that Nigerian poetry was already the undisputed victor. Eleven poets had given voice to the nation’s griefs, dreams, and endurance—leaving an indelible mark on everyone in the room.

Yinka Olatunbosun

In commemoration of the 92nd posthumous birthday of the patriarch of modern Nigeria art and scholar, Prof. Yusuf Grillo (1934-2021), a tribute exhibition to honour and reflect on the enduring influence of one of Africa’s most distinguished modern artists, educators and cultural visionaries is set to hold from October 24 to December 16.

Titled “Lineage of Masters II: Continuity, and Contemporary Expression,” the show encourages dialogue between the past and the present. The participating artists have been selected because their practices reflect varying degrees of engagement with Grillo’s legacy. Some of them were directly taught, mentored or inspired by him. Others have encountered his influence through institutional histories, artistic traditions, cultural narratives or the broader evolution of contemporary African art. Collectively, their works celebrate legacies that transcend generations, geographies, mediums and ideologies.

Rather than presenting homage alone, this exhibition encourages dialogues between the past and the present. The show is a site of memory, reflection and creative continuity. By celebrating artistic inheritance, this show is an affirmation that great ideas do not end with the lives of those who conceive them.

According to Mrs. Morayo Grillo-Anthonio, every artist was selected on merit.

“We hope this platform will become more than a commemorative gathering. It is intended to provide a meeting point for ideas, collaboration, research, exhibitions, documentations and further communication as we collectively consider how best to preserve, interpret and advance the legacy of Yusuf Grillo for present and future generations.”

The show which runs from October 24 to December 21 will feature works from the following artists: Yusuf Grillo, T. A. Fasuyi, Bruce Onabrakpeya, Jerome Elaiho, Kolade Oshinowo, Dele Jegede, B.A. Aina, Abiodun Olaku, Ade Ogundimu, Adeola Balogun, Ato Arinze, Ben Nwosa, Bunmi Babatunde, Dotun Adegbite, Duke Asidere, Edosa Ogiugo, Fidelis Odogwu, Hassan Aliyu, Jerry Buhari, Juliet Ezenwa, Kehinde Sanwo, Kunle Adeyemi, Lara Ige -Jacks, Lekan Onabanjo, Odun Orimolade, Olusegun Adejumo Sam Ebohon and Sam Ovraiti.
Hosted by Yusuf Grillo Museum, Ikeja this second edition of the tribute exhibition, Lineage of the Masters II: Continuity, and Contemporary Expression. The exhibition celebrates the enduring impact, artistic inheritance, and visual philosophy of the legendary Nigerian master artist, Professor Yusuf Adebayo Cameron Grillo.
Prof. Grillo was a pivotal figure in contemporary African art. A key member of the famous “Zaria Rebels” at the Nigerian College of Arts, Science and Technology in the late 1950s, Grillo helped champion the philosophy of Natural Synthesis—a blending of indigenous African traditions and modern Western techniques.
As the founding President of the Society of Nigerian Artists (SNA) and the long-serving Head of the Department of Art and Printing at Yaba College of Technology (Yabatech), Grillo nurtured generations of artists. His legacy lives on not only through his iconic blue-hued figurative paintings, stained glass, and public murals, but also through his former students and protégés who now lead the contemporary scene.

Yinka Olatunbosun

Super Eagles legend and 1994 Africa Cup of Nations winner Daniel Amokachi has officially joined the 22Bet family after being unveiled as the brand’s Pan-African Brand Ambassador.

The announcement was made at a press event held at the BON Hotel in GRA Ikeja, Lagos, attended by sports media executives, football stakeholders, and 22Bet brand representatives.

Speaking at the unveiling ceremony, Amokachi — affectionately known across the continent as “The Bull” — expressed his gratitude for the role and highlighted the mutual commitment to grassroots development and Corporate Social Responsibility (CSR) as key drivers behind his decision.

“Football gave me everything. It took a boy from Kaduna and gave him the world. Africa has incredible talent, and I want to support young players and football communities. This partnership is about giving back and telling African football stories — the real stories of hard work, sacrifice, and hope that too often go unheard,” Amokachi stated.

Amokachi revealed that discussions with 22Bet initiated during the Africa Cup of Nations (AFCON), noting that he aligned with the platform’s Pan-African focus. He emphasized that the collaboration is structured to deliver sustainable community projects rather than standard commercial endorsements.

Through this collaboration, 22Bet and Amokachi plan to roll out several community-focused initiatives across Nigeria and the wider African continent including grassroots scouting and coaching. By hosting football clinics and providing aspiring talent with access to equipment, structured mentorship, and professional scouting pathways, Amokachi hopes to change the narrative for young talent.

The partnership with 22Bet will unleash educational, sports, and social welfare programs tailored for underserved communities whilst advocating for discipline, physical fitness, personal development, and responsible participation in sports culture.

Welcoming Amokachi to the platform, 22Bet Nigeria Country Manager Fikayo Ogunfuye highlighted the icon’s enduring influence on African sport:

“Today is an important day for 22Bet Nigeria and for African football. We are proud to officially unveil Daniel Amokachi as 22Bet’s Pan-African Brand Ambassador. This partnership is not about short-term visibility — it is about purpose. Daniel joins
our pan-African sports platform to support football culture, local communities, and responsible engagement across Africa.”

“A man who carried the hopes of a nation, competed at the highest level, and continued to inspire generations long after hanging up his boots. This partnership is not about short-term visibility; it is about purpose. Daniel joins our Pan-African sports platform to support football culture, local communities, and responsible engagement across Africa.”

Echoing those sentiments, 22Bet Nigeria Director of Operations Oluwafemi Olobayo noted that Amokachi’s leadership and status will be central to expanding the company’s community impact alongside existing brand ambassadors, including Togo legend Emmanuel Adebayor and former Kenya captain Victor Wanyama.

Amokachi boasts one of the most decorated international and club careers in African football history. He was part of the dream team that won the 1994 AFCON as well as the 1996 Atlanta Olympic Gold Medalist.

He scored the first-ever goal in the modern UEFA Champions League format while playing for Club Brugge in 1992. Key contributor for Everton (winning the 1995 FA Cup) and Turkish giants Beşiktaş.

Yinka Olatunbosun

Introspective art gained the spotlight in July when One Art Gallery, Anthony Village, Lagos, hosted Reflection. The group exhibition assembled seven emerging artists exploring introspection, identity, memory, and the complexities of the human experience.

Curated by Olamide Faloore, the exhibition opened with a reception on Saturday, July 4, and concluded with a well-attended closing reception on Friday, July 17, attracting collectors, creatives, and culturally curious audiences who gathered to engage with the exhibition and its conversations.

Featuring works by Hycenth David, Oluwapelumi Fagbemi, Darlington Raymond, Moses Oyeleye, Wisdom Madunacho, Samuel Joseph, and Christopher Ohia, Reflection presented a compelling range of artistic voices working across painting, drawing, mixed media, and photography. Although diverse in material and visual language, the artists were united by a shared interest in examining the self in relation to broader cultural and social realities.

The Reflection exhibition encouraged contemplation with its thoughtful pieces and installations that allowed viewers to take their time with the work. Figurative works dissolved into symbolism, abstraction became a vehicle for conceptual storytelling, and familiar materials were employed in unexpected ways to deepen narrative possibilities. Throughout the exhibition, viewers were invited to spend time with each work, allowing meaning to unfold through sustained observation rather than immediate interpretation.

Among the participating artists, Darlington Raymond presented “The Weight of Tenderness” and “Resting between Thoughts”, among others. His emotionally charged figurative paintings explored tenderness, vulnerability, resilience, and the quiet emotional landscapes that exist within moments of intimacy and self-reflection. His works reflected on presence, care, and the quiet strength that emerges through stillness.

Christopher Ohia examined socio-political realities through expressive figurative paintings, using the human figure to share perspectives and interrogate the pressures of modern life while encouraging viewers to reflect critically on the socio-political issues affecting us today.

Through surreal compositions that combined oil paint and acrylic, Samuel Oluebubechukwu Joseph explored the relationship between cultural heritage and modern technology. His works, the Home Coming series, proposed new ways of understanding identity, coexistence, and the evolving dialogue between tradition and current innovations.

Working primarily in charcoal and graphite, Hycenth David presented a psychologically charged charcoal work of art that questioned systems, identity, spirituality, and societal expectations. His masterful charcoal work challenged viewers to move beyond surface appearances, using symbolic veils and layered realism to provoke reflection in post-colonial Africa.

Photography featured prominently through the works of Oluwapelumi Fagbemi and Wisdom Madunacho. Fagbemi’s poetic black-and-white images employed ballet as a metaphor for resilience, discipline, and the pursuit of balance amid life’s pressures, while Madunacho’s photographic body of work, Umu Ada, reflected on memory, valiance, migration, womanhood, and the enduring strength of Igbo cultural heritage.
Moses Oyeleye showcased works from his multimedia Ephemerality series, where flowers became metaphors for the fragility of human existence. Executed with his distinctive ballpoint pen technique, the fragmented compositions explored transformation, emotional resilience, and the fleeting nature of time.

Throughout its two-week run, Reflection created a contemplative environment where visitors engaged not only with individual artworks but also with broader conversations around introspection, belonging, memory, self-awareness, and the quiet vulnerabilities that shape human experience. The closing receptions further strengthened these exchanges, offering opportunities for audiences to meet the exhibiting artists and sit with the works and the thoughts they speak to.

Bringing these distinct artistic voices together under a unified vision, Reflection, One Art Gallery aimed at reaffirming its commitment to presenting thoughtful contemporary art that encourages dialogue, critical reflection, and meaningful engagement with its audience. The exhibition closed on July 17, leaving its city audience a reminder to slow down and take a look back at itself.

Yinka Olatunbosun

Sparks flew as the music propelled the dancers. At the evening of laughter and pure entertainment the Society for Performance Arts of Nigeria (SPAN) wrapped up its six month SPAN On The Road (SOTR) programme, dinner was served in style. Tagged “Beyond Boundaries,” the ceremony was a climax of a dance training programme organised by SPAN in partnership with Ford Foundation. The training aimed at reaching talented kids from underserved communities has been a tradition of SPAN for over two decades.

Held on July 14, at SPAN Space, Bourdillon, Ikoyi, the event celebrated the successful completion of a dance training initiative organised by SPAN in partnership with the Ford Foundation to discover and nurture underserved talented children and young people.

The performances left no doubt about the impact of the programme. Students who once had little or no formal dance training confidently performed salsa, jazz, urban fusion, hip-hop and Nigerian street dance. The showcase featured performances by SPAN on the Road students, scholarship beneficiaries and elite students of the SPAN Academy. A short documentary highlighting SPAN’s work, including its activities in Maiduguri, was screened at the event which featured an award presentation to Ford Foundation in appreciation for their support.

For SPAN’s Chief Operating Officer, Remi Jemitola, the evening was both a celebration and a moment of gratitude. Despite the absence of SPAN Founder Sarah Boulos from the event, Jemitola said the programme reflected the vision she had pursued for many years.

“What Ford did for us made it possible for us to spread our tentacles to Maiduguri. We are also in Omojuwa Estate behind Mile 12 Market. We couldn’t have achieved this without our instructors, especially our Director of Dance, Osejindu Victor Chize, who oversees the technical aspects of the programme and every member of the team.”

Describing the evening as “a profound milestone in SPAN’s journey to democratise performing arts education across Nigeria,” Jemitola said the SPAN on the Road initiative had grown from an ambitious idea into a life-changing programme.

The SPAN on the Road initiative was created to break geographical barriers by taking structured performing arts education, mentorship and life-skills training directly to talented young people living in underserved and remote communities.

The Regional Director of the Ford Foundation Office of West Africa, Dr. ChiChi Aniagolu, said supporting the initiative aligned with the foundation’s commitment to expanding opportunities for young people. Aniagolu stressed that Nigeria’s creative industry deserves the same level of investment as other professions.

“Not everybody is going to become a doctor, lawyer or engineer. Nigeria’s music and film industry has made the country proud across the world, yet we still do not have organised funding to nurture the next generation of artists and filmmakers. When SPAN approached us, we realised this was a gap we needed to fill.”

She added that the Foundation was particularly encouraged by SPAN’s decision to work in underserved communities and conflict-affected areas.

“They decided to go into underserved communities, even conflict zones like Maiduguri. That is something we want to continue supporting as long as resources are available.”

Perhaps the most powerful moments of the evening came from the young beneficiaries themselves, whose personal stories reflected the true impact of the programme.

One scholarship student said, “SPAN gave me the confidence to express myself boldly and finally believe in my own abilities.”

For the participant named Precious Abang, the programme opened a new world of possibilities. “SPAN found me. They have a unique way of teaching because they don’t focus on just one style. We learnt salsa, traditional dance, Latin dance, choreography and jazz. The tutors are patient and take time to teach every student,” she said.

The event was attended by the Ford Foundation team from United States office, including Vice President and Chief People Officer Diane Headly, Chief Administrative Officer Tanisha Dyall, Director of Global Property Management Richard Sayers, Global Director of Financial Accounting and Reporting Lorna Lewis, and Associate Counsel, Office of Legal Services, Danielle Vildostegui, underscoring the Foundation’s commitment to the initiative.

Yinka Olatunbosun

Ten years after sending global shockwaves through the art world with his mesmerising, water-drenched portraits of Nigerian youth, master hyperrealist Olumide Oresegun is making his highly anticipated return to the local stage. His landmark fourth solo exhibition, “Thread of Heritage – Cultural Weaving,” opens at the prestigious Mydrim Gallery in Ikoyi, running from July 18th to August 8th. For an artist who redefined the technical boundaries of contemporary African art, this new chapter marks a profound shift from the viral, glistening “ripples” of his past to the raw, deep-seated soul of cultural identity.
Oresegun, a celebrated graduate of the Yaba College of Technology, initially broke the internet in 2016. His oil-on-canvas paintings—capturing underprivileged children laughing under cascading water, swimming, or caught in tender moments with their grandmothers—looked so flawless that millions initially mistook them for high-resolution photographs.

What sets Oresegun apart from his global peers is his uncanny ability to paint water. His brush didn’t just paint droplets; it captured the translucent, dynamic weight of a splash, the way skin beads under a heavy downpour, and the glistening interaction of West African sun hitting wet flesh. Major international media outlets scrambled to profile him, and critics began matching his supreme drafting skills with Renaissance heavyweights like Michelangelo and Da Vinci.
Yet, despite his meteoric international rise and an American gallery debut, Oresegun chose to retreat into the quiet sanctuary of his studio in Ikorodu. For a decade, he stayed away from the solo Nigerian exhibition circuit, quietly choosing to let his technique simmer, mature, and evolve.
Visitors stepping into Mydrim Gallery this July will immediately notice this technical and thematic transcendence. While his mastery over texture and realism remains unmatched, the new body of work moves past the physical spectacle of liquid droplets to map out the invisible, complex fabrics of human heritage.

The show Thread of Heritage – Cultural Weaving steps directly into themes of memory, resilience, and intergenerational bonds. Instead of water acting as the primary narrative vehicle, Oresegun weaves dense cultural motifs, striking traditional textiles, and highly evocative facial expressions to examine how identity is preserved over time.
The hyperrealism on display feels less like a challenge to the camera lens and more like an intimate, slow-cooked celebration of the human spirit..
For collectors and art enthusiasts tracking the peak of contemporary realism, the wait is finally over. Olumide Oresegun has proven that he is no longer just chasing the viral aesthetic trend of freezing a moment in water; he is meticulously weaving the very soul of Nigerian heritage
In this exhibition, the “thread” is both a symbolic bridge and a structural foundation, linking the high-contrast energy of my portraiture to the tactile history found within my still life compositions. The works merge to demonstrate that cultural identity is a composite of what we project to the world and the domestic artifacts we preserve in silence.
“Most of my collectors have acquired my works that show water scenes and figures,” Oresegun said at the virtual preview of his works recently. “I had a lot of market scenes and children playing in my previous works, the next phase was the water series. I decided to focus on nature this time. When you enjoy nature, you are outside. The thread I used in the tile is symbolic. It links the idea to the forms,” he said.

In his latest collection, there is a deliberate attempt to show the urban side of life and the metamorphosis of the models he has been painting over the years. Beyond the aesthetic appeal lies a profound statement on work-life balance.
“What we see on your canvas is now luxury. There used to be private beaches in Lagos where people go and relax. In Lagos, we are always in a rush and we tend to forget that there is a time for everything. I try to recall those activities that we do at our leisure. There are only a few people who have the luxury of time to relax with family and rest.”

Yinka Olatunbosun

For the author of ‘Semira & The Toy Trailblazers’, Adenike Onasoga, closing the knowledge gap within the supply chain space is a great step towards helping prepare the next generation for any future disruptions.

During her book signing event held at Roving Heights Bookshop Landmark Centre, Victoria Island on Saturday, June 27, she recalled the moments that crystallized into a book-worthy experience.

‘From my experience, supply chain can be very technical, so I decided to make it more accessible and fun so that children can get to learn about supply chain.’

With about 17 years experience in the industry, Onasoga observed one of the things the supply chain industry is not addressing today: innovation.

“I want to close the innovation gap for children so that they can add value from the beginning.”

Specifically, she explained that her book breaks the supply chain into project-based learning and adventure-like safety, quality and tech based solutions. The book also takes them through the journey of collaboration and continuous improvement whilst serving as an opportunity to challenge the young mind.

“There is so much the young mind can do. I’m also trying to give the book wings, in terms of exposure. More importantly, I’m particular about the children who read it.

Semira, the main character, is described as a brave young lady who possesses excellent leadership qualities. Like her friends, she loves everything about toys, is very curious, and likes to see things improve. Her friends have unique gifts such as safety, logistics, and continuous improvement. They also love to solve real-life problems.

Adenike noted that there is a need to teach children from a very young age about innovation and efficiency. She further revealed that the book is set in Comoros, a small island in Africa.

“I am also trying to showcase Africa,” she continued. “I was very clear that the book should have an African narrative. This is my first book, but it has given birth to two other books.”

When asked about what the government should do about the kidnapped children in Oyo and Borno States, she suggested, “Children are the future of any country. They must be given the right focus. The government must ensure they are brought back. We must not let our future be taken away from us.”

A global supply chain leader and master storyteller, Onasoga’s passion for learning and educating young minds led her to write the book, which she noted is Africa’s first supply chain children’s book. The book and the books in its series are available on Amazon in English and French.

Yinka Olatunbosun

When a fictional work centres around the customs and tradition of the Igbo people, reading itself would feel like a time travel. In writing Reincarnated Jezebel, the writer Augustina Ugonna Mbah, resettles the mind in the age-long taboo and stigma that exist against the class of people deemed to belong to the Osu caste. For contextual purposes, the Osu caste system is notorious for its discriminatory social stratification among the Igbo people in southeastern Nigeria. By dividing the society into “freeborn” (Diala) and “outcasts” (Osu), this practice is a major setback for persons who try to marry from the Osu caste who were historically believed to have been dedicated to local deities. Though it has been outlawed, the generational social stigma and marriage restrictions persist today. Hence, that makes it a relevant subject matter for the author on which the plot is built.

Anchoring the conflict on Dan’s marriage to Nnenna, the writer tells the story using mixed language comprising English that’s embellished with proverbs with a few lines rendered in Igbo language. The Igbos typically communicate with proverbs to teach moral lessons, resolve conflicts peacefully and assert authority by show of wisdom.

Using the culture clash as the theme of the prose, the narration is logically developed from relatable characters: the parents, the in-laws, the elders and the villagers. Dan is an educated young man from a middle-class home who falls in love with Nnenna. Their journey to love begins with a survivor-savior relationship that blossomed into an enduring bond. Their love is put to test by traditional values and their defiance comes at a cost.

The narration in Reincarnated Jezebel was quick, sparing lengthy graphic scenic details but the ambience is not lost on the reader. The imagery of Mrs. Eze’s foodstuff business is vivid and commonplace; but the character of Dan and Nnenna weren’t developed enough to understand what they do for a living aside from the business of falling in love.

As a writer with the responsibility to tell a plausible story even in fictional form, it was no surprise to find how Mbah stirs up conversation about childlessness in the book. The harrowing tale of society’s stigma against Nnenna is a daily reality of African women. But the empathy of storytelling for Nnenna is different from that of Rose.

Rose, a single woman in her 40s, is portrayed as bitter, hopeless and sad. The author leaves no room to empathize with Rose like she did with Nnenna because the character of Rose is designed to create a picture of a frustrated woman who is unfulfilled and unfortunate in life. Sadly, this narrative only reinforces the misconception that older single women end up alone due to high expectations, unrequited love and bad character. While there are a great number of women who end up being single at 40 and above due to far more noble reasons. The truth is that some women prefer to focus on building their careers before jumping into a lifelong partnership; avoiding incompatibility and liability while others quietly endure illnesses that being open about them have only made them ineligible in some households for marriage.

The title Reincarnated Jezebel suggests a villain at the centre of the narrative. Dan’s mother, Mrs Eze and his sister Rose are the two antagonists in the story but Rose would later become a victim of her mother’s venom thus the villain remains Mrs Eze.

Reincarnated Jezebel is a timeless x-ray of life in post-colonial Africa and how obsolete cultures continue to ruin lives in contemporary times. The shrine- in the work- embodies the longstanding belief in spiritism or the supernatural upon which customs- sometimes unfounded- are rooted. In all, the novel though tragic preaches unconditional love, courage and self-determinism in the face of discriminatory cultural practice.

Yinka Olatunbosun

Trino Motion Pictures has announced that its critically acclaimed feature film, The Weekend, is now streaming on HBO MAX. This marks a historic milestone as the first independently produced Nigerian thriller feature to be picked up by the prestigious global streaming platform.

The announcement signals a ground-breaking moment not only for Trino Motion Pictures but for the entire Nollywood industry, signalling HBO Max’s growing recognition of the creative excellence and global appeal of contemporary Nigerian genre cinema.

The Weekend is a gripping psychological horror-thriller that explores the dangerous dynamics that unfold when an orphan, Nikiya (Uzoamaka Power), visits the family of her fiancé, Luke (Bucci Franklin). What is meant to be a long-awaited introduction to her future in-laws turns into a nightmare as long-buried secrets and sinister traditions surface with devastating consequences.

Produced by Uche Okocha and directed by Daniel Oriahi, the film masterfully blends suspense and sharp social commentary. It features a powerhouse ensemble cast including Meg Otanwa, Keppy Ekpenyong-Bassey, Gloria Anozie-Young, Damilola Ogunsi, and James Gardiner.

The deal with Max is a watershed moment for Nigerian independent cinema. While Nollywood is a global leader in volume, The Weekend has carved a unique path through the international festival circuit, proving that Nigerian “Midnight” genre films have a massive global appetite.

“This is a deeply significant moment for us at Trino Motion Pictures and for the broader Nigerian filmmaking community,” said Uche Okocha, Managing Director of Trino Motion Pictures. “When we set out to make The Weekend, our ambition was to tell a story with themes familiar to a global audience, through our unique African perspective. To have HBO Max recognize the quality of this work and bring it to their global audience is a validation that Nollywood stories belong on the world’s biggest stages.”
The acquisition underscores a growing trend among international platforms to diversify their content libraries with bold storytelling from Africa. The Weekend is poised to introduce millions of subscribers within the Central Eastern European territories to the artistry and authenticity that defines the new wave of Nigerian cinema.

Since its world premiere at the 2024 Tribeca Film Festival, where it made history as the first independently produced Nigerian film to be selected for the festival, Its global festival tour includes prestigious selections at the BFI London Film Festival and Screamfest, the largest and longest-running horror film festival in the United States.

The film has dominated the international awards circuit, most notably winning the Best Film “Monster Award” at the Monsters Fantastic Film Festival. Domestically, The Weekend made history at the 2024 Africa Movie Academy Awards (AMAA) by setting a new record with 16 nominations, ultimately winning Best Film, Best Nigerian Film (NFVCB Award), Best Screenplay, and Best Cinematography.

As part of its landmark acquisition by HBO Max, The Weekend is accessible to subscribers across Central and Eastern Europe. Viewers can now experience the suspense and cultural depth of this Nollywood masterpiece in the following countries: Albania, Poland, Czech Republic, Slovak Republic, Hungary, Romania, Bulgaria, Croatia, Kosovo, Slovenia, Montenegro, Bosnia-Herzegovina, North Macedonia, Maldovo and Serbia.

Trino Motion Pictures is a Nigerian independent entertainment company dedicated to producing high-quality, globally competitive motion pictures. With a commitment to cinematic excellence, the company is at the forefront of advancing bold African stories for audiences across every screen.

Yinka Olatunbosun

A recent visit to Ijora Badia, an underserved community in Lagos was quite an eye-opener. A maze of submerged buildings led to a shelter made of recycled PET bottles. Inside it, young children clad in colourful uniforms were making collages from paper scraps. It turned out to be a visual tease before the main event which was the grand opening of a Tier-3 AI Animation hub.

The hub births a new chapter in global storytelling which doubles as a young empowerment centre for young primary school age children. The first animation training was first conducted in 2022 and has buoyed up a generation of spirited young artists who are rising above prevailing circumstances to showcase their artistic as well as tech skills.
On February 26, 2026, Adetunwase Adenle, the founder of Slum Art and Animation Hub, officially opens Africa’s first Tier-3 AI Animation Studio and AI Factory — launching a three-month live stress test designed to demonstrate, refine, and scale what is positioned to become the world’s first fully automated AI Television (AI TV) platform.
The event, which attracted community leaders, partner institutions, investors and media personnel, was created out of the need to train young ones in less privileged communities to develop 21st century skills that can transform their lives positively.

For 90 days, the studio doors will remain open to the public to experience firsthand how AI-powered storytelling is built from concept to broadcast.
Located in the heart of Ijora Badia, the facility is the first animation studio globally constructed using recycled PET bottles, transforming plastic waste into structural innovation and climate-conscious infrastructure.
By embedding circular economy principles into a high-performance AI production environment, the project proves that sustainability and advanced technology can be complementary.
This opening of the AI Animation hub marks the beginning of a structured three-month stress test designed to validate infrastructure durability and energy sustainability; test real-time AI animation generation pipelines; measure production scalability under live conditions and refine collaborative AI storytelling workflows.

As global leaders such as The Walt Disney Company explore AI-driven narrative ecosystems, and companies like OpenAI advance foundational large language models reshaping creative industries, Nigeria is building sovereign infrastructure to ensure African participation extends beyond talent supply — to platform ownership.
The flagship production, The Nigeria Story, aims to unite up to one million contributors in what is projected to become the largest collaborative animation project in history — a Guinness World Record attempt anchored in mass participation and digital inclusion.
Through the dawn to dusk Slum Art school and Animation Hub, over 10,000 children across Lagos have already been trained in AI-assisted storytelling and animation during the pilot phase — validating youth adoption, operational feasibility, and training scalability.
The AI Factory becomes the next level in the community-driven educational ecosystem towards a monetisable industrial production engine positioned for global distribution. One million pre-ready AI storytellers are being mobilised for the next phase from this community thus changing the negative stereotypes largely associated with underprivileged communities. Inspired by blockbuster movies such as Eyes of Wakanda, The Lion King and Madagascar, the hub is set to breed a new crop of creatives whose voices need to be heard globally.

This story will be incomplete without the support of World Connect, whose funding enabled the physical construction of the AI Animation Factory. Their backing transforms recycled plastic into opportunity.
Also on the list of sponsors is First City Monument Bank (FCMB), whose counterpart funding support since 2019 positions this initiative as a Flagship 2026 Corporate Social Responsibility (CSR) Project. According to Omoniyi Iyanda, Head of Corporate Social Responsibility at FCMB, “This initiative reflects our commitment to inclusive innovation, environmental responsibility, and long-term economic empowerment. By supporting AI infrastructure in underserved communities, we are investing in sustainable impact with global relevance.”
“We are building young people with skills needed for the future and to transform lives. It is education that transforms people’s lives and makes people see how to escape poverty and see opportunities around them. Education opens the minds. FCMB believes in building people and impacting communities and that is why you see us going into communities. This is another leap in the right direction.”
FCMB’s partnership signals a shift from charity-driven CSR to capability-driven nation building — accelerating AI literacy among Nigerians in 2026 and beyond.
This 90-day stress test is both a celebration and a proof of capacity.
Adetunwase Adenle describes the moment as a transition from vision to validation:
“We are not asking the world to believe us. We are inviting the world to test us.”
The stress test runs for 90 days beginning February 26.

Yinka Olatunbosun

A public policy advocate, Prince Rotimi Victor Rhodes‑Vivour Esq, has called for urgent improvement in service delivery at Nigerian embassies and consulates across the world, describing current performance as below expectations.

Rhodes-Vivour, a Candidate of the Public Leadership Credential at the Harvard John F. Kennedy School of Government, said the Nigerian Foreign Service, which operates under the Ministry of Foreign Affairs, plays a vital role in protecting Nigerians abroad and promoting the country’s image.

He noted that Nigerian foreign missions are responsible for issuing and renewing passports, processing visas, registering births and marriages, and assisting citizens in emergencies such as arrests, accidents or loss of documents. They also promote Nigeria’s diplomatic, trade and cultural interests.

However, he observed that many Nigerians who use these services complain of long waiting times, slow processing, poor communication and unfriendly staff. Delays in passport issuance and lack of transparency, he said, remain major problems.

In a statement made available to the media, Rhodes-Vivour said although some Nigerians have had positive experiences, especially during emergencies, overall service delivery still needs improvement.
To address the problem, he proposed what he called a “nudge” — a simple behavioural tool aimed at improving efficiency without force or limiting options.

“A nudge is a small change in the way choices are presented that guides people towards better decisions without forcing them,” he explained.

He suggested that Nigerian missions should publicly display clear timelines for processing services such as passport renewal and document verification. These timelines, he said, should be placed on notice boards, mission websites and appointment emails.

In addition, staff should have access to daily dashboards showing how many applications must be completed to meet the stated deadlines.

According to him, this system would increase visibility and accountability, encouraging staff to work faster and communicate better with users.

“When service timelines are clearly stated and monitored, officials are more likely to organise their work efficiently, while users will have clear expectations and less frustration,” he said.

Rhodes-Vivour added that the system would also help citizens plan their visits and follow-ups properly and reduce repeated trips to embassies.

He said one major goal of Nigerian foreign missions — providing fast and efficient passport and consular services — has not been fully achieved, as many applicants still experience long delays and repeated visits.

Another key goal, he noted, is courteous and transparent service, but complaints about poor communication and unfriendly staff show limited progress in this area.
He warned that failure to meet these goals damages public trust and makes Nigerians abroad feel abandoned by their government.

Over time, he said, such failures could also hurt Nigeria’s international image, as inefficient and unprofessional services weaken the country’s ability to represent itself effectively to host nations and foreign partners.

Rhodes-Vivour stressed that his proposed nudge system is practical and easy to implement.

“It gives staff and users clear information they can immediately act on. If delays occur, both sides can refer to the stated timelines, making it easier to resolve problems,” he said.

He added that the approach would promote responsibility, transparency and cooperation, leading to better customer experience and stronger trust in Nigerian foreign missions.

Prince Oluwarotimi Victor Rhodes-Vivour is the first son of Olabode Rhodes‑Vivour (rtd) and Mrs Adedoyin Rhodes-Vivour, SAN.

He is Principal Partner at Akande, Rhodes & Vivour (Barristers, Solicitors and Legal Consultants), President of The 616 Group, and Team Lead at the Rotimi Victor Rhodes-Vivour Youth Empowerment Foundation, a civil society organisation focused on empowering African youth at home and in the diaspora.

He is also the author of yet to be released book: Nigeria’s Path to Prosperity, a collection of scholarly articles inspired by the Renewed Hope Agenda of President Asiwaju Bola Ahmed Tinubu GCFR.

Rhodes-Vivour said improving service delivery at Nigerian foreign missions would strengthen trust, protect citizens better and enhance Nigeria’s standing in the international community.

Yinka Olatunbosun

History long held accounts of the 1897 British Punitive Expedition that saw the looting of several priceless Benin Bronzes. Since then, some socially-committed artists have created replicas of some iconic works of the period as a homage to the lost heritage. Till date, the desire to crystallise this cultural history and heritage still burns in the creative world. For the multidisciplinary artist, Olanrewaju Atanda, revisiting the reality of lost heritage in Nigeria’s colonial history through visual art may not be an accidental response to shifting historical narratives.

Since relocating to the UK, the work of this Lagos-born artist has evolved to reflect both his Nigerian roots and new cultural influences, drawing viewers into spaces of reflection, emotion and dialogue. From being a comic artist at 10, Atanda has groomed his turf as an artist with specialty in drawing, painting, mixed media and calligraphy.

In developing an oeuvre shaped by curiosity, reflection and storytelling, Atanda bears a burden of heritage reclaim through his pencil works, revisiting historical narratives- this time on black paper.

Atanda’s use of black paper in itself is symbolic of the cultural bereavement that characterises most immigrants’ journey into understanding such cultural loss. Sitting in many museums are large collections of looted Benin bronzes. While a season of cultural repatriation is being celebrated in Nigeria following the return of some of these works, it is no gainsaying that these bronzes constitute an essential part of Nigeria’s cultural heritage. By recreating these bronzes on paper, Atanda explores identity, displacement and belonging.

With the Bini Bronze Head (2025), Atanda revisits the legendary bronze sculptures of the Bini people. Atanda captures the elegance, detail and symbolic power of these artefacts. The single-colour white gradient technique highlights how profound beauty can emerge from minimal materials, while symbolism allows viewers to interpret the layered narratives of heritage, loss and resilience.

To reinforce the black identity, Atanda carefully explores charcoal alongside oil, acrylic, ink, watercolour, and pencil, to set the mood and advance his voice in cultural reclamation. The paper and canvas become spaces where intuition and discipline meet, where memory interweaves with imagination.

Through his paintings, Atanda fuses cultural influences, celebrating rhythm, identity, and quiet reflection. By evoking visual dialogue, he draws on viewers to experience textures, colours, and lines that evoke not just beauty, but resonance and connection.

With Bini Bronze Head (2025), the artist takes a retrospective glance at the legendary bronze sculptures of the Bini people using the single-colour white gradient technique that highlights a minimalist’s perspective on lost heritage.

Another piece, Ife Bronze Head (2025) reimagines the Yoruba Ife Bronze heads, trailing pre-colonial history. Atanda’s careful layering of white gradients on black paper is a rare show of quiet elegance and reverence, celebrating the artistic sophistication of Ife artisans. The artwork invites reflection on cultural pride, historical awareness and the enduring value and legacy of African art.

Away from the bronze head-inspired paintings, Seduction: Enchantment (2025) which is a part of Atanda’s Seduction series, captures the subtle beauty and complexity of feminine form. Using white pastel and colour pencil on black paper, the work showcases the interplay of light, shadow and negative space to evoke both vulnerability and quiet strength. The minimalistic approach invites viewers to complete the narrative with their imagination, creating a dialogue between artist, subject and observer. Through simplicity, the piece conveys emotional depth, elegance and the nuanced interplay of life’s contrasts.

Still appealing to the sensual, Seduction: Charming (2025) explores the nuanced beauty of femininity through minimalist light and shadow. Atanda’s monochromatic technique in this painting invites viewers to complete the narrative with their imagination. The work embodies mystery and allure, demonstrating how subtlety can evoke powerful emotional responses while highlighting the elegance and strength of the female form.

Atanda displays his eco-sensitive and spiritual sides with Gazing Upon The Lord (2025), an oil painting depicting an American bald eagle, inspired by the bible. Painted at a moment of personal reflection, the eagle’s upward gaze symbolises resilience, hope and spiritual renewal.

Atanda makes a powerful statement in his portrayal of the Black woman in Chaotic Beauty (2025). Using layered textures and dynamic marks, the artist interrogates the complexity of identity as well as the vibrancy of black cultural heritage despite inner struggles.

In making the mixed media painting titled Veronika (2025), Atanda tells the story of a woman far from her homeland, navigating loneliness while serving others in healthcare. Using charcoal, graphite and watercolour, Atanda captures her quiet vulnerability and profound strength, to elevate the understated emotional labour of immigrants. The work becomes both a mirror and a beacon acknowledging pain while offering hope and recognition to an enduring soul.

Through this oeuvre, Atanda breathes new life into historical pieces while challenging traditional representations. Artists often revisit lost scriptural heritage in painting as a way to reconnect with the past, pay homage or subvert traditional narratives. By interpreting classical themes in a modern context, Atanda bridges the gap between two-dimensional and three-dimensional art forms for posterity.

Oluwatayo Olawale Oladele is a dynamic entrepreneur and procurement specialist driving innovation in Nigeria’s urban living sector. As co-founder of Urban Thrive Limited, established in 2025, he is channeling his expertise into creating solutions that address the evolving demands of modern cities.

With a diverse educational foundation, Oluwatayo holds an ND in Computer Engineering from Yaba College of Technology, a BSc in Transport Management and Operations from Lagos State University (LASU), and an MSc in Logistics, Data Analytics, and Supply Chain Management from the University of Bradford, UK. He is also a proud Member of the Chartered Institute of Procurement and Supply (MCIPS) in the UK. This multidisciplinary background spanning technology, logistics, transport, and procurement has equipped him to tackle complex challenges in supply chains, business development, and digital innovation.

Professionally, Oluwatayo has worked as a procurement specialist and as a business and product development consultant, where he contributed to digital platforms that improve access to essential services. His leadership experience includes serving as Student Union President at LASU in 2019, honing his skills in community engagement, advocacy, and organizational management. In 2020, he attended a leadership conference in the UK, further deepening his perspective on effective leadership.

Urban Thrive Limited focuses on providing the vision, structure, and innovation needed to solve real-world challenges in urban environments. The company is strategically launching its inaugural brand, CribsFinder, a discovery platform tailored to simplify how people find and book homes, short-lets, hotels, car rentals, and other accommodations especially in the Nigerian market.

CribsFinder addresses longstanding pain points such as lack of transparency, unreliable listings, and inefficient search processes. By prioritizing user-friendly property discovery, accessibility for renters, buyers, and agents, technology-driven trust and efficiency, and a deep understanding of local dynamics with an eye toward global scalability, the platform makes accommodation more straightforward and reliable.
(Imagine a clean screenshot or promotional visual of the CribsFinder platform interface showing property listings, search filters, and booking options highlighting its modern, intuitive design.)

The platform, accessible at cribsfinder.com and available as a mobile app, empowers users to discover verified hotels, curated shortlets, long-stay apartments, and trusted vehicle rentals across Nigeria. It emphasizes safety, convenience, and a seamless booking experience, positioning itself as a go-to solution for both locals and travelers.

Looking ahead, Oluwatayo and the Urban Thrive team are focused on ambitious growth. Key ongoing and upcoming initiatives include:
Expanding CribsFinder to more cities and regions across Nigeria
Introducing enhanced features for property verification and building greater user trust
Forging strategic partnerships with property owners and developers
Scaling the platform into other African countries and emerging markets
Pursuing broader Urban Thrive projects centered on urban innovation and lifestyle solutions. 

Oluwatayo’s thought leadership revolves around several interconnected themes: leadership (informed by his conference participation and hands-on roles), urban growth and smart city solutions, technology as a driver of social and economic impact, entrepreneurship and startup development in Africa, and building scalable solutions from local problems. He believes that addressing everyday urban challenges like accessible housing and efficient mobility can create lasting value and opportunity across the continent.

Through Urban Thrive and CribsFinder, Oluwatayo Olawale Oladele exemplifies the next generation of African entrepreneurs: blending global education, local insight, and technological innovation to build more inclusive, efficient, and thriving urban futures. As Nigeria’s cities continue to grow, platforms like CribsFinder are poised to play a pivotal role in making urban living more accessible and trustworthy for all.

Yinka Olatunbosun

As he claws his way out of being an emerging artist to creating new rhythms from the familiar, Waji-Mh, born O. Jean Isekhure delivers his sultry vocals to create a deeply emotional song that adds to Nigeria’s canon of songs about mothers on his song, “Sweet Mama.” The rising Afrobeats singer-songwriter and R&B artist pays a heartfelt tribute to his mother in this song that has a stand-out quality of his three releases on streaming platforms.

This mid-tempo folk song relies heavily on the technique of call and response for its hook. A sung story of maternal love, Waji-Mh’s Sweet Mama trails Nigeria’s rich history of songs that celebrate motherhood. A case in point is Prince Nico Mbarga’s classic ‘Sweet Mother.” A track embedded in the nation’s consciousness, it became a cultural anthem- played at celebrations and funerals. Initially rejected by EMI records in 1974, Sweet Mother became one of the biggest songs in Africa upon its release in 1976 by Rogers All Stars. The song is considered a blueprint of sorts for new artists navigating the familiar to produce new songs and break into mainstream popularity.

In this music lineage is also Wizkid’s Mummy Mi, a celebratory dance track from his Ayo album. The song is dedicated to his mother’s invaluable contribution to his successful career, holding promises to spoil her with the best things in life. Let’s add to this list Asa’s introspective “So Beautiful,” which reflects on the relationship between mother and child.
Waji-Mh draws upon the same maternal love energy in Sweet Mama, articulating the message in two languages- English and the Edo language. The song naturally embodies his cultural roots whilst igniting collective memory in maternal love.

In Sweet Mama, released in November 2025, Waji-Mh gives a tribute to mothers in a reverential manner that shows appreciation for mothers’ place in their children’s lives. In the intro section, guitars come into play. The vocals are layered with a soft accompaniment- part of a mellow rhythm dominated by drums. A marked deviation from his songwriting trajectory, Sweet Mama appears as a product of an intentional songwriting that fuses intimacy, memory, and emotional clarity over chart-chasing moves.

Sweet Mama is markedly different from the usual folk homage with Waji-Mh’s infusion of his indigenous language as a cultural indicator. He opens with “Meh ghi setin mia mi iyemwen”, rendered in the Edo language of his heritage, which translates to “I will never forget my mother.” With emotions running deep into ancestral roots, the song hinges on storytelling through its verses.

The first verse opens with a blessing as both gratitude and prayer: “God bless the day you were born / God bless the day you brought me to life”. “Thank you for the plenty things you went through to give me a life,” has a conversational tone marked by a degree of informality that makes the gratitude heartfelt. It is essentially a son’s conversation with his mother. The call to “keep her good legacy” and “do those good things she loves to do” elevates the song into a lyrical signage on how to live out the qualities which have been imparted through maternal devotion.

Indeed, ‘Sweet Mama’ is both highly personal yet universal. Waji-Mh, by situating the song in his mother tongue, Edo language, creates a music experience that’s intimate and relatable, heightening its capacity for crystallising emotions. Away from mother’s groove, Waji-Mh’s Forever- sung in English and Pidgin English- allows the singer the luxury of romantic thoughts. Produced by J-Flex, it’s a song that works for weddings due to its love affirmations. With Waji-Mh, love is always in the air- somewhere.

Yinka Olatunbosun

African speculative fiction is alive and well in the hands of writers like Chisom Umeh. Chisom, who was recently announced the winner of the Nommo Award for Best African Speculative short story at the Ake Books and Arts Festival in Lagos, is one of the trailblazers of the genre. Speculative fiction, a broad term encompassing writings that lean towards the supernatural or unusual, covers categories such as science fiction, fantasy, horror, magical realism, weird fiction, and more. The African brand of this genre, often overlooked by a majority of readers even though very popular in the West, has in recent times begun to draw interest from a global audience, especially since the release of blockbuster movies like Black Panther.

Quite a few advocates have emerged speaking boldly and representing the continent, defining what speculative fiction means to us here and how it aligns with our realities. Writers like Wole Talabi, Nnedi Okorafor, Tade Thompson, and more have stood strong on this front, and Chisom Umeh, with his recent Nommo-winning work, has become a part of that number.

His short story, “From Across Time,” a time travel story that shines a light on what the far future could look like for us, is inventive and poignant. In the story, we find the protagonist in a sort of one-sided communication with an unnamed character on a screen. The woman on the screen seems to be knowledgeable about the protagonist, Adaeze, even though Adaeze doesn’t remember ever meeting her before. In the course of the story, we learn that the woman on screen is a time traveler who came from the future to Adaeze’s time and that they’ve both had a relationship. But, due to the illegality of this relationship, the time traveler has gone back in time to change the moment they met, so that, from Adaeze’s perspective, the meeting never happened.

From the time traveler, we learn of what the far future looks like and the politics of that time. In this story, Chisom explores memory, power, sexuality as well as the intersection of personal love and duty to one’s country or state. The story situates Nigeria and Africa in a global picture that extends into the far future. Often, science fiction works are written by Westerners and handed to us to digest. These stories often do not include Africans or the African perspective in any way, but writers like Chisom are changing that narrative with pieces that reflect the untold, albeit forbidden, African stories.

Another important speculative story of Chisom’s that does well to centre the African narrative is “Ancestor’s Gift,” an African futuristic climate fiction piece. In this story, we see a country that is hundreds of years away from the present, and climate change has caused the environment to look radically different from what we know. People now live in small communities and depend more on the earth for their food and sustenance. We learn from the imaginative prowess of the author just what Africa can look like if we ignore present-day climate change warning signs. The story, though ending on a somewhat hopeful side, is not to be mistaken for a casual narrative and should be viewed as a wake-up call to everyone who cares about our environment and hopes that further generations will live well in it.

In “Ancestor’s Gift,” Chisom makes a commentary on the layers of smell, colonialism and environmental degradation. This politics of smell constitutes a part of the public consciousness. A seemingly gray area in public discourse, it falls under the scope of environmental justice as it connects with the socio-economic realities of the underserved. The writer’s encounter with ‘The Colonial History of Climate’ as a student largely inspired his interrogation of politics of air and smell in the framework of his narrative. Hence, the veranda in this story serves a metaphoric function of explaining the air of classicism using visual elements and graphic language.

With speculative stories like these, African readers get to not only imagine our futures, but to partake in the shaping of our own narratives with post-colonial perspectives as backdrop. Speculative fiction is a sharp tool to wield, and Africans like Chisom Umeh using it to tell great stories is a good sign that our literature is on the right path.

Yinka Olatunbosun

Lagos ������Ƶ School (LBS) Breakfast Club convened an exclusive session recently that assembled senior executives and industry leaders, to examine Nigeria’s trajectory toward becoming Africa’s leading hub for manufacturing and services.

The LBS Breakfast Club serves as a premier platform for knowledge exchange among top-tier business leaders. It provides actionable insights on economic trends shaping organisational success across Africa and fosters dialogue that drives strategic decision-making.

The session began with an in-depth briefing on Nigeria’s 2026 Economic Outlook, delivered by Bismarck Rewane, Managing Director of Financial Derivatives Company (FDC). The analysis highlighted macroeconomic shifts, market dynamics, and policy indicators critical for long-term growth strategies.

Following this, a fireside chat featuring Aliko Dangote, Chairman of Dangote Group, and moderated by Professor Olawale Ajai of LBS, explored the theme: “Challenges and Opportunities for Making Nigeria the Leading Manufacturing and Services Hub in Africa.” Discussions focused on structural drivers of industrial growth, including backward integration, local production, and leveraging the African Continental Free Trade Area (AfCFTA).

Participants engaged in a dynamic Q&A session addressing supply chain resilience, private-sector-led growth, and the role of innovation in strengthening Nigeria’s competitiveness. The dialogue underscored the urgency of aligning policy and investment to unlock industrial potential and position Nigeria as a regional powerhouse.

This event was supported by First Bank of Nigeria, Optimus Bank, Cowry Asset Management Limited, and Afrinvest Limited, partners committed to advancing executive education and fostering a robust business environment in Africa.

By convening critical conversations on Africa’s economic future, the LBS Breakfast Club reinforces its mission to develop responsible leaders equipped to navigate and shape the continent’s evolving business landscape.

Yinka Olatunbosun

Deola Art-Alade, co-founder of Livespot360 and serial entrepreneur who is keen on redefining the African creative and entertainment landscape, hosted the Women Driving Culture Luncheon where the need for mutual support and collaboration were discussed. This intimate gathering, held at Mr Panther, Victoria Island, Lagos saw some of Nigeria’s most influential women shaping the country’s cultural, creative, and consumer economy. Indeed, the luncheon was designed as a strategic convening, focused on power, collaboration and long-term cultural impact. Leaders in the culture economy such as, fashion designer, Lisa Folawiyo; Lagos State Commissioner for Tourism, Arts and Culture, Toke Benson‑Awoyinka; founder Design Week LagosTiti Ogufere; pioneer female rapper, Sasha P; Korty Eniola, YouTuber and filmmaker; Ruth Kadiri, actor, filmmaker and digital content powerhouse; Funmbi Ogunbanwo, filmmaker and co-founder, Fatherland Productions; Nicole Asinugo, screenwriter; Beatrice Eneh, beauty entrepreneur and founder, Nectar Beauty Hub and Beauty in The Motherland; Banke Meshida‑Lawal, beauty entrepreneur and founder, BM Pro; Tobi Hamilton, founder, The House Lagos; Leslie Okoye, founder, Cookie Skin.

Also in attendance were Bukunmi Grace, talent manager, United Talent; CEO Act Foundation, Osayi Alile; Sade Teyibo, founder, FOLA PR,, Head of YouTube Music, Sub-Saharan Africa,Addy Awofisayo; journalist and founder, SBB Media, Stephanie Busari; beauty influencer, Anita Adetoye; Linda Edozien, CEO, Barazhi Spa and Wellness, Ayo Amusan, founder and CEO, Persianas Retail, and Director Pink, film director; Lamide Akintobi, TV producer, CNN; Henny Zinzuwadia, award-winning sommelier, Busola Tejumola, head of content, MultiChoice West Africa; Wangi Mba‑Uzoukwu, media, film & TV content executive; Bola Balogun, founder, Glam Brand Agency; Ijeoma Balogun, founder, Redrick PR, Yemisi Falaye, entertainment lawyer at The Temple Company; and Blossom Maduafokwa, editor at Nataal and Grammys.
Designed to foster real exchange, discussions centred on access to capital, authorship in African storytelling, cross-industry collaboration, and how women can collectively influence policy, platforms, and pipelines within Nigeria’s creative economy, with the goal of furthering opportunities for mentorship and collaboration.
Speaking at the luncheon, Deola Art Alade underscored the intent behind the gathering:
“When women are intentional about lifting other women, the impact goes far beyond one person. We change rooms, we change systems, we shape what’s possible for the next generation. Today is a celebration but it’s also an invitation to connect, to share and to leave here thinking about who you can move forward.”

The event reinforced a growing shift toward intentional female-led power circles within Africa’s creative industries. The Women Driving Culture Luncheon was supported by Livespot360, Moet & Chandon, M·A·C Cosmetics and Estée Lauder, whose involvement reflects their continued investment in women-led leadership and cultural impact.

Yinka Olatunbosun

The international virtual art showcase All About Animals has officially opened, presenting a global selection of artists whose work honours the emotional, spiritual, and symbolic presence of animals in human life. Among the featured creators is visual artist Olanrewaju Atanda, whose striking colour-pencil artwork on black paper captures the gentle strength and quiet resilience of a deer, an image connected deeply to themes of hope and renewal.

Hosted online by Online Call for Artists through an open, worldwide call, All About Animals is designed to celebrate artistry without borders. The exhibition, which brings together painters, photographers, sculptors, digital artists, and mixed-media makers in a fully accessible virtual environment was besieged by collectors, curators, and nature-art enthusiasts around the world.

As the exhibition continues to attract attention for its inclusive approach, visitors enjoy the aesthetic offerings from both emerging and established artists through a virtual format that removes geographical barriers. Alongside the exhibition, participating artists are being featured through online interviews, offering deeper insight into their creative processes and personal histories.

The exhibition’s curatorial statement describes All About Animals as “a virtual exhibition honoring the spirit and soul of the animal world” one that invites audiences to slow down, look closer, and reconnect with the emotional language of nature.

Atanda’s selected work, Guidance of Hope – colour-pencil drawing of a deer on black paper, is emerging as one of the most quietly powerful pieces in the exhibition. The work portrays the animal with photographic precision while embedding symbolic references to resilience, renewal, community, and guidance, themes commonly associated with seasonal transition and emotional restoration.

“Deer symbolise hope, resilience and strength,” Atanda says. “This work is an invitation to pause, to feel, and to remember the quiet power of nature.”

The artwork’s reflective mood aligns with the exhibition’s broader theme, inviting viewers to consider how animals help mirror our own inner landscapes.

According to the exhibition notes, All About Animals is a tribute to the bond between humans and the wildlife that surrounds us.

“Animals have always meant more than what we see; they are our companions, our comfort, and reflections of our own feelings,” the artistic statement reads.

Viewers will find works ranging from hyper-detailed realism to atmospheric abstraction, each one carrying its own emotional and symbolic weight. Indeed, the virtual format allows audiences to explore the entire collection at their own pace, from anywhere in the world.

Atanda’s work continues to gain visibility through this platform, reinforcing his reputation as an artist working at the intersection of realism, symbolism, and emotional storytelling.

The All About Animals virtual exhibition is currently accessible worldwide, with artworks remaining viewable and available to collectors throughout the duration of the digital show. The exhibition ends this week on December 14. The full collection is available on All About Animals virtual exhibition page on the opencallforartists website.

Yinka Olatunbosun

With over 60 artworks rendered in paintings, drawings, prints, photography, sculpture and mixed media all centred on birds, select artists amplified the creative energy in Glasgow, Scotland in the show from a mix of Project Ability’s studio artists and external contributors, selected by an independent panel of four jurors.

One of the participating artists, Nigerian-born visual artist Olanrewaju Atanda is exhibiting a new oil painting in this ‘Feathered Friends’ exhibition at Project Ability as the festive group show continues to celebrate birds, conservation and artistic voices from around the world.

The annual exhibition is bringing together more than 60 artists whose works explore the symbolism of birds and their enduring relationship with humanity. Hosted by Project Ability, the exhibition is currently running from November 6 through December 20 and is attracting collectors, curators and arts audiences from across the UK and beyond.

This year, the exhibition’s open call expanded its reach, welcoming national and international submissions. A panel of independent jurors selected works that capture both imagination and empathy resulting in a show that is as heartfelt as it is visually captivating.

Atanda’s featured work, Gazing Upon The Lord, is commanding attention for its emotionally direct realism and spiritual depth. The oil-on-canvas painting depicts a bald eagle in quiet upward focus, set against a layered green bokeh background. The work is created at a time of deep personal reflection and draws inspiration from Isaiah 40:31, symbolising renewal, endurance and the promise of restored strength.

“I am using this work to speak about hope in moments of weakness,” Atanda says. “The eagle becomes a metaphor for survival, for rising, and for divine renewal.”

Curators are positioning the exhibition as one of Scotland’s most inclusive seasonal shows, with proceeds supporting artists and Project Ability’s ongoing work with people with disabilities and mental health challenges. The exhibition is also partnering with bird conservation organisations to raise awareness of environmental stewardship across the UK.

This year’s collaboration with the Royal Society for the Protection of Birds (RSPB) adds a unique educational and environmental dimension, with information areas and giveaways enriching the visitor experience.

At its heart, Feathered Friends celebrates the voices of artists who create within Project Ability’s supported studios – programmes designed for adults with learning disabilities, individuals with lived experience of mental ill health, and young people with complex support needs.

Yinka Olatunbosun

In an atmosphere of warmth, gratitude and reflection, the International Women’s Organisation for Charity (IWOC) on Thursday, December 11, 2025, celebrated 30 years of philanthropic impact with the launch of its commemorative book, Threads of the Journey. The event, held at Black Diamond Hotel in Victoria Island, Lagos, drew an impressive gathering of distinguished guests, long-time partners and members united by a shared commitment to touching lives.

Guests from across the world including the Deputy Consul General of the German Consulate in Lagos, Gerald Wolf; Providus Bank’s ED/CEO, Mr. Adeoye Ojuroye; and members from Taiwan, Denmark, India and Switzerland who joined in celebrating three decades of giving through the organisation’s flagship charity programme, Small World.

The celebration opened with a stirring rendition of the national anthem by veteran singer and dancer Yinka Davis, setting the tone for an evening dedicated not only to charity, but to shared humanity.

Founded 30 years ago, IWOC has built a reputation for supporting vulnerable communities across Nigeria. Over the years, its members women from diverse cultures and nationalities have channelled their compassion into improving lives in education, healthcare and social welfare across 22 states in Nigeria.

It was revealed at the event that the organisation has raised more than N800 million since inception, supporting over 300 local charities. IWOC members personally visit beneficiary schools and charity homes to verify needs, disburse funds and monitor the execution of projects to ensure transparency and accountability.

In her welcome address, IWOC Chairlady for the 2025–2026 term, Mrs. Titiloye Ashamu, captured the spirit of the celebration.

“For three decades, IWOC has stood as a bridge — connecting countries, cultures and hearts,” she said. “Our members represent many nations, but our purpose is one: to give hope, dignity and opportunity to the lives we touch.”

Speaking on the newly launched coffee table book, Ashamu described it as “a celebration of countless women who serve quietly,” adding that it is also a tribute to selfless giving and a reminder that “when women work together, communities rise.”

This year’s theme, ‘Threads of Heritage,’ underscores IWOC’s identity as a “tapestry of global sisterhood, woven together by compassion and driven by impact.”

Ashamu also called on sponsors, partners and supporters to continue standing with the organisation, noting that many families and communities still depend on their work. She highlighted IWOC’s annual fundraising events — Small World and Smaller World — as key channels through which vital support reaches charities across Nigeria.

Beyond her role at IWOC, Ashamu brings a wealth of experience as Creative Executive Director at Ethnikologie and as the immediate past Chairperson of the British Women’s Group Lagos.

Taking the audience down memory lane, Olori Lutgarde Adekoya, IWOC trustee and long-standing member, shared a heartfelt account of her nearly three-decade journey in the organisation.

She recalled joining in 1996 through the Belgian Women’s Club and being immediately thrust into leadership roles that pushed her beyond her shyness.

“In 1999, I became the chairperson. We needed grounding as Small World, and in 2008, we became an NGO under the name International Women’s Organisation for Charity,” she said. “From Small World, we launched Smaller World in 2011, and we fed children.”

Adekoya explained that she consistently kept records of IWOC’s journey, which eventually inspired the creation of the book unveiled at the event. She described IWOC as more than an organisation, “a family where we share our love and dedication to help underprivileged people in Nigeria.”

She emphasized that every naira raised from ticket sales and book sales goes directly to charities, with running costs covered entirely by donors and sponsors.

“For as long as my life remains, I will remain part of this fantastic family,” she declared.

The evening’s programme also featured goodwill messages from Gerald Wolf, Mr. Adeoye Ojuroye and IWOC partners, followed by the official book presentation and cutting of the anniversary cake.

A powerful spoken-word performance titled ‘I Am a Woman on a Mission’ by Ella of SPAN brought the night to a memorable close, echoing the strength and purpose that have defined IWOC’s work over the years.

After 30 years, IWOC’s mission remains grounded in the belief that compassion knows no borders. With Threads of the Journey, the organisation has not only documented its past but also given a forecast for future impact.

Yinka Olatunbosun

Last Sunday, Odio Mimonet commemorated an extraordinary milestone: 30 years of artistry, innovation, and storytelling with an intimate anniversary runway presentation unveiling Ambience, a collection that pays homage to the sensory rhythm and emotional landscape of Lagos, the city that has shaped the brand’s identity for three decades.
Hosted at the Rooftop, Providus Bank in Victoria Island, the evening brought together press, cultural figures, fashion leaders, and longtime friends of the brand. The celebration was beautifully complemented by exclusive partnerships with Macallan, the official whisky partner, and Moët Hennessy, the official champagne partner, whose curated tasting experiences elevated the show’s immersive, multisensory atmosphere.

A Collection Rooted in Memory, Movement and the Soul of Lagos, Ambience explores the subtle, often overlooked fragments of Lagos life; the familiar sounds, shifting textures, and fleeting visuals that quietly shape the city’s character. Through this lens, the collection unfolds with sculptural silhouettes and intricate handcrafted embellishments that reflect Odio Mimonet’s long-standing devotion to artistry. Subtle references to the house’s past collections reappear throughout; familiar motifs, textures, and signature codes thoughtfully revived and reimagined for this milestone. Footwear was lightly reworked in-house with soft, ruffled accents that moved fluidly as models walked, while bold, sixties-inspired beauty added a refined nostalgic touch. The result is a collection that feels both introspective and forward-looking, honoring three decades of craftsmanship with a renewed sense of elegance and ease.

Reflecting on the moment, Creative Director Odio Oseni shared, “Celebrating 30 years in fashion is incredibly personal for me. I’ve watched the Nigerian industry evolve from a small, passionate community into a globally recognised force in contemporary design. This journey has been full of challenges and triumphs, but seeing our craft resonate at home and across the world is profoundly rewarding. I look forward to continuing to blend heritage with innovation and to championing the next generation of Nigerian designers.”

An evening of icons, culture and celebration, the presentation welcomed an extraordinary roster of guests, including Toni Tones, Idai Aisien, Mai Atafo, Derin Agbaje, Angela Attah, Lola Ogunaike, Jessica Duru, Dr. Awele Elumelu, Titi Ogunbanjo, Eniafe Momodu, among others, all gathered to honor three decades of Odio Mimonet’s influence on Nigerian fashion.
The evening blended nostalgia with forward momentum, reaffirming Odio Mimonet’s legacy as one of Nigeria’s most enduring fashion houses and underscoring its continued commitment to shaping contemporary African luxury, supported by distinguished partners Macallan and Moët Hennessy.
High-resolution images, the full collection story, and additional post-event assets are available upon request.
Founded in 1995, Odio Mimonet is a luxury Nigerian fashion brand celebrating nearly 30 years of creating chic, versatile, and high-quality designs for the modern woman. Known for couture and the popular Voyage ready-to-wear line, the brand blends elegance, resilience, and artistry in every piece.
Odio Mimonet’s collections have been showcased locally and internationally, and are stocked at leading concept stores across Africa and on Moda Operandi. The brand also empowers youth through Mimonet Threads, a 12-week fashion skills program led by award-winning Creative Director Odio Oseni, providing technical training, mentorship, and opportunities for entrepreneurship.
Handmade in Africa and inspired by art, Odio Mimonet fuses heritage, craftsmanship, and sustainability to create fashion that’s functional, timeless, and culturally rooted.