There’s something about nighttime gatherings that gives them their great sense of appeal or longing. Think of it as an escape from the demands of daily living, the consoling illusion of shedding away responsibilities or other daytime impositions for a great time. Truly, nighttime gatherings create fertile grounds to indulge in hedonistic pursuits, creating an emphatic contrast between night and day, and how these periods shape our gatherings. Social patterns often reflect the sociocultural realities, meaning that dramatic changes can often lead to the sustainability, growth, or even the disappearance of certain social habits, and it is on that premise that several factors have contributed to the existential crisis of rapidly declining nightlife trends. People are not partying as they used to, and this issue has echoed across the globe. We probe into the complex network of sociocultural issues that have propagated the rise of a generation of less sociable beings. We seek to understand the problem, exploring critical issues and delving into the discourse of a potentially dying culture.

The nighttime scene is in a deplorable state. People are habitually on their phones, there’s no flair for establishing connections, and everyone’s cautious about getting drunk. There’s a decline in social appeal and general debauched perception regarding nightclubs. The crumbling effects of the COVID-19 pandemic, combined with the explosive rise of technology and increased economic pressures, have all played a significant role in inducing social reforms. These factors haven’t just tampered with nightlife but has also reshaped the way people interact and engage with one another. Night culture has been subsumed by these broader reforms, and as such, we are faced with the dilemma of adapting to a world that is slowly disconnecting from the dark.

In a video publication, BBC draws our focus to UK nightclub culture. It focuses on the impact of economic setbacks on youth culture, particularly how clubbing landscapes, as well as other nighttime siloes are reaching all-time lows—is the party over? The gradual decline and imminent extinction of nightlife is becoming an existential threat. The Night Time Industries Association (NTIA) argues that with the current trends, the era of UK nightlife may face cultural extinction. Michael Kill, the CEO of NTIA, speaks and addresses the impending impacts on the nighttime economy. He ponders on the “systematic dismantling of the nighttime economy” due to the “loss of jobs, culture, and a vital part of the UK’s social fabric.”

This critical issue underscores the pandemic as a social disruptor, which has reevaluated and restructured social habits. In a report by Hospitality Market Monitor, they reveal a 30.0% net decline in nightclubs from March 2020 to June 2023. The prolonged social distancing induced recreational indifference, alternative experiences, and increased mental and physical health awareness.

These fluctuations in social mannerisms and nightlife intrigue are not endemic to the UK alone. The problem of a dying nightlife culture extends to other parts of the world, with the United States equally being in a dire spot, putting them in one critical umbrella. While similar cultural and economic issues are at play, the overarching issue lies in the declining interest in alcohol consumption rates among younger demographics. “You’re seeing a real shift in alcohol consumption”, said Max Chodorow, a restaurant and subterranean club owner in Manhattan, in his interview with The New York Times. He expressed a dying youth culture, and the sustainability of nightlife, noting that we are, “seeing a real shift in the sustainability of nightlife in the current format”.  The increasing awareness of the deteriorating effects of alcohol, coupled with the broader decline of physical socialisation, has critically altered the way people drink, weakening communal indulgences.

According to a Gallup survey, alcohol consumption rates have seen a steady decline in recent years—a problem that T.W. Arrighi points out as a “massive problem”. Although he appreciates the growth in alcohol health awareness, he addresses socialisation concerns, particularly with social hub closures, due to low attendance rates.

People are aggressively abstaining from alcohol; therefore, bars suffer, clubs suffer, as well as other industries that thrive on bottle sales. This, in turn, has led to a growing loneliness epidemic; an unrealised, subtle focus shift from socialisation in public places to more private, intimate spaces. As Rafael Ohayon, the runner of club Gabriela in Williamburg, remarks, “it hit everybody hard and kind of made everybody question what’s happening out there”. 

In Germany, the post-pandemic, coupled with declining numbers and steadily increasing rent costs, has led to club closures, leading to the closures of iconic clubs like the revered  Watergate and major concerns for other clubs like Neue Zukunft and Club Ost. Undeniably, we are experiencing the era of what could potentially be Germany’s clubbing crisis.

Meanwhile, in South Korea, the rise in health consciousness, evolving behavioural patterns, particularly among working-class women, and inflation have stifled drink consumption rates and increased erratic drinking habits. So, the traditional practice of drinking silly is fading. Simply put, South Koreans aren’t getting drunk anymore.

Shifting the focus to Nigeria, the conversation of declining nightlife trends is still maintained, but it differs in scale and nature across global comparisons. The key macro factors are much more distinct, with issues largely concentrated on the rise in safety concerns and the ever-growing inflation rates.

Despite these pressing issues, the discussion of a “dying” nightlife doesn’t quite fit into Nigeria’s social ethos. You see, the upbeat and energetic nature of Nigerians remains deeply embedded in their sociocultural lifestyle and national social web. Being the fulcrum of Afrobeats and the social hub of the continent, Nigeria continues to boast of a thriving, robust social scene. Social highlights such as Detty December and the IJGB (I just Got Back) serve as drivers, reinforcing Nigeria’s powerful nightlife culture

The comparative overview of this issue highlights two key insights: one, the interplay of several endemic societal issues can lead to shared, global problems, and two, generational preferences create trends that reframe cultural norms and perception. Essentially, the push for revitalisation starts with you and me. We can potentially save a key part of socialising by employing pragmatic approaches through systems and incentives. This includes promotions, incentives, revised regulations, among other initiatives.

The nightlife scene stands at a critical crossroads. We’re slowly gravitating towards a less sociable, more individual-based society. Technology is great, but it has marred social interaction, creating a generation that favours screens over faces. The economic quandaries, such as inflation, affect appeal, so people are less likely to engage in recreational activities or indulge in guilty pleasures. There is a pressing need to reinvent the nightlife scene and offer mediums to change perception as a luxury.  Nightlife culture is struggling to adjust to the times. It is failing to suit the demands of our ever-changing world. So, we need something new, something vibrant, something that aligns with the present while still maintaining the underlying foundations of what makes one feel alive.

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Nyshan, better known as Nyshan Shot That, is a photographer whocaptures moments with honesty, emotion, and a sharp eye for storytelling.Whether he’s behind the scenes with your favorite artist or documentingintimate, everyday moments, his goal is always the same—make it real.

His latest project took him on set withVybz Kartel, for what’s believed to be one of the dancehall legend’s firstmusic videos shot in the U.S. since his release. One portrait in particularstands out—Vybz Kartel in front of a bold yellow wall. “That wall just felt so Jamaican to me,” Nyshan says. “It feltauthentic, like something you'd see walking through Kingston. I knew I had toshoot it.”

Photography started out as a fun hobbyfor Nyshan. He was always surrounded by music and creative people, so it feltnatural to pick up a camera. “I bought a cheap one just for fun, just for theInstagram pics with friends,” he says. “But everyone kept telling me the photoswere fire, so I kept shooting.”

The turning point came when one of his friends asked him to shoot their performance while opening for Lil Durk. Nyshan stuck around and ended up shooting Lil Durk’s set too. “That was it for me. I was locked in,” he says. “King Von reposted my photos from that night. I was 18. That meant everything.”

Nyshan’s approach is simple and intuitive. "I try not to overthink it. I take photos the way I’d want someone to shoot me. That mindset has really helped me build trust with the people I work with.” His work doesn’t just look good, it feels good,and that’s what makes it stick.

He’s now working on a special projectcalled “PINK,” a personal body ofwork built around an acronym he created. While the full meaning is still underwraps, he’s already dropped a teaser trailer and promises something unique. “Idon’t want to give away too much yet, but it’s something I’ve put a lot into. Ithink people are really going to feel it.”

From big stages to quiet corners, Nyshan Shot That continues to tell stories that matter—through color, composition, and connection. His journey is just getting started, and his lens is always ready.

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Once the undisputed king of global music festivals, Coachella is now sparking conversations online not about what happened, but about what’s missing. As Twitter timelines fill with commentary, memes, and a recurring nostalgia for Beyoncé’s 2018 performance, many are wondering—has Coachella lost its magic?

Between 2014 and 2016, Coachella felt like a cultural pilgrimage. In those years, OutKast reunited after nearly a decade offstage, kicking off what felt like the golden era of surprise sets. In 2015, Drake headlined, and though his kiss with Madonna was the headline, the festival still drew excitement for boundary-pushing performances. For 2016, LCD Soundsystem and Guns N’ Roses shared a lineup and the crowd loved it!

During that era, Coachella was the culture. It was significant, all the rave. It chose the outfits, set the style, and became the talk of the town—echoing across timelines for weeks. This was also the golden age of Tumblr aesthetics, flower crowns, and filter-heavy Instagram posts, when Coachella was the moodboard of fun. 

Fast forward to 2025 and the narrative has shifted. While Coachella still sells out with general admission tickets starting at $649, it seems fewer people are going for the music. Online, attendees complain of $30 fries, heat exhaustion, and stages so far apart that you need a travel itinerary just to navigate.

And yet, the livestreams tell a different story. The YouTube stream is crisp, expertly directed, and gives viewers front-row access to the biggest acts without the dust, traffic, or $15 bottles of water. For many, the best seat in the house is at home.

Online discourse continues to orbit around Beychella, Beyoncé’s 2018 headline performance that redefined what a festival set could look like: Black excellence, HBCU culture, and musical precision on an epic scale. It was theatrical. It was studied. It was historic. Since then, fans argue, no artist has come close. 

The comparison is stark. While Coachella 2014–2016 innovated with energy, genre-mixing, and surprise moments, Coachella 2025 feels more like a brand activation space, optimized for content, not culture. Notwithstanding, Coachella 2025 is carving a different identity— polished, content-ready, and occasionally, still iconic as Megan Thee Stallion practically set the stage on fire, bringing out Queen Latifah, Victoria Monét, and Ciara in a show-stopping moment that felt like a celebration of women, and their legacy.

Tyla also silenced any doubts, stepping fully into her global pop star era with a set that had fans declaring she "ate" her performance. And then there was Charli XCX, who pulled the kind of surprise that makes Coachella moments legendary like inviting Lorde onstage for a joint set. These flashes of brilliance prove that Coachella 2025 still has cultural weight. But despite the spectacle, many can’t help but feel that it’s no longer the heartbeat of youth culture, it’s something more branded, more calculated, and somehow, less raw.

Attendance is still high, with over 125,000 attendees per day with live streams even higher. According to YouTube’s 2023 report, Coachella’s livestream pulled over 80 million views across the weekend. 2025 is expected to surpass that but TikTok and Twitter trend more toward complaints and commentary than celebration, so would that really happen?

Begs the question, Is it close to being over for coachella? Still being a massive commercial success, Coachella is a platform for artists to reach millions. But its soul, the thing that once made it feel like the heartbeat of youth culture, seems to be harder to find among the dust and dollar signs.

The festival that once defined a generation now seems best remembered in clips, tweets, and YouTube replays.

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TOMMY HILFIGER PAYS HOMAGE TO ITS SAILING HISTORY LAUNCHING THE HILFIGER SAILING COLLECTION

Rooted in a legacy of nautical heritage, the limited-edition capsule reinterprets classic sailing codes through a modern lens, blending maritime tradition with sporty prep influences.

AMSTERDAM, THE NETHERLANDS (APRIL 2025) – Tommy Hilfiger, which is part of PVH Corp. [NYSE: PVH], charts a new course for Spring 2025 announcing the Hilfiger Sailing Collection - a contemporary reimagining of archival silhouettes inspired by the brand’s deep-rooted connection to the sea.  From the regatta to the runway, Tommy Hilfiger has drawn inspiration from sailing since the '90s, seamlessly fusing seafaring tradition with cutting-edge innovation. As the brand celebrates 40 years of nautical heritage, the capsule breathes new life into classic designs, bridging past and present to redefine modern coastal style.

“The open water and the yachting lifestyle have always carried a sense of freedom and adventure,” says Tommy Hilfiger. “Since the early ‘90s, our collections have captured the spirit of the sea, embracing maritime influences and blending relaxed sailing-inspired design with timeless prep. This collection is a tribute to that passion, a modern interpretation of our nautical heritage that remains true to the pioneering spirit of the brand.”

The 22-piece capsule is inspired by the energy of sailing down the Hudson River, fusing technical expertise with the effortless spirit of maritime adventure. Designers delved deep into the archives to reimagine classic styles, creating a collection that bridges vintage nostalgia with modern performance. Technical regatta jackets layer over fleece hoodies and striped tees, while a woman’s nylon deck coat is redefined with fresh, feminine proportions and reversible functionality. Iconic motifs — ropes, pulleys and signal flags — are woven into the collection, merging collegiate-prep aesthetics with sea-faring influence and reinforcing TOMMY HILFIGER’s signature fusion of sport and style. A refined color palette of sophisticated reds and greens adds a contemporary touch, elevating coastal-inspired staples with a fresh, effortless spirit.

A lifelong passion for sailing has shaped Tommy Hilfiger’s design philosophy, with a pioneering spirit at its core. Inspired by an obsession with sports uniforms and design codes, he embraced competitive sailing in 2003, forging partnerships with world-class crews and combining performance-driven innovation with classic Americana style. The brand's original logo debuted as a bold, rectangular “flag” with Tommy and Hilfiger framed in navy bars. Designed to evoke a sense of nautical heritage, the logo integrated Hilfiger’s initials in maritime signals -TJH (Thomas Jacob Hilfiger) - setting the stage for an icon. 40 years on, it remains one of fashion’s most recognizable symbols.  Now, this legacy now takes on new momentum with the brand’s sponsorship of the U.S. Sail GP Team – a game-changing fusion of sport and style.

The Hilfiger Sailing Collection will be available on tommy.com, in TOMMY HILFIGER stores worldwide and through select wholesale partners beginning on April 9, 2025.

Friends and followers of the brand are invited to join the conversation on social media using #TommyHilfiger and @TommyHilfiger.

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Under Armour is known for its relentless pursuit of performance innovation, creating gear that helps athletes push limits and break barriers. Today, the brand is stepping beyond the arena and into culture, making a bold statement with the launch of UA ECHO—a shoe that redefines what Under Armour stands for.

This isn’t just a new shoe—it’s a shift in identity. UA ECHO represents a deeper connection with the next generation of athletes and culture drivers, especially Gen Z, who see style as an extension of movement and self-expression. Under Armour is stepping off the court and field, expanding its influence into sportswear and street culture.

Designed with a bold, sculpted silhouette, innovative materials, and an unapologetic streetwear aesthetic, UA ECHO is built for those who don’t just move through the world—they make an impact. It’s a shoe that speaks the language of a generation that refuses to be defined by just one thing.

“UA ECHO is our first step in defining sportswear at Under Armour.”

“Innovation has always been our driving force, and with UA ECHO, we’re elevating it—fusing performance, design, and technology to set a new standard. This is more than just a launch—it’s the foundation of what sportswear means for Under Armour.”

Yassine Saidi

Chief Product Officer and General Manager

A Shoe Engineered to Disrupt and Define

UA ECHO makes an impression before you even take a step. It looks like it’s in motion even when standing still.

The multi-layered monofilament mesh upper delivers both structure and breathability, giving it a sleek yet durable feel. The asymmetrical speed-lace system is engineered for a locked-in fit that moves with you, adapting seamlessly to the pace of life. Translucent overlays and aggressive geometric lines add to its futuristic aesthetic, creating a silhouette that’s fresh, modern, and built for those who move fast—in sport, in culture, and in their ambition.

"UA ECHO was made for the game-changer - transformative and bold in their style. UA ECHO is for individuals who walk into a space and own it. They reflect their confidence, ambition, and relentless pursuit of what's next.”

Sasha Chaplin

Senior Product Line Manager Sportswear Footwear at Under Armour

A Balance of Fashion and Function While UA ECHO is a style-driven shoe, it is elevated through innovation. Beneath its striking exterior, Under Armour’s signature full-length HOVR® cushioning provides the comfort, impact absorption, and energy return needed for an on-the-go lifestyle.

The lightweight, flexible outsole ensures effortless movement, making it a shoe that seamlessly transitions from streets to social spaces, from day to night. UA ECHO was designed to adapt—just like the people who wear it.

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Ukombozi, the latest collaboration between the London-based composer team Thunderdrum and British-Tanzanian artist Tiggs Da Author, serves as a compelling soundtrack for Ubisoft's "Assassin's Creed: Shadows." Released on April 4, 2025, this eight-track album intricately weaves together diverse musical elements, reflecting the game's rich cultural and enhancing its immersive experience.

Tracklist:

1. NGUVU NI UMOJA (Shadows Theme)
   
   
2. MWANAJESHI
   
   
3. UKOMBOZI - Pt I
   
   
4. UKOMBOZI - Pt II
   
   
5. HADITHI
   
   
6. CHINJA
   
   
7. JENGA JENGA
   
   
8. UKOMBOZI (Epic Version)
   
   

The album's title, Ukombozi, meaning Liberation in Swahili, encapsulates themes of freedom and resistance that resonate throughout the game. This thematic essence is vividly portrayed in tracks like "NGUVU NI UMOJA" (Strength is Unity), which sets the tone with its powerful blend of traditional African rhythms and modern psychedelic rock elements. The collaboration between Thunderdrum and Tiggs Da Author brings a unique experience always, seamlessly integrating East African musical traditions with contemporary sounds.

"MWANAJESHI" (Soldier) continues this narrative, delivering a rhythmic march that mirrors the protagonist's journey through conflict and camaraderie. The dual-part title track, "UKOMBOZI - Pt I" and "UKOMBOZI - Pt II," serves as the album's centerpiece, offering a dynamic progression from contemplative melodies to anthemic crescendos, symbolizing the path from oppression to liberation.

The inclusion of traditional Japanese instruments, such as the shakuhachi flute, alongside African percussion, reflects the game's setting in feudal Japan and the diverse backgrounds of its characters. This fusion is particularly evident in "HADITHI" (Story), where the interplay of these instruments creates a soundscape that transports listeners to the game's world.

"CHINJA" (Slay) and "JENGA JENGA" (Build Build) offer contrasting moods— the former, an intense, fast-paced track echoing the heat of battle, and the latter, a more uplifting melody symbolizing reconstruction and hope. The album concludes with "UKOMBOZI (Epic Version)," an extended rendition that encapsulates the album's themes, leaving listeners with a resonant sense of triumph and reflection.

Tiggs Da Author's fluency in Swahili and his East African heritage bring authenticity and depth to the vocals, enriching the storytelling aspect of the album. His collaboration with Thunderdrum, known for their innovative compositions, results in a soundtrack that not only complements the game's narrative but also stands alone as a significant musical work.

"Ukombozi" is available on major streaming platforms, including Apple Music and Spotify. Thunderdrum and Tiggs Da Author have crafted a soundtrack that not only enhances the gaming experience but also resonates with listeners on a profound level, celebrating themes of unity, struggle, and liberation.

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This week’s Art With Deeds spotlight shines on Bala Faama, a multidisciplinary artist whose deeply intuitive and emotionally charged practice centers on themes of memory, identity, and healing. Through portraiture, digital layering, and storytelling, Faama creates visual spaces where emotions are expressed, held, questioned, and transformed.

Her latest body of work, The Mind Remembers, meditatively explores how our minds hold onto experiences—those we cherish and often wish to forget. It reflects how memory and emotion continue to shape our personal landscapes, even in the quietest corners of our lives. The series deals with the liminal space between clinging and releasing, between remembering and moving forward. In her own words, Faama says the work "basically reflects on how past experiences shape us and the ways we navigate them."

The first piece in the series, To Hold, To Let Go, captures that tension with haunting beauty. Using soft yet expressive strokes and body language that feel both intimate and universal, the piece communicates a personal internal dialogue but leaves room for interpretation. “My mum thinks it’s a woman bathing in blood,” Faama jokes, “but for me, it’s about that delicate balance of emotional memory and healing.”

Faama’s path into art wasn’t linear. Originally studying International Relations, she didn’t initially view herself as an artist. It wasn’t until a close friend inspired her to give it a try that she picked up a brush. What began as a curiosity quickly evolved into a vital form of self-expression, especially when words weren’t enough. “I struggled with depression and wasn’t great at expressing myself with words,” she shares. “Art gave me a way to do that.”

Her approach to creating is intuitive and layered. Often beginning with a feeling or fragmented concept, Faama gathers inspiration from personal memories, music, and conversations. “My notes are full of scattered thoughts and rough sketches that come to me randomly,” she says. “Sometimes, I don’t know where a piece is going—I just trust the process.” She combines both traditional and digital techniques to build visual narratives, focusing on facial expressions and body language to ensure emotional authenticity.

Beyond her studio work, Faama is committed to community healing. She’s currently expanding her Creative Unwind Sessions—art workshops aimed at helping others slow down, reflect, and reconnect with themselves through painting. These sessions are safe spaces for emotional release, storytelling, and self-care.

Looking ahead, Faama is continuing to develop The Mind Remembers series, with plans to explore themes of identity, memory, and emotional resilience more deeply. She also hopes to host her first solo exhibition in the summer, sharing these deeply personal pieces with a wider audience.

Bala Faama’s work reminds us that art is not just a form of expression—it’s a vessel for healing, a mirror for memory, and a space for transformation. In her hands, emotion becomes material, and memory becomes a map—guiding us through the past and gently pushing us forward.

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Step into the world of Duckwrth—where fashion is a bold statement, lyrics carry raw emotion, and passion burns with the intensity of a rockstar. He isn’t just making music; he’s reshaping the alternative and punk scene, drawing from the greats while redefining what it means to be a Black rockstar in today’s era.

In a world where genre boundaries are blurring faster than ever, Duckwrth stands as a true sonic explorer. His music is a fusion of influences—hip-hop, funk, punk, and electronic sounds collide in his discography, forming his own artistic fingerprint. With his latest album, All American F⭐️ckBoy, he takes listeners through a deeply personal and layered experience, exploring themes of identity, love, and self-discovery.

It’s early morning when Duckwrth picks up the call, greeting with an energy that feels both calm and electric—a fitting reflection of an artist who moves effortlessly between sonic extremes.

“I guess my body is adjusting to being a morning person, ” he laughs. “I just woke up now.”
Born and raised in South Central, Los Angeles, Duckwrth’s artistic origins stem from an encounter that would unknowingly set his creative path in motion. “I was around 14 or 15, riding in the car with my mum, when I saw this Black kid skating in front of us, ” he recalls.  “At that time,

you didn’t really see that in South Central. He did a trick in front of the car, and I was like, ‘D**n, I want that. I want that lifestyle. ’ That moment stuck with me.”

From there, his journey through art and music evolved. University became an incubator for his creativity. “I was fully immersed in an artistic culture, constantly creating, ” he says. “We were just making things for the sake of making them. No restrictions.”

Duckwrth’s new project is one of his most personal yet. “The themes I explore are accountability, vulnerability, and toxicity, ” he shares. “But beyond that, there’s a certain energy—electric, colourful, deeply textured. It’s vibrant but also introspective.”

The album peels back the layers of human nature, tackling infidelity, ego, childhood trauma, and self-discovery. He describes it as a raw, genre bending work that embraces life's complications. “I wanted to explore the messy parts of identity and relationships, ” he explains. “It’s not always clean-cut, which makes it real.” A recurring theme in his work is the impact of technology on human connection.

“The way people date now is online shopping, ” he says bluntly. “You swipe left, swipe right—it turns people into products. It takes away the depth of connection.”

Duckwrth believes attraction is so much deeper than a well-curated selection of images. “Some of the most beautiful connections I’ve had were with people who weren’t necessarily my ‘type’ at first, ” he says. “But then you get to know them, and suddenly, their mind, their heart, their energy—it all makes them beautiful in ways you never expected. ”One of the most striking elements of “All American F⭐️ckBoy” is its visual language. The cover for Toxic Romantic carries a dark but magnetic energy. “I love playing with shadow and light, ” he says. “I’ve always been drawn to artists who do that.”

But Duckwrth also consciously decided to balance perspectives in his visual storytelling. “For the main album cover, we worked with an all-Black, all-women creative team, ” he says. “From the photographer to the stylist, to the hands in the shot—every element was intentional. That felt important to me.”

As the conversation turns to lighter topics, Duckwrth is asked to name songs that match different moods. For wash day, he picks: “Tame Impala – Currents.” To calm the nerves: “Minnie Riperton – Les Fleurs.” A song he wishes he wrote: “Maybe something by N.E.R.D or recently, ‘Judge Judy’ by Tyler, The Creator. That one hit different.”

When the topic shifts to culture and what it means to him, Duckwrth leans in. “Culture is a response, ” he says. “To society, to politics, to the economy. It’s how people take their experiences and turn them into something—whether it’s music, fashion, film, or movement. ”

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And when it comes to influence, he doesn’t hesitate to recognize the root of it all.

“Black culture is culture, ” he states. “We set the tone. We always have. But what’s unfortunate is that the source doesn’t always get its flowers. The commercial version often gets the shine, while the originators don’t. That’s something that needs to be recognized more. ”

How does Duckwrth get in the zone creatively? “Conversation, ” he says. “Kicking it with friends, eating good food, laughing. The energy just builds from that. When I was finishing this album, though, it was different. I was locked in. No distractions. Just getting the work done. ”

As the conversation winds down, Duckwrth reflects on All American F⭐️ckBoy.

“This is my best work to date, ” he says confidently. “The storytelling, the genre-blending, the production—it all just clicked. I can’t wait for people to hear it and experience it live. It’s gonna be a ride.”

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CREDITS:

Photographer: Peter O’Sullivan @peterosullivan

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Creative Director: Zekaria Al-Bostani @zek.snaps & Cherise Hewitt @dripeisha

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(Looks 3&4)

Producer: Seneo Mwamba @seneomwamba

Co Director: Cherise Hewitt @dripeisha

__Styling: Ramario Chevoy @ramariochevoy

MUA/Groom: Carly Corrine @carlycorrinemua

Hair: Aux @thisistheconceptcompany

Dog: Teddy @followteddybear

Dog Handler & Creative Assistant: Nadeem Ahmed @nadderz

_photography

Creative Assistant: Whitney sanni @its.whit

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Design: @ShalemAlone

Journalist: Thandie Sibanda - @thanddd

Studio: Bread & Butter Studios @breadandbutterstudios

PR: Lucid Publicity @lucid.publicity

Styling

Look 1

3 Piece Suit: @brisnclarkeofficial

Shoes: @Vagabondshoemakers

Look 2

Oversized PufferJacket & Trousers: @axiiom

Knitted Polo Top: @samsoesamoe

Footwear: @diemmefootwear

Earrings & Ring: @luckylittleblighters

Look 3

Full Outfit: Oswald Boateng @ozwaldboateng

Shoes: @vagabondshoemakers

Look 4:

White Leather Trench: @MainsLondon

Shirt: @Brainclarkeofficial

Jeans: @dailypaper

Tie: @ozwaldboateng

Shoes: @samsoesamoeLook 5

Fur Gilet & Denim two piece: @mainslondon

Hat: @bennysndallo

Boots: @timberland

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This interview features  Giwa Babatunde David (Crayvelli), a multidisciplinary creative who seamlessly navigates the worlds of DJing, fashion, and digital illustration. Throughout the conversation, Crayvelli shares insights into how these creative disciplines intersect in his work and personal expression.

Crayvelli describes his breakthrough moment in the music scene after persistently pursuing opportunities to perform at Mainland Block Party's Secret Garden venue in 2019. His journey from making mixes for friends to professional DJing illustrates his determination and authentic approach to art.

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DEEDS MAGAZINE: Your journey spans multiple creative disciplines - from digital illustration to fashion and DJing. How do these different art forms intersect and influence each other in your personal creative process?

CRAYVELLI: As a DJ, I think of music the same way I think of style—it's about curation, blending elements, and creating a vibe that speaks to people. Everything that I do influences the other either directly or indirectly because in retrospect, every music genre has a fashion and visual aesthetics.For me, fashion, music and DJing are all interconnected—they feed into each other and shape my identity.

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DEEDS MAGAZINE: As a DJ, what was the defining moment that transformed music from a hobby to a professional passion? Can you share the story behind your first significant breakthrough in the music scene?

CRAYVELLI: Considering that I’ve had my DJing skills since I was a teenager, I just made mixes and post them online whenever I could and my friends would download the mixes. I was really just having fun with it until I attended a Mainland Block Party in 2019, As soon as I set foot in Secret Garden, I knew wanted to DJ there so I spent the next couple of months trying to get on, submitting mixes, and reaching out, but I kept getting ignored. After months of shooting my shot, I decided to take a different approach by I tweeting at Alhaji Popping, letting him know I had been trying to get a set. That tweet got his attention, and I was put in a poll alongside other DJs. I ended up winning, and that was my official entry into the music scene.

DEEDS MAGAZINE: Your background in digital illustration seems unique for a DJ. How does your visual artistic perspective inform your musical selections and mixing style?

CRAYVELLI: Honestly, I just think of myself as a creative and all I have been doing is expressing myself unapologetically. However at the core, It’s all about storytelling and how I make people feel when I DJ

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DEEDS MAGAZINE: Digital platforms have dramatically changed how DJs discover, share, and perform music. How has technology transformed your approach to DJing compared to when you first started?

CRAYVELLI: Yes definitely! When I started learning to DJ, laptops weren’t popular, I was mixing on USB Scratch CD Players which means that’s music had to be burned into CDs or downloading songs on flash drives which can be really tedious but now, there’re bunch of platforms, softwares and gears that simplified DJing and made sharing music accessible. I’ll say my approach didn’t really change rather, it evolved as I learnt to use these new tools however, reading the crowd, selecting and mixing the right tracks, and curating the vibe will always be at the core.

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DEEDS MAGAZINE: You've built a reputation in both the fashion and music worlds. How do you navigate these interconnected creative industries, and what challenges have you encountered in maintaining your authenticity?

CRAYVELLI: Like I stated earlier that everything I do is a form of self expression, Music, Fashion feed off each other and I focus on creating what feels true to me because that’s what keeps people connected to my work at the end of the day. I’d say my biggest challenge so far is the pressure to follow what is trendy because both industries move fast.

DEEDS MAGAZINE: Walk us through your process for curating a setlist. Do you approach a club gig differently than a Festival?

CRAYVELLI: Honestly, I don’t necessarily curate a setlist, I just listen to a lot of music, make remixes and playlists for different vibes and genres while also paying attention to music people are enjoying in general as well, that way, I show up at gigs and we all have fun together because it’s all about having fun for me, I don’t like to overthink it.

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DEEDS MAGAZINE: What’s the most unexpected hurdle you’ve faced as a Dj, and how did you adapt to overcome it?

CRAYVELLI: There’re lots of challenges actually but I’ll say some of the prominent ones are terrible song requests and technical issues. DJing has helped improve my problem-solving skills because you learn to troubleshoot and make things work on the spot.

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DEEDS MAGAZINE: Beyond the technical skills, what do you believe is the most important emotional or intuitive element of being a great DJ?

CRAYVELLI: Reading the energy of the room, that helps you connect to the crowd and you get to give people what they need without them realizing it.

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DEEDS MAGAZINE: Looking ahead, what are your most ambitious goals? Are there any uncharted territories in music, fashion, or digital art that you're eager to explore?

CRAYVELLI: There’re a lot actually but I’ll really like to travel the world while DJing and also curate experience that blurs the lines between these art forms. I would like to merge the experience into something immersive. 

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DEEDS MAGAZINE: What’s next for Crayvelli? Any dream collaborations or projects? Lastly, what advice would you give aspiring Djs trying to carve their own path?

CRAYVELLI: Currently my primary focus is curating these experiences that I highlighted earlier because I don’t believe in limits. Some of my dream collaborations would be with Nike, Rema, Skepta and ASAP Rocky. My advice to Djs is to stay true to themselves, believe in your own sauce and listen to a lot of music.

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With his exhibition titled, “Black Star”, the Nigerian born and London based artist, will be exhibiting his highly anticipated, second solo show on the 3^rd of April, till the 5^th of May 2025, at the Kearsey & Gold Gallery, in London. As well as exhibiting and delivering a presentation of his works, he also most recently curated the album cover for Afrobeats artist, ODUMODUBLVCK’s 2025 album, “THE MACHINE IS COMING”.  In an exclusive interview, we explore and breakdown the various subjects surrounding authenticity, self-belief and creative boundaries.

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With the legacy you’re building through your artwork, what deeper messages do you hope people connect with?

Soldier: While led, it’s been very done in a particular model, a very old model that doesn’t really, I guess, put people of colour first, and kind of pushes all our stories to the side. I think my job when I make work is put my story, especially stories like of people like me to the forefront. So, I try and champion that. I try and champion people who look like me, people who have my experiences, and also, shake up the scene and the industry of the artworld. The legacy I want to leave, I think with most of my work is very meticulous. It’s very detail oriented, and it holds, really rich stories. I always want to be able to tell stories that even in the future, the stories remain. So yeah, just leaving a mark and obviously making sure that the mark I’m leaving can be seen by people like me and inspire people like me.

SW: Absolutely, I feel sometimes, some people kind of have, which is, I guess, fine but they have this goal of, “I’m here to make money” and, yeah, but it’s nice to have someone that actually cares about their intentions with their crowd, because you find that a lot of people will just kind of be very, “I’ve got a business focus” approach to it, and that’s perfectly fine, but you know, you’re in touch with people. You’re not just surface level.

Soldier:  But also I’m in touch with people, because I’m in touch with myself and many people who kind of feel the same way I feel. And many people kind of going through the same experiences, like going through and I feel like also it’s all about honesty. So, I start with myself, and I feel that other people can kind of feel that. I mean, I hope so. I mean, I know so yeah, it’s just, kind of telling stories for people like me to kind of latch on to and know that there’s someone going through the same experience and putting down the work. Money is great. Business is amazing. Business is cool, don’t get me wrong, but at the same time, it’s all about the stirring, it’s all about the craft.

SW: No, 100%, absolutely, I agree, facts.

How do you push creative boundaries while staying true to your signature style, but most importantly maintaining integrity?

Soldier: I wouldn’t say, I don’t try and restrict myself or limit myself to a style. I think the style is me and what I think about. And like I said, my experiences create the style. So, I’m a funnel for all these amazing experiences. Creative boundaries, obviously, I think by doing things I’ve never been seen before. And like I said, in the space in which I kind of take up, there’s like, a beautiful handful of people, our world is kind of materially known for being like a white, male dominated, led space. And obviously, by being who I am, I’m really breaking the boundaries already. So, I never really think so much about breaking boundaries. I just think to myself, “how do I make an idea better?”. Or “how do I make an idea as big as I can possibly do it?”. Staying like I said, staying true to myself is because I’m honest, at least to the works I make is like I make paintings of things that mean a lot to me. I kind of touch things that I see, in visions, in dreams, or you know, ideas. So yeah, I think by the time you kind of keep it in your heart, and you always keep in your hearts, you never really get carried away by what other people are doing or what’s happening right now and obviously having an honest story to tell. Like, yeah, you always break boundaries you know.

SW: Yes, you naturally will. I feel that when you’re passionate about it, you can’t fake it, you’re always going to be authentic regardless. Your work will always be groundbreaking.

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So, as you’re a successful artist, how do you define success and what is your interpretation of success for you?

Soldier: Suggestively, it’s different things. I think many people sometimes think success is a monetary thing, oh, you have all this money, or you have all these Instagram followers. All of that is cool. Just adding to the success to me, is like thinking of an idea and see it come to life. For example, for this series, I remember the first we started speaking to the gallery about it, it was kind of scary, because it was kind of this idea that was written on paper. And I was like, how are we going to do this f*cking big show, and like with the sculptures, and when I finally saw all the works, finally, after six months, I felt complete, you know? I think success, to me is when you do have an idea, where you do say something, and then you do it, and you do it well. That’s how I define success.

Do you believe growing up in a working-class background delivers important and authentic art?

Soldier: I mean, it could, and I don’t really do the whole classism stuff, because I know there’s some rich kids out there who are also going crazy. But for myself, obviously, I didn’t grow up rich at all. I grew up in a very Nigerian background. My dad’s a reverend. We didn’t have much growing up. Obviously, that kind of put perspective into my head because I’m going out into the world thinking to myself, I need to, kind of like, make this work, you know? I need to, I need to work every day, just like my dad, just like my mom. I need to wake up in the morning, head to my studio and treat this like a job. You know, I feel, obviously the working-class background instils this virtue of continuously going and continuously pushing, Also, the stories you kind of get when you have no money is amazing, you know the, “Oh, I had that one time and I didn’t have anything to eat”. That’s great, you know, that grass to great story is amazing and kind of, it’s inspirational. So that kind of helps, that gives me motivation.

SW: I do agree with that as well. I guess as much as there’s working class people that can deliver authentic art, some of these rich kids, they’re coming in as well.

Does spirituality play a role in your artwork and life?

Soldier: yes, in a big way it does. And I do believe that, like obviously, the world in which we stay in is very three dimensional, and I think there’s stuff beyond that. Like I said, I grew up in a very Christian background, so there was, like, a lot of praying and the church informed my works. Because even my works, it feels like icons, you know, you see people on my canvas and it feels like in the church, like when you see a stained glass, like a mirror. So, I would say, yes, spirituality does that. It keeps me really grounded. It makes me think, it makes me reflect. And you can see that in my work.

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What is one thing you have learned on your journey with being an artist?

Soldier: I would say this, I don’t think many artists, or many people make work. I think they take for granted the ability to make things, so you see someone say, " I’m an artist”, but you know, you’re not making enough paintings. In your drawings, I promise you spend your whole life making art. As an artist, you should spend your whole life being consistent. And you should treat your hobby or passion as a job. It can’t be like a one-time thing where, you’re inspired this one time, it needs to be every day. There needs to be systems in place. There needs to be things in place, like it’s a full-time job. So, I’ve kind of learned by being consistent in my job kind of helps my outputs, and it makes things, more legit.

SW: I agree, if you’re not consistent, you’re probably going to see rewards, but it’s going to be a bit longer.

Soldier:  Exactly, and it’s okay for it to be long, and it’s okay for your practice to be quite slow, but show up to what you’re doing. Treat it like a baby. Feed it every day, and show up to it, and it’s going to grow.

SW: Yeah, I’m with that totally.

Is there a piece of advice that has always resonated with you till this day, and what is that?

Soldier: I would say this, no one should say I can’t, because everything is possible, it’s just based on how you feel it, and you know your work or body follows your mind. So watch what you think and watch what you say.

SW: I always say this, be careful what you put out and be careful what you wish for, because once you put it out into the universe, there’s no going back.

Soldier: Everything around us is someone’s dream, so just have faith.

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When we think Sien.wtf, we think spontaneity, we think innovation, we think individuality. Unequivocally, Sien.wtf is an ardent worker, and it is his conscientiousness that differentiates his work from the rest. Sien is highly driven, and by choosing not to be limited to a certain niche, he pushes boundaries in terms of his creative pursuits and passions. It is no surprise that his eccentric style has facilitated a panoply of amazing creative projects with an equally impressive catalogue of collaborations.

In our interview, we dive into the complex mind of the genius, seeking aspects of his life that may give us some insights into his creative tendencies. By covering topics that cut across his work ethic, business, culture, and personality, we expose things that you might not have known about the star.

Our chat with Sien.wtf.

Sien.wtf is an interesting name. What’s the inspiration behind it—why Sien.wtf? It’s a common reaction, “sien, WHAT THE F-CK?” so when IG didn’t let me use just my name, I added the suffix. 

In a previous interview, you spoke about your spontaneity. You’ve dropped an EP, you talked about a possible apparel collaboration with sienandgods, and recently, you debuted a short film. Is it difficult to confine you to one bubble? I don’t think it’s difficult, I think it’s actually glaring that the bubble doesn’t exist. The only thing constant is me as a person, but the art forms will always be any and everything.

 Diving into your roots. Do you think your upbringing has inspired your chaotic creativity, as well as other aspects of your work? Heavily! I spent a lot of years alone because my siblings were already in boarding school. I’ll create multiple storylines with my toys, the imagination had no limits, but my father took them all one day because I was constantly hooked on new storylines. Since then, I decided to never limit myself to just one outlet of creation, mostly because I was scared of losing it, but now I do it because there’s so much that’s possible.

Your collaboration with the likes of Slam TMA, Vibe ‘05, and Santorini has a very interesting backstory. You mentioned that you had begged them. Does that reflect the lengths you can go through to materialise your creative visions?

It heavily does, I’ve slept on the chair at Awolowo, in front of ALARA, outside Eko hotel and used my last cash for projects and gone hungry multiple times.

Your social outlets give us an overview of your work life; however, aspects of your personal life are not so public. What does a typical day in the life of Sien.wtf look like?

The thing I have realized recently is outside work, I don’t exactly have a life. I’m grateful to be able to make a legacy out of a hobby, so no day feels like work; it’s just lifestyle.

The creative space is saturated and competitive. It is an environment where being different gives you an edge. What can you say distinguishes you from other creatives, what makes Sien.wtf Sien.wtf? Honestly, it’s heavily about not overthinking it. I always just follow my gut blindly, and for some reason, people seem to like it. I think that’s something creatives should do more, just do your own thing, believe in your intuition so badddd.

What do you think about the Nigerian creative space in terms of the differences between then and now, is it more difficult, are we more diverse/inclusive, are more people thriving? I very much believe the way has been paved to a certain extent, I won’t say it’s a 100% easier but it’s definitely not that same as 15 years ago and that’s something I’m happy about. Any and every one can create something impactful to culture.

Your dedication and drive have made a name for you in the creative space. You’re on the journey to greatness, and we would like to be a part of that. What are your plans for the future, what can we expect from Sien.wtf? I’ve recently explored Twitch; I think it’s a great way to just do nothing while doing something. Idk if you understand me but it’s literally you just being yourself in real time. I want to do more of that, creatively explore YouTube as well; I have a bunch of shows coming up. I have two music videos directed by me, I’m looking at doing more of that. Basically, just expect more stories told, documentation of culture and creating insanely cool stuff!

Although, Sien is a man of many talents, telling stories is the central motif in all his creative outlets. As our conversation with Sien drew to a close, it’s difficult to not marinate over his answers, especially those that touched his influences and passions. What he has become is a testament to sheer perseverance, running on nothing but passion.

Through the complicated, and complex landscape that is the creative space, Sien perseveres. His passion for telling stories continues to inspire and challenge his contemporaries. One thing is clear: Sien is taking us on a journey to his greatness, and we’re his passengers eagerly waiting to get to this destination.

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#Fashiondistrict: We caught up with Orire (@orirealesh) to uncover the journey behind her growing fashion brand and her passion for self-expression through design.

From her early fascination with fashion and the arts to completing her master’s in Fashion Business during the pandemic, Orire shares how authenticity and the pursuit of a full, expressive life led to the birth of her brand. She reflects on how fashion became her chosen medium for storytelling and how launching a year after her studies shaped her creative vision.

She also gives us a deeper look at one of her standout designs—the “DIRE DRESS”. Initially a last-minute addition, it went on to become Orire’s best-selling piece, proving that simplicity and instinct often lead to unexpected success.

Beyond design, Orire opens up about her influences—drawing inspiration from women in general rather than specific figures—and her free-flowing creative process, which can start anywhere from a random idea to fabric sourcing. She also hints at a new collection in the works, though no release date is set just yet.

When she’s not designing, you can find her diving into a book or simply enjoying time in bed, embracing her introverted side.

Tap in as we step into Orire’s world—where fashion is more than clothing, it’s a reflection of life itself.

DEEDS MAGAZINE: Can you tell us the story behind Orire, Basically what inspired you to start ?

Orire started purely out of my interest in the fashion/arts and building things. A very important value to me is living an authentic life, the capacity for full self expression : living out one’s truth and living out a full life- where what you feel on the inside is exactly what you feel on the outside; to fully , truthfully express ones self.  I started the brand because while recognizing that there are many channels in which one can achieve this, I believe fashion is one powerful way. I had just finished with my masters in Fashion business during the pandemic and it was the perfect time to think about how/what I wanted to launch. We launched a year after.

DEEDS MAGAZINE: Tell us about one of your design, Also your  favorite piece from Orire?

I don’t have one, they’re all my babies, However, the Dire dress stands out because It was a lazy addition to the collection. I thought it was too simple and I just needed a filler. I had already set a date for the collection shoot so there was not much I could do with regards time. It has now gone on to be our best-selling piece.

DEEDS MAGAZINE: What does fashion mean to you personally?

A way of expression. I knew I wanted to be one of the creators. There are very few things as rewarding as building and growing a thing from nothing.

DEEDS MAGAZINE: Who are your biggest influences in fashion and beyond?

Women in general to be honest.

DEEDS MAGAZINE: What’s your creative process like?

I don’t have a structure. Life influences me. I think of something, I draw/write it out, explore samples and I just keep doing that. Sometimes I start from sketching ideas, other times from fabric sourcing. It all depends, really.

DEEDS MAGAZINE: Do you have any new collection on the way?

We are currently working on one but we don’t have a release date yet.

DEEDS MAGAZINE: When you’re not designing or curating a piece, what can we catch you doing?

I’m reading a book or just rotting in bed, i’m extremely introverted. I love a bed.

Being in a collective has always made me as a creative feel like I’m part of something greater than myself and my work, the collaborative energy that brews

from sharing an idea and wanting to push the same narrative to a mainstream audience feels like a recipe for greatness, every project that gets churned out

challenges to be the groups magnum-opus, due to the fact that it isn't for one person's gain but to equally propel the collective to a new dimension of “popularity”.

Let's take a less subjective view on the subject/topic

Pre 2000’s Era Rap Groups

NWA, Wu-Tang Clan, Grandmaster Flash & The Furious 5, Public enemy, The Fugees and Run DMC are some of the household names in the rap game with their influence in the industry being inseparable from the history and current popularity of rap itself. These groups were pivotal in the shaping of culture and entertainment in their era and that influence has bled into contemporary music and style. From speaking against power structures and fighting against oppression in the case nof N.W.A with “F*ck tha Police, to setting fashion trends through their pens in the case of Run-D.M.C with “My Adidas”, a song that led to a $1.6 million endorsement deal, marking the first time a rap group partnered with a sportswear brand.

This era was also marked by innovators like Grandmaster Flash and the Furious Five, whose groundbreaking techniques and equipment expanded hip-hop’s sound. It's safe to say the very nature of what we now understand as rap and hip-hop culture wasn’t shaped by 1 artist or creative, it took the effort and collaboration of multiple creatives to create a new and lasting narrative.

2000’s Era Rap Groups

New Age rap collectives like A$ap Mob, Odd Future, Migos and Pro Era, have in no way dimmed the light on what is possible, with these groups churning out chart topping projects and facilitating “HIP-HOP X HIGH FASHION” collaboration.

DECLINE OF HIP-HOP COLLECTIVES

The very nature of a group is an eclectic combination of different personalities and talents with a common goal. Playing devil’s advocate, The idea of a common goal can be conflicting with the interest of the already diverse nature of the groups members, often leading to internal disputes and consequently the group breaking up. In some sense a collective provides the opportunities for a complete team to create interesting projects but the fact remains that individual members desire a creative path for themselves.

SELF SABOTAGE

With all the rap groups highlighted, one name comes to mind as the “lead act” in each collective, this truth poses another challenge, what happens when one member becomes more famous than the group itself, who gets the recognition? This causes an inevitable imbalance that sabotages the longevity of the collective. A hard pill to swallow as a rap and hip-hop enthusiast, there have been fewer leading collectives in the game in recent years, but I understand from the artists perspective to want a personal image and brand.

To the remaining rap groups and to the independent rapper, Godspeed.

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We caught up with Kiing Daviids (@kiingdaviids) to uncover the journey behind his thriving footwear brand and his passion for storytelling through fashion.

From his early days as a student at the University of Lagos, where he flipped a thrifted brogue shoe for profit, to building a brand that embraces imperfection as part of the creative process, Kiing Daviids shares how faith, resilience, and vision shaped his path.

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He breaks down the inspiration behind his upcoming capsule collection, “TRASH” a project that transforms factory errors into intentional design—while also reflecting on how starting a fashion brand has influenced his personal style. We also get insight into his biggest influences, from Balenciaga to Virgil Abloh, A$AP Rocky, and Nigerian fashion powerhouses like Tokyo James and Orange Culture.

Beyond design, Kiing Daviids opens up about his creative process, his love for snooker, fashion shows, and the beach, and what’s next for his brand. Tap in as we explore the world of Kiing Daviids, where every piece tells a story.

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DEEDS MAGAZINE: Tell us about “The Brutalist Vision,” and what inspired it?

PELUMI OYEWO: The Brutalist’s Vision is a deeply personal exploration of my thoughts, imaginations, and addictions at this point in my creative journey. Lately, I’ve been heavily influenced by Eastern European architecture its stark lines, imposing presence, and the raw beauty of concrete and metal. There’s something otherworldly about it, something unpolished yet intentional. It made me think about the symbolism of black how it represents nothingness yet carries a kind of purity. I became fascinated with how people react to it, how it absorbs everything yet stands apart. This project is a reflection of those thoughts, a way for me to materialize them into something tangible.

DEEDS MAGAZINE: How did you get started? Also, what is your creative process like?

PELUMI OYEWO: The project took time, from planning to execution. I wanted it to feel personal, so I changed aspects of my daily life to fully immerse myself in its essence. I started wearing only black clothes with silver jewelry, changed my music selection, and watched Dune repeatedly to tap into a certain mood and aesthetic. Then came image research, I went through countless references to refine my vision. Every collaborator, from the photographer to the model and stylist, was carefully chosen to align with this world I was building. I don’t just create for the sake of creating; I need to feel and live through it first.

DEEDS MAGAZINE: Do you have any favorite projects, and what makes them special to you?

PELUMI OYEWO: This one, definitely. The Brutalist’s Vision stands out because of the clarity and self-awareness I gained during the process. It wasn’t just about aesthetics; it was about understanding myself more deeply. Every element, every decision was intentional, and that makes it different from anything I’ve done before.

DEEDS MAGAZINE: Do you have any upcoming projects you would want to share with us?

PELUMI OYEWO: Yes, The Brutalist’s Vision is actually meant to be a lifelong series, evolving with me as a creative. The next in the sequence will be The Brutalist’s Vision 3, followed by 4, and so on. I’ve already mapped out the first five in the series. The Brutalist’s Vision 2 will be a self-portrait, which I’ve reserved as my final statement, my last bow. Along the way, I’ll be experimenting with performance art, social experiments, and other projects beyond just photography. Outside of this, I’ve got a few gigs lined up, but my focus remains on expanding The Brutalist’s Vision into something bigger than just a single project.

Stylist and creative director Pelumi Oyewo (@pelumiioyewo) presents a striking visual narrative inspired by Eastern European Brutalist architecture—where raw concrete forms, stark lines, and an almost inhuman beauty take center stage.

Blending these elements with the refined yet alien aesthetic of Dune, the shoot transforms fashion into sculptural armor—rigid yet fluid, powerful yet desolate. Muted tones of gray, sand, and metal set the stage for a world where fashion and architecture merge, and elegance transcends the human experience.

Pelumi Oyewo continues to push creative boundaries, crafting visual stories where fashion becomes both structure and statement.

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Credits:
Muse: Real Moses (@reallmoses)
Photographer: Tosin Babarinde (@artistrypixels)
Hairstylist: HairbyKold (@hairbykold)
Makeup Artist: Oriyomi (@brushed_by_x)

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This week, we’re spotlighting Jimmy Ifeanyi, a multidisciplinary artist whose work is rooted in the beauty of imperfection, creative liberation, and the power of storytelling through color and form. Her artistic journey is a testament to the transformative nature of self-expression—moving beyond limitations, embracing experimentation, and challenging the rigid standards that often stifle creativity.

Breaking Free from Perfection Paralysis

Jimmy’s latest project is deeply personal. It represents a conscious effort to break free from perfection paralysis—the internal struggle that keeps artists from bringing their ideas to life due to fear of imperfection. For years, she grappled with self-imposed standards that kept her creations locked away in her mind, but this project is a turning point. It is an open invitation to embrace the process, allowing boundless imagination to flow without hesitation.

This journey of creative liberation has led her to produce works that are more intuitive and uninhibited, reflecting the raw essence of her artistic vision. It’s about feeding the soul—creating for the sake of exploration, emotion, and connection rather than perfection.

A Journey Through Art: From Photography to Painting

Art has always been a constant in Jimmy’s life, but her creative evolution has taken many forms. Initially, she was drawn to photography, seeing it as a discreet yet powerful way to capture fleeting moments. It was a tool that allowed her to document life’s subtleties, frame by frame. However, as her artistic curiosity expanded, she discovered that painting provided a more immersive experience—one where time felt suspended, and she could translate emotions onto canvas in a way that transcended the constraints of reality.

Her passion for color theory was sparked in 2016 when she first encountered the color wheel, a moment that opened up an entirely new dimension of artistic expression. Colors became more than just visual elements; they became narratives—each hue carrying its own story, evoking emotions, and adding depth to her work. Through this newfound lens, she began experimenting with hues, patterns, and symbolism, developing a signature style that merges the technical with the deeply personal.

An Intuitive Creative Process

Jimmy’s artistic process is fluid and instinctive, shifting in response to the energy of each piece. Some works take months of careful refinement, while others emerge in a single, unbroken session of artistic fervor. In the early stages of her career, she viewed art primarily as a form of emotional release, but with time, she has come to see it as a dialogue—a continuous exchange between herself, her subjects, and her audience.

Her color circle study paintings stand as a reflection of this philosophy. In these works, she seamlessly blends mixed media and photography, painting individuals she has captured through her lens. The recurring circular patterns within her compositions serve as visual echoes of shared moments, conversations, and emotions—turning each piece into a living archive of human connection.

Defining Moments: The “Baba Fela” Triptych

One of the most defining works in Jimmy’s portfolio is her Baba Fela triptych—a piece that marked a pivotal turning point in her artistic journey. This work was the first to integrate a human subject with her signature circle study technique, solidifying it as a core element of her evolving visual language. It was here that she truly embraced the fusion of her artistic influences, merging her deep love for color with her exploration of pattern and form.

Beyond the triptych itself, this project also introduced her to the world of wearable art. By transforming her artwork into a t-shirt design, she stepped into an entirely new realm—one that allowed her work to exist beyond the confines of traditional galleries. The realization that art could take on new life, moving with people and becoming part of their everyday expression, was a powerful moment of artistic expansion.

A Yearbook-Style Archive: Capturing the Creative Spirit

Currently, Jimmy is working on her most ambitious project yet—a yearbook-style archive that weaves together photography, painting, and interviews to document and celebrate the stories of contemporary creative innovators across disciplines. This project is more than just an artistic endeavor; it’s a way to preserve and honor the individuals shaping today’s creative landscape in a tangible format that transcends fleeting digital spaces.

By capturing the essence of this moment in time, she hopes to create a resource that future generations can look back on—a time capsule of creativity that reflects the voices, visions, and artistic movements of today.

Art as Connection & Community

At its core, Jimmy’s work is about fostering connection—bringing people together, facilitating knowledge exchange, and nurturing spaces where creative growth can flourish. She believes that art thrives in environments of curiosity and openness, and that true artistic freedom comes from embracing fluidity rather than confining oneself to a single medium.

Her latest project embodies this philosophy, proving that artistic expression should be ever-expanding, fearless, and uninhibited. By creating work that spans different formats and disciplines, she challenges the conventional boundaries of what art “should” be, advocating instead for a practice that is organic, evolving, and reflective of the artist’s personal journey.

A Message to Fellow Creatives

To every artist, creator, and dreamer:

Start now. Start where you are.

Perfection is an illusion—one that too often keeps brilliant ideas locked away. Growth comes not from waiting for the “right” moment, but from daring to create in the present, embracing imperfections, and allowing yourself to evolve through the process.

Your ideas are valid. Your vision is worthy. Give yourself permission to experiment, explore, and take up space. The best work doesn’t come from waiting—it comes from

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When one is forced to leave their homeland behind, bearing the imposed designation of 'migrant,' whilst carrying cherished memories of home on their back throughout the rest of their lives. What aspects of themselves are tucked in and do they get to preserve? Whereas, what parts must they abandon due to displacement? This is what Congolese-Canadian multi-disciplinary artist Rose Katembo is seeking to unfold in her latest exhibition ‘Interlude’ presented during the 43 International Festival Arts Films (FIFA 2025) at Usine C in Montréal.

Born in the Democratic Republic of the Congo during a period of war, Rose Katembo spent early years of her childhood in Tanzanian refugee camps before permanently relocating to Montréal, Canada at 8 years of age. Sitting with an impressive amount of 4 different languages; namely French, English, Swahili and Lingala, thus making her a quadrilingual, Rose naturally gravitated towards languages through art. With a focus on the intersection of language and identity, a personal journey she had to endure after her final destination to London without the safety net of her beloved family.

The title ‘Interlude’ originates from the Latin word interludum. Inter meaning ‘between’ and lude which means to ‘play.’ A parallel can be drawn to Rose’ own life transition, having to redefine herself with the French and English language once she settled in Montreal’s suburbs, while keeping Lingala and Swahili strictly spoken at home with her family. This intricate dance of code-switch prolonged even further, as her first independent voyage to London city meant she could no longer exercise a part of her identity; the Congolese languages she had brought with her when she flew to Canada as a child. It was until she had met a pair who spoke Lingala, her mother’s tongue, a sense of home was extended in this new environment. To live in-between as a migrant is something Rose is not unfamiliar with; however, understanding the loneliness from giving up fragments of oneself to gain a new adventure was perhaps a challenge she had long forgotten and therefore, needed to experience anew living in a different city. At the foot of it, this is how the idea of an exhibition took shape.

Through the distinctive narratives of four African women—originally five—namely Esperance (Lingala to French), Zam Zam Warsame (Somali to English), Nasir (Swahili to English), and Neema (Kinyarwanda to English), whom Rose invited to explore their sense of self through  their linguistic identities, a compelling visual narrative emerged. Analyzing the minutiae of language shifting and code-switching reveals the complexity of multifaceted identities. Similar to the artist herself, these women traversed continents, most carrying nothing but their native languages and childhood memories across oceans. In the video installations, dispersed throughout darkened spaces, each woman articulates her self-perception through poetry, ultimately integrating her dual linguistic personas into a unified whole.

It goes without mention that the exhibition also featured a mask of one particular exhibited woman with her own face titled ‘Na Leli’, an artwork paying empathizes with the literal transformation of identity or visage, suggesting a complete metamorphosis into another being. This is a shameless reference from the Congolese-Belgian artist Baloji, who never shied away from extravagance and masquerades. Another peculiar object presented was a silver container interpreted as a family album. The box; however, rather than containing any family photographs and souvenirs, Rose describes its contents as; “residual traces” of the languages spoken by the African women displayed. This powerful metaphor implies how through forced displacement, one often only carries their native tongue with them, and through the process, what may remain as a result are fragments of a language once primarily spoken. This highlights the profound impact of migration on linguistic identity.

Rose Katembo’s solo exhibition not only displays the importance of language within the web of one's identity, but also, unveils how it can be used to unify or isolate communities. It brings up crucial questions such as what truly makes an individual's identity? And as the world is becoming more and more multicultural due to globalization, how much weight does preservation truly hold, if any? Perhaps a lesson we may take away from ‘Interlude’ is we all want to belong, just as this personal journey of Rose began with her search for belonging, it is in our human nature to seek a space where one is recognized for the fragments of one's past as much as the inevitable force of change and whom one is ultimately becoming.

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FOR THE BOY IN ME, the debut album from Canadian R&B singer Dylan Sinclair, profoundly reflects personal growth. As you press play on the album, you embark on a 12-track journey of self-reflection. Dylan's willingness to tap into his vulnerabilities and share the experiences that have shaped him over the last few years is refreshingly raw and honest, inspiring listeners to embrace their own growth.

Hailing from Toronto, Canada, he once again showcases what Canada has to offer in R&B, a touch of music that has been one of the most exciting cultivators of budding talent. Alongside the likes of Savannah Ré (with whom he has collaborated) and others such as Aqyila and Chxrry22, to name a few, are a couple of fresh sounds bringing something different to the current music landscape.

For Dylan, music has been a part of his life for a while now. "A family friend of mine had a studio, and he invited me to work out of there on the weekends. This was back in high school, so he would invite me to come and make music, nothing too serious. That was my first few months on the scene, making stuff and considering putting out music," he says of his beginnings in making music in a studio while he was still a high school student.

He has since released three EPs, leading up to his debut album, FOR THE BOY IN ME. Tapping in with producers Jordon Manswell, Bryan Allen, and Zach Simmonds, he crafted a body of work that effortlessly displays his talent sonically and lyrically and shows him as a name to know when it comes to R&B. 

As we speak, we touch on everything from the album to more. 

I'm curious about the title FOR THE BOY IN ME. How did you come up with the title?

FOR THE BOY IN ME was essentially a channelling of my inner child and youth because as I continue to evolve and expand, I've learned that a lot of what that looks like is connecting with yourself on a deeper level. I like to do a lot of internal growth, having those moments of nostalgia and being able to be with yourself and just feeling like a boy. I may suffer from Peter Pan syndrome, where I have this weird feeling towards growing up, but then I want to do it my way. And this album is just me figuring out what that looks like; it's me navigating my career, my relationships, and my relationship with myself in the world.

Encapsulating all of that in the album and everything that it speaks to, where did that begin for you?

In artistry, you can't fake it. You have to tell it how you live it. So I went through my experiences as an emerging artist, and I just started writing songs based on my experience, and that's how the music came about. It was reactive to my experience, and then, as for the title, we just stumbled on it as we were in the studio, brainstorming. There are times in the studio when you're making music and just talking and figuring out what you're trying to say. And it was one of those that we just stumbled on in conversation.

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In terms of being on this journey and getting to this point, what moments have led you up to creating this body of work at this stage of your life and even at the stage of your career right now?

Falling in love with what I do is a big part of it. I love making and performing music, which will always be a part of my work. I aim to get better at it every day. My growth reflects my commitment to making the best music I can.

What was the moment you knew you wanted to make this album? Did it happen intentionally, or did it come together without you realising it?

Coming off the tour, I knew I wanted to make an album, and then the process of getting to where we are involved, a lot of music being made. A lot of songs happened, a lot of travelling happened, and a lot of experience happened. It wasn't one of those where I had many songs and was making them and realised, "Oh, I'm making an album." It was one of those where I went into it knowing that I wanted to make an album.

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How did you bring this album to life and work with you in terms of collaboration?

I kept it very close regarding the production team and wanted to work with people who understood what I was trying to do. It was my homies, Jordan Mansville, Bryan Allen and Zach Simmons, that I primarily worked with. A lot of it was me honing my production skills to communicate better what I was going for on the project. So I started producing a lot more and then brought in those guys who understood what I was trying to convey. I don't know if the album would ever come out if it weren't for them.

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How long has the process been, from when you started making the first song to when you finished the album, and how long did it take to make the album?

The oldest song in the album is LEMON TRESS. I made that right before No Longer in the Suburbs came out. It's over two years old. NARCISSIT was another one that was quite old as well. And then the latest one was I MISS YOU. That was the last song I did a couple of months ago.

From putting out No Longer in The Suburbs, what would you say for yourself has been the biggest change from that project to this one?

With this album, I've taken my craft more seriously. I've delved deeper into research, explored music more, and remained more inspired. I've made a conscious effort to ensure that what I digest influences my music positively. I hope this commitment to my craft resonates with my audience.

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With this album being so personal to you, did you hesitate about being open and sharing a part of yourself that was so personal, or was it something you knew you needed in the music?

Both. I knew I needed to put it into the music, but I was very hesitant on many occasions to make that the title, and two, put out certain songs. I had to fight my team, or my team had to fight me for NARCASSIT? to come out, for example.

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Why NARCASSIT?

It flowed off the tongue so easily, like I made that song in two hours, just like the flow I was in. I loved the song so much, but just for myself, not for anyone else to hear. Then my team heard it and told me it needed to be on the album. It's funny because since the project has been out, many people have connected with it.

Canada has a rich music scene, especially R&B right now. There is so much great talent. So, what was your first introduction to music, and how did you find yourself in that scene?

A family friend of mine had a studio, and he invited me to work out of there on the weekends. This was back in high school, so he would invite me to come and make music, nothing too serious. That was my first few months on the scene, making stuff and considering putting out music. Regarding the city's influence on me, I've always been inspired by Toronto artists. I love the legends that have come before me, and I am inspired by the strength of our city's talent trail and the legacy of the artists from my city; I admire it and am inspired by it every day. We have something special over here.

What do you want people to get from this album as they listen to it?

Life isn't easy; no one's perfect, and it's okay to feel what you feel, be honest with yourself, and be present. It's good to evolve. In order to fly, you have to let the weight go.

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CREDITS

Photographer: Peter O’Sullivan @peterosullivan_

Creative Director: Zekaria Al-Bostani: @zek.snaps

Producer: Seneo Mamba @seneomwamba

Stylist: Rhys Marcus Jay @rhysmarcusjay

Styling Assistant: Lerato Marupi @itsnotlerato

Creative Assistant: Whitney sanni @its.whit_

Design: @margokatesmith & @ShalemAlone

Writer: Seneo Mwamba @seneomwamba

PR: My Blaqbook @myblaqbook @giovannamae @1gracezadi

Styling

LOOK #1

Jacket: Dickies

Shirt: Ahluwalia

Trousers: Burberry

Trainers: Converse

LOOK #2

Denim Suit: Ahluwalia

Bandana: a pledge by rmj

Boots: Timberland

LOOK #3

Sunglasses: Szãde

Jacket: Silpa Clothing

Trousers: Vintage Yard Market

Shoes: GUCCI

LOOK #4

Full Look: Skyethestudios

Jewellery: Sky The Studios

LOOK #5

Jacket: COOBA London

Shirt: Richard James

Trousers: Blue Marble

Shoes: GUCCI

Jewellery: Skyethestudios

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At just 13 years old, Simisola Gbadamosi has made history as the youngest Nigerian nominated for an Emmy, thanks to her breakout voice role as Tola in Disney’s futuristic animated series Iwájú. In this exclusive interview with Deeds Magazine, Simisola reflects on her Emmy journey with warmth, humor, and honesty. Captured in a striking photo session by Debra Orols, this feature celebrates the grace, ambition, and bright future of one of Nigeria’s rising stars. SIMISOLA GBADAMOSI: Hello, my name is Simisola Gbadamosi and I am here with Deeds Mag.

DEEDS MAGAZINE: How did it feel to attend the Emmy Awards and represent Iwájú on a global stage? What was your most memorable moment from the Emmys—was there a special interaction/person you got to meet during the event?

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SIMISOLA GBADAMOSI: It felt amazing to attend the Emmy’s on behalf of Nigeria and Africa. At first, I didn’t fully grasp the magnitude of it, but when it hit me, I wasn’t sure what to say—I was just really happy to be part of the project. The most memorable moment was meeting Leah Sava Jeffries from Percy Jackson and The Olympians. I would have said hi to the others, but I got nervous [laughs]. At one point, it was just Leah, but later, when I went to get ice cream, the rest of them were standing behind me, and I thought, Yeah, no, I can’t do this right now.

DM: Was there any experience that stood out to you?

SG: Just the entire ceremony really, it was very cool to be there.

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DM: How did it feel to walk the red carpet?

SG: It was nice, short, sharp and fun. Interestingly, my dress matched the carpet, which was not intentional, that was fun.

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DM: You said you were nervous going into the show, looking back if you could tell yourself anything before the show what would it be?

SG: Even if you don’t win, you’re gonna live, okay? And you’re still going to Disneyland, so there’s that!

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DM: What went into choosing your look for the event?

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SG: Yeside Laguda in Lagos, Nigeria made my Iwájú premiere dress, so we were like we might as well just go back because I loved it. So, my dress was designed by Yeside Laguda, it had an aso-oke bodice with beading, we all agreed on going for an African Disney princess look. It was a gift which I am very grateful for! And my bag was also a gift, custom made by Aaboux also located in Lagos, Nigeria, very nice of them.

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DM: Were you intentional about picking your look?

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SG: Yes! I was [intentional] because I can be quite particular about how I look, and I wanted it all to be Naija (Nigeria) to the world!

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⁠DM: Are there any other experiences you look forward to having in your career?

SG: I hope to do more acting and voice acting, now that I have experienced it, I want to do more. I want to jump into the pool after dipping my toes in. Hehe.

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DM: Do you want to explore more voice acting, live-action roles, or even other creative fields?‍

SG: Definitely! I want to do more voice acting, and live action, and I also really love design, so yeah.

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DM: Balancing school and acting must be a big task. How do you plan to navigate your career now that you’ve achieved such a huge milestone at a young age?‍

SG: You have to manage your time, number one. You have to focus on your focus, you have to focus on school. For example, next week there are exams so all Emmy’s whatever is going to be in a storeroom for a bit, and I need to grind, grind, grind. I don’t like seeing anomalies on my report card, thank you.

DM: Love it! Now that you're back in Nigeria, how has your family, friends, and community reacted to your Emmy experience?‍

SG: Before we left America, my friends sent me some nice messages and some really funny ones as well. My family has always told me that they are proud of me and I am glad that I get to make them proud again.

DM: If you could give advice to other young Nigerian actors or creatives dreaming of global success, what would you tell them based on your Emmy journey?‍

SG: Never give up. At the Emmy’s I met someone who had finally won after not winning for 30. Years. So don’t give up people, don’t give up. Thank you, Deeds Magazine, for being a part of my journey, and for this interview. Bye!

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As you press play on Jupiter, the lead single, 'Wildflowers', welcomes you to the sonic journey across the 11 tracks that make up NAO's fourth studio album. It is a follow-up to 2021's And Then Life Was Beautiful and a sister to 2018's Saturn. Seven years later, we meet a very different NAO who is stepping into joy and embracing what it offers.

NAO's musical return was a significant moment, marked by the release of 'Wildflowers' and a series of intimate shows across Los Angeles, New York, Amsterdam, and London. These shows, including the sold-out performance at Hackney Round Chapel Church, marked her return to the stage after a 5-year absence. We had the privilege of experiencing this firsthand. Her words, 'It was really special. It was so beautiful, and I wanted to do something like a put-back show and something full of fans. For us to feel closer, for it to feel special, for all the people following my music over the years,' echoed the sentiment of her fans. This show was a testament to the deep connection NAO's music has with her fans and the transformative journey she has taken to reach this point.

Jupiter introduces a different NAO from its colourful nature to its sonic pallet, the album from start to finish. The conception of this came outside of music. Instead, it was part of the healing process she underwent after going through Myalgic Encephalomyelitis (ME), a chronic fatigue syndrome, as well as navigating motherhood and dealing with general life events which took place. Coming out of this time was what led her to Jupiter. She explains, "I was healing, and everything was getting better and better over the years. And then I found Jupiter, the planet of joy, hope, and good fortune." The planet and all it symbolised resonated with her in the space of her life and how it felt. "It feels like the right message for where I'm at right now. I've just come through this real personal struggle, and Jupiter being the planet of joy is something I've been actively working towards".

The destination of joy was one she could reach as you play through the album. The intentionality comes across as you take in the project, which is captured in her signature way of blending her style of Alternative R&B sounds with electronic tones and poppier vibes. 'The one thing that my music does is that you'll get a taste of everything that has influenced me. I'm not scared to do a dark electronic track and then jump to an Afrobeats-inspired tune or an R&B ballad.' She shares, engaging her audience with the diversity of her influences. Even within this sentiment, when it comes to shifts that took place during absence, her views on what her music sounded like and what the blueprint of what her sound was is something that she let go of to move with where she found herself to be in the fluidity of her sound and where she has arrived at right now.   

Taping into the lyrical themes and the subject matters on the album, this was something that feels like it should've come with the same ease it was delivered; however, the realities of which took a while before the album was able to take shape in what it became. NAO shares the process for the album to come together: "I remember starting to write again, and I felt better about my health; parenting had also become easier, and I had more time to be creative. I remember picking up the pen and doing some writing sessions, but it wasn't flowing." It would take a year before she got to the point of writing material she was able to connect with. Reuniting with some of her long-time collaborators, including LOXE and Stint, as the main producers of the album, she also worked with Kareem James, Dyo, Soaky, and Lauren Keen Dayyon in the writing of the album. Once she finally reached a place where the album could take shape, it unlocked another side of the artist, she explored further in the album. "This record is way more playful. When you hear songs like Happy People, Poolside, or even We All Win, they're all relatively light, quite chanty, and jovial, which I explored further in this record." When speaking to which song was the most meaningful to her on the album, there is one track which speaks to the essence of the album and perfectly sums up Jupiter: "The song that sums up the whole album quite well is 30 Something, it's an honest account of where I've been and where I am" The track 7th on the album is an autobiographical track written with Caroline Pennell and producer Stint it speaks to a shift of an old version of NAO and the new version of who she is now.  

Apart from the sonics and lyricism across the album, another defining aspect of this new era is the visual aspect of Jupiter's whole era. The use of the colour pink was intentional and has been present across all the various aspects of the project. From the music videos to the artwork and even the physical product, it was another representation of the essence of the album's meaning. "I wanted to represent Jupiter through the colour pink, just because pink is also joyful for me. It's beautiful, it's warm, it's a cuddle, it's a hug. It lifts your spirit." She shares why the colour of the album was chosen. Once again, displaying the stark contrast of Saturn, which was represented by the use of a balloon, Jupiter was symbolised via the feeling the colour of pink brought and highlighted for this project.

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The album's takeaway for the audience is a simple mission she has. "I want people to enjoy the album and for it to lift their spirits and vibrate their energy. If it does that, then I'm happy." This is something that she shares when it comes to what she expects of the project, which is none. Her experiences have allowed her to detach from music and not be so fixated on the outcome and results, something that has changed and shifted her outlook regarding her creative process and how she has been able to create this album compared to her previous work. The conversation around this stems deeper than music and comes from the lessons motherhood has taught her regarding how she views her career. "My work is what I do, not who I am. Knowing that and having that realisation has changed my outlook and my whole being, and I've been able to separate what I do from my identity."

As we gather on set to capture NAO for this cover shoot, she exudes excellent energy; throughout the day and the various looks she can transform through, joy and kindness come through in the images and throughout the set. There is a change from within that has come through in everything she has spoken to in our conversation; getting to experience her on set a few days after our conversation, NAO encapsulates her joy and brings that through. Before we wrap up our conversation, I enquired what she is looking forward to in this next chapter of her life and career, and her response rings true to all that we have spoken about and speaks true to this era of NAO. "I'm looking forward to all the things that I can't see coming, to remaining open and receiving the blessings that will come my way without trying to force anything. Hopefully, some beautiful opportunities will come from this album. I don't know where they are yet, but let's see where it takes us."

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Credits:

Photographer / Creative Director: Joe Puxley @joepuxx

Photo Assistant: Shekel Kennedy @shenellkennedy

Producer: Seneo Mwamba @SeneoMwamba

Project Manager: Zekaria Al-Bostani - @zek.snaps

Styling: Ramario Chevoy @ramariochevoy

Hairstylist: Sheree-Jourdan @x_sjourdan

Make up: Dalila Bone @dalila_mua

Nail Tech: Sasha Walters @sash.her

Art Direction: Maureen Kargbo @maureenkargbostudio

Creative Assistant: Whitney Sanni @its.whit_

Design: @margokatesmith & @ShalemAlone

BTS:  Ben @fleeting_images

Writer: Seneo Mwamba @Seneo Mwamba

Studio: Blankbox Studio @Blankboxstudio

PR: Imran Malik Publicity  @imranmalikpublicity @katerinamarka

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Styling Credits:

Look 1

Shirt, trench coat & bag from MCM

Trousers from Sydney Davies menswear

Denim boots from Kurt Geiger

Earrings & ring from lucky little blighters

Look 2

Pink sculptured jacket by jacqueline Loekito

Heels by Kurt Geiger

Earrings & bracelet by Wanni Fuga

Look 3

Jacket by wealthy boys club studio

Shirt & tie from Topshop

Leggings from lazyoaf

Heels Kurt Geiger

Earrings from ECE London

Ring from lucky little blighters

Look 4

Jumper & skirt set by Jacqueline Loekito

Heels by Kurt Geiger

Earrings by Ahkeke

Look 5

Custom hoodie & wide leg joggers by kintsu official

Heels by Kurt Geiger

Earrings by Ahkeke

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