From Morocco, Nigeria, to South Africa, A Playlist to Light Up Your Entire Summer

If you’re still looking for the playlist to lighten your summer, look no further! We have compiled our favourite new artists from the continent and beyond who are currently killing it in the music scene. Not only are those acts up-and-coming, but they have proven themselves to be promising new voices, bringing forth a unique sonic soundscape we haven’t heard before. Whether it is Bongology, Moroccan Gwana, or Jamaican Dancehall, they have distinctly fused their sound with household names such as Neo Soul, Konpa, and so much more.

Deeds Magazine has compiled the discovery list you do not want to miss. Unless you haven’t heard them throughout Fête de La Musique or on social media, this is the perfect opportunity for you to learn about them before they get big and it is too late.

Che Mario

Ché Mario is a South-African Jamaican emerging musician from North West London with a touch of golden riddim. Produced by yo Caleb!, “U Da Cake,” which catapulted online through a breathtaking cypher, has since become a club anthem everyone can’t stop vibing to. Its unique Dancehall and modern electronic vocals make him a feared component in his league. Co-signed by Nigerian sweetheart Ayra Starr, its reach has only garnered greater heights, making Ché Mario a new artist everyone should absolutely pay close attention to.

(D) Juno

(D) Juno is a Congolese-French emerging singer who has taken the Parisian streets by storm. Ever since she dropped her Bongo classic “BB Bringue,” everybody just can not get enough of her. Produced by Panafriqana, a member of the Bongology collective, the song first appeared on socials as a teaser before exploding into stardom, surpassing 1 million Spotify streams as of late. Co-signed by the likes of Theodora, the single has only become bigger since its release. We would advise you to keep an eye on her.

Ino Casablanca

Ino Casablanca is a Moroccan-French artist who knows no sonic limitations. Truth be told, the starlet has been grinding for years. It is his 2025 hit single; however, “DIMA RAVE” sparked an interest among global listeners and is being played throughout this summer. Often nicknamed the French Bad Bunny, Ino’s music style takes a nudge at his Moroccan roots, Spanish background, and French inheritance. For most, this is their first impression of Gwana, mixed with Caribbean sounds and so much more. Ino is someone you can’t look away from.

Pz

Pz is a Senegambian vocalist from Atlanta who is just one of the most exciting new rockstars to come out recently. His latest project, “No Turning Back,” has everybody watching with excitement, including Opium king Playboi Carti, who has co-signed him numerous times. Often interpreted as avant-garde, his experimental trap sound is the new talk of the town, spreading throughout cool kids' Gen Z circles and fashion scenes. Pz is definitely destined for greatness.

Solana

Solana is a Nigerian singer-songwriter where Yoruba traditions meet the new wave. Her song “Okunkun,” through its tasteful visuals and alternative sound, has garnered massive attention since its official release. She almost feels familiar yet different, encapsulating a rhythm uniquely hers. There is no one like her right now.

Overview

It seems like every other week, there is a new artist coming out of the shadows of the internet, but only a few manage to persist and remain on our playlist. Not only have those emerging acts maintained relevance, but they also offer something new to the table, only growing into the hearts of global listeners. It is too early to determine where their artistry may go from here; however, one thing is sure: we’re expecting the most gut-wrenching bangers to continue to wreck our speakers all summer.

From Davido and Tyla to Ayra Starr, here's a look at the African albums set to define the rest of the summer.

With the heatwave in full swing, this summer is shaping up to be hot as is African music. While Afrobeats and Amapiano continue to dominate playlists and festivals stages around the world, some of the continent's biggest artists are preparing to either release new albums or build on projects that have already sparked a conversation.

From South Africa’s Tyla entering her sophomore era to Davido’s promise of a return to his signature sound, here’s a look at some of the releases fans should have on their radar. 

‍Tyla – APop (July 24)

After introducing herself to the world with her Grammy-winning breakout era and the global success of ‘Tyla,’ the South African star is ready for the next chapter. Her sophomore album, ‘A*Pop,’ has been positioned as a more mature evolution of her sound, blending amapiano, pop and R&B while showcasing how much she has grown since the "Water" days to become one of Africa's biggest crossover stars. The record album arrives upon enormous expectation with a rollout that already includes the hit singles ‘Chanel’ and ‘She Did It Again’ featuring Zara Larsson, signalling a project that leans confidently into a mainstream sound  without abandoning the South African influences that first made her stand out.

Davido – ORIADÉ (July 31)

Davido’s Album Announcement Trailer | Courtesy of Davido’s Youtube

Just a year after ‘5ive,’ Davido isn't slowing down. His sixth studio album, Oriadé (a Yoruba portmanteau for "ori" meaning head/destiny and "adé" meaning crown) arrives at the tail end of the month–preceded by a lead single, ‘I Know Who I Be,’–as the Nigerian superstar celebrates 15 years in music. The Grammy-Nominated artist has described the project as a return to the African sound that first made him a household name. At 13 tracks, it will also be his shortest studio album to date. Expectations are naturally high following his previous, which produced the hit ‘With You’ featuring Omah Lay and earned a nod from the Recording Academy.

‍Ayra Starr – Starr Girl (August 14)

Following ‘The Year I Turned 21,’ Ayra Starr’s upcoming LP ‘Starr Girl' promises an even broader sonic palette. The rollout has already included singles such as ‘Tornado’ and ‘Where Do We Go’, while previous releases including ‘Gimme Dat’ featuring Wizkid and ‘Who's Dat Girl’ with Rema have fuelled anticipation.

Between her Roc Nation partnership, expanding global collaborations with reports suggesting features with Doechii, Leon Thomas and Zayn, and increasingly adventurous production choices on the new record–all which could mark another major leap in her already impressive career–underlining ‘Sabi Girl's’ increasingly international ambitions.

Tiakola – WPOINTM (September 25)

French-Congolese artist, Tiakola also has his next studio album, ‘WPOINTM,’ confirmed. The hitmaker is expected to build on the melodic rap and R&B sound that has seen him featured on Asake's ‘M$NEY’ and Wizkid's latest, in addition to being one of Europe's most exciting artists, with fans already counting down to the release. In the meantime, read our 2022 Deeds cover story with Tiakola for a closer look at the artist behind the music before this next era begins.

Wizkid – Sexy (TBA)

A new era from Wizkid might be near as well. During an exclusive pre-release event hosted by Deeds in Paris last week, the Afrobeats superstar revealed that his seventh studio album will be titled ‘Sexy,’ ending months of speculation about what would follow 2024's ‘Morayo.’ While he stopped short of confirming a release date, the announcement immediately sparked excitement among fans eager for his next full-length project. With little known about it beyond its title, it is certainly one of the most anticipated African releases still expected before the end of the year. 

‍

Burna Boy – (TBA

Following the success of his 2025 album ‘No Sign of Weakness’ Burna Boy has already set the stage for his next era, confirming that a new project is expected before the end of 2026 alongside a major global tour. While details around the album remain under wraps, anticipation is high after a year that has seen the Grammy-winning artist continue expanding his international reach. 

Part of that momentum comes from his prominent role in the 2026 FIFA World Cup soundtrack. Burna Boy teamed up with Shakira on ‘Dai Dai,’ the tournament's official song, which premiered during the opening ceremony in Mexico City and introduced his music to one of the world's biggest sporting audiences. With a new album on the horizon and another blockbuster global collaboration under his belt, fans will be watching closely to see where the self-proclaimed African Giant takes his sound next.

With confirmed releases from Tyla, Davido and Ayra Starr still to come–and highly anticipated albums from Wizkid and Burna Boy expected later this year; ‘26 is shaping up to be another landmark year for African music on the global stage.

IG:@_stanleykilonzo

To be a part of the crowd at Bad Bunny’s DeBÍ TiRAR MáS FOToS World Tour as part of his London stop playing to a sold out crowd at Tottenham Hotspur Stadium was to witness something truly special. It should come as no surprise that the Puerto Rican superstar put on a show that surpassed any sort of expectation anybody would have seeing him live. The sneak peaks given from his 2 month No Me Quiero Ir de Aquí Puerto Rican Residency which took place last year and then again earlier this year as part of his incredible Super-Bowl Halftime Show performance indicated that this tour was going to be worth attending and a show not missing.

In support of his latest GRAMMY Award winning album DeBÍ TiRAR MáS FOToS he came out and brought the album to life in a way that was exceptional and then some. The show which ran for a total of 3 hours felt more of a party and celebration than something which had been crafted specifically for the show. Yet there was an intentionality behind the whole show and everything he brought.

Beginning the show on the main stage donning a suit which considering the previous heatwave that has swept across Europe was a brave move. He was accompanied by his Salsa band behind him, one of the many displays of his cultural heritage he brought to the show. Not to mention the strong musicianship that each of the players brought to stage. 

There was something to be said about the fact throughout the entire show he only spoke in Spanish and even though most of the crowd would’ve been Spanish speaking even for those who weren't there was nothing that felt disconnected as you could very much feel and hear the sentiment as to what was being said. For the reality of him being a boy coming from Puerto Rico and finding himself on stadium shows around the world it was very clear that that moment and this particular moment in his career is one for the books. The album which is so clearly rooted in his love for Puerto Rico and the cultural heritage it has brought to his artistry and his fans not only locally but internationally across the world. The show was a beautiful display of that and felt like the witness of a moment that will forever be significant to his career.

The setlist was also a strong display of the catalogue of music he has built throughout his career since his almost decade long appearance with the release of his debut album back in 2018. Whilst the show was heavily consistent with tracks off DeBÍ TiRAR MáS FOToS he brought out favourites and other songs from his catalogue. Crafting the show from start to finish there was rarely a moment to sit down and take a break as the energy rose from start to finish. Starting on the main stage which set the introduction of the vibes. The show began with  LA MuDANZA off the album before going into a Salsa version of “Callaíta” he was also joined by opening act Chuwi for their collaborative track “WELTiTA” which they had previously played during their own headline show that took place on Friday night. Giving an ode to their surroundings They played Wonderwall by Oasis as an instrumental on the Cuatro before going into to TURiSTA. Plenty of favourites had their time on the setlist including BAILE INoLVIDABLE, NUEVAYoL, VeLDÁ, VOY A LLeVARTE PA PR and of course the standout song DtMF. Also bringing through his other fan favourites was “ LA CANCION" off his joint project with J Balvin, Ni bien ni mal which was an exclusive for this show. DÁKITI and even had a guest appearance by Blur and Gorillaz man Damon who joined him on the piano for Tormenta and Clint Eastwood. Even with the show that ran for 2 hours and 45 minutes tracks that were missed meant it could have kept going for longer. 

The production and everything that accompanied the music only served to enhance the experience as well. Before fans entered the stadium those that arrived when doors opened were given a piece of memorabilia which was a cut out of a camera fitted with a light that served as the flash on a lanyard which lit up at various points throughout the show. Not the mention the dancers who also accompanied him on stage. His second stage which also known as “La Caista” and is a full scale pink replica of a traditional working class Puerto Rican home also brought that flare as a space which housed VIPs and fans who were immersed within the show with him performing among them as he stunted in a full Adidas hoodie and shorts combination and using its roof as another stage. 

One thing that is evident and prominent is the connection that he has to his fans. As well as being immersed within them he also took the time to greet those that were at the barriers and not just just giving quickfire interactions but holding a meaningful connection that clearly meant something. By way of translation he addressed the crowd many times throughout the show expressing his love and gratitude and speaking about uplifting each other living in the moment, loving each other and ourselves. As well as embracing and enjoying the moments of life and creating memories and moments which captures the essence of the themes and messages addressed on the album. 

As this moment stands with the release of the album and all that followed by way of the residency, winning the GRAMMY for Album of the Year, a historic Super Bowl Half-time Show and now the DeBÍ TiRAR MáS FOToS World Tour. It truly does feel like this is a special and significant moment in his career. And as crowds cheered Benito following DtMF he was visibly emotional and taken in with all the love he received from the crowd. Bad Bunny is truly in a league of his own and best believe we will be present the next time he touches down in the UK which hopefully won't be for too long. 

CREDIT ERIC ROJAS

The 2026 BET Awards took place Sunday, June 28, at the Peacock Theater in Los Angeles, hosted by Druski, the youngest host in the show’s history, with MC Lyte returning as announcer.

T.I. opened the night with a high-energy performance of “Let ’Em Know” off his new album KILL THE KING, rapping part of the track from inside a car alongside his 21-year-old son, Clifford “King” Joseph Harris III.

Teyana Taylor was the story of the night, winning four awards across film and music - Icon of the Year, Best Actress, Video Director of the Year, and the inaugural Fashion Vanguard Award. Janet Jackson presented the Icon of the Year award, and the moment moved Taylor to tears before she reached the stage. “I worked my ass off for 20 years for this,” she said. “I’m not accepting what I’ve earned with arrogance. I’m accepting what I’ve earned with gratitude.” Taylor has had a record-breaking year, also earning a Golden Globe win, an Oscar nomination for One Battle After Another, and a Grammy nomination for best R&B album for Escape Room.

‍Cardi B won Best Female Hip-Hop Artist for AM I THE DRAMA? - her first full album since 2018’s Invasion of Privacy and her first win in the category since 2019. “Three babies later, I put the album out, honey,” she told the crowd. “I overcame my fear, my anxiety and I put it out.” She later delivered a full production performance featuring dancers, a motorcycle and a casino-themed set.

‍Clipse‘s Let God Sort ’Em Out won Album of the Year, beating out Cardi B and Bruno Mars among others. Leon Thomas won Best Male R&B/Pop Artist for the first time, defeating repeat winners Chris Brown, Usher and Bruno Mars. Kehlani won Best Female R&B/Pop Artist for the first time as well, ending SZA’s three-year run in the category. Doechii and SZA won the BET Her Award for “girl, get up.” “Y’all don’t understand how hard me and SZA worked putting that record together,” Doechii said. SZA responded: “Anything for you, always!”

The night’s most emotional stretch belonged to Ms. Lauryn Hill, who received BET’s first-ever Living Legend Icon Award. The War and Treaty opened the tribute, followed by a rotating lineup including Doechii, SZA, Tierra Whack, Tems, Doja Cat, Nas, Lizzo, Rapsody, Alexia Jayy, Queen Latifah and Common, performing a stretch of Hill’s catalogue from “Ready or Not” to “Killing Me Softly.” Hill’s children - Selah, Joshua “YG” and Zion Marley - also joined the performance, while Hill watched from her seat, singing along to her own songs being celebrated in real time.

The show also paid tribute to D’Angelo, who died in October at age 51 following a battle with pancreatic cancer. His children, Michael Archer Jr., Imani and Morocco, opened the moment themselves before the performance began. Sylvia Rhone received the Ultimate Icon Award, and Jazzy’s World TV -  16-year-old journalist Jazlyn Guerra -  won the Rising Star Award.

Among the African artists nominated, Burna Boy featured on Gunna’s “wgft,” up for Best Collaboration, while Tyla‘s “Chanel” and Dave and Tems’ “Raindance” both received Viewers’ Choice nominations. Wizkid and Asake were nominated for Best Group. None converted their nominations into wins, though Tems’ presence in the night’s biggest tribute moment, alongside Hill’s own family, stood out as one of the evening’s most significant African appearances.

IG: @sophiannadozie
Credit: Teyana Taylor 

Credit: Cassidy Velmech

Wizkid has confirmed the title of his seventh studio album as Sexy. This was announced to a room full of music and culture’s brightest and biggest stars during an exclusive pre-release party hosted by Deeds Magazine at Cova Club in Paris on Thursday, June 25.

The Grammy-winning singer, born Ayodeji Balogun, took to the mic himself to break the news. “Paris, let me hear you say ‘yeah yeah.’ Yeah, we got the new album coming out,” he told the crowd. “Real soon, and the name of the album is ‘Sexy,’ baby.” No release date or tracklist has been confirmed. The reveal followed weeks of speculation after Wizkid posted a single cryptic word on X - “Album” - alongside studio photos taken with Pharrell Williams in France.

The Paris event, part of Deeds’ Fashion Week takeover, drew a packed room of heavy-hitters from the world of music, culture, and sports including Shallipopi, Alvin Kamara, Quavo, Blaqbonez, Musa Keys, Young Jonn, Tiakola, Pasuma, Smallgod, BabyDaiz, Baby Wacko, and many more. Despite being billed as an album listening party, attendees reportedly heard no new music from Sexy itself  - Wizkid spent much of the night dancing to older records, including a moment vibing alongside Shallipopi to the rapper’s hit “Laho.” One fan summed up the mood online: “Only Wizkid will do an album listening party where no songs on the album are played or listened to. Lmao, he’s still as unserious as ever.”

Fans have already begun theorising about the album’s direction based on the title alone. Several pointed to a possible R&B turn, while others connected the reveal to a line Ayra Starr dropped during her press run for their collaboration ‘Gimme Dat,’ when she crowned Wizkid “the king of sexy Afrobeats.” That nickname now reads less like a compliment and more like a preview.

Sexy will be Wizkid’s seventh studio album, following ‘Morayo’ (2024), which honoured his late mother Jane Dolapo Balogun. His catalogue spans ‘Superstar’ (2011), ‘Ayo’ (2014), ‘Sound From The Other Side’ (2017), ‘Made In Lagos’ (2020) and ‘More Love, Less Ego’ (2022). The announcement arrives during a milestone year for the singer, who is marking 15 years since his breakout and will headline Afro+ Fest in Washington, D.C. this September to commemorate the anniversary.

Credit: Cassidy Velmech
IG: @sophiannadozie

Few artists have had a front-row seat to Afrobeats' global rise quite like Wizkid. Fewer still can claim to have helped engineer it. Over the last fifteen years, the Lagos-born artist has evolved from a teenage sensation into one of the most influential figures in contemporary music, building a career defined by chart-topping records, sold-out arenas, industry accolades, and cultural milestones that have helped reshape perceptions of African music worldwide.

What began with local radio hits and regional acclaim eventually became something much larger. Alongside a generation of African artists pushing the genre forward, Wizkid emerged as one of the defining faces of Afrobeats' international breakthrough, helping carry sounds born in Lagos to audiences across Europe, North America, Asia, and beyond.

Today, his legacy extends far beyond streaming numbers or chart positions. It can be found in the global appetite for African music, the doors opened for younger artists, and the growing recognition of Afrobeats as one of the defining musical movements of the 21st century.

Ahead of our upcoming album pre-release listening experience in Paris, we revisit the milestones, records, and defining moments that have shaped Wizkid's remarkable rise and cemented his place among music's most important global stars.

The Superstar Era That Started It All

When ‘Superstar’ arrived in 2011, Nigerian music was entering a period of rapid transformation. The country's pop scene was becoming increasingly ambitious, driven by a generation of artists determined to create music that could compete on an international level while remaining distinctly African.

At just twenty years old, Wizkid found himself at the center of that movement. The album produced a string of defining records, including ‘Holla At Your Boy,’ ‘Pakurumo,’ ‘Don't Dull,’ and ‘Tease Me,’ songs that quickly became staples across radio stations, clubs, and university campuses throughout Africa. More importantly, Superstar introduced listeners to an artist whose instincts extended beyond conventional pop stardom.

His ability to blend Nigerian influences with contemporary R&B, dancehall, and pop created a sound that felt both local and globally accessible. That balance would later become one of the defining characteristics of Afrobeats' international appeal. For many fans, Superstar was simply the arrival of a promising young artist. In hindsight, it was the foundation of a career that would help redefine African music's place within global culture.

How "Ojuelegba" Changed Everything

Still on the rise, ‘Ojuelegba,’ is perhaps Wizkid’s career’s turning point. Released on his self-titled 2014 LP, ‘Ayo,’ the song reflected on his journey through one of Lagos' most recognizable neighborhoods, documenting ambition, struggle and perseverance with a level of vulnerability that distinguished it from many contemporary hits.

The record resonated deeply throughout Africa, but its influence soon expanded far beyond the continent. After attracting the attention of British grime star Skepta and eventually Drake, 'Ojuelegba’ received an official remix that introduced Wizkid to a wider international audience. Its significance cannot be measured solely through streams or chart positions. The song became one of the earliest modern Afrobeats records to demonstrate that African music could travel globally without abandoning its cultural identity. Rather than adapting himself for international audiences, Wizkid watched international audiences adapt to him.

Looking back, ‘Ojuelegba’ represented more than a successful single. It served as a bridge between regional stardom and global recognition, helping establish a pathway that countless African artists would later follow.

The One Dance Effect

Come 2016, and ‘One Dance’ dominates. The Drake global smash featuring Wizkid and Kyla became one of the defining songs of the streaming era. The record topped charts across multiple countries and ultimately became the first song in Spotify history to surpass one billion streams. For Wizkid, the collaboration represented a dramatic shift in visibility. Audiences who had never encountered Afrobeats suddenly found themselves dancing to rhythms and melodies rooted in African music traditions. What made the achievement particularly significant was that the song's success wasn't framed as a niche cultural moment–it was mainstream popular culture at its absolute peak.

The industry's response was immediate. Major labels increased their investment in African talent. International media outlets began paying closer attention to Afrobeats. New audiences became curious about the artists shaping the genre's future. Nearly a decade later, the ripple effects of the hit remain impossible to ignore.

The momentum generated by 'Ojuelegba' and 'One Dance' eventually led to Wizkid signing a landmark global deal with RCA Records, positioning him among the first African artists to secure major-label backing on that scale. 

Collaborations That Expanded the Map

As Wizkid's profile continued to grow, so did the scale of his collaborations. Over the years, he has worked alongside some of the biggest names in music, including Beyoncé, Chris Brown, H.E.R., Justin Bieber, Skepta, Ella Mai, Brent Faiyaz and more. Yet what makes these collaborations notable isn't simply the star power involved. It's the fact that Wizkid managed to maintain his artistic identity throughout them.

His involvement in Beyoncé's ‘The Lion King: The Gift’ project marked a particularly important milestone. ‘Brown Skin Girl’ won Best Music Video at the 63rd Grammy Awards, earning Wizkid his first Grammy and further cementing his position on the global stage. The achievement reflected a broader shift taking place within global music. African artists were no longer being invited into international conversations as occasional guests. They had become central contributors shaping the direction of contemporary popular culture.

The Made in Lagos Phenomenon

While Wizkid had already achieved international success, ‘Made in Lagos’ elevated him into an entirely different category. Released in 2020, the album arrived during a period of global uncertainty and quickly established itself as one of the defining projects of the decade. Built around understated production, rich melodies, and a refined sense of confidence, it showcased an artist operating at the height of his creative powers.

At the center of its success was ‘Essence,’ featuring Tems, the song evolved from a fan favorite into a genuine global phenomenon. Its rise felt organic, fueled by listener enthusiasm rather than traditional industry machinery. Eventually, it became the first Nigerian song to reach the Billboard Hot 100 Top 10, helping introduce Afrobeats to audiences on an unprecedented scale. More importantly, the track changed perceptions by demonstrating that African music didn't need to conform to existing industry expectations to achieve mainstream success. Instead, the industry was beginning to adapt to Africa. The album also became one of the longest-charting African projects in Billboard history, further demonstrating Afrobeats' growing commercial power outside the continent. 

Conquering the World's Biggest Stages

Streaming success tells one story. Live performance tells another. Throughout his career, Wizkid has repeatedly demonstrated an ability to convert popularity into real-world audience demand. From selling out London's Royal Albert Hall to becoming  the first African artist to headline three consecutive nights at the O2 Arena, his live achievements have consistently expanded expectations surrounding African artists.

In 2023, he reached another historic milestone when he became the first African artist to headline Tottenham Hotspur Stadium in London. The significance of the moment extended beyond attendance figures. Stadium performances occupy a different category of live entertainment altogether, reserved for artists capable of mobilizing massive audiences across countries, demographics and generations. By reaching that level, Wizkid wasn't simply breaking records. He was redefining what was possible for African performers on the global stage.

The Legacy of the Blueprint

More than a decade after his breakthrough, Wizkid's influence extends far beyond music. His career helped create pathways for a new generation of African artists seeking global audiences. He demonstrated that international success did not require abandoning local identity. He proved that music created in Lagos could resonate in London, Los Angeles, Paris, and beyond.

Even as he enters a new chapter, Wizkid continues to evolve. His 2024 album ‘Morayo’ offered one of the most personal projects of his career, revealing a more reflective side of the artist while reinforcing the creative versatility that has defined his longevity. 

Today's Afrobeats landscape is larger, more visible, and more commercially powerful than ever before. While many artists contributed to that growth, Wizkid remains one of its most important architects. His achievements can be measured through awards, streams, sold-out venues, and chart records. Yet his greatest accomplishment may be something far less quantifiable. He helped change the way the world listens to Africa–and in doing so, helped reshape the global music landscape itself. 

IG:@_stanleykilonzo
Cover Credit: Kevin Amato / GQ South Africa

Pharrell Williams has not produced a disappointing season since taking over as Louis Vuitton’s menswear creative director in 2023, and that consistency is precisely what makes his tenure worth examining closely. Every collection has been wearable, considered, and recognisably elegant, built around silhouettes that rarely stray far from what came before them. The choirs, the rivers, the architecture, and the game boards have, however, been among the most ambitious theatre contemporary fashion has produced, and the distance between the two is the most revealing thing happening at the house right now.

His debut established the formula in full. For Spring/Summer 2024, Williams shut down Paris’s Pont Neuf, one of the city’s oldest bridges, with guests arriving by boat to watch gospel choir Voices of Fire perform an original composition he produced himself, accompanied by pianist Lang Lang and a live orchestra. Jay-Z performed after the show closed. Beyoncé, Rihanna, Zendaya, A$AP Rocky, and LeBron James sat front row, lending the evening the texture of a cultural event rather than a seasonal presentation. The clothes themselves, by contrast, drew immediate comparisons to Williams’s own earlier Nigo and Human Made collaborations with the house, built on slim-fit tailoring, a pixelated “Damoflage” reinterpretation of the brand’s Damier print, and a reworked Speedy bag. Critics described the collection as disappointingly safe even as nobody described the staging surrounding it as anything less than spectacular.

The bags told the same story in miniature. Williams’s debut also introduced the Millionaire Speedy, a reworking of Louis Vuitton’s nearly century-old Speedy silhouette in crocodile leather with gold hardware and diamond-encrusted closures, priced at $1 million and available only by invitation. The bag itself altered nothing structural about a shape the house has sold since the 1930s. What changed was the material, the mythology, and the audience permitted to buy it. Williams described the design as channeling “the attitude and hustle mentality of Canal Street,” the Manhattan strip famous for counterfeit luxury goods, recreating the soft, slightly blurred monogram effect associated with knockoffs through a deliberate, controlled silkscreen process rather than disowning it. Rihanna and LeBron James appeared in the campaign. The bag became one of the most discussed luxury objects of the year without requiring a single new silhouette, the clearest possible miniature of the formula playing out across his entire tenure: change the story being told around the object, leave the object substantially alone.

That same pattern scaled further with each successive show. For Spring/Summer 2026, Williams transformed the forecourt of the Pompidou Centre into a 2,700 square foot Snakes and Ladders board, the product of months of collaboration with Studio Mumbai and architect Bijoy Jain. Beyoncé’s arrival was choreographed as a moment within the show itself, with guests becoming playing pieces on a structure built to monumental scale. The collection drew its inspiration from India as a source of creative energy rather than from specific silhouettes or garments, producing clothing that was handsome and wearable but conceptually thinner than the 2,700 square feet of set design surrounding it. 

By Fall/Winter 2026, Williams had extended his ambition into architecture entirely, unveiling DROPHAUS, a “timeless future living concept” developed with Japanese studio Not A Hotel and installed inside a Zen garden at the Louis Vuitton Foundation. “Drophaus is my vision of the future,” he told Wallpaper Magazine. “I’m not an architect. I’m a solution builder.” Critics at Numéro described the collection itself as fairly classic, grounded in earthy, utilitarian tones, conceding that bolder stylistic statements might have been hoped for before acknowledging that bold statements were never really the point. 

The Spring/Summer 2027 Pre-Collection, “Whatever the Weather,” continues the approach without deviation, offering travel-ready tailoring photographed beautifully and recognisable as yet another iteration of a formula Williams has maintained consistently since his first season.

None of this happened by accident, and Williams has never suggested otherwise. He inherited the role from Virgil Abloh, whose own tenure at Louis Vuitton was built on curation and cultural connection rather than pure technical innovation, a “curatorial, dot-connecting role” rather than a strictly design-driven one, as one fashion newsletter founder put it at the time of Williams’s appointment. Williams simply extended that inheritance, treating his own discography as narrative material the way another creative director might treat archival research. A gospel choir has appeared at nearly every major show of his tenure. He scores his own runways.

What critics calling the clothes boring tend to overlook is the part of the job that happens nowhere near a runway. Louis Vuitton’s parent company, LVMH, reported revenue of 80 billion euros the year Williams was appointed, and a house operating at that scale answers to a clientele, a set of sales projections, and a wardrobe strategy that exists independently of what fashion writers want to see on stage. Williams has been transparent about exactly this dynamic. “There are a lot of people entering the stores and asking for Pharrell’s products,” LVMH CEO Pietro Beccari confirmed shortly after his debut show. Williams himself has described designing with his own taste as the benchmark, preferring to “go narrow and go deep” rather than dilute ideas to satisfy everyone watching. He has been even more direct about the commercial logic underneath the cultural spectacle. “My culture has been a very significant contributor to the bottom line every quarter,” he said. “That’s not lost on the house. That’s not lost on the family. That’s not lost on me.”

That admission reframes the entire criticism. If Williams’s clothes changed tomorrow to satisfy the people calling him predictable, nothing guarantees Louis Vuitton’s actual customer, the one currently walking into stores asking for his exact products, would follow him there. The spectacle is not compensating for a shortage of design ambition. It may constitute the design strategy in full, keeping the product recognizable and wearable enough to sell at scale while allowing the show to carry whatever risk the garments were never going to take on themselves.

The criticism is not wrong so much as misdirected. Pharrell Williams is not failing to be a daring designer. He has built a version of the role in which daring lives somewhere other than the garment, inside the choir, the architecture, the 2,700 square feet of game board, the boat ride to a bridge that does not usually permit boats through. He is never bad. He is good, better, occasionally his best, and never anything less than that. Whether that range reflects a fashion industry too commodified to permit real risk at this scale, or a genuinely brilliant reading of what a luxury house with an 80 billion euro parent company can actually afford to gamble on, is the harder question underneath this entire conversation. Williams has already answered it for himself, on record, more than once. The clothes carry the business. The choir carries the culture. He built a tenure where neither one has to risk failing the other.

IG: @sophiannadozie

Credit: Pharrell Williams

Take a look at the long history of the Parisian most famous Summer street party, and where it may head in the future

Every year since 1982, on June 21st, the vibrant streets of France come alive, taken over by musicians and DJs alike, with some performing just outside their apartment windows and creating a gathering where everyone is welcome. This phenomena is called Fête de la Musique, also known as FDLM, and it has created a massive cultural hub across the country as a big f*ck you to institutions and bureaucracy within French creative circles, which for a long time, have made it difficult for emerging talents to persevere in the creative industry However, in light of recent editions it’s worth examining if one can still make that claim.

‍Fête de la Musique was an idea first derived from American musician Joel Cohen in 1976. It was then developed by the Ministry of Culture, which discovered through a 1982 study that 5 million French people, including one in two young people, played a musical instrument. The premise is simple: if you have a musical gift, take it on the street and let the world know what you’re made of.

In recent decades, the event gained extreme popularity among diasporic communities. The gatherings, filled with emerging musicians and rappers, extended to include up and coming Djs trying to make a name for themselves. This, in turn, resulted in many local artists receiving their “big break” in the music industry through the free marketing and exposure Fête de la Musique brings to their communities. One of such artists is Kim, a French-Martinican Zouk and Afropop singer who rose to prominence during the festival in 2004. Guinean-French artist MHD also utilized the traction of the festival to upscale his Afrotrap series, and eventually became France’s national treasure back in 2016. Both of these acts were French locals with a story to tell who came from communities often disregarded by society.  For the first time, artists from the banlieue had the opportunity to be discovered and garner an audience by circumventing the music industry politics that made it difficult to reach the masses. 

The 2026 edition was arguably the biggest Fête de la Musique we have seen yet, with streets packed to the brim with attendees celebrating under the hard-hitting sun. It is safe to say it has never been this popular. However, the festivities did not come without complaints. The first wave of backlash came before the event started. Locals took to socials to complain about Londoners bringing their sense of excitement, which is fairly different from French culture, with them to FDLM. Regardless of that, most hosts were still welcoming.

The second wave of backlash began due to foreign organizers beginning the festive days earlier than planned. These organizers came with their own lineup, often not including local DJs and artists. This was taken by the locals with mixed reactions. Some expressed shock at the organizations, stating that Londoners were taking over Fête de la Musique, while others credited the organizers for their strategy, stating local organizers should take notes and follow suit. Whether one was for or against the change, it was clear the festive would be overcrowded.

This then hints at the final backlash, Fête de la Musique moving away from what it originally represented. With a lot of investors and established artists taking the stage, it leaves little space for emerging local acts to get involved and noticed. What once felt like an opportunity to discover new artists has visibly shrunken. Arguably, this year had more street parties than ever, and as a result, those who were supposed to receive their big break ended up underwhelmed. Many locals felt like it had begun resembling a commercialized festival, and no longer felt like the street parties many grew up adoring.

Noticeable acts who performed but fell massively under the radar during the 2026 Fête de la Musique were, for example, 63OG, a Cameroon-French rapper with incredible musical range. Another was Jeune Morty, an Ivorian-French new-gen vocalist who had one of the most memorable French bangers of this year with Ivoire Feeling”. Another worth mentioning was (D)Juno, a Congolese-French singer who has done remarkable numbers with her breakout hit BB Bringue”. Some might say they were all overshadowed by the presence of established artists, such as Tayc, Tiakola and Theodora, who performed amongst them.

Like past occurrences, this moment should have been their big break, their rise to stardom, but it seemingly did the opposite. Local artists, emerging musicians, and small-time DJs were not the center of this Fête de la Musique. Instead, established artists, commercialized events, and foreign organizers took over. It left little room for new acts to find a new audience. This is a vast shift from its origins and what FDLM initially intended to do, making participants wonder where the festive is heading in the coming years and whether it still holds a place in the heart of their community.

Credit: Marvyn Ngikila (marvyn_07)

Released with support from Amnesty International, the new anthem is part of a wider campaign exploring how music continues to serve as a tool for civic engagement and youth mobilization in West Africa.

West African music veterans Kajeem, Didier Awadi, and Soum Bill have joined forces on ‘En toute liberté', a new human rights anthem released in partnership with Amnesty International. More than a typical music release, the track forms part of a broader campaign aimed at encouraging civic participation and protecting youth civic spaces across Côte d'Ivoire. Through a combination of digital platforms and university outreach, the initiative positions music not only as a cultural product but as a vehicle for activism, dialogue and collective action. 

Backed by the global human rights organization, ‘En toute liberté’--which translates to "In Complete Freedom"--is intended to resonate widely. The artists behind the anthem bring longstanding histories of social engagement to the effort. Kajeem has consistently used reggae as a vehicle for civic awareness and social commentary, while Didier Awadi remains one of West Africa's most influential political hip-hop voices. Alongside them, Soum Bill brings decades of cultural influence in Côte d'Ivoire, helping anchor an initiative that extends beyond the music itself. 

Rather than ending on streaming platforms, the campaign will reach university campuses across the country, where discussions around freedom of expression and democratic participation will form part of its broader outreach. The focus on campuses is significant. Across Africa, universities have long served as incubators for political thought, social movements, and cultural change, making them a natural setting for a project that seeks to connect music with civic engagement. 

Their collaboration also sits within a much longer tradition of politically conscious music in West Africa. For decades, artists have used songs to educate audiences, challenge authority, and encourage public participation. Fela Kuti transformed Afrobeat into a platform for political critique, while Alpha Blondy and Tiken Jah Fakoly used reggae to address governance, democracy and social justice. In this context, ‘En toute liberté’ is less a departure from tradition than a continuation of it. The anthem reflects the enduring belief that music can do more than entertain–it can inform, mobilize and inspire.

The release arrives at a moment when African music enjoys unprecedented global visibility. Yet while international audiences often encounter the continent's music through entertainment-focused narratives, ‘En toute liberté’ highlights another dimension of its cultural power. Across the region and much of Africa, musicians have long occupied roles that extend beyond performance, acting as educators, commentators, and advocates within their communities. For Kajeem, Didier Awadi, and Soum Bill, the anthem serves as a reminder that music remains not only a soundtrack to social life but also a platform for participation, dialogue and change. In doing so, the project reinforces the enduring relationship between culture and civic engagement, demonstrating how artists continue to use their platforms to encourage reflection, discussion, and action. 

IG:@_stanleykilonzo
Cover Image Credit: Amnesty International/Digitafreeka

The 18th edition of The Headies is going to Toronto. The announcement was made on June 15, 2026, at the Grand Ballroom of Eko Hotel in Lagos - which is, ironically, in Nigeria. The ceremony itself will not be. Nigerian fans who want to attend Nigeria’s premier music award will need a visa, a flight, and a hotel room in Canada. Everyone else gets a watch party.

The Headies have earned that weight over twenty years. Established in 2006 as the Hip Hop World Awards, the ceremony has hosted some of Nigerian music’s most unforgettable nights. Olamide remains the most decorated artist in its history with 15 wins. Wizkid, Davido, Burna Boy, Rema, Ayra Starr, Tems and Simi have all built portions of their legacy on that stage - the same artists now filling arenas across Europe and North America, the same artists Canada’s Deputy High Commissioner would later cite as evidence of Nigerian music’s global reach. Wande Coal’s sweep at the 5th edition - Album of the Year, Artist of the Year, R&B Album of the Year, and Hip Hop Revelation of the Year in a single night - is still talked about. The 2015 clash between Olamide and Don Jazzy over the Next Rated category split the internet for weeks. In 2025, Qing Madi became the youngest female artist to win Best Songwriter, accepting the award in tears, dedicating it to her mother watching from home. The same edition carried a posthumous tribute to Mohbad, whose loss in 2023 still sits heavy over an industry that never got to see him fully embraced while he was alive. These are not small footnotes. They are the moments that turned an awards show into a cultural institution - one built, performance by performance, winner by winner, entirely on Nigerian soil.

This is the third time in four editions that ceremony has left that soil. The awards moved to Atlanta in 2022 for two consecutive editions before returning to Lagos in 2025 under the theme “Back to Base.” They are not at base anymore.

Founder Ayo Animashaun cited economics as the primary reason. He drew a direct comparison to the Grammy Awards: “Most of the awards in the world that you see that are big, they have four or five sources of revenue. Here we have only one, everybody talks about sponsorship.” The funding problem is real. The proposed solution is not the right fix.

The Grammys stay in Los Angeles for a specific reason. Animashaun acknowledged this himself: “Grammy left Los Angeles and went to Madison Square in New York because LA was shut down. LA fought to bring Grammy back because it does something to their economy and it is part of their DNA.” That comparison undermines his own decision. Los Angeles understood that the Grammys belonged to the city. The city built the financial relationship that made losing the event unthinkable. Nigeria has not had that conversation yet. The Headies are boarding a flight instead.

The economic argument actually strengthens the case against the decision. A platform that cannot sustain itself financially in Nigeria has an infrastructure problem. Geography does not solve an infrastructure problem. Going to Toronto relocates the funding gap temporarily. The structural issue remains untouched. The same conversation will likely happen again next year, or the year after.

Animashaun also pointed to Nigeria’s large diaspora community in Canada as motivation for the move. That ambition is legitimate on its own terms. Taking Nigerian music to the world and taking Nigerian music away from Nigerians are not the same decision. The Headies has been making the second one while describing it as the first. The Nigerian diaspora in Toronto did not build The Headies. Nigerian fans, Nigerian artists, and the Nigerian industry did - across twenty years, fifteen wins for Olamide, a tearful debut win for Qing Madi, a posthumous tribute for Mohbad. Taking the award abroad to reach a diaspora audience, while the home audience receives a livestream, reads less like expansion. It reads like a concession dressed as strategy.

Canada’s Deputy High Commissioner Carlos Rojas-Arbulu welcomed the decision warmly, noting that Wizkid, Davido, Burna Boy, Olamide, Reekado Banks, Shallipopi, Asake and Ayra Starr had all visited Canada in the past eight months. Nigerian artists touring Canada is not evidence that The Headies belong there. Nigerian artists tour London, Paris, and New York with similar frequency. The Grammys are not hosted in any of those cities either.

Animashaun’s real question should not be which international city offers the most convenient venue. It should be why Nigeria has not made The Headies part of its economic and cultural identity the way Los Angeles did with the Grammys. That conversation belongs with the Lagos State Government, with Nigerian banks, with local corporate sponsors, with the Federal Ministry of Arts and Culture. It is a harder conversation than announcing a Toronto venue from a ballroom in Lagos. It is also the only conversation that solves the actual problem.

The decision has already sparked debate among entertainment followers, many questioning why a Nigerian music award platform keeps relocating outside the country. Those questions deserve answers. An award that repeatedly leaves its home country has failed to convince that country it is worth investing in. The case for keeping The Headies in Nigeria has never needed sentiment. It only ever needed money.

Credit:The Headies Award 18th Edition

It’s officially a very fashionable World Cup summer.

The matches may be happening on the pitch, but some of the most interesting competition is taking place off it. From luxury houses dressing national teams to streetwear brands releasing football-inspired capsules and athletes arriving in carefully curated looks, the 2026 FIFA World Cup fashion has all eyes on it, and fashion brands across the globe are getting in on the excitement too. This year's World Cup is becoming a playground for fashion lovers looking for more than a replica jersey.

One of the tournament's standout style moments came courtesy of the Democratic Republic of Congo. Returning to the World Cup for the first time in more than fifty years, the team arrived in custom leopard-inspired suits designed by Alvin Junior Mak, creative director of JmakxParis.

Drawing inspiration from the legacy of the country's iconic 1974 "Leopards" squad and the rich tradition of Congolese sape culture, the black silk crepe suits featured striking leopard detailing that quickly captured global attention online. The look transformed pre-match dressing into a celebration of heritage, craftsmanship, and national pride, while introducing many football fans to one of the most exciting emerging names in African luxury fashion.

Spain is also bringing high fashion to the tournament thanks to a new partnership with Loewe. Earlier this year, the Spanish luxury house was announced as the official formalwear partner of Spain's men's and women's national teams through 2030.

The partnership sees players travelling in custom Loewe tailoring, footwear, and leather goods, with garments crafted in the brand's workshops. Asides the suits themselves, the collaboration feels like a fitting union between one of Spain's most recognizable fashion houses and one of its most celebrated sporting institutions.

France, meanwhile, has enlisted one of fashion's favourite designers. Simon Porte Jacquemus partnered with Nike and the French Football Federation on a lifestyle collection released alongside France's World Cup campaign. Blending sport and everyday dressing, the collection continues Jacquemus' growing relationship with athletic wear while giving supporters a more fashion-forward way to celebrate the tournament.

Nike, as expected, has gone all-in on football culture this summer, rolling out a series of collaborations that move away from the pitch and into the world of fashion and streetwear.

For England, the sportswear giant teamed up with Palace Skateboards on a retro-inspired collection that merges football nostalgia with the London label's signature irreverence. Across the Atlantic, Nike also partnered with the Virgil Abloh Archive on a varsity-inspired capsule collection celebrating the late designer's enduring influence on football culture and contemporary sportswear.

Mexico's World Cup wardrobe has received a designer touch too. Adidas joined forces with Willy Chavarria on a collection of tracksuits, footwear, rugby tops, and shorts that blend football heritage with the designer's distinctive streetwear sensibility. Known for exploring themes of identity and community through fashion, Chavarria's take on football merch feels particularly timely.

Additionally, the NFL entered the football conversation with a limited-edition collection of FIFA World Cup-inspired jerseys developed in partnership with Fanatics. The crossover collection combines American football silhouettes with national football iconography, featuring designs inspired by England, France, and Australia. The result is a playful reminder that football culture now reaches further away from the sport itself.

Streetwear favourite Corteiz has also embraced the tournament spirit. The London-based brand partnered with World Cup Culture on a capsule inspired by eleven participating nations, further highlighting how football has become one of the defining visual influences in contemporary youth culture.

Perhaps that's what makes this year's tournament feel so fun. The World Cup has always been about bringing countries together, but increasingly it is bringing together different corners of fashion too. Luxury houses, sportswear giants, emerging designers, and streetwear labels are all finding new ways to celebrate the game through clothing.

Whether it's DR Congo's viral leopard suits, Spain's Loewe tailoring, or a football-inspired capsule from your favourite streetwear brand, the World Cup has become as much a style spectacle as a sporting one.

For fashion lovers, that's enough reason to tune in.

There is a certain point in every football season when it becomes impossible to avoid. And with the ongoing 2026 FIFA World Cup, that moment feels even bigger. It slips into conversations at work, takes over WhatsApp groups, and somehow finds its way into places where nobody was discussing football five minutes earlier. The guy buying tea in front of you suddenly has strong opinions about a manager's tactics. Your uncle is convinced a title race is already over in October. Someone is showing off a betting slip they are certain will change their life by the end of the evening. For a few months every year, football stops being a sport and starts feeling like a shared language.

Match days have their own rhythm. Hours before kickoff, bars begin to fill up. Jerseys appear. Tables are claimed. Predictions are made with a kind of confidence often reserved for people who actually know what they're talking about. Once the game starts, everybody becomes an expert. The striker should have taken one more touch. The defender should have tracked his runner. The goalkeeper reacted too late. The referee is blind. Nobody agrees on anything, yet everyone is determined to make their case. Watching football has never been a quiet activity; the game seems to invite participation, even from people who have never set foot on a professional pitch.

What stands out is how naturally communal the whole thing feels. The biggest moments seem incomplete without other people around to witness them. A late winner is more satisfying when an entire room explodes beside you. A painful defeat hurts more when you know your friends will remind you about it for weeks. And nowhere is that feeling more visible than during the World Cup, when entire cities seem to pause for kickoff and millions of strangers become invested in the same outcome. Whether it's an Arsenal supporter celebrating a trophy, Knicks fans flooding New York streets after a playoff victory, or families crowded around a television during football's biggest tournament, sports have a unique ability to turn individual spectators into a temporary community. For a few hours, everyone is invested in the same story.

What's most striking is that all this isn't even necessary. It hasn't been for a while. Advances in technology, streaming platforms, and internet connectivity have fundamentally changed the way we consume entertainment. Today, almost everything can be experienced alone. Films are watched on phones during commutes. Music is discovered through personalised playlists. Social media feeds are curated specifically for us, serving content based on our habits, interests, and attention spans. Two people can spend hours online and emerge having consumed entirely different versions of culture.

Sports should have followed the same path. Watching a football match no longer requires a crowded bar or a living room full of relatives. Matches can be streamed from a laptop in bed. Highlights appear seconds after a goal is scored, with reactions flooding social media before the replay has even finished rolling. If convenience were the only thing that mattered, sports would have become just another solitary activity.

Yet every season, the opposite happens. People still gather. They leave their homes and seek out company. They fill pubs, restaurants, fan parks, barber shops, and sports lounges. Group chats that sit dormant for months are suddenly active. Old rivalries are revived. Entire friendships are temporarily placed on hold because one person supports Arsenal and the other supports Manchester United. Football, unlike most modern entertainment, refuses to stay private.

The past few months have offered countless examples. The specifics of the results almost matter less than the conversations they create. Arsenal's long-awaited Premier League triumph sparked celebrations from North London to Nairobi, while their Champions League final defeat to PSG generated an entirely different kind of communal experience: collective heartbreak. Every victory and defeat becomes shared material, something to be dissected, argued over, and remembered together.

The same phenomenon can be seen beyond football. When the New York Knicks made their deep playoff run, the atmosphere extended far beyond Madison Square Garden. The team became a citywide talking point. Sports bars overflowed. Celebrities packed courtside seats. Social media feeds filled with reactions from people who rarely discussed basketball. The games became part of New York's daily rhythm, creating a common point of reference in a city otherwise defined by its endless diversity of interests and experiences.

But no sporting event demonstrates this better than the World Cup. Every four years, football's biggest tournament performs a feat that has become increasingly rare in modern culture: it captures collective attention. Casual fans suddenly become invested. Entire nations organise their schedules around kickoff times. Family WhatsApp groups transform into live commentary feeds. Workplaces become temporary debating societies. Streets empty before kickoff and fill again at the final whistle. For a few days, millions of people are not simply consuming the same content; they are reacting to it simultaneously.

This kind of shared attention is becoming harder to find. The media landscape that once produced common cultural experiences has fractured. There was a time when entire countries watched the same television shows, listened to the same radio stations, and followed the same celebrities. Today, algorithms encourage the opposite. They reward niche interests, personalised recommendations, and individual consumption. Culture has become increasingly fragmented.

Sports remain one of the few exceptions. Part of the reason may be that sports are not simply entertainment. They are rituals. Every fan has their own version of them. The lucky jersey worn /purse that must be carried on match day. The seat that cannot be changed once a winning streak begins. The pre-match predictions. The halftime complaints. The post-match analysis that somehow lasts longer than the game itself. These rituals give sporting events a social dimension that extends far beyond the final score.

There is also the question of community. Many of the institutions that once brought people together have weakened. People move more frequently. Neighbourhood ties are often looser than they once were. Much of modern life is conducted through screens. Even friendships increasingly exist through notifications and group chats rather than physical spaces. Sports offer something different. They provide a reason to leave the house, gather with others, and participate in a shared experience. In an era where loneliness is regularly described as a public health concern, that matters.

Ironically, technology may have strengthened this impulse rather than weakened it. Social media has transformed sporting events into real-time global conversations. News that Somali referee Omar Artan had been barred from officiating at the World Cup sparked debate far beyond the stadium, with fans everywhere weighing in on what the decision meant for the sport. 

More importantly, sports create witnesses. A tournament upset becomes more memorable when everyone around you experiences the same shock at the same moment like that Tuesday game between France and Senegal. Joy, disappointment, relief and disbelief gain meaning when they are shared. Years later, people rarely remember where they watched a famous match alone. They remember who they were with.

Sports transform private emotions into collective experiences; a big reason why they continue to occupy such a unique place in modern culture. In a world increasingly organised around individual preferences and personalised feeds, sports offer something increasingly rare: a reason to look in the same direction at the same time. Eventually, the final whistle blows. The crowd disperses. The group chat quiets down. Everyone returns to their own carefully curated corner of the internet. But for ninety minutes, something unusual happened. Strangers shared the same emotions. Cities rallied around the same story. Millions of people, regardless of where they were watching from, lived in the same world.

Perhaps this is why sports continue to thrive in the age of personalisation. They offer what algorithms cannot truly replicate nor replace: community.

IG:@_stanleykilonzo

Cover Credit: Shutterstock

Barack Obama and Michelle Obama have officially opened the Obama Presidential Center in Chicago, unveiling a long-anticipated civic and cultural landmark that arrives at a particularly symbolic moment: Juneteenth weekend.

The dedication ceremony took place on June 18, with the center opening to the public on June 19, aligning with Juneteenth, the U.S. federal holiday that marks the end of slavery in the United States.

Located in Jackson Park on Chicago's South Side, the Obama Presidential Center is far more than a traditional presidential library. The 19.3-acre campus includes a museum chronicling Obama's life and presidency, public gardens and green spaces, a branch of the Chicago Public Library, athletic facilities, community gathering spaces, and programming designed to encourage civic participation and leadership development. Unlike conventional presidential archives, the center has been envisioned as an active civic campus–one that blends history, education, culture, and community engagement rather than simply preserving political memory.

The timing of the opening adds another layer of significance. Juneteenth commemorates June 19, 1865, when enslaved Black Americans in Galveston, Texas, were finally informed of their freedom–more than two years after the Emancipation Proclamation had been signed. Today, the holiday serves as both a celebration of Black freedom and a reflection on the ongoing pursuit of racial justice and equality in the United States.

Opening the Obama Presidential Center during this period places the project within that broader historical conversation. Barack Obama remains a landmark figure in American history as the nation's first Black president, while Michelle Obama continues to be one of the most influential public figures of her generation. Together, their legacy is closely tied to themes of representation, civic participation, and the evolving story of Black leadership in public life.

The center's commitment to culture and public memory is brilliantly reflected in its art program. Unveiled just days ahead of the grand opening, the first official joint portrait of Barack and Michelle Obama, titled ‘The Obamas: Springing Forth,’ was created by acclaimed Nigerian-born artist Njideka Akunyili Crosby. Commissioned specifically for the permanent collection in the museum’s Hope and Change Lobby, the large-scale mixed-media painting utilizes Crosby's signature photo-transfer technique. Up close, the canvas reveals layers of intimate archival imagery, family photographs (including Mrs. Obama's childhood home on Euclid Avenue), and historical ephemera that speak directly to identity, memory, and transnational belonging. Its inclusion not only reinforces the center's emphasis on storytelling and representation, but also highlights the growing influence of African artists within major global cultural institutions.

The Obama Foundation has described the center as a space designed to inspire future generations, particularly young people from underserved communities, to see themselves as active participants in democracy. Its location on Chicago's South Side reflects a deliberate investment in a historically significant Black community that shaped much of the Obamas' public journey before the White House.

The opening also comes at a time when questions around public memory, education, and historical narrative remain highly contested in the United States. Debates over how history is taught and whose stories are preserved have placed cultural institutions under increased scrutiny. In that context, the Obama Presidential Center functions not only as a museum, but as a statement about legacy, visibility, and who gets remembered in the national story.

That cultural significance is reflected in the scale of the opening celebrations. The festivities feature appearances and performances from global artists and public figures including Stevie Wonder, John Legend, Jennifer Hudson, Tems, Bruce Springsteen, Bono, and others–underscoring Obama's continued influence across politics, culture, and entertainment.

For Chicago, the center represents a major cultural and economic addition to the South Side, where Barack and Michelle Obama first built their public careers. For visitors, it offers a new civic landmark dedicated not only to one presidency, but to the broader ideals of public service, community engagement, and democratic participation.

As it opens ahead of Juneteenth, the Obama Presidential Center stands at the intersection of history and memory, linking one of the most consequential political legacies in modern American history to a holiday rooted in freedom, reflection and progress.

Cover Image Credit: Barack Obama

Vanessa Iloenyosi, the Lagos-born founder of women’s wear label, Nyosi, builds her collections from feeling first and finds the setting later. For her latest summer collection, the primary feeling is conjured up from a wish for "the best summer of our lives". The resulting campaign showcases women in waist-cut linen and easy, sun-kissed silhouettes looking like they have nowhere else to be beyond the grasp of the breezy beach bar nestled in Tarkwa Bay, Lagos. Since 2017, Iloenyosi’s path has been guided by this unwavering instinct. 

Iloenyosi studied Advertising before obtaining a master's degree in Design Management for Fashion Industries at the London College of Fashion, and it was this time of moving between Lagos and London that Nyosi found its artistic sensibilities. It draws on the vibrancy of Lagos life meshed with European tailoring to produce a sexy-but-minimal interpretation of contemporary women’s wear

In conversation with Deeds Magazine, she discusses learning to run a business as instinctively as she designs for one, why her idea of femininity refuses to sit still, and why the real measure of African fashion's progress isn't  visibility, but its supply chains.

‍Can you tell us the story of how Nyosi came to be, from the first idea to the moment it became real?

When I think about it, I've always wanted to do this. I've always wanted to be a designer, I mean, I did get my Masters in Fashion Business. However, I think the moment I really decided to commit was when I was working in advertising. At the time, I wanted to start a children's wear brand. In fact, I had gone as far as designing a logo with some of my friends who worked at the advertising agency. I can't remember the name now, but I had already started putting the idea together.

I still plan to launch my children's wear line at some point. However, I felt it was important not to take the easy way out because, deep down, I think the reason I wanted to start with children's wear instead of women’s wear was because I was scared. I felt that breaking into the children's wear market would be easier. I don't know where I got that idea from, and I don't even know if it was correct, but that was my thinking at the time.

Basically, I was scared, and that fear irritated me so much that it became the catalyst for me to take the leap and prove to myself that I could actually do it. I think this was around 2016 or 2017, and it was really the turning point that pushed me to fully commit to building a fashion brand.

‍Before Nyosi became a brand, what was your relationship with clothing and personal style?

I think my relationship with clothes has always been what I would describe as adventurous. I say that because I've always been willing to try new things. I'm not really afraid to wear something and potentially look ridiculous, as long as it makes me happy. Even when I was younger, in my twenties, I had one side of my head shaved. For me, that was part of self-expression. I've always been comfortable experimenting and doing things differently.

I'm also very passionate about fabrics and textiles. I don't know if people notice it in my designs, but whenever I can, I like to explore different fabrics, feel their textures, and really understand their quality. Great fabrics make a huge difference, not only in how a garment looks and feels but also in its longevity. Long before I started designing, I was already fascinated by textiles. I've always enjoyed trying different things and exploring new ideas. In many ways, fashion has been a journey of discovering and refining my personal style while continuing to express myself creatively.

‍Building a fashion brand asks founders to become many things at once; designer, creative director, strategist, storyteller. Which role has come most naturally to you, and which one have you had to grow into?

The one part of owning this brand that I really had to grow into was being a strategist and a businesswoman. It's one thing to be creative and have ideas. It's another thing to turn those ideas into a successful business. When you have customers, you can't always design only what you personally like. You also have to listen to what your customers want, and for me, that was probably the most difficult part; learning to balance my creative vision with the needs of the people who shop from Nyosi.

There are so many ideas I'd love to bring to life, but I've learned that timing and practicality matter. Sometimes a design may be beautiful, but when you factor in the cost of sourcing quality fabrics, shipping, and production, it may not be affordable for your customer base.

So I think the biggest challenge has been finding that middle ground, staying true to my creativity while building a brand that serves and resonates with the people who support Nyosi.

‍For readers discovering Nyosi for the first time through this collection, how would you describe the world you’re building with the brand?

The world I'm building is one of fun, confidence, and self-expression. I genuinely love seeing women enjoy themselves, feel safe, and feel confident in who they are and the decisions they make. I think that comes from my own life. Anyone who knows me knows how important the women around me are; my best friends, my sisters, and my mother, with whom I share a very close relationship. I've always been very women-focused because what actually is better than seeing women thrive.

As a Nigerian woman, I've seen how differently women can be perceived. For example, a man who is assertive in the workplace is often praised, while a woman displaying the same qualities is literally called an aggressive bitch. Things are changing; albeit slowly, which is great, but those experiences have shaped my perspective. So through Nyosi, I want to build a world where women feel free to be themselves, express themselves confidently, and have fun without constantly worrying about societal expectations. That doesn't mean disregarding every rule, but it does mean creating space for women to live authentically and confidently.

‍Nyosi has cultivated a very distinct visual language over the years. Looking back, what are some of the ideas that have remained constant, and what has evolved?

I think, for now, the one thing that has remained constant across all our shoots and collections is bringing Lagos, and in many ways Nigeria, to the world. All our shoots are done in Lagos, and that's very intentional. I love being a Nigerian designer, and I love that our work reflects where we come from. While many brands choose to shoot in different countries or reposition themselves for new markets; which I do not think is wrong at all and will definitely do at some point, I've always wanted Nyosi's identity to be rooted in who I am.  I'm a Black woman, and I love seeing that reflected in our campaigns. I love that our clothes are photographed on Black women, in an African city, and in the place where the brand was created. In a way, we're not just exporting clothing, we're exporting culture, creativity, and a perspective on life in Lagos.

As the brand grows and reaches new markets, I'd love to keep elements of that identity. I'm not opposed to shooting in other countries or working with different types of models in the future, but I love that there's a clear thread running through everything we've done so far. It's a brand created by a Black woman, inspired by her environment, and proudly rooted in Nigeria. That's something I want people around the world to see and connect with.

‍There’s always this ease in the way Nyosi pieces sit on the body. How much of that is intention vs instinct?

I think the way my clothes fit is actually more instinctive than intentional. As I've said before, I've always had a great relationship with clothes and I've never been afraid to experiment, regardless of how something might look years later.

For me, clothing is all about how it makes you feel. I like clothes to sit a certain way, move a certain way, and create a certain feeling. So when I design, I'm not necessarily thinking, 'I'm going to make it fit this way.' It's simply my natural preference coming through in the design.

I'm the first ambassador of my brand, so I create pieces that I would genuinely love to wear. I like ease, comfort, and clothes that make you feel confident without feeling restricted. I don't like garments that feel awkward, overly complicated, or poorly fitted.

I make a lot of skirts; they're probably my favorite thing to design, and I love that sense of movement and flow. I also love pieces that feel feminine and confident. I've always been a fan of subtle details, like a low waistline or an unexpected cut, because they add just a little bit of attitude and personality without being overwhelming.

I'm not a maximalist. I prefer simplicity, but with small details that make you look twice. I like that little touch of confidence, that little bit of edge, that subtle element that makes a piece feel special.

‍Nyosi has always spoken to confidence and femininity. How is that evolving in this current phase of the brand?

‍Vanessa: At this phase of the brand, I feel much more sure of myself than I did a year ago. That's true creatively, but it's especially true when it comes to running the business.

I've become more confident in making decisions and trusting my judgment. In business, every decision has consequences, and sometimes it can cost you money if you get it wrong. So a big part of my growth has been learning to stand firmly behind my choices.

For example, I recently flew from London to Lagos for a shoot. That's not something I would have done if I had any doubts about the collection or the direction of the brand. It was a reminder to myself that we're building something worth investing in.

We're also getting more international attention, and while my customers back home will always be my foundation, it's encouraging to see more people connect with what we're creating.

The biggest change, though, is that I'm becoming more visible. I've always been quite hidden, but with this collection, you're hearing more of my voice and seeing more of my face. It's scary, but I'm actually enjoying it. I feel more confident than ever, and because of that, I'm stepping out from behind the scenes and becoming a bigger part of the brand.

Has your idea of femininity changed since Nyosi started?

‍Vanessa: My idea of femininity has never really been one specific thing because I don't believe there's only one way to be a woman. What's feminine to me may not be feminine to someone else, and that's completely fine.

You'll see a lot of conversations online about things like divine femininity and what women should or shouldn't be, but I've never subscribed to one particular definition. I think every woman should be free to express her womanhood in whatever way feels authentic to her.

So, to answer the question, no, I don't have one fixed idea of femininity. What works for you works for you, and what works for me works for me.

‍Nyosi is leaning more explicitly into its identity as a tropical brand. What does “tropical” mean to you beyond geography or aesthetics?

For now, it's both. As I mentioned earlier, I'm a woman who grew up in Lagos, and my brand is rooted in that environment.
At the moment, my work naturally reflects warm-weather aesthetics because that's where I've been building from. However, as the brand grows, I definitely want to explore more, different silhouettes, heavier pieces like jackets and coats, and a wider range of seasonal designs.

I don't want to limit myself creatively. As we expand into other markets and climates, the aesthetic will naturally evolve. But for now, I'm focused on building from where I am, and I believe time will shape the rest.

‍The collection was shot at a beach bar in Tarkwa. How did that location influence the mood, styling, or energy of the pieces?

I don't actually think the location influenced the styling. In fact, the location came last. When I was designing, I already had a clear mood in mind, I was thinking about holidays, summer, and just having fun. I kept saying, 'This summer is going to be the best summer of our lives,' so the collection naturally came from that energy of being outside and enjoying yourself.

Ironically, I don't even like the beach. People don't believe me, but I find it too hot, I don't like the sand, and in Lagos especially, it can be chaotic. If you've been to places like Ilashe, you know the situation, everyone's trying to leave at different times, and you're stuck waiting for boats and people who are never ready when you are. Unfortunately, I'm usually the one ready to go home early. My friends ABSOLUTELY hate this by the way, but I’m sorry we should literally all sleep more, at HOME, in our BEDS. 2-3 hours at the function should be more popular if you ask me (laughs).

So anyway, the collection wasn't inspired by the location. It was the other way around. Once I finished designing, I asked myself where I would want to see these pieces come to life. And I kept picturing the South of France, somewhere by the beach, relaxed, fun, almost like you're holding two cocktails and just enjoying the moment.

That vision is what led the shoot. So yes, it's actually a reverse process, and I'm really happy we shot it that way because it captures exactly the feeling I had when designing it.

What conversations do you hope this collection opens up about contemporary African fashion and how it is perceived?

The conversations I hope this collection; and every collection my peers put out, opens up are honest discussions about the state of the fashion economy in Nigeria and, more broadly, across Africa. On the surface, people often focus on design, aesthetics, and access; things like fashion shows, travel, and visibility. But beyond that, there are deeper structural issues that affect how sustainable this industry really is. Many contemporary African designers are dealing with challenges around funding, distribution, and logistics. For example, in some cases, it's cheaper to ship from Nigeria to the UK than within parts of Africa. These are real barriers that impact how the industry grows.

I think we need to move beyond surface-level conversations about “vibes” and visibility. It's not just about showcasing one or two designers as representatives of an entire continent. In other markets, you see multiple successful designers operating across countries and building scalable businesses. That level of ecosystem support is what we need to aim for as well. This isn't just about my collection, it's about the wider creative economy. How do designers access funding? How do we improve distribution? How do we build purchasing power and stronger retail systems that actually support local creativity? These are uncomfortable but necessary conversations. Because ultimately, if we want African fashion to grow sustainably, it can't just be about how things look. It has to be about building systems that allow designers to thrive, scale, and create long-term value.

‍As Nyosi continues to grow, what parts of the brand feel most important to you?

The part of the brand that feels most important to me is my customers. I never want to lose that connection. It really means a lot when someone comes up to me and says, 'Oh my God, you're the one that owns Nyosi. I love your brand.' The more you hear it, the easier it can be to take it for granted, but I never want that to happen. I always want to feel the same excitement I felt when I first started, when not as many people knew the brand. There's something very special about creating something, putting it out into the world, and seeing people genuinely love it enough to approach you in public just to say so. Especially in Lagos, where people can be reserved, it always feels meaningful when someone makes that effort.

Even when people don't always remember my name and just know the brand, it still feels very personal to me. Every time it happens, it genuinely makes my day.I never want to feel bigger than the brand or disconnected from the people who support it, because that's when you start to lose perspective. Staying close to that feeling is really important to me.

‍Looking ahead, what excites you most about the next chapter of the brand?

What excites me most about the next chapter is that I've taken time to reflect on a lot of things, mistakes I've made and lessons I've learned in running the business. In correcting those things, I'm really excited to see the results of me fully locking in. It can be scary investing heavily into a brand, because if it doesn't work, you do feel the loss directly. But I also think we're at a stage where we're growing, and people are paying more attention, which makes me excited for what's ahead. I'm looking forward to seeing what the next year looks like, the next two years, and even the next few months. More than anything, I'm grateful for the journey so far and for conversations like this. I hope anyone reading this connects with the collection and enjoys it as much as I enjoyed creating it.

The Nigerian cultural space has never been louder. More platforms, more voices, more people positioning themselves as the definitive authority on what is happening - in music, in fashion, in film, in beauty, in everything. Documentation is happening at a scale and speed that previous generations could not have imagined. The record being built, however, is incomplete, distorted, and increasingly disconnected from what actually happened. The question is why and the answer is older than TikTok. 

African culture has always lived primarily in the oral tradition. The archive was never a library. It existed amongst the people who orchestrated the careful passing of knowledge through speech and memory. That is not a failure of the African intellectual tradition. It is a different system, with its own rigour and its own logic. The vulnerability it creates, however, is specific: without a unified written record, cultural discourse can never be fully settled.  The "owambe" versus "owanbe" debate illustrates this precisely - a spelling dispute rooted in the Yoruba phrase "Ó wà ní ibẹ̀", meaning "the place where it is at," that has persisted for decades because there is no definitive written record to resolve it. Both spellings exist. Both are used by journalists, by academics, by everyday Nigerians on social media. The argument continues across platforms, dinner tables, and comment sections. No version has won because no authoritative written record exists to settle it. Nobody has the receipt. The digital age had the opportunity to address this vulnerability. Instead, it inherited it and made it worse.

A generation of young creatives has arrived with platforms, visibility, and the confidence to fill the documentation gap. The access that previous generations fought for is being used. That matters. The language that travels with that access, however, tells a different story. "We are the future." "We are here to take over." "Embrace the youth." These phrases carry a common assumption: that the story begins here, with this generation, with this moment. The problem is that access without rigour is not documentation. It is noise with an audience. The platforms that have appointed themselves cultural authorities are often the same ones publishing first and thinking later, collapsing decades of work into a trending moment, and calling a viral post cultural currency. The bar for speaking on culture has never been lower. The consequences of getting it wrong have never been higher. 

The industry leaders carry the weight of this most directly. When they are not erased entirely, they are misplaced, dropped into lists of artists "defining current culture" as though their legacy can be collapsed into a present moment they are not part of. The emerging artists who should be owning this chapter are denied the space to do so. The industry leaders are stripped of the context that makes their legacy meaningful. When an industry leader has not released anything recently, the dismissal arrives quickly - years of work, influence, and cultural contribution reduced to irrelevance because the timeline moved on. The body of work does not disappear because the posting stopped. The legacy does not expire because the algorithm forgot. The same instinct that sent people to Google before AI existed - the basic desire not to sound uninformed, should apply here. 

The subjects that suffer most are the ones where being wrong carries no immediate consequences. Fashion. Music. Tech. Anyone can position themselves as an authority in these spaces, rarely getting caught because the knowledge is diffuse and the audience is not always specialist enough to push back. Sit the same person in front of a conversation about architecture or art history and the errors are visible immediately. The specialist audience is unforgiving. There is a reason people are more careful in those spaces. In the spaces where accountability is low, it takes one reel from someone who genuinely knows what they are talking about to cut through everything else not because the bar is high, but because it is so low that genuine knowledge becomes remarkable. When Deji Osikoya posted a video asking why Nigerian music discourse had overlooked Wale’s contribution to Afrobeats, the reel did not just go viral. It started a conversation that eventually reached Wale himself. That is what proper cultural documentation looks like - researched, specific, and consequential. It should not be the exception.

The impact of this carelessness is not abstract. People make decisions from what these platforms publish - career decisions, cultural judgments, aesthetic choices. A young creative reading a carelessly assembled list might spend years chasing a standard that was never accurately described. A music history written without its architects is a music history that cannot be trusted. An archive built on exaggeration is not documentation. It is mythology dressed in screenshots.

The solution is not complicated. Research before publishing. Understand the difference between what is current and what is legacy. Distinguish between a moment and a movement, between virality and relevance, between an industry leader's body of work and a newcomer's debut. In the bid to document culture, document it properly - with the care of someone who understands that what goes on record becomes the record.

Somewhere, there should be a library. A proper one - for the music, the fashion, the film, the photography, the art. As definitive as a dictionary. A reference you can point to. One that settles the argument. 

IG: @sophiannadozie
Credit: Leroy Campbell (The Nod)

LGBTQ rights revoked by African countries: what will be the future of the Africans concerned?

Picture this, it is the year 1970, and in Four United States cities: New York City, Chicago, Los Angeles and San Francisco, the first Pride marches occur. The goal? In commemoration of the Stonewall riots, a 1969 demonstration against the police persecution of sexual minorities. One of its founding members, Fred Sargeant, proclaims that the first march was more of a protest than a celebration, alluding to the liberation of “people of the LGBT communities,” whilst internally, transgender women and people of colour were largely excluded or silenced.

Today, the once-restricted protest has turned into an all-inclusive, widespread parade that is celebrated between June and August across the globe. South Africa remains one of the few African countries to publicly recognize the event, having begun in 1990; however, celebrating theirs in October instead. 56 years apart, and one would assume that LGBTQ+ rights are moving forward also on the continent, but do not be fooled. Some might say that, in actuality, the inequality and injustice against them have only worsened, with violence and stricter laws actively threatening the safety and livelihoods of its African members daily.

In recent years alone, over 60 countries still criminalize consensual same-sex relations, with more than half of them being African nations. Some have gone as far as making the act punishable by the death penalty like in Nigeria (Northern states under Sharia Law). What could be seen as a trend popularized by the Trump regime, since the US has revoked several of their LGBTQ+ rights, is slowly spreading into the main concern of the rest of the world, cowardly following suit. That being said, it shouldn’t come as a surprise at all when several African countries are currently under US sanctions and are trying to fall back in favour with their masters. Harsher anti-LGBTQ+ laws are often enough, therefore, just a mere scapegoat to strengthen their international alliance for financial gain with norms strategically imposed by the West.

So what has changed? Deeds Magazine made up a list of all the laws that have been put in place and overturned within the African context since last year. This includes some of the violent acts that have left LGBTQ+ communities as victims at the hands of African governments that pride themselves on taking away basic human rights over the safety and protection of their children, for example, through the reinforcement of a ban on trafficking and child marriage.

Burkina Faso

Perhaps the most disappointing of them all, on September 1 2025, Burkina Faso passed a law that makes consensual same-sex relations a criminal offence. If caught, one could face up to five years in prison as well as be fined. It is important to note that, unlike neighbouring countries, Burkina Faso did not inherit such a colonial penal code, that being why homosexuality was never criminalized by law, until now.

Ghana

On February 1 2026, Ghana reintroduced an anti-LGBTQ bill first passed in 2024. Initially, the previous version of the bill showed so little significance that it ended up expiring. Now under a new presidential administration, the bill was brought back with much more severe consequences. Not only does it attack individuals, but it also targets organizations and relations such as parents, doctors and journalists who advocate for the LGBTQ+ community. This comes right before Ghana was set to host a conference on Family and Sovereignty, an establishment, of course, backed by US-based far-right advocacy groups.

Senegal

On March 30 2026, Senegal modified a bill related to the 1965 penal code, a norm first introduced by its colonisers of France, which survived after receiving independence in 1960. The bill in question criminalized “unnatural acts,” making it now punishable by 10 years and increasing the fine if caught. This comes right after 12 men, including a musician and a TV host, were arrested in February under that law. Their charges are “acts against nature” and also include the alleged intentional transmission of HIV.

Kenya

In February 2026, The Kenyan National Gay and Lesbian Human Rights Commission (NGLHRC) appealed the 2019 decision, which upholds the country’s criminalisations against LGBTQ+ rights. Like many other African countries, Kenya’s Penal Code was imposed by its previous colonizers of the United Kingdom. The law retains “the carnage order against the order of nature.” This is a country where reports from the 19th century showcase a string of gender fluidity and same sex relationships being the norm amongst Swahili-speaking people. That, of course, took a sudden turn after Kenya was colonized by the British Empire in 1895.

Niger

In June 2026, the Niger passed a new law that criminalizes LGBTQ+ rights. The new law punishes “commits or attempts to commit an immodest or unnatural act or practices lesbian, gay, bisexual, trans-gender, Queer, intersex, Asexual (LGBTQIA+) acts.” This includes organizations and witnesses who legitimize the act by marriage. Much like their AES friend, homosexuality was never made illegal until now.

What Now?

While there are African countries that have fallen back into their masters’ grip, following through on norms imposed by their past colonizers, it is important to state that there are organizations actively challenging “laws” against human rights as we speak. Anti-LGBTQ laws are not ideals that were created out of thin air; they come from a long tradition of Roman Catholic oppression, trying to strip people of their human rights, and demonize anything not in proximity to cis-male whiteness. Although in the past it was utilized to strengthen imperialism in the Global South, it is now merely a tool for divide and conquer, and distracting the masses with real crimes against humanity, including genocides, xenophobia, human trafficking, child marriage, and so many more catastrophes that the continent falls under.
credit: freepik on magnific

As Paris prepares to welcome editors, buyers, stylists and fashion enthusiasts for Men’s Fashion Week this June, one of the city’s most influential retail institutions is turning its attention toward African fashion.

From June 17 to July 8, Galeries Lafayette Paris Haussmann will host the second edition of Africa Now, a retail initiative spotlighting a new generation of African designers whose work sits at the intersection of craftsmanship, cultural storytelling and contemporary luxury. Located on the third floor of the department store’s iconic Coupole building, the pop-up brings together designers from across the continent, showcasing ready-to-wear, accessories, jewellery and leather goods through a distinctly pan-African lens.

The timing is significant. Arriving just ahead of Paris Men’s Fashion Week, Africa Now positions African fashion within one of the industry’s most visible global stages. The initiative creates an opportunity for brands from Morocco, Ghana, Senegal, Kenya, Zimbabwe, Côte d’Ivoire, Madagascar and beyond to engage directly with audiences that often determine the trajectory of emerging luxury labels.

More than a retail activation, Africa Now reflects a growing shift in how African fashion is being presented globally. Rather than framing designers through narratives of discovery or novelty, the project places them within the commercial and cultural ecosystem of luxury fashion, acknowledging their role as innovators already shaping contemporary style.

Organised in partnership with CANEX, Tranoï, Adama Paris and Studio Ka x Africa Fashion Up, the initiative highlights designers who are reimagining local craftsmanship, heritage techniques and cultural references for an international market while maintaining strong ties to their communities and production networks.

Among the participating labels is Late For Work, founded by Moroccan designer Youssef Drissi, whose sharply tailored womenswear and structured silhouettes have attracted growing international attention. Following a successful appearance in the inaugural edition of the pop-up, the brand returns after Drissi’s recent recognition as winner of the 2025 Fashion Trust Arabia Grand Prix.

Kenyan jewellery label We Are Nbo continues to demonstrate how sustainability and social impact can operate hand in hand. Founder Michael Nguthu collaborates with artisans from marginalized communities, transforming recycled and upcycled materials including brass, wood and bone into contemporary jewellery pieces.

Zimbabwean leather goods brand Vanhu Vamwe, founded by Simba Nyawiri and Pam Samasuwo-Nyawiri, brings an artisanal approach rooted in both craftsmanship and community development. Since launching through the CANEX x Tranoï platform, the label has emerged as one of the initiative’s most notable success stories.

Elsewhere, Ghanaian luxury house Christie Brown, led by designer Aisha Ayensu, continues its longstanding practice of reinterpreting traditional Ghanaian textiles such as kente and wax prints through a refined contemporary aesthetic. Senegal’s Sisters of Afrika, founded by sisters Hélène Daba Diouf and Jeanne Diouf, similarly centres cultural preservation and women’s empowerment while modernising traditional craft techniques.

The selection also includes Ivorian designer Ibrahim Fernandez, whose tailoring blends contemporary luxury with traditional West African textiles, and Talua, a contemporary luxury brand spanning ready-to-wear, leather goods and accessories that draws inspiration from African heritage while embracing a distinctly modern sensibility.

Through Africa Fashion Up and Studio Ka, visitors will also discover designers such as Eric Raisina, the Madagascar-born designer whose work with raffia, silk and natural materials has earned him recognition within both African and European fashion circles, and Kwiyiah Style, founded by Ivorian designer Lucie Gomba.

What makes Africa Now particularly compelling is its pan-African scope. Instead of focusing on a single city or fashion week, the project brings together designers from different regions of the continent, highlighting the diversity of contemporary African fashion. The result is a retail experience that challenges reductive notions of what African design looks like, revealing instead a landscape of distinct aesthetics, materials and cultural perspectives.

For some of these brands, visibility within a retail giant like Galeries Lafayette is noteworthy. As one of Europe’s most visited department stores, the institution functions as both a commercial platform and a cultural validator. Securing space within its walls places these designers in direct conversation with established luxury houses while exposing their work to international consumers who may otherwise encounter African fashion only through digital channels.

The initiative also arrives amid growing global interest in African fashion. Recent years have seen increasing recognition of the continent’s creative industries, with designers gaining visibility through international fashion weeks, exhibitions and trade platforms. Yet access to global retail infrastructure remains one of the industry’s most persistent challenges. Pop-ups such as Africa Now help bridge that gap by creating pathways between emerging brands and international markets.

Its arrival in Paris also coincides with the ongoing Africa Fashion exhibition at the Musée du Quai Branly, which explores contemporary African fashion through the work of designers across the continent. Together, these initiatives suggest a broader cultural moment in which African fashion is being recognized not as a trend but as an essential force within the global fashion landscape.

As Paris Men’s Fashion Week approaches, Africa Now offers a timely reminder that some of the most exciting conversations in fashion today are emerging from Lagos, Accra, Dakar, Nairobi, Harare and beyond. More importantly, it demonstrates that African fashion’s future is increasingly taking centre stage.

“See better song wey AFCON just waste.” That was Paul Ifiora on X, two days into the 2026 FIFA World Cup, reposting the music video for “Le Show” to 892,000 views, 19,000 likes, and a comment section full of people hearing the song for the first time -  six months after it dropped.

‍“Le Show” by Ayra Starr, Davido and French Montana, produced by RedOne, was released in December 2025 as part of the official AFCON 2025 soundtrack. From the opening moments, the record sets a triumphant tone, driven by bold production, infectious rhythms, and a chorus that feels tailor-made for big stages. The recurring phrase “on va commencer le show” meaning “we’re about to start the show”,  acts as both a declaration and an invitation.  It is celebratory, exciting, and enchanting. It sounds like winning. It sounds, specifically, like a World Cup song. 

RedOne, the Moroccan-Swedish producer behind some of the biggest pop records of the last two decades, including the Qatar 2022 World Cup anthem, built “Le Show” with the same architecture. Ayra Starr shines as the emotional and melodic core of the song, her vocals smooth, commanding, and effortlessly catchy. Davido, who is known for his ability to turn any record into a celebration, adds a familiar spark as he delivers his verse with charisma and authority. French Montana bridges the continental and the global.  It is a record built for a stage larger than AFCON and it sounds like it. But “Dai Dai” has Shakira and a FIFA marketing budget. “Goals” has LISA, Anitta, and Rema on a global rollout. “Le Show” had AFCON - a tournament that, for all its cultural significance, does not move music the way the World Cup does. The song did not fail. It was under-promoted into obscurity by the infrastructure around it.

This is not an African music problem. It is an entertainment industry truth: the product that gets heard is rarely the best product. It is the best marketed one. “Dai Dai” and “Goals” will soundtrack highlight reels, closing ceremonies, and personal playlists for years. “Le Show” is being discovered on someone’s timeline in June 2026 - six months after it dropped, during a tournament it was never invited to.
That is not the song’s fault.

IG:@sophiannadozie

The 13th International Fashion Carrousel highlighted Pointe-Noire's growing influence in African fashion

From June 4–7, Pointe-Noire played host to designers, models, creatives and fashion enthusiasts from across the continent for the 13th edition of the Carrousel International de la Mode, a fashion event that has steadily grown into one of Central Africa's most significant creative gatherings. But beyond the runway shows and textile displays, this year's edition offered something bigger: a glimpse into how fashion is helping reshape Pointe-Noire's identity.

Held under the theme "African Textiles: From Heritage to Global Value," the event celebrated traditional African fabrics while exploring their potential in international markets. Organizers positioned the theme as an invitation for participating countries to showcase their textile heritage and introduce local craftsmanship to broader audiences.

For many cities around the world, fashion has become more than an industry. It is a form of cultural influence, capable of attracting tourism, investment and international attention. Paris, Milan, Lagos and Johannesburg have all leveraged fashion as part of their cultural identities. Increasingly, Pointe-Noire appears to be making a similar case for itself. Known primarily as the Republic of Congo's economic capital and a major port city, Pointe-Noire is gradually expanding its reputation beyond commerce. Through events like the International Fashion Carrousel, the city is positioning itself as an emerging destination for creativity, culture and design.

That shift was visible throughout this year's event. African fashion has spent years fighting to be recognized as more than a source of inspiration for global luxury brands. In Pointe-Noire, designers and organizers made it clear that the conversation is changing. The focus is no longer simply on preserving heritage–it is on transforming heritage into value.

Event founder, Pascaline Kabré Turmel, described the gathering as an opportunity for participants to discover and share the textile traditions of their respective countries while introducing those traditions to wider audiences. The ambition is not only cultural visibility but global relevance.

Several collections embodied that vision. Among the standouts was Maison EDI SESSI, whose latest collection,’Tweed Meets Kanvoh,’ reimagined the traditional woven cloth through contemporary tailoring and refined silhouettes, transforming a culturally significant textile into a statement of modern luxury. Beninese fashion house OK Fashion also turned heads with Jeunes Cadres, a collection by creative director Oslo Nassi that fused Kanvoh and industrial Bogolan to explore the relationship between heritage, ambition and contemporary African identity.

Fashion Night also welcomed Burkinabè designer Sébastien Bazemo, who unveiled his exclusive Tigré collection. Named after the Mooré word for "wedding," "celebration," or "gathering," the collection reflected the social and cultural significance of dress through expertly crafted silhouettes and rich textile storytelling. Together, the collections reinforced the event's central theme, demonstrating how African designers continue to reinterpret tradition for a global and increasingly contemporary audience. Throughout the event, the runway served as a showcase of how fashion can preserve tradition while creating new opportunities for local craftsmanship and creative industries.

Thirteen editions in, the Carrousel International de la Mode has become more than an annual fashion event. It has evolved into a platform that elevates emerging talent, encourages regional collaboration, and strengthens the city's place within Africa's growing creative economy. Pointe-Noire may not yet sit alongside Lagos or Johannesburg in conversations about African fashion, but events like the Carrousel suggest it is steadily building a reputation of its own. For a city long associated with commerce and industry, its place on Africa's fashion map is becoming increasingly difficult to ignore.

‍IG:@_stanleykilonzo 

Dancers twirled around a giant model of the World Cup trophy while fireworks lit up the historic Estadio Azteca on Thursday, June 11, as the 2026 FIFA World Cup officially opened in Mexico City ahead of the first match between co-hosts Mexico and South Africa. The ceremony, which began 90 minutes before kick-off, set the stage for what promises to be the biggest World Cup in history - 48 teams, 104 games, three host countries. At 16 minutes and 30 seconds, it was the longest of the three opening ceremonies planned across the tournament’s three host nations. 

‍Salma Hayek, as the World Cup Ambassador, kicked things off with a welcome address after the flag parade, declaring in Spanish: “In this stadium, along with Canada and the United States we welcome the 48 flags. Us Mexicans are very honored to be here where the World Cup begins.” 

The ceremony moved into a celebration of Mexican culture and indigenous heritage, with Aztec imagery taking centre stage around the giant golden trophy. Lila Downs welcomed the world in Spanish and English, declaring simply: “People of the world, welcome to Mexico.” 

Legendary Mexican rock band Maná were the first group to perform. Danny Ocean followed, accompanied by colourfully-dressed dancers from the Ballet Folklórico de México, performing his official FIFA World Cup track ‘Partidazo’. Los Ángeles Azules and Belinda also took the stage in a show witnessed by more than 87,000 people inside the venue and millions around the world. Colombian star J Balvin teamed up with Ryan Castro to perform a medley of their hits - kicking off with “Que Calor” before moving into their 2026 duet “Una A La Vez” and closing with “I Like It”.

Two national anthems followed. Alejandro Fernández performed the Mexican national anthem to 87,000 voices singing along inside the stadium. South African singer Tyla then delivered a rendition of the Bafana Bafana anthem - met with applause from the crowd, who showed respect toward the rival team of the host nation. For Tyla, performing the South African national anthem on the world’s biggest stage - in a tournament South Africa last appeared in when they hosted it in 2010, was a moment that extended well beyond football.

Then came the headliner. Shakira arrived to seismic noise inside the stadium, performing alongside Burna Boy and debuting “Dai Dai”- the official song of the 2026 World Cup - live for the first time. The song closed out the ceremony with both artists surrounded by dancers in front of the enormous golden trophy. As the song ended, the two came together and sang: “Dale, allez, let’s go!” Her third World Cup anthem. Her third tournament on this stage.

Mexico won the opening match 2-0 against South Africa. Julián Quiñones opened the scoring for Mexico and the tournament as a whole in the ninth minute, pouncing on a South African turnover and sending a low strike between goalkeeper Ronwen Williams’ legs. Raúl Jiménez added the second in the 67th minute.The game produced three red cards - two for South Africa and one for Mexico - making it the first time in FIFA World Cup history that two players were sent off in the opening game. The tournament runs until July 19.

IG: @sophiannadozie