We truly thought that South East London Zimbabwean-born rapper Leostaytrill couldn’t be any more talented, but he proved us all wrong. At such a young age, Leo embodies determination, persistence and a growing music catalogue that has placed Zimbabwe’s emerging talents on the map. In 2023, he made a lasting first impression with ‘2 Man’ and ‘Honeybun,’ playing around catchy punchlines and a charismatic demeanor that won the internet over just by one listen. From there, Leo’s chances to stardom only faced upwards. However, it is his recent take on melodic tunes that has us really intrigued.
This new direction caught us by surprise when Leo started teasing ‘Peace’ over social media in October. His singing voice sounded smooth, strong, with promising vocals Leo had yet to explore. This phenomena really solidified when ‘Jah Knows’ released last December. In the official music video, one specific scene, you can catch a young Leo proudly rocking the Zimbabwean flag over his neck. Just with a few details, the message was clear; Leostaytrill is not only making music for himself but also, for his Zimbabwean people.
If there’s one thing about Leo is that his country is fully behind him and supports every step he takes towards becoming the next superstar. Similarly to Pa Salieu and his predominantly Gambian audience. Leo’s approach to the inclusion of his heritage is present, but not all up your face. At times, when members of the diaspora tried to implement aspects of their heritage, it often gets labeled as tacky or inauthentic. However, Leostaytrill isn’t hiding that he is a boy of the South London’s trenches. Instead, he welcomes it through rap lyrics, while letting his singing shine a softer light, that can be interpreted as the little Zimbabwean boy in him that never left.
In the song ‘Blessing’ is where we saw no returning, but it did not come without setbacks. Like all artists are destined to face, Leo was met with multiple questions by his supporters surrounding whether he was turning a new leaf and leaving the rap game behind. Of course, Leo made sure to clarify; singing was only an extension to his artistry, and not a career move. You see, it is very common for artists to want to try new elements and for those core listeners who have only seen one side of their favourites thus far to slowly grow attached. As a result, any change can be received negatively. At times, fans may say that their acts became too Hollywood or commercial, that they forgot where they came from. The question is will Leo fall into this trap or manage to balance those two sides of him, knowing change is inevitable.
Up-and-coming singer-rapper Leostaytrill is not just a talent to watch, but also one to make notes of. When one browses through his social media, we know that Leo understands how to market himself online and he showcases his roots through a lens that many music listeners know so little of. It is his badge of honour rather than something that is supposed to limit him sonically. Ever since Drake popularized being a rapper as much as a singer, only a few artists managed to follow his footstep and keep this overall balance tasteful. Leo can certainly be the next man in the UK to follow suit. That’s to say, it may be the biggest risk he has yet taken in his career, but from the looks of it, Leo has the golden touch meant for greatness.

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It’s December in Lagos; a season filled with back-to-back events, launches, pop-ups, and celebrations. But among the noise, ARANINI FEST stood out. Rooted in wellness and created intentionally for women, the gathering offered something deeper than just another end-of-year event.
Following the festival, Deeds Magazine sat down virtually with founder Dr. Joyce Omatseye to explore the vision behind Aranini Health, the importance of building intentional safe spaces for women, and how what began as a one-time event has evolved into a growing global community.
Aranini, which means “good health” in Itsekiri, is more than a name. It reflects founder Joyce Omatseye’s cultural background and the philosophy behind the brand. The Itsekiri people are an ethnic group from Delta State, Nigeria, and for Joyce, wellness has always been deeply personal.
Aranini Health is a wellness organisation focused on creating intentional platforms, experiences, and safe spaces for women. What began as a one-time event has since grown into a global community, with experiences hosted across multiple countries, including London, Kenya, and Lagos.

Reflecting on Aranini’s journey, Joyce says:
“Aranini Health started as a one-time event, but my mum encouraged me to dream bigger, and that’s how Aranini became what it is today.”

Today the brand continues to grow which is shaped by her background as a medical doctor and commitment to women’s health education. At the core of every Aranini experience is what she calls the “Aranini girl”, the woman for whom every detail is carefully considered.

“When we plan these events, the woman attending is always at the forefront,”  She explains. “Everything is curated around her health and wellbeing.”‍

For Dr Joyce, 2025 was an incredible year both personally and professionally
‍“2025 was such a special year for me. Aranini Health grew in ways I couldn’t have imagined, and personally, getting engaged was a huge milestone,” she shares.
What started as a single event has grown into a thriving, multi-country community. Today, Aranini Health has hosted events across four countries, with Lagos serving as a major hub for its in-person activations. One of its most impactful gatherings so far is Aranini Fest, a full-day wellness experience designed to meet women where they are, physically, mentally, and emotionally. The event brings together fitness, health education, entrepreneurship, and community in one space.

Which exceeded Dr Joyce expectations. While the initial goal was to host about 100–120 women, over 160 attended, with many coming in and out throughout the day.

“We sold tickets, but more people showed up ,friends, family, women who were just curious,” Joyce shares. “For the first panel especially, we didn’t expect that many people to be so interested.”

Aranini Fest featured wellness panels, fitness sessions including Pilates and dance, free health checks sponsored by Provita Clinic and Tiffany Amber, and brand gifts from Arami Essentials for skincare, SLIQ Beauty for haircare, Basics for fitness wear and brands like Beautyhut. Beyond the activities, the event created a space where women could connect, learn, and feel seen.

Dr Joyce is intentional about showing the reality behind these events, often sharing behind-the-scenes moments on her personal platform.
“People see how beautiful everything looks when it comes together, but they don’t see what happens before, during, and even after,” she says.
From last-minute changes to technical setbacks , including lost footage from a videographer , resilience became a key lesson.
“I’ve learned that resilience is very important. Things don’t always go as planned, but they still work out the way they’re meant to.”
To start 2026, Aranini hosted the 2026 Reset event in Lagos, hosting 30 women for a day of reflection, and connection. The event focused on resetting and left a lasting impression on everyone who attended.
“The women who attended gave incredible feedback. It was amazing to see how much they appreciated the space, the conversations, and everything we’d planned for them,” Dr Joyce says.
The 2026 Reset reinforced Dr Joyce’s vision for Aranini: creating intentional spaces where women feel seen, cared for, and inspired to live their healthiest lives.

One of the interesting things Dr Joyce says about this journey is how it’s helped her discover different parts of herself.“I’ve always loved planning events. My first women’s health event was actually in Year 10. In secondary school, I did a breast cancer awareness event for my school. Event planning has been something I’ve naturally done over the years, and to be able to incorporate that with my medical journey, it’s been incredible.”
‍Questions about the future including the possibility of an Aranini clinic or hospital come up often. While that vision exists, Dr Joyce is clear that it will come in time.“That’s something that will eventually come,” she says. “Right now, we’re focused on understanding what women actually need and how we can best provide that.”
As Aranini Health continues to grow, its focus is shifting towards accessibility and sustainability. While physical events remain important, Joyce is placing strong emphasis on expanding Aranini’s virtual offerings to reach women who may not be able to attend in person.“We want to reach more people,” she explains. “There are women who want to be part of the community and gain value from it, even if they can’t attend physical events.”With plans for more virtual events, continued community building, and long-term healthcare solutions, Aranini Health is steadily positioning itself as more than an organisation ,but a movement.
At its core, Aranini Health is focused on improving women’s health and creating spaces where women can learn and connect. In Nigeria, many women still face limited access to health information and are discouraged from talking openly about their health. Programs like Aranini help fill that gap.What makes Aranini stand out is how it has grown, from a single event to a community with members in multiple countries. That growth shows it is more than just an event; it is part of a wider move towardbetter wellness for women.
To keep up with Aranini Health, follow @aranini.health on Instagram or join the Aranini community for updates on future events and programs.

PRESS RELEASE

Johannesburg, South Africa – Collective Club successfully launched its debut in-person event, Creatives Meet, bringing together over 100 creatives from across Johannesburg for an evening of relaxed networking, shared ideas, and meaningful connections.

Held in an intimate and welcoming setting of Pulse 99 Coffee, the event created a space where photographers, DJs, designers, writers, visual artists, and cultural practitioners could engage without pressure or competition. The focus was simple: build real relationships, encourage collaboration, and strengthen the creative community.
The evening featured music by talented DJs Kayo and Mensah, setting the tone for an atmosphere that was both vibrant and comfortable. Attendees connected organically through conversation, creative activities, and informal networking, resulting in new collaborations and partnerships.

Creatives Meet marked the official launch of Collective Club, a free creative community designed to address isolation within the industry by creating intentional spaces, both online and offline, for creatives to connect and grow together.
“This event showed us how much creatives are looking for genuine connection,” said founder Kelly Maredi. “We wanted to create a space where people could meet without pressure, share ideas freely, and feel supported. The response has been incredible.”
Following the success of the launch, Creatives Meet will continue as a monthly gathering, with the next edition taking place next month. Collective Club aims to expand its reach while maintaining the intimate and community-driven nature that defines its events.

Creatives interested in attending future gatherings and becoming part of the community are encouraged to sign up at:

https://tally.so/r/3xO5Jk‍

Updates, event announcements, and community features can also be found on Collective Club’s social media platforms.
IG: @collectiveclub.za 

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Far from frivolous spectacle, modern African beauty pageants have functioned as parallel modelling institutions — particularly in countries where editorial and fashion infrastructures remain limited. In many contexts, pageantry became the only formalized system through which models could access visibility, training, and international representation. This reliance, however, is both enabling and constraining. Pageantry has opened doors, producing globally visible figures and offering structured pathways where none previously existed. At the same time, its dominance has concentrated opportunity within a single annual figure, limiting the breadth and continuity required for a sustainable modelling ecosystem. Where there were no agencies, no fashion weeks, and no sustained investment in modelling as an industry, there was a crown, and with it, a yearly delegate to the global stage.‍

The Early Architecture of Representation 

Beauty pageants within the continent began taking shape in the mid-1950s. In 1956, Norma Vorster was crowned in the first official Miss South Africa competition, created to send a national representative to the global Miss World stage. A year later, Nigeria launched its own pageant. Organized by the Daily Times newspaper in 1957, Miss Nigeria crowned Grace Atinuke Oyelude as its inaugural titleholder. Oyelude was a trained nurse and midwife who later became a hospital administrator, and entered the competition through a photograph submission — then standard practice. Her win marked the beginning of a national ritual of beauty as cultural display.

By 1958, South Africa’s Penny Coelen became the first representative from Africa to win a major international crown when she secured the Miss World title. Nigeria would later enter the Miss World competition in 1963, expanding its participation to global performance.

Though initially modeled on Western templates, these competitions rapidly absorbed local aesthetics, politics and cultural aspirations. They became hybrid spaces — part colonial inheritance, part national re-invention. In many ways, early pageantry functioned as gendered diplomacy: a soft, aesthetic mechanism through which nations negotiated visibility, modernity and belonging. What appears, at first glance, as simple spectacle was also infrastructure and one of the earliest organized systems through which African countries curated and exported an image of themselves to the world.‍

When the Crown Becomes the Only Runway

Looking back now, it feels curious how these pageants, initially imported, became improvisational spaces, and the default modelling institutions of their nations.

For decades, modelling infrastructure and documentation across much of the continent had remained thin, with no consistent casting agencies, few international placements, and limited editorial ecosystems. And so, pageantry stepped into that vacuum.

When Nigeria’s Agbani Darego won Miss World in 2001, becoming the first indigenous African woman to win Miss World, the moment felt seismic. Her victory changed global perceptions of African beauty and created tangible modelling opportunities beyond the pageant sphere. 

Similarly, Ethiopian model Melkam Endale, who won Miss Ethiopia in 2010 and later Miss World Ethiopia in 2012, has spoken about how pageantry opened doors to international modelling opportunities. While not all contestants become career models, the system has, in these instances, served as a launchpad where few alternatives exist.

But what does it mean when the only structured pipeline to fashion begins with a beauty pageant?

Nigeria, South Africa, Kenya, for instance, have developed increasingly visible modelling infrastructures, with established agencies like Beth Model Africa, Few Models, Boss Models South Africa, alongside fashion platforms including Lagos Fashion Week, South African Fashion Week, and Nairobi Fashion Week that facilitate editorial exposure and sustained visibility beyond competition stages. Within these contexts, pageantry no longer functions as the sole gateway but exists as a parallel form of exposure.

By contrast, where agency representation remains sparse and editorial economies fragile, including parts of Uganda, Tanzania, Zambia, and smaller West and Central African markets, pageantry continues to function as a primary infrastructure for visibility. The result is a continental unevenness where pageantry exists simultaneously as supplement and substitute, and shapes how models enter global circuits depending less on talent than on national industry capacity. Without robust fashion ecosystems, pageantry remains the primary mechanism for producing African models from these regions. This centralization narrows the scope of modelling to a singular, annual spectacle instead of a diversified and multifaceted creative industry.

So where pageantry retains centrality, the implications are significant. African beauty queens now carry diplomatic weight by default. Participation in competitions such as Miss Universe and Miss World has become a strategic exercise in soft power. Titleholders promote tourism, cultural heritage, sustainable development, and national identity abroad. International victories are interpreted as validation — aesthetic, political, and cultural.

The economic structure of global pageantry reinforces this diplomatic dimension. At the international level, franchises like Miss Universe monetize intellectual property through licensing, broadcast rights, sponsorships, and branding extensions. National committees, meanwhile, operate through fragile balances of government funding and private partnerships. Participation in Miss Universe for instance, requires national directors to absorb franchise fees, production expenses, wardrobe, and international travel, costs typically stabilized through corporate sponsorship or informal state support. Where these financial networks are inconsistent, contestants may arrive with fewer resources for styling, media coaching, and sustained visibility, shaping which presentations of beauty appear globally polished and competitive. This funding structure can expose competitions to politicization and public scrutiny.

Also, some national organizations have responded by reframing their missions explicitly around social impact. Increasingly, titleholders champion anti-gender-based violence campaigns, girls’ education initiatives, and female entrepreneurship. The modern Miss is expected to embody both beauty and civic responsibility.

For all its visibility, pageantry has never been free of tension. It can reinforce rigid standards and the very system aimed to elevate can also narrow. Critics have argued that the format risks objectification, particularly when economic safeguards for contestants are weak. The 2024 controversy surrounding Chidimma Adetshina exposed another fault line. After facing xenophobic backlash and online harassment questioning her eligibility and heritage, Adetshina withdrew from Miss South Africa. The incident revealed how quickly celebration can turn into scrutiny and how national pride can morph into policing.

Even amid critique, pageants persist, not necessarily out of cultural attachment, but because in some countries they remain the only consistent modelling apparatus. Where there are no robust editorial circuits, no established casting agencies, and little institutional investment in diversified fashion sectors, pageantry fills the vacuum. One queen a year. One global attempt. One moment of amplified visibility.

African pageantry exists in paradox. It has constrained beauty within rigid frameworks while simultaneously providing rare visibility and mobility. It is easy to dismiss as spectacle, but in many countries it still operates as infrastructure and the only consistent system producing international faces. The crown validated Black beauty on a global stage — but only when that beauty aligned with digestible proportions, controlled poise, and a kind of translatable elegance. So even when pageants claimed to foreground culture, they often translated it into something externally palatable. Local identity passed through a filter already set elsewhere.

When pageantry becomes the dominant or only modelling pipeline, it narrows the imagination of what modelling can be. It concentrates resources around a single annual figure instead of building ecosystems that allow for true multiplicity. If modelling industries across African countries remain unevenly developed, the crown will continue to carry too much weight. It will continue to be both gateway and gatekeeper. 

The real work, then, is not in abolishing the crown. It is in decentralizing it. Decentralization looks like sustained investment in local agencies, independent runway platforms, union and labour protections, editorial commissions, and fashion infrastructures that allow models to exist beyond the pageant cycle. It looks like careers built through continuity.

One crown cannot substitute for an entire ecosystem. Editorial, runway, and independent modelling industries must exist as parallel structures. Until these parallel structures are meaningfully supported, the crown will continue to stand in for an ecosystem it was never designed to replace, a singular symbol asked to carry the weight of an entire industry.

In the heart of Los Angeles, where underground heritage meets the precision of modern luxury, Earthling has officially claimed its permanent position in the fashion landscape.
Founded by the visionary designer and artist Mama Earthling, the brand recently celebrated the grand opening of its Melrose Avenue flagship during NBA All-Star Weekend.

This isn't just a seasonal pop-up; it is the establishment of a brand built for longevity, carving out a space that will define the culture for years to come.
While the garments are undeniable, the true connection people find with Earthling begins with the individuals behind it. Having had the pleasure of visiting their studio in LA some years ago, I witnessed firsthand the intentionality that defines the brand. The founders are exceptional individuals whose energy is truly contagious. You can tell immediately that they care deeply about every stitch, every texture, and every person who walks through their doors. That level of heart is rare in fashion, and it’s exactly why the brand feels so magnetic.

My professional journey with the Earthling universe reached a peak behind the lens. In 2024, I had the opportunity to style the Michael Rainey Jr. cover for Pause Magazine, where I saw the brand’s definitive ability to disrupt the high-fashion landscape. The look was a high-water mark for textile innovation, featuring an elevated take on denim that utilized intricate lace overlays on pants paired with a matching quilted vest. Seeing those pieces move and interact confirmed what I already felt: Earthling can take rugged, traditional materials and transform them into something delicate, complex, and entirely new.
There is a specific reason Earthling is so heavily supported by musicians, artists, and elite talent. It stems from the founders' background in breakdancing history that infuses the brand with an introspective energy and a deep connection to movable fashion. When you wear Earthling, it doesn't just sit on the body; it flows. The infusion of fashion, music, and motion makes every outfit feel like a visual symphony. This focus on "clothing in flight" is why it resonates so deeply with those who live their lives on stages and courts; it is luxury that understands the rhythm of the human body. Individuality Over "Costume"

Within the brand’s DNA is a belief that clothing should never feel like a costume; it should be a seamless extension of the wearer’s individuality. Energy acts as the ultimate stylist, as a single piece is never set in stone the look changes entirely based on the person’s energy and how they choose to carry the silhouette. Because of the one-of-one nature of their work, putting the same look on two different people yields two completely different results. It is a movement centered on personal expression rather than just following trends.
Earthling separates itself from standard streetwear by leaning into the meticulous world of archival construction. This niche audience understands that the elevated price point reflects a commitment to quality that mass-production cannot replicate. Many pieces are one-of-one reconstructions, utilizing authentic vintage textiles that are reimagined and rebuilt into modern silhouettes. By prioritizing 100% vintage cotton over modern fast-fashion alternatives, the brand offers a weight and durability that defines true luxury. These timeless textures ensure the pieces feel both historic and futuristic.

The Melrose opening served as a meeting of the minds for the world’s most influential tastemakers, solidifying Earthling's status as a celebrity-fueled destination. The event drew music icons like 2 Chainz, Fabolous, Snoh Aalegra, and Hit-Boy, alongside elite athletes suchas Kevin Durant, Juju Watkins, Gilbert Arenas, and Matt Barnes. Visionary designers Salehe Bembury and Don C were also in attendance to celebrate the brand's milestone.

Earthling isn't just selling clothes; they are selling a curated legacy built on great energy and unmatched quality. By prioritizing the structural integrity of vintage materials and the artistry of reconstruction, Mama Earthling has created a brand that is luxury with a pulse. Whenever I find myself back in Los Angeles, stopping by the Melrose flagship is an absolute must it is a space that truly needs to be experienced in person to appreciate the depth of the craft.
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Photos: SAGESIX

At AW26, Orange Culture, Buzigahill and Kenneth Ize brought conversations around ownership, lineage and joy to the forefront of the runway

Berlin Fashion Week AW26 unfolded as a study in contrast. On one side, the expected pillars of German and European fashion. On the other, an expanding international presence that continues to reshape the city’s rhythm. Beyond expanding representation, this season showed a definitive shift in influence, with African designers helping redefine the cultural direction and emotional tone of Berlin’s runway.

This season’s calendar brought together labels such as GmbH, Richert Beil, William Fan and Marc Cain alongside a new generation of designers navigating craft, politics and identity through contemporary silhouettes. With the presentations, Berlin continues to position itself as a platform for independent voices, sustainability-led practices and cross-cultural exchange, though the durability of that positioning remains an open question.

Within that framework, three Black-founded brands carried particular clarity of vision. Orange Culture by Adebayo Oke-Lawal, Buzigahill by Bobby Kolade and Kenneth Ize were selected as part of the Berlin Contemporary AW26 cohort, a prize initiative supporting emerging and independent labels through production funding and institutional visibility.

At BFW AW26, their presentations did not offer a singular narrative. Instead, they revealed different tensions shaping contemporary African fashion. Orange Culture refined a deeply emotional design language rooted in gender fluidity and memory. Buzigahill sustained its critique of secondhand clothing economies through reconstruction and material interrogation. Kenneth Ize continued his dialogue between heritage textile and contemporary tailoring, emphasizing refinement while raising questions of progression.

Together, their presentations were refreshing and it showed Berlin’s gradual shift toward a more globally attentive fashion week, where conversations around memory, ownership, sustainability and cultural lineage occupy central space on the runway and influence its direction as much as its diversity.

Kenneth Ize 

For Autumn/Winter 2026, Nigerian designer Kenneth Ize titled his collection JOY. The word feels simple at first. On the runway, it unfolds as something layered with togetherness, vulnerability, celebration and softness. With collaborators including stylist KK Obi, Ize's presentation felt communal, almost like being invited into an emotional interior of the brand.

As expected, the tailoring was lean and elegant, then subtly undone. Some pieces studied contrast, presenting one mood at the front and another at the back. The tension between restraint and release was most visible in the trench coats and sculptural hats that framed the collection. Traditional aso oke moved through the garments, allowing heritage textiles to meet materials associated with everyday wear, creating silhouettes that felt grounded and recognizably Ize. Where the collection felt strongest was in its sincerity. There was no pressure to over-perform the concept. There was also something childlike in the presentation. Playful makeup. Lightness in the pacing. The collection approached joy as an intrinsic emotion - raw, communal, and expressed through craft and form.

Buzigahill

At Berlin Fashion Week, Kampala-based label Buzigahill, by Bobby Kolade, unveiled its twelfth edition of “RETURN TO SENDER,” an ongoing project confronting the afterlife of clothing. Both the brand and the collection respond directly to the influx of secondhand garments that enter Uganda, reshaping local industry and consumption in negative ways.

For their 12th edition, the label shifted toward memory. Kolade looked to photographs from the 1960s and 1970s in East Africa, especially images of his grandparents and their peers. Their posture. Their tailoring. For many East African millennials, those photographs are especially nostalgic, a longing for a moment that feels grounded and self-possessed. The collection reads as reclamation, asking who owns style, history and narrative, and how those threads can be rewoven into contemporary fashion.

The opening look set the tone of the collection. A distressed leather biker jacket, treated over 28 hours with sandpaper, red soil, paint and varnish paired with a reversed suit jacket, deconstructed and reassembled with raw seams exposed on the exterior, and “boda boda” chinos which replaced traditional waistbands with one made from track offcuts.

Conceptually, Buzigahill was one of the most urgent voices on the Berlin schedule. The critique is clear and embodied. Where the presentation struggled was in collective cohesion. The garments read as self-contained experiments instead of components of a larger visual narrative. Although, fringing and surface manipulation appeared throughout, it functioned more as recurring techniques. Nonetheless, the clothes felt innovative and sharply contemporary, and with their BFW showing, Buzigahill continues to operate as a demand, a critique and a design method, stitched directly into their seams.

Orange Culture

“Backyards of Memory is a return not just to a place, but to a feeling,” Oke-Lawal writes. 

For Autumn/Winter 2026, the Lagos-based label unveiled Backyards of Memory, a collection shaped by remembrance. Self-taught designer and founder Adebayo Oke-Lawal returns for his second season at Berlin Fashion Week, still bold, still saturated in colour and still rooted in texture. The collection continues a conversation he began at Lagos Fashion Week in November, a tribute to his mother. Now at BFW AW26, memory becomes landscape and that sentiment translates directly into the clothes, with flowing fabrics, prints, and colour that feels fearless and unreserved. 

Colour remained the collection’s most immediate strength. Custom textile, developed in collaboration with artist Sisiano Paolo, ran through the collection. Saturation and print layering created visual warmth, while flowing cuts sustained Orange Culture’s rejection of rigid tailoring conventions. Handwoven techniques were also seen across the collection, and handcrafted, fringed-edge bags created with Lagos brand Kisara added texture and tactility, tying the looks together.

From the print accents to sequin skirts and macramé dresses, the collection was unmistakably Orange Culture, but the collection’s visual language occasionally settled into predictability for the brand. Backyards of Memory succeeded as atmosphere and storytelling, while leaving open the question of how Orange Culture might translate that emotional depth into sharper structural evolution.

Across the three presentations, what emerged was a set of tensions that felt reflective of contemporary African fashion itself. Kenneth Ize showed the strength and limits of refinement, Buzigahill exposed the difficulty of translating conceptual urgency into cohesive runway storytelling, and Orange Culture affirmed the emotional resonance of a design language now facing the pressure of evolution.

Berlin Fashion Week has created space for practice, where designers could be seen within growth, experimentation and unresolved ideas instead of symbolic representation. The shift feels tangible but unfinished, leaving Berlin’s future fashion week identity dependent on whether this visibility develops into sustained structural support and not just seasonal emphasis. Together, Kenneth Ize, Orange culture and Buzigahill’s presence shows a fashion week intent on building a platform where cultural specificity and global dialogue stand on equal footing. With that momentum, our eyes are already set on July and the SS27 presentations to come.

The first half of the Super Bowl game ground to a screeching halt and scores of workers appeared on the capacious pitch, working with dizzying speed to transform Levi's Stadium, Santa Clara to a set befitting Bad Bunny, this year’s Super Bowl Half Time Show headliner, and who by some metrics is the biggest musician in the world. Nervous excitement cascaded through the stadium and you could spot members of the crowd making light conversation and holding their smartphones up in anticipation of what would follow. The Seattle Seahawks’ defense had smothered the New England Patriots, leaving a staggering nine-point deficit but the question thrumming within everyone’s mind was: Would Bad Bunny, whose selection as this year’s halftime headliner had polarized America, offer a splashy critique of America and the Trump administration’s hawkish stance on immigration, which has disproportionately affected Latin Americans?

It was Bad Bunny’s first performance in the US in over a year. Last year, he skipped America during his world tour, citing concerns that ICE may target some of his fans. Instead, he ran a residency in his native Puerto Rico for three months, attracting a flush of tourist revenue to the Caribbean island and once again eschewing US centrism at a time when Trump has made no small show of asserting US hegemony over the Western Hemisphere, particularly in the Americas. Bad Bunny sings almost entirely in Spanish and its derivative dialects and has been openly critical of ICE. As such, many on the American right bitterly resisted his appointment to headline the Super Bowl, viewed as one of the few holdouts of a monoculture in a period when America, and much of the world, is riven by partisan politics and the atomization of culture precipitated by social media. Trump claimed to have never heard of him. “I don't know who he is, I don't know why they're doing it. It's crazy. I think it's absolutely ridiculous.” The manosphere influencer Jake Paul called him “a fake American citizen,” and Turning Point USA, founded by the late Conservative activist Charlie Kirk, organized an alternative Super Bowl halftime show in protest. 

During Bad Bunny's Album of the Year acceptance speech at the Grammys, roughly two weeks ago, he trotted out an affecting message of love. “The only thing that's more powerful than hate is love,” he said. Albeit not without a dash of political commentary: “Before I say thanks to God, I’m going to say ICE out.” His 13-minute Super Bowl performance however circumvented explicit criticism of the US, he focused on delivering what can only be described as a celebration of Latino heritage packed with subtle political allusions and symbolism. Wearing a boxy white shirt and matching white pants, he emerged from a sugarcane farm—dappled with exultant farm workers wearing pavas, the classic straw hat worn by Puerto Rican farmers—performing his hit song Titi Me Pregundo. This scene recalled the thorny history of the Caribbean Islands and sugarcane plantations. Starting in the 17th century, colonial powers forced indigenous people, slaves, and indentured laborers to toil on these plantations which supplied up to 90 percent of the sugar consumed in Europe and America. 
Later in the show, Bad Bunny and the jibaros (farmers) from earlier climbed electric poles hoisting exploding power lines, gesturing at Puerto Rico’s ongoing electricity crisis. All these unfolded against the performance of El Apagón, a protest song speaking to the island’s infrastructural failures in the aftermath of Hurricane Maria, as well as the island’s history of government corruption and the roving wave of gentrification rapidly reshaping socio-political dynamics in Puerto Rico. The peak political moment of the performance arrived shortly. With the imperious grooves of El Apagón still rocking the stadium, Bad Bunny held up a red, white, and light blue flag: the flag associated with the Puerto Rican independence movement. Until 1952, displaying this flag publicly in Puerto Rico, still a US colony, was considered a criminal offense. 

Following this rare moment of explicit political symbology, the show once again dialed back to its measured register as it approached a close. Bad Bunny brought what had been one of the most memorable Super Bowl performances to a resounding close with Café Con Ron, during which he delivered a subtly radical statement: “God bless America.” Initially reading as a platitude or thinly veiled attempt to compensate for having waved the Puerto Rican independence flag, he proceeded to elaborate on his definition of America by listing every Latin American country, roughly from south to north, starting from Mexico, and ending with Canada, the USA, and Puerto Rico. 

Since the performance, some journalists and commentators seem to have heaved sighs of relief at the show’s putative dearth of political statements such as People Magazine’s Daniela Avila and Meredith Kile who described the show as a “fun-filled dance party.” But anyone who truly watched the show with discernment knows how simplistic this assessment is. We need only to look at the show’s concluding moments to see without varnish Bad Bunny’s subtle message of resistance. His final act was holding up to the camera a ball inscribed with the message “Together we are America.” As he sauntered off the stage, the giant screen behind him reprised a portion of his Grammys speech: “The only thing stronger than hate is love.” In an era when strongman figures are increasingly dispensing with basic human rights, treating the rule of law and the constitution as suggestions as opposed to binding rules, and spreading a message of division and hate, perhaps the most radical statement one can make is calling for unity and love. 

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New York Fashion Week has always been defined by the "who’s who" of fashion, culture, and influence, but this season, the pulse of the city felt distinctly different. New York is one of those places where, if you know, you know. There was a palpable air of nostalgia drifting through the concrete canyons this February, but it wasn't a simple longing for the past; it was a deliberate reclamation of identity. In a "microwave society" where trends flash and fade in an instant, the brands that stood out were those prioritizing longevity over virality. These houses are leaning into their original fan bases, cultivating their stories on their own terms, and proving that clarity of voice is the only true currency for long-term relevance.

The week began with an intellectual punch as Catherine Holstein unveiled her Khaite collection at the Park Avenue Armory. Under a monumental 60-foot LED installation, the show offered a masterclass in "Nocturnal Tailoring". Elongated tuxedos, leather gloves, and sharp, soulful silhouettes evoked a 70s power dressing vibe that felt both cinematic and quintessentially New Yorker. It set a high bar for the days to follow, where the industry’s established giants Michael Kors, Coach, and Calvin Klein provided the structural backbone of the week, maintaining the city's reputation for polished, global luxury.

However, the season's true emotional gravity came from the return of Public School. After a seven-year hiatus, the brand re-emerged on February 11th with a collection titled "Everything Is Now". While they have always shared a certain DNA with heritage houses like Calvin Klein in their mastery of denim, layering, and construction, this reintroduction felt edgier and more vital. By blending "downtown grit" with a new, mature tailoring style think indigo leather anoraks and subversive office wear Public School reminded us how to tell a New York story that feels both high-end and upliftingly street-level.

AWGE by A$AP Rocky staged a downtown "homecoming" on February 13th that felt effortlessly fly and unapologetically Harlem. As a Harlem native myself, I recognized that specific energy: it’s the confidence to take risks others simply couldn’t pull off. The presentation "broke the fourth wall" by integrating the typically hidden backstage process directly into the show. But the true standout was Rocky’s personal evolution. He didn’t just make "cool" clothing; he made fatherhood aspirational, blending New York grit with high- function "dadhood". It felt intentional a designer balancing strength with a vulnerable swagger that screams "I’m that dude" or "I’m that girl" without having to say a single word. The clothing says it all for you.
On February 14th, Trapstar delivered a cultural masterclass with the revival of their premium "Redline" range. Known for an incredible fusion of streetwear and luxury, the collection paired high-quality hoodies with leather tailored jackets that felt like a uniform for those moving with purpose. The casting was equally intentional; every model possessed a distinct identity while sharing an underlying energy of pure "swag." Adding to the motion, Trapstar used the runway to physically premiere unseen sneaker colorways that fans had been demanding. This move signaled a massive shift for the culture, transitioning from viral hype to a tangible, high-craft physical presence.

Perhaps no show felt more like a global embrace than Kim Shui, who celebrated a decade of defiance aboard the Eternity Yacht on February 15th. Staged against a shifting skyline, the collection was a meditation on Qi the animating current of transformation. The runway featured a cast that was strikingly diverse in both ethnicity and size, serving as a vibrant homage to the world at large. This wasn't diversity for the sake of a trend; it was a dedicated mission to make Intentional, high-fashion clothing for everyone.

Even away from the runways, the intentionality continued. Colm Dillane of KidSuper opted for an unexpected, private book launch at Rizzoli Bookstore on February 16th. Discussing his visual autobiography, The Misadventures of KidSuper, Dillane stayed true to his brand’s roots of storytelling and wearable art. It was an intimate "if you know, you know" moment, reinforcing his journey from an NYU dorm to a global creative force.The weekend reached its social peak through events that felt like genuine cultural gatherings.

Flaunt & Sandro took over The Ned NoMad on February 15th for a collection launch that felt effortlessly curated with a DJ set by FCUKERS. Simultaneously, the NYFW After Dark event hosted by Deeds Magazine on Mulberry St. reflected the Deeds ethos, telling our story on our own terms, with content and experiences that are extremely intentional.
As the week wound down, the message was clear. In an era of fleeting interest, the brands that win are the ones that refuse to chase the crowd. By focusing on the niche, the innovative, and the deeply personal, these designers are building something that lasts. They remind us that when you are clear on who your voice is, you don’t just have a customer base you have a legacy

In celebration of Black History Month, the Deeds Writing Program of 2025 came together to present the top 100 Afrobeats songs of all time; however, there’s a catch. Each selection also reflects a deep personal attachment to the song—whether through a formed memory, a defining moment in time, or the start of a new movement.

For years, Afrobeats has opened doors for Africans like never before. Along those creative communities include Deeds Magazine that fronts as a power hold for the genre and so many more sub-cultures across the African continent. We can confidently attribute the sound as a vessel for emerging careers and talents to take shape and it was only, therefore, right to give this movement its flowers.

‍ 1. Top of the Morning by Black Sheriff

“This track is one hell of a piece. It held me down months ago, and Black absolutely delivered. The message cuts deep: if you don’t get your sh*t together, you stay stuck, because no one is coming to save you. People claim they understand your struggle, but it’s usually just talk. He’s been on gas since his 2021 breakthrough, truly Ghana’s finest gem." - Shankara

2. Again by Wande coal

“This song is the perfect love song from our OG Wande Coal. Anytime it plays, it brings out the lover girl or boy in anyone. You might not be in love and might not even know what love feels like, but this song will make you feel it anyway.” - Ruqayyah

3. Stay by Rocky Maye

“The lyrics describe a relationship where the protagonist is trying to convince a love interest of his sincerity. He admits to being captivated by her ("You dey make I wonder") and promises commitment, mentioning wanting to take her on a "baecation" and give her the attention she deserves. The perfect “Lover boy” Anthem!” - Shankara ‍

4. Escaladizy by Mavo and wave$tar

‍ “Escaladizzy isn’t about deep lyrics or making logical sense and it doesn’t need to be. It is strictly a vibe. This is the track you play to snap out of a heavy mood and get right back into the groove. It’s a sonic palate cleanser; a total head-bopper designed to turn off your brain and turn up the energy. Sometimes, you don’t need a message, you just need a beat. - Shankara‍

5. Dorobucci by Mavins ‍

“Possibly one of the greatest Afrobeats songs of all time. It’s the perfect song to get ready to or to transport you back to the simplicity of 2014 and everyone has an opinion on whose verse goes the hardest (personally I will always fight for Tiwa Savage).” - Mayowa

6. Leg Over by Mr Eazi and Major Lazer

“You know that song that suddenly pops out and becomes a hit? Leg Over was that song. Leg Over by Mr Eazi and Major Lazer dropped late 2016 and completely dominated the industry in 2017. It was one of those 2017 OG songs. 2017 had a lot of songs we’ll be seeing below.” - Ruqayyah‍

7. Mad over you by Runtown‍

“Afrobeats songs of all time and Mad Over You isn’t there? That would be a crime , punishable by Afrobeats fans. Mad Over You was also one of the 2017 hits, played everywhere. Mad over you, everywhere you go  “Ghana girl say she wan marry me ooo.” That song will forever be iconic.”- Ruqayyah‍

8. Did You See by J Hus‍

“Ask anyone who was outside in 2017 and they will tell you that ‘Did You See’ was truly everywhere. This was, and still is, a song which defines summer. This is the song you hear coming out of cars driving past, the song coming out of the beaten up speaker at the 5-a-side pitch, the song gassing up crowds in nightclubs. Whatever J Hus laced into this tune still injects energy into everyone who hears it.” - Adam Brocklesby‍

9. City Boys by Burna Boy

‍“When Burna Boy popped out with DJ AG at King’s Cross, I happened to be cycling home from work and joined the masses to watch the Nigerian megastar at one of his smallest concerts ever. He finished the set with City Boys, fitting for a show on the streets of the British capital. The crowd were so excited you could barely hear his voice nor barely move to dance, but the vibes were so high in the July heat that commuters and fans alike were celebrating to this recent Afrobeats classic”  - Adam Brocklesby‍

10. Energy (Stay Far Away) by Skepta and Wizkid ‍

“There is a particular part of the chorus to this song, Wizkid’s eponymous line “Bad energy stays far away, make it stay far away” which I can hear shouted by crowds of people. It's a collective prayer in the form of Afrobeats and when that DJ inevitably cuts the track just for that line, it never fails to turn a room of strangers into a choir.” - Adam Brocklesby‍

11. Essence by Tems & Wizkid

“This might as well be crowned one of the best collaborations Afrobeats has produced. The sync between Tems & Wizkid is one to write about. When the word 'Alignment' is said,  Essence comes to my mind. It's just that song that fits.’"- Adedoyin Adeoye

12. Olunfunmi by Styl Plus‍

“This song has a special hold on me. Every time it comes on, I pause whatever I’m doing just to sing along. It’s old, yes, but it still sounds fresh and emotional, like it never aged. Leaving it off this list would honestly feel like a crime. It’s one of those classics that refuses to be forgotten." - Adedoyin Adeoye

13. Jealous by Fireboy DML‍

“Old release but from the intro to the vocals to the flow? Fireboy really did something with this sound. From the intro to the vocals and that smooth flow, everything feels intentional. This song is proof that music can still slap." - Adedoyin Adeoye

14. Gobe by Davido

“The 'hand on head' Davido era! That era was 100% Davido. I love this song, especially with the title literally meaning 'trouble.' It was messy, energetic, and peak O.B.O , a total 2013 masterpiece. ” - Ruqayyah ‍

15. IF by Davido

“The song that almost every guy was singing to woo, and suddenly everyone believed they had 30 billion in their account to give their woman. Davido is the ultimate lover boy who made 'financial romance' sound so smooth.” - Ruqayyah‍

16. Holla your boy by Wizkid ‍

“Anyone that doesn’t know this song is not a true fan. It was giving 'Justin Bieber in Nigeria!' The high school setting, the bicycle, and the baseball cap were iconic. It made Wizkid every girl’s crush and was the moment he became the Starboy we know today.” - Ruqayyah

17. Adaobi by Mavins

“Mavins has been giving us iconic hits from day one, and Adaobi is a prime example. Anytime the Mavins come together as a group, you know it’s another big banger. They gave us that legendary call-and-response: 'Ada fine gan (ah fine na ni) Abi be ko o (A be ba bi) 'it's impossible not to join in!” - Ruqayyah

18. Azonto by Fuse ODG

“The dance song of the decade! Azonto was everywhere when it was released. If you don’t know Azonto, there’s a high possibility you aren’t African or you live under a rock. Honestly, not knowing Azonto deserves jail time in an Afrobeats detention center!” - Ruqayyah

19. Crazy Tings by Tems

“Crazy Tings opens If Orange Was A Place with confidence and emotional honesty. It captured a strange global moment,  the uncertainty of the pandemic, the fear of tomorrow, and the fragile hope of trying again. Tems gave language to confusion without panic. It wasn’t escapism; it was acceptance. This song will always remind me of learning to move gently through an unpredictable world.” - Gene Sibeko

20. Ojuelegba by Wizkid

“Although I was in my final year of high school when Ojuelegba was released, it truly soundtracked my first year out of school in 2015. I was living away from home for the first time, navigating Cape Town as a young African woman discovering independence. The song mirrored that moment perfectly feeling exposed, hopeful, and strangely at home while learning how big and generous the continent could be.” - Gene Sibeko

21. So Mi So by Wande Coal

“So Mi So is pure vacation energy. This is the song that plays on girls’ trips, somewhere between sunkissed skin and late afternoons that turn into nights. It carries joy without responsibility. Dance now, worry later. Every time I hear it, I picture sparkly blue water in Durban or Zanzibar, where memories were made loudly, freely, and without an exit plan.” - Gene Sibeko‍

22. Sungba (Remix) by Asake ft. Burna Boy‍

“This song takes me straight back to my first trip across the continent — Ethiopia. A country untouched by colonisation, proud and self-defined. I didn’t understand the lyrics, but I understood the feeling completely. Confidence. Movement. Joy. By by Sungba played as I absorbed African excellence in real time, feeling rich in culture and spirit truly ‘Mr Money with the vibe." - Gene Sibeko‍

23. Maradona by Niniola

“Maradona is the ultimate post-heartbreak reality check. It’s playful but pointed — a reminder that men can play you like football if you let them. This song helped me laugh through disappointment and reclaim my power. It’s about truth, wisdom, and learning not to fall too easily again. Healing doesn’t always have to sound sad; sometimes it sounds like dancing your way back to yourself.” - Gene Sibeko

24. Kiss your hand by R2Bees ft Wande Coal

“Kiss your hand is a song that makes you think of your childhood because of the nostalgia but also about your future romance. Every time I hear it, I’m transported back to my childhood when I didn’t even understand the lyrics. Now as an adult, the undying romance of just wanting to kiss someone’s hand is so aspirational in this day and age.” - Mayowa

25. Ye by Burna Boy

“This song takes me back to being in secondary school and singing it with my friends at break and lunch. I remember that it was absolutely everywhere for the rest of that year and even inspired the iconic meme/song, ‘my ye is different to your ye." - Mayowa

26. Joha by Asake

“When Joha starts playing in the club everyone knows exactly what to do… even those of us that don’t know how to dance or speak French. Asake’s 2022 run was iconic and inspirational; just banger after banger”. - Mayowa

27. Omo Ope by Asake

"I can shout / Mo tun le pariwo’ may be one of the most poetic lines that I’ve heard in a song in a long time. Omo Ope is the perfect song to remind you who you are while you’re getting ready to go out and have a good time. It’s an immediate confidence booster while you’re trying to decide if your outfit looks cool or your makeup is blended enough.” - Mayowa

28. Tumo weto by Mavo

"Tumo Weto" is a luxury anthem twisting the phrase "Two Moët." Lyrically, it highlights the social reality that "only rich people get way." Inspired by phonetic experimentation, Mavo created the track to transform a simple club order into a hypnotic mantra, expanding his signature "Bizzylingua" slang." - Shankara

29. Eminado (Tiwa Savage feat Don Jazzy)

"My mom would play this song on repeat every morning before work, when she would do her morning workout. It famously became known as “her song” and every time we played it, we knew it was Mommy’s song. Tiwa Savage was a must-play in my household. This song was quite literally etched into my family’s brains in 2013– every ad-lib, verse, harmony line." - Emem-Esther Ikpot  

30. Imagine That (Styl-Plus)

"My sister traveled to Nigeria. Upon her return, she came back with several iconic Styl-Plus DVDs that we played 100% into the ground. As silly and weird as my siblings and I were, we even had each interview prelude with T-Jazz and Joey memorized. IMAGINE THAT… And Imagine That remix at the time was the coolest video to ever exist, and although my family is ibibio, we knew all the Yoruba words. Or at least tried to. This was 2005." - Emem-Esther Ikpot  

31. Oyi (remix) (Flavor)

"This was one of my dad’s favorite songs. It’s funny because at the time, this song seemed “new”, relative to his Lagbaja, Fela, and Sunny Ade preferences. Growing up, my parents would speak Ibibio from time to time, but they also spoke a lot of Yoruba. Every time this song played, my dad would emphatically clap, dance, and vibe. He knew all the Yoruba and would explain the meaning to us. This was 2012, and Flavour was rocking the world." - Emem-Esther Ikpot

32. Science Student (Olamide)

"My cousins can DANCE. Same as my siblings, with the exception of myself (I do really try to activate that gene). The way my cousins and siblings would do the Shaku Shaku was enough to shake an entire room, especially when Science Student by Olamide came on. Every family graduation party, when this song came on, it was game over. Everyone would dance like crazy. These were some of the best moments. This was 2018." - Emem-Esther Ikpot

33. KU LO SA (Oxlade)

"This song BELONGED to my sister Elsie, who is easily one of the best dancers I know. She memorized the dance to KU LO SA  like it was her full-time job and hit it every single time. There’s a sort of conviction that this dance requires that she always has. Every time this song plays I’m like WHERE IS ELSIE?!  Always eats. This was 2022." - Emem-Esther Ikpot

34. Over by r2bees

“Over" is the ultimate heartbreak banger. R2Bees pair a bitter story of a lover leaving her man for a man with more money. With an infectious Killbeatz rhythm, It captures the classic Ghanaian spirit: mixing sad lyrics with a sweet melody, so you end up dancing through the rejection rather than crying about it.” - Shankara

35. Coming Back For You - Fireboy DML

“Chadwick Boseman’s passing heavily influenced the plot of Black Panther 2. When Fireboy sang ‘I know that I’ma see you one day’ it felt like a message right to Chadwick. Forever in our hearts.” - Wale Ajala

36. Energy - Wizkid

“One of Wizkid’s slickest flows, once more P.Prime proves he’s a generational producer. Go to 2:02 if you don’t believe me.” - Wale Ajala

37. Wengeze - Eazzy

“The energy and sexiness this song holds alone is why it is one the best afrobeat songs of all time.” - Elisha Kiala

38. Chingnem - Sardokie, Bisa Kdei

“Sardokie and Bisa Kdei chemistry is so magnetic. The production is so smooth, and once the synths kick in you just want to start the song again!” -  Elisha Kiala

39. Chop My Money Remix - P- Square, Akon, Rudeboy, May D, Mr. P

“This song instantly takes me back to my childhood. Hall parties, spraying money. It's one of those cases where the remix superseded the original, which is what remixes are supposed to do.” -  Elisha Kiala

40. Ukwu Nwata - Flavour

“I got introduced to this song by one of my best friends. I wasn’t a fan of flavour in the past but this song turned me into one. The romance this song holds alone, makes me want to take a long walk during summer. The Igbo language is magnetic and the background vocals are such a great touch.” - Elisha Kiala

41. Ayi- Cross Wadle

“‘Too much’ and everyone is immediately on the dance floor. This is how you know it's a banger.” - Elisha Kiala

42. Calm Down - Rema

“Nothing about this song was calm. From the intro to the records it broke. And before anyone knew, the remix with Selena Gomez hit No. 3 on the Billboard Hot 100 and spent over a year on the chart. If Calm down has 1billion, I’m certain enough that I contributed to half of it. The song went on to become the first Afrobeats record to hit a billion on-demand streams (as it should) and reoriented how global pop saw Nigerian music’s reach.” - Dubem Collins

43. Peru - Fireboy DML

“I remember the first time Peru played on a friend’s playlist and how instantly carefree I felt. I could sing the whole song after the first 3 listens, and the chorus “Peru, para” stuck with me for days. The remix with Ed Sheeran did not disappoint at all, and with it came a new wave of attention.” - Dubem Collins

44. Soco - Wizkid, Ceeza Milli, Spotless & Terri

“Soco was everywhere in 2018, the streets, clubs, bars, everywhere, even churches were not spared. The fact that the music was with artists that not a lot of people knew in the country at the moment, also added a certain appeal to it. I’m not so much of a dancer, but every time the song came on, I was forced to move my body. Afterall, proper gbedu no need permission to enter your body.” - Dubem Collins

45. Pana - Tekno

“Tekno knows his way around bangers. Pana had its hooks deep down the country when it dropped. There was no escaping it, and I don’t think anyone wanted to. It was played at weddings, clubs, roadside speakers, everywhere. I played the “hell” out of this song myself and even tried to breakdance as Tekno would. What a time!” - Dubem Collins

46. African Queen - 2baba

“There can't be a Top 100 Afrobeats list without this gem of a music. 2Baba (TuFace at the time) created what became a countrywide sensation at the time, and it also became the foundation stone for Afrobeats’ global journey. I was very young when this song came out, but to this day, I can sing everything word for word. It played at weddings, on the radio, and in films; you could not escape it either.” - Dubem Collins

47. Oliver Twist - D’banj

“Many would say this is the progenitor of Afrobeats going global, and I would not bother to argue. When Oliver Twist dropped in 2011, it broke new ground for Nigerian pop by charting on the UK Singles Chart, a feat few Afrobeats artists had achieved at the time. The video even had the musical genius, “Kanye,” in it. There can’t be a Top 100 Afrobeats song without this as well.” - Dubem Collins

48. Cash App - Bella Shmurda, Zlatan, Lincoln

“When this dropped, I didn’t really vibe to the lyrics, but like I said earlier, proper gbedu no need permission to enter your body. And before you know, my voice became the loudest whenever it came on. This song became the track that cemented Bella Shmurda’s arrival in the mainstream Afrobeats conversation.” - Dubem Collins

49. Fem - Davido

“Talk about timing. Fem dropped at the time the Nigerian youths were standing up and protesting against police brutality in the country. It became the unanimous protest anthem and was chanted at every protest ground across the country. 2020 is a year that no Nigerian youth will forget in a long time, and with it, FEM as well.” - Dubem Collins

50.  Away - Oxlade

“I loved Oxlade even before this dropped, but this was the breakthrough single that transformed his career. The song even had figures like Drake share the track online, spotlighting Oxlade internationally and proving Afrobeats could resonate emotionally and commercially across borders.” - Dubem Collins

51. Enemies - Durella

“Enemies may not have global chart data, but in Nigerian pop culture, it became a catchphrase as much as a song title. It reflected a time when Afrobeats intersected with street rap and lifestyle bravado, and the idea of “enemies” in the lyrics became shorthand for the coming-up struggles many listeners felt. I listened to this song recently, and I couldn’t stop screaming, “Enemies, let me live my life!” Not that I have any enemies, but yeah, the song does that to you when it comes on.” - Dubem Collins

52. Baba Nla - Wizkid

“You know what it’s like to leave your record label with nothing and drop this as your first single as an independent artist? Talk about making a statement! Yeah, Wizkid has always been HIM. And whenever this song comes on, I puff up my shoulder and become as cocky as my goat, because why not? I’m ‘big daddy’ too” - Dubem Collins

53. Hot Body by Ayra Starr

“Hot Body is my personal hype song. Whether I’m getting ready for the gym or a night out, it instantly puts me in the right mindset. It’s a joyful reminder to invest in yourself. Mind, body, and soul. Because when you feel good, you show up differently, and good things follow. Confidence, discipline, and self-love wrapped into one addictive track.” - Gene Sibeko

54. Obianuju by Duncan Mighty

“Junior secondary school days, nothing extraordinary about the moment itself. Just another afternoon with the radio on, and then those opening notes cut through. Duncan's voice carried that Port Harcourt soul into my world for the first time. Sometimes the most significant songs don't announce themselves with fanfare, they just quietly become part of your soundtrack, marking time in the most ordinary, unforgettable way.” - Femi Bakinson

55. Ijoya by Weird MC

“The Ijoya era was absolutely insane. There wasn't a single party you could attend where the DJ wouldn't spin this track. Weird MC owned every dance floor, every gathering. Her voice became the anthem of that season, unavoidable and electric. Everyone knew every word, everyone moved when it dropped. That's when you knew a song had truly taken over. It was everywhere, inescapable, essential.” - Femi Bakinson

56.  Gongo Aso by 9ice

“This was the ultimate party favorite, the song that united generations. Everywhere you went, Gongo Aso was playing. Old and young, men and women, everyone sang along with the same passion. It didn't matter who you were; when those beats hit, you were part of something bigger. A rare song that belonged to everybody, transcending age and gender with pure, undeniable energy.” - Femi Bakinson

57.  Nwa Baby (Ashawo Remix) by Flavour

“Another party staple that demanded participation. As kids, we knew the lyrics were vulgar, but we didn't care one bit. We'd sing along shamelessly, moving to those irresistible beats. There was something liberating about it, that collective rebellion disguised as dancing. Flavour had us all under a spell, and we surrendered willingly, lyrics and all, lost in the rhythm.” - Femi Bakinson

58. Yahooze by Olu Maintain

“This song's arrival was instant domination. The moment it dropped, dance floors belonged to Yahooze. Everyone learned the choreography, those signature moves that made you feel like you were part of something massive. You couldn't just listen, you had to participate, to move exactly right.” - Femi Bakinson

59. Shayo by Bigiano

“Pure club energy distilled into one track. Shayo captured that beautiful, reckless feeling of living completely in the moment. No worries about tomorrow, no dwelling on yesterday, just now, just this beat, just this freedom. It was the soundtrack to carefree nights, the song that reminded us that sometimes the best thing you can do is simply let go and exist fully in the present.” - Femi Bakinson

60.  Raise the roof by Jazzman Olofin x Adewale Ayuba

“A brilliant fusion of Afrobeats and Fuji Music that shouldn't have worked but absolutely did. This was pure feel-good energy, a song that belonged to everyone regardless of age or background. The collaboration brought two worlds together seamlessly, creating something that made you smile before you even realized why. It proved that when great artists respect each other's craft, magic happens. A unifying anthem in every sense.” - Femi Bakinson

61.  Bibanke by Asa

“I first heard this during a quiet evening, and it stopped me cold. Asa's voice carried the weight that most artists spend their careers trying to find. Bibanke was poetry, social commentary wrapped in melody. The guitar work, her delivery, and the lyrics.” - Femi Bakinson

62. Kelekele love by Tiwa Savage

“This was my introduction to the queen herself. Kele Kele Love absolutely dominated the airwaves, you couldn't escape it, and nobody wanted to. Tiwa's voice, that infectious melody, the way she owned every note with confidence and grace. This was the moment we all realized Nigerian music had found another superstar, someone who would define an era. The reign had begun.” - Femi Bakinson

63.  5 and 6 by Naeto C

“ That hook was absolutely catchy, lodging itself in your brain and refusing to leave. Naeto C had this knack for creating memorable choruses that everyone could sing along to effortlessly. The song had swagger, confidence, and that polished production he was known for. "5 and 6" became part of our everyday vocabulary, another phrase Naeto gifted to the culture.” - Femi Bakinson

64. Street Credibility by 9ice x 2Baba

“Another inescapable anthem from 9ice. Street Credibility was everywhere, blasting from cars, shops, parties, phone speakers. He had this uncanny ability to create songs that just infiltrated every corner of daily life. You'd hear it multiple times a day without ever getting tired of it. 9ice understood the streets, and the streets loved him back.” - Femi Bakinson

65. Portharcout son by Duncan Mighty

“Port Harcourt's first son had to make a proper introduction, and he did it spectacularly. This song flooded the airwaves with that distinctive Port Harcourt sound we'd come to love. Duncan Mighty was carrying an entire city on his shoulders, and he wore that responsibility with pride.” - Femi Bakinson

66.  Mr. Lecturer by Eedris Abdulkareem

“I absolutely loved this song. Eedris Abdulkareem truly did his thing. The storytelling was raw and real.” - Femi Bakinson

67.  Ole by Sound Sultan

“Sound Sultan called out thieves with this bold, unapologetic anthem. "Ole" means thief in Yoruba, naming names, pointing fingers, speaking truth to power. The song was controversial, direct, and necessary. Everyone sang along because we all knew the thieves he was talking about.” - Femi Bakinson

68.  My Car by Tony Tetuila

“One of the absolute highlights of my childhood. That hook, "you don hit my car" was permanently embedded in my brain for the longest time. Tony Tetuila created something catchy beyond reason, and as kids we'd sing it endlessly, dramatically, like we actually owned cars worth protecting. The beat, the humor, the energy, it all combined into pure nostalgia. Simple, fun, and utterly unforgettable.” - Femi Bakinson

69.  Angel of my life by Paul Play

“A love song that defined romance for an entire generation. Paul Play's smooth vocals and heartfelt lyrics made this the soundtrack to countless relationships, dedications, and slow dances. It was the song you played when words weren't enough, when you needed music to express what your heart felt. Timeless, sincere, and beautifully crafted.” - Femi Bakinson

70.  First of all by Olamide

“Olamide had EVERYONE in a chokehold with this one. You could be walking down the street and someone would shout "first of all!" and you knew, you absolutely had to respond with "introduction!" It became a cultural call-and-response, a shared language. The song was infectious, clever, and undeniable. ” - Femi Bakinson

71.  Come closer by Wizkid x Drake

“A classic collaboration that proved Wizkid's global reach. Bringing Drake onto an Afrobeats track felt monumental. The chemistry was effortless, the vibe infectious, and the song became an international anthem. Watching Wizkid operate on that level, seamlessly blending worlds, made us all proud.” - Femi Bakinson

72.  Pon pon pon by Dagrin

“Pretty sure every kid back then could rap along to this song word for word. Dagrin's rapid-fire Yoruba delivery was hypnotic, challenging, and addictive. We'd practice until we got it right, stumbling over syllables until they flowed naturally. It became a badge of honor, if you could keep up with Dagrin on Pon Pon, you had credibility. His energy was raw and authentic, representing the streets with unfiltered honesty and skill.” - Femi Bakinson

73.  Double Wahala by Oritsefemi

“Pure street anthem energy. This song had so many quotables, you just had to be there man.” - Femi Bakinson

74.  Action film by MI x Brymo

“That hook was absolutely crazy. Brymo came through and did his thing so well he almost bodied MI on his own track. The contrast between MI's sharp bars and Brymo's haunting vocals created something cinematic, exactly like the title promised.” - Femi Bakinson

75. Superstar by Ice Prince

“ A straight club banger, no discussion needed. Ice Prince was gliding on that beat with effortless swagger and precision. Once the DJ dropped this, people completely lost their home training, all decorum abandoned, pure chaos on the dance floor. The energy was electric, infectious, impossible to resist. Ice Prince earned that Superstar title with this track, proving he belonged at the top of the game.” - Femi Bakinson

76.  Beat of life by Sarz x Wizkid

“Need I say much? That beat is absolutely insane. Sarz created something otherworldly, and Wizkid floated over it like he was born for that exact moment. The production, the melody, the vibe—everything aligned perfectly. Pure magic captured in audio form.” - Femi Bakinson

77.  Dem Mama Anthem by Timaya

“You simply had to sing along to this song, no choice in the matter. Timaya had this way of creating irresistible anthems that grabbed you by the collar and demanded participation. But beneath that infectious, celebratory dancehall beat was something darker—a satirical, mournful chronicle of the Odi massacre. The upbeat tune served as a clever decoy, making us dance while delivering painful truth.” - Femi Bakinson

78. Belle by Omawumi

“Omawumi's voice has always carried this raw, soulful power that stops you mid-conversation. Belle showcased her ability to blend traditional Nigerian sounds with contemporary production, creating something uniquely her own.” - Femi Bakinson

79.  Alobam by Phyno

“The moment Major Bangz's production hit, you were hooked. Phyno delivered his verses with a commanding flow, rapping entirely in Igbo without apology or compromise. "Alobam"—Igbo slang for "my guy"—was a phenomenon that advanced Eastern rap into the mainstream. An anthem celebrating brotherhood, name-dropping Olamide, Flavour, Ice Prince, and P-Square The Clarence Peters-directed video sparked fashion trends, those Alobam tees and gold stars became symbols everyone wanted to wear.” - Femi Bakinson

80.  Shoki by Lil Kesh

“Lil Kesh had everyone busting dance moves to this absolute classic. It didn't matter where you were, once Shoki came on, you had to get on your feet and do the dance. No exceptions, no excuses. The choreography became a cultural phenomenon, a language everyone spoke through movement. Lil Kesh created a moment that united dance floors everywhere with one unmistakable rhythm.” - Femi Bakinson

81.  Shake Body by Skales

“As the name clearly implies, you absolutely had to shake your body. Skales created a command disguised as a song, and we all followed orders gladly. The beat was designed for movement, the energy impossible to contain while sitting still. Sometimes the best songs are the simplest ones that make your body move before your brain catches up.” - Femi Bakinson

82. Ara by Brymo

“Brymo truly knew how to craft catchy hooks that burrowed into your brain. Once Ara came on, singing along wasn't optional, it was compulsory. His unique voice and melodic sensibilities created something hypnotic and irresistible. The simplicity of the hook masked its genius; it stuck with you for days, weeks even.” - Femi Bakinson

83. Juice by Ycee x Maleek Berry

“A classic, plain and simple. Ycee and Maleek Berry created something that felt both fresh and timeless simultaneously. The production was crisp, the vibe immaculate, and the energy infectious. Juice had that rare quality of sounding good everywhere, in the club, in your headphones, at parties, alone in your room. Some songs just get it right from every angle, and this was one of them. Effortlessly cool, endlessly replayable. ” - Femi Bakinson

84.  Soldier by Falz x Simi

“Proper storytelling at its finest. Falz and Simi crafted a narrative that was funny, relatable, and brilliantly executed. The back-and-forth dynamic between them felt natural, like eavesdropping on a real conversation. Then the visuals came and elevated everything, top-notch production that brought the story to life perfectly. This collaboration showed that Nigerian artists could do concept songs with Hollywood-level creativity and execution. Pure artistry from start to finish ” - Femi Bakinson

85.  Jamb Question by Simi

“The song that introduced me to Simi's artistry and what an introduction it was. That hook was taken from Nigerian slang, loosely translating to "don't ask me a stupid question." Simi's wit, her smooth vocals, and clever wordplay all came together beautifully. She wasn't just singing; she was conversing, relating, making you laugh while making you feel. This song showcased her unique ability to blend humor with musicality effortlessly.” - Femi Bakinson

86.  Skin Tight by Mr Eazi x Efya

“Mr Eazi and Efya absolutely cooked on this one. The chemistry between them was undeniable, their voices blending perfectly over that smooth, seductive production. Skin Tight had this intimate, late-night vibe that made you feel something deep. Efya's vocals added layers of emotion while Mr Eazi's laid-back delivery kept everything effortlessly cool. This collaboration proved that sometimes less is more—subtle, sensual, and completely captivating. ” - Femi Bakinson

87.  Tonight by Nonso Amadi

“This song flooded the airwaves, and for good reason. Nonso Amadi's voice carried this gentle vulnerability that made Tonight feel intimate despite its widespread popularity. The production was clean, allowing his vocals to shine without distraction. It became the soundtrack to countless evenings, that perfect song when the night was just beginning and anything felt possible. Nonso proved he belonged among the greats with this one track.” - Femi Bakinson

88.  Yes/No by Banky W

“A love song that captured romance with sophistication and sincerity. Banky W's smooth delivery and heartfelt lyrics made Yes/No the perfect song for expressing feelings you couldn't quite articulate yourself. It became the soundtrack to proposals, dedications, and vulnerable moments.” - Femi Bakinson

89.  Last Last by Burna Boy

“This song is so incredibly good. Burna Boy had everyone singing this heartbreak anthem even in the club, tears and dancing somehow coexisting perfectly. The Tony Braxton sample, his raw emotion, the relatability, it all combined into something magical. People screamed "everybody go chop breakfast" like a battle cry.” - Femi Bakinson

90.  Bumper to Bumper by Wande Coal

“A club classic, no debate necessary. Wande Coal's smooth vocals over that infectious beat created pure magic on dance floors everywhere. The energy was sensual, the vibe undeniable, and the song became synonymous with good times and close dancing. Wande had this gift for making party songs that never felt cheap or disposable. Bumper to Bumper remained timeless, still getting the same reaction years later.” - Femi Bakinson

91.  Johnny by Yemi Alade‍

“ The storytelling was relatable, the hook was addictive, and Yemi Alade’s energy was explosive. Yemi announced herself as a force to be reckoned with, unapologetically bold and undeniably talented.” - Femi Bakinson

92.  Fall in Love by D’Banj

“ A classic that defined an era. D'Banj's charisma radiated through every second of this track, his signature harmonica adding that unique Kokomaster flair. Fall in Love was romantic without being corny, catchy without being simple. It became the soundtrack to countless relationships and hopeful crushes.” - Femi Bakinson

93.  Get me high by Mayd

“ A proper banger from start to finish. Mayd brought that fresh energy and smooth production that made Get Me High irresistible. The vibe was intoxicating, living up to its title perfectly. It had that quality of making everything feel elevated, better, more vibrant.” - Femi Bakinson

94.  Jaga Jaga by Eedris Abdulkareem

“"Jaga Jaga" a slang for shambles in Nigerian parlance and everyone sang this song unapologetically. Eedris fearlessly called out the chaos, corruption, and dysfunction plaguing the nation. The song was controversial, banned even, but that only made it more powerful. We sang it loudly, defiantly, because it spoke the truth we all recognized.” - Femi Bakinson

95.  Oleku by Ice Prince x Brymo

“Ice Prince's sick verse blended flawlessly with Brymo's impossibly catchy hook, creating a nationwide sensation. Oleku was everywhere, you couldn't escape it, and nobody wanted to. The chemistry between them was perfect, each elevating the other's strengths. The song had this effortless cool that made everyone feel stylish just for knowing the words.” - Femi Bakinson

96.  Danfo Driver by Danfo Driver

“That Galala-stepped rhythm and pidgin-reggae infusion struck a chord with everyone. Danfo Driver represented the streets authentically, their sound raw and unapologetically Lagos. Everyone loved this song because it felt real, lived-in, genuine.” - Femi Bakinson

97.  Love Nwantiti by Ckay

“The melody was deceptively simple yet impossibly catchy, worming its way into every corner of the internet and beyond. Watching it blow up on TikTok, hearing it in clubs across continents—it was surreal.” - Femi Bakinson

98.  Dami duro by Davido

“The song that introduced Davido to the world and changed everything. "Dami Duro" meant "don’t hold me back," and we all didn’t exactly hold back. The energy was explosive, youthful, and unapologetically bold. Davido burst onto the scene with confidence that couldn't be ignored, creating an instant anthem that took over streets, clubs, and airwaves.” - Femi Bakinson

99.  One Naira by MI x Waje

“Waje's incredible voice paired with that unforgettable hook, then MI came through with bars that elevated everything. The contrast between Waje's soulful singing and MI's sharp rap created perfect balance.” - Femi Bakinson

100.  Joro – Wizkid

"I don't know about anyone else but Joro was that song that made me feel all giddy. It gave a very smooth and addictive feel. It still does!. If another voice that wasn't Wizkid’s had sung the song, it wouldn't have been a hit. His voice was a key element to the song. Every replay feels like falling in love with it again." - Adedoyin Adeoye

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Fardin Hazratizadeh’s path to becoming the Footwear Design Director at Amiri is a story of how technical precision meets high-fashion intuition. His journey didn't begin in the storied ateliers of Europe, but within the vibrant sneaker culture of the Bay Area. For Fardin, footwear was never just a hobby; it was a way to connect and find identity after moving to the U.S. at a young age. This early interest quickly evolved into a deeper curiosity about the "how" and "why" behind product design, sparked by the emergence of groundbreaking technologies like Nike’s Flyknit.
Fardin’s formal education at the Academy of Art University in San Francisco provided the technical framework he needed to turn his passion into a profession. Focusing on Industrial Design, he didn't just learn to sketch silhouettes; he learned to think like an engineer. He obsessed over the balance between form and function, viewing every shoe as a complex puzzle of materials, ergonomics, and aesthetics.

His early career was defined by a relentless drive to learn. From his initial roles in the industry, Fardin stood out for his ability to translate high-level concepts into wearable reality. He understood that a great shoe isn't just a piece of art it’s a performance tool that has to withstand the rigors of the world.

The shift from performance-based design to the world of luxury fashion was a pivotal moment in Fardin’s career. By bringing a performance-first mindset to the luxury space, he helped redefine what "luxury footwear" could be. It wasn't just about premium leathers and high price tags; it was about the integrity of the build.
At Amiri, Fardin has found a space where his technical background and his eye for modern luxury can coexist. As Footwear Design Director, he oversees the development of products that resonate with a global audience, blending the laid-back energy of California with the meticulous standards of high fashion.

Despite his success, Fardin remains a student of his craft. He approaches each new season with the same curiosity he had as a kid in the Bay Area, constantly looking for ways to push the boundaries of materials and construction. For Fardin, design is an ongoing evolution a process of refining, learning, and staying true to the fundamental principles of good design. Today, Fardin Hazratizadeh stands as a key figure in the footwear industry, not because he sought the spotlight, but because he stayed focused on the work. His journey serves as a reminder that when you combine a deep respect for technical craft with a genuine passion for the product, the results speak for themselves

Chord Notes: Body Rhythms in the City
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Over the last years, the transactional dynamics of cities towards excess profit and increased speed, together with the adoption of global ideas upon local culture have been theorized, staged and debated within independent art and research projects but also within major art events such as the Lagos Biennial. It is with this in mind that the 2025/2026 edition of Dreaming New Worlds - a project by Goethe-Institut Nigeria, curated by Obieze Chinyere in collaboration with Orinayo Odubawo, asked women art collectives to critique, appreciate and present their ideals towards urban planning.

The result was an inquiry into the body as a starting point through which the city’s structures, behaviours and activities are acted out - acknowledging that bodies are differently policed, exhausted, racialized, disabled, and gendered within rigid urban systems, in Nigeria as elsewhere.

This immersive show manifests the 2025/2026 collective's aspirations toward solution-oriented, embodied design thinking over techno-utopian spectacle. Here, the city is understood as a lived, sensory, and social experience shaped through movement, breath, memory, and care.
Space, in this exhibition, is not empty. It is a social and sensorial construct formed through perception, access, and behavior.

Sarauniya Ènè

The Lagos-based, women-led collective Sarauniya Ènè works across architecture, design, archeology and olfactory practice. They draw from African matriarchal systems, oral histories, and pull contested narratives of women and women's legacies to present their relevance and tensions for now and the future. In their installation, the collective interrogates memory and spatial justice through an adventurous radical sensory experience.

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Their installation is inspired by the legacy of the contested historical figure: Queen Amina of Zaria. She is a warrior ruler whose existence remains debated even among her own people. Queen Amina is said to have ruled and expanded the city of Zaria from 1576 to 1610 through military expansion. With material evidence of her empire surviving primarily through nonfunctioning gates that dot the city of Zaria, and Erabor Emokpae’s epic painting, Queen Amina of Zaria (1976), her symbolic presence has endured in contemporary cultural memory solely for her achievement of imperial conquest as a woman.

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Sarauniya Ènè offers a probe to how such a queen would be erased in her own land, what the realities of her rule and benefits were, and if it can inspire city building today. Rather than monumentalizing power, the collective proposes that true legacy resides in embodied joys, shared imagination, and intergenerational values of residents. Their installation translates this idea into an olfactory landscape, charting their utopic city through scent.

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Visitors encounter Taruwa City, a mythic urban vision shaped by their community submitted dreams of an ideal city. The city overarchingly carries notes of ozone, mint, citrus, and warm woods, layered with subtle cracks of newly minted technology. Markets release the smell of spices and herbs. Earthy notes root the city in stability, while milk, coffee, and cinnamon evoke human closeness, and at the edges linger leather and cardamom, reminders that history and struggle are never erased.

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Through olfactory art, Sarauniya Ènè proposes a different kind of living monument.The smell reminds the visitor that they belong to a space, and not just any space,but their city built in collaboration with the visitor's memories.

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Sarauniya Ènè is made up of
1. Stephanie Isah, a Lagos-based olfactory artist, researcher and poet
2. Odum Rita, a Lagos-born designer
3. Vetum Gima Galadima, an archaeologist, curator and artist from Kaduna
4. Joy Sunday George, a 3D artist

MatriAér Lab

MatriAér Lab is a multidisciplinary collective exploring women centered visions of future living. The collective brings together practitioners in architecture, horticulture, sound design, and digital art to create immersive spatial environments. Their project, The Breathing City, imagines an urban system designed according to the tempo of the breath. Here, architecture, traffic, labor, and domestic life move rhythmically; and the city is envisioned as an interconnected body linked through shared gait and sound.

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They make use of the kitchen and the community center as the space from which to understand and regulate this tempo. Additionally, wet-adapted plant systems in their installation reference Lagos as a coastal city, and the capacity for the cycles of plants and water to remind the visitor of how urban design can coexist with water bodies promoting ecological preservation.

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The main thesis of this collective is that by prioritizing breath in shaping the city,design can be inspired to better serve the people. There is an embodied knowing of the tempo to space in the city from which structure that maximizes collective good can be created.
Sculpture, animation, and sound bring this environment to life, blurring the physical and digital space, to propose that community, ecological intelligence, and emotional well-being are infrastructural principles, not luxuries.

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MatriAér Lab is made up of
1. Fiyin Koko, Lagos-based multidisciplinary artist
2. Xela, Lagos-based artist
3. Quadri Sorunke, Lagos-based architect
4. Fxrhino, sound designer
5. Monai McCullough, ecological researcher and horticulturalist
6. Zida Kalu, artist and project manager

Exhibition Programme
March
Friday 6th March 2026 - 12pm: Lagos Gallery Weekend: Curatorial Walkthrough
Saturday 7th March 2026 - 2pm: Lagos Gallery Weekend: Performance Presentation, and Generative Letter Writing workshop
Saturday 14th March 2026 - 2pm: MatriAér Lab Artist Talk
Saturday 21st March 2026 - 2pm: Scent Workshop by Sarauniya Ènè
Friday 27th March 2026 - 5pm: Film Screening: Sita-Bella, The First, 2023
April
Saturday 11th April 2026 - 2pm : Sarauniya Ènè Artists Talk
Saturday 18th April 2026 - 2pm: Workshop by MatriAér Lab
Friday 24th April 2026 - 5pm: Closing Party - Re Screening of Sita-Bella, The First, 2023 // Women in Architecture Friday 24th April 2026 - 7pm: Make your own scent party - Music Policy: We are all Chemicals

Credits
‍Chord Notes: Body Rhythms in the City is an exhibition project by Goethe-Institut
Nigeria as a part of Dreaming New Worlds.
Chord Notes: Body Rhythms in the City is curated by Chinyere Obieze in collaboration with Orinayo Odubawo
Exhibition Design: Federico Martelli
Exhibition Production: A Whitespace Creative Agency
Production Lead: Abigail Iyowuna
Partners: CCA Lagos, Lagos Urban Development Initiative LUDI, Abela Olfactory Art Center, and A Whitespace Creative Agency

‍An exhibition project by Goethe-Institut Nigeria
Curated by Chinyere Obieze in collaboration with Orinayo Odubawo
Venue: Center for Contemporary Art CCA Lagos, 9 McEwen Street Yaba, Lagos
Dates: Friday February 13th, 2026 - Thursday April 30th, 2026
Opening Days: Monday, Wednesday, Friday, Saturday, Sunday
Time: 10am - 6pm daily

A Playlist Bringing Back Jams That Didn’t Get Their Flowers

Whether this season of love is filled with butterflies or embers, we have the serenading playlist for you. As Shakespeare once said; “The more I give to thee, The more I have, for both are infinite,” and although the musical streets have us fulfilled these past two years with love anthems from ‘Raindance’ by Tems & Dave, and a rise in R&B feels such as Nigerian sweetheart Odeal, these carefully selected songs; however, may have gone over all of our heads. For this reason alone, it is only right to bring them forth once more now that love is in the air and our hearts can’t stop blooming.

Love Like Poison By LYRXX
Slow and steady in his rise to stardom is none other than Nigerian singer-songwriter LYRXX with his sensational song ‘Love Like Poison.’ With a rhythm that makes you move your hips like in Samba and lyrics meant to make your heart melt to his soothing voice, this is the perfect start to your Valentine’s day. Just like most Afrobeats artists we’ve grown to adore, LYRXX sparked his entrance into the music scene through clever covers. You see, rather than singing the songs as they were meant to, he’d harmonize above the original vocals, making him stand out as not only a vocalist to watch for this 2026, but a talented one at best who can smoothen your heart to any song he touches.

Ifeoma By Ozedikus, CupidSZN, BoiGizmo
If you’re tired of listening to ‘Soweto,’ but need a song that evokes the same emotions, then ‘Ifeoma’ by Ozedikus, CupidSZN and BoiGizma is the right choice for you. Their pairing, and especially the vocalist on the first verse, it will have you close your eyes and hum along like nobody is around. It's simple in its structure and pleasing to the ears; however, maybe that is what you’re looking for, maybe this is what you’re into and ‘Soweto’ younger and newcomer brother is what you needed all along and we just confirmed it for you.

Milli II By Ir Sais & SO7ACE (feat. Jungeli & Victony)
It is safe to say that last December's releases went through a lot of people’s heads. First released in 2024, ‘Milli II’ comeback stands as strong and bold as ever. Not only is it the first time we catch Congolese-French Afropop singer Jungeli collaborating with a Nigerian singer, namely Victony. But also, it’s been a while since we heard of him, and how best to return to our playlists with a feature we didn’t know we needed yet? Just like fine wine, this song only gets better with time and it is a must have on our playlist this love season.

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Round & Round By Pa Salieu
Every listen, every bar he spits, it’s like there’s something new to uncover about the Gambian-Conventry star Pa Salieu and his 2024 love single ‘Round & Round.’ A master in lyricism and African love, this song you should have been bumping to every Valentine since its release will have you reflecting on the layers within yourself you didn’t even know you possessed. It is hard to say whether the honesty felt in his delivery or the heartfelt lyrics is what really carries the song away; however, one thing is clear; this tune is for a love like no other.

Iweriwe Love By Chella
If the boy Chella isn’t talking about Nyuash this season, then he must surely be unveiling his romantic affection in ‘Iweriwe Love.’ It has come to my attention that both tracks, if they do not at least share the same instrumental parent, then we must have gotten deaf. It is as if Chella had a longer version with both included and decided to separate them, each with their own elements of content. Nevertheless, this track is here to stay in our playlist– and so does Chella.

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Forévà By Tayc
If it is not the prince of French Afropop Tayc, most famously known for singing about love in its most vulnerable state, then what else will make you believe love is real? ‘Forévà’ is not your typical one of many romantic loves we see so often these days, au contraire, it is unconditional. If this is the vibe you’re on this Valentine day, then you may as well let this song play in the background as you get on one knee and propose to the love of your life. Let’s just say, Tayc did not disappoint, this song will literally be played forever…

Ruin By Usher & Pheelz
After a rainbow always comes the rain, and we did not forget about you if you're heartbroken this season. Like we said, this playlist is for everybody. That’s right, because even in the most beautiful time of the year, there’s always that one guy ready to bring out the sad violin and remind us all that heartbreak is just around the corner. Truly, ‘Ruin’ by Usher & Pheelz is a sweet reminder of the power that love possesses. And just like that reminder, your Valentine is felt with reflection, pondering, maybe regrets and a little bit of shoulder movements.

Please Don’t Fall in Love with me By Khalid
If the previous is the softer version of what you’re feeling and you need something stronger, then ‘Please Don’t Fall in Love’ by Khalid is just up your alley. Why give yourself a hug when you could be crying your eyes out, both hands on your knees and singing along to lyrics that cut deep, right? This is when the phrase; “May this love never find me” begins to sound like a prayer you must tell yourself every time you’re done listening to this song.

Melodrama By Theodora & Disiz
And then, maybe feeling is not what you’re looking for and you prefer to feel nothing at all. This is exactly how ‘Melodrama’ by Theodora & Disiz can be interpreted as you’re dancing around your living room aimlessly in your pajamas, wanting to forget Valentine’s day ever existed in the first place. This season would also not have felt special without you and this don’t-know-how-to-feel-about-this hit of a song is the perfect chaotic balance we didn’t forget to include on our been there list.

Soar By Aqyila
Last but not least, if you’re ready for healing this love season, then this may be the right song for you. ‘Soar’ by Aqyila sounds like a ballad of rediscovery as you let go of the past and let yourself transcend to a new dimension. Whatever left you broken, whatever had you confused, this song is the perfect way to spend your Valentine in a state of mine to heal through music.

So, what have we learned this love season? Whether emerging or established, let’s not sleep on those bangers ever again. Love may come and go, but Valentine’s Day is here to stay. Whatever ways you choose to spend this special time, may this playlist make you feel understood, seen and appreciated.

The year 2025 marked a definitive turning point for electronic dance music (EDM) and house music in Nigeria. No longer a niche subculture confined to the fringes of Lagos nightlife, the scene exploded into a vivacious industry, recording a staggering 403% growth in engagement and consumption. This electronic renaissance was fueled by a unique blend of indigenous sonic experimentation, the influx of global heavyweights, and, importantly, a dedicated ecosystem of collectives that prioritised community over commercialism.

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In 2025, the Nigerian house scene was defined by collectives. These groups acted as curators, safe spaces, and tastemakers, each carving out a distinct identity.

The rise of Group Therapy (GT) is one of the most significant case studies in the professionalisation and global scaling of the Nigerian electronic scene, or even any scene at all. Group Therapy started in 2023, and by 2025, it evolved from a series of niche underground gatherings into a cultural bridge for major global entries, including Boiler Room and Keep Hush. Under Aniko’s leadership, Group Therapy hosted the most impressive range of raves in 2025, from the impromptu “SMWR” editions in multi-storey car parks in Lagos Island to “KlubAniko” at the sophisticated Royal Box Centre in Victoria Island, and managed to maintain top quality across board. Group Therapy’s lineup for every 2025 edition paved the way for a more diverse roster of DJs – including many women, nonbinary, and intersex artists – to play prominent roles in the 2025 rave cycle. However, the collective's most significant achievement was the successful attraction of a record number of renowned international DJs to its Lagos-based editions.

As one of the longest-running house music residencies in Lagos, Element House (under the Spektrum banner, run by Ron and DelNoi) provided the necessary stability for the scene. Their monthly editions remained the "gold standard" for consistency. The 2025 rave calendar kicked off with a visually stunning Element House edition, courtesy of artist Bidemi Tata. This event marked the beginning of a sustained partnership between the organisers and the University of Lagos-trained artist. Throughout the rest of the year, they continued to collaborate with Bidemi Tata to refine their visual narrative, transforming each subsequent event into a sophisticated, high-concept, and fully immersive experience. In 2025, Element House achieved two significant milestones. Firstly, it solidified its position as the scene's "reliable giant," providing a predictable, safe, and carefully curated environment through its monthly residency. Secondly, Element House successfully cornered the economic power of the scene. By catering to a demographic of ravers who prioritised comfort over the raw atmosphere of a warehouse, they legitimised house music to corporate Nigeria. It is fair to claim that this appeal helped secure sponsorships that were out of reach for more underground rave events. The Element House lineup for every episode was also impressive, with them closing the year with a 2-hour Francis Mercier set. 

Monochroma Live started in 2024, and by 2025, they were already full throttle. The collective, spearheaded by Blak Dave and Proton and structurally backed by KVLT, approached nightlife with a simple philosophy: intentional, structured, and visually minimalist. This mindset was expressed through their signature monochrome aesthetic. Monochroma utilised the rhythmic familiarity of 3-Step to seamlessly convert normies into house enthusiasts, proving that the underground can grow without having to be clandestine, and without having to be diluted. This philosophy, coupled with the sonic direction of the Monochroma’s leaders, defined their 2025 programming and resulted in a year of cross-cultural convergence. 2025 on the Monochroma Live calendar culminated in the massive Dance Eko collaboration featuring Mörda, Blak Dave, JNR SA, Aniko, SoundsOfAce, and Earthsurfing, a finale that perfectly encapsulated Monochroma’s spirit.

In 2025, Sweat It Out solidified its standing as the raw, beating heart of the Nigerian underground, distinguishing itself by maintaining the gritty, industrial ethos of global rave culture. Under the sonic stewardship of resident headliner Sons of Ubuntu, the collective has kept the flame alive, curating sets that traverse the darker, more hypnotic corridors of Techno, Minimal Tech, and Acid House. The brand’s 2025 run reinforced its status as the scene's most vital safe space. Acknowledging the inherently queer roots of electronic dance music, Sweat It Out provided a rare, judgment-free sanctuary where gender expression and identity were not just tolerated but celebrated as essential to the technicolour vibrancy of the night. This commitment to inclusivity created a loyal following that prioritized the vibe over social hierarchy and/or buy-in. The year reached its apotheosis with "Sweat Therapy," a strategic year-end collaboration with Group Therapy. By closing 2025 with this unified front, Sweat It Out demonstrated that the underground remains undefeated, proving that a commitment to raw sound and radical safety is the strongest currency in the Lagos EDM scene.

While the major collectives dominated the headlines, the depth of the 2025 scene was defined by a constellation of parties that decentralised the culture and catered to specific communities. Leading this charge was Mainland House, which single-handedly dismantled the "Island-only" gatekeeping of Lagos nightlife. By planting the flag in different halls and production studios across the state, it offered a grittier, unpretentious alternative that tapped into the massive, underserved youth population of the Mainland, proving that the genre’s viability extended far beyond the elite coast. Simultaneously, Motion redefined the capital’s nightlife in Abuja. Far from being a shadow of Lagos, Motion carved out a distinct electronic identity, utilizing intimate spaces in the city’s capital to host rave experiences that currently sponsor FOMO and/or anticipation. In a bold expansion of the map, Red Light Fashion Room emerged as the avant-garde jewel of Ibadan, anchoring itself in the ancient city. A concept brought to life by Artpool Studios, Red Light Fashion Room created a unique hybrid that encouraged artistic expression via intentional grungy locations and the most original house rhythms, effectively modernizing the nightlife of the South-West beyond Lagos. 

On the thematic front, the scene offered beautifully specific niches that prioritized "vibe" over sheer scale. Ilé Ijó (The House of Dance) stayed true to its name, stripping away the pretension of "cool" to focus purely on the kinetics of the dancefloor; it became the safe haven for those who wanted the soulful, spiritual connection of house music. Sunday Service enjoyed a highly successful year, with several editions becoming so popular they had to be shut down due to overcrowding. The event continued with its characteristic evening-to-midnight timing, with only a few unavoidable exceptions. Its relaxed, "sundowner" atmosphere proved vital, offering an accessible alternative for casual listeners who found the intense 3 AM warehouse scene intimidating. House Arrest, curated by the Naija House Mafia, had a year marked by a series of high-concept themed editions that demanded total commitment — not just from the crowd, but from the selectors themselves. Seeing the DJs spin while fully costumed on theme dissolved the barrier between the booth and the dancefloor, turning every edition into a cohesive, immersive performance rather than just a party. The Group Collective carved out a unique niche with their destination rave model, mastering the art of beachside escapism. Their editions, typically hosted at Tarkwa Bay, transform the rave into a 24-hour, overnight camping experience that demands total immersion. Their rapid ascent was cemented by the recent V4 edition, which saw them bringing in South African heavy-hitter Jashmir, signaling that this intimate, sand-and-sound community has graduated from a localized campout into a serious player.

In 2025, the "silo" mentality died. The most memorable events or editions were those where two or more heavyweights merged rosters and aesthetics.
Group Therapy x Boiler Room was the definitive event of the year. It validated the Lagos scene on a global level. It happened on the 26th of April with a lineup that featured a mix of established veterans from Lagos and abroad, including AMÉMÉ, Aniko, IMJ, and a Weareallchemicals b2b with Yosa. WurlD delivered a surprise performance, joining AMÉMÉ on stage during their set, adding to the already impressive lineup.
Green Light Fashion Room took the scene by surprise. Group Therapy teamed up with Red Light Fashion Room, a blooming EDM outfit operating out of Ibadan, to throw this memorable one. Many people remember it as one of the best EDM nights to ever happen in Ibadan yet. The lineup was nothing short of impressive either – starring Abiodun, Aniko, QueDJ, An.D, and Weareallchemicals – making the event nothing short of a masterclass in logistics.

Spotify Greasy Tunes served as the year's intersection of big-tech backing and underground culture, marking a sophisticated pivot for the scene. Partnering with the culinary hotspot Fired & Iced, this launch event kicked off a month-long residency that seamlessly blurred the lines between a culinary pop-up, a highly informative formal yap session, and a high-energy rave. Curated by Group Therapy, the opening night offered an experience that was anchored by South African 3-Step pioneer Thakzin, whose second stint in NIgeria was supported by a stellar roster including Aniko, WeAreAllChemicals, RVTDJ, and FaeM, setting a high bar for the fusion of food, culture, and electronic music.

Dance Eko distinguished itself as a massive, open-air festival that dedicated distinct days to Amapiano and House music. The House edition, executed in strategic collaboration with Monochroma, transformed the venue into a high-octane, open-air rave. The lineup was a formidable bridge between nations, featuring South African icons Mörda, Jnr SA, and the reunited Distruction Boyz (Goldmax & Que DJ). Locally, the decks were commanded by Blak Dave, Proton, Aniko, Abiodun, and Naija House Mafia.

Sweat Therapy was a masterclass in energy management. These movements combined the curated, deep selections of Group Therapy with the high-octane rave delivery of Sweat It Out. The result was a marathon-style party that happened on two floors of the multi-storey car park at the Odeya Centre, with each floor having its own sound – the type of rave you see only in a John Wick movie.

The Global Influx: International Players in the 234
The 2025 electronic calendar began with an intensity that signaled a new era for Lagos as a global rave destination. The influx started early in February when 3-Step pioneer Thakzin headlined a rainy edition of Monochroma. His performance was a defining moment that introduced hours of unreleased material and effectively cemented the 3-Step sound as one of the year's dominant rhythms. This momentum carried into April with a well curated event produced by M.E. Entertainment at the Royal Box Event Centre. Keinemusik’s Rampa brought the Cloud sound to Nigeria in a massive production that featured support from Aniko and Blak Dave. The night bridged the gap between underground electronic music and mainstream pop culture with surprise stage appearances by Burna Boy and Olamide. By May, the energy shifted towards Gqom as heavyweight Dlala Thukzin made his Lagos debut at the Livespot Entertainment Centre. It was the eighth edition and it is still quite fresh in the hearts of afrohouse lovers. His Group Therapy set is the most-watched house music set recorded in Nigeria and hosted on YouTube.

As the year progressed into the second half, promoters executed a strategic rollout of international talent that expanded the scene's geographic footprint. September saw a split of the legendary Gqom duo Distruction Boyz before their eventual reunion. Que DJ headlined the Group Therapy Ibadan edition on September 5, and just a week later on September 12, his partner Goldmax took over the Monochroma decks in Lagos. Thakzin returned for his second visit of the year on October 1 to headline the Spotify Greasy Tunes opening party. This specific appearance focused less on the rave aesthetic and more on a lifestyle approach that bridged dining culture with house and kicked off a month of talks, performances, and dinners at the same venue.

The final quarter of the year became a relentless parade of global superstars during the "Detty December" festivities. The surge began on November 7 when Gqom technician Funky QLA headlined the tenth edition of Group Therapy at Livespot and continued the collective's dominance in importing high-energy South African sounds. Deep House royalty Francis Mercier arrived on December 18 to headline Element House and brought his melodic house sound to the city. Desiree touched down shortly after for a highly anticipated set that showcased her eclectic Afro techno fusion. The year reached a nostalgic peak when Que DJ and Goldmax finally united on stage as Distruction Boyz at the Dance Eko festival in late December. They delivered a futuristic Gqom set that stood out as a major highlight. The year closed on an intimate note as Dlala Thukzin returned to headline Klub Aniko.

Beyond the headline shows, several other key figures deepened the scene's texture through niche and endurance events. Jashmir headlined The Group Collective’s V4 beachside camping rave at Tarkwa Bay and tested the endurance of the 24-hour party crowd. Dankie Boi became a recurring fixture who played pivotal sets for both the Group Therapy Abuja expansion and Monochroma in Lagos. Meanwhile, Skeedoh, Abiodun, and Ogor ensured that Ilé Ijó continued to educate the scene on the fringes of African electronic music by maintaining a robust relationship with the East African underground. Ile Ijo championed the fast-paced Tanzanian Singeli sound pioneered by acts like Jay Mitta and ensured the Nigerian scene remained connected to the continent's rawest and most traditional electronic roots.

The Ecosystem: Platforms and Partners
The sustainability of the 2025 boom was underpinned by a rapidly professionalizing support system that ensured the culture was not just experienced, but structurally sound and amplified. Central to this operational evolution was Our House. Far more than just a promotional platform, Our House functioned as the scene’s logistical backbone. Under the stewardship of key figure Becky Ochulo, the agency provided the essential human resources, operational strategy, and on-ground management that allowed complex rave productions to run smoothly. Furthermore, they professionalized the talent pipeline, offering booking and management services that finally gave Nigerian electronic artists the representation needed to negotiate with global stakeholders.

On the media front, platforms like Nocturne Music and Oroko Radio acted as the scene’s digital nervous system. Oroko Radio, in particular, served as the definitive archive, broadcasting underground sets to a global audience and ensuring that the energy of a Lagos warehouse was felt by everyone who could tune in. Visually, the aesthetic of the "Nigerian Raver" was codified by documentarians like Catch The Gigs, Exponential Vibes, and Genuine Ravers. These platforms provided the scene’s visual dialect, capturing the fashion, the sweat, and the darkness in ways that made the culture instantly recognisable on social media feeds worldwide. Deeds Mag established itself as an indispensable lifestyle collaborator, effectively linking digital media presence with tangible cultural output. Beyond offering comprehensive media coverage for major events, such as the widely successful Nitefreak show, they became crucial in shaping the visual culture of the scene's growth. Their partnership extended to serving as the aesthetic designers, including the creation and production of exclusive merchandise for the GT on Tour series, guaranteeing that Group Therapy's visual identity remained high-end and consistent as the rave expanded to cities outside Lagos.

This heightened structural integrity inevitably attracted capital. Giants like Smirnoff and Coca-Cola became ubiquitous, providing support required to scale these events. However, the soul of the ecosystem remained with QuackTails. Unlike the multinational giants, QuackTails has been there for quite some time – almost as early as the very beginning – providing a sense of authenticity and familial support, proving that the scene still valued community partnership over mere commercial sponsorship.

Looking forward, 2025 marks the maturity of Nigerian electronic music into a self-sustaining industry with a distinct global footprint. The spread of the sound is being driven by the diaspora and digital platforms, successfully integrating Nigeria into the global electronic tour circuit. The economic implications are profound, creating thousands of new jobs in event production, sound engineering, and creative direction. Perhaps most importantly, it has granted producers a new form of creative freedom; they are now empowered to engineer anthems for the dancefloor, designed for physical release rather than airplay, proving that the genre has found its own independent commercial lane.

Yet, this renaissance is being built on fragile ground, and the challenges facing the scene are as potent as the music itself. The infrastructure gap remains the most glaring hurdle, with a desperate need for dedicated, sound-treated locations to replace the makeshift venues currently in use. This lack of infrastructure complicates safety; as raves push deep into the early morning hours, protecting attendees during transit and navigating the complexities of local policing remains a source of constant anxiety for organizers. Furthermore, the economics of the scene are still precarious. Despite the corporate logos, Nigerian EDM is still in its infancy, meaning that much of the current activity is a financial labor of love driven by passion rather than profit. Finally, the scene faces a significant cultural friction: the struggle for acceptance in a conservative society. Given the genre’s inherent roots in queer culture, there is an ongoing tension regarding perception and safety, forcing the community to navigate the delicate balance between radical inclusion inside the rave and the conservative realities outside its walls.

In 2025, Nigerian house music found its voice. It was a rhythmic conversation between the pulse of Lagos and the sweat of its wide-eyed, vivacious youth. We are witnessing a scene growing in leaps and bounds, a reality validated not just when our institutions plant their flags on foreign soil — manifested this year in the successful exports of Group Therapy Accra and Group Therapy London — but in the undeniable global demand for our talent. The sound is now a veritable currency, evidenced by Blak Dave securing bookings around the world and Aniko’s monumental inclusion on the ADE lineup. At the same time, she and WeAreAllChemicals have become staples on major festival stages across Africa. We owe this current expansion to years of grassroots effort. For example, Dayo’s work with The Group Collective’s V4 effectively redefined the nexus of lifestyle, local camping, and EDM. At the same time, Lazio has solidified his reputation as the premier sound engineer for the electronic community and, effectively, the silent partner behind every major sonic activation. The movement has become truly boundless, stretching far beyond Lagos to unlikely frontiers like Calabar, where Kuffy Eyo’s Nocturna is pioneering a new consciousness in Nigeria’s geopolitical South-South. Through the support of these symbiotic microcosms, the Nigerian rave has graduated from a local secret to a viable cultural product. 2025 rolled into 2026 as the Sunday Service crowd crossed over at Lighthouse Bar and Grill, and one thing was clear: everyone is eager to see what 2026 holds for tinko-tinko music.

When Odeal arrives on set, it is a cold day in November in London. Despite the overcast weather, there is an energy throughout the day that brings excitement in the air. As someone who has had a fairly active year, he has a calmness that makes the 6-hour day run smoothly and painlessly. With various movements underway and people doing what needs to be done, he maintains an aura of readiness to do whatever is required. As we move through the day, he keeps the energy and vibe up until we wrap up for the dark evenings of a November night, showing his gratitude and appreciation for everyone on the team. Our conversation, which takes place a few weeks after the shoot, only echoes that vibe as we speak over Zoom. Having previously interviewed him around the release of his 2023 EP Thoughts I Never Said, this Odeal is on the move now, currently in Dubai. Yet as the conversations unfold, the essence of the artist I spoke to two years ago remains the same, even though he is in a different place in his life. 

With all the changes since our first meeting, there is a lot to unpack. As he has grown personally and artistically, his confidence and elevation have come through across the board. He still maintains the same level of vulnerability, which has always come through in his music. Yet from the time between Thoughts I Never Said, Sunday’s At Zuri, Lustropolis and the two projects he released in the past year it feels like he has continuously grown deeper within himself and his vulnerabilities he continues to display in a way that has brought him to his current place where I once again meet him on his journey.  

Since his debut in 2017, his musical style has evolved, cementing him as one of the freshest voices in the music landscape. With all that he has achieved throughout the course of his career so far, Odeal is an artist who is at the centre of the current R&B landscape a the moment. The likes of Lustropolois and his most recent works, The Summer That Saved Me and The Fall That Saved Us, have showcased the richness of his storytelling and his ability to do so through strong production, smooth melodies, and compelling lyrical content. It is his openness and vulnerabilities that have always come across so smoothly, really showcasing him as an artist who continues to put his own stamp on the genre. 

We caught Odeal as he wrapped up a busy year. Just before closing out the year in South Africa and Nigeria, he took the time to come through and deliver a shoot that reflects his position as a cultivator in the R&B landscape. His year began with two Mobo Awards wins and was filled with shows that took him around the world, a Tiny Desk debut, and the release of two EPs. There is no doubt that all these experiences have been the result of years in the making.“For many people, it feels like it happened quickly, but I've been doing this for a long time. There is so much I've got to learn, and I've got so much to give,” Odeal shares with me as we discuss his global breakthrough and what the last few years have felt like.

Whilst on set, The Fall That Saved Us plays as one of the soundtracks as we shoot the final setup of the day. “Reason”, which features LA singer and producer Elijah Fox, opens the album and introduces a sound that is already vastly different from his previous offering. The second of two EPs brings in a darker, moodier tone that runs throughout. “The Fall That Saved Us was more like summer's afterglow. What are the things that still linger in your mind? What are the things that have been left behind, that remain in the back of your head? That's really what it was for me once everything's done, once the party's over. How do you feel? That's really what I wanted to explore on this project.” He shares his thoughts on the tone of this EP compared with its summer counterpart, released earlier this year. Whilst it feels like we have left the emotions of summer, this particular body of work echoes 2024’s Lustropolis in tone and feels like a distant echo of that body of work. In the Lustropolis state of mind, we have all been too familiar with The Fall That Saved Us; it feels like something from that world.
In comparison, The Summer That Saved Me departs from that mindset. Starting with “Miami”, which brings one into a completely different reality, readies an alternative reality. This was something Odeal felt necessary following the tone set from Lustropolis “The Summer That Saved Me was a project that I wanted for the summer, for people to leave that Lustropolis place and just celebrate, enjoy themselves, be selfish. That was the soundscape for me, that's what created that.” 

The two projects perfectly show the extent of his creativity, yet they tie together to explore the range of emotions and experiences he brings to his music. “I make music for myself a lot of the time. I'm always making music I want to listen to, and I'll keep listening to it throughout the seasons I’m in,” he says about the process that informs his ability to create music that feels so relatable and goes deeper than just good melodies and rhythms. “Some songs resonate on some days; some don't on others. As I live my life, different feelings pass; some do not pertain to my current situation. And other songs become the soundtrack to my day.” His creative process has always been informed by whatever situation he find himself in and this is something he has continuously been able to pour into his music whatever the topic, whatever the feeling created a body of work that is rooted in a deep truth and authenticity that can lacking in the musical landscape of today and is just one thing that has been able to set him apart as an artist. 

Odeal’s creativity has always extended beyond musical releases. As a cultivator, he has built more than just a fanbase around his music; he has also created a strong community that is strong and has grown beyond artist and fan. The creation of OVMBR, which began as a celebration reminder after he faced an illness, has become a movement. As a collective of artists and creatives, it has hosted community-led events and parties over the years at various locations. It is a space that fosters a community of fans and creatives and celebrates individuality, resilience, and diverse experiences that strengthen the collective. The celebration and growth of his work have always been part of Odeals' creative vision and have developed alongside his artistic career.  In its seventh year, its impact and significance have been evident throughout the year. “OVMBR was something that started as something I wanted to give to my fans. I was ill and wanted to see my fans. I wanted to see my fanbase in one place, listening to the music I liked, sharing the music they liked. I wanted to be a way of connecting,” he shares about its conception, which became another pillar that has been marked by the love and shared community that he has been able to foster throughout the years. 

Travel has always been a big part of Odeal’s life, from the years he spent growing up between Germany, Spain, the UK, and Nigeria. It is no wonder that when you listen to music, you feel a sense of unity. Whilst a core of R&B infuses his melodies and lyrical tones, beyond that, soundscapes from various global destinations are also evident. This ability to infuse, blend, and bring together sounds from around the world while maintaining his signature storytelling has allowed Odeal to flourish. 
Not only has it shaped his life and experiences, but it has also been a major part of his creative process and of how his music relates to people around the world.I am interested in how he continues to grow and develop his sound globally as he reaches new destinations and incorporates diverse sounds into his music. “The way life has opened doors to creatives around the world, allowing me to collaborate with them now, is a blessing. I can go to different places and find different vibes, inspiration, and access information on a personal level. It definitely fuels the creative.” He says that it is part of his process. However, on the other hand, when it comes to creating, he always has a fan base and people he can reach all over the world. “Having supporters in different places around the world makes the music more relatable. I know that whatever I make will resonate in a certain place.” He shares about what it feels like to go around the world and see how different people respond to his music. “If I make this song, it's going to resonate in this city or this place. I have people all around the world who are ready to listen. They're literally everywhere, and just knowing that you have a wide fan base means I can go anywhere and become like a citizen of the world,” which is something he has been able to experience firsthand in relation to his music career. As he prepares to embark on his upcoming tour, The Shows That Saved Us, which will take him across the UK and Europe before opening for Summer Walker on her Still Finally Over It Arena World tour. 

Odeal is no doubt in a special time in his career. With many miles to go and many avenues still to reach, there is a lot more to him to explore and delve into when it comes to the depth of his creativity. With the release of his Apartment Life set, we saw him tapping into a different part of himself as a DJ, which is something I must address, having heard his set not knowing it was him and which I 100% recommend. “In everything I do, I need to respect the people who came before me and those who are doing it very well. When it comes to DJing, I don't want to do it just because I’m an artist. I actually want to pay homage to the people who really do this properly,” he says of what fostered his interest in the format and how he has actually been building the skill within himself. When pressed about whether we will see more of this newfound skill and talent on display, there is definitely more on the horizon. “People will definitely be seeing more of that, infused with my production, not just playing other people's records or introducing other people to records, but also things like unreleased music I've produced. That's going to be some stuff I do.” 

There is an excitement about everything that is on the horizon for Odeal, and now he really feels like his moment to take everything in and go with it. Beyond what we discussed, he has a limitless mindset about what he aspires to do and achieve in his career. Having reached him at this point in his career, we were able to capture a special moment. Seeing where he is now from the time of our last conversation, I wonder where I will next find him on his journey. 

Our Favourite New Mashups So Far
If one were to best explain the surge of R&B music in recent years, this phenomena could be traced back to the current state of rap. Although the two genres were forged from different roots, historically speaking, these separate sonic worlds always intertwined. And as the once-dominant gangsta appeal that is prominent in rap is slowly dismantling and fading away, it leaves room for softer sounds and love anthems to flood down our headphones once again. It is all in the air wherever you look at; love season has finally returned and this is our favourite picks that have dropped this year so far.

Raindance - Dave & Tems
Is it just us or is it getting hot in here? Perhaps the duo that instantly drew us in this year is none other than Nigerian sweetheart Tems and London rapper Dave, whose No.1 chart-topping track ‘Raindance’ has a special replay button on our playlists. While the collaboration was first unveiled in November along with Dave’s latest album, it was the Lagos-shot music video released in January that really won us over and sealed the deal. It’s a dance anthem, it’s a love anthem, it is everything in between–open to interpretation by music listeners and wandering ears alike. Everyone on the internet is dancing to this song, and it seems like rumours swirling around the pair have us believing in love again.

STAY HERE 4 LIFE - A$AP Rocky Feat. Brent Faiyaz
We can all agree that almost 10 years of absence by Harlem’s finest A$AP Rocky was worth every second of the wait. And perhaps he might have accidentally ignited a comeback from R&B singer Brent Faiyaz as well, serving us everything our hearts could desire on a silver platter with ‘STAY HERE 4 LIFE.’ Now we can see why Rocky, aside from father duties, took his sweet time; he was aiming for a swaggy track coupled with harmonizing vocals that babies can be made to.

Nights In The Sun - Odeal Feat. Wizkid
There’s nothing like returning back overseas, on the plane reminiscing about detty December in Lagos, while ‘Nights In The Sun’ by Afro-fusion artist Odeal featuring Nigerian’s starboy Wizkid is playing in the background. Of course, we would know nothing about such; however, this is as far as where the track takes us. And through the carefully-crafted visuals that dropped in January, it only felt as though the feeling was amplified. At this point, Odeal has no misses in his reinvention through R&B eclectic takes. 

wyd - Plaqueboymax & Bryson Tiller 
Last but not least, on a surprising release by Streamer, producer and now emerging rapper Plaqueboymax, the young online personality really shook us to the core with Bryson Tiller on ‘wyd.’ While he is still trying to balance life in pursuit of a newly-found passion, in his first single of the year, Plaqueboymax offers a vulnerable side to him that he had not yet displayed, both online and sonically. The lyrics are raw, the music video featuring rumoured new fling Keke Palmer is steamy, and Bryson has the ability to create the perfect atmosphere of melodies into the ensemble.

Clarence Ruth is not interested in art that stays behind glass. A multidisciplinary force, spanning fashion collaborations with Mercedes-Benz and Tommy Hilfiger to fine art, Ruth’s latest exhibition at Ki Smith Gallery reimagines the 135-year legacy of the Carrom Company. By transforming vintage gameboards into canvases, he explores the intersection of heritage, communal joy, and the necessity of thinking outside the box.

You’ve mentioned your upbringing in a large household influenced this project. How did those early years shape your view of play as art?
I grew up in a deeply structured, faith-centered household where art became my sanctuary of unstructured thought. We didn’t always have the latest technology, so gameboards like chess and dominoes were how we bonded, they brought us into communion away from screens. In my community, these boards are where elders pass down lessons of strategy and patience. Using them as canvases felt organic, because our leisure and our joy are worthy of being celebrated as legitimate art.

When you look at a vintage 135-year-old Carrom board, do you feel restricted by its history?
I perceive both its history and its latent possibility. I have deep reverence for the 135 years of heritage and the generations of hands that touched these boards before mine. But I also see an opportunity to layer a contemporary narrative onto that foundation. These boards have already lived meaningful lives, now they get to carry new meanings and ignite different conversations.

What is the essential vibe in your studio to get into the Clarence Ruth headspace?
It starts with prayer. to center me and connect me to my purpose. Once I’m immersed, music is the force that carries me forward. Artists like D’Angelo, Keyon Harrold, and Pharoahe Monch create the sonic landscape. Their sophistication and improvisational qualities remind me to stay fluid and responsive to what the work is asking for.

Walking into Ki Smith Gallery, you realise you aren’t just looking at pieces, you’re looking at a reclamation of imaginative freedom. The genius of Clarence Ruth is rooted in his intentionality.

By refusing to stick to a single theme, Ruth ensures that people from all walks of life can connect with at least one piece. While the styles vary from technical precision to soulful sketches, the lack of a uniform aesthetic is the point, it represents our diverse world coming together in one space. If we can all come together on common ground, represented here by the Carrom board, it proves we have much more in common than we think. Ruth is deliberate with these differences. He doesn’t see them as a negative; he uses them to create what he calls a “sustained chaos” that gets people talking and interacting.

The exhibition also features Knock Hockey boards, which provide a beautiful, framed-canvas feel. Ruth was adamant that these boards retain their playability, they are meant to be touched and felt. In a world where the youth are glued to screens, he is using these boards to encourage us to look at one another and enjoy physical presence.

Clarence Ruth is a true originator. Whether he is designing fashion or painting his “Oreo” series to discuss identity, his work is about expanding beyond narrow categories. This exhibition is a blueprint for the future of creative innovation. As I left the gallery, I was reminded that art is most powerful when it stops being a distant object and starts being a lived experience.

“The artist cannot and must not take anything for granted, but must drive to the very heart of every answer and expose the question the answer hides. I am what time, circumstance, history, have made of me, certainly, but I am also, much more than that. So are we all.” — James Baldwin

Clarence Ruth proves that while the rules of the game are set by the past, the way we choose to play is what creates the future.
All photographs byJelani Warner.

Deep within the architectural pulse of New York, where the echoes of European Gothic design meet a relentless "NEO" philosophy, jewelry is being redefined. In this landscape, Alex Moss does not merely create accessories; he constructs modern relics, physical manifestations of personal history, rendered in gold and stone. While many brands default to the safe and conventional, Moss operates through a non-conventional lens, approaching jewelry as architectural structures rather than simple decorations.

When we go with what we love, a gift becomes deeply impactful. Alex Moss acts as a translator for his clients’ personal narratives, building each piece as a meticulous exercise in visual language designed to communicate the wearer’s identity. That specificity separates his work from the world of mass produced luxury and has drawn cultural icons such as Drake, A$AP Rocky, Tyler, the Creator, and Playboi Carti into his orbit. For these individuals, a piece from Moss is not just a purchase; it is a collaboration born of a specific, shared vision. By building symbols rather than just setting stones, Moss ensures that the jewelry feels organic, true, and purposeful.

To join this circle of owners is to shift one’s perspective on value, and that shift is what makes Alex Moss a compelling choice for Valentine’s Day. Moss himself frames his work as a long-term investment, drawing a distinction between what he calls the “Bentley” of craftsmanship and the “Honda” view of standard retail. These are heirlooms intended to be passed down through generations, not accessories that fade with the season. The technical excellence is uncompromised: gold foundations, secure settings, high-grade diamonds with VS+ clarity and D-F color for maximum brilliance, and micro-pavé techniques meticulously applied to capture light at every angle.

Taking inspiration from the St. Marks aesthetic and the study of European Gothic style, Moss creates work that carries both weight and edge, pieces that feel as enduring as the forms they reference. His “NEO” philosophy draws on the tension between ruins and futurism, visible in bold, sculptural forms like the Nirvana Cross. Whether through the sharp lines of the Wild Rose or the deliberate use of Light Pink Sapphires to soften an otherwise heavy silhouette, his creations tell a story that goes beyond ornamentation.

Ultimately, an Alex Moss piece moves beyond the tired clichés and familiar gestures of Valentine’s Day gift-giving. When you choose a gift of this caliber, you are not purchasing an accessory; you are securing a legacy-based investment. Much like a profound love, the value of an Alex Moss creation is designed to increase over time, mirroring the depth of the bond it represents.

From Bethann Hardison to Katoucha Niane, these models have redefined fashion across generations

From the 1950s to today, Black models have shaped how fashion looks, and sit at the centre of fashion’s evolution, even as the industry struggles to move in step. Since the mid-20th century, they have shaped its imagery, expanded its imagination, and redrawn the industries boundaries. Their influence is embedded in fashion’s visual archive — visible everywhere, but frequently positioned at its margins. Across decades of shifting aesthetics and unfinished conversations about inclusion, Black models have continued to move the industry forward, often with recognition lagged behind their labour.

With the rise of fashion media in the 1950s to today’s hypervisible landscape, modelling has operated within narrow definitions of beauty and belonging. Agencies, designers, and editors repeatedly privileged a singular body type and skin tone, turning exclusion into structure rather than exception. Within these limits, Black models carved out space. Through presence, precision and refusal, they expanded what fashion permitted itself to see.  Black models have carried fashion forward visually even as the industry resists moving with them structurally. Their labour has widened the language of beauty, challenged the geography of luxury, and forced the industry into conversations it routinely tried to defer.

Naomi Campbell and Iman reshaped the global runway, scaling Black visibility at a time when access remained tightly controlled. Beverly Johnson altered the politics of fashion media after becoming the first Black woman to appear on the cover of American Vogue. Others shifted the industry no less decisively — from Mounia becoming Yves Saint Laurent’s first Black muse to Alton Mason walking for Chanel, rewriting the codes of luxury from within.

These moments established foundations. They altered the terrain, allowing younger generations — the faces now defining contemporary fashion — to arrive into a landscape already changed by those who came before them.Today, Black models move through fashion with a different kind of visibility. Their faces anchor campaigns, open shows, and shape seasons in real time, circulating endlessly across screens and runways. Their influence is clear, even as questions of power, authorship, and access remain unresolved.

Despite institutional inertia, Black models continue to reshape fashion’s visual language from within. From Adut Akech’s sustained presence on international runways to a new generation of African and diasporic models redefining casting norms, their work accumulates into something larger than any single season.

As Black History Month progresses, we are reflecting on the Black models who shaped fashion as we know it today across decades, and their sustained presence that moved through an industry that rarely moved in step.

‍Bethann Hardison

Emerging in the late 1960s, Bethann Hardison became one of the first high-profile Black models in the U.S. Her early career reached a turning point in 1973 at the Battle of Versailles, a historic runway event that placed American designers and a group of Black models on an international stage. For many in attendance, it was the first time models of colour appeared on runways of this scale.

Hardison’s walk during Stephen Burrows’ segment became one of the evening’s defining images. Wearing a canary-yellow gown, she reached the end of the runway, dropped its train to the floor, and held her position, meeting the audience’s gaze without movement. The gesture disrupted the formality of the show and electrified the room. From there, Hardison’s modelling career accelerated within an industry that continued to treat Black models as exceptions.

By the mid-1970s, her work extended beyond the runway. Hardison moved into creative direction and production, collaborating with designers including Stephen Burrows, Kansai Yamamoto, Issey Miyake and Valentino Couture. Her involvement with Valentino connected her to Manifattura Tessile Ferretti, at the time a key swimwear licensee for leading Italian fashion houses, placing her within the mechanics of global luxury.

In 1980, Hardison joined the newly formed Click Models, where she helped reshape approaches to representation and career development. During her tenure, she worked with emerging talent who would later become industry fixtures, including Whitney Houston, Talisa Soto, Tahnee Welch and Elle Macpherson. Four years later, she founded Bethann Management, an agency built on an expanded understanding of beauty and opportunity. Beginning with seven models, the agency grew to represent more than seventy-five men and women across racial and ethnic backgrounds. The focus was structural presence and sustained careers rather than symbolic inclusion.

That same commitment guided her co-founding of the Black Girls Coalition in 1988 alongside Iman. Initially created as a space for connection and collective support among Black models working in high volume at the time, the group quickly evolved into an advocacy network. With members including Naomi Campbell, Veronica Webb, Karen Alexander, Roshumba, Beverly Peele, Cynthia Bailey, and others, the Coalition addressed issues ranging from racism in advertising to broader social inequities affecting Black communities.

Over time, Hardison became one of fashion’s most direct and consistent advocates, openly challenging designers, editors, and institutions to confront racial exclusion within their systems. Her work has continued to expand, encompassing runway accountability, support for emerging designers, and directing and film projects that examine fashion’s cultural power.

Her influence remains ongoing. Through decades of sustained intervention, Hardison has shaped fashion by insisting it accounts for the labour and presence it depends on. The recognition she has received throughout her career shows the scale of her impact and the enduring relevance of her voice.

‍Katoucha Niane

Born in Dakar, Katoucha Niane was a Guinean model and activist who entered fashion in the 1980s with a presence that resisted containment. Often referred to as the Peule Princess, she was among the first African models to move through European fashion at scale. Her career began in France, where she was first noticed by Jules-François Crahay at Lanvin. Initially hired as a fitting model, she quickly transitioned onto the runway. By the mid-1980s, Katoucha was walking for Thierry Mugler, who later made her one of the faces of his Spring/Summer 1988 campaign. Her work soon extended across the major houses of the era, including Azzedine Alaïa, Christian Dior, and Paco Rabanne.Katoucha’s presence reached a defining moment when she became the face of Yves Saint Laurent, succeeding Rebecca Ayoko and cementing her position within the highest tier of couture. As a muse to both Saint Laurent and Jean Paul Gaultier, she occupied fashion’s most rarefied spaces, and throughout her career, Katoucha refused the expectation that African models explain themselves. She moved through runways and magazine covers declining the burden of translation frequently imposed on Black bodies in European fashion.

In the mid-1990s, Katoucha stepped away from full-time modelling to explore other ventures, including launching a fashion line in Paris for a season. She later appeared as a juror on the French television programme Top Model and, in 2006, founded Ebène Top Model in Dakar. The competition was created to support and platform emerging African models and provide industry access. 

Beyond fashion, Katoucha’s commitments extended into activism. She was a vocal advocate for women’s rights and dedicated significant effort to raising awareness around female genital mutilation. Through collaboration with non-governmental organisations and the founding of Katoucha Pour la Lutte Contre l’Excision in Senegal, she worked to advance education and protection for women and girls. Katoucha Niane’s legacy rests in the convergence of beauty, politics and conviction. 

Naomi Sims

Born in 1948, Naomi Sims encountered repeated rejection from modelling agencies, some of which told her directly that her skin was too dark for their books. Rather than waiting for permission, Sims bypassed the gatekeepers altogether. Her breakthrough came through direct collaboration with photographers. In 1967, Gösta Peterson photographed her for the fashion supplement of The New York Times, marking a rare moment of mainstream visibility that reframed how Black women could be seen within fashion media. The image shifted perception, and momentum followed.

Soon after, Sims was selected for a national television campaign for AT&T, wearing designs by Bill Blass. The campaign propelled her into international recognition, and by the end of the decade, she had become the first African American model to appear on the covers of Ladies’ Home Journal and Life magazine. These milestones signalled a broader cultural shift in who could occupy the centre of American visual culture.

Sims’ influence extended beyond the runway. In 1973, she shifted from modelling to launch her own business, beginning with a wig line designed to reflect the texture and reality of Black hair. The venture was both commercial and corrective, responding to a market that had long continued to fail Black women.Sims also went into publishing. Beginning with All About Health and Beauty for the Black Woman in 1976, she authored several books focused on care, confidence and professional success with All About Hair Care for the Black Woman and All About Success for the Black Woman. This positioned her at the forefront, especially at a time when Black women were rarely addressed directly by the beauty industry.

Alongside her business ventures, Sims remained engaged with community work, supporting initiatives for young people, veterans and civil rights organisations. Across these efforts, she embodied a philosophy that extended beyond aesthetics. Her career asserted that Black beauty deserved visibility, investment, and care on its own terms. Naomi Sims helped establish a model of influence that reached past fashion’s surface. Through image, enterprise, and advocacy, she gave shape to the idea that Black visibility could also mean Black ownership, agency and self-definition.

‍Beverley Johnson 

While studying at Northeastern University, Beverley Johnson began modelling during a summer break in the early 1970s, quickly securing editorial work that led to a steady rise through fashion media. In August 1974, she became the first Black woman to appear on the cover of American Vogue. This was a seismic shift in fashion’s visual politics and American editorial culture, and its impact was immediate. Within a year, Black models were appearing with greater frequency across U.S. fashion houses, showing a change in industry practice at the time. 

Johnson’s career accelerated through the mid-1970s as she appeared on dozens of magazine covers, including a second Vogue cover and a solo cover for Elle, another first for a Black model. She moved fluidly between editorial and runway, working with designers including Halston, Ralph Lauren, Calvin Klein, and Oscar de la Renta.

Johnson transitioned into entrepreneurship early, developing beauty and hair ventures, and in the 1990s, she expanded into lifestyle branding. She has maintained a visible presence on the runway while turning toward advocacy. Through initiatives such as “The Beverly Johnson Rule” launched in 2020, she has continued to press fashion, beauty and media institutions toward measurable diversity commitments. 

‍Iman

Discovered in the mid-1970s, Iman quickly became one of fashion’s most sought-after faces. Her work with photographers such as Irving Penn, Herb Ritts, and Richard Avedon placed her within the highest ranks of editorial fashion, while designers including Yves Saint Laurent and Gianni Versace embraced her as a muse.

Iman’s modelling career unfolded across runways and campaigns for houses like Halston, Givenchy and Chanel. She appeared on multiple Vogue covers and became emblematic of a shift in how African beauty could exist within Western luxury without explanation or performance. Yet even as she occupied fashion’s most elite spaces, Iman remained acutely aware of the industry’s racial mechanics. Having grown up in a country where Blackness was not marked as difference, she was struck by the way fashion insisted on categorising and limiting Black models as a separate class.

In response, Iman helped reshape fashion’s internal politics. Alongside Bethann Hardison and Naomi Campbell, she co-founded the Black Girls Coalition in 1988, an initiative that challenged tokenism and encouraged collective visibility over competition. The group’s work extended beyond symbolism and leaned into directly confronting designers and institutions when casting practices showed exclusion disguised as trend.

After retiring from modelling in 1989, Iman launched Iman Cosmetics to address the beauty industry’s refusal to cater to darker skin tones. The brand became both corrective and precedent-setting. Alongside her business work, Iman has remained deeply engaged in humanitarian efforts, serving as a global ambassador for organisations addressing emergency relief and health crises. ‍

Naomi Campbell

Scouted as a child, Naomi Campbell’s career unfolded alongside the rise of the supermodel era, where she stood shoulder to shoulder with Cindy Crawford, Linda Evangelista, Christy Turlington, and Claudia Schiffer. Their collective presence defined fashion in the early 1990s, crystallised in moments like George Michael’s Freedom! ’90 video, which blurred the lines between runway, celebrity and pop culture. Campbell’s success was expansive in scale. She went on to work with nearly every major fashion house, appeared on hundreds of magazine covers, and in 1997 became the first Black woman to open a Prada show, shifting long-held hierarchies within European luxury.

Decades into her career, Campbell’s influence has only sharpened. In 2018, she received the CFDA’s Fashion Icon Award, acknowledging both her longevity and impact. In 2024, London’s Victoria and Albert Museum opened Naomi: In Fashion, the first major museum exhibition devoted to a single fashion model, placing her work within an institutional archive usually reserved for designers. Campbell’s career demonstrates how sustained presence can evolve into cultural authority, and expand the limits of what fashion is willing to preserve, celebrate and remember.

The groundwork laid by these earlier pioneers, and the generations after, have carried forward through figures who’ve expanded Black modelling into new forms of influence. Iman, through her beauty brand, exposed the industry’s long-standing failure to serve Black consumers, even as it continued to profit from Black aesthetics.

Bethann Hardison, Naomi Campbell and Iman together formed the Black Girls Coalition in 1988, which shifted conversations from inclusion as image to inclusion as practice — publicly urging major fashion houses to commit to using Black models at a structural level rather than as seasonal gestures. Beverly Johnson’s historic appearance on the cover of American Vogue marked another decisive shift. Her success with European designers such as Hubert de Givenchy and Yves Saint Laurent signalled a widening of fashion’s visual language, influencing casting practices as brands increasingly placed Black models at the centre of their collections.

Today, Black models continue this lineage from within the global fashion system. Their presence circulates across runways and campaigns in fashion capitals worldwide, shaped by a legacy built through decades of intervention and refusal. This presence, however, remains uneven and provisional. Recent Milan and Paris Fashion Weeks offer a clear example, where the return to narrow, racialised aesthetics at houses such as Dolce & Gabbana shows how quickly the industry reverts once scrutiny fades. Progress is still measured through moments and milestones rather than sustained shifts in casting power, creative control and authorship.Taken together, these figures show Black modelling as an ongoing practice of expansion, one that continues to reshape fashion’s visual language from within.

Haute Couture Spring/Summer 2026 in Paris seemed to press its ear to the ground. Across the runways, there was a collective turning toward the earth — not necessarily as a literal landscape, but as a source of texture, direction and meaning. Dior, Chanel, and Schiaparelli each arrived at this impulse differently, but together they traced a shared desire to root fantasy in something organic: the floral, the whimsical, the otherworldly. Couture, which is often imagined as untouchable, felt distinctly alive and unearthed.

At Dior, the earth bloomed. Jonathan Anderson’s couture debut framed the natural world as a question of form, volume and internal logic. Drawing from the ceramic work of Kenyan-born British potter Magdalene Odundo, the collection approached couture through sculpture rather than garment-first thinking. Lightness was a technical challenge instead of a visual effect. Rounded silhouettes and projecting forms were developed through extensive prototyping, with the atelier working alongside specialists from architectural disciplines to engineer internal frameworks capable of holding shape without weight. Materials such as piano wire and densely gathered tulle formed unseen architectures beneath the surface.

Then came the flowers. 

Floral elements appeared insistently and everywhere, not as embellishment but as connective thread through the entire collection. They surfaced as earrings, bloomed across dresses, emerged on shoes, and threaded the collection together in full saturation. Embroidery and flower-making operated structurally, binding the looks into a single ecosystem rather than isolated statements. Anderson did not reference nature sparingly; it was cultivated until the collection felt entirely in bloom.

The collection was presented alongside an exhibition at the Musée Rodin that placed Anderson’s designs in dialogue with Dior’s archive and Odundo’s ceramics, and the collection positioned couture as a fine practice of material inquiry.

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Chanel’s Haute Couture presentation was lighter, more mischievous in comparison to Dior. Under Matthieu Blazy, whimsy operated as a form of logic, guiding how the clothes moved, hovered and dissolved on the body. Feathers suggested motion, proportions gently disrupted expectation, and surfaces carried the impression of air even at rest. Tweeds, which is long central to the house, were subtly dyed to echo owl feathers, while a cocoon dress with rounded brown sleeves and a ring of red at the neckline recalled the markings of a woodpecker. Elsewhere, peacock prints, beetle-like volumes, and their repeated motifs resembling hand-drawn feathers or scales reinforced the collection’s natural references.

This lightness was carefully constructed. Feather effects were achieved through cut-thread embroidery and layered applications instead of leaning into literal volume. Painted organza and meticulously dyed tweeds required precise control to maintain softness and still hold its structure. Bead embroidery was used sparingly, catching light without anchoring the garments visually. The mood was dreamlike but grounded, and shaped by simplicity and precision. Couture at Chanel narrowed its focus, stripping back to essentials and allowing craftsmanship to speak through restraint.The garments themselves appeared effortless. However, that ease risks being misread as the opposite of couture, so it depends on exacting control. Blazy’s Chanel proposed a form of couture rooted in observation and material intelligence, and the fantasy was able to emerge through this refinement.

Schiaparelli, as expected, left the ground entirely (but remained tethered to it in spirit). In his show notes, Daniel Roseberry traced the origin of the season to a visit to the renowned Sistine Chapel in Vatican City, where, in contrast to narrative painting that instructs, Michelangelo’s ceiling suspends meaning and privileges feeling. What mattered, Roseberry notes, was not representation but response. The collection took shape around that shift, asking not what couture should look like, but how it should feel.

That recalibration translated into silhouettes built around tension and excess. Roseberry described the central figures of the collection as “infantas terribles,” creatures drawn from scorpions, snakes, and birds, with their aggression woven directly into form. Sharp strokes became stingers, squiggles hardened into tails and teeth. These looks pushed upward and outward, treating couture as something that defies gravity and not clothing that necessarily conforms to the body. 

The technical execution justified the scale of the fantasy. Lace was hand-cut and sculpted into bas-relief to create depth and shadow. Feathers appeared both real and simulated, painted, airbrushed, dipped in resin or crystallized. Neon tulle was layered beneath lace to produce a softened, atmospheric effect. Each look was built around a named identity, from “Isabella Blowfish” to jackets saturated in the colors of birds of paradise. Accessories extended the mythology, with artificial bird heads rendered in silk, resin, and pearl, nodding to Elsa Schiaparelli’s longstanding fascination with animal life.

Schiaparelli’s contribution to the season embraced nature as something volatile and theatrical. Roseberry leaned into excess, sensation, and transformation. The collection argued for couture as an emotional instrument, one that uses extreme craft to grant permission to feel rather than just explain.

Together, these collections were literally and figuratively grounded but somehow offered escape. Not escapism detached from reality, but a re-enchantment of it. The sources were clear: imagined gardens and creatures, distant lands, and unfettered creativity. What anchors these visions collectively was not fantasy alone, but the labor of it all. Each look is a record of thousands of hours spent in the ateliers, shaped by the hands of artisans whose expertise turns ideas into the pieces displayed. In couture, imagination only becomes real through devotion.

This season reignites one of fashion’s oldest debates: where does the fantasy of haute couture truly reside? Is it in theatrical gestures, dramatic silhouettes and spectacle? Or does it live in something more restrained — an invisible excellence, a technical precision so refined it borders on the impossible? Chanel’s subtler showing this season, in particular, invites this question. Can restraint itself be fantastical when the craftsmanship is flawless?

“So many people ask me what the point is of couture. It’s certainly not to create clothing for daily life. But for me, couture allows me to connect with the hopeful adolescent I once was, the one who decided to not go into medicine or finance or law, but to chase that singular fantasy that fashion can still provide,” said Daniel Roseberry in his notes for Schiaperreli’s The Agony and the Ecstasy.

This discourse matters because couture is so often misunderstood. Its value is not determined by trend cycles or runway theatrics, but by method and imagination stretched far and wide. Haute couture is defined by process, by artisanal construction, inherited techniques, and a standard of execution that cannot be replicated at scale. These garments are built, not assembled. Their language is hidden in seams, linings and structures the eye may never even fully see. Chanel’s SS26 collection makes this distinction especially clear. Here, labor is deliberately concealed rather than staged. Techniques like calibrated dyeing, cut-thread embroidery, feather work and material layering operate beneath the surface. The absence of overt drama does not signal ease, but discipline, and reflects a couture tradition where mastery can be measured by control and restraint.

Couture has never been about realism or utility. It exists as a space of projection, where imagination, obsession and labor are taken to their furthest edge. What justifies couture is not its wearability, but its insistence on doing things at a scale that resists efficiency. In an industry increasingly driven by speed, replication and disposability, couture remains one of the last places where time itself is treated as a material.

And so, as SS26 couture drew from flowers, fauna, and imagined worlds, its foundation remained largely unchanged. Haute couture continues to operate at the intersection of fantasy, discipline, vision and technique. It preserves ways of making that would otherwise disappear. Couture sets a benchmark for what craft can be when it is not optimized into trend or productivity. Its value lies in refusal: a refusal to rush, a refusal to flatten ideas and a refusal to allow skill to become obsolete. It’s rooted in craft and shaped by human hands, and continues to reach beyond the possible, holding space for imagination to become something timeless.

‍While the fierce final between Senegal and Morocco unfolded on the pitch in Rabat, a parallel celebration of football culture kicked off in the backstreets of London. 

Dubbed "The Kickback," this event was more than just a watch party; it was a vibrant, organic convergence of fans, fashion, and rhythm that transformed a local rivalry into a unifying celebration of African football and street culture. Held in a converted warehouse space, The Kickback served as a cultural hub, drawing in a diverse crowd of London's creative youth, football fanatics, and culture curators. Amidst the electric atmosphere, the humble Chuck Taylor’s emerged, not by design but by consensus, as the unofficial uniform of unity.The Uniform: Chucks as the Common Ground.

As the London sun set and the crowd swelled, the dress code became an unspoken statement. One element was universal: classic Chuck Taylors. From the high-top 70s vintage to the worn-in low-cut originals, they were a spectrum of different styles, colours, and conditions, each pair telling its own story. The sneaker, a global symbol of effortless cool and creative rebellion, transcended national loyalties and became a neutral territory where fan identity met streetwear chic. The sheer ubiquity of the shoe proved that off the pitch, style was a shared, accessible language for everyone at The Kickback. It subtly underscored the event's ethos: a focus on shared culture over fierce competition.Panel Insight: Culture, Career, and Community 

The evening’s energy was momentarily redirected by a dynamic and insightful panel discussion, expertly hosted by the celebrated culture commentator, Kenny Jonathan. The conversation brought together a trio of accomplished professionals— Fashion Stylist Algen Hamilton, Footballer Josh Nichols, and Marketing agent Subomi Odanye. 

The discussion delved deep into the panellists' respective career journeys, offering invaluable firsthand accounts of their experiences, the pivotal lessons they have learned along the way, and the challenges they have overcome to achieve success in their highly competitive fields. They spoke candidly about navigating their industries, from securing initial opportunities to establishing a unique professional voice. 

A central theme of the talk was the profound importance of culture—not only as a broad societal concept but as a defining, intrinsic element of their personal and professional identities. The panellists articulated how their cultural backgrounds—Nigerian, Ghanaian, and Jamaican heritage, respectively—have fundamentally shaped their values and morals, informed their creative outlook, and served as a constant source of inspiration and resilience. They discussed the interplay between their heritage and their work, highlighting how this synergy has enabled them to create authentic, nuanced, and impactful work within their fields, stressing that authenticity is the ultimate currency. 

Furthermore, the discussion offered a crucial, forward-looking perspective, providing the audience—particularly the new generation of creatives—with a clear foresight into the potential impact of their current endeavours. Hamilton, Nichols, and Odanye shared their collective vision for how the work they are doing today is contributing to a meaningful, positive shift within their communities. Their goal was clear: to inspire, mentor, and actively open doors for aspiring creatives who share similar backgrounds. The talk served as a powerful testament to the idea that professional success and cultural identity are deeply interwoven, and that a commitment to both is not merely admirable but essential for driving future innovation and community enrichment across London’s cultural landscape.Atmosphere: More Than a Watch Party 

The event was a sensory overload, expertly curated to engage every part of the mind and body. A giant projector screen broadcast the tense, high-stakes match, but the space around it vibrated with its own self-generated energy, making the football only one piece of a larger cultural mosaic: 

● The Soundtrack: The air was filled with an expertly layered musical journey. DJs seamlessly blended the complex, polyrhythmic beats of Senegalese mbalax with the hypnotic, driving rhythms of Moroccan music, creating a unique cross-continental soundscape. As halftime hit, the vibe shifted to a unifying burst of Afrobeats and Amapiano to keep the balance, guaranteeing continuous movement. 

● Culinary Corner: The pop-up food stations were a celebration of London's diverse culinary scene. Offerings included authentic Nigerian cuisine from Tasty's, a highly-regarded local catering business, standing alongside Nando's, the iconic UK food staple. This blending of local entrepreneurship with mainstream favourites mirrored the crowd’s own diversity. 

● The Real Competition: The most heated competition wasn't always on-screen but at the table football arena. Teams, often comprised of Moroccan and Senegalese supporters, battled for bragging rights settled in quick, friendly, and intensely competitive tournaments, proving that camaraderie could win over rivalry. 

The Final Whistle & A Shared Vibe 
When the controversial final whistle blew on screen, marking the end of a chaotic match, a complex, suspended silence fell momentarily over The Kickback. For a brief, shared instant, the tension and disappointment from the final were palpable. Then, with a deft touch of cultural therapy, the DJ dropped a timeless classic track—a unifying anthem that transcended the match result. The crowd erupted, not in protest, but in collective dancing. The Chuck Taylors, now slightly dusty and scuffed from a night of movement and celebration, kept rhythmically moving on the warehouse floor. 

Background on the Match: The final between Morocco and Senegal was poised to be a historic celebration of African football's ascent. Instead, it will be remembered for one of the most chaotic and controversial endings in the tournament's history. On January 18, 2026, at the Prince Moulay Abdellah Stadium in Rabat, Senegal defeated host nation Morocco 1-0 in extra time to claim their second continental title. However, the hard-fought victory was completely overshadowed by a stoppage-time walk-off protest by Moroccan players, violent fan clashes in the stands, and a shocking, high-stakes penalty miss that added to the deep drama of the night. 

The Kickback demonstrated that football's true, enduring spirit flourishes far from the stadium lights—it's found in the vital, community-building space it creates. It’s a space where a shared love of the game is merely the launchpad for a deeper cultural conversation. Much like the panellists discussed, this event affirmed that a commitment to one's cultural identity and community is the essential foundation for innovation and building a path for the next generation. This convergence allowed attendees not just to witness a match, but to connect with each other, feel inspired by the stories of creatives, and embrace a moment of collective belonging. The Chuck Taylors, scuffed and worn by the night's end, weren't merely shoes; they were the visible common ground at an unforgettable party, cementing The Kickback as a vital, inspiring fixture in London's cultural calendar.