All the trends from Lagos Fashion Week: voluminous edges, bold metallics and kitschy florals – Essence

Designers presenting statement pieces was the unannounced theme of the latest Lagos Fashion Week. It felt like the audience was waiting for it as they applauded every time there were big moments. One highlight? Frank Aguno, designer of Fruche, put on a light-hearted performance when a model threw a tote bag at a patron. Hugo Monier had two surprises; Davido walks the runway with fellow designer Sandra Tubobereni, who has also modeled for menswear. Eki Kere has created a stunning collection made up of unusual uses of raffia. And the highlight from Iamisigo was a magnificent veil embroidered with beads. There were many other things that stood out – we’ve rounded them all up below and I spoke to a few designers to find out about their inspirations.

Banke Kuku opened the LFW season in October this year and records were set for the brand. The 43-look collection felt like a three-course meal; it featured swimwear, ready-to-wear and a nightwear line. It was just wonderful because the prints showed the weight of history. The collection was called Oceans, highlighting Kuku’s optimism while shedding light on bodies of water and our duty to care for the planet. The scenery was reminiscent of the dream of Atlantis; bold column designs with fish carvings and seaweed sculptures, and a water bubble maker for dramatic bubble effects. What made this collection intriguing was the color choice: Kuku ensured that all the prints were in vibrant colors that paired well with the lustrous floral silk materials. The designs were grand, too—think long kimonos, form-fitting styles and high-collared capes.

Desiree Iyama then showed off an impressive line. Her new collection is filled with vibrant colors, materials and designs. It didn’t matter that the collection was called “Crab and Lobster: Timeless Sustainability,” each look made an extraordinary statement. At first glance, it seemed sensual: a draped two-piece set, two fishtail dresses, one with a neat slit at the back, a red polka dot dress, a cozy kimono and flared pants. “I was inspired by the wonders of nature,” Iyama said. “In particular, the ability of crabs and lobsters to adapt and thrive in turbulent environments resonated with me. Their sustainability and transformative qualities guided my design process, combining elegance with sustainability.”

The designer also used 3D embroidered appliqués and lightweight printed fabrics to create flowing waves. Elsewhere in her collection, there was a full gown with shimmering tulle detail on the bust, as well as crab embroidery that featured in most of the looks.

Oríré’s latest collection, Everyday Is A School Day, debuted with a variety of impressive silhouettes. As the models walked through Oríré Aleshinloye’s creations, I spotted a vibrant butterfly dress, an off-the-shoulder dress, three Oríré denim print looks, and a pair of black gloves that completed the final look. For Aleshinloye, the collection was inspired by a journey through continuous learning. One red dress with a puffy border offered a compelling take on the ongoing trend.

“As a creative and a brand in general, we are (always) forced to learn something new,” Aleshinloye told ESSENCE. “Every Day is a School Day is about adaptability and celebrating learning. We see ourselves working with prints throughout the collection, as well as bringing back old signature styles and making them more refreshing.” She added that she worked with multiple shades and aimed to combine old and new.

Where other designers have failed to succeed, Michelle Adepoju’s latest Kíléntár models have walked the runway in experimental creations. After her debut at New York Fashion Week a month ago, she felt it was important to bring home the “Mama Ibeji” collection and attract the attention of 1,000 people in the LFW tent. What followed was a magnificent collection presented with echoes of Oriki or Yoruba verses in praise.

The idea behind the collection was clear: to create a new twist on feminine glamour, incorporating elements of Yoruba culture. This was evident in detailed storytelling elements through materials that were somewhat eco-friendly, such as the open-chest minidress made from asuke. Adepoju also showed off some waves in a slit dress and a white dress with a ruffled hem. A metallic skirt and blouse also made its way down the runway, accompanied by a rose petal minidress. I also loved the off-the-shoulder blouse that could be worn with a layered skirt.

Oshobor Odion Peter made a fiery statement by choosing the color red for every look as he took us to Benin Kingdom and lit up the Oba’s courtroom. The Queen opened the show in a red fringed dress, then the girls entered wearing a gold belt around their waist. Next came the royal guards, then the advisors donned the cream designs, then came the chief priest and finally the king himself.

Despite the debut of their spring/summer 25 collection in Paris a month ago, Lagos Fashion Week featured a presentation of the Lagos space program, with models walking down the runway to the sound of Yoruba talking drums. Titled “The New Lagos Look,” the collection is a new play on materials; especially denim; denim coats, open-chest denim jackets, blazers, metal belts, cropped sweatshirts, maxi pants and long open-chest shirts, and some styles are accessorized with unique necklaces.

One of the obvious failures of this year’s Lagos Fashion Week has been the shift to the comfort zone. It felt like some designers weren’t willing to take risks and create more complex designs that audiences hadn’t seen on the runway. The woman sitting next to me on day three mentioned that she thought some designers were still following Pinterest trends. I agreed with her – and it pointed out why some of the designs from two or so designers looked the same, but with different fabrics and colorways. While I understand the designers’ hard work and how much of the focus is centered around a specific group of looks that they consider to be their strongest armor, I decided to leave everything else as collection filler. However, brands like Oshobor and Ugo Monye have reinvented their codes and created improved versions of their designs.

Overall, there was little experimentation at Lagos Fashion Week this year, especially in materials, garment construction and the stories behind each collection. I witnessed the use of jute fabrics and metallic two-pieces from Kíléntar, chunky knits from Loves from Jules and beadwork from Iamisigo. It has been a pleasure to meet designers who are raising the bar beyond what is already known and creating innovative designs that are pushing the industry forward here in Nigeria.