As humans, the clothes we wear are key components of our lives. Dissecting behavioral patterns regarding personal style across different countries is a function of varying factors cutting across climate, cultural diversity, socio-economics, gender identity, and even politics. In the globalized world we live in, there’s an unspoken rulebook of wardrobe cues—much more than putting on the basics—and for Africans living on the continent, this becomes far more nuanced. Here, the art of dressing up is strongly linked to the factors listed above, even within modern, gentrified major cities where you’d expect a homogenized way of life. Case in point: Lagos, Nigeria, a multicultural megacity united by its ubiquitous pursuit of prosperity, colloquially known as “the hustle”. The bustling metropolis is home to over 20 million Lagosians who balance a strong work ethic with a deep love for celebrations and parties. It’s this palpable gusto for life that defines its inhabitants’ extravagant approach to dressing.

Mirroring global economic capitals like New York and London, modernity took centre stage in the 1990s. Minimalism grew in popularity, with muted tones, clean lines, and unfussy silhouettes infiltrating the different facets of daily life. While it may have trickled down to the ready-to-wear boutiques spread across Lagos' Ikeja G.R.A and Surulere shopping circuits, the pared back aesthetic never fully penetrated the ateliers of the bespoke tailors who provided the party-loving city residents with traditional regalia for their weekly soirees, events popularly known as Owambes. Even now, the love of festive dressing is one of the reasons aso-ebi culture—which is essentially the business of creating bespoke party attire for attendees—is one of the easiest markers of trend-spotting across the city. It’s one of the many reasons why industry titans like Deola Sagoe have come to define the trends of Nigerian women for the past half-decade. With her luxurious Komole range, an offshoot of her label’s custom offerings focusing on the needs of this demographic, she created a fabric that can be described as a unique blend of homegrown aso-oke woven with silk, a technique which took almost twenty years to meticulously develop. For most Nigerian brides getting married traditionally, the Komole is an identifier of high taste and exceptional quality. These opulent pieces are also a reflection of the multimillion-dollar wedding market, which Lagos plays host to. 

Fashion consumerism changed rapidly at the onset of the 2010s, largely due to advancements in technology and the popularity of early e-commerce channels like Net-a-Porter. These disruptors permanently impacted the way fashion creators conceptualize their collections today. With the onset of homegrown fashion weeks and subsequently, dedicated ready-to-wear lines, local designers have learned to navigate this shift accordingly. Oseni agrees: “Modernity has brought about innovation. [As Nigerian designers] we’ve inherited years of tutoring from our ancestors on how to weave textiles, construct garments for us, and create beautiful clothes. Are today’s clothes more simplified? Yes, but that’s not a bad thing as increased mobility has called on functionality in clothes. The pieces still have a sense of art.”

Her words ring true as this balance of the old and new prevails in the work of brands like Maki Oh, whose clothes tell stories largely inspired by creative director Amaka Osakwe’s upbringing in 1990s Lagos, or Pepper Row, a more recently founded sustainable fashion label by Omafume Niemogha, for whom modern design cues are implemented using neo traditional techniques playfully combined with fabrics like akwete and adire. Perhaps the work of Lisa Folawiyo, one of Nigeria’s definitive womenswear designers, paints the clearest picture of the modern Lagosian woman’s wardrobe needs; the brand deftly marries an intricate design process—where each hand embellished garment roughly takes 240 hours to finish—with a keen understanding of how to align these time honored techniques with global trends. These three designers are but a few that represent a new school of Lagosian feminism; women who are unafraid to embrace their sexuality and demand space in more vocal ways than their predecessors.

Understanding the dynamics of a classic Lagos wardrobe is to know how to weave through each piece to connect the dots. From the impact of colonialism on the collective psyche, to the reworking of traditional styles through a luxury lens to appeal to the upper echelon, personal style in Nigeria’s ruling capital has evolved continuously through the decades. This adaptability to rapid change, while still maintaining a certain level of panache, encapsulates the true ethos behind Lagos style: resilience.