Courtesy: Anita Ashiru

One of my favourite reactions to Call Of My Life has been people saying things like “I didn’t know Lagos could look like this.”Because honestly, that was the entire point. Lagos is usually portrayed through intensity, chaos, hustle, traffic and survival. Even in romance films, the city often feels emotionally hard; something the characters are trying to escape rather than exist within.

But while building the visual world of Call Of My Life, I became obsessed with the idea of what it would look like to romanticise Lagos realistically, without pretending the city is perfect or as a fake city, but by looking at it through a different lens og softness and ease. I wanted Lagos to feel emotionally alive, and that became the foundation of the production design process.

While designing the film, I kept returning to films that make cities feel personal, like Rye Lane, Me Before You, In the Mood for Love, and even older British romantic comedies that understood how environments could support emotion. In Rye Lane, South London feels vibrant, youthful, playful, and emotionally expressive. The colours are bold, and you could feel and see the texture of the city through the film’s intentional styling, yet every frame feels soft without losing the authenticity of the city. With Me Before You, the world feels warm and emotionally safe. The production design leans heavily into softness, nostalgia, and intimacy.

With Call Of My Life, I wanted Lagos to feel like a version of Lagos where tenderness could exist, and not the version of Lagos people are scared to fall in love with. A city where someone could miss their train because they were staring at someone they loved. A city where someone could fall in love with someone just by the sound of their voice. 

To achieve this, colour theory became the heart of the visual language of Call of My Life. Very early in the design process, I knew I wanted the film to feel emotionally warm and dreamy, but at the same time, I didn’t want it to feel artificial or overly stylised. The goal was never to create a fantasy detached from reality. It was to amplify the emotional beauty that already exists within everyday Lagos, but is shadowed by the chaos.

I built the film’s palette around soft pastels, retro tones and emotionally warm colours. Even when brighter colours appeared, they were carefully controlled within the frame so the image always felt cohesive rather than visually overwhelming. What made this process especially interesting was that Lagos already naturally carries warmth within its environment, so instead of stripping those qualities away, I leaned into them and heightened them through our design choices.

We amplified environments to fit within the film’s colour world while still preserving authenticity. So, even at its most stylised, the world still felt believable and lived-in.

Costuming as Emotional Storytelling

One thing I cared deeply about was making every character feel visually distinct before they even spoke, and this is evident from the first scene. The costuming in Call of My Life was heavily tied to characterisation.

Soluchi’s styling, for example, was intentionally whimsical, instinctive, playful and slightly unconventional. Her outfits often featured softer colours, expressive layering, unexpected accessories, textured fabrics, playful colour combinations, and pieces that felt chosen rather than perfectly styled. We wanted her to be someone who dresses in what she feels; even her earrings became part of storytelling.

Courtesy: Anita Ashiru

Kalu existed in complete contrast. His wardrobe remained more practical, repetitive, and structured. Safer tones. Traditional silhouettes. Cleaner styling. Emotionally controlled choices. By simply placing Soluchi and Kalu side by side visually, you could already feel their incompatibility before dialogue even confirmed it.

Then there’s Eli, with whom, visually, things soften again. His styling feels more emotionally expansive and relaxed. His world visually accommodates Soluchi rather. Their colour palettes begin to complement each other naturally, and, subconsciously, the audience feels an emotional ease around them. Something production design and costuming can powerfully do is make audiences feel relationships before characters even define them.

Courtesy: Anita Ashiru

Lagos as a Character

Courtesy: Anita Ashiru

One of the most important creative decisions we made was to treat Lagos as a living emotional presence within the film—not just a location, but a character. We wanted the city to feel intimate rather than overwhelming, romantic instead of aggressive, and textured instead of the usual chaos. This meant paying attention to every detail: architecture, practical lighting, restaurant interiors, street textures, wall colours, reflections, fabrics, environmental tones, and even how night scenes appeared. Many romantic films set in cities like London, Seoul, Paris, or New York understand that cities can embody emotional personalities.

In the design process, I aimed to give Lagos that same cinematic tenderness. I believe we achieved it.

The post How Anita Ashiru Built the Visual World of “Call of My Life” appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Getting into a tertiary institution is only half the journey. Staying in school, paying fees on time, and having the right support system can be the bigger challenge. Over the past year, OPay has stepped into that gap, not just as a fintech company, but as a partner in the ambition and aspirations of thousands of students.

Through its long-term scholarship initiative, OPay has committed ₦1.2 billion over 10 years to support outstanding and indigent students across more than 20 partner tertiary institutions nationwide. What began as tuition support has grown into something more profound, a structured investment in young people who have the capacity but need financial backing to stay focused on their studies.

In campuses from Ife to Zaria and Calabar, OPay scholarship beneficiaries have shared stories of relief and renewed confidence. For many, the scholarship meant their parents no longer had to borrow money for school fees. For others, it meant more time in the library and less time worrying about part-time work. In a country where education remains one of the strongest ladders to upward mobility, this kind of support goes beyond money; it restores dignity and hope.

But OPay’s Corporate Social Responsibility (CSR) journey is not stopping at the scholarship initiative.

Building on the strong foundation already laid, OPay is launching OPay Scholars, a bold expansion that moves from financial support to full career development. The 2026 edition will introduce OPay Futures and a National Innovation Challenge, where students can propose practical solutions to real-world problems. It will also feature a focused webinar session and a bootcamp led by industry experts, providing scholars with direct access to knowledge in technology, entrepreneurship, and career growth.

Most notably, the 2026 edition will create a structured career development pathway, culminating in a grand finale of OPay’s second annual Empowering Futures Conference. This platform will not only celebrate academic excellence but also spotlight creativity, leadership, and innovation among Nigerian students.

At a time when many young Nigerians are asking, “What next after school?”, OPay is helping to answer that question. By combining financial aid with mentorship, exposure, and opportunities for innovation, the company is positioning education as both a safety net and a springboard.

OPay’s impact over the past year proves one thing clearly: when businesses invest consistently in people, communities grow stronger. And in 2026, OPay Scholars is set to support ambitions and actively shape the future, one student, one idea, and one opportunity at a time.

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An AI-generated visual representation of a medical professional, accompanying official public health guidelines, symptoms, and prevention facts regarding the 2026 regional Ebola virus advisory.

By now you have probably seen Ebola trending and wondered what is actually going on. We have gone through the official statements and pulled together everything you need to know, calmly and clearly.

The World Health Organisation declared an Ebola outbreak in the Democratic Republic of Congo and Uganda a public health emergency of international concern on Sunday, 17 May 2026. The outbreak is caused by the Bundibugyo ebolavirus, a rare strain with no approved vaccine or treatment, first reported in DRC’s eastern Ituri province. More than 300 suspected cases and 88 deaths have been recorded. One case has crossed into Uganda, and a confirmed case has also been reported in Kinshasa, approximately 1,000 kilometres from the outbreak’s epicentre. WHO Director-General Tedros Adhanom Ghebreyesus has been clear that the outbreak does not meet the criteria for a pandemic emergency, and has advised countries not to close their borders.

For Nigerians reading this, the Nigeria Centre for Disease Control and Prevention has confirmed that there is currently no case of Ebola Virus Disease in the country. NCDC Director-General Dr Jide Idris said in an official public health advisory on Sunday: “Nigeria currently has no confirmed case of Ebola Virus Disease.” The agency has intensified surveillance at ports of entry and is working closely with the Port Health Services of the Federal Ministry of Health to maintain vigilance across the country.

What are the symptoms?

Ebola symptoms typically appear between two and 21 days after exposure and include sudden onset of fever, severe headache, muscle pain, weakness, fatigue, diarrhoea, vomiting, stomach pain, and unexplained bleeding or bruising. If you or anyone around you develops these symptoms and has recently travelled to or from the DRC or Uganda, seek medical attention immediately and inform the health workers of your travel history before entering any facility.

How to keep yourself safe

There is no need to panic, but there is every reason to stay informed and take basic precautions. Here is what you should and should not do:

Do:

• Wash your hands regularly with soap and water or use an alcohol-based hand sanitiser
• Stay informed through credible sources — the WHO, Nigeria Centre for Disease Control (NCDC), and BellaNaija will keep you updated
• Report any suspicious symptoms to your nearest health facility immediately
• Avoid contact with blood or bodily fluids of anyone who is ill

Do not:

• Touch the body of anyone who has died from a suspected or confirmed Ebola infection
• Handle bushmeat or wild animals without proper protection
• Travel to active outbreak zones unless absolutely necessary
• Share information that has not been verified — misinformation during a health emergency can cost lives

The post WHO Declares Ebola in DRC and Uganda a Global Health Emergency | What You Need to Know appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

From Edo cultural royalty to high-glam after-party sequins, discover the full style breakdown of Nollywood icon Toyin Abraham’s three jaw-dropping outfits across the entire AMVCA 2026 weekend.

Did you really think we were over the AMVCA looks? Oh no! We have got so much more in the bag for you and your style cravings. Nollywood actress Toyin Abraham showed up for the entire AMVCA 2026 weekend — Cultural Night, the main awards ceremony, and the after party — in three completely different looks, and not one of them missed. Here is the full breakdown.

For Cultural Night, Toyin wore a deep crimson velvet mermaid gown by Prudent Gabriel of Prudential, rooted in royal Edo cultural aesthetics. The off-the-shoulder silhouette featured dramatic tiering at the hips, a heavily structured flared train, and a lattice-patterned coral beadwork overlay cascading to the hem. She accessorised with a traditional Okuku crown, stacked Ivie coral bead necklaces, matching wrist cuffs, and a bold cocktail ring — soft bronzed makeup and a defined lip balancing the whole look.

Toyin Abraham in a deep crimson velvet mermaid gown by Prudent Gabriel of Prudential, accessorized with a traditional Edo Okuku crown and heritage coral beads for AMVCA 2026 Cultural Night. Photo Credit: Toyin Abraham/Instagram

At the awards ceremony, she returned in a second Prudent Gabriel of Prudential creation — a strapless black and champagne-gold ballgown with a dramatic asymmetric front drape revealing a gold-lined interior edged in fine black beadwork. A metallic gold branch-like extension climbed over the left shoulder, making it the detail everyone was talking about. Textured updo, soft bangs, a gold collar necklace, and warm smoky makeup finished the look beautifully.

Nollywood star Toyin Abraham stuns at the AMVCA 2026 main awards ceremony wearing an architectural black and champagne gold ballgown designed by Prudent Gabriel of Prudential. Photo Credit: Toyin Abraham/Instagram

Then came the after party, and Toyin shifted gears entirely into a lilac and lavender two-piece by Leemah Couture — a halter-neck corset top with vertical beadwork and a butterfly-inspired bust detail, paired with a high-waisted mini skirt covered in oversized metallic lavender disc sequins. Crystal-embellished silver stilettos, minimalist drop earrings, and a sleek high ponytail wrapped it all up.

Toyin Abraham shifts gears for the AMVCA 2026 after party in a playful lilac and lavender two-piece set by Leemah Couture, featuring a butterfly-inspired corset and metallic disc sequin mini skirt. Photo Credit: Toyin Abraham/Instagram

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A detailed styling profile of Farooq Oreagba, the “King of Steeze,” highlighting traditional accessories, geometric cream embroidery, and luxury heritage jewellery. Photo Credit: Farooq Oreagba/Instagram

They do not call him the king of steeze for no reason. With the 2026 Ojude Oba Festival just around the corner, Farooq Oreagba — one of the most prominent faces of the festival — has dropped photos of himself that have us counting down the days to Ijebu-Ode. One look at these images and you already know the festival grounds are going to be something else this year.

The look is a full Yorùbá prestige statement from top to bottom. He is wearing a structured Agbada set woven from premium Asọ-Ọkè fabric — a rich navy blue Bùbá heavily detailed with geometric cream-coloured embroidery forming sharp, cascading diamond patterns down the centre, layered under a grand outer robe in deep indigo, crimson red, and cream vertical stripes with open-work lattice detailing along the edges.

Cultural style icon Farooq Oreagba showcasing custom heritage Yorùbá tailoring ahead of the 2026 Ojude Oba Festival in Ijebu-Ode. Photo Credit: Farooq Oreagba/Instagram

On his head sits a beautifully pleated Fìlà Gbobà pulling all three tones together. Long silver chain necklaces drape down the front, statement rings stack on his fingers, and he carries a dark walking cane topped with an ornate sculptural gold handle. Aviator-style clear glasses add a modern finish to the whole look. He is posed alongside a beautiful brown horse, and the entire frame feels like something between a royal portrait and a fashion editorial.

Ojude Oba, which translates to “the King’s Forecourt” in Yorùbá, is one of the most celebrated cultural festivals in Nigeria. Held annually in Ijebu-Ode, Ogun State, on the third day after Eid al-Kabir, the festival brings together Ijebu indigenes and their guests from across Nigeria and the world to pay homage to the Awujale of Ijebuland.

It is a festival of horsemanship, heritage, age-grade processions, and some of the most spectacular traditional fashion you will see anywhere on the continent. The 2026 edition is confirmed for 28 or 29 May, and if Farooq’s pre-festival photos are anything to go by, the bar is already set.

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A detailed style shot of Nigerian music icon Davido showcasing his custom stage wardrobe during the Conakry stop of his 5IVE Alive global tour. Photo Credit: Davido/Instagram

We are not jealous of the people of Guinea today. Cough cough. Not only did they get to watch Nigerian Afrobeats star Davido perform live on his 5IVE Alive Tour, but they also got to see this outfit up close, and that, might be the bigger flex.

For his 5IVE Alive Tour stop in Conakry, Guinea, Davido stepped out in a dark navy double-breasted pinstripe suit covered in subtle golden speckles that caught every stage light going. The jacket featured a layered lapel combining a classic pinstripe fold with an inner geometric black-and-white checkered pattern, and the lower patch pockets came framed in light blue trim with white graphic silhouettes of human figures printed on them. It is the kind of detailing that rewards a second look.

He paired it with matching wide-leg pinstripe trousers breaking cleanly over a pair of white sneakers, a light blue collared undershirt, tinted sunglasses, a structured blue patterned traditional cap, and a silver luxury watch on the wrist.

Afrobeats superstar Davido showing off a tailored navy pinstripe suit accented with graphic patch pockets and gold speckles for his performance wardrobe in Guinea. Photo Credit: Davido/Instagram

The whole look sits somewhere between sharp tailoring and a cultural nod, and it works completely. The traditional cap alongside the wide-leg trousers and white sneakers is what ties it together — dressed up enough for the stage, relaxed enough to remind you this is still OBO. Whoever put this look together deserves their flowers.

Guinea got a show and a fashion moment. We are not jealous. We are absolutely not jealous.

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Premier Nigerian fashion from the 12th AMVCA spotlighting BBNaija Season 9 star Samuel Chibuikem Osuji (Sooj), Chimezie Imo, and Ikechukwu Mitchel Ogbonna (IK Ogbonna) in tailored menswear.

The 12th edition of the AMVCA might be over, but we are absolutely not. Between the awards, the speeches, and the tears, the men of Nollywood were putting together some of the best fashion looks of the night in Lagos, and now that the dust has settled, we need to talk about it properly. From reimagined Nigerian traditional wear to head-to-toe velvet, the men showed up and showed out. Naija men no dey carry last, and these photos are the proof.

Bucci Franklin, who went home with Best Supporting Actor for his role in Netflix’s “To Kill a Monkey,” walked the AMVCA 2026 red carpet in a structured dark charcoal utility jacket with a metallic front zipper and large patch pockets, styled over a white collared shirt, dark tie, wide-leg black trousers, and black leather shoes. Sharp and unfussy, exactly how you dress when you already know what the night holds.

Best Supporting Actor winner Bucci Franklin wearing a minimalist, architectural utility jacket ensemble at the 12th edition of the AMVCA in Lagos. Photo Credit: Bucci Franklin/Instagram

Uzor Arukwe, the night’s Best Lead Actor winner for “Colours of Fire,” was not leaving anything to chance either. He wore a tailored royal blue tuxedo jacket by The Way It Fits, styled by Kingsley Okoye Rex, with velvet textures on the lapel and cuffs, swirl embroidery down the sleeve, gold cufflinks, a navy velvet bow tie, and a white pocket square.

Best Lead Actor winner Uzor Arukwe showcasing a custom embroidered royal blue tuxedo jacket at the 2026 Africa Magic Viewers’ Choice Awards. Photo Credit: Uzor Arukwe/Instagram

Tobi Bakre took Nigerian menswear somewhere else entirely. His custom three-piece Agbada by Deji and Kola, styled by Frontiers Brand, was built from the brand’s monogram canvas denim, weighing approximately 8kg, and drew from traditional Yorùbá and Hausa-Fulani dress of the late 1950s. Layered gold bead necklaces, a white cap, clear-framed sunglasses, and a sacred Șaworoide brass-bell staff completed the look. Cultural, rooted, and completely unforgettable.

Tobi Bakre making a bold cultural statement at the AMVCA 2026 in an 8kg canvas denim three-piece traditional Agbada inspired by late 1950s heritage dress. Photo Credit: Tobi Bakre/Instagram

Then Chimezie Imo walked in wearing head-to-toe electric blue velvet. A double-breasted suit by Fai World, styled by King Black, with wide satin lapels, flared trousers, a matching blue shirt, and a sculptural gold brooch at the neck. Sleek cornrows, polished black shoes, and a Nigerian fashion moment that photographed beautifully from every angle.

Chimezie Imo in a monochromatic electric blue velvet suit styled with sharp cornrows and a sculptural neck brooch for AMVCA 2026. Photo Credit: Chimezie Imo/Instagram

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Yemi Cregx

 

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Deyemi Okanlawon

 

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Akin Faminu

 

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Fidson Healthcare Plc, one of  Nigeria’s foremost pharmaceutical manufacturing companies, participated as a sponsor in ChessMasters 2026, Africa’s largest inter-school chess tournament, held on Saturday, 2 May 2026 at Eko Hotel and Suites, Victoria Island, Lagos. The annual event, which made its debut in 2025, brought together over 750 children from 150 schools across Lagos State, alongside coaches, parents, and other spectators, for a full-day celebration of youthful energy, critical thinking, and competitive chess playing.

Speaking at the event, the Corporate Services Manager of Fidson –  Temitope Akindele explained the alignment of the ChessMasters Tournament with the organisation’s values of excellence, innovation and passion.

“For Fidson, this alignment is natural. Our support for this initiative is rooted in our commitment to child education and empowerment. We believe that the focus, critical thinking, and problem-solving skills developed over a chessboard are essential life skills for any child’s total well-being.” – Temitope Akindele.

Recognized as one of the tournament’s returning sponsors, Fidson was expressly acknowledged by ChessMasters co-founder,  Caline Chagoury Moudaber, who noted that Fidson was among the brands that committed to the tournament before it had an established track record.

“They came in blind,” she said. “We are super grateful to them.” 

Fidson’s presence at ChessMasters 2026 extended well beyond brand visibility. The Fidson Wellness Centre at the event was a beehive of activities carefully curated to give children and adults a memorable experience. With lively games that kept them engaged, and complimentary health checks for blood pressure, blood sugar and more, an atmosphere of energy, joy and wellness was created throughout the day – reinforcing Fidson’s reputation as a company that truly values life.

To bring alive the stress-management value proposition of one of Fidson’s flagship nutritional supplement — Astymin — the company deployed a stress-level assessment activity where responses from attendees to simple questions enabled Fidson’s team to have personalised conversations for healthier living. This innovative activation successfully positioned Astymin within the broader conversation of mental wellness and cognitive performance — values that resonate with chess players. 

ChessMasters 2026 was organised by KEY Academy and Eko Hotels & Suites in partnership with the Nigerian Chess Federation. It was themed “Your Move” — an idea rooted in the belief that children who learn to think for themselves become adults who lead societies effectively.

ChessMasters co-founder and KEY Academy Founder, Damilola Okonkwo expressing her excitement about the success of the second edition of the tournament, saying the event didn’t just give children the opportunity to play chess and developing 21st century soft skills, they also had fun doing it. 

“To see children come together here in Lagos City for an incredible world-class inter-school chess tournament that was just an idea two years ago is a thing of pride.” Damilola Okonkwo.

The tournament reached a thrilling conclusion with the Indian Language School emerging as the overall winner, clinching the ₦5 million grand prize from a total pool of ₦10 million. They were followed by Jareb Private School in second place and Dupeolu Childrenland School in third.

“Fidson congratulates the winners and celebrate their focus, strategic foresight, and the mental fortitude to stay composed under pressure. These are qualities we champion at Fidson, and they are qualities we want every Nigerian child to develop.” Temitope Akindele added.

ABOUT FIDSON HEALTHCARE PLC

Fidson Healthcare Plc is Nigeria’s leading pharmaceutical manufacturing company, committed to improving the health and wellbeing of Nigerians through the development, manufacturing, and marketing of high-quality, affordable medicines and healthcare products. With a portfolio spanning prescription drugs, over-the-counter medicines, nutritional supplements, and consumer health brands, Fidson continues to set the standard for pharmaceutical excellence in Nigeria and across the African continent.

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Ethnocentrique’s Fashion Future Program (FFP), implemented in partnership with Mastercard Foundation’s Fashion Future Program (FFP), implemented in partnership with Ethnocentrique Limited, is demonstrating what happens when fashion is treated not as a creative pursuit, but as an economic system.

Over two years of implementation across Aba and surrounding communities in Abia State, the program has reached 10,379 people, a result that reflects a deliberate architecture: skills development, enterprise growth, and market access built into a single coordinated model.

The program was designed to respond to a specific and longstanding challenge within Nigeria’s fashion sector: fragmentation. While the talent base is deep, the systems required to convert that talent into scalable economic value, structured production, financing infrastructure, and market integration, have remained weak or disconnected. FFP was built to close that gap.

Across the pilot period, the program trained 6,140 young people in garment, footwear, and leather production, with a strong focus on young women and persons with disabilities. A key feature of this approach was the adaptation of the traditional Igbo apprenticeship system, standardized through the National Skills Qualifications Framework (NSQF), bridging informal learning with formal certification at cluster scale.

But skills training was never the terminal goal. Alongside this, the program delivered targeted business development support, financing pathways, market access opportunities, and intellectual property awareness to over 4,240 MSMEs, strengthening the businesses that absorb and sustain the skills being built.

The results are beginning to compound. To date, the program has contributed to the creation and sustainment of over 10,000 primary and secondary jobs, while facilitating more than ₦200 million in orders processed through program-supported businesses. Women account for over 80 per cent of participants, and 282 persons with disabilities have successfully established businesses through the program.

Speaking at the close of the pilot phase during The Fashion Games 2026 in Aba, Program Coordinator Jeremiah Ubunama framed the program’s founding logic saying;

“When we came to Aba, we asked a question: what if we stop seeing fashion as style and start seeing it as an economy?”

That question has guided the program’s design and points to the broader hypothesis being tested: that sustainable growth in Nigeria’s fashion sector will not come from isolated interventions, but from coordinated ecosystems where skills, enterprise support, financing, and policy engagement function as parts of a coherent system.

Country Director for Nigeria at Mastercard Foundation, Rosy Fynn, confirmed that the program has exceeded its targets, with documented results across economic participation, enterprise development, and inclusion for young women and persons with disabilities.

Chief Executive Officer of Ethnocentrique Limited, Irunna Ejibe, addressed what she identified as the root cause of sector underperformance:

“Ecosystems don’t fail from lack of effort, but from lack of coordination.”

To address this, the program worked to integrate ecosystem functions that typically operate in isolation. This has led to the structuring of over 4,000 businesses and their clustering into 99 formalized MSME cooperatives, improving access to finance and expanding collective production capacity at scale.

Stakeholders at the event reinforced the urgency of this approach, identifying limited access to finance, weak production systems, and inconsistent quality standards as persistent barriers to scale. Strengthening governance structures, improving business record-keeping, and deepening formalization were identified as critical next steps toward unlocking sustainable growth in the sector.

Abia State Governor Alex Otti reaffirmed the government’s commitment to this direction, positioning Aba as a competitive manufacturing hub for Nigeria’s fashion industry.

As the pilot phase concludes, the program enters a new stage focused on translating the Aba model into a broader deployment framework for Nigeria and the region.

The lesson is clear: building a globally competitive fashion industry in Nigeria will require more than talent or training. It will require coordinated systems that connect people, businesses, finance, and markets in ways that allow value to move consistently, at a scale that changes the sector, not just the individuals within it.

About the Fashion Future Program

The Fashion Future Program is a Mastercard Foundation program implemented in partnership with Ethnocentrique Limited. It is a youth apprenticeship and MSME development intervention focused on the Aba fashion and leather production cluster in Abia State, Nigeria.

About Ethnocentrique Limited

Ethnocentrique builds the full infrastructure stack — skills, finance, markets, and policy — for fashion’s human capital in Nigeria. Its work spans the complete local fashion loop: garments, footwear, bags, slippers, leather goods, and accessories. Its programs include the Fashion Future Program (FFP); a Mastercard Foundation program implemented in partnership with Ethnocentrique, African Cobblers Ltd, Ethnocentrique Arts, and The Fashion Games.

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The official promotional artwork for the 2026 FIFA World Cup anthem “Dai Dai,” a historic cross-cultural track by Shakira and Afrobeats icon Burna Boy. Photo Credit: Shakira/Instagram

The wait is over. Nigerian Afrobeats icon Burna Boy and Colombian superstar Shakira have released “Dai Dai,” the official FIFA World Cup 2026 song. It is Burna Boy’s first time on an official FIFA World Cup anthem, and Shakira’s second — her first being the iconic Waka Waka (This Time for Africa) from the 2010 tournament in South Africa.

“Dai Dai” is a nearly four-minute track blends Afrobeats, dance-pop, and reggaetón into a chorus that rallies in five languages — Japanese, Spanish, French, English, and Italian — with the words “Dai, dai, ikou, dale, allez, let’s go.” Lyrically, it is a love letter to football and the people who play it. Shakira opens with “You knew from the day you were born, that here in this place you belong,” while Burna follows with “Go follow your desire, where there’s a will there’s a way.” The pair also shout out the legends — Maradona, Maldini, Ronaldo, Beckham, Kaká, and Messi — as well as participating countries including Brazil, Argentina, Colombia, the United States, and the Netherlands.

Royalties from “Dai Dai” will go towards the FIFA Global Citizen Education Fund, which is targeting $100 million by the end of the tournament to provide children across the world with access to quality education and football.

Shakira on set for the “Dai Dai” official music video, celebrating her historic return to the global football tournament stage. Photo Credit: Shakira/Instagram

Africa’s presence at the 2026 FIFA World Cup goes well beyond the official anthem. A record 10 African teams have qualified for this tournament — Morocco, Senegal, Egypt, Ghana, Algeria, Tunisia, Côte d’Ivoire, Cape Verde, South Africa, and DR Congo. On the performance side, Tyla and Rema will also perform at the US opening ceremony at SoFi Stadium in Los Angeles on 12 June alongside Katy Perry, Future, Anitta, and LISA.

The 2026 FIFA World Cup kicks off on 11 June at Estadio Azteca in Mexico City and wraps on 19 July at the New York New Jersey Stadium, where Shakira will co-headline the first-ever FIFA World Cup Final Halftime Show alongside Madonna and BTS. Dai Dai will almost certainly soundtrack all of it.

Listen to “Dai Dai” below

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A stunning portrait of Nollywood actress and producer Bolaji Ogunmola in a high-fashion red dress featuring intricate swirl patterns and realistic floral accents against a misty lavender backdrop. Photo Credit: Bolaji Ogunmola/Instagram

It is the weekend, and if you are looking for something to watch that will actually make you feel something, Bolaji Ogunmola‘s YouTube channel is where you want to be. The Nigerian actress and producer has spent the last few years putting out Nollywood film after film — stories about marriage, grief, friendship, and the complicated business of starting over — and she has not missed once.

We picked five of the best ones. Grab your popcorn.

Anjola (2026)

A married couple’s love is tested when a single night brings a profound clash of desires — one partner longing for a natural conception, the other questioning the boundaries of belief. Anjola is the Nollywood film that asks what happens when two people who love each other want completely different things. Directed by Valentine Edochie, the cast includes Femi Jacobs, Bimbo Akintola, Elozonam Ogbolu, and Jude Chukwuka alongside Bolaji Ogunmola herself. With that lineup, you already know the performances are not playing.

A Flicker of Us (2026)

Set in a rural Western Nigerian town in the late 1980s, this one follows two fifteen-year-old girls — Tiwa and Lala — who are each other’s lifelines. When only Tiwa is offered an Ivy League scholarship, and an unexpected pregnancy changes the course of her life, the two friends find themselves on paths they never planned for. It is a story about friendship, choices, and the distance that grows between people who once knew each other completely. Starring Bolaji Ogunmola, Ayoola Ayolola, and BamBam Olawunmi, “A Flicker of Us” is one of those Nigerian films that stays with you long after it ends.

Between Salt and Sugar (2026)

Sharon is a guarded pharmacist living with PCOS, a condition she has kept hidden from almost everyone in her life. When a passionate chef begins pursuing her with genuine, unwavering attention, she is forced to choose between protecting herself and letting someone in. “Between Salt and Sugar” is a romance, yes, but it is also one of the few Nollywood films to centre a woman’s health condition as the emotional core of the story, not a subplot. The cast includes Teniola Aladese, Taye Arimoro, and Chioma Nwosu. Clear your schedule for this one.

The Bloom After (2026)

After twenty years of marriage, Inara’s husband asks for a divorce. No shouting match, no flying plates — just a cold, calm request that dismantles everything she has built her life around. What follows is her reluctant, messy, occasionally funny re-entry into modern dating, and the slow discovery of a version of herself she never knew existed. Bolaji Ogunmola’s performance here is the kind that makes you pause the film just to collect yourself. Also starring Daniel Etim Effiong and Anthony Monjaro, “The Bloom After” is one of the finest things to come out of Nigerian YouTube cinema this year.

Foolish People (2025)

Phoebe and Charles are exes who have successfully avoided each other for four years. Then a plane crash takes the lives of two of their closest friends, and the couple’s will contains a clause that nobody saw coming — the two of them must move in together and raise the late couple’s daughter. Grief, co-parenting, and old feelings in the same house. What could go wrong? “Foolish People” is warm, funny, and genuinely moving, and Bolaji Ogunmola herself has described it as “such an easy, feel-good movie.” Starring Uzor Arukwe alongside Bolaji Ogunmola, this is the one to start with if you are new to her channel.

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Due to many factors, which ego could be considered as the top of the list, contemporary Nigerian artists rarely release collaborative projects. They’d rather feature them on a song in the entire project. In fact, releasing a project without a feature is sometimes considered a flex. But, like other industries, collaboration is important to grow the Nigerian music industry. It is exciting to see Nigerian artists come together to collaboratively release projects, such as albums and EPs. Producers and DJs like Sarz, DJ Tunez, Spinall, have been adopting the tool for long, collaborating with artists to release EPs or albums.

Let’s look at some of the Nigerian artists who have released collaborative projects in recent times:

Wizkid and Asake

After successful single collaborations, Wizkid and Asake decided to release a joint EP to solidify their creative synergy. Asake featured Wizkid on his third album, Lungu Boy. And because one good deed deserves another, Wizkid featured Asake too on his last album, Morayo. The previous features gave Afrobeats a partnership that most likely did not exist in the genre: a legend collaborating with a new act to release a joint project.

Fireboy DML and Pheelz

Fireboy DML and Pheelz are like a bottle and its cap; they simply have to be together. On Fireboy DML’s debut album, Laughter, Tears and Goosebumps, Pheelz produced a notable number of songs on the album. So their chemistry is divine, and every time they come together to make a song, they make classics. On Peace by Piece, no song is skippable. You can say, in literal sense, that they both went “band for band” on each song.

Joeboy and Wizard Chan

Joeboy and Wizard Chan sing from the soul, so it wasn’t a surprise when the duo announced a collaborative project forthcoming. The EP has hit songs like 100 Meter which has been doing numbers on streaming platforms.

BNXN and Ruger

What started as social media chaos became a joint project release. Days before the release of RnB by Ruger and BNXN, the duo were trolling each other on Twitter (now X) about who has more streams, more projects, more this, more that. Of course, it was all to generate buzz ahead of the release of RnB. Despite the bants online, when the collaborative project was announced, it was well-received by their fans. Standout tracks include Ilashe, POE, and Romeo Must Die.

It is exciting to see Nigerian artists embrace collaboration beyond just a song or two and commit to full projects together. These joint albums and EPs not only showcase creative chemistry but also expose how collaboration remains one of the strongest tools for pushing the industry forward. Which Nigerian collaborative project has been your favourite so far?

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Editorial detail of Chioma Omeruah’s birthday look, highlighting her radiant skin, statement pearl jewellery, and sophisticated charcoal smoky eye makeup. Photo Credit: Omawumi/Instagram

Chioma Ijeoma Omeruah, Chigurl, just turned 50, and instead of easing quietly into the milestone, she gave us pearls, ripped denim, glossy skin, and one extremely good birthday caption. The actress, comedian, singer, and talk show host marked the occasion with a photo set that felt glamorous without losing the humour and personality people have loved her for over the years.

Her outfit centred on a sculpted black wrap top with a high collar and ruched sleeves that stretched outward with volume and shape. She paired it with distressed black jeans ripped at both knees. Then came the jewellery: layered oversized pearls, pearl cocktail rings, stacks of silver and gold bangles, and a large hammered medallion sitting right at the centre of the neckline. Her hair was pulled into a sleek top knot, leaving the collar and jewellery fully visible, while her makeup featured smoky charcoal eyes, bronze tones, glowing skin, and a glossy neutral lip. Bright red nails finished everything off.

Chioma Omeruah celebrates 50 in a bold black wrap dress and ripped denim ensemble, styled with layered pearls for her “divine reset” milestone. Photo Credit: Omawumi/Instagram

But the caption may have been the best part. “Here we are celebrating the 15th anniversary of 35,” she wrote, before calling 50 “an age of divine reset.” She spoke about wanting to love more, hug more, support more, laugh more, and simply be more.

The comments quickly filled up with messages from friends and colleagues. Omawumi wrote, “Permission to lick my screen,” while Dimma Umeh and Uzoamaka Power joined in with birthday wishes and reactions to the photos. Chigurl at 50 looks completely at ease with herself, and that may be the best thing about the whole post.

 

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Genevieve Nnaji, Nigerian actress and producer, pictured alongside fellow Women in Cinema honourees at the Red Sea Film Foundation gala held at Hotel du Cap during the 79th Cannes Film Festival, 14 May 2026. Photo Credit: Red Sea Film Foundation/Instagram

The Red Sea Film Foundation held its annual Women in Cinema gala at the Hotel du Cap on the French Riviera, alongside the 79th edition of the Cannes Film Festival. The event, which spotlights trailblazing women from the Arab world, Africa, and Asia, named Genevieve Nnaji as one of this year’s honourees — recognising her as a Nigerian actress, producer, and one of the leading figures in African cinema. This year’s edition also featured three African women in the spotlight for the first time, with Moroccan filmmaker Laïla Marrakchi and Rwandan filmmaker Marie–Clémentine Dusabejambo rounding out the African representation.

The Red Sea Film Foundation described Nnaji as widely regarded as a pioneer of Nollywood’s global expansion, with a career built on critical acclaim, commercial success, and cultural impact. Her directorial debut, Lionheart, became the first Nigerian film acquired by Netflix and was selected as Nigeria’s submission to the Academy Awards. Beyond acting, she has committed herself to advancing the quality, reach, and global positioning of African storytelling as a producer.

Genevieve Nnaji photographed in full at the Red Sea Film Foundation Women in Cinema gala, Cannes 2026, in an all-black two-piece featuring a sculptural voluminous top and a matching gathered floor-length ball skirt. Photo Credit: Red Sea Film Foundation/Instagram

She arrived at the gala in a full all-black two-piece: a structured top with a high gathered neckline and oversized sculpted sleeves, paired with a matching floor-length ball skirt carrying the same puffed, architectural silhouette. The fabric, a heavy silk taffeta with a soft matte finish, held every shape exactly where it needed to be. She kept jewellery minimal with a diamond tennis bracelet, stacked rings, and a small black crystal-embellished rectangular clutch. Her hair was sleek and middle-parted, makeup a soft smokey eye with a glossy mauve lip, and her nails finished in metallic silver points.

Genevieve Nnaji joins a 2026 Women in Cinema lineup that also includes Indian actress-singer Tara Sutaria, Indonesian filmmaker Kamila Andani, and Saudi actress-writer Aixa Kay.

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Founders Tony and Awele Elumelu named as 2026 TIME100 Philanthropy honourees. The couple was featured in the Titans section of the list, which highlights their decade-long commitment to African entrepreneurship and the $100m TEF seed capital initiative. Photo Credit: Tony Elumelu/Instagram

TIME Magazine has named Tony O. Elumelu, and Awele Vivien Elumelu among its 2026 TIME100 Philanthropy honourees, recognising them as two of the most influential leaders in global giving. The list, now in its second year, celebrates the world’s most influential leaders in philanthropy, and the Elumelus join a group that includes Rihanna, Lionel Messi, MacKenzie Scott, Elton John, and Shakira, among others.

The recognition centres on the work of the Tony Elumelu Foundation (TEF), which the couple co-founded in 2010. What began in 2015 as a pledge of $100 million to benefit 1,000 entrepreneurs a year for a decade has grown far beyond its original promise — the foundation has now provided mentorship and a $5,000 seed grant each to more than 27,000 entrepreneurs, and its 12th cohort is more than triple the size of the first.

More than half of current beneficiaries are women, up from roughly a fifth in the early years. To meet demand that continues to outstrip available slots, TEF has also turned its training materials into free online programmes that have reached over 2.5 million people. Collectively, TEF entrepreneurs have generated $4.2 billion in revenue, created more than 1.5 million jobs, and lifted 2.1 million Africans above the poverty line.

The Tony Elumelu Foundation founders are recognised as global titans of philanthropy by TIME Magazine in 2026. To date, the foundation has empowered over 2.5 million young Africans across all 54 countries on the continent. Photo Credit: Tony Elumelu Foundation/Instagram

For Tony Elumelu, this is his third significant recognition from TIME. He was named to the TIME100 list of the world’s most influential people in 2020, and received the inaugural TIME100 Impact Award in 2022. The 2026 Philanthropy honour is the first to formally recognise both him and Awele Elumelu together, reflecting her role as co-founder and the part she has played in building TEF into what it is today.

Speaking to TIME about the foundation’s journey, Tony Elumelu said: “We set out to democratise luck” — and when hundreds of thousands of applications began pouring in by the third year, he acknowledged they found themselves in the business of “dashing hopes.”

Underpinning all of it is Africapitalism, Tony Elumelu’s economic philosophy that Africa’s private sector, and its young entrepreneurs in particular, must lead the continent’s development rather than waiting on foreign aid or government borrowing. That belief has since driven a boom in entrepreneurship and regional connectivity across the continent.

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Osas Ighodaro in two custom Veekee James creations for the 12th AMVCA in Lagos. The collage captures the architectural precision of the crimson tiered gown alongside the avant-garde silver ballgown featuring 400 repurposed metal sponges.

If you gasped at Osas Ighodaro‘s looks at the 12th AMVCA, we have good news — BellaNaija was in the hotel room as it all came together, and we got her talking too. The full GRWM and interview is up, and it is exactly as good as you would expect.

Osas wore two custom Veekee James looks across the night. She had already teased the first on her own social media, a crimson sculptural gown with dramatic horizontal fabric bands and a sharp architectural collar that opened the red carpet.

An editorial close-up of Osas Ighodaro in Veekee James couture. The structured collar frames her face, captured by Felix Crown for the 12th AMVCA in Lagos. Photo Credit: Osas Ighodaro/Instagram 

But when we arrived in the room with her, she was stepping into the second look, and nothing could have prepared us for it. A silver ballgown built entirely from 400 repurposed iron sponges. The ones you wash your pots with. Veekee James took that everyday material and constructed something so breathtaking, so blindingly gorgeous, that the moment Osas was fully dressed, there was only one song that made sense — Rihanna‘s “Diamonds.”

Osas Ighodaro at the 12th AMVCA showcasing the dramatic train of her silver Veekee James gown. The skirt features unique circular appliqués made from 400 repurposed metal sponges. Photo Credit: Osas Ighodaro/Instagram 

Hearing her speak about her journey as a muse for Nigerian designers added another layer to the whole experience. She has been dressing for moments like this for years, and the way she talks about the creatives behind her looks, with genuine appreciation for what she calls “the power of designers” and “the power of creatives,” tells you everything about how seriously she takes showing up. Her first AMVCA was in 2013, the year BellaNaija named her one of the best dressed, and she has not missed a beat since.

She also had words for us, and we are not going to pretend we did not love every bit of it. “Happy Birthday, BellaNaija! You have been there from the start of my journey in Nigeria. You have documented every red carpet, every win, and every growth spurt. I am so grateful for the power of your platform and the way you champion creatives like me.” Oh goodness!

The full video is below. Enjoy!

 

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The Africa Magic Viewers’ Choice Awards has always been more than an award show. It is one of the few nights where African film, fashion, culture and identity meet in one room with the red carpet becoming its own form of storytelling.

This year, however, something felt different.

The 12th edition of the AMVCA was not simply about who wore the biggest silhouette or who delivered the most dramatic entrance. The conversations online reflected something deeper. People showed up with intention. Fashion felt more considered, more personal and more connected to identity and craftsmanship than spectacle alone.

Sitting comfortably at the centre of that cultural moment was Don Julio.

Since its launch in Nigeria in 2025, Don Julio has consistently positioned itself at the centre of meaningful cultural moments by moving beyond traditional visibility and leaning into experiences that feel intentional, immersive, and culturally connected. The brand has focused on creating spaces that celebrate creativity, craftsmanship, ambition and authentic human connection.

That philosophy has become increasingly visible through its growing presence across entertainment, nightlife, fashion and experiential culture in Nigeria. Whether through curated social experiences, cultural collaborations, or premium event platforms, Don Julio continues to align itself with audiences who value substance.

Its presence at the 12th AMVCA therefore felt less like sponsorship and more like a natural continuation of the brand’s evolving relationship with culture.

As headline sponsor of the AMVCA, Don Julio did not just align itself with entertainment. The brand aligned itself with devotion, creativity, and the idea of earned excellence, values that were visible not only during the awards ceremony itself, but across the entire fashion landscape of the evening.

From the red carpet to the after conversations, the night became a celebration of people who understand that true style, much like true craftsmanship, is never accidental.

One of the clearest examples of this was Don Julio’s Fashion Icon of the Night, Uche Montana. Making a striking appearance in a custom design by Tubo Bereni, Uche Montana embodied the spirit of reinvention and transformation that defined the evening. Inspired by the rise of a phoenix, the look represented strength, evolution, and confidence, themes that naturally aligned with Don Julio’s philosophy around ambition, craftsmanship, and devotion to one’s journey.

What stood out this year was not simply who wore luxury, but how fashion became an extension of identity, ambition and storytelling, that is what made Don Julio’s presence feel natural within the conversation.

The brand’s philosophy has always centred around craftsmanship and dedication, values that mirror the discipline required to create memorable fashion moments. Behind every standout look at the AMVCA was a designer sketching concepts, stylists refining details, glam teams perfecting execution, and talents trusting the creative process. In many ways, the red carpet itself became a visual representation of what Don Julio stands for: devotion to craft.

The AMVCA has long evolved beyond film alone. It now exists as one of Africa’s most important cultural stages, where fashion, entertainment, and storytelling influence each other in real time. This year, Don Julio understood that perfectly.

Rather than simply sponsoring an event, the brand became part of the cultural language of the night. From The Don’s Table conversations celebrating storytelling and excellence to the unforgettable Don Julio 1942 toast moment, the brand consistently reinforced one message: greatness is earned through passion, patience and consistency.

Perhaps, that is why Don Julio felt perfectly at home at the AMVCA because both worlds understand the beauty of craftsmanship.

Whether it is a perfectly aged tequila, a carefully constructed gown, a powerful film performance, or a stylist creating an unforgettable image, excellence always leaves a lasting impression.

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Coco Gauff stabilized her service game to defeat Sorana Cirstea 6-4, 6-3, advancing to the championship match on Saturday. Photo Credit: WTA/Instagram 

Coco Gauff is final bound, and the energy at the Foro Italico is absolutely electric! The World No. 3 has officially stormed into the championship match of the 2026 Italian Open, proving once again that she is the force to be reckoned with on the red clay.

For the second consecutive year, Coco has secured her place in the title match, this time delivering a clinical performance to defeat the Romanian veteran Sorana Cirstea in straight sets, 6-4, 6-3.

While Coco had survived a string of gruelling three-set comeback battles earlier in the tournament, most notably that high-drama quarterfinal win over Mirra Andreeva, she looked determined to take the shorter route today. The match didn’t start entirely in her favour, as Cirstea came out swinging to break Coco in the very first game and race to a 2-0 lead. However, Coco remained incredibly composed, shifting into another gear from 4-2 down to win four straight games with relentless defence and powerful serving to snatch the first set.

She maintained that momentum throughout the second set, and despite a brief pause for a spectator requiring medical assistance and Cirstea’s attempts to break back, Coco’s athleticism proved far too much. She secured a decisive break in the eighth game and held serve comfortably to finish the match in just 1 hour and 15 minutes, further extending her perfect career head-to-head record against Cirstea to 4-0.

Coco Gauff demonstrates her defensive strength and athleticism on the red clay of the Foro Italico, securing her second consecutive Rome final. Photo Credit: WTA/Instagram 

It was particularly encouraging to see Coco find her rhythm on her delivery after struggling slightly with double faults earlier in the week, and she wasn’t afraid to move forward either, finishing several rapid volley exchanges with sharp net play. She is now heading into her seventh WTA 1000 final, looking to go one better than her runner-up finish last year.

The stage is now set for a massive blockbuster this Saturday, where she will face either World No. 1 Iga Świątek or the resilient Elina Svitolina. Regardless of her opponent, this win provides the perfect momentum as Coco prepares to head to Paris for the French Open with her sights firmly set on another trophy. She also now holds the record of the youngest American since Venus Williams (1998-99) to reach the Rome final in consecutive seasons.

Watch the highlights of her match below

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An AI-generated visual depicting a medical consultation focused on the renaming of PCOS to PMOS. This illustration supports the May 2026 global consensus shift toward a metabolic and systemic understanding of the condition.

For years, millions of women have lived with a diagnosis that never fully explained what was happening in their bodies. Polycystic Ovary Syndrome (PCOS) became widely known as a reproductive condition, but many patients often found themselves dealing with symptoms that stretched far beyond their ovaries.

As of 12 May 2026, that understanding has officially shifted. Following a 14-year global consensus process involving more than 14,000 patients and health professionals, the condition has been renamed Polyendocrine Metabolic Ovarian Syndrome (PMOS). The change, published in The Lancet, reflects growing recognition that the condition is not simply a reproductive disorder, but a complex systemic one affecting multiple areas of health.

The Problem with the Old Name

The term Polycystic Ovary Syndrome was increasingly seen as a medical misnomer.

• Misleading Terminology: The “cysts” described in the original name are not actually cysts. They are underdeveloped follicles caused by hormonal imbalance, meaning they are a symptom rather than the root of the condition.
• Incomplete Diagnosis: Many women experience the condition without ever showing cysts on an ultrasound, while others may have cysts without the hormonal or metabolic symptoms associated with the syndrome.
• The fertility focus: Because the condition was framed largely around the ovaries, many patients found their concerns minimised unless they were actively trying to conceive. Symptoms tied to metabolism, mental health, and long-term wellbeing were often overlooked.

What PMOS Actually Means

The new name — Polyendocrine Metabolic Ovarian Syndrome — is intended to reflect how deeply interconnected the condition really is.

• Polyendocrine: This acknowledges that the condition affects multiple hormonal systems across the body, including the adrenal glands and brain signalling pathways, not just reproductive organs.
• Metabolic: This addition is especially significant. It validates struggles with insulin resistance, weight regulation, and increased risks of Type 2 diabetes and cardiovascular disease as central parts of the condition rather than secondary concerns.
• Ovarian: The reproductive aspect remains important, but it is now framed within a broader endocrine and metabolic context.

A New Era for Patient Care

This change is about more than a new name. For many patients, it is recognition that the condition affects far more than reproductive health.

According to Professor Helena Teede, the shift aims to reduce the average time to diagnosis — which can take up to 12 years for some women — whilst also bringing more attention to mental health struggles such as anxiety and depression that often go untreated.

“The agreed principles of the new name included patient benefit, scientific accuracy, ease of communication, avoidance of stigma, cultural appropriateness and accompanying implementation,” she said.“This change was driven with and for those affected by the condition and we are proud to have arrived at a new name that finally accurately reflects the complexity of the condition.”

The transition to PMOS will take place over the next three years, with full implementation into international clinical guidelines expected by 2028.

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If you were anywhere around the Africa Magic Viewers’ Choice Awards night, then you could almost feel that familiar mix of glamour, legacy, and the quiet recognition of how far African storytelling has come.

Johnnie Walker leaned further into its long-standing “Keep Walking” philosophy not just as a tagline, but as a lived idea about progress, resilience, and the people whose journeys actually define the industry.

And at the center of it all were two names that need very little introduction in Nollywood: Sola Sobowale and Kanayo O. Kanayo.

Both were honored with Industry Merit Awards presented by veteran actress Joke Silva alongside Godfrey Adejumoh, DIAGEO’s Head of Corporate Relations for South, West and Central Africa.

Sola Sobowale’s journey, spans from commanding roles to unforgettable performances that cut across generations, she’s built a career that reflects both discipline and longevity. There’s a reason her presence still carries weight. She’s not just been part of the industry’s growth; she’s helped define it.

Kanayo O. Kanayo, on the other hand, has carved out a different kind of legacy, one built on consistency, versatility, and an almost unmatched screen presence. For years, he has moved between roles with ease, becoming one of the most recognizable and enduring figures in Nigerian cinema. His contribution isn’t just in the characters he’s played, but in how deeply he’s been woven into the cultural fabric of Nollywood.

Speaking on the intent behind the recognition, Ifeoma Agu, Head of Culture, Influencer and Advocacy at Diageo South, West & Central Africa, put it simply:

“The AMVCA has always stood for excellence in African storytelling and this year, we wanted to go beyond the glamour to celebrate and recognize moments of arrival that mark the journey toward meaningful destinations. At Johnnie Walker, we believe progress is nothing without the people who made it possible. Honoring these veterans isn’t just a gesture, it’s a responsibility we are proud to carry.”

And that idea of honoring the journey, not just the destination carried through the rest of the night.

After the awards ceremony, the celebration shifted gears into something more immersive. Blue42 After-Party, co-hosted by Johnnie Walker and headline sponsor Don Julio, brought together filmmakers, actors, and cultural tastemakers for a different kind of industry moment.

It was also the first time both premium spirits brands came together in this way to support the continent’s creative space, quietly setting a new tone for what these kinds of collaborations can look like.

Inside the experience, guests moved through curated Johnnie Walker whisky expressions, with mixologists crafting bespoke cocktails that matched the energy of the night. The music didn’t let up either with performances from Odumodublvck and Liquorose keeping the room alive and behind the decks, DJs like Dope Caesar, Titanium, and Shawn kept the rhythm steady.

Because for Johnnie Walker, it was never just about the awards or the after-parties. It was about the people whose work continues to push African storytelling forward, the ones who have been walking, building, and shaping the path for everyone else coming after them.

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A collage of Tyla’s three Met Gala looks: the 2024 Balmain sand dress, the 2025 Jacquemus pinstripes, and the 2026 Valentino peacock gown.

Three times Tyla has walked into the Met Gala, and three times she has left the internet with something to talk about for weeks. The Grammy-winning South African singer, born Tyla Laura Seethal, has attended fashion’s most watched night in a gown made of actual sand, a pinstripe tribute to a fashion legend, and a peacock-and-crystal Valentino look that stopped people mid-scroll. Every year, a completely different stunning look. Every year, every single detail, from the dress to the nail art, has been intentional. Here is a full breakdown of all three looks.

2024 — Built From Sand (Met Gala Debut)

Theme: Sleeping Beauties: Reawakening Fashion The Garden of Time

For her very first Met Gala, Tyla wore a custom Balmain gown by creative director Olivier Rousteing that was, quite literally, made of sand. Rousteing cast a plaster mould of her body months in advance, then pressed real sand grains and micro-crystal studs in three shades onto an organza base to create a strapless, body-moulded gown with a sweeping mermaid train. The dress was so perfectly formed to her frame that she had to be carried up the Met steps, and later that night, Rousteing cut it off her with scissors. It could only ever be worn once. That was the whole point.

She paired it with an hourglass-shaped clutch, yellow gold earrings with aquamarine and blue topaz by John Hardy, a gold collar necklace by Alexis Bittar, and 3D chain nail art mimicking dripping sand. Look curated by stylist Katie Qian.

On beauty: makeup artists Ernest Robinson and Ryan Burke used Pat McGrath Labs to build a bronzed, sun-kissed base with a smoky eye and glazed cinnamon lip. Hairstylist Yusef Williams gave her a wet-look micro-bob, a nod to her song “Water.”

For the “Sleeping Beauties” theme, Tyla debuted in a body-moulded Balmain gown made of actual sand. The look was styled by Katie Qian and featured an hourglass accessory to represent the “Garden of Time.” Photo Credit: Katie Qian/Instagram

2025 — Black Dandy in Pinstripes

Theme: Superfine: Tailoring Black Style/Tailored for You

In 2025, Tyla traded sand for pinstripes. She wore a custom Jacquemus look: a corseted, off-the-shoulder dress in navy pinstripe poplin with sequin-threaded detailing, layered under an oversized men’s shirt that fell into a floor-length cape. The whole look paid tribute to the late André Leon Talley, Vogue’s iconic former editor-at-large. Stylist Law Roach confirmed the homage on Instagram Stories.

She accessorised with over 30 carats of diamonds from Pandora, including a working diamond-set monocle and a six-carat heart-shaped pendant. A very Talley touch.

On beauty: Pat McGrath channelled Josephine Baker, Dorothy Dandridge, and Jean Harlow with smoky warm-toned eyes and tonal red lips. Hairstylist Yusef gave her a platinum blonde pixie cut set into voluminous pin curls for a full old Hollywood moment.

Tyla’s 2025 “Superfine” look featured masculine-coded tailoring by Jacquemus. The ensemble, styled by Law Roach, paid tribute to fashion icon André Leon Talley. Photo Credit: Jacquemus/Instagram

2026 — Peacock and Crystals, All the Way Down

Theme: Costume Art/Fashion Is Art

For her third appearance, Tyla wore a custom Valentino Garavani gown with a plunging bodice constructed from cascading diamond chains, flowing into a vivid turquoise drop-waist skirt with a high slit. Feather detailing ran down the arms in a peacock-inspired finish. She wore Valentino’s Open Toe Révélé Pumps in aquamarine, a bejewelled silver belt, and silver wrist pendants. Styled by Law Roach.

On beauty: makeup artist Esther Edeme using Valentino Beauty created a full-body glow with wet-look skin, body shimmer across the décolletage, and micro crystal accents around the eyes, all pulling from the peacock and aquatic references in the gown. Hairstylist Yusef Williams shaped her hair into long, high-gloss wet waves. Nail artist Coca Michelle finished the look with a peacock-feather manicure and a pop of OPI pink under the tips.

For her third appearance, Tyla wore a custom Valentino Garavani piece under the “Costume Art” theme. The look featured a plunging diamond chain bodice and a vivid turquoise skirt. Photo Credit: Valentino/Instagram 

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Beverly Osu wears a custom teal silk-chiffon gown by Sama Woman, featuring a draped skirt that reveals a soft pink underside for the Lagos premiere of Call of My Life at Filmhouse Cinemas. The look is finished with a sculptural floral and butterfly headpiece. Photo Credit: Beverly Osu/Instagram

Fancy some teal green? Beverly Osu certainly does, and she made a compelling case for the shade at the Lagos premiere of “Call of My Life.” The actress arrived at the event in a striking creation by Sama Woman that felt fresh and thoughtfully constructed.

The look centred on a deep teal-green corset bodice featuring a plunging halter neck and tonal lace embroidery. What really drew the eye, however, was the fluid draping of the silk-chiffon skirt, which revealed a soft pink lining. She finished the outfit with an oversized floral headpiece, complete with yellow blooms and butterfly accents, and matching teal heels.

A closer look at the movement of Beverly Osu’s premiere outfit. The Sama Woman design incorporates a high-slit draped skirt and a plunging lace-embroidered corset. Beverly stars as a cast member in the new rom-com Call of My Life, releasing in cinemas 15 May 2026. Photo Credit: Beverly Osu/Instagram

Reflecting on the evening, Beverly shared her thoughts on being part of a project that feels personal:

I pride myself on being part of films that embody art, depth, and intentional storytelling, and this project is one that will stay close to my heart. The collaboration between music and film on this was magical. From Cobhams Asuquo’s soulful scoring, to Timi Dakolo as Executive Producer, to Dammy Twitch directing his first feature film with such vision. Every scene felt like reading a novel unfold in real time. This is art in its finest form.

“Call of My Life” is a romantic comedy following Soluchi (played by Uzoamaka Power), a call-centre agent navigating the aftermath of a heartbreak. When a routine work call connects her to the charming Eli (Andrew Bunting), she begins to see a new path forward. Beverly stars in the film alongside a stellar cast including Zubby Michael, Nkem Owoh, and Patience Ozokwor. Directed by Dammy Twitch in his feature debut and produced by Blessing Uzzi for Bluhouse Studios, the film arrives in cinemas nationwide on May 15, 2026.

The stars of Call of My Life gather for the film’s Lagos premiere. Featured from left are Andrew Bunting, Uzoamaka Power, veteran actor Nkem Owoh, producer Blessing Uzzi, director Dammy Twitch, and actress Beverly Osu. Photo Credit: Beverly Osu/Instagram

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Beyond Limits Global recently concluded the inaugural cohort of the RISE (Reflect. Ignite. Strategise. Excel) Executive Leadership Programme for Women with an exclusive networking evening at the Civic Centre, Lagos.

The event marked the culmination of a transformative six-week journey designed and led by Dr Juliet Ehimuan, Founder and CEO of Beyond Limits and Lead Faculty of the programme. Bringing together graduating senior executives, industry titans, and distinguished faculty, the evening was a celebration of executive mastery and the future of African leadership.

The centerpiece of the evening was a high-level fireside conversation themed “Leadership That Endures: Perspective, Judgment, and Legacy.” Moderated by Dr Juliet Ehimuan, the session featured two of Africa’s most respected corporate icons: Bola Adesola, Chairman of Ecobank Nigeria, and Ibukun Awosika, Founder of The Chair Centre Group.

The dialogue went beyond standard corporate advice, diving deep into the realities of boardroom stewardship and the intentionality required to build lasting legacies. Both leaders emphasised that enduring leadership is rooted in strategic judgment and the foresight to shape institutions that outlive their founders; a message that sat at the very heart of the RISE curriculum.

Voices from the Cohort

The evening also provided a platform for the participants themselves. In a panel session titled “In Conversation: Voices From the RISE Cohort,” moderated by Titi Oyinsan, graduating members Onayimi Aiwerioghene, Chief Operating Officer at Cardinal Stone Group, Ndifreke Udoidung, Programme Coordinator (Africa Sales and Partnership) at Zipline, Oluwatoyin Arowolo, Senior ICT Manager at the African Reinsurance Corporation, and Ifeoma Uba-Onubogu, Managing Director at Investment One Trustees, shared reflections on their six-week journey. They discussed the shift from functional management to enterprise sovereignty and the sharpened executive edge they gained through the programme’s rigorous learning sessions.

As the Lead Faculty, Dr Juliet Ehimuan designed RISE to be a holistic experience. Over the six weeks, the 100+ senior leaders engaged in virtual strategy sessions, one-on-one mentorship, and executive coaching.

The programme featured a world-class faculty, including:

• Amb. Opunimi Akinkugbe, Board Member, Founder of Bestman Games & Former Nigerian Ambassador to Greece
• Bonita Stewart, Co-Founder/Managing Director of BAG Ventures and former VP, Global Partnerships at Google
• Bolanle Austen-Peters, Founder of BAP Productions and Terra Kulture
• Ndidi Nwuneli, President and CEO of The ONE Campaign
• Funke Opeke, Founder of MainOne
• Bolaji Agbede, Executive Director at Access Holdings
• Bola Adesola, Chairman of Ecobank Nigeria
• Ibukun Awosika, Founder of The Chair Centre Group

“Six weeks and over 100 women leaders in one space. The conversations went to places boardrooms rarely reach,” an excited Dr Ehimuan wrote on her LinkedIn profile, celebrating the culmination of the inaugural cohort. “Executive leadership demands continuous growth, expanded perspective, and the courage to lead with both competence and conviction.” 

“This cohort arrived as accomplished professionals, and they are leaving clearer, sharper, and more sovereign in how they lead. Watching these women sharpen their leadership edge has been deeply inspiring. This is the activation of a powerful network positioned to redefine leadership across industries,” she added. 

The atmosphere was complemented by the artistry of Tena the Violinist and the seamless coordination of event host and renowned broadcaster, Titi Oyinsan. From video recaps of the different learning sessions to the final networking activities, the event reinforced the need for a high-level community for women at the top.

The graduation of this inaugural cohort marks a significant milestone in closing the leadership gap within the global corporate landscape, starting right here in Africa.

For enquiries and to learn more about Beyond Limits executive programmes, contact the team at programs@beyondlimitsglobal.com and follow Beyond Limits on social media @the_beyondlimits.  

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Nigerian-British advocate, author, and gender equality champion Chinwe Enyinna is set to officially launch her debut book, “My Garden of Thorny Roses”, at an exclusive literary gathering scheduled to hold on June 6, 2026, in Ikoyi, Lagos.

A deeply reflective and emotionally resonant work, My Garden of Thorny Roses explores the complex terrain of dating, courtship, and marriage through the lens of lived experience. Chinwe Enyinna, drawing from her own journey, offers an honest exploration of resilience, healing, self-discovery, courage and wisdom.

Rather than focusing solely on pain, the book centers a compelling narrative on transformation and rebuilding with wisdom, clarity, and purpose. More than a memoir, the book serves as a guide for individuals navigating toxic relationships and young women standing at the threshold of marriage.

Speaking on the inspiration behind the book, Chinwe Enyinna shared;

“this book is for every woman who has ever questioned her worth, silenced her pain, or struggled to find herself again after a difficult experience. I hope that readers find clarity, healing, and courage within these pages.”

She also noted that the work was born from a desire to create honest conversations around relationships, healing, and personal growth, particularly for women whose experiences are often silenced or overlooked.

Chinwe Enyinna, MPH, BSN, is widely recognised for her advocacy work in gender equality and the prevention of gender-based violence. With academic and professional backgrounds in Public Health and Nursing Sciences, her work bridges lived experience with evidence-informed advocacy. Currently serving as the UK Country Chair of the Anti-GBV Wing of the G100 Club, and the founder of D’ Survivor Hub Nigeria, an initiative dedicated to supporting survivors of domestic abuse through advocacy, healing, and empowerment programmes.

The launch event, described as a literary soirée, will convene distinguished guests, media personalities, policy advocates, culture shapers, and lovers of literature, for an afternoon of thoughtful engagement and conversation.  The programme will feature curated book readings, literary reflections, an intimate keynote and fireside conversation, the official unveiling of the book, and a signing session.

With the launch event taking place in Ikoyi, Lagos on 6th of June 2026, by 3:00 PM, attendance and participation is by invitation only and you can request yours at here.

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My name is Cynthia Ezinne Ohaeri, and this is how I secured a Mastercard Foundation Scholarship to attend the University of Oxford, alongside other scholarships.

Several years before I submitted my application to the University of Oxford, I created a folder on my laptop titled “My Oxford Dreams.” It was my museum of scholarship links, essays, photographs, prayers, and other materials. The folder held every reason I believed I deserved my place at one of the most prestigious universities in the world, and every reason Oxford felt like the right environment to nurture my light.

I grew up in an environment that didn’t often inspire this kind of dream, but I was a young Nigerian girl with big ambitions. I began by studying Physics and Astronomy at the University of Nigeria, Nsukka, trying to build a future larger than every limitation around me. I carried a deep conviction that my life was meant to resonate globally. I have always believed that if someone had to get into anywhere, why not me?

I became the first Nigerian to study at the University of Oxford’s Smith School of Enterprise and the Environment, where I currently study for a degree in Sustainability, Enterprise and the Environment. I have secured the prestigious Mastercard Foundation Scholarship at the University of Oxford, alongside the AfOx-Linacre Norman and Ivy-Lloyd Scholarships. I was also nominated for the Weidenfeld-Hoffmann Scholarship and the Oxford Smith School Scholarship, giving credence to the quality of my application.

Saying those words still feels surreal.

But the journey to the University of Oxford was far from easy. People see the photographs when I share them now – the University’s prestigious academic wear for formal events, the historic Bodleian libraries, the dreamy aesthetic of cobblestone streets and old architecture – but they rarely see the years of preparation behind the scenes. They do not see the endless nights spent studying, writing applications, researching scholarships, balancing a multifaceted career as a multi-potential creative and pushing through exhaustion. They did not see the moments where fear whispered, “What if you fail?”

I have learned that courage is not the absence of fear. Courage is feeling the fear, throwing on my favourite dress, saying one or two words of affirmation to myself, and doing it anyway. When fear whispered, “What if you fail?” I responded, “What if I thrive?”

I graduated from the University of Nigeria as a valedictorian with a First-Class Honours degree in Physics and Astronomy. I worked across the aviation, oil and gas, and renewable energy industries, contributing to projects spanning petroleum engineering, carbon efficiency modelling, solar installation management, data analysis, AI-powered EduTech innovation and sustainability advocacy. Along the way, I led research on gas flaring in Nigeria and decarbonising aviation using Sustainable Aviation Fuel (SAF) and hydrogen. These experiences influenced my decision to contribute meaningfully to building a sustainable future for our world.

I remember my matriculation day at Oxford, sitting inside the historic 350-year-old Sheldonian Theatre in my sub fusc – Oxford’s traditional academic wear – hearing the Vice-Chancellor, Professor Irene Tracey, officially welcome us into the University of Oxford with kind words. “Welcome to the University of Oxford. It is not easy to earn a place at Oxford. You were chosen to be part of the number one university in the world for a reason…” I felt deeply overwhelmed with gratitude. It was one of those moments when life slows down long enough for you to feel the full magnitude of your answered prayers.

I walked through the cobblestone streets of Oxford afterwards, thinking to myself: “Zinny, this is what dreams are made of.”

I have truly felt at home within a sea of excellence at Oxford. Reading for a degree at one of the oldest and most prestigious universities in the world has stretched me intellectually, emotionally, and personally in the most beautiful ways. One day, I am discussing energy transitions, climate finance and sustainable economic transitions with globally renowned professionals. Another day, I am spending quiet afternoons inside centuries-old Bodleian libraries surrounded by some of the brightest minds in the world. Another day, I’m dressed in the fanciest gown, attending black-tie and gown Oxford-style traditional formal dinners at one of Oxford’s 45 colleges. Sometimes, I still pause while walking past the Radcliffe Camera or the Bridge of Sighs, just to take everything in.

For a girl who once watched Oxford lectures on YouTube from her kitchen while making dinner back home in Nigeria, there is something deeply fulfilling about now sitting in those classrooms.

But beyond the beauty and prestige, what these scholarships have truly given me is access. Access to world-class education. Access to transformative networks. Access to opportunities larger than myself. Access to spaces where I can contribute my voice, my perspective, and my lived experiences as a Nigerian Girl in STEM.

The MasterCard Foundation Scholarship and the AfOx-Linacre Norman and Ivy-Lloyd Scholarships mean so much more to me than financial support. They represent possibility. For many students like me, scholarships are not luxuries but a big bet on the recipient. They are the bridge between potential and opportunity. To me, receiving these scholarships meant they chose to bet on me, a humbling and joyful nod to my intentionality in striving for excellence in every facet of life.

As someone deeply passionate about community development and sustainable social impact, I never want my success to exist in isolation.

Through my non-profit foundation, Nigerian Girl In STEM, I have spent a decade mentoring girls and advocating for increased access to STEM education, leadership development, and opportunities for young women from underserved and disadvantaged communities. I understand intimately what it means to dream wildly while lacking access, representation, funding, or visibility. That is why every milestone I achieve feels communal. I have received messages from young Nigerian girls saying, “Because of you, I now believe studying at prestigious institutions like the University of Oxford is possible for me too.”

Oxford has taught me that the world is truly my runway! For so long, many of us are conditioned to shrink ourselves before we even begin. We hesitate before applying. We disqualify ourselves before opportunities reject us. We become intimidated by institutions, titles, and prestige. But one of the greatest lessons this journey has taught me is this: dreams are often far more possible than they initially appear.

Sometimes, the biggest thing standing between you and your next level is the willingness to try. Someone has to win the scholarship. Someone has to sit at those tables. Someone has to make history. Why not you?

As I continue my journey at the University of Oxford, researching energy decarbonization, sustainability transitions, climate innovation, policy and sustainable finance, I remain deeply grateful for every step that brought me here: the victories, the failures, the resilience, the quiet prayers, the long nights, and the unwavering belief that my dreams are always valid. This season of my life is one I fondly call my “world-class era,” because I am finally allowing myself to fully embrace the magnitude of my own potential – being truly world-class!

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Tobi Amusan secures her third consecutive African 100m hurdles title at the 2026 Championships in Accra. Crossing the line in 12.83 seconds, the world record holder earns Team Nigeria’s first gold of the meet at the University of Ghana Sports Stadium. Photo Credit: Making of Champs/Instagram

The “Tobi Express” is back on track! Tobi Amusan has officially secured Nigeria’s first gold medal at the ongoing 2026 African Senior Athletics Championships in Accra, Ghana. True to form, the world record holder dominated the Women’s 100m hurdles final on Wednesday, May 13th, marking her third continental title in the event following her previous victories in Asaba (2018) and Mauritius (2022).

Amusan showed her intent early, qualifying fastest from the heats and semi-finals. In the final, she maintained her momentum from start to finish, crossing the line in 12.83 seconds. While the stadium faced some technical hurdles of its own, including a malfunctioning timing system that delayed official results, Amusan’s victory was undeniable. Speaking after the race, she noted that she didn’t know what the time was, but getting the win was all that mattered.

It wasn’t just a win for Tobi; it was a strong showing for the green and white overall. Her compatriot, Adaobi Tabugbo, secured the bronze medal with a time of 13.26 seconds, marking her first individual senior international medal for Nigeria. Zimbabwe’s Ashley Miller took the silver (13.24s), preventing a Nigerian 1-2 finish.

This victory provided a much-needed boost for Team Nigeria on Day 2 of the championships. The day concluded on another high note with Nigeria also taking gold in the Mixed 4x400m relay, thanks to a superb combined effort from Ezekiel Asuquo, Toheebat Jimoh, Victor Sampson, and Patience Okon–George.

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A detailed view of Uche Montana’s red-carpet ensemble for the 12th AMVCAs in Lagos. Styled by Dahmola, the custom Tubo piece features hand-embellished stones and a textured Phoenix theme. Photo Credit: Uche Montana/Instagram

“First, I would like to thank God, my family, my co-stars… this is for every girl that was told she was not good enough.”

When Uche Montana said those words at the AMVCAs, she was joking. She had stepped on stage to present an award and decided to tease the audience with a fake acceptance speech before handing the trophy to the actual winner. The room burst into laughter. It was one of those light moments that instantly got everyone talking.

But somewhere between humour, faith, and accidentally speaking things into existence, the night had a surprise waiting for her too.

A few moments later, Uche Montana returned to the stage, this time for real, after being announced as the winner of the Trailblazer Award, one of the AMVCAs’ most prestigious special recognition honours. Unlike the main acting categories, the award has no public nominees and is not open to voting. It is reserved for an emerging talent whose work has made a clear impact on African film and television within a short period of time. In many ways, it is the industry’s way of recognising someone whose career is only just beginning to unfold.

And judging by the sheer shock on Uche’s face, she genuinely hadn’t seen it coming. Still visibly shaking as she accepted the award, she shared:

I’m still trying to find words… I’m shaking. Earlier today, I was standing here joking and giving a fake speech, and now… wow.

Winning the Trailblazer Award at AMVCA is such an incredible honour. I am deeply, deeply grateful to everyone who has supported, believed in, and grown with me on this journey. This means everything.

I want to say this to every young girl, every young dreamer out there: Keep dreaming. Keep believing. Don’t stop. No matter how long it takes, no matter how hard it gets, keep going. This is for you! Thank you, AMVCA! Thank you, MultiChoice.

Celebrated for her versatile roles in Nollywood, Uche Montana celebrates her Trailblazer win at the 2026 AMVCAs. Her show-stopping look is a collaboration between designer Tubo and stylist Dahmola. Photo Credit: Uche Montana/Instagram

For her big night, Uche was a vision in a custom Tubo gown. Inspired by the phoenix, the red and gold feathered masterpiece was created exclusively for her, becoming one of the most talked-about fashion looks at the Eko Hotel. It was a look fit for a winner, and a night that proved sometimes, life really does imitate art.

2026 AMVCA Trailblazer winner Uche Montana at the Eko Hotel, Lagos, wearing a fire-inspired phoenix gown by Tubo Bereni. Styled by Dahmola, the look features feathered layering and a structured silhouette. Photo Credit: Uche Montana/Instagram

Watch her fake acceptance speech and see the moment she was announced as the Trailblazer Award winner below.

 

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The drive for literacy in Nigeria received a significant boost as the Akada Children’s Book Festival (ACBF) officially inducted its first-ever cohort of Reading Ambassadors on Saturday, May 9, 2026. Held at the Alliance Française Library in Ikoyi, the ceremony marked the beginning of a nationwide “Reading Revival” designed to cultivate lifelong reading habits among young Nigerians.

Under the theme “Big Dreams, Brave Stories,” five student leaders (under 16) were formally sashed and pinned as Reading Captains for their respective schools. The 2026 Reading Ambassadors include:

• Zohirah Soile – Bayt-Ul-Ilmi Young Academy
• Ajah Muhammed – Hopic School
• Nelson Marvellous – God’s Heritage School
• Sophia Durojaiye – Millhouse School
• Owomi Joy – Bright Achievers School

The Vision: Reading as the “Software” for the Future

In her keynote charge, Olubunmi Aboderin Talabi, Convener of the Akada Children’s Book Festival, emphasized that reading is the foundational skill for the future.

“The more you read, the more software you install in your brain,” Talabi stated. “In a future dominated by AI, the ability to tell stories and communicate will remain a prized skill. The genesis of that ability is reading. We launched this programme to identify the next generation of African reading captains who will inspire their peers to embrace the joy of books.”

The event was hosted in partnership with Alliance Française (AF). Odufa Onaulogho, the AF Librarian, highlighted the importance of the collaboration during a fireside chat on the state of literacy in Nigeria.

“Partnering with the Akada Children’s Book Festival is a natural fit for the Alliance Française Library,” said Onaulogho. “We believe that libraries are the heart of a community’s intellectual growth. By supporting this induction, we are providing a sanctuary where young readers can discover that books are not just for exams, but for expanding their horizons and imagining new worlds.”

Onaulogho was joined on the fireside chat by Talabi and celebrated children’s authors Ayo Oyeku (Ebedi International Residency Fellow) and Amarachukwu Chimeka (Editor and Publisher). Amarachukwu, alongside IweMi My Books, have already contributed to the initiative by donating storybooks for the participating schools to kickstart their reading marathons.

The 3-Week Reading Marathon

The induction follows the kickoff for a 3-Week Reading Marathon. “Based on the principle that it takes 21 days to form a habit, the Ambassadors will earn points for reading books by ACBF-featured authors, submitting reviews, and hosting reading sessions for their peers,” Talabi added. 

She revealed that the ambassador who accumulates the most points will be crowned the “2026 Verified Bookworm” on the main stage of the 8th Akada Children’s Book Festival on Saturday, May 23, 2026, at the Eko Atlantic City in Lagos. Prizes for the top performer include a commemorative plaque, a book voucher, and a Library Box Donation filled with African storybooks for their school.

The public is invited to witness the official crowning of the first “Verified Bookworm” and experience a day of stories, workshops, and literary fun at the 8th Akada Children’s Book Festival on Saturday, May 23, 2026. Attendance is free, but registration is required. To secure your spot and join the reading revival, please register at www.akadafestival.org.

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Mr. Onyemelukwe is a Nigerian-American and an African media and entertainment industry expert and is currently VP Global Business Development and Managing Director of Trace West Africa

There are lots of smart and talented people in our creative industry. I’ll bet you can name a few of your favorites off the top of your head, whether it’s musicians, or a content creator like Carter Efe. But too many of them are forced to try and do everything; learning on the job, while putting out music or content or their podcast.  

They are the talent, but also the CEO guiding direction, the CFO making payments and reviewing accounts because they can’t trust anybody, and the COO keeping the gen fueled and the cameras running. And we have managed this up to this point. And we have tried, I mean, Nigeria has taken a dominant posture in Global culture.

Creativity drives visibility, but companies are built through structure, discipline, and execution.

Nigeria’s creative economy has entered a different phase. For years, growth has been measured in visibility streams, views, virality, global collaborations. The numbers look impressive and the cultural influence is undeniable, but visibility is not the same as value.

If we are to actually export culture, we need to capture the underlying economics. Very few companies in Nigeria’s creative ecosystem are built to scale, fewer are structured to attract serious investment, and almost none are built with exits in mind. 

A lot of the “industry” operates informally. Agreements are still too often made casually between friends, contracts come afterwards and are simplistic as a rejection of speaking too much English, and reporting is inconsistent. Investors don’t buy vibes, investors buy into structure, ownership and predictable revenues, capital is diametrically opposed to businesses where those things are not clearly defined.

Furthermore, revenue across the ecosystem is heavily concentrated around brand sponsorship. Advertising delivers quick wins, but it is volatile. Campaigns start and stop, budgets expand and shrink, and when the campaign ends, the value often disappears with it. This model rewards activity, not asset creation.

Another structural gap is how content itself is treated. Content is seen as output rather than as an asset. A show is produced, aired, and forgotten. A format is created, used once, and abandoned. A digital series builds an audience, but no long-term monetisation strategy follows. Yet the same content, properly structured, could become a franchise, a licensing opportunity, a library, or a scalable brand.

What is missing is not creativity, but the structure that allows content to generate long-term value.

To understand where the industry is heading, it helps to think in terms of four things creative businesses can actually build.

The first is intellectual property. This is the content itself a song, a show, a format, a film, or a digital series. If you create a podcast, that is IP. If you create a skit series, that is IP. If you build a YouTube show, that is IP. The mistake many creators make is treating IP as disposable: create it, post it, and move on. But properly structured IP can generate value long after it is released. It can be licensed, adapted into other formats, syndicated, packaged, and sold (think Dora the Explora backpacks). Global media companies are built on libraries. In Nigeria, we build moments instead of assets.

The second is distribution. Distribution is how content reaches people not just Instagram or YouTube, but television, radio, streaming platforms, telco partnerships, apps, and owned platforms. Creators often focus only on making content, but distribution determines scale. If you control distribution, you decide what gets seen repeatedly, you build audience habits, and you create more ways to monetise content. Creators who rely only on social media algorithms are tenants, not landlords.

The third is audience. Audience is not just followers; it is a community you can reach directly. Subscribers, fan groups, registered users, and owned communities all fall into this category. If Instagram disappears tomorrow, can you still reach your audience? If the answer is no, then you do not own your audience. Audience ownership improves negotiation power, attracts brands, supports recurring revenue, and increases long-term value. Many creators have reach, but far fewer have owned audiences.

The fourth is experiential infrastructure. Events, festivals, venues, and creator hubs are no longer just marketing tools; they generate content, build communities, and create new ways to earn. When connected to content and distribution, they become part of the business itself. A live show becomes content, that content drives audience growth, the audience attracts sponsorship, and the sponsorship funds more content, creating a repeatable loop that strengthens the overall business.

The strongest creative businesses do not rely on one element; they combine IP, distribution, audience, and live experiences so that growth does not depend on a single revenue stream. This integrated approach changes the economics of creative businesses. Instead of one-off campaigns, they build ongoing engagement. Instead of chasing exposure, they build ownership. Instead of relying on one income source, they develop multiple ones.

When investors look at creative businesses, they usually focus on a few simple questions: can the business generate consistent revenue, can it grow beyond one platform, is ownership clear, and can the team actually execute? Many Nigerian creative businesses struggle because one of these elements is missing. Ownership may be unclear, data may be limited, monetisation may be unstructured, or execution may be inconsistent.

The opportunity, therefore, is not simply to create better content, but to build stronger businesses around content. Advertising will always play a role, but it should not be the only one. Subscriptions create recurring revenue, licensing creates long-term income, events create community and sponsorship, and distribution creates leverage. The strongest businesses combine these instead of relying on a single model.

Ultimately, in this environment, the ecosystem needs to be developed and a few, well-funded and organisations can fill this gap. At an individual level, companies need to lean on execution alongside creativity. Clear processes, financial discipline, strong partnerships, and consistent output are what turn cultural relevance into real businesses.

African culture is currently one of the world’s most underpriced assets. The creativity is already global. What’s missing now is the structure that allows value to travel with it. That is how the industry moves from cultural influence to sustainable,investable growth.

BellaNaija is a Media Partner for Trace West Africa

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Following this, participants engaged in a pre-walk work out session led by Kayinsola Alabi and her team from Sweatbox, ensuring everyone was properly warmed up and energized for the walk.

The awareness walk then commenced, creating a vibrant and unified movement dedicated to promoting mental health awareness. Branded T-shirts and caps were distributed to participants, serving both as memorabilia and as visual symbols of support for the cause. Their presence added colour and visibility to the campaign, amplifying its impact.

Upon returning to the convergence point, the President of NICCI, Ishmael Balogun, delivered brief remarks, expressing appreciation to all participants, partners, and sponsors for their support and presence. He emphasized the importance of prioritising mental well-being as a foundation for a productive society, noting that while physical health often receives widespread attention, mental health remains under-discussed despite its profound impact on individuals, workplaces, and communities. He called for increased awareness, open conversations, and collective responsibility in addressing mental health challenges.

The success of the event was made possible through the valued support of its partners and sponsors, including The Aisle Residence (Crescendo) and The Aisle Padle Club for providing the venue, Remed Healthcare for medical support, Pocari Sweat as the hydration partner, Bellanaija for press coverage, Insigna Media for media coverage, Sweatbox as our fitness partner as well as ATCO Homes, Prime Next Logistics, Glambrand Agency and Travel Arcade for their various contributions towards the seamless execution of the event.

The NICCI Walk for Mental Health Awareness reflects a growing recognition within corporate and institutional spaces of the need to prioritise mental health. By leveraging its platform, NICCI continues to demonstrate leadership beyond commerce, contributing meaningfully to societal development.

As mental health challenges continue to rise globally, initiatives such as this play a crucial role in breaking stigma, encouraging open dialogue, and promoting access to support systems. NICCI’s effort stands as a commendable example of how organizations can integrate advocacy into their broader mission for impact.

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At Lafarge Africa, we walk the talk when it comes to women empowerment, that’s why in commemoration of International Women’s Day (IWD) 2026 and in furtherance of our theme “The Give to Gain Blueprint: Investing in Women for Sustainable Impact”, we partnered with Leadway Health, to deliver a Free Breast Cancer Screening for women in Lagos. 

The initiative was informed by the fact that breast cancer is the most common cancer among Nigerian women with approximately 88 new cases diagnosed daily. It also accounts for roughly 22.7% of all female cancers with patients frequently presented at advanced stages (3 or 4) leading to high mortality rates. These drove us to address the key challenges of limited screening, late detection and limited access to treatment.

All roads led to Primary Health Care Centre, Akerele, Surulere, Lagos State, where we moved beyond rhetoric to tangible action by providing women with access to professional screening, medical consultation and targeted health education, reinforcing the importance of early detection in reducing the impact of breast cancer.

Leading the discussion was Gabriel Pollyn, Head of Sustainability and Sponsorship at Lafarge Africa Plc, who noted that the programme helps bridge critical gaps in access to healthcare and information, encouraging women to take ownership of their health.

Medical insights were also provided by the Occupational Health Coordinator, Dr. Olukemi Albert-Udoh and the Team Lead, Leadway Health, Dr. Atere Abisola, who highlighted the importance of early detection and regular check-ups. As well as encouraging participants to share knowledge within their communities. Adetoro Baiyewu, Supervisor for Health, Surulere Local Government, commended the initiative by acknowledging the impact of bringing essential healthcare services closer to the grassroots.

At Lafarge Africa, driving sustainable impact remains a priority and through initiatives like this, we stand committed to improving access to essential healthcare and advancing women’s wellbeing in the community.

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For a full week in May, Lagos became home to one of the city’s most immersive cultural and fan experiences as Heineken House Experience transformed Ilubirin into a vibrant destination for sport, music, entertainment, and connection.

Running across key dates during the UEFA Champions League semi-finals and Formula 1 Miami Grand Prix weekend, the multi-day experience brought together football fans, Formula 1 enthusiasts, creators, tastemakers, nightlife lovers, and consumers in a shared environment designed around one thing: meaningful connection through shared passions.

At the centre of the experience was the iconic Heineken hot air balloon activation, which introduced a striking new visual to the Lagos skyline and quickly became one of the most talked-about highlights of the week. For many guests, stepping into the balloon was a one-of-its-kind moment; one that transformed curiosity into excitement as strangers boarded and often landed as friends; but the Heineken House Experience extended far beyond the skies.

The experience officially opened on May 3 with a live screening of the Formula 1 Miami Grand Prix, bringing Nigeria’s growing F1 community together for an evening of racing, music, nightlife, and shared excitement. Fans gathered to watch the race unfold before DJs and hypemen took over to keep the energy going around them.

The momentum continued on May 5 and 6 as football fans returned for immersive UEFA Champions League semi-final watch parties. Across both nights, supporters watched every goal, chant, reaction, and dramatic moment unfold together in an atmosphere fuelled by music, conversations, celebration, and community. Rather than creating a conventional viewing experience, Heineken House Experience transformed football nights into a broader cultural moment where sport, entertainment, and social connection existed seamlessly together.

The experience also created deeply personal moments. During the activation, one guest reached out to Heineken with a special request: to propose to his girlfriend aboard the iconic hot air balloon. On May 7, Heineken brought the surprise proposal to life above the Lagos skyline, turning the experience into the beginning of a new chapter for the couple in a moment that quickly resonated across social media.

As the week progressed, the venue continued to evolve into a social hub where guests engaged with music-led nightlife experiences, creator content, FIFA gaming moments, premium hospitality, and shared fan interactions that reflected the spirit of Heineken’s global “Fans Have More Friends” platform.

The experience culminated on May 9 with A Night of Celebration, a music-led finale featuring performances from Style Plus, Shallipopi, and Young Jonn. The closing night brought together music, nightlife, entertainment, and fan culture in one final shared moment, reinforcing the broader ambition behind Heineken House Experience: creating spaces where people do not simply attend events, but become part of unforgettable cultural experiences.

Importantly, the activation also reflected the changing nature of fandom and consumer engagement in Nigeria today. Audiences increasingly seek experiences that feel immersive, participatory, and emotionally resonant. Heineken House Experience responded to this shift by creating an environment where people could actively connect over shared passions, whether through football, Formula 1, music, gaming, or nightlife.

Long after the final match, performance, and hot air balloon flight, what remains is not just the memories of what happened, but the feeling it created. For a few days in Lagos, the Heineken House Experience became more than an event; it became a shared cultural moment that brought people together through sport, music, entertainment, and human connection.

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As luxury culture continues to evolve in Nigeria, consumers are becoming more intentional about how they socialise, where they spend their time, and the kind of experiences they want to be part of. It is no longer just about showing up at the biggest event or being in the loudest room. Today’s premium consumer is looking for balance, spaces that feel exciting but still refined, social but still intentional. That shift in culture is exactly what inspired the creation of Blue42.

Born from a collaboration between Johnnie Walker Blue Label and Don Julio, Blue42 is a new experiential platform designed to create what both brands describe as a “mid-tempo” social experience, a carefully curated environment that sits comfortably between high-energy nightlife and intimate luxury.

For Johnnie Walker Blue Label, the collaboration came from observing a clear change in consumer behaviour. Traditionally associated with refined and intimate settings, the brand recognised that consumers now want premium experiences that also feel socially engaging and culturally relevant.

Don Julio, which officially arrived in Nigeria in July 2025, approached the market by first listening to consumers. According to the brand, one thing became immediately clear: premium Nigerian consumers constantly seek balance. While Don Julio naturally thrives in energetic environments, consumers also want moments of ease, connection, and comfort within those spaces.
That shared understanding became the foundation for Blue42.

At its core, Blue42 is about bringing together craftsmanship, culture, energy, and intentionality in one environment. Rather than simply combining two premium brands for visibility, the platform was built to create an entirely new social experience, one where every detail matters, from the atmosphere and music to the conversations, cocktails, and overall mood of the room.

The experience was designed to honour people who move with purpose, individuals who value passion, creativity, ambition, and substance without simply following trends for the sake of culture. For both brands, Blue42 represents a deeper approach to luxury experiences, one rooted in authenticity and thoughtful curation.

What makes Blue42 different is that it is not trying to be the loudest party or the quietest gathering. Instead, it focuses on how people feel while they are there. It creates a social environment where guests can celebrate, connect, unwind, and fully immerse themselves without feeling overwhelmed.

The platform made its official debut at the just-concluded Africa Magic Viewers’ Choice Awards (AMVCA), one of Africa’s biggest entertainment and cultural moments. For both brands, the AMVCA was the perfect introduction because it naturally brings together creatives, industry leaders, tastemakers, and cultural icons, people who understand both the discipline behind success and the importance of celebrating achievement.

Positioned as an after-party experience, Blue42 became the ideal bridge between the glamour and formality of the awards ceremony and the relaxed social energy that follows afterwards.

Beyond the event itself, Blue42 also signals a wider shift happening within the premium spirits industry. Consumers today are no longer simply buying products; they are buying into experiences, emotions, and moments. Premium brands are now expected to shape culture in more intentional ways by understanding mood, audience behaviour, and the overall social experience.

For the whisky category specifically, Blue42 represents an evolution. Whisky has long been associated with heritage, sophistication, and quieter moments. While those qualities still remain important, consumers are increasingly embracing whisky in more contemporary, social environments without losing its premium appeal.

Blue42 reflects that shift by showing that luxury and vibrant social energy can comfortably exist together. But according to both brands, the AMVCA was only the beginning.

Blue42 is being developed as a long-term experiential platform that can travel across different cities, occasions, and cultural touchpoints. Whether through intimate gatherings or larger cultural moments, the vision remains the same: to create balanced, thoughtful social experiences for consumers who want more intentional ways to connect and celebrate.

As culture continues to evolve, Blue42 is positioning itself not just as an event, but as a new standard for what premium social experiences can look and feel like in modern Nigeria.

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Nigerian fashion designer Veekee James celebrates her journey to motherhood in a custom cream silk halter-neck maternity gown. Photographed in Lagos, the portraits preceded the arrival of her daughter, Eliana Adeife Atere, in May 2026. Photo Credit: Veekee James/Instagram

She is here. Veekee James and her husband Femi Atere have welcomed their first child, a baby girl named Eliana Adeife Atere, born on 2nd May 2026 at 19:12, weighing 3.83 kg and measuring 53.5 cm.

The couple shared the news today with a warm, intimate video montage of their first moments with their daughter, and the internet has not stopped celebrating since. Her name carries a meaning chosen with full intention — EL meaning God, ANA meaning He has answered — Eliana translates as “My God has answered.” Their caption carried 1 Samuel 1:27: “For this child I prayed; and the Lord hath given me my petition which I asked of him.”

The couple got engaged in June 2023, married across three ceremonies in February 2024, and announced their pregnancy in February 2026 with a video of Veekee cradling her bump, revealing that they had tried for a year before receiving the news. The arrival of Eliana is the answer to that wait.

The video is everything. It opens on Eliana in a pink knitted outfit with her name embroidered on the front, beside a birth plaque with all her details. Femi is seen holding his daughter, kissing her forehead, lying beside her with an expression that says everything. Veekee is seen breastfeeding in a white lace robe while Femi kisses her shoulder in a quiet, tender moment. Little Victoria James, Veekee’s niece, gently kisses the baby on the head, and the whole thing is set to a song about blessings, grace, and dreams coming true.

Veekee spent the video in a pink silk pyjama set that coordinated perfectly with Eliana’s pink outfit, whether intentional or not, a very Veekee James detail. Femi stayed in a white singlet and linen trousers throughout, fully present and entirely unbothered by anything except the baby in his arms.

 

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Popular Nollywood actor Alexx Ekubo has passed on at the age of 40. The Lagos-based star, known for his roles in Afamefuna and The Bling Lagosians, is being remembered by the Nigerian creative community following the news of his passing on 12 May 2026. Photo Credit: Alexx Ekubo/Instagram

The Nigerian film industry is mourning the loss of actor Alexx Ekubo, whose passing was announced yesterday, 12 May. Reports have confirmed that the actor passed on at a private medical facility in Lagos on Monday, 11 May 2026.

While he had been notably quiet on social media since late 2024, the news has still come as a profound shock to fans and colleagues alike. Known for his charm, humour, and easy screen presence, Alexx became one of the most recognisable faces in modern Nollywood, building a career that connected with audiences across film, television, and social media.

Since the news broke, heartfelt tributes have continued to pour in from colleagues and friends in the entertainment industry. Ebuka Obi–Uchendu shared the simple but emotional message, “Ikuku. Naa n’udo,” while Johnny Drille and Timini Egbuson expressed shock at the news, with Timini writing, “Rest well King Alex.” Rita Dominic also reacted with a broken heart emoji, reflecting the sadness many people are feeling right now.

From his early days after competing in Mr Nigeria in 2010 to becoming a familiar leading man on our screens, Alexx built a filmography filled with memorable roles. He starred in films including “The Bling Lagosians,” “Omo Ghetto: The Saga,” and “Weekend Getaway.” His final film appearance in “Afamefuna” saw him play Paul, a role many viewers praised for the depth and maturity he brought to the screen.

For many, Alexx was more than just an actor; he was a friend to the industry. He leaves behind a legacy of memorable performances, warmth, charisma, and a career that made its mark on Nollywood.

Oh Alex

— Johnny Drille (@Johnnydrille) May 12, 2026

Ikuku. Naa n’udo

— Ebuka Obi-Uchendu (@Ebuka) May 12, 2026

— Rita Dominic (@ritaUdominic) May 12, 2026

Rest easy young man! I really thought I would make this film with you. Go with God!

— GlazedLens (@MealdredO) May 12, 2026

RIP pic.twitter.com/JcRic5p3ai

— Mr Psquare (@PeterPsquare) May 12, 2026

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Blessing Nze celebrates her 39th birthday with a structured patchwork denim ensemble. The utilitarian-inspired look features a jacket with frayed seams and matching cargo-style boots, shared as part of her 2026 birthday portraits. Photo Credit: Blessing Nze/Instagram

There are birthday tributes, and then there is what Stan Nze wrote for his wife Blessing Jessica Nze today. The actor sat down and told the world exactly who she is, and it is one of the most genuine things you will read today.

He wrote: “Chimomso; God is indeed close to you cos I have experienced Him way more — felt Him close — in every situation, since you came into my life. You are the true definition of light — so pure, genuine and vibrant. Knowing you is knowing a woman who would literally give up herself to see others become. A true supporter. A reckless lover; You’ve taught me to love deeper. To be there for people. To be selfless. And I’m grateful to God for all of these virtues.”

He went on: “I pray that as you celebrate today, that God give you unusual peace. The kind of peace that only you and Him would understand. Tailor-made, specially for you. That you would rest in His love and have no course to worry in this year. Bask in His will and dwell in His courtyard. I sentence you to 365 days of God’s faithfulness, His dynamic wonder and a daily revelation of Him.”

He closed with: “HAPPY BIRTHDAY MY SWEETNESS. Cheers to amazing 39.”

Blessing Jessica Nze is turning 39 today, and she marked the occasion with two looks that have nothing in common except the level of confidence behind each of them.

Blessing Nze celebrates her 39th birthday with a structured patchwork denim ensemble. The utilitarian-inspired look features a jacket with frayed seams and matching cargo-style boots, shared as part of her 2026 birthday portraits. Photo Credit: Stan Nze/Instagram

A full denim co-ord that takes the fabric well beyond its everyday associations. A structured long-sleeved jacket in blue denim patchwork features a high collar, silver zipper, black vertical piping, and raw frayed edges at the hem and cuffs. It is paired with a matching mini skirt with cargo pockets and a silver eyelet lace-up detail, completed with knee-high boots in the same patchwork fabric. Head to toe in one material, and entirely intentional.

Actress Blessing Nze marks her birthday in an embellished purple velvet mermaid gown and lilac off-the-shoulder top. Her husband, Stan Nze, celebrated the occasion with a moving tribute to his “Lolo,” highlighting her vibrant and supportive nature. Photo Credit: Stan Nze/Instagram

An off-the-shoulder lilac top with wing-like panelling across the bust and sheer beaded sleeves sits above a floor-length dark purple velvet mermaid skirt covered in silver starburst patterns and teardrop crystals that taper toward the hem. Somewhere in the background of that photo, Stan Nze can be spotted in a baseball cap, shorts, and sunglasses — the most casual man in the frame, watching his wife be everything.

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Genevieve Nnaji joins the London-based BBC One thriller Wahala. The six-part series is based on Nikki May’s debut novel about three Anglo-Nigerian friends whose lives are disrupted by dark secrets. Photo Credit: BBC Studios/Instagram

If you have sorely missed watching Genevieve Nnaji on your screens, we have got the most pleasant news for you.

The BBC has announced the casting for “Wahala,” a new drama series adapted by BAFTA-nominated writer Theresa Ikoko. Produced by Firebird Pictures for BBC One and iPlayer, the production features a stellar female-led cast. Joining Nigerian screen icon Genevieve Nnaji are Adelayo Adedayo, Deborah Ayorinde, Cush Jumbo, and Susan Wokoma.

Based on the bestselling debut novel by Nikki May, “Wahala” is a six-part thriller that follows three Anglo-Nigerian friends—Ronke, Simi, and Boo—living in London. Their long-standing friendship is thrown into chaos when a wealthy and charismatic new acquaintance, Isobel, enters their lives. As the story unfolds, long-buried secrets and past traumas surface, threatening to shatter their carefully constructed worlds.

Wahala by Nikki May is a friendship thriller exploring identity and betrayal among Nigerian-British women in London. The novel, which won the Comedy Women In Print New Voice Prize, is the source material for the upcoming BBC series. Photo Credit: goodreads

Part of what makes the story feel so layered is the fact that Nikki May drew inspiration from her own experience navigating Nigerian and British identities as a biracial woman. She has shared that the idea for the novel first came to her during a lunch at a Nigerian restaurant in London, and that personal grounding carries through the story’s exploration of race, ambition, friendship, and womanhood.

With production now underway, this is the perfect time to pick up a copy of the book or revisit it before the series arrives. It offers a grounded yet gripping look at the bonds between women and the trouble that ensues when those bonds are tested.

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Imagine your lunch break ending with a warm doughnut fresh from your own kitchen. Not the dry, oily kind that leaves you reaching for water halfway through, but the soft, fluffy sort with sugar lightly clinging to the surface and a pillowy centre that still feels warm when you pull it apart. That is exactly what Kikifoodies is serving up with her latest homemade doughnut recipe, and we can already smell the sugar and warm dough from here.

As Kikifoodies puts it, there are some snacks that are simply meant to be eaten fresh — bread rolls, meat pies, cinnamon rolls, and especially doughnuts. She describes these homemade doughnuts as soft, slightly chewy, lightly sweet, and not greasy at all. The recipe has also been tested and tweaked over time, with tips she picked up from teaching doughnut classes herself, which makes the entire process feel a lot less intimidating for beginners.

The recipe keeps things simple with ingredients like bread flour, warm milk, yeast, butter, eggs, sugar, and vanilla. Kikifoodies also shares practical tricks along the way, from keeping salt away from the yeast to rolling the dough thick for fuller, fluffier doughnuts. And if you do not own a doughnut cutter, there is no need to panic — a cup and bottle top will do the job just fine.

Once fried until lightly golden, the doughnuts are coated in sugar while still warm, though the fun does not stop there. Kikifoodies also suggests flavour ideas like cinnamon sugar, chocolate glaze, strawberry glaze, vanilla glaze, sprinkle doughnuts, and powdered sugar coatings. So really, the only difficult part here is deciding which version to make first.

Watch below

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Lead stars Uzoamaka Power and Andrew Bunting at the Lagos premiere. They wore coordinated blue and beige looks, featuring pink heels and a silk sash. The film debuts 15 May 2026. Photo Credit: Uzoamaka Power/Instagram

Have you been seeing photos and videos of Uzoamaka Power and Andrew Bunting all over your timeline lately? Because same. And at some point, you probably paused and asked yourself the question everyone seems to be asking right now: wait… are they together?

Well, before anybody starts planning wedding hashtags, it turns out the pair are simply very convincing co-stars — and after seeing them at the premiere of “Call of My Life” in Lagos, we completely understand why the internet is confused. The chemistry is there, the photos are sweet, and the way they showed up together at the premiere made them look less like colleagues and more like the couple everybody secretly roots for in a romance film.

Uzoamaka Power and Andrew Bunting looked perfectly paired at the Lagos premiere. They matched in coordinated blue and beige, featuring pink heels and a silk sash. Catch them on screen when the film debuts 15 May 2026. Photo Credit: Uzoamaka Power/Instagram

The cinematic season in Nollywood just got a whole lot more interesting with the arrival of “Call of My Life,” and if the premiere is anything to go by, we are in for a serious treat. All eyes were on the leading duo as they stepped out looking every bit the perfectly matched pair, wearing coordinated shades of blue that felt romantic without looking overly planned.

Uzoamaka was a vision in a structured powder blue look that played beautifully with volume. Her outfit featured a fitted strapless bodice with a sweetheart neckline and a midriff cut-out, balanced by a skirt that puffed outward before flowing into a sweeping train. The detached oversized sleeves added a regal touch to the lustrous, iridescent fabric. She grounded the look with pink satin heels topped with bows and added a bit of sparkle with a diamond tennis necklace and crystal gems scattered through her braided hairline and above her brows.

ead actress and writer Uzoamaka Power at the Call of My Life premiere in Lagos. Her look features a structured powder blue bodice and a voluminous train, paired with pink bow-detailed heels and crystal hair gems. Photo Credit: Uzoamaka Power/Instagram

Standing beside her, Andrew opted for a relaxed aesthetic, wearing a long camel coat over matching wide-leg trousers. He layered a mint green open-collar shirt beneath, but the real talking point was the floor-length panel of pale blue satin draped from his neck to the hem. When they posed closely together, her hand on his lapel and his at her waist, the way their blues mirrored each other made them one of the most memorable duos of the night.

Andrew Bunting attends the Lagos premiere of the rom-com Call of My Life. He wears a fashion-forward camel coat with a floor-length blue silk drape, representing the film’s modern aesthetic ahead of its May 2026 release. Photo Credit: Andrew Bunting/Instagram

Beyond the fashion, “Call of My Life” is shaping up to be the rom-com of the year. Directed by Dammy Twitch and produced by Blessing Uzzi for Bluhouse Studios, the film follows the life of Soluchi, a call-centre agent played by Uzoamaka Power. Soluchi is navigating the aftermath of a messy breakup with her ex, Kalu (played by Zubby Michael), when a chance customer service call connects her with the charming Eli, portrayed by Andrew Bunting.

The stars of Call of My Life gather for the film’s Lagos premiere. Featured from left are Andrew Bunting, Uzoamaka Power, veteran actor Nkem Owoh, producer Blessing Uzzi, director Dammy Twitch, and actress Beverly Osu. Photo Credit: Uzoamaka Power/Instagram

Written by Uzoamaka herself, the story is a clever take on modern love, vulnerability, and the unexpected ways we find connection. The cast also includes Nkem Owoh, Patience Ozokwor, Beverly Osu, and Broda Shaggi, alongside a debut performance from content creator Justin “UG” Ugonna. With live musical moments from Johnny Drille and Cobhams Asuquo, and scenes shot across Lagos, Abuja, and Enugu, the 15 May 2026 release is definitely one to clear your calendar for.

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The announcement of Dye Lab and BellaNaija as partners of Africa Soft Power Summit 2026 gives the Nairobi edition a telling lens: African taste has become a global language, and ASP is curating the platform where that language can translate into ownership, infrastructure and market power.

African creativity has become one of the continent’s most visible forms of influence. Its music travels before passports are stamped. Its fashion appears in cities far from the ateliers, markets and studios where the first ideas were formed. Its films, weddings, beauty rituals, food cultures, design languages and digital communities now shape how Africa is seen, desired and discussed. That visibility matters. But visibility alone does not build industries.

The harder work begins after the world starts paying attention. Who owns the brands? Who controls the platforms? Who finances growth? Who captures the data, distribution, intellectual property and consumer value created by African taste? These are no longer soft questions. They are commercial questions, investment questions and, increasingly, power questions.

This is where Africa Soft Power Summit 2026 is placing the conversation. As the Summit prepares for Nairobi, its partnership with Dye Lab and BellaNaija places two culturally fluent brands inside a wider continental platform built to examine how creativity, capital, policy, media and human capital convert influence into long-term value.

The Africa Soft Power Summit unveiled Dye Lab its inaugural Culture Shifter Spotlight, a new programme element introduced for the 2026 Nairobi edition. For Dye Lab, ASP is the platform on which the brand’s commercial story now gets told at continental scale. Dye Lab already carries cultural authority. Its work translates heritage dyeing and printing techniques into contemporary silhouettes designed for modern life. It is one of the few African fashion brands operating with the production discipline that scaling actually requires.

At ASP, that story moves beyond admiration. Dye Lab becomes part of a sharper conversation about how African fashion scales: production discipline, supply chains, pricing, export readiness, retail systems, intellectual property and access to higher-value markets. The beauty remains, but the business becomes harder to ignore.

BellaNaija enters the partnership from another point of strength. For years, the platform’s editorial discipline has documented the places where African aspiration becomes visible: weddings, fashion, beauty, entertainment, entrepreneurship, family, ambition and public life. It has helped turn everyday cultural expression into shared reference points across the continent and diaspora.

Culture becomes commerce when people know what to value. In markets where formal data often misses lived behaviour, platforms like BellaNaija reveal the signals that shape consumption, which means they are not only documenting the African consumer economy but, in real ways, building it.

That ASP is hosting this conversation in Nairobi in May 2026 is not incidental. Kenya is one of the few African markets where diaspora remittances regularly outpace foreign direct investment, where mobile money is daily life rather than experiment, and where the female consumer is already recognised as commercial force. The city is one of the continent’s most globally networked startup capitals and a credible neutral ground at a moment when AfCFTA is moving from framework to implementation, and global capital is recalibrating its African thesis. To put a Summit about creative economy ownership in Nairobi at this moment is to put the conversation in the city most ready to host it.

ASP Summit’s partnership with Dye Lab and BellaNaija connects women-led commerce and cultural storytelling to economic architecture. African women are among the continent’s most powerful market-makers. They influence household spending, beauty and wellness trends, fashion adoption, travel choices, education decisions, digital communities and small business formation. Yet the infrastructure built around their economic power remains far less developed than the markets they sustain.

That is the next chapter ASP is curating in Nairobi. Dye Lab brings the evidence of culture becoming product, enterprise and desire. BellaNaija brings the cultural memory and audience intelligence of a platform that has helped shape modern African aspiration. ASP provides the continental stage where those assets meet the capital, leadership and institutional imagination required to scale them. Visibility was the easy part. What happens next is the work.

BellaNaija is a Media Partner for Africa Soft Power 2026

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In Nigeria, over 25 million people are estimated to be living with disabilities, many of whom face daily barriers to education, employment, and economic independence. For many, the challenge is not a lack of ability, but a lack of access. At Lafarge Africa Plc, this reality is not ignored, it is being actively addressed. This commitment came to life as the company successfully trained 100 Persons with Disabilities (PWDs) through its Disability to Ability (D2A) Programme in Lagos.

The initiative, themed “Ability Reimagined,” a collaboration driven by a shared vision of a more inclusive society, was delivered in partnership with chess icon, Tunde Onakoya, the Lagos State Employment Trust Fund, the Lagos State Ministry of Youth and Social Development, and the Lagos State Office for Disability Affairs.

L-R: Head, Geocycle, Lafarge Africa Plc, Temitope Dosumu; Commissioner for Youth and Social Development, Lagos State, Mobolaji Ogunlende; Beneficiary, Savage Oluwatosin; Group Managing Director/Chief Executive Officer, Lafarge Africa Plc, Lolu Alade-Akinyemi, and Communications, Public Affairs & Sustainable Development Director, Lafarge Africa Plc,Viola Graham-Douglas, during the graduation ceremony for the beneficiaries of Disability to Ability(D2A) initiative organized by Lafarge Africa Plc held in Lagos .

For many persons living with disabilities, access to skills and economic opportunities remains limited, often leaving potential untapped. The D2A Programme was designed to change that narrative. Through hands-on training in laptop and phone repairs, make-up and gele styling, wig and braids making, and shoe and bag production, participants were equipped with practical skills to earn, grow, and live independently.

The Sheba Centre, Maryland, Lagos, became a moment of pride and possibility as beneficiaries celebrated the completion of their training across hubs in Ikeja and Ikorodu. Beyond acquiring skills, the programme restored confidence, sparked purpose, and reminded participants of what they are capable of achieving.

The initiative further reinstated the company’s demonstration that true inclusion means giving everyone the tools and platform to thrive, regardless of physical ability. A view that was supported by Mobolaji Ogunlende, the commissioner for Youth and Social Development Lagos State and Feyisayo Alayande, Executive Secretary, Lagos State Employment Trust Fund, who highlighted the power of collaboration in making impact possible and encouraged beneficiaries to use their skills to shape their futures and inspire others.

All the beneficiaries were in seventh heaven, displaying their tools and certificates. The mood was well captured by one of them, Funmilayo Idowu, who, expressing her gratitude as a skilled laptop and phone repairer, said,

“I thank Lafarge, LSETF and LASODA for this opportunity to be independent and face the future with confidence”.

At Lafarge Africa, driving inclusive growth remains a priority. Through initiatives like the D2A Programme, the company continues to prove that when opportunity is given, ability shines and lives are changed for good.

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Children, Parents and Schools all over Lagos are getting set for the highly anticipated KongaFM Children’s Day Carnival. The signal is loud and clear, and Nigeria’s big brands believe in what Konga 103.7 FM is building.

As the highly anticipated KongaFM Children’s Day Carnival draws closer, a growing list of corporate heavyweights has thrown their weight behind the event, and in the world of business, when brands of this calibre commit, it means something. It means the vision is credible, the execution is trusted, and the experience being promised is worth investing in.

Scheduled for Saturday, 23rd May 2026 at The Zone Event Centre, Lagos, from 9AM to 5PM, the carnival is fast becoming one of the most talked-about family events of the year, and the corporate community is taking notice.

Speaking about the on going preparations for the event, Ifeoma Ajumobi, Head of Konga Communications(Konga 103.7 FM & KongaTV), literated.

“Major corporate partners have officially come on board to co-create what we describe as a first of its kind family experience. We have TD Africa | Konga Pay | Zinox | Samsung | G Delite | So Yummy | Nature’s Sip Treat | Konga Health | Vitali | Checkers Custard | TD iLife and Nestle. These brands identify with the vision of building strong family ecosystems and communities. This is part of Konga 103.7fm’s vision as we bring various markets together. We encourage more brands to come on board, great value awaits you at this event.”

KongaFM is not putting together just another Children’s Day event. The goal from the very beginning has been to create an experience that families will talk about long after the day is done, one that brings children from different backgrounds together for a full day of creativity, energy, and celebration.

The carnival promises an exciting lineup including a Grand March Past, Cultural Displays, Competitions, Choreography Performances, and Face Painting, a programme designed to engage, inspire, and entertain every child in the room.

KongaFM understands that a great children’s event is also a great parents’ event. That is why the Mum’s Corner, a Konga Group initiative, will be a dedicated feature of the carnival, allowing mothers to shop for genuine, quality products at mouth-watering discounted prices. It is a thoughtful addition that ensures parents are not just spectators on the day, but active participants in an experience designed with the whole family in mind.

Adding to the comfort of every attendee, free Wi-Fi will be available throughout the venue, keeping families connected and making it effortless to share every memorable moment from the carnival in real time.  And for families with safety as a priority, maximum security will be on the ground all day, ensuring that children and parents can enjoy every moment with complete peace of mind.

The Project Coordinator of the Carnival and Head of Marketing Konga Communications, Teddy Esosa Don-Momoh, spoke about expectations and thanked various supporters.

“We are deeply grateful to our partners and to everyone who is putting in the effort to ensure we deliver a beautiful and memorable experience. This carnival is a reflection of what we stand for: community, creativity, and excellence. We warmly invite more parents to enrol their children and be part of something truly special.”

Enrollment is open at ₦3,000 per child. To register or make enquiries, contact: 08036669144 or 08054657002
The corporate community has spoken. The families are ready. The only question left is, will you be there?

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There was a time when many Nigerians wore distancing themselves from local art like a badge of honour. At the time, not listening to Nigerian music or watching Nigerian films was considered a flex. “I don’t listen to Nigerian music,” they said, as though it were a thing of pride. To many of them, foreign industries had better art. They preferred listening to American or British artists and watching Hollywood films instead of Nigerian creations.

However, that, over time, changed. Nigerians not only became interested in watching Nigerian films and listening to Nigerian music, but they also started actively discussing them on a large scale. There are a lot of factors responsible for this. Nigerians began to yearn for stories that looked like home, sounded like home, and reflected the streets and familiar faces. Also, the industry started to evolve and improve in production quality. Filmmakers began to take their time in refining and telling bolder stories, and the arrival of streaming platforms – YouTube, at an early stage – also helped. Since Nigerian films were no longer limited to home videos, our films became global and available to a worldwide audience. In recent times, films like Lionheart, King of Boys, Aníkúlápó, The Black Book and others have revealed that Nollywood can tell deeply Nigerian stories while speaking to a global audience.

But beyond the evolution of attraction culture and production quality, one of the things that collectively ignites the love for homegrown creativity is a central event that gives people something to look forward to. This is where the Africa Magic Viewers’ Choice Awards (AMVCA) has played an important role. Award shows are often considered just entertainment or fashion exhibitions, but they create ritual, an anticipation. They give people a date to circle on the calendar. They start conversations before the event, during the event and keep them going after it ends.

The AMVCA has become where the excellence of African cinema is publicly recognised. It tells actors, directors, costume designers, editors, and writers that their work matters and reminds audiences that filmmaking is labour and craft. When people have a collective event that celebrates the work of an industry over the years, it gives the people something to always look forward to, talk about and also introduce them to films or creations they might have missed in the cycle of the year.

The AMVCA is a combination of film celebration and fashion celebration. You can’t talk about it without talking about the fashion. In fact, fashion tops most of the conversations at the AMVCA. Each year, celebrities serve as inspiration for African designers on the red carpet, showcasing the vibrant styles of the continent. When these celebrities share their AMVCA outfits on social media, discussions about “who wore what” quickly fill the platforms. This social media buzz attracts the attention of many international viewers, allowing them to engage with the AMVCA through the lens of fashion.

While I personally do not enjoy how fashion dominates the conversations around the AMVCA, because the AMVCA is about African cinema, it could be an opportunity. What if fashion is the vehicle to propel African cinema to the world? What if fashion could be used to make Nollywood compete, in terms of global visibility, with other movie industries in the world? By leaning into the promotion of fashion exhibitions on the red carpet, we aren’t just selling an African style and fashion; we are selling the industry that created the occasion for the fashion exhibitions. In this way, the AMVCA becomes a cultural export.

Nigerians are very interested in watching Nigerian films. What has happened with Nigerian film is bigger than renewed audience interest; it is a cultural return. Nigerians are no longer watching local films out of obligation, nostalgia, or mere curiosity. They are watching because they believe the stories are worth their time. They are discussing them because they now see them as part of the broader cultural conversation. And they are celebrating them because Nollywood has gradually and deservedly earned their attention, and confidence, if you like.

The AMVCA has helped deepen that confidence by giving the industry a recurring moment of celebration and aspiration. In that sense, the question is actually not whether Nigerians are still interested in Nigerian films. They are. The actual question is what Nollywood does with that attention now that it has it. Because what’s the point of the attention if it doesn’t impact the global era for Nigerian cinema?

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Opportunities can change everything — especially when they are backed by the right skills, the right support, and the confidence to take the first step.

At Lafarge Africa, we believe that building a more inclusive future means opening up spaces to blue collar careers where women can participate, grow, and lead — even in the construction industry where they were previously traditionally underrepresented. This belief continues to shape our commitment to empowering women through practical, skills-driven initiatives.

Building Skills That Create Real Opportunities

Through our BuildHer by Lafarge initiative, we recently celebrated the graduation of 100 women trained in tiling and block laying across Nigeria.

The programme, which ran across Lagos, Ogun, and Cross River states, is designed to equip women from underserved communities with technical, entrepreneurial, and financial skills — enabling them to participate meaningfully in the construction sector.

Over eight weeks, participants received hands-on training with Lafarge Africa’s flagship products, gaining practical experience that prepares them for real-world opportunities. But beyond the technical skills, the programme was about something deeper — building confidence, independence, and a sense of possibility.

Expanding Access, Closing Gaps

The construction industry has long faced a gender gap in skilled trades. Through initiatives like BuildHer, we are taking deliberate steps to bridge that gap.

By creating access to training and resources, Lafarge Africa is not only equipping women with employable skills, but also supporting their journey towards economic independence and long-term growth. This is part of our broader commitment to diversity, inclusion, and sustainable development across the communities where we operate.

The Power of Partnership

Impact at this scale is never achieved alone. This edition of BuildHer was delivered in collaboration with key government partners, including:

• Lagos State Ministry of Youth and Social Development
• Lagos State Employment Trust Fund (LSETF)
• Ogun State Ministry of Women Affairs and Social Development
• Cross River State Ministry of Women Affairs

These partnerships are critical in ensuring that programmes like this reach more women and create lasting impact across communities.

More Than Training — A Pathway Forward

At Lafarge Africa, we see this programme as more than a training initiative. It is a pathway into skilled work, entrepreneurship and a network of professionals and opportunities.

Upon graduation, participants were enrolled in the Block Makers and Tilers Association of Nigeria, giving them access to a professional community that supports their transition into the workforce. They also received essential tools to help them get started — ensuring that the journey does not end with training but continues into practice.

Stories of Growth and Transformation

For many of the women, this experience has been life-changing. From learning a new trade to gaining the confidence to pursue new opportunities, the programme has opened doors that once felt out of reach. Their stories are a reminder that when women are given the opportunity to learn and grow, the impact extends far beyond the individual — it reaches families, communities, and the broader economy.

Building the Future, Together

As we look ahead, our focus remains clear. We will continue to invest in initiatives that create opportunities, expand access, and support women in building sustainable livelihoods.

Because empowering women is not just about inclusion — it is about building stronger communities, a more diverse industry, and a future where everyone has the opportunity to contribute meaningfully. And that is the kind of future we are committed to building.

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The new Technogym Connected Dumbbells are perfect for at-home strength training because they pack 12 sets of dumbbells into one, making space an issue of the past. Each weight ranges from 2 to 24 kg in 2 kg increments, ensuring an incredibly versatile weightlifting experience.

What makes these dumbbells so smart is the built-in sensor, which analyses every movement and tracks your performance. This allows you to adjust the weight, personalise your workout, and maximise results. Then, the Technogym AI Coach uses the data collected to help you choose the exercise and weight and access a training experience tailored to you through the Technogym App.

One of the biggest benefits of these dumbbells is that they allow you to keep your home neat and tidy, thanks to the elegant, ergonomic, and compact Connected Dumbbells Stand. This stand includes an Exercise Mat, a Foam Roller, and three Loop Bands, so you can enjoy a complete workout and then put everything away.

Technogym Connected Dumbbells include an indicator that shows the weight in use. By simply rotating the handle, you can change the weight, ranging from 2 to 24 kg, in increments of 2 Kg. Based on your training needs, you can add, remove, or keep the weight plates in the base.

The metal handles ensure a firm grip, even when hands get sweaty. Every part of the dumbbells and the stand are made with materials of the finest quality and sleek design. This way, you can maximise your workout and show them off proudly.

Connecting your smart dumbbells to the Technogym App provides you with a training experience tailored to your goals and profile. The Technogym App offers an extensive on-demand workout library with step-by-step instructions and suggested weight adjustments based on your metrics and performance. The stand also includes a space to accommodate your smartphone or tablet so you can better follow the workout videos.

Visit any of the Technogym centres to make enquiries Today!
Lagos:
1A Goshen Estate Road, Lekki Epe Expressway, Lagos.
Phone number: 08038610337, 07073012889
Abuja:
Plot 679 Rachel T. Owolabi Close, Gaduwa, Gudu District
Phone number: 08062660707, 08069553075

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Cultural Day once again stood out as one of the defining moments leading into the 12th Africa Magic Viewers’ Choice Awards, bringing together actors, designers, musicians and digital creators in a celebration of African fashion, heritage and identity.

Over the years, the event has grown beyond a prelude to the awards ceremony, becoming a space where different parts of the creative industry meet. This year’s edition reflected that shift, with guests interpreting traditional influences through contemporary fashion, performance and storytelling, while creators documented the experience across social platforms in real time.

The event also highlighted how closely film, fashion, music and digital culture now intersect. Conversations moved easily across industries, with creators and personalities from different spaces sharing the same platform and audience.

Within that setting, Johnnie Walker Black Label’s involvement reflected themes the brand has continued to explore through Johnnie Walker AfroExchange, particularly the relationship between African creativity, collaboration and cultural exchange across music, fashion and film.

Commenting on the brand’s involvement, Ifeoma Agu, Group Head of Culture, Influencers and Advocacy at Diageo South, West and Central Africa, said: “At Johnnie Walker, our belief in progress has always been captured through our ‘Keep Walking’ philosophy – celebrating those who continue to push boundaries, evolve their craft, and move culture forward with intention across music, film, art, fashion and digital culture.

“Through platforms like Johnnie Walker AfroExchange, we are equally committed to creating spaces where African creativity, collaboration, and cultural exchange can thrive beyond the moment itself.”

The brand’s wider association with this year’s awards also came through its community of collaborators, including Elozonam Ogbolu, who received a nomination in the Best Digital Content Creator category while also championing the brand throughout the AMVCA week. Their presence reflected how creators increasingly move between film, television and digital platforms, shaping how African stories are told and consumed.

As Cultural Day continues to evolve within the AMVCA calendar, it increasingly reflects how African storytelling now extends beyond film alone, shaped as much by fashion, music and digital culture as by the screen itself.

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Following its landmark appointment in 2022, Jetour Nigeria has moved to consolidate its position as the exclusive representative of the Jetour brand in the country. This clarity comes on the heels of the highly successful “Jetour Experience” in Lagos, where the company showcased its official nationwide dealership structure, effectively ending any market ambiguity regarding the brand’s distribution rights.

The 2022 Mandate: A New Beginning

Since Jetour International officially appointed Jetour Nigeria as its sole authorized distributor in 2022, the brand has undergone a total transformation in the Nigerian market. This exclusivity ensures that only Jetour Nigeria has the legal mandate to import, distribute, and provide manufacturer-backed after-sales support for the entire Jetour vehicle range.

The momentum of Jetour Nigeria hit the global stage at the 2026 Jetour Global Conference, where Jetour International crowned the company with the “Market Share Leadership Award 2025.” This prestigious honor cements Jetour Nigeria’s position as the brand’s dominant force in Africa.

One Vision, Seven Official Dealers

To provide premium service across Nigeria, Jetour Nigeria operates through a hand-picked network of authorized dealers. These seven partners are the only entities recognized by Jetour International and Jetour Nigeria to sell and service the brand:

● Elizade Nigeria Limited
● New Era Autovehicle Services Limited
● Kojo Motors
● Germaine Auto Centre
● R.T. Briscoe Plc
● TAB Autos Limited
● Mandilas Motors

During the four-day “Jetour Experience” at the Podium Events Centre, these dealers were on ground to provide professional consultations, reinforcing that the Jetour ecosystem in Nigeria is unified, exclusive, and strictly regulated.

Clarifying the Market Landscape

“The ‘Jetour Experience’ was more than a celebration; it was a statement of clarity,” noted a representative for Jetour Nigeria.

“By bringing our seven authorized dealers together under one roof, we have shown the public exactly where the Jetour brand lives. Since our 2022 appointment, we have invested heavily in a structure that guarantees customers get genuine parts, expert technicians, and valid warranties; benefits only available through our official channels.”

A Global Endorsement.

The presence of Anguo Yuan, Vice President of Jetour International, further solidified this position. His praise for the Jetour Nigeria team’s “rapid expansion” and “heavy investment in infrastructure” serves as a definitive global endorsement of the current leadership and distribution model.

Award-Winning Trajectory 

The results of this focused leadership are evident. Within just a few years of the 2022 transition, Jetour Nigeria has swept the industry awards, including:

● NAJA New Entrant of the Year
● Fastest Growing Auto Brand in Nigeria
● NAJA Car of the Year (Jetour Dashing)

The Verdict

For existing and prospective owners, the message is clear: Jetour Nigeria is the sole gateway to the Jetour world. With a lineup featuring the rugged T2, the high-tech PHEV hybrids, and the flagship G700, the brand is moving forward with a single, unified voice and an unmatched dealership network.

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Lilo Aderogba celebrates earning an MBA and an MSc in Technology from Eastern Illinois University. Her custom graduation stole features the Nigerian flag and coat of arms, representing her journey from Nigeria to international academic success. Photo Credit: Lilo Aderogba/Instagram

It has been six years since we first met Lilo Aderogba on our screens during the Big Brother Naija Lockdown season, but the dietitian and entrepreneur has just proven that her time in the spotlight was only the beginning of a much larger story.

Taking to social media to share her joy, Lilo revealed that she has officially graduated from Eastern Illinois University with not one, but two postgraduate degrees. The multi-hyphenate star successfully completed a Master of Business Administration (MBA) alongside a Master of Science in Technology.

Reflecting on her two-year stint in Illinois, Lilo shared that while she initially set out to simply add another qualification to her name, the journey became a deeply personal and spiritual transformation. “God had a greater plan,” she noted, expressing deep gratitude for what she described as “double mercy” and a life-changing experience. She finished her announcement with a heartfelt “Baba ese gan” which means “Thank you so much, Father.”

Lilo Aderogba at the Eastern Illinois University library celebrating her graduation in May 2026. She pairs her royal blue academic cap with a sophisticated white button-down dress for her dual Master’s degree milestone. Photo Credit: Lilo Aderogba/Instagram

For the ceremony on May 9th, Lilo wore the university’s royal blue academic regalia and a custom graduation stole featuring gold motifs and the United States flag. Her hair was styled in long, centre-parted waves with mahogany tones, paired with a classic silver watch and a French manicure to complete the polished aesthetic.

We are officially calling her Lilo Aderogba, MBA, MSc. What do you think?

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A collective portrait of style from the 12th AMVCA at Eko Hotel in Lagos, featuring Uche Jombo in a white beaded gown, Tomi Ojo in textured blue, and AMVCA Trailblazer winner Uche Montana in a vibrant red feathered creation.

The Africa Magic Viewers’ Choice Awards is, at its core, a celebration of African film and television. But any African woman will tell you that a high-profile event is also an opportunity, and not a single one of the ladies who walked through those Eko Hotel doors last night was going to let that opportunity pass them by.

Osas Ighodaro set the tone early with two custom Veekee James looks that had nothing in common except the level of ambition behind each of them. One was a sculptural red column gown with a towering structured collar built from horizontal crystal-edged bands. The other was a silver ball gown with a bodice covered in crystal embellishment and a skirt constructed from 400 metal sponges.

Osas Ighodaro in two custom Veekee James creations for the 12th AMVCA in Lagos. The collage captures the architectural precision of the crimson tiered gown alongside the avant-garde silver ballgown featuring 400 repurposed metal sponges.

Nana Akua Addo arrived with three looks and a clear intention to make the carpet her own personal gallery. A Gothic cathedral-inspired gown by Mohammed Abbas Ossu opened her night, followed by his Living Stone creation, a mermaid gown built from layered fragments of textured material that looked like the earth itself had been sculpted into a dress. She closed with a spiral fish scale gown from The Unbound Collection by Srushti Patil, carried alongside a fish-shaped beaded bag that made the whole concept complete.

A visual summary of Nana Akua Addo’s three fashion moments at the 2026 AMVCA. The collage highlights the architectural Cathedral Gown, the geological Living Stone dress, and the aquatic Spiral Dress, all curated by NK Style.

And then there was Linda Ejiofor–Suleiman, who walked into the ceremony that would give her two trophies in a floor-length emerald green metallic gown with a liquid-metal finish. The bodice featured a plunging V-neckline framed by dense clusters of navy, teal, and violet 3D floral appliqués, beaded fringe, and miniature butterflies nestled within the floral detail.

A branch-like extension rose from the left shoulder, carrying multi-coloured blossoms and additional butterfly figures upward toward her face. It was a botanical world built into a neckline, and she wore it to one of the biggest nights of her career.

Pictured in a sculptural green sequined gown featuring floral and butterfly detailing on the bodice, Linda Ejiofor-Suleiman won Best Lead Actress for The Serpent’s Gift and Best Supporting Actress for The Herd at the 2026 AMVCA. Photo Credit: Linda Ejiofor-Suleiman/Instagram

See how the ladies showed up below.

Idia Aisen

 

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Tomi Ojo

 

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Lydia Lawrence-Nze

 

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Kiky Festus

 

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Omowunmi Dada

 

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Osas Okonyon

 

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Linda Ejiofor-Suleiman

 

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Ụzọamaka Power

 

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Sunshine Rosman

 

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Chioma Ikokwu (Chioma Good Hair)

 

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Mercy Eke

 

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Roseline Afije (Liquorose)

 

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Toni Tones

 

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Uche Montana

 

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Blessing Nze

 

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Bisola Aiyeola

 

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Imisi Ayanwale

 

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Doyinsola David

 

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Wumi Toriola

 

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Toyin Abraham

 

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Dabota Lawson

 

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Enado Odunsi

 

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Erica Nlewedim

 

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Uche Jombo

 

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Simi Drey

 

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Bukunmi Adeaga-Ilori (KieKie)

 

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The theme for this year’s edition, Africa’s Compound Interest: Aligning Ecosystems of Finance, Creativity and Human Capital for Growth, reflects a strategic argument that as global economic systems recalibrate, Africa’s opportunity lies not in any single sector but in how its systems work together. Finance, creativity and human capital are often treated as separate domains; it is their alignment that determines whether value is created and sustained.

“The world is looking for fresh solutions, credible leadership and new pathways for growth. Africa’s creative and innovation sectors have already shown that they are not peripheral to that future. They are central to it,” said Dr Nkiru Balonwu, founder and creative director of the Africa Soft Power Group. “This summit is a fitting setting for that conversation because it reflects so much of the ambition, energy and connectivity the continent is building.”

For Nigeria’s business, policy and innovation communities, the summit offers more than attendance. It offers access to a cross-border conversation that is increasingly relevant to how African markets will attract capital, shape policy, build globally resonant brands and strengthen women’s leadership as part of institutional and economic design. More broadly, previous ASP convenings have brought together a distinctly cross-sector mix of voices from organisations such as Netflix, Meta, NBA, Apple, Mastercard, Google, MTN, NFL, Safaricom, Amazon Studios, Afreximbank, IFC, Bank of Industry, AfCFTA, and NGX Group, alongside former heads of state, ministers, founders, media leaders and cultural figures from across Africa and beyond.

The 2026 programme spans three tracks. The Remarkable African Women’s Leadership Conference, positioned as the continent’s first gathering dedicated entirely to African women’s leadership, opens the summit on 20 May. The Creative and Innovative Industries Conference follows, examining the commercial power of Africa’s creative sector. The ASP Gala and Awards Night brings African excellence in art, fashion, film, entertainment, media and technology to the centre of the summit experience.

For Nigerian founders, executives, investors and policymakers, the summit represents a structured opportunity to engage the wider continent from a position of substance.

Registration and enquiries are available here

BellaNaija is a Media Partner for The Africa Soft Power Summit 2026

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