BBNaija star Mide Iwasokun wearing a custom white Komeh Swish gown styled by Seun for the Grand Red Carpet Experience celebrating BellaNaija

Mide Iwasokun, come to the front! Because when a gown has a fan collar this dramatic, a train that practically has its own postcode and a thigh-high slit thrown into the mix, it deserves a little extra attention. And that is exactly what Ayomide “Mide” Iwasokun gave us at the Grand Red Carpet Experience celebrating BellaNaija’s 20th anniversary.

If you have been following Mide’s style since her time on Big Brother Naija Season 10, you already know she is not afraid of a fashion moment. The Lagos-based entrepreneur and mixologist has built a reputation for looks that make you stop and take another look, and this white couture gown took that approach several steps further. Standing on the red carpet, she looked every bit like someone who had decided that a regular evening gown simply would not do for the high fashion icon themed event.

A striking view of the voluminous train and high-slitted silhouette on Mide Iwasokun’s high fashion icon themed look

The custom gown, designed by Komeh Swish and styled by Seun, starts with an exaggerated fan collar that rises above the shoulders and curves around the back of her neck. It gives the neckline a sculptural quality while framing her face beautifully, and from there, the gown narrows into fitted long sleeves and an open back. The silhouette stays sleek through the bodice before suddenly changing direction at the waist.

That is where things get really interesting. Layers of gathered, ruffled fabric spill from the waist into a huge train that stretches across the floor, creating all that volume without making the upper half of the gown feel heavy. Then comes the thigh-high slit, which breaks through the layers of fabric and reveals one leg before leading down to metallic silver ankle-strap heels.

Mide Iwasokun’s high fashion icon look pairs a structured fan collar with a voluminous ruffled train and silver ankle-strap heels.

With a gown this detailed, everything around it has to know when to take a step back. Mide kept her accessories minimal, opting for subtle drop earrings rather than adding a necklace around that already busy neckline. Her hair was pulled into a sleek low bun, with one curved edge curl placed across her forehead, leaving the dramatic collar completely visible.

Her beauty look followed the same approach. Soft bronzed makeup added warmth without competing with the white gown, while the restrained accessories allowed the construction of the dress to remain the main attraction.

Up-close styling details of Mide Iwasokun’s exaggerated fan collar, soft bronzed glam makeup, and sleek hairstyle.

And there is actually a useful styling lesson hiding underneath all that couture. When a neckline is doing this much, a necklace is one accessory you can happily skip. When the skirt has metres of ruffles and volume, an open back or high slit gives the silhouette somewhere to breathe. And when the gown already has plenty of texture, a simple metallic heel can finish the look without adding another element that needs attention.

That is what makes Mide’s look so satisfying to look at. Every dramatic detail has something simpler working alongside it. The huge collar gets a sleek bun. The enormous train gets a high slit. The textured gown gets barely-there jewellery. And the silver heels give all that white fabric a clean finish from the ground up.

For a Grand Red Carpet Experience, Mide certainly arrived with a look worthy of a very large billboard somewhere in Lagos.

Mide Iwasokun’s custom Komeh Swish look features an open back, structured collar, and sleek low bun styled by Seun

Mide Iwasokun’s high fashion icon look pairs a structured fan collar with a voluminous ruffled train and silver ankle-strap heels.

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Photo Credit: Mide Iwasokun/Instagram 

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Osas Ighodaro bringing architectural silhouette and metallic detailing to the BellaNaija at 20 Grand Red Carpet Experience.

At first glance, you see ivory and gold. Then you notice the corset. Then the enormous fan-shaped skirt. Then the hair. Osas Ighodaro’s latest red carpet look keeps revealing another detail the longer you look at it.

For the BellaNaija at 20 Grand Red Carpet Experience, the theme was High Fashion Icon, and Osas took it in a decidedly sculptural direction. Her ivory and gold creation brought together a strapless corset, an exaggerated fan-pleated skirt, traditional African hair artistry and layers of gold and pearl detailing, giving the entire look plenty to discover.

Osas Ighodaro showcasing custom gold floral scrollwork and African hair artistry at the BellaNaija at 20 Grand Red Carpet Experience.

The dress starts with a strapless sweetheart-neckline corset made from rich ivory fabric, decorated with gilded gold floral scrollwork and subtle crystal detailing along the boning lines. At the waist, the silhouette opens into a structured, fan-pleated skirt shaped into an inverted-heart form, with ivory fabric panels radiating outwards from the centre.

Thin metallic gold stripes run across the skirt, while a heavy border of golden beadwork and clustered accents finishes the hem. Against the ivory fabric, the different textures give the skirt dimension while keeping the colour story focused on just two shades.

Osas Ighodaro embodying the High Fashion Icon dress code at the BellaNaija at 20 Grand Red Carpet Experience.

Stylist Makililo Nelson A completed the look with hair that deserves its own close-up. Osas wore a traditional threaded hairstyle wrapped in black thread and gold wire, with the materials shaped into geometric knots above a neat, straight-cut fringe. The angular construction of the hairstyle echoes the shape of the gown without competing with it.

Her beauty look stayed warm and defined, with bronze eyeshadow, liquid eyeliner and a glossy lip. Cluster drop earrings in gold and pearl framed her face, while a large cushion-cut yellow gemstone ring added another hit of colour to the ivory-and-gold palette.

Osas Ighodaro’s African threaded hair sculpture and gold jewelry details for the BellaNaija at 20 Grand Red Carpet Experience.

For those who may need a quick refresher, Osas Ighodaro is an award-winning Nigerian-American actress, host, producer and humanitarian. She has built a notable career across Nollywood and African media, appearing on screen while also taking on hosting and producing roles. Her red carpet wardrobe has become another part of her public style profile, particularly when she leans into sculptural silhouettes and statement styling.

There is also plenty to borrow from this High Fashion Icon look if you are dressing for a major occasion. A sculpted corset or exaggerated skirt can give an outfit a strong outline before you add any accessories, while contrasting smooth fabric with metallic embroidery, beadwork or thread detailing creates texture without requiring a busy colour palette.

Osas’ styling also makes a strong case for treating hair as part of the overall silhouette. Her threaded hairstyle follows the geometric language of the gown, with the black thread and gold wire picking up details from the ivory-and-gold dress. Add a few well-chosen accessories, rather than competing pieces, and the result is a look where every detail has room to be seen.

Osas Ighodaro displaying gilded corset embroidery and geometric hair knots at the BellaNaija at 20 Grand Red Carpet Experience.

Osas Ighodaro making a red carpet statement in avant-garde ivory and gold tailored design for BellaNaija at 20.

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Photo Credit: Osas Ighodaro/Instagram 

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Mercy Eke wearing an Amy Aghomi coat-gown with cobalt blue pointed-toe slingback heels for BellaNaija at 20.

What happens when ice blue velvet meets cobalt, black, pearls and a very architectural silhouette? You get Mercy Eke’s latest red carpet look. At BellaNaija’s Grand Red Carpet Experience, the reality TV star took on the High Fashion Icon theme in a bespoke Amy Aghomi coat-gown styled by Makililo Nelson A.

The knee-length coat-gown is built around geometric velvet panels in cobalt blue, icy azure and deep black, creating a graphic pattern across the silhouette. An exaggerated funnel-style standing collar frames Mercy’s face, while wide bell sleeves give the piece its sculptural shape. The proportions are bold, but the colour palette keeps everything connected.

Mercy Eke showcasing the geometric velvet panels and crystal chest detailing on her custom Amy Aghomi gown at the BellaNaija Grand Red Carpet Experience celebrating 20 years of BellaNaija.

Then come the details. Raised white pearl piping traces the seams across the coat-gown, while the ice-blue panel across the chest is finished with hand-tacked crystal beadwork. Against the velvet, the pearls and crystals add texture to the look without taking away from its strong lines.

Mercy carried the colour story through to her accessories, choosing vibrant cobalt blue pointed-toe slingback heels with sparkling buckles and a statement pearl ring. Her hair was swept into a high architectural updo with sculpted loops, creating another structured element around the face and echoing the shape of the neckline.

Mercy Eke at the BellaNaija Grand Red Carpet Experience in custom Amy Aghomi coat-gown.

For Mercy Eke, fashion has become a familiar part of her public image. The Nigerian media personality, actress, entrepreneur and reality TV star made history as the first female winner of Big Brother Naija and has also won the AMVCA Best Dressed Female award. Her red carpet appearances have continued to put her style choices in the spotlight, particularly when she gets to work with bold silhouettes and statement pieces.

This look also shows how cool tones can be given more depth without introducing too many competing colours. The icy blue and cobalt sit against deep black, while the pearls and crystal beadwork bring different textures into the mix. It is a useful formula for anyone who wants to wear blue without letting the colour make the entire outfit feel too soft.

Mercy Eke posing in a custom Amy Aghomi coat-gown for the BellaNaija Grand Red Carpet Experience. Styled by Makililo Nelson A, the high fashion icon look features cobalt blue velvet, an exaggerated funnel collar, wide bell sleeves, and raised pearl piping

The same thinking carries through to the silhouette. A strong neckline, exaggerated sleeves, defined waist and sculptural hairstyle give the outfit its shape, while the velvet keeps those architectural lines from feeling too severe. For a red carpet built around the High Fashion Icon theme, Mercy Eke’s Amy Aghomi look certainly gave us plenty to examine, from its colour combination to its carefully placed details.

Mercy Eke making a statement at the BellaNaija Grand Red Carpet Experience in custom Amy Aghomi.

Detailed view of Mercy Eke in an Amy Aghomi high-fashion coat-gown styled by Makililo Nelson A for the BellaNaija Grand Red Carpet Experience, featuring hand-tacked crystal beadwork and raised pearl outlines.

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Photo Credit: Mercy Eke/Instagram 

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Sculpted hourglass tailoring, high-neck turtleneck layer, and oversized hat worn by Veekee James at the BellaNaija at 20 Grand Red Carpet Experience.

How do you dress as a High Fashion Icon on a red carpet celebrating 20 years of BellaNaija? If you’re Veekee James, you reach for oxblood leather, a floor-length silhouette, and a hat with a brim wide enough to make sure nobody misses the look.

For the BN20 Grand Red Carpet Experience, where the dress code was High Fashion Icon, Veekee James arrived in a custom design by Abbas Woman, styled by Baudovin Ononiba. The look had plenty of structure, but it was the rich oxblood leather coat-gown and its dramatic proportions that immediately set the tone.

The floor-length piece is shaped around a sculpted hourglass silhouette, with exaggerated peplum hips balancing the sharp, padded shoulders. At the front, a plunging lapel line and subtle button fastenings keep the tailoring clean before the coat opens into a high central slit, revealing a floor-sweeping train underneath.

Precision tailoring meets dramatic movement with a long beaded fringe clutch and oversized hat, styled by Baudovin Ononiba for BN20 Grand Red Carpet Experience

The rest of the look keeps things dark and sleek. Veekee wore a high-neck black turtleneck beneath the leather piece, with fitted sleeves extending into thumbhole cuts that wrapped over her hands. Then came the accessories: an oversized ultra-wide-brim black hat tilted low over her brows, a dark clutch covered in long beaded fringe, chunky gold hoop earrings and classic pointed black heels.

Her beauty look followed the same direction, with winged eyeliner and a rich warm-toned lip keeping the focus on the clothes and that striking hat. Together, the tailored leather, exaggerated proportions and deep colour palette gave Veekee James a distinctly fashion-forward look for BellaNaija’s 20th anniversary celebration.

And for a night built around the High Fashion Icon theme, it was a fitting choice for one of Nigeria’s leading fashion designers to celebrate two decades of BellaNaija and its place in African fashion, entertainment and pop culture.

Veekee James in custom Abbas Woman oxblood leather at the BN20 Grand Red Carpet Experience, styled by Baudovin Ononiba.

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Photo Credit: Veekee James/Instagram

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A studio portrait of Asake wearing a black sweatshirt, two gold Cuban link chains, and a black beanie, posing with his arms crossed against a neutral grey background.

2026 was a great year for Nigerian music, but it is an even greater year for Asake. Beyond releasing his latest album, M$NEY, he has been on a run of features with other artists. One would think his collaborations with other artists would tank his personal project, but nah! His latest album currently has over 400 million streams on Spotify.

It has been a great year for Asake, and he could be considered the “hot cake” artist of the year, whom every artist wants to put on their song. Let’s look at how busy the year has been for Asake so far.

Features with Blaqbonez

The biggest gainer of Asake’s hotness this year is Blaqbonez. He featured twice on different songs, with the first feature, Chanel, arguably the biggest song of the year. It instantly became an anthem across the country, and it came at a pivotal time for Blaqbonez, who was in a feud with another artist. The first was so good, they had to rerun it. Off his forthcoming album, Blaqbonez teamed up with Asake on Ikebe 3000.

Eja Meja with BNXN

When BNXN announced the feature with Asake, it seemed unexpected. Everyone knows BNXN’s pen game in the music industry is different, but to have him and Asake on a single is like rum and soda, each bringing different excitement. And Eja Meja delivered. Or, to put it better, they delivered on Eja Meja.

That Girl with Darkoo

Asake continued the features run and teamed up with Darkoo on That Girl.

EP with Wizkid

This should come first, but after Wizkid and Asake had featured each other on their previous albums, Morayo and Lungu Boy, respectively, no one thought they would stretch the empire by releasing a joint project; a successful joint project. Despite promising the EP would be released in 2025, they never explained why it was delayed and released in 2026. Nevertheless, the EP delivered what it was meant to deliver: that Asake and Wizkid will always deliver when they are together on a song.

Album–M$NEY

Asake’s fourth album M$NEY marked the beginning of a new era for him. His three previous albums were released under YBNL, his former record label. As he has now founded his label, Giran Republic, the best way to mark its launch is with an album. M$NEY has put Asake on a different pedestal, and he has achieved so much with the album. From touring the album across North America and the world, the global reception of the album can be felt in the performances.

M$NEY Spotify Performance and Album

In July, Asake released the concert film and accompanying live audio album, M$NEY Live in London (Spotify Live), exclusively on Spotify. This made him the first artist in the world to launch a full live concert film on the platform. The live performance provided a fresh sound for the already fast-selling album, making it distinct for his fans. He also included a few unreleased songs, adding to the excitement of the live album.

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Project LEAD is set to host the 7th edition of its International Day of the Girl Child Annual Conference on Saturday, October 10, 2026, at Fantasia Hall, Eko Hotels & Suites, Lagos.

With this year’s theme, “Her Choice, Her Future, Her Legacy: Empowering Girls to Dream, Lead, and Build a Legacy of Excellence”

The conference will bring together 100 senior secondary school girls from across 10 local government areas in Lagos State for a day of conversations, mentorship, career exploration, leadership development, and self-discovery.

Across six completed editions, Project LEAD has created a space where young girls can meet accomplished professionals, ask questions, explore possibilities and begin to see themselves beyond the limitations of their current realities.

This year’s edition takes that conversation a step further by encouraging the girls to think about the choices they are making today and how those choices can shape the women they become tomorrow.

The day will feature a keynote address by the Honourable Commissioner for Youth and Social Development, Lagos State, Mobolaji A. Ogunlende, with Oluwadamilola Emmanuel, Special Adviser on Blue Economy / General Manager, LASWA as guest speaker.The panel session which would be anchored on this year’s theme will be moderated by Diipo Ayo-Adeusi, and will feature Barong Asiodu, Ifeoma Finnih, Olayinka Oyetunji, and Ayanfe Vese.

Another session themed: “Her Mind. Her Choices. Her Future: How to make decisions that protect the woman you are becoming” will be facilitated by Yemisi Vese to mark the World Mental Health Day which is celebrated globally on October 10th.

The girls will also participate in career breakout sessions themed “Dignity in Labour” designed to give them a closer look at different career paths and the value of dignity, professionalism, and purpose in the workplace. The sessions will be facilitated by professionals from Eko Hotel & Suites, including Omebu Vivien Oputa, Banquet Sales Executive; Gbenga Otunuga, Front Office Receptionist; Olatuyi Ayoola Gbenga, Administrative Officer, Learning & Development; and Mariam El-dayem Hassan, Assistant Banquet Coordinator. Through their experiences across sales, guest services, learning and development, and events, the facilitators will offer the girls practical perspectives on different pathways into the world of work.

Adding a competitive edge to the day’s activities, the conference will also feature a student debate competition, judged by Ajibola Abdulkadir, Kingsley Oko, Stephen Bello and Phil Idokogi. The debate component is sponsored by Alitheia Capital, providing the girls with an opportunity to develop and demonstrate critical thinking, research, and public-speaking skills.

Speaking about this year’s theme, Uzoamaka Amalu of Project LEAD said:

“True to our commitment to early intervention, we believe empowering girls cannot wait until adulthood. It starts while they are in their formative years and shaping their aspirations. This year is about helping them understand that their choices matter, their voices matter, and they have the power to build an incredible legacy.”.

The 7th edition promises to be a day of connection, learning, and inspiration, giving each girl the opportunity to ask bigger questions about who she wants to become and to leave with a clearer sense that her future is hers to shape.

The conference is proudly sponsored by Eko Hotel & Suites with Pandora Global Agency as the PR partner.

Media Contact:

Pandora Global Agency Ltd | hello@pandoraagency.co

Project LEAD Communications Team | 07031035989 | projectlead2019@gmail.com

BellaNaija is a Media Partner for Project LEAD

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Fireboy DML sets his fifth album “ZUKO!” for release on Friday, 16 October 2026. Photo Credit: Fireboy DML/Instagram

Craving some cool music from Fireboy DML? Don’t worry, something huge is coming from the Afrobeats superstar. The YBNL Nation singer has officially confirmed that his fifth studio album, “Zuko!”, will arrive on Friday, 16 October 2026.

The announcement arrived alongside a cinematic teaser featuring Fireboy DML in a tailored red suit and head bandages, hinting at a bold narrative direction for this next phase of his career. “Zuko!” comes as the follow-up to his 2024 project “Adedamola“, extending a catalogue that includes his 2019 debut “Laughter, Tears & Goosebumps“, “Apollo” (2020), and “Playboy” (2022).

Fireboy DML has announced October 16 as the official release date for his fifth studio album, “ZUKO!”. Photo Credit: Fireboy DML/Instagram

To set the stage for the upcoming project, the singer has built anticipation with a series of singles and international collaborations. His recent release “Imali“, featuring Jazzwrld and Thukuthela, saw him venture into South African 3-step Afro House rhythms, following previous tracks like “Dopamine” and “Story“.

Released through YBNL Nation and EMPIRE, the 13-track album captures Fireboy DML’s continued artistic evolution as he brings his distinct vocal delivery and songwriting style to a global audience.

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The Standard Chartered Foundation

Delivered in partnership with Village Capital and local implementing partner Enterprise Development Centre (EDC), Pan-Atlantic University, this year’s impressive cohort consisted of 11 ventures. The winners were announced after five of the most promising businesses competed and pitched for the top prize, where they were empowered to present their business growth plans in front of a panel of esteemed judges.

Joke Adu, Head, Corporate Affairs, Brand and Marketing, Standard Chartered, Nigeria, said: “At Standard Chartered, we believe that empowering women entrepreneurs is one of the most effective ways to drive inclusive economic growth. Since launching the Women in Technology Programme in Nigeria in 2019, we have impacted thousands of women across the country, directly trained more than 70 women through our incubator cohorts and provided seed funding to 35 women-led businesses. The achievements of our Cohort 7 winners reaffirm the immense potential that exists when women founders are given access to the right skills, networks, mentorship, and capital. We are proud to support their journeys as they scale innovative solutions that create jobs, strengthen communities and contribute to Nigeria’s economic development.”

Speaking on the significance of the accelerator, Nneka Okekearu, Director, Enterprise Development Centre, Pan-Atlantic University, said: “The WIT Cycle 7 programme demonstrates the impact that can be achieved when women entrepreneurs are given access to the right skills, networks, mentorship and opportunities to grow. Over the course of the programme, we have seen women strengthen their businesses, deepen their use of technology, build valuable connections and gain the confidence to pursue new opportunities. This cohort reflects the talent and potential of African women to drive innovation, create jobs and contribute meaningfully to economic growth. We are proud to have supported their growth and remain committed to creating platforms that equip women entrepreneurs with the knowledge, confidence and connections they need to build sustainable businesses and create lasting impact in their communities and beyond.”

The winning ventures span diverse sectors, including healthcare and event management, accessibility technology, trade, and digital education, with each startup receiving $10,000 in funding to help them scale their business.

The winners are:

Jennifer Esiaba, Founder/CEO, Mariam Grey Pharmacy

Jennifer Esiaba founded Mariam Grey Pharmacy, an AI-powered telepharmacy providing accessible medication, pharmacist consultations and chronic care support through smartphones, basic phones and USSD across Nigeria.

Christine Imoukhuede, Founder/CEO, Ahavaplan

Christine Imoukhuede founded Ahavaplan, an AI-powered CRM platform helping event planners manage clients, events, communications and business operations in one place.

Toyosi Badejo-Okusanya, Founder/CEO, Adaptive Atelier

Toyosi Badejo-Okusanya founded Adaptive Atelier, an accessibility technology company helping businesses create inclusive digital experiences through AI-powered solutions, accessibility auditing and a marketplace of disabled professionals.

Fara Popoola, Founder/CEO, Proc360

Fara Popoola founded Proc360, a platform helping African SMEs trade with greater confidence through supplier verification, quality control and secure payments.

Adejoke Haastrup, Founder/CEO, Kidsthatcode

Adejoke Haastrup founded Kidsthatcode, an edtech platform equipping children and teens across Africa with coding and digital skills through classes, mentorship, hackathons and project-based learning.

This year’s Women in Tech Accelerator cohort are now part of a growing global alumni community comprising women entrepreneurs and offering peer-to-peer support on an ongoing basis. In some countries, alumni have the opportunity to access catalytic funding at rates that are lower than commercial levels, helping them establish a credit history and putting them in a stronger position to access commercial lending in the future.

The Women in Tech Accelerator programme aims to empower women-led, tech-enabled startups to scale and create positive impact in their communities. Participants receive investment-readiness training, personalised development plans, and expert mentorship, working with advisors and industry leaders to strengthen their business models and access networking opportunities.

The programme has been running in Nigeria through funding from the Foundation and Standard Chartered Bank Nigeria since 2020. Globally, it is active in 14 of Standard Chartered’s markets, covering Africa, the Middle East, Asia and the US. To date, Women in Tech has helped over 4,000 entrepreneurs.

About Standard Chartered Foundation

The Standard Chartered Foundation is a charitable organisation established by Standard Chartered in 2019. It is committed to helping tackle inequality by empowering under-served young people, especially women and people with disabilities. It sets the strategy for — and funds — youth employability and entrepreneurship programmes across Standard Chartered’s markets, helping young people access the skills, networks and support they need to secure quality work and grow their businesses. The Standard Chartered Foundation is a registered charity in England and Wales (charity number 1184946). See the website for more information: Standard Chartered Foundation.

About Standard Chartered

Standard Chartered is a leading international banking group, with a presence in 54 of the world’s most dynamic markets. Our purpose is to drive commerce and prosperity through our unique diversity, and our heritage and values are expressed in our brand promise, here for good. Standard Chartered PLC is listed on the London and Hong Kong stock exchanges. For more stories and expert opinions, please visit Insights at www.sc.com.

About Enterprise Development Centre

Enterprise Development Centre (EDC), Pan-Atlantic University, is a leading enterprise development and capacity-building centre focused on empowering entrepreneurs and small businesses across Nigeria and Africa. Established in 2003, EDC provides business education, accelerator programmes, advisory services, research and ecosystem-building initiatives that help entrepreneurs build sustainable and scalable businesses.

Through partnerships with leading local and global organisations, EDC has supported hundreds of thousands of entrepreneurs, with a strong focus on youth, women and underserved communities. EDC is committed to building an enabling ecosystem where entrepreneurs can access the knowledge, networks, tools and opportunities they need to thrive. Learn more at www.edc.edu.ng.

About Village Capital

Village Capital is reinventing the system to back the entrepreneurs of the future. Known for its groundbreaking approaches to supporting founders who are building solutions to emergent environmental, social, and economic challenges, VilCap unlocks critical social and financial capital for early-stage startups to maximise business and impact growth.

Since 2009, Village Capital has supported close to 1,800 startups that have raised USD 7.7B in investment capital. It has made 116 investments through its various affiliated funds, including VilCap Investments, which has invested in 91 peer-selected companies. Additionally, more than 25,500 members actively engage on Abaca, their web app that equips entrepreneurs, ESOs, and capital providers with tools for learning about, assessing suitability, and expanding access to financial capital. Its latest feature, Capital Explorer, helps founders identify the most appropriate funding options for their businesses. Learn more at www.vilcap.com.

Sponsored Content

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Bimbo Ademoye and Timini Egbuson share a light moment in their traditional bridal styling for “My 30th Wedding”.

For a few seconds, Bimbo Ademoye and Timini Egbuson had us wondering if there was a wedding invitation we somehow missed. The actors shared romantic wedding photos in bridal and groom looks, and suddenly, we were already imagining the wedding bells, the aww moments and, of course, the fashion.

But no, Bimbo Ademoye and Timini Egbuson are not getting married. The wedding photos are part of the promotional campaign for Bimbo’s new romantic comedy, My 30th Wedding, now streaming on her YouTube platform, Bimbo Ademoye TV. Beyond the storyline, the campaign gives us plenty to look at, moving from classic western bridalwear to traditional Edo and Igbo-inspired looks.

Timini Egbuson and Bimbo Ademoye in traditional Edo and Igbo-inspired attire for “My 30th Wedding”.

For the western wedding look, Bimbo wears a floor-length bridal gown covered in beadwork and pearl accents, with a sheer illusion bodice and fitted mermaid silhouette that opens into a sweeping, multi-tiered ruffled train. She wears her hair in a low bun with oversized cluster pearl earrings and carries a simple bouquet of fresh white calla lilies.

Timini complements her in a structured black tuxedo with plush velvet lapels and a sharp white dress shirt. Instead of a traditional necktie, he secures his collar with a sculpted gold slide brooch. Dark Prada tortoise-shell sunglasses, square diamond stud earrings and a black leather watch complete his groom look.

Bimbo Ademoye in a mermaid bridal gown with a ruffled train alongside Timini Egbuson for “My 30th Wedding”.

The traditional wedding photos take the pair in a different direction, drawing from Edo and Igbo cultural elements. Bimbo wears a strapless maroon velvet corset gown with linear sequin embroidery running through the skirt. Her accessories include an Okuku coral-beaded crown, a structured multi-strand coral bib necklace and matching coral wrist cuffs.

Bimbo Ademoye styled in a maroon velvet corset dress with an Okuku coral crown and sheer red veil.

Timini stays within the rich maroon and gold palette in a gold satin tunic layered beneath an open-front crimson velvet robe with silver-piped trim and a matching wrapper. He adds several strands of chunky coral necklaces, a coral beaded cap, modern sunglasses and a carved white Akupe hand fan.

Timini Egbuson in Edo and Igbo traditional wear featuring a red velvet robe and carved Akupe fan.

The wedding imagery is part of My 30th Wedding, a Nigerian romantic comedy that follows Aeta, an event planner approaching her 30th birthday, as she navigates a complicated relationship with her client, Leon Wellington, played by Timini. The story explores class differences, personal fears and the expectations placed on women around marriage and age.

Written, produced and led by Bimbo Ademoye,  My 30th Wedding is currently streaming on YouTube via Bimbo Ademoye TV.

Bimbo Ademoye and Timini Egbuson in western bridal styling for “My 30th Wedding”.

Bimbo Ademoye and Timini Egbuson share a light moment in their traditional bridal styling for “My 30th Wedding”.

Photo Credit: Traditional Look – @bimboademoye | White Wedding Look – @bimboademoye/Instagram

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Mr. P in a cream double-breasted suit and fedora in the official “Chukwu Mee” music video.

Have you been listening to Mr. P’s “Chukwu Mee”? There’s now a video for the Afro-gospel track, directed by ID Directions.

Translating from Igbo as “God Did It,” “Chukwu Mee” is a song of praise and thanksgiving, with Mr. P reflecting on the hurdles he has overcome, the scepticism he has faced, and the role of faith in getting him to where he is today. He also sings about silent prayers, patience and taking things as they come, summed up in the line, “no rush, no force.”

The production pairs upbeat percussion with choir harmonies, giving the song its celebratory feel. The video follows that same direction, moving between polished studio scenes, traditional Igbo imagery, church gatherings and social celebrations.

Mr. P opens the video in an oversized cream double-breasted suit with a matching fedora, before changing into a brown vest over dark tailoring, finished with gold chains. Later, he leans fully into traditional Igbo styling in a black Isiagu top, red okpu agu cap, dark sunglasses and an Akupe hand fan.

Traditional dancers in checkered blue outfits join him for the cultural scenes, while a choir dressed in flowing off-white robes performs alongside them. The video also features women in fascinators, pearls and evening wear, waving handkerchiefs and dancing through scenes that feel closer to a lively celebration than a formal performance.

Across the different settings, “Chukwu Mee” keeps its focus on gratitude, faith and the idea of looking back at what you have overcome and simply saying, as the title goes, “God did it.”

Watch below

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Essenza brought the beauty community together for two immersive days of discovery, connection and celebration through its Beauty Enthusiasts of Essenza BEE experience. Welcoming beauty and fragrance enthusiasts, creators and industry taste makers, BEE created a vibrant space where guests could discover, experience and connect with some of the world’s most coveted beauty, skincare and fragrance brands.

Held on September 25th and 26th, 2026, the second edition of BEE brought together an exceptional edit of international beauty, skincare and fragrance brands, including Jo Malone, Yves Saint Laurent, Estée Lauder, Clinique, The Ordinary, M·A·C and Tom Ford, alongside Essenza.

Each brand brought its own distinctive expression to the experience, creating immersive touch points that invited guests to explore products in new ways. From interactive games and product discovery to gifting and exclusive amazing offers available only at BEE, every detail was designed to make beauty feel personal, engaging and memorable.

Reflecting on the experience, Abiola Kasumu, Executive Director, Essenza Int’l, shared:

“At Essenza, we believe that the future of beauty is deeply rooted in community. BEE allows us to bring that belief to life by creating a space where beauty enthusiasts, creators and brands can come together, share experiences and inspire one another. The response to this year’s edition has been incredibly rewarding, and we are proud to continue building a community that celebrates beauty in all its forms,” He said.

Where Beauty Becomes Community

At the heart of BEE was a celebration of connection. Guests had the opportunity to meet fellow beauty enthusiasts, discover new favourites, engage directly with brands and become part of the wider Essenza community.

The dedicated Content Room added another dimension to the experience, providing a space for guests and creators to capture, create and express their individual perspectives on beauty. It reflected the increasingly personal way in which people experience and share beauty today, moving seamlessly between discovery, creativity and conversation.

The experience was further enhanced by BEE’s event partners, whose presence added new dimensions to the celebration. Patrón, Drinkstail and Chivas Regal brought a sophisticated social element to the event, with Drinkstail also introducing its matcha experience to guests. SKN Analytics offered guests an opportunity to engage with technology-led skincare discovery, while 13th Fragrance added to the fragrance experience, complementing BEE’s focus on discovery, personal expression and the wider beauty culture.

Beauty Meets the Future

Day One took the conversation beyond products, exploring one of the most transformative forces shaping the industry today: artificial intelligence.

The panel, themed “The Influence of AI on the Beauty Industry”, was hosted by Ayirike Dimples and featured Layo Ogunbanwo, CEO of Splice; Denise Ezeimokumoh, Editor-in-Chief of Marie Claire; Jude Chikiezie, Founder and CEO of Splice; and AI entrepreneur Dr. Lola Olukuewu.

The conversation explored the growing influence of AI across beauty, from creativity and content to consumer behaviour, engagement and innovation. It also considered how technology can continue to evolve the industry while leaving space for the human creativity, expertise and individuality that remain at the heart of beauty.

Celebrating the Creators Behind Beauty Culture

Creativity took centre stage on Day Two with the unveiling of the winners of the Creator Essenza Challenge.

Oscar Chihurumnanya emerged as the first place winner, followed by Mariam Mariamly Aworinde in second place and Glamified in third.

The challenge celebrated the distinctive ways members of the BEE community engage with beauty, creating their own interpretations and bringing products and stories to life through their individual creative voices.

It also reflected the evolving relationship between beauty brands and creators. Today’s beauty community is not simply consuming trends; it is participating in the culture, shaping conversations and influencing how beauty is discovered and experienced.

More Than a Beauty Event

Across two days, BEE brought together beauty, skincare, fragrance, creativity and conversation in an environment designed to be experienced rather than simply observed.

From discovering iconic beauty houses and exploring new products to creating content, meeting fellow enthusiasts and engaging in conversations about the future of the industry, the experience offered something beyond a traditional beauty event.

It was a celebration of the community itself: the beauty lovers who continue to explore, the creators who continue to shape the conversation, and the brands and partners creating experiences that invite people to see beauty from a new perspective.

With its second edition, Beauty Enthusiasts of Essenza BEE continues to create a space where luxury, beauty, creativity and community meet, bringing people closer to the brands they love and to one another.

Sponsored Content

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A scene from Kizz Daniel’s “Owo Oluwa” music video featuring an elder tuning a vintage boombox radio.

Afrobeats star Kizz Daniel has officially released the moving music video for his latest track, “Owo Oluwa” (translating from Yoruba as “The Hand of God”), featuring Young Jonn, producer Krizbeatz, and the Wave Choir.

Dedicated to the memory of Kizz Daniel’s late parents, the track marks an Afro-gospel-infused pivot for the singer, shifting away from party records to focus on unyielding faith, divine guidance, and inner peace. Throughout the song, Kizz Daniel sings about walking gently in life (“ṣe jẹjẹ”) and leaning entirely on spiritual grace rather than earthly anxieties. Krizbeatz blends a rhythmic Afrobeat bounce with a house music arrangement, elevated by Young Jonn’s vocal contributions and the backing harmonies of the Wave Choir.

Co-directed by Perliks Definition and popular philanthropist Asherkine, the visual storytelling moves between studio performances and real-world community impact. The video opens on an elevated circular green stage where Kizz Daniel performs in a sharp, oversized black blazer, backed by the Wave Choir in black-and-white robes under draped fabric.

The narrative then transitions into local Nigerian streets, where Asherkine brings the track’s message of divine favour to life through acts of philanthropy. From surprising an aspiring fashion designer with a brand-new sewing machine to gifting a commercial driver a new motorised tricycle, the video captures unfiltered joy, tears of relief, and celebratory street dances. Intercut with warm interactions featuring Young Jonn and elders, the video stands out as an inspiring, deeply human tribute to grace, perseverance, and everyday blessings.

Watch the video below

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My father turns 70 today.

He grew up in Kaduna, but in 1992, he came back to Lagos with two eyes, two ears, two legs, and one hand. 

My father, whom I call Dede, would later tell my sisters and me the story. It was in the Zangon-Kataf riot where the other hand was chopped off. He had, unknowingly, driven into the middle of the riot, looking through the windshield, a cross dangling from the rearview mirror of his car. Boys – feisty, bloodthirsty boys with shiny machetes – stopped and asked him questions, one about his religion. My father says there were moments of silence, where his heart took several somersaults in his throat, where his brain worked rapidly, wondering how best to answer the questions. He looked into the boys’ eyes, some of whom he recognised and who recognised him. They had been together a few times, greeting one another on the streets, dining and wining on a few occasions. He looked at his rearview mirror and knew there was only one answer to give. 

Dede narrates the horrors of the Zangon-Kataf riot. Like him, some young women had walked right into it. He says he witnessed as their heads were sliced off their necks, their blood sinking into the sands. He says their heads bounced several times before they rested on the floor. He says that their headless bodies moved aimlessly for some seconds before falling – some knee-first – onto the floor. He says it is sights like that that made him know his end was near. That made him fight for his life. 

It was instinct that saved him. When he saw the glimmer of the machete, when he saw it raised above his assailant’s head, in the split second before it was to land on his head, he raised his left hand to protect his neck. In a flash, his hand was divided into two – his elbow and upper arm clinging to the sockets of his shoulder, his hand and part of his forearm rolling in the sand. 

He cannot tell of the moments he picked his hand from the sand and ran. Or his navigating the maelstrom of bodies, noises, or mobs. There are parts of the story I am trying to retrieve from my memory – of his running into a hospital, some of the boys at his heels, the adrenaline that surged through him, or how he learned of his car and home that were set ablaze with his dog in it. It was his friend, a respected mallam who had heard about his amputation, who rushed to rescue him, insisting the boys leave him alone until he made his way to a hospital. Inside the hospital walls, there was safety. It was where they treated the myriad victims from the riot. Where they told him they could not reattach his hand. Where he would spend the next several weeks, with political dignitaries visiting alongside cameramen.

Dede does not speak about the trauma of the riot, but growing up, it formed a mushroom-like shape over every roof of the house we lived in. 

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I will not speak of the trauma of starting afresh with your family in another city, with nothing to your name and a missing body part. Or how my mother nursed and nursed him. Or the difficulty of bouncing back in a world that does not take kindly to people living with disabilities. Or the poverty we wallowed in. It is not my story to tell. Of the things that stuck with me the most like a tick, it is the fear and tension that always clouded my home. I did not like my father as a child. I did not understand him or the anger I almost always saw in his eyes. I didn’t understand the tension that clung to the doors, the walls, the roofs, every nook and cranny of my home. Or the trepidation that clung to me. Little things set him off, and I often wondered if it was me. I found myself walking on eggshells in my home with my mum standing as the bridge. “Please your father”, she’d say, and I would protest: I was the child; why did that burden fall on me? 

But of all the things that have stuck with me over the years, it is the doggedness with which he held on to life. And I do not use life literally. I am a strong person, I like to believe. I am very positive about my future. I strongly believe that life will be kind to me, that my future will always be better than my now. My faith and hope in my future are resolute and, once – in one of those moments I have conversations with myself – I realise I take that from my father. Nothing shook him. Nothing shakes him. I like to believe that when you have experienced something as traumatic as war or riots, you see the world differently. You see through fogs and hazes. You see what you can become if you survive. And when you do survive, your heart and mind become rooted. I see his optimism about a country that tried to squash him.

I am grown now. As the decades pass, I see trauma release itself from his eyes. I see his skin and brows unclench in relaxation. The tensions have dissipated from the walls, the doors, the roof. I see joy now. 

Life, here, is the future, living, existing, taking space, moving, loving, laughing, building. He fought for all.

_

My father, omo agboburuku dikaka, is 70 today.

Omo agboburuku dikaka

Omo a ta ma ta win

Omo a ra ma sanwo…

When he tells us about his family’s eulogy, my sisters and I tease him about it. We tell him to go buy something in the market without paying, if he dares.

He comes from a family of warriors, he says. So when they come back from wars, victorious, market women are often so pleased they ask them not to pay when they purchase items. My father has come back from the war of life. He has lived. He is living. And today, I cannot think of a better way to celebrate him than to write about this man I know. This man whose strength, resilience and faith have formed me.

Happy birthday, Akindeinde.

Omo agboburuku dikaka.

The post To My Father: Akindeinde Sanya appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

A lively festival crowd in green costumes, sitting in grandstands enjoying a performance. Photo Credit: Jonathan Chukwudifu/Pexels

As Nigeria celebrates 66 years of independence, there is much to look back on, from the people and moments that have contributed to the country’s history to the achievements that have put it on the global map. Across music, film, sports, fashion, literature, business, and technology, Nigerians continue to make their mark at home and around the world.

To mark Nigeria’s 66th Independence Day, here are some 66 facts about the country, its people, and some of the milestones that make Nigeria’s story worth telling:

Nigeria won its first Africa Cup of Nations title in 1980.

Wole Soyinka became the first African to win the Nobel Prize in Literature in 1986.

Nigeria launched its central bank digital currency, the eNaira, in October 2021.

Funke Akindele is the highest-grossing director in the Nigerian box office.

Nigeria’s flag was designed by Michael Taiwo Akinkunmi, who won a national competition in 1959.

The Sukur Cultural Landscape in Adamawa State became Nigeria’s first UNESCO World Heritage Site in 1999.

Nigeria’s D’Tigress won five consecutive Women’s AfroBasket titles from 2017 to 2025.

Paystack was founded in Nigeria in 2015 and was acquired by Stripe in 2020.

Nigeria gained independence from Britain on 1 October 1960.

Nigerian author Lola Shoneyin founded the Ake Arts and Book Festival, one of the biggest literary festivals in Africa.

Nigeria’s first satellite, NigeriaSat-1, was launched in 2003.

The Third Mainland Bridge was once Africa’s longest bridge.

Burna Boy won the Grammy for Best Global Music Album for Twice as Tall in 2021.

Nigeria’s capital moved from Lagos to Abuja in 1991.

The Sango Festival in Oyo was added to UNESCO’s Intangible Cultural Heritage list in 2023.

Nigeria’s Super Eagles won the Africa Cup of Nations in 1980, 1994 and 2013.

Nigerian artist Fola David created a 1,004.7-square-metre drawing of Nigeria in 2024, recognised by Guinness World Records.

Nigeria’s name was proposed by British journalist Flora Shaw in 1897.

The University of Ibadan became Nigeria’s first university in 1948, originally as University College Ibadan.

Nigeria’s first television station was established in 1959.

“Love Nwantiti” by CKay became a global streaming hit, charting internationally in 2021.

Nigeria’s national anthem, “Nigeria, We Hail Thee,” was reinstated in 2024 by President Bola Ahmed Tinubu.

Tobi Amusan won the women’s 100m hurdles at the Paris Diamond League.

Nigeria was the first African country to qualify a bobsled team for the Winter Olympics.

Agbani Darego won Miss World in 2001.

Aliko Dangote is the richest black person in the world and owns the Dangote Petroleum Refinery.

Nigeria’s U-17 men’s team won the FIFA U-17 World Cup in 1985, the tournament’s inaugural edition.

Nigeria’s film industry produces around 2,500 films annually, according to UNESCO’s 2021 report.

Nigeria became a republic on 1 October 1963.

The Osun-Osogbo Sacred Grove was inscribed on UNESCO’s World Heritage List in 2005.

Nigeria’s first national library was established in 1964.

Hilda Baci set a Guinness World Records title for the largest serving of Nigerian-style jollof rice in 2025.

Nigerian filmmaker Akinola Davies Jr. won the 2025 BAFTA for Outstanding Debut by a British Writer, Director or Producer for My Father’s Shadow.

Nigeria’s Northern and Southern Protectorates were amalgamated on 1 January 1914.

Nigeria won its first Olympic gold medal in women’s long jump through Chioma Ajunwa at Atlanta 1996.

Interswitch was founded in Nigeria in 2002 and became a major player in the country’s electronic payments industry.

Chinua Achebe’s Things Fall Apart was first published in 1958.

Nigeria’s Super Falcons have won the Women’s Africa Cup of Nations a record 10 times, through 2024.

Nigerian filmmaker Nora Awolowo and producer Damilola Osikoya set a Guinness World Records attendance record for a film screening in Lagos in September 2026.

Nigeria’s first President was Nnamdi Azikiwe.

The Ijele masquerade was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2009.

Rema’s hit song Calm Down reached 1 billion streams on Spotify on September 11, 2023.

The University of Nigeria, Nsukka, was founded in 1955 and formally opened in 1960.

Nigeria’s U-17 men’s team has won the FIFA U-17 World Cup five times.

Nigerian model Ololade Ayelabola walked 125.11 kilometres on a catwalk in Lagos in 2024, setting a Guinness World Records title.

Nigeria launched NigeriaSat-2 and NigeriaSat-X in 2011.

Fela Anikulapo-Kuti is widely recognised as the pioneer of Afrobeat.

Chimamanda Ngozi Adichie won the Orange Prize for Fiction in 2007 for Half of a Yellow Sun.

The Nigerian Stock Exchange was established in 1961.

Nigeria became the first African country to win Olympic men’s football gold in 1996.

Nigeria has 36 states and the Federal Capital Territory (FCT), Abuja.

Hilda Baci held a Guinness World Records title for the longest cooking marathon by an individual in 2023.

Nigeria’s first Prime Minister was Abubakar Tafawa Balewa.

Tems is the first Nigerian artist to win multiple Grammy Awards.

The Argungu International Fishing and Cultural Festival was inscribed by UNESCO in 2016.

Nigeria ranks as the largest producer of crude oil in Africa, and one of the largest in the world

Wizkid’s “Essence,” featuring Tems, became the first Nigerian song to enter the Billboard Hot 100 top 10.

The Kano Durbar was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2024.

Flutterwave, an international payment platform, was co-founded in 2016 by Olugbenga Agboola.

Nigeria’s first Olympic gold medal in women’s long jump was won by Chioma Ajunwa at Atlanta 1996.

Living in Bondage (1992) is widely credited with helping launch the modern Nigerian video-film industry.

Ben Okri won the Booker Prize in 1991 for The Famished Road.

Nigeria’s film industry produces around 2,500 films annually, according to UNESCO’s 2021 report.

Mami Wata, directed by C.J. “Fiery” Obasi, premiered at the 2023 Sundance Film Festival.

Genevieve Nnaji’s Lionheart became the first Nigerian film acquired by Netflix as a Netflix original.

Wizkid is the first African artist to sell out the 20,000-capacity O2 Arena in London in minutes.

What other facts would you like to add? Go ahead!

Happy Independence Day, Nigeria!

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Mercy Eke posing in her avant-garde second birthday outfit.

When you’re a superstar, not just any superstar, but a Nigerian superstar who loves fashion and knows her way around a red carpet, one birthday look simply won’t do. Big Brother Naija Season 4 winner and media personality Mercy Eke celebrated her birthday on 29 September 2026 with not one, but two striking looks, and a brand-new luxury addition to her garage.

For her first birthday look, Mercy stepped out in a custom champagne-bronze gown featuring a crystal-embellished halter bodice and structured hips that flowed into a dramatic floor-length train. The sculpted silhouette gave the gown plenty to look at, while the champagne-bronze finish kept the entire look glamorous without feeling overdone.

Mercy Eke combines structured corsetry with a high auburn updo and gold jewelry for her birthday styling.

Then came look number two, and Mercy took things in a completely different direction. She wore an avant-garde deep maroon top with an exaggerated curved shield collar that rose around her face before narrowing into a fitted waist and sculptural peplum hip drape. The drape extended into a floor-length side train, creating a striking silhouette from every angle.

Mercy Eke in her second birthday look featuring a sculptured maroon top and crystal mini skirt.

Underneath the maroon structure, she wore a gold mini skirt covered in crystals and rhinestones, paired with a sheer long sleeve scattered with matching crystals. Black pointed-toe pumps completed the look, while a short textured crop hairstyle kept the focus on the dramatic neckline. Sharing the photos on Instagram, she captioned the look: “I didn’t come this far to play small.”

The exaggerated curved shield collar framing Mercy Eke’s birthday look.

And because two birthday looks apparently weren’t enough, Mercy also had a very expensive birthday surprise waiting for her. She unveiled a brand-new matte black Mercedes-AMG G63 (G-Wagon), which arrived on a flatbed truck with a large red bow across the bonnet.

The luxury SUV came with red ribbons tied around the door handles, a customised red-and-black leather interior with the factory protective coverings still intact, and twin-turbo performance branding. Mercy shared the new addition across her social channels with the caption: “NEW AGE, NEW KEYS, SAME ME!”

The dramatic floor-length train on Mercy Eke’s second birthday outfit.

Mercy Eke styling her second birthday look with classic black pointed-toe pumps.

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Photo Credit: Mercy Eke/Instagram 

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Many factors that contribute to creativity, service delivery, or outcomes often go unnoticed. It is like the popular African proverb, “It takes a village to raise a child,” which suggests that in a highly communal society, a child’s parents aren’t only biological progenitors but also social influencers. It can then be extrapolated to mean, in a wider sense, that it takes input from different sources to successfully bring an idea to maturity or fruition.

For example, many of the songs we enjoy today took a village to produce. Beyond the music artists we commonly associate with popular songs, there are several key roles involved in the music industry: A&R (Artists and Repertoire), Executive Producers, Producers, BGVs (Background Vocalists), Session Musicians and Instrumentalists, Songwriters, if needed, Mixing and Mastering Engineers and Business Managers. Each of these roles plays a crucial part in the creation and success of a musical work. In modern music, these creative inputs are not only recognised in terms of awards but also rewarded financially for their commercial value. Hence, the conversation around split-sheets, publishing and royalties.

It takes a person who understands the rudiments of project management to appreciate when other people bring in value to an idea. This is very important because around these parts, we tend to rate control over consensus. Hence, it’s not uncommon for people wanting to have complete control of a small pie to trade a bit of that for consensus in concert with others, even when it means they will get a slice of a much bigger pie. This logic applies to many things in life, including ghost-writing services. Many people believe that if they don’t write a book themselves, they aren’t worthy to be called authors – nothing could be further from the truth.

Here are selected popular myths about ghostwriting that I want to debunk:

Only Celebrities, HNIs & Famous People Use Ghostwriters

There is this notion that only people with certain social status or economic class engage the services of a ghostwriter. That’s not true. Yes, some ghostwriters have built their brand to a level such that it’s more likely that people from a certain tax bracket can chat to them. However, ghostwriting is generally an equal opportunity service. The most important thing is for a story or book idea to be established. Before you get a quote from a ghostwriter, try to sell your vision first. This doesn’t necessarily mean you will get a pro bono service, but a ghostwriter who sees the bigger picture may be willing to give you a discount or concession just to bring your stories to life. Celebrities or famous people use ghostwriters for many reasons, not just because they can afford to, but at a certain level of their careers, they surround themselves with experts and specialists. People who have a lot to lose always go the extra mile to protect their brands, and they know that ghostwriting, in a sense, is an insurance policy, especially in an age of people being accused of plagiarism.

Only Lazy People Hire Ghostwriters

Sometimes, people who can cook very well still go ahead and hire private chefs; the same goes for driving. Many people struggle with the concept of hard work, meaning that they have to do everything themselves. In fact, hardworking people are those who know how to optimise their resources by maximising their strengths and outsourcing or delegating their weaknesses. Take it from someone who has been in the game for more than a decade: most of my clients are top shots – people who work their socks off at the very height of the corporate ladder. Time is a limited resource, and they know that writing a book themselves doesn’t yield the best ROI. The title of a ghostwriter morphs depending on the industry: we have speechwriters for public office holders, scriptwriters for movies, songwriters for music and so on. Again, at a certain level, people understand trade-offs and leverage. It’s just common sense.

Only Those Who Don’t Know How to Use AI Hire Ghostwriters

I say this with every sense of responsibility: it’s mostly people who aren’t exposed or widely read that share this sentiment. The idea that you can write a consequential book entirely with artificial intelligence is one of the worst pieces of advice anyone could sell you. Emphasis on consequential. If there is anyone who can use AI to write tons of books, it would be yours truly, but me sef no small. So I have nothing against the use of AI, but I also understand ethical use and legal jeopardy. Again, it’s people who have nothing to lose that talk like this; if you have built your reputation brick by brick, you will not replace the human brain with a bot. A certain author recently lost a $2 million publishing deal simply because the editors had a suspicion of artificial intelligence being used. For emphasis, he wasn’t found guilty of plagiarism, but the suspicion alone was enough for the deal to be withdrawn, even though he explained that he didn’t use AI to generate text but an open-source tool for research purposes. Some internet garbage will sound cute until you enter the big league, where you find out that plagiarism is one of the unforgivable sins of written communication.

Only You Can Write What Is In Your Head

This is not correct. A book idea may be originally yours, but executing it requires expertise you may not have. Trauma manifests in different ways. For example, if a person gets hurt or defrauded, they have a tendency to extrapolate that bitter experience to others who have never hurt or defrauded them. Ghostwriting, like other enterprises, can be very lucrative, and once money is involved, all manner of people will enter the chat, including crooks. One of the ways to know whether a person is a great ghostwriter or not is to get on a discovery call with them. This is so important to me that I do this for free for prospects because a ghostwriter isn’t just someone who you dictate words to; a ghostwriter’s first job is to get into your mind. Once a telepathy is established and your pattern of thought or style of concatenating words is recognised, then you know you’re in good hands. I know we live in a low-trust society, but don’t allow your bias to sabotage your possibilities. Great ghostwriters are collaborators who help bring your idea to life in the most excellent manner. If you want to position your book in such a way that people take you seriously, engage someone who has a well-documented history of writing visions in plain terms so that those who read may appreciate that great idea of yours.

The post Mfonobong Inyang: We Should Appreciate The Genius of Ghostwriting More appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Fatima Ezzahra El Mansouri, Morocco’s first female Prime Minister.

Morocco has stepped into a monumental milestone in regional governance. Fatima Ezzahra El Mansouri has officially made history after being appointed as Morocco’s first female Prime Minister. Her landmark appointment also makes her only the second woman to lead a government across the Arab world, following Tunisia’s Najla Bouden.

On Tuesday, 29 September 2026, King Mohammed VI received El Mansouri at the Royal Palace in Rabat to formally name her as the new head of government. The decision followed the 23 September parliamentary elections, where her party, the Authenticity and Modernity Party (PAM), secured a plurality with 97 of the 395 seats in the House of Representatives. Standing at the helm of PAM as the national coordinator of its collective leadership, El Mansouri succeeded outgoing Prime Minister Aziz Akhannouch.

In her new role, El Mansouri is charged with directing executive governance, steering national economic strategy, and shaping social policy during a pivotal transitional phase for the North African nation. With PAM holding 97 seats, her primary task involves navigating political negotiations to assemble a stable governing coalition alongside partner parties such as the National Rally of Independents and the Istiqlal Party.

King Mohammed VI receives Fatima Ezzahra El Mansouri at the Royal Palace in Rabat.

Beyond coalition building, her administration is tasked with overseeing critical infrastructure upgrades, driving post-earthquake regional development, expanding direct housing support, and preparing Morocco for its co-hosting role in the 2030 FIFA World Cup.

Born in Marrakesh in 1976, El Mansouri built a formidable career as a commercial and real estate lawyer after earning advanced law degrees from the University of Montpellier in France and New York University in the United States. She first gained national prominence in 2009 when she became the first woman elected as Mayor of Marrakesh at just 33 years old.

She subsequently served multiple terms in parliament, returned to the Marrakesh municipal leadership in 2021, and held office as Minister of National Spatial Planning, Urban Development, Housing and City Policy before her rise to the premiership. Her historic ascension marks a decisive breakthrough for women in political leadership across North Africa and the broader Arab region.

Fatima Ezzahra El Mansouri, leader of the Authenticity and Modernity Party (PAM).

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Photo Credit: Fatima Ezzahra El Mansouri/Instagram

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Organisers of Real Talk With Kike have unveiled an impressive line-up of speakers for the programme’s seventh anniversary celebration, which will also commemorate Ace Broadcaster Kikelomo Atanda-Owo’s 20 remarkable years in the media industry.

The milestone event, scheduled for October 10, 2026, at Eko Hotels and Suites, Lagos, will feature Lagos State Deputy Governor, Dr. Kadiri Obafemi Hamzat, and Vlassis Liakouris, Group Managing Director of Mandilas Group Limited, as keynote speakers.

Also speaking at the event will be the Group Managing Director of Sahara Group, Kola Adesina, while Bola Adesola, Chairman of the Board of Ecobank Nigeria, will deliver the goodwill message.

The speakers will engage the theme, “The Future of Nigeria: Where Leadership, Innovation, Culture and Media Converge to Shape Nation Building,” bringing perspectives from government, corporate leadership, business, culture and the media to a
conversation about Nigeria’s development and the institutions that will shape its future.

The theme reflects the philosophy that has defined Real Talk With Kike over the past seven years, creating a platform where consequential issues are explored through open conversations with personalities drawn from different sectors of society.

For Atanda-Owo, the celebration carries an additional significance. While Real Talk With Kike marks seven years, the occasion also commemorates two decades of her professional journey in the media, transforming the event from a programme anniversary
into a celebration of longevity, conversations, impact and an evolving broadcasting career. Over the years, the Ace Broadcaster has built her identity around conversations that go beyond entertainment to interrogate leadership, society, relationships, enterprise, culture and the experiences shaping contemporary Nigeria. The October gathering will therefore bring that tradition of conversation from the studio to a live audience.

The choice of speakers also mirrors the multidisciplinary nature of the anniversary theme. Hamzat will bring perspectives from public leadership and governance, while Adesina and Liakouris will approach the conversation from the standpoint of private-sector leadership, enterprise and innovation. Adesola’s goodwill message will further bring the perspective of corporate governance and financial-sector leadership to the occasion.

The October 10 celebration at Eko Hotels and Suites is expected to attract leaders from government, business, media, culture and the creative industry, alongside personalities who have been part of the Real Talk With Kike journey.

BellaNaija is a Media Partner for Real Talk With Kike

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Olandria, Tobe, and Veekee James showcasing different ways to wear blue.

Did anyone say blue? Because apparently, one shade was not enough. Blue has been popping up everywhere from high-level panel appearances to Milan and London Fashion Week, and we are seeing it in some very different forms. Tailored suits, graphic bodysuits, giant trousers, pleats, crystals: there is a lot happening in the blue department right now, leaving no doubt that blue is a stylish colour for almost any occasion.

Veekee James made a strong case for how to wear a royal blue suit at OPay’s live town hall event. Her version came with structured satin lapels, wide-leg trousers and crystal-embellished cuffs, giving the classic suit plenty of fashion detail to work with. She paired it with a half-up topknot, clean jewellery and pointed heels, keeping the accessories from competing with the suit.

If your idea of a blue suit is still something you would wear to the office with a white shirt underneath, Veekee’s look offers a different route on how to style a royal blue suit. Skip the predictable styling and let the suit have some shape. Wide-leg trousers immediately change the proportions, satin lapels give the tailoring a dressier finish, and a few carefully chosen accessories can take royal blue from boardroom-ready to event-ready.

Veekee James styling a royal blue suit for OPay’s live town hall event. Photo Credit: Veekee James/Instagram 

Then Olandria arrived at the Off-White show in Milan Fashion Week wearing a blue optical-print bodysuit, because sometimes blue does not need tailoring at all. Her fitted bodysuit came with a graphic pattern that did plenty of the talking, so she paired it with sheer black tights and black stiletto pumps. Her slicked high ponytail kept the styling streamlined.

This is where knowing how to wear a patterned blue bodysuit gets interesting. You do not need to pile on accessories just because the outfit has a bold print. When deciding how to style a patterned blue bodysuit, letting the graphic print take up the visual space works best, using black tights and heels to anchor it. It is an easy combination to adapt for fashion week, a runway presentation or an evening event where you want the outfit to carry the look.

Olandria at the Off-White show during Milan Fashion Week. Photo Credit: Olandria/Instagram 

And then there was Tobe Ugeh at London Fashion Week, making a case for wearing a lot of blue at once. His LFJ pleated set featured ultra-wide trousers and a high-collared top, creating plenty of volume from shoulder to ankle. Instead of introducing another major colour, he kept the outfit within the blue family and added a gold geometric pendant.

If you have ever wondered how to style a pleated blue set without the monochromatic look feeling flat, this is where the silhouette comes in. The pleats give the fabric dimension, the ultra-wide trousers change the proportions and the high collar gives the top enough structure to hold its own against all that volume below. The gold pendant adds just enough contrast without breaking up the look.

Tobe styled in a pleated blue set by LFJ for London Fashion Week. Photo Credit: Tobe Ugeh/Instagram

So, where can you wear blue to, and where does that leave the shade? Pretty much everywhere. You can wear it sharply tailored like Veekee, go graphic like Olandria or commit to volume with a pleated set like Tobe. Whether you are dressing for a panel, heading to fashion week, attending a gallery opening or stepping onto a red carpet, there is a version of blue that can work for the occasion.

Olandria, Tobe, and Veekee James showcasing different ways to wear blue.

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Keivo disqualified from Big Brother Naija Season 11 following a physical altercation.

Just when everyone thought the journey to the Big Brother Naija Season 11 finale would run on smooth tracks, the house has delivered another dose of unfiltered drama. Keivo has officially been disqualified from the game following a physical altercation with fellow housemate Tram.

What started as a dispute over a black shirt quickly spiralled out of control on Monday night. Tram accused Keivo of taking his shirt, an allegation Keivo firmly denied while insisting he had his own similar piece of clothing and refused to be tagged a thief on national television. Tempers flared, harsh words were exchanged, and the disagreement escalated into a physical clash that forced Big Brother to intervene, issue a freeze command, and deploy Ninjas to restore order.

The fallout was swift, with Big Brother addressing the housemates on Tuesday and ordering Keivo’s immediate removal, whilst his profile and name were promptly stripped from the official voting list ahead of the October 4 finale. The shocking exit ends a strong run for Keivo, who had secured a place as one of the finalists and held a formidable position in the house as a key contender.

The audience across social media remains deeply divided over the incident, with some pointing out that the accusation pushed him over the edge, whilst others maintain that physical aggression remains an absolute zero-tolerance line in Biggie’s house. Keivo now becomes the second housemate disqualified this season, leaving the remaining finalists to navigate an increasingly tense countdown to the grand finale.

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The initiative launches simultaneously across all six geopolitical zones, marking a defining milestone in the Federal Government’s Renewed Hope Agenda and its commitment to building a generation of not only digitally-skilled, but also economically active young Nigerians.

The iDICE Skills-to-Jobs initiative is delivered under the Investment in Digital and Creative Enterprises (iDICE) Programme, a $617.7 million initiative of the Federal Government of Nigeria flagship that is co-financed by the African Development Bank (AfDB), Agence Française de Développement (AFD), and the Islamic Development Bank (IsDB), with the Bank of Industry (BOI) serving as both a co-financier and executing agency.

Training Designed to End at a Job, Not a Certificate

At the heart of the iDICE Skills-to-Jobs initiative is a deliberate and structured commitment to employment, not just certification. Six implementing partners, each anchored in each of Nigeria’s six geo-political zones, have been competitively selected to train and actively link the programme graduates to job opportunities in Nigeria’s growing digital and creative economy and the global outsourcing market.

The programme targets an employment linkage rate of at least 80 percent of trained beneficiaries; this translates to job opportunities for a minimum of 240,000 young Nigerians upon completing their training.

Participants will be trained across three tracks – Basic, Intermediate, and Advanced, each designed to meet learners where they are and build progressively towards job-ready competencies. Training combines online learning with physical sessions, removing barriers of location and device access for young Nigerians in both urban and rural communities.

Scale, Inclusion, and National Reach

300,000 young Nigerians between the ages of 15 and 35 will benefit from this initiative, with coverage spanning all 36 states and the FCT. Inclusion is non-negotiable: a minimum of 40 percent of all beneficiaries will be female, and at least 5 percent will be persons living with disabilities and young people who are Not in Employment, Education, or Training (NEET). This ensures gender equity and social inclusion.

Vice President Kashim Shettima

Beneficiary selection shall be conducted through a structured and transparent screening process managed by implementing partners under the oversight of the Bank of Industry.

Reacting to the programme rollout, His Excellency, Vice President Kashim Shettima said:

“The iDICE Skills-to-Jobs Initiative is a concrete expression of President Bola Ahmed Tinubu administration’s Renewed Hope Agenda. We are not training young Nigerians and leaving them to find their own way. We are building the bridge from skills to employment, connecting 300,000 of our brightest young people to digital and creative jobs that the 21st century global economy demands. Nigeria has the talent. This programme offers an invaluable pathway.“

Dr Olasupo Olusi, MD, Bank of Industry

Bank of Industry Managing Director and Chief Executive Officer, Dr Olasupo Olusi, also spoke to the significance of the initiative:

“iDICE is a programme that is centred on sustainable economic transformation, and the Skills-to-Jobs component is one of its most powerful levers. By channelling the Federal Government’s investment into a structured pipeline of digitally-skilled, job-ready young Nigerians, we are catalysing BOI’s primary mandate to facilitate economic growth, by not only providing the requisite skills set and creating sustainable jobs for our teeming youth population, but also ensuring the favourable conditions for them to participate productively in the process. The scale of this programme, 300,000 beneficiaries across every zone of the country reflect the ambition that the moment requires.”

Applications Now Open

Young Nigerians between 15 and 35 years of age who are resident in Nigeria and ready to build a career in the digital and creative economy are encouraged to Apply immediately.

About the iDICE Programme

The Investment in Digital and Creative Enterprises (iDICE) Programme is a $617.7 million Federal Government of Nigeria flagship initiative designed to accelerate Nigeria’s digital and creative economy through enterprise development, skills training, and access to finance. The Programme is co-financed by the African Development Bank (AfDB), Agence Française de Développement (AFD), the Islamic Development Bank (IsDB), and the Bank of Industry (BOI), which also serves as Executing Agency.

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For five days this December, a hand-built clay city will rise in Abuja, creating an immersive setting where visitors can encounter Nigeria’s cultural heritage not as separate traditions, but as chapters of one shared story.

Carnival of Stories, a new cultural festival, will take place from December 1–5, 2026, under the theme “This Is Nigeria: Chapter By Chapter.” Created by JT Agency, the festival brings together architecture, history, art, and traditional practices in a physical environment designed to let visitors walk through and experience Nigeria’s cultural memory.

At the heart of the festival is a city of clay, built by hand. Earth has long been used as a building material across Nigeria, and research shows that, when locally sourced and properly designed, it can have low embodied energy and help regulate indoor temperatures. At a time when construction faces growing environmental pressures, these old methods offer useful lessons for how we build today. Carnival of Stories returns to this knowledge not as a recreation of the past, but as a living practice: making, building and passing it on.

The city is designed around the idea that Nigeria’s story has rarely been experienced as one continuous narrative. Instead, its traditions and histories are often encountered separately, shaped by region, generation, community and circumstance. Carnival of Stories reframes that diversity as a collection of chapters, each distinct in its identity but connected to a larger Nigerian story.

“With JT Agency, we have never been interested in simply telling Nigerian stories in the conventional way,” said Bayo Omoboriowo, CEO, JT Agency, Executive Producer and Lead Curator, Carnival of Stories.

“We keep asking: what else can this story become? How else can it be told? Carnival of Stories is an extension of that thinking, building a clay city where our stories can leave the frame, become physical and immersive, and give people a new way to experience Nigeria.”

The experience begins at the Zaure, a traditional space associated with hospitality and welcome, before leading visitors through a series of distinct cultural environments, including the Grove of Ancestors, Durbar Court and Court of Masks, and ultimately to the Impluvium, a space designed for reflection and stillness.

According to Nduwhite Ndubuisi Ahanonu, Co-Lead Curator, Carnival of Stories and Founder, International Institute for Creative Development (IICD), the festival is rooted in the idea that cultural memory is something inherited and shared.

“Every Nigerian carries a story they did not write alone, handed down at a doorway, sung over a drum, told under the moonlight,” said Ahanonu. “Carnival of Stories gathers these inherited narratives into a single compound of clay and asks: what do we remember when we remember together? This is not a museum. It is a reliving.”

The festival responds to two related cultural gaps: the growing distance between younger Nigerians and the traditions that shaped previous generations, and the limited opportunities for Nigerians to experience the cultures of communities beyond their own.

While Nigeria’s cultural heritage is widely celebrated, much of that knowledge remains concentrated within the communities that preserve it. Carnival of Stories seeks to create a space where Nigerians can encounter one another’s histories, traditions and creative expressions in a shared environment.

Across five days, visitors will engage with immersive experiences spanning history, food, spirituality, art and architecture, alongside cultural showcases led by custodians and practitioners connected to the traditions represented within the city.

Adeorike Aderibigbe, the Creative Director & project lead, Carnival of Stories, said the festival is as much a statement of identity as it is a physical experience.

“Nigerian creativity has always been world-class, you see it in our craftsmanship, in our visual language, in the way our art travels and is recognised far beyond our borders. But what makes us extraordinary isn’t just the talent, it is the range of it. We are not one story told one way; we are hundreds of expressions of the same spirit. Carnival of Stories exists to hold that range in one space, to show that our diversity isn’t something we manage or explain away, it is the very thing that makes our identity so rich”.

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Mercy Eke combines structured corsetry with a high auburn updo and gold jewelry for her birthday styling.

We are starting by just saying wow! If you felt your breath taken away for a bit, oh, same. Mercy Eke is simply responsible for it. Her birthday dress is breathtaking and glamorous, so glamorous that if you’re stuck on what to wear to the BN20 Gala, this might just be the inspiration you needed.

The media personality, entrepreneur, and former Big Brother Naija winner marked her special day with a bold fashion statement, reminding everyone why she remains a constant fixture on African red carpets. Sharing the imagery with her millions of followers, she wrote, “365 days, but this one is MINE! HAPPY BIRTHDAY Chinenyenwa. Here’s to another year of being THAT girl.”

Mercy Eke delivers high-fashion drama in a custom corseted dress with an extended floor train.

The custom gown relies heavily on structure, balancing a champagne-bronze silk satin base with structured hip architecture that creates a sharp hourglass shape. At the top, a sheer halter bodice is covered in clustered golden crystals that form a high jewel collar, while sheer sequinned mesh extends down the length of the skirt before meeting structured satin gathers at the knee. The look finishes with a sweeping floor-length train that trails across the floor.

Her beauty choices keep the focus on the gown itself, with a sculpted auburn updo featuring a curved, face-framing fringe, paired with warm brown eyeshadow, sharp eyeliner and glossy lips. Chunky gold hoops and metallic heel sandals continue the warm metallic palette.

Mercy Eke celebrates her birthday in a custom champagne-bronze corset gown featuring crystal embellishments.

If you’re planning a birthday outfit or searching for red-carpet inspiration, there’s plenty to borrow from Mercy’s styling. Champagne-bronze already makes a statement, so keeping the accessories within the same warm palette allows the dress to take centre stage. Gold jewellery, neutral or metallic heels and warm brown makeup create a cohesive finish, while structured tailoring keeps the silhouette defined throughout the night.

And for anyone with the BN20 Gala on their calendar, this is a good reminder that “High Fashion Icon” can take many forms. Mercy’s look brings together a sculpted silhouette, sheer details, crystals and a dramatic train, giving the dress plenty to say without needing much else around it.

Mercy Eke’s birthday look offers a blueprint for styling warm metallic evening wear.

Metallic styling details on Mercy Eke’s custom birthday dress, paired with gold jewellery and warm glam

High-fashion red carpet inspiration from Mercy Eke in a champagne-bronze gown with a dramatic flowing train

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Photo Credit: Mercy Eke/Instagram

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High Fashion Icon red carpet look for the upcoming BN 20 Gala. Photo generated by AI

Can you believe it? Twenty years of breaking pop-culture news, celebrating love stories, setting style trends, and elevating African entertainment to the world. What started in 2006 as a space to document our vibrant culture has grown into a global digital home, and that is all thanks to you—our community.

To mark this milestone, we are rolling out the red carpet for the most anticipated gathering of the season: The BN 20 Gala.

If you have laughed, swooned, debated, and celebrated with us over the last two decades, this night is as much yours as it is ours. Here is your full scoop on what to know and what to expect as we gather for the BN 20 Gala.

A Star-Studded Red Carpet Evening

The BN 20 Gala brings together Nigeria’s most influential leaders, innovators, and creative figures across fashion, entertainment, media, business, and culture. It is designed as an elegant, high-profile night of style, connection, and celebration—a moment to toast to our shared history and the future ahead.

The Dress Code: High Fashion Icon

Fashion is built into the very DNA of BellaNaija, so the sartorial standards for the evening are high. The official dress code is High Fashion Icon.

We expect our guests to bring their most daring, sophisticated, and creative interpretations to the red carpet—from sculptural couture and bespoke African luxury to sharp, avant-garde tailoring that makes a clear statement.

What to Expect

We are lining up an exceptional experience for our guests and online audience alike. Look out for:

• Unrivalled Red Carpet Coverage: Live updates, intimate interviews, and deep-dive style breakdowns as icons from across industries make their entrances.
• Connections Across Industries: A room filled with visionaries, industry leaders, and BN alumni coming together for an evening of music, memorable conversations, and celebratory toasts.

Join the Celebration Online

Even if you are not in the room, you will have a front-row seat to every moment. We are bringing the entire event directly to your screens!

Keep your eyes on our pages and follow the official hashtags #BN20 and #BN20Gala across all our social platforms for real-time red carpet updates, behind-the-scenes access, best-dressed features, and exclusive coverage throughout the night.

The post BellaNaija Turns 20! Here’s What to Expect at the BN20 Gala appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

I was 14 and still in secondary school when I discovered ghostwriting. It was an exciting revelation for me because I already enjoyed writing, and earning money from something I loved was a major benefit. I found a course on ghostwriting that I was eager to take, but the cost was far beyond my budget as a teenager. I didn’t have a job or any way to save up for the course, and asking my parents for the money wasn’t an option. To them, doing well in school was the safest and most reliable pathway to success. I loved writing, and even though I had the interest and desire to learn, I couldn’t afford the opportunity to turn my passion into a source of income.

This made me realise that you can be ambitious, but ambition doesn’t automatically make things happen. Wanting something so badly doesn’t mean you can immediately afford the tools, education, equipment or the access it requires. The problem, sometimes, isn’t laziness. It’s simply that the resources are genuinely limited.

I’ve been advised to enjoy being young while I can, to go out with friends, have fun, and create memories. However, it’s difficult to be the friend who is always calculating expenses. I remember a time when my friends spontaneously decided to go out, and everyone was eager to join, while I was worried because the only money I had was meant to last me the entire week. I had planned to use it for cooking meals to sustain myself until my next paycheck.

As everyone dressed up and got ready to leave, I had to stay back, wishing I could join them without constantly worrying about money. I pretended that I didn’t mind as I waved goodbye to them. It’s tough to say no to plans and feel embarrassed when you can’t participate. Not being able to afford what your friends can, while feeling the pressure to appear like you’re doing better than you really are, is draining in every way, especially mentally.

You start to wonder: What if I never become the person I want to be? What if I’m just wasting my time? What if everyone else moves ahead while I remain stuck? What if my circumstances determine my future? Why does it seem like everyone is succeeding except for me? What if I try and fail, only to keep failing? People continually ask what I want to do with my life, but sometimes I just need someone to reassure me that I will be okay. I need someone to remind me to breathe.

Young people like me often compare our beginnings to someone else’s middle, unaware of their support systems, struggles, or how long they have been working towards their visible success. We measure our invisible progress against theirs. It’s challenging not to do this, but I’ve realised it’s important to understand that being behind doesn’t mean we are failing; it simply means we are on a different timeline.

Contrary to what social media portrays, there is no age limit for achieving success. Some people find their path early on, while others take longer or change directions multiple times before settling on a course. A slow start does not automatically predict a failed future. Beneath all the chatter about money, success, and achievement, many of us truly seek stability, freedom, a comfortable life, the opportunity to pursue our passions, and reassurance that our efforts matter.

This need for stability is real. Nigerian youth want the government to address the rising cost of living, which is the primary issue, followed closely by unemployment. It’s disheartening that, for many, financial security appears to be the only goal worth pursuing. We often focus so much on the future that we forget we are living in the present. While everyone seems to aspire to success, what we really desire is the security of knowing we will be okay.

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Featured Image by Mikhail Nilov for Pexels.

The post Iheoma Amadi: The Silent Struggles of Nigerian Young Adults appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

A look back at Week 9 in the Big Brother Naija Season 11 House with Minimie Nigeria.

Week Nine? It came with a lot of gbas gbos, but isn’t that what keeps us glued to our screens and keeps us thoroughly entertained? Just when you think the “Show Ya Sef” House has seen it all, the housemates find a brand new gear to keep the energy electric. Between power moves, high-stakes political hustling, and disappearing cash, this week delivered non-stop drama.

So, crunch on your favourite pack of Minimie Chinchin, settle in, and let us break down everything that went down on the road to the finale.

Barry’s Veto Power Shock and A Triple Eviction Heartbreak

The biggest twist of the week undoubtedly belonged to Barry, the Ultimate Veto Power Holder. Biggie handed him a secret envelope with two choices: Immunity For All or Immunity For None. The second option would have stripped every single person in the House—including the Head of House—of their safety. Barry chose grace and opted for Immunity For All, keeping the entire secret completely buried while the rest of the House spent days speculating wildly about what happened in that Diary Room.

Omo, naso ship end o#BBNaijaS11 #BNxBBNaija11 #BBNaija pic.twitter.com/NuDO4TmYwt

— BellaNaija (@bellanaija) September 20, 2026

Despite the general sense of relief, Sunday’s Live Eviction Show delivered a massive reality check with a triple exit. Bells, Yusuf, and Chimsom Chuka were all evicted from the House. Chimsom Chuka’s departure sent genuine shockwaves through the remaining housemates, many of whom viewed him as one of the strongest contenders in the game.

Chimsom Chuka said he likes Bluethopia true true o#BBNaijaS11 #BNxBBNaija11 #BBNaija pic.twitter.com/GFKkWpfgjZ

— BellaNaija (@bellanaija) September 20, 2026

Keivo Claims HoH as the Wager Delivers a Win

On the competitive front, Keivo finally snatched the Head of House crown, earning immunity for the week and selecting Aikou as his Loft mate, while Oyin landed the dreaded Benchwarmer title. Keivo’s week was a complete rollercoaster—from securing the top spot to getting into heated exchanges with Oyin and Flora over who truly deserved the MIPOW title. To his credit, Keivo later offered a public apology to Oyin for his harsh words.

Keivo is the Week 9 Head of House on Big Brother Naija Season 11.

The House also pulled together for an emotionally charged Wager presented in a sermon style. Each housemate stepped up, with Aikou delivering a standout closing speech that helped secure a crucial Wager win. Meanwhile, Barry kept his winning streak alive by dominating the Arena Games once again.

BB Bucks Heist and The Battle for MIPOW

If you thought the money madness was over, think again! Temi Nkem continued her discreet BB Bucks hunt, narrowly dodging Ricky at one point before making a swift exit. When Ricky’s funds mysteriously vanished, Tram confronted Temi Nkem directly, though she smoothly dodged the question. Sheba even warned her that the House was plotting to set a trap for the resident money collector.

Kievo is the latest most influential housemate of the week!

Congratulations, Kievo#BBNaijaS11 #BNxBBNaija11 #BBNaija pic.twitter.com/ZxnjlsBHSy

— BellaNaija (@bellanaija) September 20, 2026

Politics were also in full swing as Temi Nkem and Tram campaigned relentlessly for the Most Influential Person of the Week (MIPOW) title. Even though Bluethopia had mentioned wanting the title for her birthday—and several housemates were ready to gift it to her—Tram and Temi Nkem hustled hard for votes. Tram even offered Temi Nkem a juicy 2.5K BB Bucks bribe for her vote and fell out with his close friend Ricky for backing Bluethopia instead. However, Tram softened up enough on Bluethopia’s actual birthday to ask Biggie for a special setup to celebrate her.

Your favourite housemate looking peng!

Who is looking the most stylish for the eviction tonight?#BBNaijaS11 #BNxBBNaija11 #BBNaija pic.twitter.com/jqYw6bDWmK

— BellaNaija (@bellanaija) September 20, 2026

With this being the final week of the show, the atmosphere is electric, alliances are tested to their limit, and anything can happen as we race toward the grand finale. We cannot wait to see what final twists unfold in these remaining days. Make sure you keep it locked right here on BellaNaija for all the real-time updates, breaking tea, and exclusive coverage!

This recap is proudly brought to you by Big Brother Naija Season 11 associate sponsor, Minimie. Keep up with Minimie Nigeria across their social channels for more of the Show Ya Sef fun:

• Instagram: @MinimieNigeria and @Minimienoodles
• Facebook: @Minimie Nigeria
• TikTok: @Minimie_nigeria
• X (Twitter): @MinimieNigeria

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After more than 20 years of building the infrastructure that has powered payments across Nigeria, Remita is bringing that expertise into everyday personal finance with the launch of its new super mobile app.

Unveiled at Nigeria Fintech Week 2026 in Lagos on Tuesday, September 22, the app brings together multiple bank accounts, everyday payments and money-management tools in one place, while laying the foundation for a wider ecosystem for everyday personal finance management.

From checking accounts across different banks and paying electricity bills to managing subscriptions, sending money to family, setting recurring payments, creating budgets and tracking spending, the Remita App is designed to bring more of the financial activities people deal with every day into one place.

Speaking about the launch, ‘DeRemi Atanda, Managing Director/CEO, Remita Payment Services, said the app represents the next step for a company that has spent more than two decades helping organisations and institutions move money.

L-R: Dr Stanley Jacob, President and Chairman of the Governing Council, Fintech Association of Nigeria; Mrs Ifeyinwa Okoli, CEO, Jetsoft Limited; Chief Dr Bekeme Olowola, Partner, Zenera Consulting; and ‘DeRemi Atanda, Managing Director/CEO, Remita Payment Services Limited, at the event.

L-R: Mrs Bola Fashola, Vice President, Nubian American Advanced College, Lekki; ‘DeRemi Atanda, Managing Director/CEO, Remita Payment Services Limited; Mrs Ololade Salvador, Special Adviser, American Women Club, Ikosi Isheri; and Hon. Alfie Braimoh, former Commissioner for Business, Trade and Cooperatives, Edo State, and Founder, SACFruits/Prompt2power, at the event.

“We have been in the business of making everyday payments easier for people for over 20 years, and this represents a landmark for us as we move boldly into the consumer and retail space. While other platforms innovate around products, we are innovating the ecosystem, bringing everybody together to serve the customer’s full financial life. There has been a lot of learning about what people want, and we are bringing that experience into the Remita App to change how people manage their finances. This is well beyond payments. This is a transformation of lifestyle, an expansion of access to financial services and greater ease,” he remarked.

That shift is also about addressing the reality of how many people manage their money today. A salary may come into one bank, savings may sit in another, while bills, subscriptions, family transfers and other expenses are handled across different platforms.

According to Adedayo Adewale, Head, Consumer and Retail Business, Remita, this fragmentation was one of the reasons behind the new app.

“One of the challenges we have responded to is that individuals in Nigeria have fragmented financial services. Today, they have different apps for different needs but would rather do away with the stress of moving between multiple applications. They want to be able to start and complete their financial transactions from one place.”

Users can connect multiple bank accounts through participating institutions and carry out everyday transactions including transfers, airtime and data purchases, electricity and other bill payments, government and merchant payments, as well as set up recurring payments, create budgets and track their spending.

The app also takes the experience beyond Nigeria. Through Remita’s partnership with the Pan-African Payment and Settlement System (PAPSS), users can transfer funds from their local bank accounts to accounts in other participating African countries directly through the app.

L-R: Dr Stanley Jacob, President and Chairman of the Governing Council, Fintech Association of Nigeria; Mrs Ifeyinwa Okoli, CEO, Jetsoft Limited; Chief Dr Bekeme Olowola, Chief Executive, CSR-in-Action; and DeRemi Atanda, Managing Director/CEO, Remita Payment Services Limited, at the event.

Remita says the consumer offering will continue to grow as more capabilities and services are introduced through its banking and financial partners.

For consumers, the idea is simple: whether it is receiving a salary, paying an electricity bill, keeping up with subscriptions, sending money to family or keeping track of everyday spending, more of their financial life can now be managed from one place.

Members of the Remita team pose for a group photograph during the launch of the Remita App.

L-R: Dr Stanley Jacob, President and Chairman of the Governing Council, Fintech Association of Nigeria; Mrs Ifeyinwa Okoli, CEO, Jetsoft Limited; Chief Dr Bekeme Olowola, Partner, Zenera Consulting; and ‘DeRemi Atanda, Managing Director/CEO, Remita Payment Services Limited, at the event.

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Premium Mexican tequila brand Padre Azul officially made its Nigerian debut with an exclusive consumer launch event held on Saturday, September 26, 2026, at Nomaada, Lagos.

The evening brought together an exciting mix of celebrities, leading lifestyle, food and drink creators, entrepreneurs and tequila enthusiasts for a night of cocktails, music, entertainment and celebration.

The event opened with remarks from David Leonardo, Global Marketing Director of Padre Azul, who welcomed guests and spoke about the brand’s journey, craftsmanship and its arrival in the Nigerian market.

Guests were also treated to an engaging cocktail presentation by David Rios, Padre Azul’s Tequila Brand Ambassador and Global Bartending Champion, who showcased the versatility of Padre Azul through a selection of expertly crafted cocktails. Throughout the evening, guests had the opportunity to enjoy cocktails made with the premium tequila while experiencing the brand’s signature approach to tequila culture.

Also speaking at the event was Emmanuel Ogu, Managing Director of Enstore Nigeria, who shared remarks on Padre Azul’s entry into the Nigerian market and the brand’s presence within Nigeria’s growing premium spirits and lifestyle space.

The celebration continued with live music performances that kept guests entertained throughout the night, while spectacular fire displays added an extra layer of excitement to the evening.

From the carefully crafted cocktails and lively performances to the vibrant crowd and energetic atmosphere, the launch delivered a memorable introduction to Padre Azul for its Nigerian audience. Known for its distinctive handcrafted bottle, premium tequila and strong connection to Mexican craftsmanship, Padre Azul was launched in 2016 and quickly gained international recognition, receiving several awards within its first year. The brand is particularly recognised for its unique bottle design, featuring handcrafted leather details and its signature skull.

With its official launch in Nigeria, Padre Azul is set to introduce its premium tequila experience to a new audience, bringing its distinctive blend of craftsmanship, culture and celebration to the Nigerian market.

The evening ended on a high note, with guests celebrating late into the night and raising a glass to
the official arrival of Padre Azul in Nigeria.

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A man fills petrol from a container into a car at a station, on a rainy street. Photo credit: Chukwuebuka Giuseppe/Pexels.

When Funmilayo Obasa started driving in 2024, she spent 50,000 naira monthly to fill her car’s tank, buying fuel at 500 to 600 naira per litre. Between 2024 and 2026, fuel prices have increased by over 100%. Funmilayo now fills her car’s tank with about 100,000 naira, buying fuel at 1000 naira per litre or more. The consequence of this is that she has cut down her trips within her state, and her social interactions have reduced. “There is this co-working space I used to go to, but I haven’t been going there a lot because of fuel. I save the fuel now for essential runs like groceries and store runs, which I now go once every two weeks instead of once every week. I visit my parents now too, once every two weeks instead of every week.”

When President Bola Tinubu assumed the presidency in 2023, his first point of action was the removal of the fuel subsidy. In his inaugural address, the president announced the immediate removal of the fuel subsidy, which spiked fuel prices across the country. Petrol was selling at an average of about ₦238 per litre across Nigeria, according to the National Bureau of Statistics (NBS). Since then, petrol prices in Nigeria have continued to rise, driven by the removal of the fuel subsidy and fluctuations in global crude oil prices. More recently, the conflict in the Middle East and disruptions around the Strait of Hormuz, a critical route for global oil shipments, have pushed international oil prices higher, adding to the pressure on domestic fuel prices.

“Before now, I never used to pay attention to fuel prices as long as the filling station sells quality fuel. But now, I drive further to search for a filling station that sells cheaper fuel,” Funmilayo said.

By September 2026, petrol prices had climbed to between ₦1,400 and ₦1,500 per litre in parts of the country. Just days ago, I bought petrol for ₦1,470 per litre.

This sharp increase in prices has contributed to the rising cost of living, such as transportation fares and food products, and has affected car owners like Funmilayo, who have to either cut down their trips or sometimes resort to taking public transport, whose prices have also significantly increased.

Salahudeen Abdulmajeed has stopped driving to short-distance places. He’d rather take bikes. He now only drives to places where, when returning, he would find it difficult to find available bikes. He no longer drives for every journey.

For Nigerians like Funmilayo and Salahudeen, driving has become less about convenience and more about deciding which journeys are worth the cost. What used to be ordinary trips to see family, work outside the home, or visit nearby places now require planning around the price of fuel. And while switching to public transport or taking a bike may help reduce the cost of some journeys, these alternatives come with expenses of their own.

As fuel prices continue to affect how Nigerians move around, the effects go beyond what Nigerians spend at filling stations. For some, it means fewer visits to family and friends; for others, it means giving up the freedom to drive whenever they need to. The cost of fuel is no longer just a line in the monthly budget. It is increasingly determining where people go, how often they leave home and the parts of their everyday lives they can afford to keep. Driving used to be a leisure activity; not anymore.

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The African Union (AU) and the International Executive Committee of the All Africa Music Awards (AFRIMA) have unveiled the global calendar for the landmark 10th edition, with the main events scheduled for May 18–23, 2027, in Lagos, Nigeria, culminating in the grand awards ceremony on May 23.

The calendar was unveiled at the 10th AFRIMA Creative Industry Roundtable and Global Calendar Unveiling held at Sofitel in Beverly Hills, Los Angeles, California, United States. AFRIMA President/Executive Producer, Mike Dada, announced that the Call for Entries will open worldwide on October 11, 2026, and close on January 10, 2027.

According to Dada, collation and pre-screening of entries will take place from January 11–14, followed by adjudication from January 15–22 and the global announcement of nominees on January 29. Public voting will run from February 21 to May 21, 2027. Eligible creative works would have been produced and released within the official eligibility period, from August 10, 2025 to January 10, 2027.

Dada also unveiled the international build-up programme, tagged #Road2AFRIMA10Xperience, covering London, Windhoek, Cotonou, Nairobi, Accra, Paris, Warri and Port Harcourt.

In Lagos, the AFRIMA 10X Conference, Media Parley and Industry Night will be held on April 14, alongside university activations and concerts between February and April, ahead of the main events from May 18-23, 2027, starting with the AFRIMA Diamond Showcase.

“The journey will culminate in Lagos with the 10th AFRIMA Main Events from May 18 to 23, 2027, and the grand awards ceremony on May 23,” Dada announced.

Speaking on the significance of the milestone, Dada said the 10th edition would celebrate a decade of African musical excellence while strengthening AFRIMA’s contribution to Africa’s creative economy.

“African artistes are filling arenas around the world. African sounds are influencing global culture. But visibility alone is not enough. We must turn visibility into opportunity, opportunity into investment, and investment into sustainable creative industries. Africa must not only export culture; Africa must capture the capital and build wealth from its culture,” he said.

Describing the global calendar as more than a list of dates, Dada said it represents “a roadmap for engagement, collaboration, investment and cultural exchange,” bringing together artistes, creatives, investors, policymakers, media and industry leaders. He added that every stop on the #Road2AFRIMA10Xperience is designed to create new conversations, partnerships, opportunities and pathways for African creativity.

At the well-attended event, the Los Angeles unveiling marks the latest stage in the build-up to the 10th AFRIMA, following earlier #Road2AFRIMA10Xperience engagements in Dar es Salaam, Tanzania; Abidjan, Côte d’Ivoire; and Rabat and Casablanca, Morocco. The Los Angeles event attracted personalities from Africa and the United States, including comedian Darryl Vega; actors Razz Adeoti, Bayo Akinfemi and Ozie Nzeribe; digital creator Laurence Brahm; artiste Seyi Brown; producer Septimum; The Africa Channel COO Narendra Reddy; DJ Sly King from Ghana among others; and renowned Guinness world record holder choreographer, dance instructor and fitness coach Kaffy, who also hosted at the event.

Award-winning American artiste and producer Septimius The Great delivered the welcome remarks.

“The connection between African artistes and American artistes is more important than ever. We have the talent, the creativity and the stories, but when we build the bridge between Africa and America, we create opportunities that can take our music and our culture to an even bigger global audience.”

Also speaking at the conference, Reddy called for a more sustainable African creative economy where creators receive fair commercial value for their work.

“Creators must make real money from their work, not be used and discarded after their content generates value. Africa’s 54 nations must collaborate and build stronger partnerships with the rest of the world to open markets, attract investment, and take African music and creativity to global audiences,” he said.

Established in 2013 by the International Executive Committee of AFRIMA in partnership with the African Union, AFRIMA has become Africa’s biggest, most prestigious and longest-running music awards platform, developing, celebrating and promoting African music, culture and creative talent globally. Its broadcast reaches audiences in more than 84 countries, with millions of viewers worldwide.

BellaNaija is a Media Partner for AFRIMA

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Zayn Malik and Ayra Starr share a lighthearted moment between takes.

If you’ve had Ayra Starr’s Starrgirl on repeat since it dropped on 14 August, then “Heaven Baby” needs no introduction. The fan-favourite track brings Ayra together with British singer and former One Direction member Zayn Malik for a smooth R&B-pop song about falling for someone and enjoying the rush that comes with it.

Now, we’re getting a peek at what happened when the cameras started rolling for the official music video, and the behind-the-scenes clip shows the two artists having plenty of fun between takes.

Ayra steps onto the set in a purple satin slit dress, thigh-high leather boots and a beaded choker, while Zayn wears a black bomber jacket, dark trousers and a heavy gold chain. But the clothes are only part of what catches your attention in the footage.

Ayra Starr in a purple satin dress on set for the “Heaven Baby” video shoot.

The pair are seen sitting together on set, clinking red cups, laughing over stacks of cash and dancing on a glowing floor while singing along to “Heaven Baby”. At one point, they are simply hanging out between takes, giving the clip a relaxed feel that matches the easy back-and-forth of the song.

“Heaven Baby” is one of the tracks from Ayra’s third studio album, which arrived in August, and its collaboration with Zayn has already made it one of the songs fans have been talking about. Now, these behind-the-scenes moments add another layer to the collaboration before the full visual arrives.

The official “Heaven Baby” music video is coming soon, but for now, these clips give us a look at Ayra Starr and Zayn Malik before the finished video takes over.

Ayra Starr and Zayn Malik pose together during the “Heaven Baby” video shoot.

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Photo Credit: Ayra Starr/Instagram

The post Ayra Starr & Zayn Malik’s Chemistry Takes Centre Stage Behind the Scenes of “Heaven Baby” appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Barry emerges as the final Head of House for Big Brother Naija Show Ya Sef Week 10.

We have our final Head of House! Barry has taken the title for Week 10 of Big Brother Naija Show Ya Sef, making him a two-time HoH and, more importantly, the last housemate to hold the title this season.

The win came during Monday night’s Head of House games where Barry came out on top against his fellow housemates. He now takes over from Keivo, who held the HoH title in Week 9, and gets one more week at the helm as the house heads towards the grand finale.

This is Barry’s second HoH win after he first claimed the title in Week 8. That victory came with the Ultimate Veto Power, which eventually helped all ten remaining housemates secure their places in the finale week. Monday night also saw Tram named the Most Influential Player Of The Week (MIPOW).

And now, the final ten are officially in the race for the grand prize. Aikou, Barry, Bluethopia, Flora, Keivo, Oyin, Ricky, Sheba, Temi Nkem and Tram will all make their way to the grand finale on Sunday, 4 October 2026.

Outside the HoH wins, Barry has had quite a run in the house. The self-published author, whose work spans fiction, non-fiction, storytelling and transcription, has also picked up wins in the betPawa Arena games and several tasks during his time on the show.

And now, there’s really no more HoH title left to win. With Barry taking the final one, the Show Ya Sef house is officially in its last week, with all ten finalists heading towards the grand finale. Six days to go, and the race for the grand prize is officially down to the final stretch.

The post Barry Secures Final Head of House Win as BBNaija Show Ya Sef Enters Finale Week appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Chlöe Bailey and Omah Lay show off their retro 70s-inspired video styling.

Okay, but can we talk about how good Chlöe and Omah Lay look together?

The two artists are starring alongside Clean Bandit in the new “Company” video, and these behind-the-scenes photos are giving us plenty to look at. The song is about wanting someone’s actual presence instead of another expensive purchase, with Chlöe putting that idea into the lyrics and Omah Lay bringing his smooth Afro-fusion vocals to the track.

And while their outfits are completely different, put them next to each other and suddenly it works. Chlöe wears an off-white knit bodysuit with a halter neck, sheer patterned fishnet tights and metallic open-toe heels. Her arms are stacked with silver cuffs, while a statement ring, bleached brows and waist-length honey-blonde micro braids finish things off.

Chlöe Bailey highlights her bleached eyebrow look and long honey-blonde braids.

Then there’s Omah Lay, giving us a whole different mood in a 70s-inspired striped polo in mustard, tan and brown. He pairs it with high-waisted, wide-leg off-white trousers with studded black stitching down the front, adding a black leather baker boy cap, silver Maltese cross pendant and black belt.

Omah Lay and Chlöe Bailey pose together during the set production for “Company”.

The little thing we love here? The off-white trousers pick up Chlöe’s bodysuit, so even though they’re doing their own thing, the looks still connect. His warm striped polo adds another colour to the picture, while Chlöe’s silver accessories give the whole pairing a cooler finish.

The setting is just as cool, with the pair posing in a muted industrial corridor surrounded by exposed pipes and metallic fixtures. But really, these photos are about Chlöe and Omah Lay together. They look good, the outfits work, and now we’re even more curious to see the full “Company” visual.

Clean Bandit, Omah Lay, and Chlöe Bailey gather on set for their single “Company”.

Chlöe Bailey shows off her knit bodysuit and silver stacked cuffs behind the scenes of the “Company” video.

Chlöe Bailey and Omah Lay take to the industrial architecture on the “Company” video set.

The cast of “Company” poses against an industrial backdrop.

Omah Lay leads a scene alongside Chlöe Bailey and back-up dancers on set.

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Photo Credit: Chlöe Bailey/Instagram

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Susan Pwajok, Omowunmi Dada, and Scarlet Gomez serving red-carpet style moments at the historic Black Market movie premiere.

Over 51,000 people were gathered at the premiere of Black Market over the weekend, people who gathered to make history, and history they made, breaking the Guinness World Record for the largest audience at a film premiere.

But did you see the way the women of Black Market turned up? They came dressed for the occasion, and we mean gorgeously dressed, in some of the most colourful and interesting looks at the historic premiere at Tafawa Balewa Square in Lagos.

Scarlet Gomez got us started in deep indigo denim, giving the classic two-piece suit a completely different feel. Her cropped jacket came with wide rolled lapels, oversized gold grommets and eyelet cutouts, while the matching wide-leg trousers carried the same gold hardware. She kept the denim theme going with a dark denim beret, worn at an angle over her straight platinum-blonde hair, and finished with a textured metallic clutch.

Scarlet Gomez in a gold-embellished indigo denim two-piece suit and matching beret at the Black Market movie premiere. Photo Credit: Scarlet Gomez/Instagram

From deep indigo, we moved straight into a much brighter colour story as Teniola Aladese arrived in white and deep magenta. Her one-shoulder crop top featured a twisted sculpted front, while the loose-fitting magenta trousers fell into a relaxed shape before being tucked into knee-high black leather stiletto boots. Cascading auburn curls, a waist chain and stacked gold cuffs added a few more details without taking away from the strong colour combination.

Teniola Aladese in a white asymmetrical crop top and slubbed magenta trousers tucked into black leather stiletto boots. Photo Credit: Teniola Aladese/Instagram 

Then there was Omowunmi Dada in sky blue and black, giving us another completely different take on red-carpet dressing. Her cropped long-sleeve top featured exaggerated shoulder pads, with black geometric appliqués running across the chest and down the sleeves. She paired it with high-waisted, textured black wide-leg trousers, then finished with tinted sunglasses, a black crocodile-embossed clutch and pointed-toe heels.

Omowunmi Dada in a sky-blue cropped top with black geometric shoulder accents and wide-leg trousers. Photo Credit: Omowunmi Dada/Instagram 

Linda Ejiofor-Suleiman also played with the idea of dressing up familiar pieces, this time bringing Aso-Oke into the mix. She wore loose blue utility trousers made from the traditional fabric, with silver contrast panels running down the sides. A blue-and-white pinstriped shirt, knotted over a black base, kept the upper half relaxed, while sculpted finger waves, gold drop earrings and metallic strappy heels gave the outfit its finishing touches.

Linda Ejiofor-Suleiman pairing a blue-and-white pinstriped knotted shirt with blue Aso-Oke utility trousers at the Black Market movie premiere. Photo Credit: Linda Ejiofor-Suleiman/Instagram

And just when we thought we had seen every colour combination for the night, Susan Pwajok arrived in orange and turquoise. She wore a cropped light-orange long-sleeve shirt over a red lace bralette, pairing it with a bright turquoise knit fringe skirt covered in long tassel strands. Her soft auburn waves, turquoise cross pendant necklace and embellished silver star heels completed the look.

Susan Pwajok in an orange cropped shirt and bright turquoise fringe skirt at the Black Market movie premiere. Photo Credit: Susan Pwajok/Instagram 

With Black Market making Guinness World Records history at its Lagos premiere, the women of the film had their own fashion story unfolding on the red carpet. From Scarlet Gomez’s indigo denim and Teniola Aladese’s magenta trousers to Omowunmi Dada’s sky-blue tailoring, Linda Ejiofor Sulaiman’s Aso-Oke trousers and Susan Pwajok’s orange-and-turquoise look, there was plenty of colour to take in.

Susan Pwajok, Omowunmi Dada, and Scarlet Gomez serving red-carpet style moments at the historic Black Market movie premiere.

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Hilda Baci showcases the draped silhouette of her Dorhann peach and burgundy embroidered aso-ebi dress.

When your younger sister is getting married, what do you do? You go all out to slay, of course. And we mean from head to toe, because when it comes to a big Nigerian wedding, there is no such thing as doing the bare minimum.

Guinness World Record-breaking chef, restaurateur and media personality Hilda Baci understood that expectation when her younger sister, Princess, walked down the aisle. With a soft peach and bronze-gold colour palette setting the tone for the wedding’s Aso-Ebi, Hilda had a warm colour story to work with, and she took it all the way.

For her look, Hilda collaborated with fashion brand Dorhann, while celebrity stylist Emmanuel Goodnews Icon handled the overall image direction for the day. The finished creation was a fitted peach corseted dress built over a sheer base, detailed with lattice bugle beads and micro-sequins.

Hilda Baci captured mid-pose holding a structured wine red satin clutch. Her Dorhann peach corseted dress features burgundy floral appliqué detailing, off-the-shoulder scalloped wave necklines, bugle bead lattice work, and a tall structured peach head tie .

The off-the-shoulder neckline formed a scalloped wave trimmed with deep wine-red beadwork, while burgundy floral appliqué travelled across the bodice, waist and lower hip. The skirt hugged her hips with draped gathering before falling into a straight, floor-length silhouette.

Hilda kept the rest of her accessories within the same palette, pairing the dress with a tall peach pleated headtie and a deep wine-red satin clutch. A delicate diamond necklace, cluster drop earrings, a gold watch and silver-strapped heels completed the look.

Detail view of the wine red beaded scalloped neckline, burgundy floral appliqués, and diamond jewellery worn by Hilda Baci.

Of course, Hilda was not the only guest who followed the peach brief. Designer Veekee James and content creator Tomike Adeoye also arrived in coordinated peach looks, giving us another perspective on the wedding’s Aso-Ebi. Veekee described their styling direction as “Vintage Nigerian Glamour”.

The duo wore matching peach sequin lace two-piece sets, each featuring a blouse and fitted skirt. Their bronze-gold head ties added strong structural contrast, tied into wide, structured folds over the soft peach lace.

Veekee finished her outfit with gold pumps, a statement gold neckpiece and a traditional hand fan, while Tomike opted for a compact gold clutch and understated jewellery, rounding off a memorable showing for the occasion.

Veekee James and Tomike Adeoye serving wedding guest style inspiration in matching peach lace sets and bronze-gold headties.

Hilda Baci styled in a peach Dorhann corseted lace dress with burgundy floral embroidery for her sister Princess’s wedding

Hilda Baci showcases the draped silhouette of her Dorhann peach and burgundy embroidered aso-ebi dress.

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Photo Credit: Hilda Baci/Instagram

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Gladys John, aka Luchong

Nigerian-born, Los Angeles-based artist Njideka Akunyili Crosby describes portrait photographs as an opportunity for the sitter to “curate and show the world who they were (or desired to be).” Her observation points to the agency of the person being depicted. The sitter is not simply being looked at; they also decide, or are allowed to decide, how they will appear.

Rendering this multiplicity on canvas is a deliberate, delicate skill that Gladys John, a multidisciplinary artist working under the name Luchong, has developed with remarkable precision. Through colour, line, texture and pattern, she explores the complexities and dualities of the self. Her paintings operate like nested poems: inside the colour is a face, inside the face is an eye, and inside the eye is an interior world of emotion and experience. Their pleasure lies partly in this invitation to look beyond what is immediately apparent. Her portraits become sites where identity is presented, interpreted and reshaped through the act of looking.

Does My Smile Make You Uncomfortable? by Luchong

In Does My Smile Make You Uncomfortable? (2026), the smile gets you first. Then, if you stay, other details interrupt it. The hair and eyebrows are textured, recognisably Black and African, while the patterned garment is marked by lines that resemble cracks. You begin to wonder what you are witnessing. Is it Black girl joy, a victory laugh or laughter covering trauma? The painting refuses to settle the question. Your interpretation completes it. Though you are looking at a face, nothing about it can be taken at face value.

The same tension appears in Keep Me Safe (2026). Two women occupy the frame, one behind the other. They appear close and relaxed; they could be sisters or friends. At first, their bodies convey warmth. Then you notice their eyes and the mood shifts. Their gazes are direct but guarded, as if they are trying to decipher something beyond the visible frame. Luchong’s portraits make room for the contradiction that a face can hold tenderness and suspicion, intimacy and distance, safety and fear at once.

Luchong is equally attentive to what surrounds the body. In Repair, blue is not simply applied to the canvas; it becomes cloth, rendered through ruffles, folds and texture. Her attention to clothing, hair, jewellery and other adornments gives these materials a life of their own. The body is never isolated from the world that shapes it. Through acrylic on canvas, Luchong demonstrates a remarkable command of skin tone and colour, while her attention to the body’s surface repeatedly leads us towards what lies beneath it.

Her paintings strike an intriguing balance between realism and surrealism. The figures are recognisable and materially present, while the emotional worlds around them are almost fluid. Realism grounds them in bodies, clothing, culture and community; surrealism opens these forms onto inner lives that cannot be fully explained by appearance.

Na Man Yo Be No Mean Say E No Pain You by Luchong

In Na Man Yo Be No Mean Say E No Pain You, she paints a masculine figure whose expression complicates the familiar performance of masculinity. The figure is allowed to appear as someone who can feel, hurt and remain unresolved. Vulnerability finds a place within masculinity without stripping the body of its strength.

Then there is A Book on Manipulation, in which five figures pose for what initially appears to be a family portrait. The image is beautiful at first glance, and that cultural beauty almost distracts you. You want to know their tribe, the story that brought them together and what connects them. Then you look at their faces, and the group begins to come apart. They are not feeling the same thing. Each face carries its own tension, suggesting a story that cannot be contained by the arrangement of the bodies. Each figure has a lore.

A Book on Manipulation by Luchong

This attention to the figure places Luchong’s work in conversation with other Nigerian artists who have made Black bodies, particularly Black women, central to their practices. Like Renike Olusanya, she works with vivid colour and expression, paying close attention to hair, clothing, bodies and self-presentation. There are also points of contact with Chigozie Obi, whose work draws from women’s everyday experiences, Igbo culture and the preservation of ordinary, intimate moments. What connects these practices is sustained care for the figure and the world around it; a commitment to representing Black women with complexity, tenderness and agency.

Luchong is fundamentally a storyteller because the figures she paints possess lives that begin before the painting and will continue after the viewer leaves. It is therefore fitting that her work has moved naturally into conversation with poetry.

Her duo exhibition Before I Learned to Hide, presented with poet Faith Moyosore Agboola at St Margaret’s Gallery in Norwich, brought a seamless juxtaposition of visual art and poetry. Leonardo da Vinci famously described painting as “poetry which is seen and not heard” and poetry as “a painting which is heard but not seen,” but I think Luchong’s work complicates this distinction. Her paintings ask to be seen, and they also invite us to imagine what cannot be seen or heard. You can almost hear the jewellery clanging, imagine fabric ruffling against the body or sense the quiet between two figures. Her paintings possess a kind of visual onomatopoeia; they make the unseen audible in the imagination.

This attention to interior life extends to her self-portraits. In her solo show Woman Like Me, aspects of the self return through the images. The woman in Luchong’s paintings is not simply a subject being observed; she is also someone constructing an image of herself. The self-portrait becomes another negotiation between seeing and being seen.

At the risk of sounding precious, Luchong’s mastery of expression recalls the mythology surrounding the Mona Lisa: the idea that her eyes follow you around the room and that her expression changes depending on where you stand. Luchong’s paintings do not change as you move around them. You do. The longer you witness the painting, the more unstable your first interpretation becomes. Her figures allow themselves to be seen without surrendering themselves completely to the viewer. 

Luchong’s most significant achievement may be that, in a world increasingly shaped by speed, scrolling and shortened attention spans, she has laboured her time to create art that will always hold your gaze.

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All rights to artworks, culled from the website, belong to Luchong.

The post Negotiating Portraits as Sites For Identity and Selfhood in Luchong’s Portraiture appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

The way we shop has changed. A purchase that once started with a visit to a store or a retailer’s website can now begin with a social media post, a friend’s recommendation, a marketplace listing or simply a message on your phone. As more Nigerian businesses and shoppers move online, convenience has become part of everyday commerce.

That shift shows up on the business side too. Mastercard’s 2026 SME Confidence Index found that 100% of surveyed Nigerian SMEs consider digital and online payments vital to business growth, while 42% already accept online payments and 57% operate across both physical and online channels.

More of the businesses you buy from are operating online, which means more purchasing decisions happen on a screen. The easier shopping becomes, the more important it is to know how to shop and pay with confidence.

The good news is that staying safe does not have to make every purchase complicated. It starts with a few simple rules.

Before You Pay, Know Who You’re Buying From

A polished website, social media page or attractive offer does not necessarily mean that the business behind it is legitimate. Fraudsters are becoming increasingly skilled at creating fake websites, social media profiles and believable offers.

Mastercard’s digital trust research found that scam-related website fraud increased by 56% in 2024, while financial losses from scams increased by 121%.

Nigeria’s own digital-payment data reinforces why consumers need to remain alert. NIBSS reported that digital-payment fraud losses fell 51% to ₦25.85 billion in 2025, but e-commerce and internet banking remained among the channels most affected. Fraud incidents also fell from 123,918 in 2021 to 67,518 in 2025.

Before making a purchase, check the merchant’s website and contact details. Look for independent reviews rather than relying only on testimonials on the seller’s own page. Be cautious of offers that seem unusually cheap or create pressure to pay immediately.

If a seller asks you to move away from a recognized checkout process or share sensitive payment information through an unfamiliar channel, pause before proceeding. The goal is not to be suspicious of every online purchase. It is to make an informed decision about who you are trusting with your money.

Your Card Number Doesn’t Need to Travel With You

Most of us never see how much payment security happens behind the scenes. Tokenization is one example. Instead of sharing your actual card number during a digital transaction, tokenization replaces it with a unique digital token, helping protect the underlying card credentials when shopping online, using an app or storing a card with a merchant.

More than four billion Mastercard transactions are tokenized globally each month, representing around 30% of Mastercard transactions worldwide. Mastercard is targeting 100% tokenization of its online transactions by 2030.

For shoppers, the important point is simple: better security does not necessarily mean more steps at checkout. Much of the protection can happen within the payment infrastructure, allowing the experience to remain smooth while payment information stays protected.

Don’t Let Convenience Make You Careless

Online shopping is designed to be convenient. Saved cards, digital wallets and faster checkout experiences mean you can complete a purchase without entering your payment information repeatedly.

But convenience should not mean switching off your attention. Use strong, unique passwords for shopping accounts and enable multi-factor authentication where available. Keep transaction notifications turned on so you can quickly identify activity you do not recognize.

Before confirming a payment, check the merchant, amount and currency. These may seem like small steps, but they become increasingly important as more everyday purchases move online.

AI Is Changing Shopping and Trust

Artificial intelligence is making online shopping more personalized. It can help consumers discover products, compare options and find recommendations more quickly. But the same technology can make scams more convincing.

AI can help fraudsters produce realistic websites, messages and images at scale. The lesson for shoppers is to look past how professional something appears and ask whether the source itself can be trusted.

This is why trust cannot sit entirely with the consumer. Payment providers, financial institutions, merchants and technology companies all have a role to play in creating safer digital environments.

Mastercard, for example, combines network intelligence, cyber and identity capabilities and analytics through Merchant Trust Services to help payment providers identify potentially risky merchants, while allowing trusted businesses to operate with less friction

Secure Should Also Feel Simple

Shopping online should never require you to become a cybersecurity expert. Consumers have a part to play by knowing who they are buying from, protecting their accounts and paying attention to what they authorize. The technology behind every transaction has to carry its share too.

Globally, Mastercard has invested $10.7 billion in cybersecurity-related acquisitions and investments since 2018, while its Safety Net technology has prevented $77.4 billion in fraud to date. 

The new rules of online shopping are straightforward:

Know the merchant.

Protect your information.

Pay attention to what you authorize.

Use payment experiences designed with security built in.

The best online shopping experience is one you can enjoy without a second thought because you know what is protecting you while you shop.

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L-R: Morayo Afolabi-Brown, Executive Producer and Host of The Morayo Show; Dr. Obafemi Hamzat, Deputy Governor of Lagos State; Tosin Adefeko, Convener, PodFest Naija/CEO, AT3 Resources – The Muvmnt Agency; and Princess Damilola Sonayon-James, Deputy Governorship Candidate of Lagos State, during the second edition of PodFest Naija 2026 at Harbour Point

PodFest Naija – A Festival of Stories, returned for its second edition on Friday, September 25, bringing together more than 3,000 attendees, 50+ storytellers, creators, podcasters, brands, policymakers, industry leaders and everyday Nigerians for a day dedicated to conversations, collaboration, creativity and learning.

Curated by The Muvmnt Studio, the storytelling platform of AT3 – The Muvmnt Agency, in partnership with Eventful Nigeria, the 2026 edition built on the success of its inaugural festival with a clear belief: behind every platform is a person, and behind every person is a story.

Across six themed stages : Life, Love, Culture, Money, Health and Brands, PodFest Naija created a dynamic space for Nigerians to examine the experiences that shape how they live, love, work, create, build businesses, navigate challenges and imagine the future.

The festival also introduced the Citizen Stage, bringing the everyday experiences and concerns of Nigerians directly into the heart of the programme and creating an unusual meeting point between everyday voices and some of the country’s most influential storytellers.

A major highlight of the festival was the participation of His Excellency, Dr. Kadri Obafemi Hamzat, Deputy Governor of Lagos State, who delivered a keynote address examining the economic significance of Nigeria’s creative sector and the growing role of technology in how Nigerian culture is created, distributed and exported.

“Lagos is now telling its own story. The podcasters, the filmmakers, the musicians, the writers, the designers, the developers and the entrepreneurs in this room have turned a Lagos microphone into a global broadcast,” Hamzat said.

“When a young man in Surulere records a conversation in his bedroom and it is streamed in Houston, in London or in Nairobi by the weekend, that is not just content. That is export. That is soft power. That is the Lagos economy speaking to the world in its own voice,” He added.

Speaking on the second edition, Tosin Adefeko, Convener of PodFest Naija and CEO of AT3 Resources – The Muvmnt Agency, said:

“The festival was created to move the conversation beyond content and platforms to the people and experiences behind them.

We needed a convergence. A place where creators, storytellers, brands, policymakers, industry leaders and, most importantly, everyday people could come together and talk about the one thing we all have in common: our lived experiences.

Behind every podcast is a person. Behind every microphone is a life. Behind every creator is a journey. And behind every seemingly successful person is a story you probably haven’t heard.”

One of the festival’s most anticipated moments was The Uncovered Series, where Adefeko sat down with award-winning filmmaker, actress and producer Funke Akindele for a candid conversation that went beyond the awards, box-office records and public image to explore the purpose, sacrifice, resilience, creativity and reinvention behind her journey.

The conversation reflected the central philosophy of PodFest Naija: that the most valuable part of a public story is often the part audiences do not see.

The festival also unveiled The Next Big Podcaster, an initiative of The Muvmnt Studio created to discover, develop and spotlight emerging voices with the potential to shape the future of podcasting in Nigeria.

Proudly sponsored by Afrinvest and Yolly, the initiative brought together a new generation of storytellers and culminated in Clement Akintade being announced live on stage as the winner.

The initiative forms part of The Muvmnt Studio’s broader commitment to building a pipeline for emerging storytellers and creating opportunities for young Nigerians to turn creativity and passion into sustainable careers.

PodFest Naija 2026 also celebrated established voices through the PodFest Hall of Fame, recognizing individuals whose work, stories and contributions have helped shape Nigeria’s creative and cultural landscape.

The festival brought together a diverse mix of storytellers and cultural voices including Joro Olomofin, Toolz Oniru-Demuren, Ify Mogekwu, Dr. Morenike Molehin, Francesca Uriri, Anthony Wolve, Grace Ofure, Tosin Olaseinde, Rufai Oseni, Fisayo Soyombo, Babajide Ogunsanwo, Joseph Edgar, Khadijah Okunnu, Dr. Foy and Masoyinbo, among others.

Their conversations crossed generations, industries and genres, reinforcing a central message of the festival: storytelling is not simply about what is said into a microphone. It is about identity, memory, ambition, struggle, culture and the experiences that connect us.

Beyond conversations, PodFest Naija 2026 was deliberately designed to connect storytelling with opportunity.

The programme featured live podcast recordings, monetisation masterclasses, creator conversations, practical learning sessions and platforms for emerging talent, reflecting the increasingly important role of storytelling within Nigeria’s wider creative economy.

The festival provided a meeting point where creators could engage brands, storytellers could learn from industry leaders, emerging talent could find new opportunities, and audiences could participate in conversations that often remain outside traditional conference spaces.

The 2026 edition was supported by leading brands and organisations that continue to recognize the intersection of storytelling, culture, creativity and consumer engagement.

The Place, Yolly, Meta, MTN, DNIL, Afrinvest, Page International Finance Company, Lebara, Sahara Foundation, UAC, Coca-Cola, Crown Flour Mills, Beloxxi, Fan Milk and Eve Essentials supported the festival, with Dashboard Innovations and Clover joining as strategic partners.

Their participation reflected the growing role of brands in supporting platforms that create meaningful connections with audiences through culture and authentic storytelling.

For The Muvmnt Studio, PodFest Naija is ultimately about more than podcasting. It is about creating a space where Nigeria can hear itself across generations, industries, communities and experiences.

From the creator with a microphone to the entrepreneur building a business, the policymaker shaping the ecosystem, the brand telling its story, and the everyday Nigerian navigating life, PodFest Naija provides a platform for experiences that might otherwise remain unheard.

As Adefeko puts it: “Everybody has a story. Tell your own.”

Every voice carries a story. Every story carries an experience. And when those experiences come together, they can shape how a generation sees itself.

PodFest Naija will continue to build that convergence, a platform for creativity, collaboration, innovation and learning, and a growing home for the stories that deserve to be heard, remembered and carried beyond borders.

BellaNaija is a Media Partner for PodFest Naija 2026

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There is a unique kind of exhaustion that adults experience, one that no amount of sleep can remedy. You wake up, check your phone, and before you’ve even gotten out of bed, life has already hit you with an invoice. Welcome to adulthood: work hard, pay bills, take care of everyone, and just keep going. And if you feel exhausted? “Everybody is tired.” If you complain? “At least you have a job.” If you want to escape a situation that is making you unhappy? “But how will you survive?” Sometimes, I wonder: Are our bills actually bullying us, or have we simply become so used to misery that we accept it as part of adulthood?

Because there is something strange about a life where you can afford your responsibilities but cannot afford yourself. You can pay everyone’s bills but cannot take a weekend off. You can provide for your children but haven’t done anything for yourself in years. You can maintain the house, the car, the family and the lifestyle, but somehow, you are disappearing inside all of it. And everyone applauds you. “What a responsible person,” they say.

Yet, we are always waiting for next year. We say, next year I will travel. Next year I will start the business. Next year I will go back to school. Next year I will exercise. Next year I will leave that relationship. Next year I will save. Next year I will finally breathe. But next year arrives with new bills. And suddenly you are forty or fifty. There, you realise you have spent twenty years preparing for a life you never actually lived. That thought scares me.

Because bills are never going to completely disappear. There will always be something. A child needs something. A parent needs something. The house needs something. The car needs something. Your body needs something. Your business needs something. Life is not going to suddenly send you an email saying, “Congratulations. You have paid all your bills. You may now enjoy your existence.”

So, when do we start living?

The cost of living can swallow an entire salary. A person can work hard and still not have enough. A parent can make every responsible decision and still be overwhelmed. A family can be one emergency away from financial disaster, and telling such people to “just enjoy life” is not advice. It is privilege disguised as wisdom.

You cannot positive-think your way out of unpaid rent; you cannot manifest school fees; and you cannot tell someone who is choosing between food and electricity that they simply need to change their mindset. Sometimes life really is difficult. But there is another side to this conversation that we don’t like to discuss: sometimes we are paying for things nobody actually asked us to buy.

We desire the bigger house because everyone around us seems to have one. We want the expensive car so that others don’t think we’re failing. We buy designer clothes to project an image of success, and we plan lavish weddings to ensure our photographs impress. We upgrade to the latest phone because having an older model makes us feel inadequate. We adopt an expensive lifestyle because, somewhere along the way, we confused looking successful with being financially secure.

Then, we spend the next five years complaining about how expensive life has become. Perhaps some of our bills aren’t just the cost of living; perhaps some are the cost of trying to keep up with others. Social media has intensified this pressure. We see someone in Dubai, someone else in Paris, someone celebrating a new house, another being surprised with a new car, children attending expensive schools, and birthdays celebrated on yachts. Suddenly, your perfectly ordinary life can feel embarrassing. So, you stretch your limits.

Eventually, you are working a job you hate to maintain a lifestyle that is probably not yours.

To me, financial freedom is not having a lot of money to buy everything. It is having enough money to make choices. Enough savings to leave a bad job. Enough independence to leave a bad relationship. Enough income to say no to things that destroy your peace. Enough money to rest occasionally without panicking. Enough discipline to live below your means and enough courage to admit that you don’t need everything you are being sold.

This allows you to really take care of yourself. To remember yourself before or after spending on others. You want to be responsible, I know. Being responsible is admirable. But being responsible should not require you to abandon yourself. You deserve to laugh. You deserve rest. You deserve love. You deserve it, even if the holiday is simply sitting somewhere beautiful with your phone switched off. You deserve to pursue a dream that has nothing to do with paying a bill. You deserve to wake up sometimes and think, “Today, I am not just surviving. I am living.”

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Featured by Mwabonje Ringa for Pexels.

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J’Dess channels Ala, the Igbo goddess of the earth, in a full-length tiered raffia skirt and crystal corset for her new EP releas

Need to refresh your music playlist? J’Dess has got something for you, and this time, it’s a whole new album. The singer-songwriter has delivered a seven-track EP titled ALA, leaning directly into her roots to create a body of work grounded in culture and live instrumentation.

Drawing inspiration from Ala—the Igbo goddess of the earth, life, and foundation—J’Dess uses the collection to explore themes of identity, love, growth, motherhood, and self-discovery. Speaking on the concept behind the project, she shared:

ALA — earth. Life. Motherhood. The foundation from which everything grows. Inspired by Ala, the Igbo goddess of the earth and life, ALA is a seven-track journey through the things that ground us and the experiences that shape us. It is about love that nurtures, the lessons that come with growth, the strength of motherhood, and the gift of discovering your voice and allowing your talent to speak. Seven songs. Seven seeds. One story — rooted in where we come from, shaped by where we are, and reaching toward where we are going.

J’Dess styled in a towering locs headpiece, cowrie shell choker, and embellished corset to mark the release of her EP, ALA.

Across the seven tracks, J’Dess balances live percussion and storytelling, blending traditional Igbo folk melodies with highlife and soul rhythms. The project features collaborations with highlife duo The Cavemen., Waje, Zoro, Selebobo, Chigurl, and the Loud Urban Choir, delivering a grounded soundscape that underscores her vocal range and reaffirms her place among the prominent female artists shaping modern Eastern Nigerian folk and soul music.

Listen below

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Photo Credit: J’Dess/Instagram

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Ebuka Obi-Uchendu in custom Ugo Monye for the Big Brother Naija Sunday show.

There might have been no eviction tonight, but Ebuka Obi–Uchendu still had a fashion moment waiting for us. The Big Brother Naija host stepped onto the stage in a custom look by Ugo Monye, pairing a sky-blue tunic with a pleated floor-length skirt in a colourful chevron print.

The outfit starts with a sky-blue tunic featuring wide, draped butterfly sleeves that fall loosely around the arms and shoulders. In the middle, Ugo Monye added a structured navy-blue textured panel that runs down the front, finished with a small wine-red detail at the bottom.

Ebuka Obi-Uchendu wearing a flared sky-blue tunic, royal blue velvet cap, and aviator sunglasses.

The pleated floor-length skirt is what gives the outfit its distinctive shape. Cut from a bold chevron print, it moves through emerald green, teal, navy blue, white and wine red, with the pleats creating movement as Ebuka walked across the Big Brother Naija stage. The print also picks up the darker colours from the tunic, giving the two pieces a clear connection without making the outfit feel too uniform.

Ebuka Obi-Uchendu poses in a custom Ugo Monye ensemble featuring flared butterfly sleeves and multi-coloured chevron trousers.

Ebuka finished the custom look with a royal blue velvet traditional cap featuring embroidered trim, dark aviator sunglasses with gold rims, a heavy gold chain with a ram’s head pendant and a wide ribbed gold cuff.

From the oversized butterfly sleeves to the pleated floor-length skirt and the mix of blue, green, white and wine red, Ebuka gave Nigerian menswear another interesting outing on the Big Brother Naija stage.

Detail of Ebuka Obi-Uchendu’s gold ram’s head pendant chain and ribbed gold cuff over a textured navy Ugo Monye tunic panel.

Ebuka Obi-Uchendu showcasing the silhouette of his custom Ugo Monye chevron trousers and sky-blue tunic.

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Photo Credit: Ebuka Obi-Uchendu/Instagram 

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Veekee James and Tomike Adeoye add dark sunglasses to their peach Aso-Ebi and bronze-gold headtie looks.

Have you seen peach and bronze-gold come together? Oh goodness, you are going to love this one.

You will love it just as much as Veekee James and her friend, Tomike Adeoye, clearly love how good they look twinning in these matching peach looks. The duo stepped out for Hilda Baci’s sister’s wedding in matching peach Aso-Ebi looks, and they have given us another reason to pay attention to this colour combination. They call the look Vintage Nigerian Glamour, and we totally agree.

The peach fabric came in a knee-length two-piece set, with each blouse featuring layers of ruffle sleeves that gathered around the shoulders. The fitted skirts kept the shape neat, finishing with scalloped borders along the hem. Instead of taking the obvious route and pairing all that peach with another soft shade, they went in a richer direction with their headties.

Veekee James and Tomike Adeoye bringing the energy in matching peach sequin lace outfits and metallic headties.

That deep bronze-gold headtie is where the look really gets interesting. Both women wore the metallic fabric in wide fan-shaped folds, creating a structured finish around their faces while giving the soft peach lace a much richer colour contrast. It is a combination we would happily see again.

Of course, Veekee and Tomike each had their own way of finishing the look. Veekee chose metallic gold pointed pumps, a gold neckpiece and a traditional woven hand fan. Tomike went for embellished slingback heels, a dark beaded necklace and a compact clutch.

Veekee James and Tomike Adeoye in peach two-piece Aso-Ebi sets paired with metallic bronze-gold headties for Hilda Baci’s sister’s wedding.

Their beauty looks followed the warm colour palette too, with copper eyeshadow, rosy cheeks and glossy ombre lips. From the peach Aso-Ebi to the bronze-gold headties and the individual accessories, the two friends gave us two versions of the same Vintage Nigerian Glamour idea, and we are very much here for it.

A detailed look at Veekee James and Tomike Adeoye’s warm copper makeup, glossy ombre lips, and metallic bronze-gold headties.

Veekee James and Tomike Adeoye serving wedding guest style inspiration in matching peach lace sets and bronze-gold headties.

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Photo Credit: Veekee James/Instagram 

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Omowunmi Dada styled by Creative Director Kingsley Okoye Rex for the Black Market premiere in Lagos.

When you executive produce a film, star in it, and then watch that film set its sights on a Guinness World Record, you show up to its premiere in the most stylish way possible.

That is exactly what Omowunmi Dada did for the historic premiere of Black Market at Tafawa Balewa Square (TBS) in Lagos on Saturday, 26th September 2026. The actress, who plays Adesua as part of the film’s lead trio, also serves as an executive co-producer, so the record-breaking turnout of more than 51,000 moviegoers made the night an especially big one for her.

And for an occasion this major, Omowunmi went for a look that was anything but ordinary.

Black Market star and executive co-producer Omowunmi Dada at Tafawa Balewa Square for the record-setting premiere.

Styled by Creative Director Kingsley Okoye Rex, she wore a cropped turquoise-blue top with wide square lines, structured shoulder pads and fitted balloon sleeves. The bodice and sleeves were broken up with black geometric patches and raw contrast stitching, giving the top a graphic finish that immediately drew the eye.

Detail of the structured geometric patchwork on Omowunmi Dada’s custom turquoise top at the Black Market premiere.

She paired it with high-waisted, wide-leg trousers in textured charcoal-black woven fabric. Subtle horizontal weave lines ran across the trousers, while tiny cut-out details added another layer of texture before the relaxed silhouette fell towards her black pointed-toe patent heels.

The accessories stayed sleek and structured. Omowunmi carried a black crocodile-embossed YSL envelope clutch and wore slim rectangular rimless sunglasses with gold accents, alongside a gold wristwatch and statement rings.

Omowunmi Dada accessorises her premiere look with a black crocodile-embossed YSL envelope clutch for Black Market in Lagos

Her honey-blonde bob, styled with a soft side part, completed the look, giving the actress a fresh finishing touch for a night that already had plenty to celebrate.

With Black Market now holding the Guinness World Record for the largest attendance at a single-location film screening, Omowunmi had every reason to make her premiere look count. And she certainly arrived dressed for the occasion.

Omowunmi Dada standing in the Tafawa Balewa Square stands ahead of the 51,000 attendee Black Market movie screening

Executive co-producer Omowunmi Dada styled by Kingsley Okoye Rex in a structured turquoise cropped top at the Black Market movie premiere at Tafawa Balewa Square Lagos

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Photo Credit: Omowunmi Dada/Instagram

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Director Fatimah Binta Gimsay, producer Nora Awolowo, and key cast members of the Guinness World Record-making Nollywood crime thriller Black Market. Photo Credit: Nora Awolowo/Instagram

Nollywood has just made a Guinness World Record!

On Saturday, 26th September 2026, the crime thriller Black Market became the most-attended single-location film screening in global history. Over 51,000 moviegoers gathered at Tafawa Balewa Square (TBS) in Lagos for the historic premiere, breaking the 2015 record of 43,624 attendees held by the Filipino film Felix Manalo at the Philippine Arena.

The monumental outdoor gathering drew a mix of political dignitaries and screen stars to share in the milestone. Lagos State Deputy Governor Obafemi Hamzat and Commissioner for Tourism, Arts and Culture Toke Benson were in attendance, along with the cast of the film, Lateef Adedimeji, Linda Ejiofor–Suleiman, Scarlet Gomez, Omowunmi Dada, Uzor Arukwe, Ibrahim Yekini (Itele D Icon), Susan Pwajok, Teniola Aladese, Taye Arimoro, and Mike Afolarin.

The movie that brought everyone together focuses on market women running a cross-border fuel-smuggling operation, whose lives take a dangerous turn when a rival gang gets involved. Linda Ejiofor-Suleiman plays Zimuzo, Scarlet Gomez stars as Aramide, and Omowunmi Dada takes on the role of Adesua, leading a cast featuring Tomiwa Tegbe, Andrew Yaw Bunting, Shamz Garuba, and Adeoluwa Akintoba.

Directed by Fatimah Binta Gimsay in her feature directorial debut and co-written with Abdul Tijani–Ahmed, the record-setting film was produced by Nora Awolowo through Rixel Studios alongside Signet Ring Studios, Switch Visuals Production, and FilmOne Studios. Following its historic night at TBS, Black Market is now preparing for its nationwide theatrical release.

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Let’s be honest with ourselves. Many women quietly carry a common belief after having children: “I don’t look the way I used to.” Your body may have changed; you might have gained weight, your stomach may look different, or your face may have altered. Along the way, you might start wondering: Am I still beautiful? Am I still attractive? Do I still look young?

Every woman’s experience is unique. Some women bounce back physically much quicker than others, while for some, the changes can be more pronounced. However, regardless of what happens to your body, there are important truths you need to hold on to. I know this because I have had to learn them myself.

For years, I struggled with my self-image. Eventually, I reached a point where I genuinely felt free. I began to love myself again. I took pictures without immediately searching for my flaws. I could look at my body without criticising every single part of it. I thought, “Finally, I’ve overcome this.”

However, over time, I noticed myself slipping back into old habits. I started comparing myself to others again and began to criticise myself once more. I wondered: how did I end up back here?

Then I realised something important: I had stopped encouraging myself. I had stopped intentionally reminding myself of the truth. And that taught me something: Getting free is one thing. Staying free requires you to keep reinforcing your truth. Think about your mind as a gate. Every day, things are trying to get through it:  Social media, People’s opinions, Cultural expectations, Beauty standards, comparisons, and your own past experiences. 

You cannot control everything that is projected at you. But you can decide what you accept as truth. And sometimes, you have to actively reject the things that are trying to redefine you. That is where these truths become important.

Truth 1: You were created beautiful by your Creator

Your body may change. Your face may change. You may age. You may have stretch marks, scars, weight gain, acne, or other things you wish were different. But none of these changes your Creator’s intention when He made you. You were created by God, and you were not created by accident. Your beauty cannot be reduced to one body type or one stage of your life.

Truth 2: Motherhood does not cancel your beauty

Having children may change your body. But it does not mean you have become less of a woman. You can be a mother and still be beautiful. You can be a mother and still be attractive.

You can be a mother and still dress well, take pictures, take care of yourself and enjoy your femininity. Motherhood added something to your story. It did not erase you.

Truth 3: Your body does not determine your value

This is one I have had to remind myself of repeatedly. My body does not determine my value. My body shape does not determine my purpose. My appearance does not determine whether I will succeed at what God has called me to do.

I can want to lose weight without hating myself. I can exercise without punishing my body. I can dress beautifully without believing that my clothes determine my worth. Taking care of your appearance and finding your identity in your appearance are two completely different things.

Truth 4: You have to keep speaking over yourself

This is the part I personally missed. I stopped speaking. I stopped reminding myself. I stopped reinforcing the new way I had learned to see myself. And the old thoughts slowly started finding their way back in. So now, I intentionally remind myself of who I am. I don’t say these things because my creator needs to hear them; I say them because I need to hear them.

In conclusion, Mama, you have to be intentional about what you allow to shape the way you see yourself. And if you have been struggling with how motherhood has changed your body, I want you to know this:

You are allowed to care for your body. You are allowed to want to look good. You are allowed to enjoy being feminine. You are allowed to take pictures. You are allowed to celebrate yourself. But don’t hand your identity over to your body. You had a baby. You did not lose your beauty. And the next time society tells you who you should be, remember that you have a gate. Guard it. Speak over yourself.  And keep choosing the truth.

The post Titilade Ilesanmi: Mothers, Having a Baby is Not a Deadline on Your Beauty appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Osinachi Ohale celebrating club success with Pachuca as she brings an end to her 16-year international career. Photo Credit: Osinachi Ohale/Instagram

Nigerian football marks the end of a legendary era as veteran defender Osinachi Ohale officially steps down from international duty after 16 years with the Super Falcons. The 34-year-old centre-back confirmed her decision in a social post on Friday, 25th September 2026, closing out a historic international career defined by 86 senior caps, four FIFA Women’s World Cup appearances, seven WAFCON tournaments, and five continental titles.

Her national team journey began in 2010, anchoring Nigeria’s defence across multiple generations of talent and establishing her status as one of the longest-serving players in the team’s history. She lifted the Women’s Africa Cup of Nations trophy five times in 2010, 2014, 2016, 2018, and 2024, a distinction that earned her a spot in the prestigious IFFHS CAF Women’s Team of the Decade.

On the global stage, her standout performance came during the 2023 FIFA Women’s World Cup in Brisbane, where she netted the winning header against co-hosts Australia and earned the Player of the Match award. While stepping away from national team duty, her career continues at club level with Mexican Liga MX Femenil side Pachuca, following successful spells across the world with Houston Dash in the USA, Växjö in Sweden, AS Roma in Italy, and Alavés in Spain.

Osinachi Ohale in domestic action for Mexican club Pachuca. Photo Credit: Osinachi Ohale/Instagram

Reflecting on her journey, Ohale expressed her gratitude for serving her country, writing that from the young girl dreaming of green and white to earning 86 caps, she looks back with a heart overflowing with gratitude. She added that she gave the jersey her youth, strength, sweat, tears, and heart, and if given the chance, she would choose Nigeria every single time. She concluded her message noting that while the jersey leaves her shoulders, it will never leave her heart.

Osinachi Ohale celebrating one of her five historic WAFCON titles with the Super Falcons. Photo Credit: Liga Femenil BBVA/Instagram

The Confederation of African Football (CAF) joined in honouring her contribution to continental football, stating that five WAFCON titles represent one immortal legacy, while thanking her for every battle, trophy, and memory.

Her teammates shared similar sentiments across social platforms, with Asisat Oshoala and Michelle Alozie calling her a legend, and Onome Ebi calling her her best ever number six and thanking her for making football enjoyable. Glory Ogbonna expressed gratitude for the opportunity to play alongside her senior commander, while Tosin Demehin noted that learning from her was a special part of her own growth. Rinsola Babajide praised her as the absolute best, and Rasheedat Ajibade thanked her for defending the badge with her whole heart every single time.

Osinachi Ohale commanding the defence for Nigeria during her 86-cap Super Falcons career. Photo Credit: Osinachi Ohale/Instagram

Five-time WAFCON champion Osinachi Ohale posing with her gold medal as she calls time on her international football career. Photo Credit: CAF Women Football/Instagram

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Davido and Aliko Dangote stepping out in New York City during UNGA week.

New York City’s Times Square got a serious double dose of Nigerian excellence when Afrobeats global icon Davido and Africa’s wealthiest man, Aliko Dangote, linked up right in the heart of Manhattan. Standing tall against the vibrant city backdrop, the two stepped out together beneath the massive Nasdaq digital billboard, which was glowing brightly with a major announcement: the official public share offering for the Dangote Petroleum Refinery & Petrochemicals.

The moment brought together two distinct worlds of global influence—music royalty and industrial powerhouse—putting a massive spotlight on African enterprise on one of the world’s most famous stages. The billboard itself showcases a defining milestone for West African business, carrying the proud message, “Made in Nigeria. Built for the World.”

Davido and Aliko Dangote looking up at the Dangote Refinery billboard in Times Square.

The historic initial public offering (IPO) gives everyday retail investors a direct chance to own a piece of the world-scale Lekki refinery project. Running from 14th September through to 13th October 2026, the public offer places 4.1 billion ordinary shares on the market at ₦525 per share. With a minimum subscription threshold set at just 10 shares (₦5,250), it opens up access for young investors, finance enthusiasts, and the wider public across Nigeria to participate directly in the nation’s industrial story.

Beyond the big numbers, seeing both figures sharing the street was a familiar sight for anyone who knows their long history. Dangote has been a close family friend to the Adeleke family for decades, famously driving a young Davido home from the hospital when he was born. Fast forward to New York during United Nations General Assembly (UNGA) week, and that family connection was front and centre as they paused for photos with giant thumbs-up gestures under the flashing lights.

Davido and Aliko Dangote viewing the Dangote Petroleum Refinery advertisement in New York.

Their individual styling for the city stroll caught plenty of attention too. Davido opted for a high-fashion, longline silhouette, layering a dramatic floor-length dark duster coat over a crisp, unbuttoned white shirt and black trousers. The coat’s metallic gold hardware buttons gave the full look a sharp, modern edge, completed with framed dark sunglasses and polished shoes. Dangote matched the moment in classic corporate tailoring, wearing a neatly cut grey patterned two-piece suit with a light blue dress shirt, textured tie, and black leather loafers.

From shutting down global arenas to taking over international financial districts, seeing Nigerian music and business leaders standing together under a billion-dollar home-grown campaign in Times Square is the exact big-picture inspiration we love to see.

Davido styled in a floor-length black duster coat in New York City.

Davido and Aliko Dangote supporting the Dangote Refinery IPO announcement in Times Square.

Davido and Aliko Dangote posing together during their outing in New York City.

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Photo Credit: Davido/Instagram

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Luiza Santos, Aisha Emablo, and Jessica Cubala presenting traditional Bissau-Guinean styling for Miss Guiné-Bissau UK 2026.

Miss Guiné-Bissau UK 2026 is bringing together 12 young women of Bissau-Guinean heritage, each with her own story, personality and reasons for taking part in the competition.

The contestants represent different ethnic backgrounds, from Balanta and Fula to Mandjaco, Mandinga, Pepel and Mankanhi, while their lives outside pageantry are just as varied. Among them are an aspiring entrepreneur, a former school athlete, a trained guitarist, a content lover and a woman who happens to be one of 10 siblings.

The grand finale will take place on 24th October 2026 at AUGB Manchester, where the contestants will compete for the Miss Guiné-Bissau UK 2026 crown. The competition also creates a space for them to celebrate their Bissau-Guinean heritage and connect with their community.

Before the finale, here is a closer look at the 12 contestants competing for the Miss Guiné-Bissau UK 2026 title.

Jessica Cubala

Representing the Balanta ethnic group, 24-year-old Jessica describes herself using three words: authentic, witty, and loyal. She brings a practical business background to the competition through her daily career moves. Sharing a fun detail about her path, she mentions, “I work with a plantain rum company, which has taught me a lot about branding and connecting with people, which fits my personality perfectly.”

Jessica Cubala representing the Balanta ethnic group for Miss Guiné-Bissau UK 2026.

Eldinha Lopes

At 20 years old, Eldinha carries Pepel and Mandjaco heritage and defines her character as creative, determined, and open-minded. She enjoys a balanced lifestyle that mixes personal space with social moments. Opening up about her personality dynamics, she reveals, “I love being alone, but I also love going out and making memories. People often think I like them, but the quieter I am around you, the more comfortable I feel.”

Eldinha Lopes showcasing traditional West African attire and cultural props for Miss Guiné-Bissau UK 2026.

Luiza Santos

Carrying Mankanhi roots, 25-year-old Luiza approaches the runway with three guiding traits: confident, resilient, and optimistic. She thrives on creating an upbeat environment wherever she goes. Reflecting on her social reputation among friends, she notes, “I’m known for bringing positive momentum whenever I go.”

Luiza Santos representing Mankanhi heritage for Miss Guiné-Bissau UK 2026.

Ilce Dans

Representing Mandjaku and Mandinga heritage, Ilce sums up her core values in three simple words: loving, reliable, and faithful. She has one of the most memorable birth stories among this year’s contestants. Sharing the story of her arrival into the world, she explains, “I was born at home because when my mom was in labor and my older sister contacted emergencies, they thought it was a joke until my mom gave birth and they heard me cry in the background.”

Ilce Dans representing Mandjaku and Mandinga heritage for Miss Guiné-Bissau UK 2026.

Gisela Sal

Hailing from the Fula ethnic group, 23-year-old Gisela frames her mindset around being resilient, driven, and confident. Her background includes artistic training that goes beyond the pageantry runway. Reflecting on her musical roots, she shares, “I went to music school for 2 years back in Portugal and learnt how to play the guitar.”

Gisela Sal representing the Fula ethnic group for Miss Guiné-Bissau UK 2026.

Vanessa Cassama

Representing Fula and Jakanka heritage, 26-year-old Vanessa describes her personality as extroverted, energetic, and thoughtful. She loves engaging with global pop culture and creative media during her downtime. Revealing her favourite pastime, she notes, “A fun fact about me is that I love watching Anime.”

Vanessa Cassama representing Fula and Jakanka heritage for Miss Guiné-Bissau UK 2026.

Maísa Spencer

At 18 years old, Maísa represents the Fula ethnic group and describes herself as loud, sensitive, and expressive. Growing up in a large household taught her how to navigate dynamic environments early on. Opening up about her family setting, she reveals, “I’m child number 7 out of 10 siblings, so it’s pretty hectic at home.”

Maísa Spencer representing the Fula ethnic group for Miss Guiné-Bissau UK 2026.

Mireia Detna

Carrying Balanta heritage, 25-year-old Mireia relies on three strong pillars: ambitious, determined, and visionary. She views the competition as a stepping stone toward long-term business goals and community impact. Outlining her future aspirations, she shares, “I dream of becoming a successful entrepreneur and using my platform to inspire young women to believe in themselves and pursue their goals.”

Mireia Detna representing the Balanta ethnic group for Miss Guiné-Bissau UK 2026.

Waldira Da Silva

Representing the Mandjaco ethnic group, Waldira highlights her core traits as loyal, authentic, and determined. She approaches life with a lighthearted outlook and a love for creative hobbies. Sharing what keeps her grounded, she mentions, “I love baking cake. I love to laugh, because I believe life is better with a little happiness and fun.”

Waldira Da Silva representing the Mandjaco ethnic group for Miss Guiné-Bissau UK 2026.

Aisha Emablo

With Fula roots, Aisha outlines her key qualities as ambitious, outgoing, and friendly. She feels completely natural under the spotlight and loves creative visual projects. Describing her relationship with the camera, she states, “I love being in front of the camera—photoshoots never feel like work to me.”

Aisha Emablo showcasing traditional Bissau-Guinean styling for Miss Guiné-Bissau UK 2026.

Melissa Djalo

Carrying Fula heritage, Melissa defines her approach to life as compassionate, resilient, and responsible. Before stepping onto the pageant stage, she built a strong background in competitive athletics during her school years in Portugal. Reflecting on her track achievements, she shares, “I might not look like it now, but I used to be very athletic back in school in Portugal. I won multiple medals for 4 consecutive years in sports like relays, sprinting, shuttle runs and cross country. It was something that I really enjoyed doing.”

Melissa Djalo representing the Fula ethnic group for Miss Guiné-Bissau UK 2026.

Manuela Cande Seidi

Representing the Fula ethnic group, Manuela describes her character as resilient, passionate, and reflective. She brings an upbeat, music-loving spirit to this year’s lineup. Sharing what keeps her moving, she reveals, “Whenever there’s music, no matter where I am, you will always catch me dancing!”

Manuela Cande Seidi representing the Fula ethnic group for Miss Guiné-Bissau UK 2026.

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Photo Credit: Miss Guinea Bissau UK/Instagram 

The post From Guitarists to Athletes, Meet the 12 Miss Guiné-Bissau UK 2026 Contestants appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Shoday drops his latest Afrobeats single CHE featuring Magixx. Photo Credit: Shoday/Instagram

If you’ve spent any time on TikTok over the past week, chances are you’ve already had snippets of this hook playing on loop in your head. Shoday has officially dropped his new single, Che, and he brought Mavin Records’ Magixx along to complete the vibe.

Following his last drop, Move, Shoday uses Che to lean into a smooth, melody-driven Afrobeats sound that feels effortless. Produced by Shallythechampion, the track hits that comfortable sweet spot: a steady, bouncy rhythm that doesn’t rush, giving both artists plenty of room to bring their own flavour to the mic.

What makes the record work so well is how naturally Shoday and Magixx play off each other. Shoday sets the stage first with his easygoing, conversational flow and a catchy hook built for instant replay. Then Magixx slides in with his signature silky vocal texture, shifting the track into a slick Afro-fusion space that feels completely fresh.

The song was already a massive hit before it officially hit streaming platforms, with teaser clips sparking over 45,000 video creations on TikTok in just forty-eight hours.

CHE is out now and ready for your weekend rotation

Listen below

The post Shoday and Magixx Find Their Rhythm on New Single “Che” | Listen appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Today, we are spotlighting KW33N B. KW33N B, also known as B3NEDICTA, is one of the exciting young artists making waves on the internet through her music in recent times. Her song, Smooth Ole Buruku, gained attention across the internet this year. In this feature, KW33N B shares how she discovered her belief in music, where she is currently in her journey and her absolute dream with music.

Hey hey, KW33N B, how are you feeling?

Hi BellaNaija. I feel alright. Thank you for having me.

What first made you believe music was something you wanted to pursue seriously?

Music has always been a part of my life. I grew up surrounded by it, and singing came naturally to me. But the moment everything changed was when I realised I could do more than just sing other people’s songs; I could create my own. The idea that I could turn my thoughts, emotions, and experiences into music made me see it differently. It became more than a passion; it became my escape from reality and the place where I felt most understood. That was when I knew I was meant to be an artist.

Do you remember the first song you ever recorded?

The first song I ever recorded was Masterpiece in December 2023. Looking back, it reminds me of how fearless I was in simply creating without overthinking. Every song since then has helped me grow, not just musically but personally. Those early moments taught me that every experience, whether good or bad, has the power to become something meaningful through music.

Your song, Smooth Ole Buruku, gained a lot of attention this year. How did that make you feel?

I’m at the very beginning of my journey. There’s so much more I want to discover, both about myself and my artistry. Every new experience teaches me something, and I think that’s what makes this stage so exciting.

One of the biggest milestones for me was seeing the response to my rendition of Smooth Criminal. It introduced me to people who had never heard of me before and reminded me that one moment can change everything. More importantly, it gave me the confidence to embrace who I am as an artist fully.

Artists have influences that define the kind of music they eventually make. How would you describe your sound or type of music?

I’ve learned that I absorb everything around me. The way life treats me, the people I meet, and the emotions I experience all find their way into my music. My perspective has evolved as I’ve grown, and so has my sound. I would describe my music as a blend of Afrobeats, soul, and pop, but I don’t like limiting myself to one sound. I create from a place of honesty, and I let the emotion of each song decide where it goes.

What inspires you to make music? What do you draw inspiration from?

The biggest inspiration behind my artistry is everyday life. My songs are influenced by thoughts, emotions, conversations, and experiences that people go through every day. I believe the most powerful music comes from being honest about the human experience.

When people discover your music years from now, what do you hope they’ll find in it?

I hope that years from now my music still feels timeless. I want people to listen to it and still find pieces of themselves in the stories I’m telling, no matter how much time has passed.

More than anything, I hope my music brings people happiness, comfort, and a sense of connection. If someone feels seen, understood, or simply smiles because of something I created, then I’ve done what I set out to do.

What would a truly successful career look like for you?

To me, success isn’t just about numbers or awards. A truly successful career is being able to share my music with the world, connect with people across different cultures, and create songs that continue to live on long after they’re released.

The post On Our Radar: “More Than Anything, I Hope My Music Brings Happiness to People” – KW33N B appeared first on BellaNaija - Showcasing Africa to the world. Read today!.