THEWILL DOWNTOWN October 23, 2022 EDITION

October is a significant month for the fashion industry in Africa, and I’ll tell you why. It is that time of the year when designers unveil their new collections at the various fashion weeks organised across the continent.

The industry has come a long way, and I couldn’t be happier to witness the immense global growth. Like music, African designs have started to receive long overdue recognition thanks to the many men and women who have worked tirelessly for the cause. We have had platforms such as Arise Fashion Week, Lagos Fashion Week and, more recently, GT Bank Fashion Week, all of which have one thing as their core focus; to promote African Fashion.

There are, however, a few challenges—which happen to be the theme for Lagos Fashion Week this year— that the Nigerian fashion industry must scale through. Community, Co-creation and Collaboration.

To get more insight into this, we spoke to two designers, Ejiro Amos Tafiri and Ohimai Atafo of ATAFO. Interestingly, they each had very different views regarding whether or not we have a proper fashion community in Nigeria, if people who cocreate should be recognised and how well we are doing concerning collaborations.

Collaborations are very popular aboard. Louis Vuitton recently collaborated with six contemporary artists to create some spectacular designs for their Capucines bag. Although we have seen a few collaborations in Nigeria, I must admit there is still so much more we can do. The pertinent questions are: Are we ready for that next step? Do we understand such partnerships yet? And more importantly, Do Nigerian brands (furniture, car, alcoholic beverage products) hold our Nigerian designers in high enough esteem to believe that collaborating with them to design, for instance, furniture, will sell something more than functionality?

While we are on the topic, it’s interesting that Puma recently collaborated with Davido to create a ‘We Rise by Lifting Others’ collection. While that’s a fantastic partnership, what would be really impressive is if Puma co-created the collection with a Nigerian designer.

Until next week, enjoy your read.

AUSTYN OGANNAH PUBLISHER/EDITOR-IN-CHIEF

Editor: Onah Nwachukwu @onahluciaa Editor-at-Large: Chalya Shagaya

Writer: Kehindé Fagbule

Olaniyan John ‘Blake’

Odunayo Ogunbiyi is an ex pharmacist with a passion for food and pampering. Writing about her exploits wherever in the world she may find herself is just her way of staying sane in this zany world.

Boluwatife Adesina @bolugramm

- Contributing Writer

Boluwatife Adesina is a media writer and the helmer of the Downtown Review page. He’s probably in a cinema near you.

David Nwachukwu @ebube.nw

- Contributing Writer

David Nwachukwu has always been immersed in fashion from the age of 10, watching a Dior by Galliano show on television. His work in fashion stretches across media, marketing, brand communications as well as design. As a fashion & lifestyle journalist, David has tracked key industry data for various publications including Industrie Africa, Culture Custodian, Haute Fashion Africa, and HELLO! Nigeria. A Geography graduate from The University of Lagos, David consciously aligns this background in environmental advocacy and sustainable development with the need to promote a more ethical fashion ecosystem. He currently oversees strategic communications at Clean Technology Hub.

Dr May Ikeora @mayikeora

Dr May Ikeora is an academic researcher, Author, and ex-beauty queen cum entrepreneur. She is a specialist in Human Rights, Gender and Peacebuilding, consulting for organisations like the United Nations, African Union, World Bank, Mission89, Governments and the Kofi Annan Peacekeeping Institute. She gained a PhD in Law from the University of Hull, UK, and has received numerous awards for her work, including that within African diaspora communities in the U.K. received at the House of Lords. As an entrepreneur, May founded a cosmetics company called L’Avyanna, based in the U.K. and Nigeria and possesses numerous beauty licenses from the U.K.

Odun Ogunbiyi @oddbodandthecity

Contributing Editor

Alté Fashion

GEN Z’ERS MISUNDERSTOOD STYLE

BY KEHINDÉ FAGBULE

If you have never come across the word ‘Alté’, you are most likely in and around the boomer generation. But don’t feel too old; today, we will enlighten you on how to dress the Gen Z way. Before that, however, it will make sense to discuss how this all came about.

According to Urban Dictionary, Alté—short for ‘alternative’—often misunderstood as a habit, is a lifestyle. It defines a community of Nigerian youth with a unique sense of fashion and music. Alté fashion embraces a retro and vintage style but is somehow tagged as ‘new school.’ This style, usually adopted by young creatives, has a mix of edgy elements, such as piercings, baggy pants, dirty sneakers, and so on, in its staple. A significant example of an alté trend that has gotten mainstream acceptance over the years is fannypacks.

The point of alté fashion basically is non-conformism. Gone are the days when you would condemn your favourite sweatshirt because it had holes in it. Today, you can buy shirts that come with distressed holes in them—the Yeezy sweatshirt collection cost over a million Naira. So as we highlight what they look like, it is important to remember that these styles don’t align with whatever rules of fashion you are aware of consciously or otherwise. Think of it as Nigeria’s Bohemian fashion. Here are some outfits we find interesting.

Burna Boy for Dazed Magazine

Amaarae

Asake

Burna Boy for Dazed

Rema's Nose Band

FASHION

Ayra Starr

Amaarae

Cruel Santino and Odunsi the Engine

Bella Shmurda

Cruel Santino

Odunsi the Engine

Victony

Rema

Rema

ODDBOD & THE CITY

ODUN OGUNBIYI

Definition Ladyof a

and thrift shopping is my jam.

Then one of my favourite actresses on the planet died last week—Dame Angela Lansbury. I got many a condolence message because my nearest and dearest knew I would take her loss very personally. To be honest, I never delved much into her personal life, but I was obsessed with a fictional character she portrayed for 12 years; Jessica Fletcher from the hit show Murder She Wrote. It’s worth mentioning that Dame Angela was cast in this role at 58. Perhaps that is why everything about the show’s fashion was ICONIC for me.

Her character wardrobe was a perfect reflection of the role. A widowed secondary school teacher bravely embarks on a second act of life, takes a stab at mystery writing and surprisingly becomes a worldrenowned author. Next comes jet setting to far-flung corners of the world, obligatory crimesolving, exotic locations and fabulous friends. In her downtime, she was cosied up in the fictional Cabot Cove, an idyllic seaside fishing town in Maine where her home was all things genteel and comforting.

When I was told I would be expected to gear my article for fashion for this edition, I have to admit my heart sank. A flurry of messages ensued where I tried to explain why I really didn’t have anything to contribute to a fashion edition. For those who don’t know, My nickname Aunt Harriet was given to me because I have always dressed like a geriatric churchgoing lady. My fashion has always been better suited to English countryside living,

My friend Poopannah (it’s a nickname with an epic origin story) has decided that she is going as Jessica Fletcher for Halloween this year. What would it take to pull it off? On the surface, her outfits may seem boring and unassuming, but that absolutely means you missed the point.

She was never not perfectly put together for any occasion, be it an ambassador’s ball, a boat party, a book launch, or romping around some billionaire’s country estate.

Think perfectly fitted pantsuits, the

obligatory but discreet eighties shoulder pads, and sensible shoes in the best Italian leather (one couldn’t go amateur sleuthing and chasing bad guys in skyhigh red bottom heels, after all). The jewellery was made up of the classics: great pearls and yummy gold sets, and she was never too far from a solid brooch accent. Her handbags were the stuff my dreams were made of—cartoon grandmas with cute little structured numbers hanging off their forearms (all the better to whack you over the head with) have always been my inspiration.

She did not shy away from colours, patterns or bold embellishments. Stylish, ladylike and understated is the goal. She loved a midi-length pencil skirt, and there wasn’t a pussy bow blouse, trench coat or matching pyjamas and dressing gown set she didn’t pull off.

If her clothes talked, they would tell you, “here stands a woman of substance who knows her worth and has NOTHING to prove to you”. What’s not to admire about that?

All hail the granny-chic queen. May she rest in peace.

Dreaming Collecting RALPH LAUREN CALIFONIA

DOWNTOWN

MINXY SECRETS TO MAKE HIM WANT YOU

BY AKINTOYE DORCAS

Seduction

deals with maintaining mystery, playing with words, being creative and giving him everything in bits.

There are so many ways to seduce a man, including your intelligence, sense of humour, spontaneity, body language and so on — having all these can seduce a man even without taking off your clothes or touching him. This is because men are visual creatures.

Seduction through clothes plays a critical role in getting a man. Many ladies assume that the less clothing they wear, the more seductive they appear, but that’s not true. As a matter of fact, dressing like a tart in public is more a sign of surrender than seduction but spicing up your wardrobe to draw attention to your best physical features is the best way to be both sexy and seductive.

Below are 8 Minxy secrets to get your man hard with your dress.

1TEMPT WITH A STRAPLESS NECKLINE

Classic strapless is one of the best dress styles you can use to show off your kissable shoulders. They help draw attention to your delicate collarbone and neck and, most importantly, put your girls in the spotlight.

Show off your skin classy and seductively with a strapless bandage dress that fits perfectly.

2LET YOUR CLEAVAGE REIGN

One of the epitomes of being seductive is when you have confidence in the way you look. Don’t be scared to draw attention to your best features. Women with shorter necks can try putting on a plunging v - neckline or side boob outfit. The vertical drop will help add inches to the neck.

If you didn’t know, a teaser view of your dècolletage in a well-fitting dress turns heads for all the right reasons.

3CHOOSE THE ILLUSION OF BEING NAKED

Mesh dresses placed in strategic locations are not for the fainthearted. One good

thing about mesh is that it allows you to show your body off while still being covered.

If you want to tease your audience while simultaneously withholding secrets and protecting your dignity, try to put on a mesh dress that fits perfectly.

4SEDUCEUNEXPECTEDLY WITH JUMPSUITS

There are so many things to be said about a woman who is not interested in trying too hard to get anyone’s attention.

To meet these goals, jumpsuits, playsuits, and rompers are the perfect apparel. They are casual yet trendy, and they help in lending a ready-for-anything look to the wearer.

5GETPRIMAL WITH ANIMAL PRINT

If there is any outfit that breathes raw feminine power, it is a dress that features animal prints. Animal print is the perfect dress style for you if your style of seduction is an onslaught. Try to channel how big cats move and how they own their space. Once you can do that, you’ve no doubt raised your seductive bar.

6ALLURE IN FEMININE LACE

Lace is impossible to ignore, and they are inherently seductive.

If you want to show off your curves and at the same time retain an air of unmissable feminine charm, wearing a fitted lace dress is the best thing to do.

Lace has the power to make you feel feminine and sexual. They are perfect for a romantic date or even a passionate night with the love of your life.

Another advantage of lace is that it can

style your outfit as revealing or modest as you want.

7EMBRACE A FRONT ZIP DRESS

Seduction is one of the ways to tickle the imagination. Front zip dresses and a few other dresses help to do that. With zip running from neckline to hem, you can, without a doubt, create a sensual stir.

8GO FOR RED

Red is a colour that stands out and demands attention. Studies have proven that men view women wearing red as sexier and more attractive. If you are in doubt, try wearing a red dress or red heels and notice the difference in how you get people’s attention. Red leaves you feeling confident and sexy. Try red nail polish; they also do the trick.

Community, Co-creationand Collaboration,

The fashion industry is one of the not-so-many sectors that has armed Nigerians with the ample confidence to dare say, “this is made in Nigeria”, with glistening pride. In this part of the world where ‘local’ takes on a meaning which subconsciously connotes substandard, there is still work to be done to change that perception. But that is not to undermine the groundwork that has been done by some major stakeholders in the industry— most especially the Lagos Fashion Week initiative—to ensure that made-in-Nigeria collections pass the global standard of

quality control to be export-worthy. Every year, the Lagos Fashion Week aims to keep up the tradition of not just celebrating our incredibly rich fashion background and accomplishments but also educating and empowering players across various arms of the ecosystem. There are still a few lapses, however. For this year’s edition, the theme—Collaboration, Community and Co-creation— couldn’t have been more profound as a conversation starter with the potential of catalysing tangible change. Do we really have a strong community of fashion stakeholders in Nigeria? Why don’t we see as many crossbrand collaborations as we see in other industries? Where are we with co-creation?

To get insights, we reached out to two of the country’s prominent designers, Ejiro Amos Tafiri and Ohimai Atafo. Although they have over a decade’s experience, they often shared dissimilar views in their assessments of where Nigerian fashion stands.

Community

When asked if there were active communities within the fashion industry, Ejiro responded in nuanced affirmation. “My answer would be yes, depending on how you want to identify that. If you say between fashion entrepreneurs, do we have a

THEWILL

Cover Image Courtesy: Lagos Fashion Week Photography: Stephen Tayo

collaborative community? Maybe not. But for designers to get their work out, they must work with artisans, fabric designers and merchants, and so on. And, of course, when you talk about the fashion ecosystem, you have everyone from photographers, models, stylists, and journalists. Is there collaboration and seamless work between them?

Absolutely yes. I don’t even think we have a fashion industry—or the Lagos Fashion Week getting to 11 years— without that happening, so yes, we definitely do. But maybe not as much between designers, which I don’t think is unique to us. I don’t think that happens much else anywhere except maybe a guest designer is designing for an age-old brand.”

Ohimai, on the other hand, ascribed a different meaning to the word ‘community.’ He instead looked at it from the broader scope of a singular platform that aggregates the entire fashion ecosystem under one umbrella. “We do not have that in the fashion industry. I think it doesn’t make sense that we don’t. The closest we have is FADAN (Fashion Designer Association Of Nigeria), an organisation that started years ago, and most of the people in it are not practising fashion designers as we know them. There is no reason for people like us (fashion designers) to join because we don’t see the value in joining. In America, you have the CFDA (The Council of Fashion Designers of America). In the UK, you have the British Fashion Council, which tries to propel British fashion wherever it is to a bigger audience and safeguard the designers. They have fashion forms and everything to ensure that their industry is relevant. So we don’t have a council, we have people like the Lagos Fashion Week that try to do things in the industry, but it’s only limited because they don’t have the funding.”

When asked if he could perhaps one day start one, the Savile Row Academy graduate expounded on why that is not feasible. “No, I can’t. For me to start a community means I have to quit my job and do it, it’s not a walk in the park; it’s a full-time thing. Do you know how many fashion designers are in the country? If you do a headcount, you will probably get 3000. If you include everyone that cuts and sews, on every street in Nigeria, there is at least one tailor; they are all part of the ecosystem. Because people that make aso ebi are more than the ones that make collections for the

runway. The former is an every-weekend gig for funerals, weddings, birthdays, and so on. So to create a council, it has to transcend everybody from up to down.”

Co-creation

There is no denying that our fashion industry is not on a competing level as in Europe and America. The structure, built on a community that transcends social strata, is a major differential. The ripple effect of that is an environment that allows for seamless co-creation. To make a collection, many hands are usually on deck— or in this case, a fabric. Ejiro thinks we can do more to celebrate creators working on the backend as much as the designers who make the headlines. “I think that’s what we need to do more of. Like the Golden Globe, you get to see everyone who worked on the film, not just the producer. And that’s the fashion industry’s problem; we only celebrate the producer, whoever paid for the collection, not even necessarily the person designing or developing the fabric technology. It’d be nice to be able to bring one’s crew to the fore or celebrate an award for most ingenious technical pattern making, or just recognition, a way where the whole industry can really be celebrated and seen. It’d be nice to bring all that to the fore, to have an industry that is recognisably eclectic because it is. If you pick any top or established designer and go down the chain of how their work gets done and out, you will see all the number of people that have to work in that value chain for that outfit or collection come to the fore or fashion business to stand. So yes, it’d be nice to recognise all the co-creators because they already exist. Without them, there will be no fashion brand.”

Ohimai would again take a more pragmatic approach to this. When asked what he thinks about sharing the spotlight with everyone else involved in the making of a garment, he came bearing analogies. “My question to that is the people that cook in the restaurant, not the chefs oh, what recognition do they get? The guys that make the cement in the factory for Dangote, what recognition do they get? In the music industry, if I ask you who the sound

engineer for Tuface is, do you know? They are no more celebrated than the security guard that secures the building. Why are they getting special recognition? It’s a job, you get paid your salary, and you should be happy. I think people always mix that up—that creativity is something that shouldn’t have a price tag. It does, either wholesomely or in a diffused fashion, as a garment. So if I’m here and I hire a fashion designer to work for me as a fashion designer, even if the person comes up with all the amazing designs, they only get their salaries; they don’t get to come on the runway to take a bow. Why? Tom Ford has maybe 20 designers working under him; you don’t know what their names are.”

Collaboration

Collaborations are an indication of the soaring fashion industry. In the western world, we see cross-pollination, a working synergy between fashion designers and top brands that aren’t necessarily fashion outfits. Just last month, Tiwa Savage was unveiled as the first Mac maker in Africa. Collaborations like this often take centre stage in the western world, where it happens more frequently than in Nigeria. Again, both our guests interpreted it differently.

Having worked with brands such as Samsung, Vlisco, Belvedere, British Council, Heineken, Daviva, and Paris Fashion Week, to name a few, over the years, Ejiro believes that although largely undocumented, these collaborations are happening. “Let’s backtrack a bit. Mac is a big brand; I don’t know how old they are, but they are probably well over 30 years. Tiwa Savage has been a top brand for about 10-12 years, now, they are partnering with her as the first black Mac maker. So it’s not that it is rampant in the west; I don’t believe that. I believe we don’t have as many companies that have seen the need or have it in their budget or marketing plan. Other brands are always working with celebrities. In fashion, who should partner with who? I partnered with Vlisco as far back as 4-5 years ago. So it’s not true to say it has not been happening or it doesn’t happen. It’s just that we don’t do the research and documentation well enough. Different brands have done that; let’s not knock each other on the foot. It’s been done, and it’s still being done. But bringing it to the fore and making it the theme for this year’s event should help. Let’s document, and let’s celebrate our wins. African designers have been the most sustainable designers since forever. We typically do a few pieces; we put so much in one dress,

so people keep it for as long as possible. I think the problem is information and proper fashion journalism with the right words.”

For Ohimai, however, it would require a rather holistic approach. He ties the absence of frequent collaborations to our society’s perception of a designer’s worth. He spoke passionately.

“An interesting thing in Nigeria is this, I don’t think fashion designers are generally regarded as a force. Recently, the Government recognised some people and gave them different laurels, right? Was there a fashion designer there?

Nobody ever recognises a fashion designer in this country. We are still seen to be tailors that sew clothes that people just wear. It is one of the biggest and highest-revenue-generating industries in this country, but because it is defragmented, we don’t even see the value in it. Even when the partnerships happen, it feels like they are doing the designer a favour as against otherwise. And many of the younger ones are not brave enough to just put their feet down and say, “no, I won’t take this from you.” But the older ones are doing it now because they are more exposed

and their brands are a bit more grounded. So if we make as much money as we should and show off some level that we demand respect, that will come. So to a large extent, that’s why you don’t see those collaborations because who wants to collaborate with a fashion designer and dish out 200 million Naira? Because they feel like they are not getting the worth of it. We are still moved by the fans’ and fanatics’ kind of followership. With no disrespect, why would any media be rambling to interview ex-housemates of Big Brother? It’s a ramble; the press is all there. They want to know, ‘what do you feel about this person?’ ‘Are you in a relationship?’ ‘Did you kiss this person?’ It is sensationalism that moves us, entertainment. Fashion is not entertainment; it is actually manufacturing.

People often mistake it for entertainment, but it is retail; it is production at the most of it. Overseas, a liquor brand will collaborate with a fashion designer to design a new bottle for the brand or even a label. Range Rover collaborated with Victoria Beckham to design the interior of a Range Rover one time. Our local companies here don’t have the foresight, and the international ones will rather stick with the international people. Do you think Tiwa was a fluke? She is the most successful female artist in Africa.”

The Long-overdue Paradigm Shift

So how do we get people to start seeing fashion designers as brands worth working with? How do they earn the reverence that their peers in the entertainment and tech industries possess almost by default? Ohimai proffered a solution.

“Maybe the onus is on us to show them that we have something that they can leverage. When you look at designer brands abroad, they have millions of followers on their brand pages, not their personal pages. So they have marketed their brands to a point whereby it is cool to want to associate with them. Have we done that? What are our activation points as brands? Do we look at ourselves as conglomerates? Do we think we have to put out adverts and campaigns to tell a story of what we stand for and who we are so people can engage with us at that level? And whilst we are doing that, do we have products for every single person? We are not comparing apples for apples because our system is slightly

different from the European system, where a designer makes something and puts it in the store, and you go and pick it up. Here, you go to a designer and say, ‘this is what I want to make.’ If you do that over there, that’s a more expensive outfit, that’s couture, and they charge you ridiculously for that. But over here, that’s the cheaper option, at least to a large extent. So we don’t command the kind of authority that we need to command for brands to say, ‘as a brand, I need help, so I want to collaborate with this brand to do something.’ Apart from blaming people that they do not understand it, are you making them hunger for it? Because that’s the same thing that happened with being an influencer. For the longest time, Nigerian companies did not want to buy the fact that influencers were important; they would rather buy television ads.

But now they’ve changed; they are now engaging influencers. That’s also because the influencers showed them the numbers in terms of millions of followers. And even if they don’t actually influence that many people, we still give them money. So now it’s a case of influence. But in brand marketing, when you are trying to leverage somebody or something, it’s because that person fits into the ethos of your brand, not because the person has followership. If you want to do something for men’s wear fashion in Nigeria, the traditional way, which is suits and stuff, you talk to me. You should believe I’m an authority, and even if I only have 10,000 followers, people are following me because of my expertise, not because I do a dancing video. I guess we have some work to put in before we start seeing collaborations like that come to life, and there has to be some education on the other side, so those guys start to also get how these things work properly. I think it’s on both sides, to be honest.”

For a change of this magnitude to occur, it must be preceded by a paradigm shift. Citing the Range Rover and Victoria Beckham collaboration that Ohimai spoke about, how can we begin to forge partnerships like that within our landscape? Ohimai suggested, “The marketing team of Innoson has to do something. At the end of the day, if they get a top Nigerian designer to design the interior of their car, will that sell them a little bit more than functionality? Yes, it will. But are they looking at that? No, they are not. Because the marketing person doesn’t get it. So that’s the tough part; there are two sides to it. Because now I don’t have to do anything to get Innoson to say, ‘Mai, this is what we have designed, come and look at it and put your seal of approval.’ We have to start thinking that way.”

If you ask the layman about the fashion industry in Nigeria, they will probably speak highly of it. That will not be a wrong observation. As a country, we have made an economically viable product out of almost nothing, as insinuated by Ejiro, and kudos to us for that. However, to build the sort of ecosystem present in the western countries, the structure—which, according to Ohimai, is largely absent— needs a revision, and there’s no better conversation Kickstarter than the Lagos Fashion Week.

A Worthy Closet

These Are Some of the Biggest Retail Fashion

BY KEHINDÉ FAGBULE

Fashion is one of the few things found in all walks of life. Think about it; every single human in the world has interacted with fashion, even if all you wear is leaves. At every level, there are people who ensure that we are clothed exactly how we want. We are constantly buying clothes; there is no denying the excitement we feel after shopping for new

Alára

apparel. And for every single demand for the chicest outfits from fashion-forward Nigerians, there is an equal, if not more, supply to cater to them. Although retail fashion in Nigeria has always been around—with its glaring, directly traceable impact on the fashion ecosystem—some people do it on a whole different scale. Here are some of the biggest fashion retailers in Nigeria

Located in the heart of an upscale part of Lagos, luxury concept store Reni Folawiyo’s Alára, doesn’t just offer fashion; it also serves contemporary art, design, cuisine and culture. Over time, Alara has become a reference store and an essential new destination for costumiers of the local growing district of luxury.

Zinkata

Zinkata Boutique accommodates several fashion brands, including Nkwo, Gozel Green, Emmy Kasbit and other notable designer brands.

According to founder Ezinne Chinkata, the brand is subdivided into three sections—the ready-to-wear store, an e-retail website and fashion styling & consultancy services.

Vane Style

Founded by One-time DOWNTOWN cover woman, Veronica Ebie, Vane Style is a style agency with over 20 years of specialized services in retail brand development, personal style services and corporate projects. They have different brands, such as Habaya, Heritage, Mofari, Lady maker, Peridot and many more, to cater to different kinds of women.

Alara

Vane Style

Veronica Ebie of Vane Styl e

Reni Folawiyo of Alara Lagos

Ezinne Chinkata of Zinkata

Zinkata

8MAKEUP TRENDS TO EXPECT ON THE RUNWAY BEAUTY

1.Bold Lips

Bold lips are a runway essential that is here to stay! And they will hit the runways yet again this season. Whether it is classic red or a more daring colour like black or metallic purple, bold, dramatic lips are the perfect accessory for a statement look on the runway.

Zaron lipsticks and gloss shades like Goth, Amethyst and Va va voom make the perfect choice for this look.

2.Dewy Skin

We can all agree that the “No makeup, makeup look” is always a standard on runway shows. This season, for models strutting the runway, we expect to see that dewy, bare-faced look amplified.

BY MODUPE ADENIYA

It is fashion season in Lagos, Nigeria, and as expected, we are on the lookout for statement makeup and hair transformations that will grace the runway.

With our eyes set on one of the two biggest fashion shows— GTBank Fashion Weekend and Lagos Fashion Week, here are eight makeup trends we are on the lookout for this season.

3.Graphic Liners

This makeup trend has dominated the makeup industry for the past couple of years, with its influence coming majorly from social media sites - TikTok and Instagram. Graphic liners are always a good go-to look for a statement strut.

HD Liquid Eyeliner ZARON

Graphic Liner

ZARON

4.Exaggerated Blushes

There is no such thing as too much blush. Fresh-faced models with flushed or bright cheeks is one look we are definitely on the lookout for, considering the recent soar in makeup trends with blushes. You can achieve natural-like flushed cheeks with Zaron Cheeky Liquid Blush.

5.Sleek And Stylish Hair Looks

From vintage cornrows to slicked-back hairdos, these looks serve as the perfect complement to whatever look the model has on, sleek and stylish but not distracting from the outfits themselves.

7.Smokey Eyes

The Smokey eyes trend is no newbie to the runway industry. From subtle to a bold, dramatic and brazen eye look, we expect to see a comeback of this iconic look this fashion season. The

8.Glossy Lips

As the early-2000s comeback continues, lip looks are gradually transitioning from matte to glossy, and we are here for it. From plain glossy lips to adding a hue of colour or, better still, layering over lipstick to add shine, this is a trend we expect to stay in vogue for a long time.

6.Glitter Splash

It seems the pop of glitter at the New York Fashion Week might have extended to other fashion houses; with many designers embracing this iconic look, there is no shying away from glitters this fashion season.

Smudged Eyeshadow Pallete ZARON

Liquid Blush ZARON

JUST LIKE AGBANI

Cheat Sheet on How to Bag That Model Bod

BY KEHINDÉ FAGBULE

You sometimes look at Supermodels like Agbani Darego and Naomi Campbell and wonder what their routines are. Looking at their impossibly fit figures, as if moulded with clay, it is only normal to assume they both adhere to extreme diet and fitness routines.

Over the years, several Victoria’s Secret models have been asked to divulge their routines to the public. Candid ones cited exercise as a key component of their daily plan. And it doesn’t have to be heavy, with activities such as yoga, hiking, boxing, indoor cycling, and pilates perpetually popping up in responses. These exercises are highly encouraged. The other half of the model health plan is dieting; this is where it gets tricky. Here is a chart to guide you on your journey to Agbani Darego.

FOODS TO EAT AND AVOID

While there’s no specific set of foods to eat and avoid on the Victoria’s Secret Model Diet, there are some basic guidelines.

FOODS TO EAT

Most Victoria’s Secret models follow a diet rich in nutrient-dense whole foods, including fruits, vegetables, whole grains, proteins, and healthy fats. Here are some foods that are encouraged in the diet.

Vegetables: broccoli, cauliflower, tomatoes, asparagus, squash, ewedu, ogbono, gbegiri, bitterleaf, Fruit: berries, apples, oranges, peaches, pears, plums

Animal Proteins: poultry, seafood, lean cuts of meat, eggs (egg whites, not yolk), fish (croaker, shiny, scumbia) Whole grains: quinoa, brown rice, oats, couscous Nuts: walnuts, almonds, pistachios, cashews, macadamia nuts, groundnuts

Seeds: melon seed (egusi), chia seeds, pumpkin seeds, hemp seeds, flax seeds, locust beans

Legumes: chickpeas, beans, lentils, moimoi, akara Healthy fats: coconut oil, olive oil, avocados.

Agbani Darego

DOWNTOWN EATS

FOODS TO AVOID

Although many Victoria’s Secret models note that they don’t eliminate any foods entirely from their diet, many limit certain types of food.

The Victoria’s Secret Model Diet typically limits processed foods, refined grains, sugar, and alcohol. More restrictive diet versions may also limit carbohydrate-rich foods, including starchy vegetables and high-sugar fruits.

Now, we are not asking you to completely eliminate these foods from your diet, as some of them have their advantages. Starchy vegetables, for instance, are high in antioxidants, vitamins, and minerals and should be included as part of your healthy diet. However, you should limit them to about a quarter of your plate. Since starchy vegetables are higher in carbohydrates, they can cause a spike in your blood sugar. Here are some foods to limit or avoid on the diet.

Processed foods: chips, cookies, pretzels, fast food, baked goods, candies

Refined grains: white varieties of pasta, bread, rice, and tortillas

Sugar: table sugar, brown sugar, maple syrup, honey

Alcohol: wine, beer, cocktails, spirits

Starchy vegetables: sweet potatoes, potatoes, corn, peas

High-sugar fruits: pineapple, bananas, mangoes, grapes

THE BOTTOM LINE

Furthermore, the plan places a strong emphasis on exercise. Besides increasing weight loss, regular physical activity may help extend your life and protect against disease.

Because the diet provides a general set of guidelines rather than strict rules or regulations, it may also appeal to those who prefer a diet that offers more flexibility. Don’t worry about support because we at DOWNTOWN are rooting for you!

Avocado

Baked Beans

Bread

Crispy Baked Sweet Potato Fries With Ketchup

PretzelsWine

Honey

Berries

Broccoli

Seafood

BY BOLUWATIFE ADESINA

MOVIE REVIEW:

Werewolf by Night

aligns with other Marvel characters who come from a lot of money. Shot in black and white, aside from the radiant red bloodstone itself, the set looks exactly like a fabrication that speaks to the specific stylization to which it is trying to pay homage. Thanks to the handiwork of production designer Maya Shimoguchi, nothing about this world seems real, yet that aesthetic plays in the film’s favor.

Cinematographer Zoë White also paints a beautifully moody evening and captures lighting in a smooth and seductive manner that lures audiences into this seemingly dangerous world.

Marvelfinally lets superheroes sit in the shadows and brings monsters centre stage with their new Disney + special, Werewolf by Night . Filmed primarily in black and white, audiences are immersed in a gothic atmosphere for one night that is filled with violence and vengeance. Director Michael Giacchino channels his adolescent love of  The Twilight Zone by partnering with writers Heather Quinn and Peter Cameron to create one of the most intriguing Marvel projects to date.

Ulysses Bloodstone, a renowned monster hunter, has passed, and his widow has summoned the best monster hunters from all over to pay their respects. Among them is Jack Russell (Gael García Bernal) and Ulysses’ estranged daughter Elsa (Laura Donnelly). The reanimated corpse of Ulysses reveals the crew is actually there to fight for the role of the ruby-red bloodstone’s new owner, a birthright that Elsa has come back to claim. In order to do so, the gang of killers must retrieve the bloodstone from the back of a monster lurking in the castle garden, which is conveniently littered with various weapons. Once the competition begins, blood is shed, alliances are formed, and secrets are revealed.

The set design of Werewolf by Night will immediately capture audiences who are fans of old-school horror films and Universal Monsters. Various creature heads are mounted on the walls as trophies, and the interior of Bloodstone’s castle is sleek and elegant, which

It wouldn’t be a Marvel movie without fast-paced action filled with fight sequences, and fight coordinator David Conk delivers plenty of punches. Surprisingly, there are some fairly graphic kills and gruesome injuries. However, it’s just borderline violent enough to appeal to the young Disney and Marvel audiences without inducing nightmares. There’s an impressive balance of violence and comedy within its short run time of 52 minutes. Another pleasant surprise is the use of practical effects. The creature design is fantastic, and Jack Russell’s werewolf transformation is reminiscent of An American Werewolf in London because of the mesh of lycanthropic features with human facial elements still visible. Marvel fans will be delighted to see Man-Thing on the big screen, who has a heartwarming and hilarious relationship with Russell.

The storyline is tight and concise but leaves one craving more. Due to its short run time (52 mins), the characters cannot be fully developed and explored. It would benefit Marvel to dive deeper into Jack Russell’s character and summon more monsters in the future, not just because Halloween is around the corner. There are hours and hours of superhero content, but the subtext of these monsters aligns with the Marvel ethos. Utilizing elements of dark comedy, light romance, and friendship, Werewolf by Night is successfully able to balance fun and fright.

Michael Giacchino also composes a largerthan-life score that transports audiences back to the golden age of horror. He successfully blurs the line between man and monster while pushing the envelope on how dark yet delightful MCU characters can be. Werewolf by Night takes an admirable approach to what it means to be a monster and how sometimes the worst monsters are man himself. In Michael Giacchino’s directorial debut, he is able to shine a light on the complexities of man’s dual nature that is suitable for both adults and children alike. In a world full of flashy superheroes, Giacchino shows audiences that sometimes it’s ok to be a monster instead.

A true-crime drama based on the stomach-turning exploits of serial killer Jeffrey Dahmer was never going to make for cosy viewing. But Ryan Murphy’s Dahmer – Monster: The Jeffrey Dahmer Story leans so far into the grisliness –Dahmer would kill, cannibalise and dismember his victims in his Milwaukee apartment – that you will feel your gag reflex kick in within minutes. It’s an unflinching chronicle of unspeakable evil and appears to have set itself the challenge of being entirely unwatchable.

Whether dissecting the OJ Simpson trial in American Crime Story or celebrating queer culture in Eighties New York with Pose, Murphy has long had an obsession with the unexplored wrinkles of the psyche. And yet it’s hard to see the value of delving into the agony and ecstasy of Jeffrey Dahmer (played here by Mare of Easttown’s Evan Peters), a damaged man who channelled his fantasies into crimes too appalling to contemplate.

Netflix is at pains not to glamorise Dahmer while the suffering and humanity of his victims are centre-stage throughout. This is admirable, but as a drama, it translates into a carnival of horror.

“The smell is worse than ever,” complains Dahmer’s neighbour after we see him cleaning a bloodied knife in the opening scene. In a subsequent

WATCH OF THE

If Monster has a saving grace, it is Evan Peters in the title role. A ghoulish nerd in the tradition of Psycho’s Norman Bates, his Dahmer is creepily unflappable. That remains so even when, in the first episode, his latest potential victim (Shaun Brown) escapes and drags the police back to Dahmer’s apartment.

Murphy isn’t the first contemporary figure in film and TV to nurture a fascination with serial killers. Zac Efron portrayed Ted Bundy in 2019; a year later, David Tennant slithered inside the mind of Dennis Nilsen.

flashback to his unhappy childhood, he pores over roadkill. Even the title, with its unnecessary repetition of Dahmer, gives off a queasy vibe.

Hopefully, this isn’t a trend because attempts to bring these specimens to the screen invariably end up somewhere between tedious and grim. That’s certainly true of Monster, a competent and earnest character study that goes out of its way to make the viewer’s insides lurch, and their skin crawl.

Scan this with your camera to access the playlist (Apple Music)

Scan this with your camera to access the playlist (Spotify)

MONSTER:

DAHMER

Black Sabbath - Planet Caravan

Varnish La Piscine - ILLUSION SUR MAUNA LOA セセセセセセセセ - セセセセセ II

Sunni Colón - Supernova THEY. - Blü MoonKartell_ Che Lingo - All In

¿Téo__ Lido - Belong in the Sun

Idris Muhammad - Could Heaven Ever Be Like This

Devin Morrison - It Never Rains (In SoCal)