LIL+ Magazine July 2025 by Lost in a City

Volume 9.8 July2025

The Culture Issue

Editor’s Note

Featured Column: Culture in Flux

Spot of the Month: Nómaada

Interview Oshobor Odion Peter

Interview Uyi Raphael Aisien

TOP 10 RESTAURANTS OWNED BY NIGERIAN CHEFS GLOBALLY

Interview Wunika Mukan 49

FAST FOOD: THE WAY FORWARD FOR THE NIGERIAN FOOD INDUSTRY

Elvis Osifo Editor-in-Chief, Lost in Lagos Plus Magazine IG: @edo.wtf

EDITOR’S NOTE

Owa, Yayi, Oseh, Ozugo!

Yup! This is where we’re dropping now. It’s strange, isn’t it? That we live in one of the most culturally rich nations on Earth, yet feel so far apart. With over 250 ethnic groups in Nigeria, it’s almost understandable that we don’t fully grasp the nuance of one another’s lived realities. But it’s also no excuse.

How far na? Why have we become a people of parallel stories, brushing shoulders but rarely embracing, seeing each other’s colours but seldom feeling their weight. We know what NTA tells us, what Oshodi says in whispers, and what @Theasovilla curates. But do we really know each other? Do we know how a Kanuri family in Borno celebrates childbirth? How an Urhobo community mourns. What a Nupe love song sounds like. Why an Edo man must break the Kolanut in any gathering he’s in. Or why a Tiv stitch holds ancestral memory? And still, our culture is powerful. It is more than exportable. It is currency; hard, sexy, “to-die-for” currency. But before we package and ship it off to those willing to exploit everything “Afro,” we must first ask ourselves: do we know the weight of what we carry?

This landmark Culture Issue is our attempt to begin a necessary conversation. Through the lenses of fashion, music, food, and art, we tried to document our roots, our rhythm, our rituals, and our revelations. Culture in Nigeria. It’s a lot to talk about, so we will not rush, but take it slowly. Really thankful for this new theme.

LOST IN LAGOS 9.8 July2025

In this issue, we call on each Nigerian to feel one another again, deeply, truly, as Nigerians. As kin. Chef Fatmata Binta’s Fulani culinary traditions flows to preserve and promote the nomadic culinary traditions of the Fulani people, where Steven Tones’ traditional roots influence his sound. Gain an insider’s perspective on the business of Afrobeats with Toyin Ajewole, or experience profound cultural insights from music legends like Dantala Jatu Dewan. Oshobo Peter is weaving Edo heritage into every stitch, and Charles Oronsaye’s theatrical world of Nigerian couture is becoming a profound visual experience. Uyi Raphael Aisien will seduce you with Nigerian-flavored cocktails, and Sally Wazhi will immerse you in comfort-first designs that preserve Northern identity. Teejay Ameen is tracing Afrobeats’ roots and Ozoz Sokoh is tracing the diversity and history of Nigerian cuisine. Chiamaka Okwara is highlighting beloved Nigerian dishes, and Nentawe Aaron Gokwat is challenging monolithic cultural portrayals. Check out our list of top 10 places that hold Nigeria’s cultural memory and our list of top 5 Musical Influences that have shaped Afrobeats.

There’s no need to wait. E jeka lo!

#DiscoverNigeria

#ExperienceNigeria

#LostinLagosPlus #LostinLagosPlusMagazine

Title: ‘The Culture Issue’ FOUNDER Tannaz Bahnam PUBLISHED BY Knock Knock Lifestyle Solutions Ltd PRINTER Tee Digital Press

EDITOR-IN-CHIEF Elvis Osifo EDITOR Pelumi Oyesanya DESIGN Ernest Igbes

CONTRIBUTORS Elvis Osifo, Ernest Igbes, Pelumi Oyesanya, Mona Zutshi Opubor, Joseph Mona, Leon Izegbu, Aderonmu Oyinkansola, Chef Derin, Chef Takus, Fola Stag, Wunika Mukan, Ecstasy Museum, Sally Wazhi, Peter Oshobor, Charles Oghogho, Toyin Ajewoleo Oronsaye, Ozoz Sokoh, Fatmata Binta, Chiamaka Okwara, Steven Tones, Teejay Ameen, Aishat Adedire, Oluwaseun Deborah, Derry Dee Mbata, Timothy Kunat, Enemona Udile, Ajigheye EbruphiOghene (Reggie)

#GOTTAHAVEIT

A bit about the Products of the Month

Every month, three products are selected from businesses in Nigeria and shared with you to appeal to your senses. They range from cool, functional items that become indispensable to intimate items that make thoughtful gifts to artefacts you can splurge on and everything in between. This month, I made three picks that will satisfy your tastebuds.

Erupe Armchair by Ile Ila Sunset and sandy beaches: a Nigerian woman.

The Erupe armchair, with its stunning yellow hue and flawless silhouette, is a radiant addition to any home. This statement piece exudes elegance and joy, bringing the warmth of the Nigerian sun into your living space. More than just furniture, the Ile Ila Erupe armchair is an experience, a touch of personal sunshine that whispers beauty and class.

Grey and White Multiprint Strip Culottes by Dye Lab Omoge on the go

This vibrant, smooth, and rich-textured print by Dye Lab Nigeria is surely a must-have in your collection this July. Its easy, breezy feel provides an easy transition from day to night. Made entirely of pure cotton with a touch of Aso-oke, it’s a statement piece that is heavily Nigerian yet heavily modern.

Ivory Butter by Arami Essentials The Achalugo of radiance

This softening whipped shea butter for body and hair targets dry skin, dullness, and scars amongst other benefits. It’s suitable for all skin types except oily skin. This ultimate hydrating body butter is your sure ticket to a lovey-dovey affair with your skin. Summer is approaching and there’s no better time to be wonderful than now.

I’m a 20-something-year-old living in Nigeria, so you know I’m constantly tired. I spend way too much time obsessing over self-care, food, tech, and anything else that makes my life easier, making me your perfect plug for anything! Like most people, I find randomly shopping online at odd hours therapeutic, so much so that if you look into your mirror and say “retail therapy” three times, I will appear.

A BIT ABOUT ME:

Featured Columnist

Mona Zutshi Opubor

CULTURE IN FLUX

Ihave been involved with Lost in Lagos Magazine since the inaugural issue in 2017, when I joined as Editor and Featured Columnist. During the pandemic, I began my pivot from publication to education. My children–who were the centre of my world–started to leave home. As each one departed, I grew lonelier. I wanted the kind of structure and social contact that the solitary life of an artist did not provide.

I began working at a school in 2023, and my next chapter bloomed. Once my responsibilities as a teacher grew, I stepped away from editing, intent on saving my keen eyes for my students. I am fortunate

to now teach English literature at an International Baccalaureate program in Lagos, to young adults who are the age of Nigerian university students.

In all the years of writing for this magazine, this is my first column that is explicitly about culture, but culture fascinates me. We talk about it in the course I teach. It is one of the seven key concepts used to analyze and interpret texts. Students deepen their understanding of ideas by looking at the environment in which they arose. For example, you can’t understand how revolutionary Ibsen’s play A Doll’s House was unless you know a bit about gender roles in Norway at the end of the 1800s.

You need to study culture to see literature for what it is because nothing is created in a vacuum. My students love Chimamanda Adichie’s short stories, many of which are set in Lagos. They can relate to the experiences of the characters because no matter their country of origin, all of them have tasted aspects of Nigerian life.

Culture has been a preoccupation of mine since I was small. I grew up in the USA, the only daughter of immigrant parents. We spent our summers visiting relatives in Kashmir, the northernmost state of India. I shifted between cultures, trying to be American in America and Indian in India.

My parents were disappointed with me. They held beliefs rooted in an India that didn’t exist anymore. They wanted me to be an old fashioned, proper girl, yet they preferred to point out my flaws, not teach me about our culture. They had impossible expectations, and they didn’t know how to raise children. I don’t know how I could have been the shy, retiring daughter they dreamed of and also navigated life in America.

What they could not understand is that culture evolves. What worked for them would not work for me. If my existence had revolved around dutiful service to them–as they hoped–where would I be now? They looked back through the generations and saw culture as static, but that is incorrect. If culture was not meant to change, then why weren’t they speaking Sanskrit like our ancestors? Why did they immigrate to the USA? Why did my mom take aerobics classes, while my dad played golf? Their parents never did such things. Why was it okay for them to adapt to a new culture, but they were furious when their children did?

I have had experiences my forebears could never have dreamt of. I am married to a Nigerian man! That fact alone would make my ancestors turn over in their graves–if they weren’t cremated, I mean. But you know what? I don’t care. The imagined perceptions of long dead relatives were used as a cudgel to control me, but I have had enough of that nonsense. Culture should not be a shackle. The poet Walt Whitman wrote, “I am large, I contain multitudes.” I do, too. I can be a writer, an editor and teacher. I can be Indian, American and Nigerian. I am so many other things, and, and I am not done growing.

I am grateful to my parents for giving me life. Like 19th century Norway and Ibsen, I would not be who I am without my mother and father. I need to understand the environment where I was raised in order to understand myself. However, I will never let culture hold me back from evolving. I wish the same for all of you. Live your truth. If your culture stands in your way, plow through it and see what is on the other side. You are large. You contain multitudes.

Mona Zutshi Opubor is an Indian-American and Nigerian writer. She holds an MSt in Literature and Arts from the University of Oxford, an MA in Creative Writing from Boston University and a BA in English Literature from Columbia University.

SPOT OF THE MONTH

NÓMAADA

Ever so often, Lagos experiences a new gem pushing the boundaries of flavor and experience. But it is rare that this occurrence includes a marriage between Latin American and Asian cuisines in a fusion like no other. With a focus on Nikkei cuisine, where traditional Japanese techniques beautifully blend with bold Peruvian flavors, and Chifa cuisine, a unique fusion of Peruvian and Chinese influences, Nómaada brings about the union of complex flavors that is truly distinctive. But it doesn’t stop there; it takes this love story even further, incorporating influences from across Latin America and Asia to deliver a culinary journey unlike any other.

Here, dining isn’t just about the food; it’s about the experience. Much like a nomad exploring the corners of the world, stepping into this restaurant is akin to that sense of adventure. Local Nigerian artists and artisans have played a pivotal role in shaping the restaurant’s design, with murals that blend Nigerian and Latin influences, creating a visual feast for the eyes. The name itself invites guests to explore new cultures and flavors, tunneling through a luscious

dining experience that would ordinarily not be pushed.

The menu at Nómaada is a masterful blend of sophistication and creativity. Signature dishes like the Acevichado Maki Roll would tantalize even the most discerning tastebuds. Its layers of tender salmon, creamy avocado, and a tangy ceviche-inspired sauce creates a perfect balance of freshness and zest that transports you from the bustling streets of Peru to the serene sushi bars of Japan. The Truffle Ponzu Salmon Belly Nigiri, with its melt-in-your-mouth salmon belly, earthy flavor of truffle and refreshing ponzu sauce citrus burst is another indulgent bite. For those seeking something with a little more fire, the Ajilo Fire Prawns smothered in a spicy garlic sauce would deliver a fiery, savory richness your palate will forever gossip about. And for something truly special, dishes like the Tunno Nikkei Tiradito with hints of Peruvian aji amarillo speaks to Nómaada’s concept.

The Chef’s Table offers a truly intimate dining experience where guests can enjoy a specially curated menu, with an unforgettable

and transportive culinary voyage. If you seek a more relaxed vibe, the outdoor bar invites you to have a cocktail, enjoying the courtyard and admiring the “Mr. Noma” statue, a nod to the restaurant’s wanderlust-inspired concept.

You could try the Mango Sticky Rice Cocktail, a creative masterpiece that captures the essence of the popular Thai dessert. With creamy coconut, tangy mango, and a small treat of sticky rice on a stick, this cocktail is a flavorful ode to Thailand’s beloved dessert. Feeling a bit more adventurous, The Popcorn Cafe Cocktail would challenge your senses, blurring the line between cocktail and dessert, while the Tatemado Jalapeno sour will make you wonder why anyone should really need dessert at all.

But when dessert calls, you must answer, simply not resisting

Grandma’s Nómaada’s Churros. This generous portion of crispy, sweet fried dough, dusted with cinnamon sprinkles, is the perfect way to end your journey at Nómaada.

With its unique concept and exceptional blend of Latin American and Asian flavors, Nómaada is quickly becoming a must-visit destination in Lagos. Whether you’re an avid food lover or simply looking for a place to enjoy a night out, Nómaada offers an unforgettable journey through both culture and cuisine. So come, embark on your own culinary adventure, and let Nómaada show you the world, one bite at a time.

Nómaada

4B Musa Yar’Adua Street, VI, Lagos IG: @Nomaadalagos

Interview

Wunika Mukan

Director, Wunika Munika Gallery

IG: @wunikamukangallery

Meet Wunika Mukan, the director of Wunika Mukan Gallery. She has a significant background in the arts, and has been involved with various cultural and artistic projects. She has served as the Brand Director for the African Artists’ Foundation, a non-profit organization dedicated to the promotion of contemporary African art. Her work extends to major events in the art world, including her involvement with the Nigerian Pavilion at the 57th Venice Biennale, the Lagos Photo Festival, Art Summit Nigeria, and the Kadara Yoruba Heritage Festival.

Before the gallery, before the exhibitions, who were you? What parts of your personal journey shaped the vision behind the Wunika Mukan Gallery?

Before the gallery, I spent some transformative years at the African Artists’ Foundation, a non profit art organization that truly shaped my perspective on the art world through projects like LagosPhoto, The National Art Competition, Artbase Africa. My role there was about connection whether it was coaxing corporations to step up and support the arts during a time when it was far from trendy, or bringing together a diverse array of art organizations to collaborate on projects. There was also the dance of navigating government relations and the general public, trying to get them to understand what we were doing and why it was important.

After my time at the foundation, I took on larger projects like Recyclart with Sterling Bank, Art Summit Nigeria, and

It’s in the strange, out-of-the-box way of thinking, that I find true magic. ‘‘

the Nigeria Pavilion at the Venice Biennale 2017. These experiences opened my eyes to the complex hurdles that artists face. It sparked a fire in me to create a gallery that goes beyond just showcasing art. I envisioned a community hub where artists can thrive, share their stories, and connect with one another. It’s about amplifying voices and providing a platform for innovative expressions.

Curating in Lagos requires both sensitivity and boldness. What drives your curatorial choices? Are there recurring themes or emotional undercurrents you find yourself drawn to?

Curating is a delicate dance of sensitivity and boldness, and honestly, it can be an emotional rollercoaster. I thrive on the honest stories that pulse with life and a quirky twist. There’s something irresistibly captivating about the peculiarities of African experiences, especially when those narratives march

to the beat of individual expression complete with chaos and charm.

I’m drawn to the unconventional. It’s in the strange, out-ofthe-box way of thinking, that I find true magic. I see beauty in the boldness of individualism, especially when it challenges norms or dances along the edges of societal expectations.

Recurring themes, for me, revolve around resilience, and unapologetic individuality fueled by a narrative style that embraces the quirks of life . After all, art isn’t just to be seen; it’s a visceral experience, something that resonates deeply and passionately.

What does a “Nigerian story” mean to you and how do you translate that into visual language through the artists you choose to work with?

A Nigerian story is that of the unbreakable Nigerian spirit. If you’ve lived it you recognize it. I love to share work by artists who continue to challenge themselves through their work using their own lived experiences. Drawing on their experiences with honesty and their own unique voice and flair, making us intern recognize parts of ourselves in the past or yet to come.

Your current show features muralist Ojooluwatide Ojo, exhibiting until June 30th 2025. How did you discover Ojooluwatide’s work, and what about it resonated with you as a curator?

I’d been fortunate enough to run into Tide’s work in Lagos. Her murals and previous exhibitions at Miliki particularly grabbed my attention. I love her textured works but beyond the initial beauty of her palette and the wool she uses to embroider

over parts of her works on canvas the subject matter she covers is always so tender, thoughtful and relatable. Because her work is so relatable the ideas seem easy to convey but it’s actually quite complex to convert such personal stories into artwork that the viewer can completely lose themselves in and also project themselves into.

There’s often a tension between preservation and experimentation. How do you balance showcasing traditional expressions of Nigerian culture with more radical or abstract contemporary forms?

In navigating the tension between preservation and experimentation within Nigerian culture, it becomes crucial to embrace authenticity. Our traditions are not static relics but dynamic expressions that can coexist with radical contemporary forms. To find equilibrium, we must honor what resonates with our identities, merging the old with the new in a way that feels genuinely representative.

The individuals I admire those quirky Africans embody this beautiful blend of tradition and innovation. They navigate life with an honesty that challenges societal norms, often creating art that is both reflective and avant-garde. By showcasing such expressions, we invite audiences to rethink their perception of beauty and identity.

In our gallery, we embrace this quirkiness, encouraging collectors to step outside conventional boundaries. Art should provoke, challenge, and inspire introspection. We aim to create a space where stories, both traditional and experimental intertwine, and reveal new worlds that resonate deeply with individuals. In doing so, we cultivate a richer understanding of ourselves and each other.

Interview Nentawe Aaron Gokwat

Art Curator and Founder, Ecstasy Arts Gallery Jos IG: @ecstasyartsgalleryjos

Nentawe Aaron Gokwat is a visionary visual artist and the driving force behind Ecstasy Arts Gallery, a beacon of modern visual arts in Jos, Plateau State. With a profound dedication to exposing the authentic spirit of Africa, his work is deeply influenced by the ancient Nok culture, and he champions inclusive art engagement through initiatives like “Sip and Paint.” A decorated artist and the esteemed Secretary of the Society of Nigerian Artists, Plateau State chapter, Nentawe’s gallery has become his most expansive and vibrant canvas.

Northern culture is often portrayed as monolithic, yet it’s incredibly diverse. In your experience, how has Northern cultural identity evolved especially among younger artists and creators? What are they reclaiming, reshaping, or releasing?

The unknown often attracts negative reactions or rejection mostly because people simply don’t know enough about it. For far too long, the North has been perceived as monolithic, especially by those who haven’t taken the time to experience it firsthand. As someone born in Zaria and currently based in Jos with the privilege of traveling across various northern states I can confidently say that Northern Nigeria is incredibly diverse. This diversity is reflected

in our festivals, celebrations, languages, and traditions. Events like the Durbar Festival, Argungu Fishing Festival, Nzem Berom, Pusdung, and many others showcase the vibrant cultural expressions of different ethnic groups. The discovery of Nok artifacts, the strong portrayal of royalty, and ancient architectural sites further emphasize the region’s rich heritage. Even the natural landscapes speak volumes, supporting the narrative of deep cultural exchange and long-standing values.

Recently, there has been a noticeable shift especially among younger artists and creators. They are more open, more intentional about telling original stories and presenting accurate perspectives of their people. They are reclaiming the role of storyteller, no longer outsourcing it to outsiders or foreign narratives. This generation has awakened. We are now able to speak more freely about parts of our identity that were once suppressed, misunderstood, or simply overlooked.

The philosophies behind art from this region have long been unexplored but that’s changing. There’s a quiet revolution happening, and I’m proud to be part of it.

What specific forms, symbols, or materials do you consider treasures of Plateau’s cultural identity? Are there practices you’re actively trying to preserve through exhibitions or education whether it’s dyeing, weaving, carving, or ceremonial performance?

Plateau State is a cultural goldmine. It holds a rich tapestry of ethnic groups, each with distinct traditions, symbols, and art forms.

Among the treasures I hold close are Pottery, Iron smelting, terracotta sculpting, and weaving practices that date back to the Nok civilization, which had one of the most advanced early artistic traditions in Africa. The Berom, Afizere, Anaguta, Mwaghavul, and Tarok peoples, among others, also carry strong cultural identities reflected in their architectural patterns, ceremonial performances, textile traditions, and body adornment practices. The symbolism in their beadwork, the addresses, musical instruments, and even in the use of earth pigments in wall painting, tells stories that go beyond words.

At Ecstasy Arts Gallery, we are intentionally working to preserve and reintroduce these traditional art forms in a way that speaks to a new generation. We host exhibitions that center indigenous techniques, and we offer community art sessions and Sip and Paint experiences that encourage younger and older audiences alike to reconnect with their roots. These are more than just creative exercises. They’re acts of cultural memory and resistance.

Across the North and Middle Belt, garments aren’t just decorative, they speak. How do you approach fashion and wearable art as a curatorial focus? And what traditional fashion elements from Plateau are most precious to you?

Absolutely fashion in this part of the world is deeply symbolic. In the North and Middle Belt, what we wear isn’t just about appearance; it’s a visual language. From bead arrangements that signify age and

‘‘

Our stories were never confined to paper. They lived in the architecture of shrines, in the carved figures, in ceremonial dances, in lullabies, and in the marks we wear on our skin.

marital status, to wrappers that speak of clan ties, to turbans and headpieces that carry spiritual or social significance every garment is a story. As a curator and visual artist, I see wearable art as a living archive. It carries memory, meaning, and movement. At Ecstasy Arts Gallery, we’ve begun to explore fashion not just as style but as cultural sculpture, something worn on the body but rooted in ritual, history, and geography. We’re interested in how traditional fashion can merge with contemporary design without losing its soul.

From Plateau specifically, I hold a deep reverence for the Berom and Afizere beadwork, the richly layered iron shells used in Ngas ceremonial dances, and the handwoven fabrics and body adornments found in communities like the Mwaghavul and Ngas. Each piece speaks of belonging, lineage, or purpose often made with materials that are sourced directly from the land. We’re currently exploring projects that showcase these elements through photographic storytelling, mixed media, and live exhibitions, where wearable pieces are displayed alongside the stories and practices they represent. It’s about preserving the message, not just the material. In a time when globalization threatens to erase cultural specifics, treating fashion as art and as heritage is one way we can protect and evolve these expressions.

Much of Nigeria’s ancient history isn’t written, it’s sculpted, sung, painted, or told. How does the gallery approach the idea of art as oral tradition in visual form? Are you curating works that document fading rituals or reinterpret ancestral

memory?

That’s the truth Nigeria’s ancient history lives in the body, in sound, in rhythm, in form. It has always been oral, performative, and visual. Our stories were never confined to paper. They lived in the architecture of shrines, in the carved figures, in ceremonial dances, in lullabies, and in the marks we wear on our skin.

At Ecstasy Arts Gallery, we approach art as a continuation of that oral tradition, a language that speaks even when words are absent. Many of the works we curate, whether paintings or sculptures are rooted in cultural memory. They reinterpret rituals, ancestral symbols, and native philosophies in a way that brings the past into conversation with the present.

We are especially interested in works that revive fading rituals or reinterpret myths and beliefs that younger generations may no longer know. Some of our artists explore themes like fertility rites, initiation ceremonies, ancestral worship, and seasonal festivals translating them into contemporary visual narratives. This kind of work doesn’t just preserve memory; it invites reflection and participation, especially for people disconnected from those roots. We also see the gallery as a space of cultural education. Through exhibitions, talks, and community events, we encourage dialogue around the meanings behind these visual traditions.

Every gallery has a quiet belief system. What philosophy drives your curation? Are you more drawn to bold provocation, quiet reflection, or cultural fidelity?

And how do you decide which artists or stories deserve space at this moment in Nigerian history?

At Ecstasy Arts Gallery, our guiding philosophy is rooted in truth, cultural relevance, and intention. We are driven by the belief that art should not only be beautiful, it should be meaningful. Our curation leans into cultural fidelity, but also creates space for bold provocation and quiet reflection, depending on what a piece is saying and how it engages with the present moment. We’re particularly drawn to work that feels necessary, not just trendy. That could be a sculpture echoing ancestral memory, a painting confronting political silence, or a visual expression of personal healing. What matters most is authenticity. We ask: Is the work saying something real? Is it contributing to the cultural archive of our time? Is it making someone think, remember, or question?

Curation for us is also an act of advocacy. In a country like Nigeria, where so many voices are unheard or erased, we intentionally give space to artists who are preserving endangered heritage, challenging norms, or redefining what it means to be Nigerian today especially from perspectives that are often overlooked, such as Northern, Middle Belt, or rural voices.

At this moment in history, when identity, memory, and meaning are being renegotiated across Africa, we feel a deep responsibility to hold space for stories that matter, and to do so with care, conviction, and cultural integrity.

Interview Oshobo Odion Peter Founder & Creative Director, OSHOBOR

Your brand OSHOBOR is rooted in Edo heritage and inspired by the love between fathers and sons. Can you take us back to the very moment the idea of this brand was born?

It is inspired by love, yes, between fathers and sons, very true. So I had started the brand in 2020 and for what it was, I wanted to be a fashion designer and show people what I was capable of doing. But I knew that I wasn’t hitting the right spot when I initially started because I was trying to find my identity, find myself, a brand voice. Then it became a reality when, in 2021, I got on a platform called Design Fashion Africa, where, with nine other designers we were mentored by Adebayo Oke Lawal, the Style Infidel, Akin Faminu, Ituen Bassey and Godson Ukaegbu, amongst many others. We had the opportunity to speak with these people, get advice from them, and learn from them. We had them examine our brands and tell us what we’re getting wrong.

Godson Ukaegbu, though he didn’t want to talk to me at first, told me “you’re trying so hard to be international when you can be yourself, you can be indigenous and yet you will be global, they will look for you.” I was like, “I don’t understand.” You realize that the moment you’re African, the international

‘‘ Heritage can serve as both archive and prophecy

So changing the name before releasing the collection was a good thing; so the collection would now promote the new name. And that’s what I did, and it was so good.

Benin City, rich with culture and tradition, is not often at the forefront of Nigeria’s fashion capital narrative. Why did you choose to stay rooted there, and how does that decision influence your creative process and storytelling?

Meet Oshobo Odion

Peter, the Creative Director of the indigenously sustainable luxury fashion brand OSHOBOR. OSHOBOR has carved a niche for itself by creating pieces that are deeply rooted in Nigerian culture and narratives. The brand is known for its eccentric and vibrant designs, which often tell stories and aim to challenge societal norms, such as toxic masculinity. They have released several collections with evocative names like “EDO ODION” a tribute to the Edo people and the Benin Kingdom, and “NA MAN YOU BE” which critiques certain societal expectations of men.

market will look for you because you are what they do not have. When you’re trying so hard to be like them, you are trying to be what they already have, so they wouldn’t pay attention to you. It made sense. I wanted something so big for myself and for the brand, and I was going to put a name that had so much weight, power, legacy, influence, and history. And I settled with my surname. It didn’t take me up to two days, I got a logo. I set things rolling. Why? Because a month after I was to leave the Design Fashion Africa contest, I was supposed to launch a new collection.

I was in Lagos at the time when I started my brand. Two years later, I decided to move out of Lagos. First of all, I believe that you can be anything you want to be from any part of the world. I don’t think that location should be a hindrance to someone achieving greatness. I know the potential I have. I know what I’m made of. I knew that what I was or what I had in me was bigger than wherever I stayed. But then again, I needed to prioritize my mental health, my peace of mind, and I realized that Lagos wasn’t that place for me. So I studied in Benin, and I knew what it felt like to stay in Benin. I was born and brought up in Lagos, went back to Lagos after graduation. I knew what it was like to be in both cities. I thought, “you know what? Benin is peaceful.”

Benin is good for my mental health. I’d rather stay here. There were thoughts and worries and concerns from family and friends. People do things from anywhere in the world. Why should going to Benin change anything? In fact I just got back from a showcase I did in Paris. I just had this belief that I could move mountains all the way from Benin. Owing to the fact that I had the Edo collection in view right from the inception of the brand, I understood that being in a place that inspires the collection would make it more interesting. Plus, unlike Lagos, Benin market is untapped in so many areas. I knew I could get labor in Benin. I knew I could get a lot of things. I could expand my business better in Benin than in Lagos. Not because I have clients in Benin. I don’t. Neither did I have that many clients in Lagos. So there was really nothing keeping me there. Moving to Benin was the best option.

As we explore Nigerian culture through the lens of fashion in this issue, we’re interested in how heritage can serve as both archive and prophecy. What elements of your Edo culture do you

preserve intentionally in your work, and what do you hope OSHOBOR will say about Nigerian fashion 50 years from now?

Of course, heritage can serve as both archive and prophecy. In some of the pieces from this Edo collection, you see that I didn’t even shoot a look book for the entire collection. I only shot editorials in a very Edo-like setting. The reason is because I wanted to preserve these pieces, the culture, the tradition, the collection. And I’ve been able to do that successfully. Upon releasing this collection, I had two different people reach out to me to make an ‘Edo collection’ that can be displayed in an art gallery or a museum. These are good ways that we can promote our heritage in archives.

When it comes to prophecy, it means we are telling what the future holds. And with what we are doing, pushing the narrative culture through fashion, we know that we are giving people, future designers, a trail to follow. We are letting them know that the future is bright. Everything is going to look better, everything is going to get better. But one thing is certain, the Edo culture remains the same. Queen Idia, Coral beads, the Festac mask, and the Ada and Ebe are not going to change. Neither will the coral beads change. All of these things are permanent. They are archives that have been kept and preserved for years and will remain. But every other thing leading to that and compliments that, like: the fashion, how we are presented, how we are seen, how we are accepted and appreciated for what and who we are, will definitely evolve, change and get better. I think that in the next 50 years, Nigerian fashion will be very indigenous. A

lot of people would wear Nigerian. A lot of people would wear African. ‘Nigerian’ will be at the forefront of fashion in the world.

Sustainability is a huge part of your practice. In a country like Nigeria where access to sustainable materials and practices can be complex, what does sustainable design look like in reality for OSHOBOR?

Sustainable design for OSHOBOR looks like a three-month and five-month’s work on just a dress. Maybe I need to show a video of what it looks like to install wool on damaged fabrics, on lace fabrics, on dead stock fabrics, on every kind of fabric. It’s tedious. It requires patience. It requires time. It requires love. Yes, it requires love, most importantly. Sustainability is not only recycling, it is also upcycle, which we do here. Sustainability is slow fashion. Sustainability is taking your time to make garments that will stand the test of time. Sustainability is making pieces that are worthwhile, that you can keep and you can pass on from generation to generation. Why? Because every process, everything that went into that garment was carefully thought and made.

Who are you designing for? Describe the OSHOBOR wearer, not just how they look, but how they feel, move, and take up space.

We are designing for every man out there who dares to be different, every woman who is in touch with her emotions, for men and women who have roots and ties to their cultural heritage, and those who relate to our story: Love, culture, hurt, heartbreak,

survival. Those are the people we are designing for. People that understand our narrative, people that are ready to literally take up space with OSHOBOR, because OSHOBOR takes up space.

Finally, how would you define Nigerian fashion, not from the eyes of Lagos or global runways, but from the eyes of Benin, from your roots, and from the heart of OSHOBOR?

Nigerian fashion is evolving. Not from the eyes of the global stage, or Lagos, or from the eyes of Peter Odion that is based in Benin. I like to see that there is change, growth, and evidence in all that we do as fashion lovers, because it cuts across designers now.

We go back to our roots, dig up designs and refurbish them. We dig up stories and inspirations and come back to tell the world. It goes to show that we are evolving. And in evolving, we are not leaving our past, our history, our culture. We are carrying it alongside with us. This is something that means a lot to me. I just also like that we are doing it with so much intentionality. It’s almost as though we are not trying to impress anybody, we are doing it because we have to do it. I love that that is happening. People see that Nigerian fashion is evolving, even in Benin, because the things we couldn’t wear years ago, we can wear now in Benin. Places we couldn’t enter looking like fashion people, we can enter there now. People now understand that fashion can take you to places, whether as a wearer, a seller or a buyer. So yes, fashion is evolving, and with OSHOBOR we are taking our roots along with us.

‘‘

Ba da

garaje ba, shine abin zai yi kyau.

Meet Sally Wazhi, the visionary founder and Creative Director behind the eponymous fashion brand based in Jos, Nigeria. Her brand crafts elegant, comfort-first womenswear, thoughtfully designed for Black women navigating the beautiful changes of motherhood, work, and womanhood. With a focus on modest, structured, and feminine designs inspired by the quiet strength of Northern women, Sally is dedicated to restoring confidence and helping women feel seen and beautiful without compromising on comfort.

Many Northern women learn fabric care, wrapper styling, and modest tailoring from mothers and aunties fashion as an oral tradition. What cultural lessons around fabric and femininity were passed down to you? And how do those teachings shape the soul of GlamGarments?

What made me pay particular attention to fabric was laundry time growing up. My mother treated her wrappers like royalty. She avoided harsh scrubbing, didn’t use strong detergents, and always added a pinch of salt to the water she believed helped preserve the colours and stop them from running. To her, the condition of the fabric determined whether an outfit was still wearable or had already become a rag. I remember her saying in Hausa: “Ba da garaje ba, shine abin zai yi kyau.” (It’s not by the exertion of force that a thing becomes beautiful.)

That simple sentence stayed with me. It taught me the biblical principle of tending and keeping that beauty isn’t forced. It’s preserved through deliberate, gentle care.

That same wisdom influences how I design today. I believe that no matter how much

a woman has laboured in life through childbirth, work, or personal battles her beauty can still be preserved. All it takes is clothing that honours her body with comfort and elegance. No pressure. No harsh standards. Just the kind of care my mother showed her wrappers.

In today’s world where global fast fashion often erases local aesthetics, do you see your work as a form of cultural resistance? How intentional are you about preserving Northern identity through your designs, even as trends evolve?

Trends come and go that’s exactly why I never feel pressured to follow them. Especially now, when revealing elements seem to be the new standard in design, I’ve chosen to walk a different path. In the North and Middle Belt, one thing that stands out culturally is modesty. There’s a quiet belief here that a woman is like a delicate rose, beautiful, soft, and worthy of protection from the harshness of the world if she’s to keep blooming. That belief has shaped my design philosophy. When you think of the SallyWazhi fashion brand, I want you to think: Modesty. Ease. Preserved beauty.

Sally Wazhi Fashion Designer and Creative Director

In many cultures, fabric can be a political statement about what you wear, how you wear it, and where it’s sourced from. Are there moments in your design journey where choosing a particular fabric or style felt like reclaiming a story, a people, or a voice?

Absolutely. One clear moment was in my Bouquet 35 collection created to celebrate the African woman’s blooming. Not just her beauty, but her process. Her becoming. I needed a fabric that could speak that language, something textured, rich, alive. But the available 3D options felt limiting. They weren’t telling our story.

So I created my own fabric. Every floral detail was placed by hand, not just for decoration, but to embody the idea that a woman’s bloom is not silent. It can be felt in her movement, in her presence. Just touch her, and you’ll know: She has stories. She has survived. And she’s still blossoming. That collection was a way of reclaiming space for our story.

In the Northern Nigerian context, fabric is never just fabric; it carries weight as

history, status, spirituality, and beauty. From the matte discipline of shadda to the celebratory shimmer of lace, every cloth speaks to something deeper. As a designer, how do you select fabrics that not only suit the silhouette but also preserve cultural meaning?

If given the choice, I’d always pick heritage over just elegance but when a fabric can carry both, I go for it. I believe every fabric is saying something. That’s why it’s easy to tell which ones feel luxurious, which ones carry culture, or which are soft enough to wrap a baby in. They all come with their own kind of message. One fabric I’ve really enjoyed working with is guodo. I call it the Northern Aso-Oke, and it’s been part of my collections for the past three years.

It’s rich, soft, but still holds structure just like the Black woman. It reminds me of the kind of strength that’s not loud but very present. When I choose fabrics, I’m not just looking at the color or shine. I’m asking: “Will this fabric match the kind of woman I’m designing for?” It has to carry her story, not just her shape.

Finally, is there a particular fabric you always return to one that, for you, holds spirit, memory, or grounding? What story does it carry for you as a Northern woman, and what do you hope others feel when they wear it through your designs?

One fabric I keep going back to is guodo, especially the type our mothers and grandmothers used to wear. I remember making a jacket out of my mum’s old Aso Oke/guodo wrapper. Honestly, that piece felt different. It wasn’t just a design, it was like I was carrying her with me. Her story, her strength, everything she had poured into raising us.

I’ve had this dream for a while now to reclaim those old wrappers from our mothers and grandmothers and turn them into modern, stylish outfits. Not just for fashion, but as a way of saying, “This is where I come from and I honour it.”

Guodo just feels like home to me. It’s soft, it’s structured, it’s steady like a woman who’s seen life and is still standing.

Interview

Chef Fatmata Binta Founder,

Dine on a mat & Fulani Kitchen foundation

M

eet Chef Fatmata Binta, a celebrated Fulani chef, storyteller, and the visionary founder of Dine on a Mat and the Fulani Kitchen Foundation. Born in Sierra Leone to a family with Guinean roots, her work passionately preserves and promotes the nomadic culinary traditions of the Fulani people across West Africa, including Nigeria. Through her initiatives, she collaborates with rural communities, particularly women, to document and celebrate these rich, indigenous food systems.

For us Fulani people, food isn’t just about nourishment, it’s a way of life, a reflection of our connection to land, livestock, and movement. ‘‘

As a chef who champions indigenous ingredients, what are some underutilized or lesser-known Nigerian ingredients that you believe have immense potential to be highlighted on a global culinary stage?

When we talk about underutilised ingredients, I’m immediately drawn to the grains, herbs, and wild foods the Fulani people have relied on for generations. Fonio (or Acha, as it’s known in Nigeria) is a perfect example, it’s one of Africa’s oldest cultivated grains, drought-resistant, nutritious, and incredibly adaptable. You’ll also find the Fulani using fermented milk in creative ways, incorporating nono, fura, and even millet to create balanced, energy-rich meals that are both sustainable and flavourful. Spices like sumbala (fermented locust bean) and wild leafy greens also play important roles. These ingredients have enormous potential to shine on the global stage, not just for their health benefits, but for the stories they carry.

Beyond the flavors, how do you see Nigerian traditional

meals contributing to the preservation of cultural heritage and identity in a rapidly globalizing world?

For us Fulani people, food isn’t just about nourishment, it’s a way of life, a reflection of our connection to land, livestock, and movement. Traditional meals like Fura da Nono are more than just refreshing, they carry ancestral knowledge. They teach patience, craftsmanship, and community. In today’s fast-moving world, our nomadic foodways remind us to slow down, to honour what’s local and seasonal, and to appreciate simplicity with depth. These meals hold language, ritual, and values, preserving our identity in the face of change.

Are there specific Nigerian traditional meals that you believe hold significant historical or spiritual importance, and what stories do they tell?

Absolutely. Many Fulani dishes are rooted in deep traditions passed down orally. Take Lakh (a millet porridge served with fermented milk or soured cream) it’s often associated with

hospitality and blessings. Preparing milk-based dishes is almost sacred in Fulani culture, especially among pastoralist families. It speaks to our spiritual connection with cattle, land, and the environment. These dishes are often part of ceremonies, harvest celebrations, or rites of passage, every ingredient chosen with intention.

In your work with the Fulani Kitchen Foundation and empowering women, do you see parallels or opportunities to support Nigerian women in preserving and promoting their traditional culinary knowledge and skills?

Yes, and this is something that sits at the heart of my work. I’ve seen first-hand the brilliance of Fulani women in Nigeria, how they preserve traditional knowledge, prepare foods with care and meaning, and pass down culinary techniques that are centuries old. There’s so much untapped potential. Through the Fulani Kitchen Foundation, I see opportunities to create

learning exchanges, support systems, and business models that centre these women, not just as keepers of tradition but as innovators and leaders in the food space.

If you were to introduce a traditional Nigerian meal to someone unfamiliar with West African cuisine, which dish would you choose and what narrative would you weave around it to convey its cultural significance?

I would like to introduce Fura da Nono. It’s simple yet deeply profound. I’d tell the story of how it’s made, how the millet is soaked, spiced, pounded, and rolled into balls, and how the milk is fermented naturally over time. It’s a dish of patience and pride. Sharing it is an act of generosity. It’s cooling, nourishing, and refreshing, but most of all, it’s a cultural emblem. It tells the story of movement, adaptation, and the Fulani people’s unique bond with the natural world.

Interview

Ozoz Sokoh

Author and Culinary expert

eet Ozoz Sokoh, a culinary explorer, educator, and author of the debut cookbook, Chop Chop: Cooking the Food of Nigeria. With a journey from geology to gastronomy, she masterfully documents and reclaims West African foodways, celebrating the joy of eating through her Feast Afrique platform. A professor of Food and Tourism Studies, Ozoz inspires with her passion for food and culture from her home in Mississauga, Canada.

Given your extensive work documenting Nigerian food heritage, what do you think is the most underappreciated or misunderstood aspect of Nigerian cultural meals by those outside of Nigeria?

The diversity, complexity, and strong history is the most underappreciated aspect of Nigerian cuisine. Nigerian cuisine has influenced food cultures across the world from Brazil to the American South. Ingredients, dishes, drinks, techniques and more have taken root outside of Nigerian borders, with a legacy that stretches back 400 years as a result of the transatlantic enslavement of Africans. Enslaved West Africans contributed a lot of intellectual knowledge that created successful crops in many parts of the world like how to grow rice in the American Carolinas.

If you had to introduce Nigerian food to a foreigner, which single dish would you pick to leave a lasting impression on their taste buds, and why?

I’d choose Pepper soup for its conversation starter possibilities, as well as its character, flavor, and possibility. It also showcases the unique way Nigerians name dishes, most cultures have a healing, spiced broth providing another layer of connection, it’s versatile, and it’s easy to give people the

spice blend to explore and make their own.

If you could give a “flavor high-five” to one aspect of Nigerian food culture for its impact on the world, which one would get it?

Yajin kulikuli, also known as Yajin kuli, is an aromatic and delicious nutty spice blend. Think sweet and smoky spice and heat, warm, earthy, with deep savory notes. It is incredibly versatile beyond its use as a dip for grilled pieces of suya (meat) added to sauces and dressings, sprinkle over salads, use with fruit and vegetables, and more. It isn’t only packed with flavor, it has a delightful texture. It speaks to the heritage of ingenuity, first with the pioneering transformation of peanut paste to kulikuli by the Nupe, and the knowledge and mastery of meat by the Hausas in the north of Nigeria.

You’ve often highlighted “Food Is More Than Eating.” Could you elaborate on what that means for us?

Every time we hold a plate of food, a glass filled with a drink, there’s more to it than nourishment. The ingredients tell multiple stories, of trade, agriculture, religion, history, geography, influences, culture, identity and more.

Take Nigerian Jollof Rice with tomatoes and peppers, none of which are native to the West African continent. The name? It links us to other places across West Africa and anchors us in the historic 14th century Jollof Empire, in today’s Senegambian region. The kind of rice we often use today? Parboiled long-grain rice, Oryza sativa. Growing up, my mum sometimes used the red-streaked rice from Ekpoma or Abakaliki, Oryza glaberrima, African rice. How did we go from one to the other?

We can learn so much by figuring out the stories the ingredients are telling us. They are saying much more than “fill your bellies”, they are inviting us to explore, go deeper, learn.

What’s a Nigerian meal that you think young Nigerians should absolutely master, not just for the taste, but because it lets everyone else know that “this is a Nigerian?

Stew.

Everyone should know how to make good Nigerian stew - it is delicious, can be used in so many ways, and is the base of so many dishes. So yes, stew, for sure.

Photograph by Oluwapelumi Bamidele

Interview

Steven Tones

Musician and Songwriter

eet Steven Tones, a talented musician and songwriter whose musical journey began in Edo State, Nigeria. Since 2015, the artist, born Omigie Stephen, has been professionally creating music, recently captivating audiences with his latest single, “ONE MORE NIGHT.”

‘‘Traditional Nigerian folklore can inspire the lyrics and narratives in today’s Afrobeats

Growing up in Nigeria, what was your earliest and most impactful exposure to traditional Nigerian music?

Hmmm, Growing up in Nigeria, I was exposed to traditional Nigerian music as a child and this became the foundation of my sound discovery as an artist.

The likes of Late Sir Victor Uwaifo, Bright Chimezie, King Sunny Ade, Young Bolivia, Pasuma wonder and many others were and still are my biggest inspiration. Back then I just wanted to sound like them. For example, I was so into Yoruba (Fuji) music that although I couldn’t speak or even interpret what was being said, I enjoyed the sound I heard and it became one of the blueprints for the creation of my own sound today.

Your single “Iyawo Mi” has a title deeply rooted in Nigerian culture. How do you consciously weave traditional themes and storytelling into your modern songwriting?

It’s natural for me to mix traditional sound and modern melodies together due to my exposure to both worlds from the very beginning. ‘IYAWO MI’ means ‘MY WIFE’ in English and it’s just a reflection of the sound within my soul that seeks expression daily.

If you were to create a “Nigerian Music 101” playlist for the world, which three traditional or foundational artists would be at the very top?

If i was to create a “Nigerian Music 101” playlist for the world, the likes of Late Sir Victor Uwaifo, Young Bolivia and Bright Chimezie would be atop the list.

How do you think the storytelling in traditional Nigerian folklore can inspire the lyrics and narratives in today’s Afrobeats?

Story telling is a major part of any music composition and it’s what truly makes a song meaningful. I believe that Music is not only a tool to entertain but also to inform and eventually transform the human mind for the better. So, in many ways, the storytelling in traditional Nigerian folklore can inspire the lyrics and narratives in today’s afrobeats. Afrobeats artists can leverage the story telling in traditional Nigerian folklore in their songs. For example, we have Shallipopi’s Obapluto, which is about the story of the late Oba of Benin, Oba Ovonramwen Nogbaisi, who was exiled to Calabar during the great benin massacre. The song turned out to be a monster hit both within and outside

Nigeria. This is a typical example of how storytelling in traditional Nigerian folklore can inspire the lyrics and narratives in today’s afrobeats

Looking ahead, what is your hope for the future of Nigerian music, and what role do you see cultural and traditional sounds playing in its evolution?

I see a complete domination of the global music space by Nigerian Music. In fact, this is already happening. A big shout out to Burna Boy, Davido, Wizkid, Rema and the many other distinguished Artists who have been working tirelessly to make this long dream a reality.

I see cultural and traditional sounds playing a very big role in the evolution of Nigerian music. As a matter of fact, this is happening. We are already seeing the infusion of traditional sounds in our contemporary music through devices such as sampling and interpolation. We saw the infusion of Bright Chimezie’s “Because of English” in Davido and Omah Lay’s “With You.” This is a major example of how our traditional sound is shaping our modern sound, which we are exporting to the world.

Interview

Meet Uyi Raphael Aisien

Founder, Ralph’s Cocktails and Mixologist

IG:ralphs_cocktails

Meet Uyi Raphael Aisien (“Mr. Ralph”) the founder of Ralph’s Cocktails, a leading cocktail catering brand based in Benin City, Edo State. A graduate of the European Bartender School, his expertise is backed by prestigious wins, including the Diageo Cocktail Challenge at Lagos Cocktail Week 2022 and the Angostura Cocktail Challenge. His brand has catered over 325 events across Nigeria. Beyond the bar, he is a dedicated content creator and mentor, training aspiring mixologists and collaborating with global brands to craft unique African cocktail recipes and engaging content.

Each local ingredient is a chance to put Nigeria on the map in a fresh, creative way.

What inspired all of these? Ralph’s Cocktails? Nice! What’s the story?

Ralph’s Cocktails started out as a simple hobby. I’ve always enjoyed mixing drinks and experimenting with flavours, so I often invited friends over to try out my creations, and they genuinely loved them. The turning point came when my wife’s sister was planning her birthday party. She casually asked if I could handle the cocktails for the event. At first, I was hesitant because I had never made cocktails on a large scale before, but with a bit of encouragement, I decided to give it a shot.

I got a few basic tools, sourced the ingredients, and prepared cocktails for the party. To my surprise, the guests were blown away. Their reactions made me realise that this wasn’t just a fun pastime, it had real potential. That’s when the idea of turning my passion into a full-fledged business was born.

You’re known for fusing local ingredients with classic cocktail techniques. What Nigerian flavours or spices do you feel are still underexplored in the global bar scene, and how are you showcasing them?

One of my biggest passions as a mixologist is celebrating Nigerian ingredients. On my page, @ralphs_cocktails, I’ve worked with flavours like tigernuts, zobo, pepper fruit, velvet tamarind, and even palm wineingredients that are deeply rooted in our food culture but rarely explored in cocktails.

I believe these flavours offer richness, depth, and a true taste of home, and they deserve a seat at the global bar table. In many of my recipes, I use these ingredients not just for flavour, but to tell stories, like combining palm wine with Hennessy VS to bridge local tradition and global taste, or infusing syrups with hibiscus and alligator pepper to create something truly bold and unforgettable. My goal is to shift the mindset from seeing cocktails as just a mere indulgence to viewing them as a cultural expression. Each

local ingredient is a chance to put Nigeria on the map in a fresh, creative way.

In a culinary world increasingly focused on storytelling, how do you craft a cocktail menu that not only tastes good but tells a story about where you’re from?

For me, cocktails are more than just drinks, they’re stories in a glass. Cocktails can be built to reflect where you are from, using local ingredients like tigernuts, scent leaf, pepper fruit and palm wine to craft flavours that feel both nostalgic and new. I usually love naming such cocktails after funny slangs, or shared memories that Nigerians instantly connect with. It’s my way of celebrating our culture and showing that cocktails can be a powerful form of storytelling and reliving memories. Through @ralphs_cocktails, I’ve seen how people light up when a drink reminds them of home or a childhood memory and that’s the experience I aim to create.

For example, I once created a cocktail using pepper fruit (a beloved local fruit in Benin) and named it “Pepper Dem.” The drink sparked nostalgia, reminding people of how their parents introduced them to the fruit growing up. The name itself, a playful Nigerian slang, tied it all together while capturing the spicy kick of the fruit and connecting with people’s own memories and stories. It’s more than a

drink, it’s a taste of home.

Your brand operates from Benin, not Lagos or Abuja. What has it meant to champion bar culture outside the usual hotspots? Have you faced unique challenges or found unexpected advantages?

Operating from Benin, instead of Lagos or Abuja, has been both intentional and rewarding. It’s proof that creativity and excellence aren’t limited to Nigeria’s biggest cities. At first, it was a challenge because cocktail culture wasn’t as mainstream here, and resources were harder to access. But over time, I saw that as an opportunity to build something unique. Through Ralph’s Cocktails, I’ve helped introduce and grow appreciation for crafted drinks in this space. It’s fulfilling to know we’re raising the bar and proving that great things can start from anywhere, including Benin.

Cocktails are often seen as indulgent or reserved for nightlife, but they’re also a medium for cultural expression. What role do you think bartenders like you play in shaping Nigeria’s modern food and drinks narrative?

As a bartender and storyteller, I see cocktails as a powerful medium for cultural expression - not just a nightlife indulgence. Through @ralphs_cocktails,

I’ve learned that every ingredient, from zobo to palm wine, carries a piece of our identity. Bartenders like me have the unique role of blending creativity with culture, showing that drinks can tell stories, spark memories, and even preserve tradition. We’re helping reshape how people see Nigerian flavours, not just as ingredients, but as experiences that belong on the global stage.

Lastly, what does “homegrown” mean to you in your craft? And how do you see Ralph’s Cocktails evolving to leave a legacy in the Nigerian (and African) beverage industry?

For me, “homegrown” means staying true to my roots, using what’s around me, drawing inspiration from where I come from, and proudly showcasing Nigerian flavours in my creations. It’s about proving that we don’t need to look outside to create world-class experiences.

With Ralph’s Cocktails, my goal is to build more than just a brand, I want to create a movement. One that uplifts local ingredients, trains and inspires the next generation of mixologists, and puts African cocktail culture on the global map. This is just the beginning. I see Ralph’s Cocktails evolving into a legacy that celebrates who we are, where we’re from, and how far we can go.

‘‘

Every Step forward is another milestone for the Nigerian music scene

Meet Teejay Ameen (born Ameen Olatunji Yusuf), a dynamic broadcast journalist and culture curator with over seven years of experience in the entertainment industry. He is celebrated for his compelling presence as a VJ and for his powerful advocacy on behalf of people with albinism.

From your perspective as a broadcast journalist and entertainment executive, how have traditional Nigerian music genres like Fuji, Jùjú, and Highlife contributed to the rhythms and melodies for what the world now knows as Afrobeats today?

Afrobeats, as a genre, is fundamentally a fusion of diverse sounds that is rooted deeply in popular traditional music genres. These traditional styles form the backbone of what we now recognize as Afrobeats. If you listen closely, you’ll notice distinct elements of Fuji, Highlife, and Juju woven into many of today’s biggest Afrobeats hits. It’s this blend, the influence and integration of these rich, indigenous sounds that gives Afrobeats its authenticity and has

propelled it to a prominent place on the global music stage.

How has the use of Nigerian Pidgin and local languages in lyrics contributed to the unique identity of Afrobeats, and do you see this as a barrier or a bridge for international listeners?

Language is a vital part of our cultural identity as Nigerians and Africans more broadly, this naturally reflects in our music. Take Despacito, for instance: one of the most streamed songs in the world, sung entirely in Spanish, yet it resonated globally. In the same way, Pidgin is central to the Nigerian identity, just like our many local dialects. Language only becomes a barrier when we’re seeking international validation at the expense of authenticity which I don’t believe is the case here. So, no, language is not a barrier. A song like Laho by Shallipopi is clear proof that music transcends language because true music knows no boundaries.

Can you remember the first time you heard a fusion of traditional Nigerian sounds with modern pop and thought, “Wow, this is the future”?

The first song that came to mind is Gra Gra by Lagbaja. The intro has this unexpected EDM vibe, and I remember hearing it for the first time thinking we’re in for a beautiful journey of musical experimentation in

the future. It was such a bold, refreshing sound, and it really stuck with me.

Looking back at the last two decades, what do you consider to be the key milestone moments in the journey of Nigerian music from a local sound to a global phenomenon?

I have what some might call an unpopular opinion. I don’t believe there are key milestone moments that marked the shift of Nigerian music from a local sound to a global phenomenon. Instead, I see it as a continuous evolution in each era, each phase, and every artistes’ contribution has played a vital role in shaping the sound we celebrate today. Every accomplishment, big or small, has pushed the culture forward. So, in my view, every moment in the journey of Nigerian music has been a milestone in its own right.

Imagine you’re a tour guide. What’s the one place in Nigeria you would take a foreign friend to experience the most authentic connection between our culture and music?

I’d start by taking them to Lagos, the heartbeat and melting pot of Nigerian pop culture. Then I’d bring them to one of my favorite spots, Freedom Park, for an evening of good music, the signature Lagos breeze, and laid-back, chill vibes.

Teejay Ameen

Social Culture Curator and Broadcast Journalist

Toyin Ajewole

Music Business expert and Art Curator

‘‘

A number of today’s artists could sell out arenas, but those legends built economies

Meet Toyin Ajewole, a dynamic Partnerships Associate at Mavin Records, Africa’s premier record label, where she masterfully bridges the gap between artists and brands, transforming creative visions into impactful deals. Beyond her pivotal role in business development for Mavin’s stellar roster, which includes global stars like Rema and Ayra Starr, Toyin is a passionate advocate for visual art, running Kanvas9 to spotlight African artists and their incredible work. Her blend of sharp negotiation skills and a deep appreciation for artistic expression makes her a true force in both the music and art worlds.

From a business standpoint, what’s the one thing you think modern Afrobeats artists could learn from the way traditional musicians built and maintained their fanbase for decades?

This is a good question! As a business person, I love to treat everything as a breathing living thing, including fanbases. I mean, it is technically made of breathing living people, haha. But imagine your fan base as a person you’re trying to date. The biggest thing is communication (can I get an amen?). Communication looks like different things for different artists; sending or randomly replying DMs or tweets, having meet & greets, giving out free stuff, having a certain type of party or event, making videos to address them, giving them hints for your projects etc. It could be anything, as long as it’s consistent and your fans understand that as your communication language. It makes them feel special, like part of an inner circle. I think a couple of our modern artists get it wrong by thinking the fans are just there to convert to cash. Create amazing music and use great communication to build your fan base community.

If you had to explain the commercial appeal of a genre like Highlife, Juju or Apala to an international investor using only three words, what would they be?

Timeless, cultural, scalable. These genres never age, and they carry Nigeria’s cultural DNA (which the world is obsessed with), and can be reinvented continually. Just look at how Afrobeats sampled them

to dominate globally.

If you could time travel back to the golden era of any traditional Nigerian music scene, where would you go and what business deal would you try to make?

Oh haha. I love this one. I would crash Fela’s Shrine in the ’70s with a pen and a contract. I’m not old enough to know of the brands of that long ago, but I do love a good experience. I’ll sign to have a Fela Shrine in Los Angeles, or maybe even a touring brand. Think African museum meets speakeasy meets jazz club in a corner space. It’ll be an amazing place for those who love his music to have parties, buy his records, collect merchandise with some of his most iconic lines, and experience an even bigger monument of his life.

What is the most memorable live performance of a traditional Nigerian artist you’ve ever witnessed, and what made it a “money-on-the-stage” worthy event?

I’ll be honest, I missed the golden era of live Jùjú or Apala performances (blame being a ’99 baby raised on Beyoncé). But even through YouTube clips or viral snippets, artists like King Sunny Adé or Fela make it obvious why their shows were business disguised as art. They didn’t just perform, they owned their audiences. They turned concerts into movements with crowds singing every lyric. No algorithms, no playlisting, just raw connection that turned fans into their loyal minions. We should study that blueprint; how to make music feel like family, because that’s where the real money lives. A number of today’s artists could sell out arenas, but those legends built economies.

Looking into the future, what’s your boldest and most optimistic prediction for the business success of Nigerian music on the global stage in the next five years?

Nigerian artists will be boardroom names and not just on charts. We’ll have our own Bad Bunny-esque billion-dollar tours, Afrobeats-themed Coachella stages funded by Naija brands, and Grammy categories split by our subgenres (no more Best African Music). But the real win? Labels like Mavin brokering equity deals where music houses, labels and artists own stakes in streaming platforms, fashion houses and big music events. The world dances to our rhythm today but tomorrow, they’ll be investing in our infrastructure.

By: Aderonmu Oyinkansola Digital Marketing Executive, Lost in a City

TOP 10 PLACES THAT HOLD NIGERIA’S MEMORY

Nigeria’s rich tapestry of history and culture is woven through sites that have stood the test of time; places where traditions, empires, and spiritual beliefs converge. From ancient capitals to sacred groves, these landmarks preserve the stories and legacies that define our nation. Join us as we journey through ten cultural treasures, each a living testament to Nigeria’s enduring heritage.

Osun-Osogbo Sacred Grove (Osun)

Tucked along the banks of the Osun River, this UNESCO World Heritage Site is both a living forest and a vibrant spiritual sanctuary. Carved shrines, sculpted pathways, and annual festivals pay homage to the river goddess Osun. Pilgrims and visitors alike wander winding trails, pausing at altars and artworks that blend nature and belief. It’s a celebration of Yoruba cosmology in every leaf and statue.

Idanre Oke Hills (Ondo)

Sukur Cultural Landscape (Adamawa)

High in the Mandara Mountains, Sukur’s terraced fields, stone-built villages, and hilltop palace reveal centuries of human ingenuity. Recognised by UNESCO in 1999, its age-old iron-smelting traditions and ancestral rituals survive amid dramatic cliffs. Community life still revolves around age-graded societies and seasonal festivals, making Sukur a rare window into pre-colonial social structures and mountaintop resilience.

Carved into rugged terrain, Idanre’s sacred hills cradle the remnants of a once-thriving kingdom. Aerial vistas reveal shrines, palaces, and ancient pathways connecting summits to lush valleys below. Pilgrims climb stone steps to the “Thunder” shrine, while lore speaks of gods and giants. This dramatic landscape is where nature and mythology entwine, preserving stories of faith, power, and ancestral reverence.

Ancient Walls of Kano & Gidan Makama Museum (Kano)

Kano’s towering defensive walls, built from earth and plastered mud, once encircled a legendary city-state. Today, the adjacent Gidan Makama Museum, housed in a former emir’s palace, showcases Hausa crafts, royal regalia, and manuscripts. Visitors wander through shaded courtyards, admiring centuries-old architecture while tracing Kano’s transformation from a medieval trade hub to a modern metropolis.

Old Oyo (Oyo-Ile, Oyo)

Echoes of the Oyo Empire resonate through crumbling palace foundations, royal courtyards, and expansive city ruins. Once the political heart of the Yoruba world, Oyo-Ile’s earthen embankments and ceremonial grounds survive as silent witnesses to imperial grandeur. Archaeological digs continue to unearth artefacts, beaded regalia, pottery shards, and ritual implements that bridge the past and present.

Benin City: City Walls, Igun Street & National Museum (Edo)

Benin’s ancient earthworks, once longer than the Great Wall of China, formed the world’s largest medieval fortification. Nearby, Igun Street’s bronze casters still forge intricate plaques and sculptures, keeping royal artistry alive. The National Museum houses centuries-old ivory masks and Oba regalia. Together, these sites embody Edo mastery of metal, memory, and the divine power of the Oba.

Arochukwu Long Juju Shrine (Abia)

Nigeria’s oldest two-storey structure stands as a poignant relic of the transatlantic era. Built by missionaries in the mid-19th century, its thick walls and broad verandas once housed both Christian converts and, at times, served administrative roles during the colonial period. Today, the building forms part of the Badagry heritage trail, reminding visitors of the complex history of global commerce and the resilience of those who endured. From sacred groves to royal palaces, these ten sites weave the tapestry of Nigeria’s collective memory. As Nigeria’s story unfolds, let these places ground us in traditions that continue to shape our present and inspire our future. 5

Ooni’s Palace (Ile-Ife, Osun)

Ife, the mythical cradle of Yoruba creation, is home to the Ooni’s Palace, the seat of the spiritual monarch. Its stately courtyards host centuriesold rituals, welcoming dignitaries and devotees. Adorned with traditional carvings and royal artefacts, the palace grounds echo with praise songs and drumming. Every festival reaffirms Ife’s sacred role in origin myths and Yoruba identity.

John Randle Centre for Yoruba Culture (Lagos)

A modern beacon for safeguarding Yoruba heritage, the John Randle Centre hosts exhibitions, performances, and academic research beneath striking contemporary architecture. Galleries brim with carved wooden masks, textiles, and multimedia installations tracing diaspora connections. Scholars and artists converge here, ensuring living traditions adapt and endure in Nigeria’s bustling megacity.

Hidden in dense rainforest, the Long Juju Shrine was the spiritual nexus of the Aro Confederacy. Pilgrims once journeyed here seeking justice, healing, or divine favour, navigating a labyrinth of caves, altars, and intimidation tactics. Though colonial abolition ended its judicial role, the shrine’s moss-clad carvings and secret chambers still pulse with ancestral energy and Igbo cosmology. 10

First Storey Building (Badagry)

By Chef Derin

Okele Igbalode

Soup: Egusi (Yoruba)

Best side: Pounded Yam

Key ingredients: Egusi Melon seeds

Grown: West Africa

EGUSI

Ingredients:

• 1 cup blended onions (about 3- 5 and fresh chilies, to taste)

• 4 cups egusi (melon seeds) ground or milled

• 1⁄2 – 1 cup palm oil

• 2 teaspoons fresh Iru (locust beans)

• Salt (to taste)

• Ground crayfish

• 5 cups stock

• Cooked Meat & cow skin (quantity and variety to personal preference)

• 2 cups cut pumpkin leaves

• Fresh Tomatoes 20g

EGUSI PASTE:

1. Prepare the egusi paste:

2. Mix blended egusi & onions in a bowl

3. Dilute with 1/3 cups of warm water

4. Mix gently till it becomes a paste

TO MAKE THE SOUP:

1. In a large pot, heat the palm oil on medium for a minute and then add the Locust bean

2. Slowly add the stock and set on low heat to simmer.

3. Scoop teaspoon size balls of the egusi paste mixture into the stock. Be sure to keep ball shape.

4. Leave to simmer for 20 – 30 minutes so the balls cook through.

5. Add the meat and cow skin and other bits which you’d like to use.

6. Stir and season to taste with Salt and bullion cubes

7. Add cut-up pumpkin leaves. .

8. Stir and put a lid on the pot and allow cook for 7–10 minutes, till the leaves wilt

CHEF BIO

Biography

Chef Derin has hosted numerous private dining events for international and local celebrities. He has been featured in various magazines, TV shows, and interviews, establishing himself as a culinary icon in Nigeria. In 2023, He was Signed as a brand ambassador for Knorr. The following year, he was awarded an honorary Doctorate Degree in Philosophy of Art (h.c) by a university, recognizing his contributions to the field.

By Christian Wilson David Alabere (Chef Takus) Chef and Culinary Instructor IG & X: @@chef_taku

EPITI (Steamed Corn & Banana Pudding)

Epiti (Tempiàgba) is a traditional delicacy from the Okrika people of Rivers State, cherished across riverine communities for its wholesome, comforting flavor. Made from blended yellow corn and overripe “monkey” bananas or plantains, the batter is enriched with palm oil, crayfish, and local spices, then steamed in banana leaves or tins. Soft, lightly sweet, and deeply satisfying, Epiti is more than just food — it’s a nostalgic taste of home for the riverine people, often enjoyed with pap, palm oil or savored on its own as a nourishing snack or breakfast.

Serves: 4

Prep Time: 20 minutes

Cook Time: 45–60 minutes

Method: Steaming

RECIPE: EPITI

Steamed Corn & Banana Pudding

Ingredients

• 1 cup fresh yellow corn flour (blended smooth)

• 5 very ripe monkey bananas (or 2 small overripe plantains), roughly chopped

• ¼ cup palm oil

• 1 small onion, roughly chopped

• ½ cup ground crayfish

• 2 habanero peppers (adjust to taste)

• 1 seasoning cube (adjust to taste)

• Salt to taste

• ½ cup water (or slightly more as needed)

• Banana leaves, moi-moi leaves, or ramekins (for steaming)

INSTRUCTION

1. In a blender, combine the chopped bananas, corn flour, palm oil, onion, crayfish, habanero, seasoning cube, salt, and water.

2. Blend until you get a thick, smooth, and slightly loose batter. Add a splash more water only if needed.

3. Scoop the batter into banana leaves or ramekins and seal or cover appropriately.

4. Steam for 45–60 minutes, or until the pudding is firm and cooked through.

5. Serve warm, either alone or with traditional pap for a complete meal.

CHEF BIO

Christian Wilson David Alabere, also

from

Biography

approach and deep appreciation for indigenous

to life with modern

known

Chef Takus, is a passionate Nigerian chef and culinary creative

Okrika in Rivers State. He currently serves as Chef de Partie at The Burgundy by Chef Stone and as

Professional Chef Instructor at Reddish Chronicle Culinary School Abuja. Known for his bold Afro-fusion

ingredients, Chef Takus brings forgotten local recipes back

elegance. His cooking is rooted in storytelling, heritage, and culinary innovation.

Discover on

HARD ROCK CAFE

Hard Rock Cafe Lagos provides an unforgettable experience for families, friends, and music enthusiasts. Located within Landmark Village, Hard Rock Cafe Lagos offers an electrifying fusion of classic American cuisine, vibrant live music, and an unparalleled collection of authentic rock and roll memorabilia. Step into an energetic atmosphere where you can savor their legendary burgers and signature dishes, enjoy handcrafted cocktails, or discover local and international talents gracing their stage, all while immersed in the rich history of music.

Landmark Village, Water Corporation Road, Oniru, VI, Lagos IG: @hrclagos

THE DEW CENTER

The Design Education and Wellness Centre, is a premier holistic wellness sanctuary that artfully blends modern techniques with traditional healing practices to foster mental, physical, and emotional well-being. More than just a spa or yoga studio, it’s Africa’s first integrated center offering lifestyle design consultancy and soon, boutique hospitality, providing a serene escape where individuals, couples, and corporate teams can rejuvenate, reconnect, and rediscover balance through diverse services like yoga, massages, detox programs, and mindfulness coaching within its peaceful sensory gardens.

31b Adebayo Doherty Rd, Lekki Phase 1, Lagos.

E: admin@thedewcentre.com

IG: thedewcentre

Eat & Drink Shopping Mind & Body Health Play

By Enemona Udile Chef and Food Writer IG: enemona_udile

TOP 5 MUSICAL INFLUENCES THAT SHAPED AFROBEATS

Let me plug you to the musical legends that shaped my childhood. If you’re African like me, grew up in Africa or loved African music especially Nigerian music from the 90s then this top 5 would be something you’ve written on your hall of fame over and over again. Think Fela Kuti and his performances, think King Sunny Ade and how you didn’t have to be Yoruba to relate. No Owanbe is truly finished without one of these legends I’m about to mention. So in no particular order let’s meet them.

FELA KUTI (THE REVOLUTIONARY FATHER OF AFROBEAT)

When you hear “zombie” back in the 90s and even now there’s always one electrifying movement that takes over your hips, something in your waist tells you that you need to move and not just to the rhythm but to the soul of the song. Fela made Afrobeat a tool for activism, using music as a protest. His Kalakuta Republic was more than a commune, it was a political statement. He influenced generations of artists like Burna Boy, Seun Kuti, and Wizkid by proving that music could be art, rhythm, and resistance all at once.

Some of his greatest hits were: Zombie (a biting critique of the military), Water No Get Enemy, Sorrow, Tears and Blood

SUNNY OKOSUN (THE VOICE OF THE PEOPLE AND THE SOUND OF PROTEST)

When you hear the raspy sound of Sunny Okosun in African soldiers as he starts with the talk of African soldiers both dead and living are still fighting. Truly he was the voice of a nation. Sunny Okosun bridged Afrobeat and Reggae, bringing a pan-African consciousness to the genre. He also gave Afrobeat a more spiritual, gospelleaning voice while still speaking truth to power.

Some of his greatest hits were: Fire in Soweto (international hit against apartheid), Which Way Nigeria, No More War

OSITA OSADEBE (THE PHILOSOPHER OF HIGHLIFE)

Chief Stephen Osita Osadebe was a master of Igbo Highlife. He started his career in Lagos in the 1950s, joining the Stephen Amechi band before forming his own. His music was truly revolutionary. While not Afrobeat per se, Osadebe’s work kept Igbo Highlife alive, infusing it with social commentary, indigenous identity, and soul. He offered a softer but deeply cultural counterpoint to Afrobeat’s fire.

Some of Greatest Hits: Osondi Owendi (literally, “what pleases some displeases others”), People’s Club Special, Onu Kwube

VICTOR

UWAIFO (THE GUITAR WIZARD AND BENIN HIGHLIFE GENIUS)

Victor Uwaifo’s 1965 hit Joromi won Africa’s first gold disc. He blended Benin folklore, Edo language, guitar mastery, and rock-infused Highlife to create something uniquely spiritual, theatrical, and timeless. Just tell me you’ve never heard this classic at a party, in the BRT bus or as you’re pressed in a Danfo! Uwaifo blurred the lines between Highlife, folk, and psychedelic rock. He visualized music, performing with costumes, myths, and drama laying the groundwork for artists who wanted to merge performance and music as art.

Some of his Greatest Hits: Joromi, Guitar Boy, Mami Water

KING SUNNY ADE (THE MASTER OF JUJU FUSION)

KSA exploded in the 1970s and 1980s with long, trance-like performances, incorporating Hawaiian guitar, synthesizers, and talking drums. He became the first African to be signed to a major international label (Island Records). Though not an Afrobeat artist by strict definition, KSA’s electronic Juju fusion laid the foundation for Nigeria’s global music influence. He was the first to take the Nigerian rhythm global, showing that Yoruba spiritual energy could travel beyond borders.

Some of his Greatest Hits: Ja Funmi, Synchro System, Mo Ti Mo

By Ajigheye EbruphiOghene (Reggie) Cultural Commaentator

Aesthetic Confusion: How We Lost the Plot on Cultural Dressing

There used to be a time when how you dressed was a whole statement, loud and clear. You step out, and boom! People could clock your entire personality by your fit. If you were Alte, it showed. If you were into hip-hop, we knew. If you were nerdy, goth, or queer, your aesthetic gave it away before you even opened your mouth. Back then, fashion and identity were intertwined, it was like your outfit was your manifesto.

Fast-forward to the 2020s and omo, everything has been upturned, they’ve scattered it patapata. You’d see a person rock carabiners, anime pins, patchwork jeans, and a cropped tee, and you’d think, “Yup, this one’s alte or maybe even part of the queer community.” Next thing, you try to vibe with them and they start moving like “What’s pronouns? What’s that one again?” “Abeg I no be Agaygay” Like how do you dress like a whole Tumblr archive and not even know where the look

originated from?

Chale let’s chat real, the alte movement, especially in Nigeria, no be beans. It wasn’t just about oversized pants and coloured hair for the originators. It was a safe space. A rebellion. A loud “screw you I’m gonna be me regardless” to the rigid norms. And a huge part of that space? Queer folks. They were (and still are) the heartbeat of that expression. So how you go be alte and still be homophobic? That’s some wild and trifling behavior.

These days, everyone just cosplays vibes. No research, no backstory, just “this looks cool” And Gbam they wear it, But culture isn’t just vibes, it’s history. It’s actual people’s lived experience(s). You can’t pick an aesthetic like you’re picking between Semo and Jollof at an Owambe, and then throw away everything it stands for. You want to dress goth, but you’re afraid of being seen as weird? You wear punk fits,

but you’re moving with oppressor energy? Abeg, stand up, It’s giving identity crisis. People are cosplaying entire subcultures like it’s Oyibo Halloween, with no care for what it actually means to the people who live it. It’s not even just about fashion, it’s about erasure. Because when you water down a culture, when you strip it of its core, you’re not appreciating it, you’re diluting it.

All I’m saying is, let’s respect the codes. Fashion is not just cloth. It’s identity!. It’s culture!. If you are going to dress like a certain category, abeg, do the homework. Don’t just wear the look!, understand the life.

At the end of the day, aesthetic no be costume party, or some Masked up Halloween thingy, it’s a lifestyle! So make it make sense.

Photo of The Month

Compelling Images from Nigeria

The Image below was created in collaboration with Princess Adesile to promote the Ojude Oba Festival 2025.

ABOUT THE PHOTOGRAPHER OJUDE OBA

Fola Stag is a Creative Director, renowned Food and Lifestyle Photographer, and certified intercontinental Chef based in Nigeria. With a signature style that fuses culture, cuisine, and storytelling, Fola’s work captures the essence of everyday life in bold, beautiful frames. A graduate of Red Dish Chronicles Culinary School, he brings a unique perspective to commercial photography, merging artistic vision with culinary insight. From leading major food campaigns to curating immersive visual experiences, Fola continues to shape how we see, savor, and celebrate African creativity on a global stage.

instagram/twitter/facebook: @folastag

Chillers by New Yorker

Charles Oghogho Oronsaye

By Aishat Adedire

Storyteller and Content writer

X: @enoobong_

Efik Culture: Enriching Nigeria’s Identity

Nigeria’s cultural landscape is a blend of the vibrant contributions of its diverse ethnic groups. From food to music, every group adds a unique flavour to the nation. Among them, the Efik culture, primarily rooted in Calabar, the capital of Cross River State, stands out for its grace and sophistication.

One of the most elegant expressions of this culture is the Efik language. Warm and melodic, it rolls gently on the tongue when spoken. When an Efik person says ‘Abadie’ (hello), it is more than just a greeting; it carries a warmth you can feel. Even a simple ‘Sosong’ (thank you) goes beyond politeness; it is an utterance of kindness. And when they call you ‘Ufan’, which means friend, you feel seen and valued.

Just like their language, Efik art carries depth and a living heritage. The Nsibidi symbols, which have endured for ages, were once inscribed on walls, skin, and buildings to record important events

and inspire storytelling. They continue to influence modern Efik art, seen in detailed carvings and pottery that preserve ancestral knowledge passed through generations. Cultural festivals like the Eburutu and Ekpe are also deeply rooted in Nigeria’s history, emphasising their resilience and ensuring their culture is not lost in a fast-modernising world.

Beyond celebrations and artistic expressions, the richness of Efik culture is preserved in its cuisine. Made with local ingredients, dishes like Afang, Edikan Ikong, Afia Efere, and Ekpang Nkukwo carry bold, savoury flavours that leave you craving more. Today, they are enjoyed in kitchens, restaurants, and various settings nationwide and beyond, showcasing the fullness of Nigerian cuisine.

Though many consider food the highlight of Efik culture, fashion tells a story of finesse and royalty. Efik men wear the Usobo wrapper paired with a white shirt, hat, and

shoes. The elegant Onyonyo dress worn by women, especially during traditional weddings, has influenced modern styles. While the George wrapper, though not unique to the Efik, is widely worn and recognised for grand Nigerian celebrations.

But the Efik expression is not limited to what is seen; it is audible too. Instruments like the Ekwe (drum) and Uta (gourd horn) have subtly influenced Nigerian music, shaping the rhythms of both traditional and contemporary sounds. Dancers sway to native rhythms like Ekombi and Abang, moving fluidly and blending motion with melody.

By showcasing its traditions through these expressions, Efik culture both preserves and influences Nigeria’s identity within and beyond its borders, showing the world how deeply rooted and vibrant the nation truly is.

LOST IN NIGERIA

Lost in Nigeria? No worries, as we’ve got you covered. Explore the diverse and captivating points of interest scattered across the country, curated just for you. Whether you’re seeking cultural immersion, outdoor escapades or culinary delights, we handpick a selection of upcoming experiences for you to discover and indulge in every month.

Nigeria Cultural Festival 2025

On 12th July, Nigeria will burst into colour, rhythm, and spirit as the Nigeria Cultural Festival 2025 takes centre stage. Though all eyes are on Lagos as the likely host city, this isn’t just a Lagos event—it’s a national celebration of everything that makes Nigeria vibrant, diverse, and extraordinary. From the bustling streets of Kano to the calm waters of Bayelsa, expect to see a wave of festivities that highlight Nigeria’s over 250 ethnic groups, each with their own unique heritage.

12th July 2025 | Lagos

Every now and then, an event comes along that reminds us just how powerful storytelling can be, as Nigeria crosses milestones and records impressive achievements in the film and creative industry. LIFACC 2025 — the Lagos International Film, Arts & Culture Conference — is that moment. From 16th to 18th July, the world will turn its eyes to Nigeria as filmmakers, writers, critics, and cultural visionaries gather for three days of cinema, conversation, and celebration. This is an open canvas for African and international creatives to connect, reflect, and reimagine the future of storytelling.

16th - 18th July 2025 | Lagos

As the world rushes forward and Nigeria ever develops, the most powerful thing we can do is look back — to our roots, our rhythm, our rituals. That’s exactly what the Ibadan Cultural Festival offers. It is a powerful four-day immersion into the heart of Yoruba tradition, set in one of Nigeria’s oldest and most culturally significant cities. From 18th to 21st July, the ancient city of Ibadan transforms into a sacred stage of living heritage, where drums speak, feet tell stories, and ancestral energy flows through the streets. Don’t miss this opportunity to enjoy Nigeria’s rich culture.

18th – 21st July 2025| Lagos

Cities Conference 2025

Technology is the future for homes and cities. Imagine how we can utilise it to improve our living conditions and experiences. The Smart Cities Conference 2025 is where government officials, technology experts, real estate developers, and urban planners will convene. They will discuss innovative strategies to enhance Lagos, Abuja, and other cities across Nigeria and Africa. This event is where policymakers and visionary ideas converge, where challenges will be transformed into improved infrastructure, utilities, and housing. Mark your calendars and set your alarms so you don’t miss.

19th July 2025| Abuja

Nigeria Fintech Forum 2025

Get ready for the biggest gathering of innovators, disruptors, and decision-makers in Nigeria’s rapidly evolving FinTech space. Join the Nigeria FinTech Forum 2025 — a dynamic, one-day event that brings together start-ups, regulators, investors, banks, policy shapers, and tech enthusiasts under one roof to shape the next chapter of Africa’s financial revolution. Interested in the way forward for the African FinTech sector? This event is for you.

29th July 2025 | Lagos

Lagos International Film, Arts & Culture Conference (LIFACC) 2025

Ibadan Cultural Festival

Smart

By DERRY-DEE MBATA Writer and Cultural Commentator IG: @derry_deem

IN THE SEASON OF EGEDEGE

December in Awka is not just a holiday it’s a declaration. The air thickens with the scent of isi-ewu, coal fires, fresh ukpaka, and anticipation. Loudspeakers are hoisted like flags, and in every street, music is king.

That year, the soundtrack of the East was Egedege Larry Gaaga’s royal anthem featuring Queen Theresa Onuorah, Flavour, and Phyno. A song woven with ancestral pride, flute melodies, and Igbo chants that stirred even the soil. When Egedege played, backs straightened, chests puffed, and people moved like royalty possessed. Children danced without form. Elders danced with memory.

Even the masquerades tall, sacred, feathered creatures couldn’t resist. They patrolled the streets with unpredictable joy, chasing both the brave and the clueless. One moment you’re posing for selfies, the next you’re scaling fences. But in their mystery, there was a story. In their chaos, rhythm.

“Egwu oma na-eme ka nwoke rie nri, were akwa were saa ahu.”

(A good song makes a man forget hunger

and bathe with his clothes on.)

But nothing silenced the town like the arrival of Odogwu

A son of the soil, his arrival parted the village like a prophecy. His black Isi Agu glistened, stitched in lion threads. His red cap tilted with dignity. Coral beads stacked like generational achievement. Even his scent was like wealth, and memory. He didn’t speak. He didn’t need to. People watched, and in whispers, agreed:

“Ego di egwu.”

(Money is sweet, o.)

At the compound, the banner read: Welcome Chief Ebubechukwu – The Pride of Nimo. A live band blended ogene, ekwe, guitar, and trumpet like a spell. Dance broke out without invitation. Aunties danced into trances. Uncles sprayed money like rainfall.

The fashion? Spoken poetry.

The women arrived in George wrappers, lace, and asoebi stitched to the soul. Their gele—sky-high, physics-defying. Their

makeup, a performance. Necklaces layered like war medals. Every step is a declaration.

“Nwanyi bu ife.”

(A woman is a thing of beauty.)

Men came in embroidered Isi Agu, flowing senator styles, walking like proverbs. Even the toddlers looked like oil company CEOs in velvet caps and miniature kaftans.

And the food? Stories on a plate. Ofe nsala, jollof, okpa, abacha, nkwobi, roasted yam, fried plantain, bush meat that required silence and focus. Even the pepper had pride.

“Onye ji ego, ji ndu.”

(He who holds wealth, holds life.)

Because in the East, December is not a season.

It’s a stage.

And the Igbo do not merely attend it.

They perform.

By Leon Izegbu Creative Writer IG: @Leon_thegodson

Show me your cap, and I’ll tell you who you are

If you take a look at the traditional or cultural side of Nigerian life, you will find that our fashion is transcendent. It is a profound declaration of identity. Nowhere is this more evident than in the captivating world of head attires. From the bustling streets of Lagos to the quiet villages and developing towns across, a Nigerian’s head

The sheer diversity of headgear across Nigeria’s ethnic groups is a testament to the nation’s rich cultural mosaic. Take, for instance, the Yorubas of the SouthWest, renowned for their sophisticated approach to fashion. The fila, a cap worn by men, comes in an astonishing array of styles. The abetiaja, with its distinctive flaps that can be pulled down for a more formal look or left up, is a common sight. Equally popular is the gobi, a more rounded cap, and the kufi, a brimless, often embroidered cap that transcends tribal lines. Each fold and stitch can signify anything from marital status to social standing, making the fila a truly expressive piece of art. For women, the elaborate gele reigns supreme. These intricately tied headwraps, often made from vibrant ankara or luxurious aso-oke, are a symbol of elegance and occasion. The height and complexity of a gele can be an art form in itself, revealing the skill of the wearer or the person who tied it.

Venturing north, the Hausa and Fulani people present a different, yet equally compelling, narrative of headwear. The Hausa man often adorns himself with a beautifully embroidered hula, a skullcap that

covering often speaks volumes, telling tales of their heritage, their status, and their pride. For us, fashion isn’t just about looking good; it’s about belonging, about carrying the legacy of our ancestors on our very heads.

“Who needs ID cards when you have fashion”

is both practical and symbolic. These often feature intricate needlework, reflecting the wearer’s piety and cultural affiliation. The Fulani, on the other hand, are often recognised by their tagelmust, a long cloth that is wrapped around the head and face, offering protection from the elements while embodying a nomadic grace. For their women, the colourful headscarves, often draped with elegant simplicity, complete their distinctive attire.

Moving to the South-East, the Igbo people boast a regal tradition of headwear. The okpu agu, or okpu mme for titled individuals, is a powerful symbol of chieftaincy and nobility, often made from leopard skin or velvet and adorned with intricate designs. This is not merely a cap; it is a badge of honour, signifying authority and respect within the community. While perhaps less overtly decorative for everyday wear, Igbo women often don beautifully tied headscarves known as ịchafu, that complement their vibrant traditional outfits, often made from

George fabric or lace.

Beyond these more popular examples, numerous other ethnic groups contribute to Nigeria’s headwear tapestry. The Edo people, for example, have their unique coral-beaded crowns known as Okutu for the women, and headpieces, worn during significant ceremonies by their revered Oba. The Tiv of the Middle Belt are known for their distinctive striped woven caps known as A’nger, a subtle yet potent marker of their identity. Even in less formal settings, a simple patterned scarf or a neatly folded piece of fabric can denote regional origin or personal style.

In essence, a Nigerian’s traditional head attire is a whispered conversation, a visual symphony of heritage and pride. It’s a powerful reminder that in Nigeria, fashion isn’t dictated by fleeting trends but by centuries of history, a profound connection to ancestry, and an unshakeable sense of belonging. So, the next time you encounter a Nigerian, observe their cap, for within its folds and patterns lies a story waiting to be told, a vibrant testament to the enduring power of cultural identity.

Photo Credit: Lakin Ogunbanwo

By Odebiyi Oluwaseun Deborah Architect and Writer IG & X: debbythewriter

A Weekend in Èkó

They say your first love changes your life forever, I say your first owambe opens your eyes forever. As an indigene of Lagos, born and bred, it is safe to say that partying is in our bloodstream. Isale eko is where the magic happens, and if the roads are not blocked on any given Saturday, that means you are not in the heart of Lagos.

Waking up as a young child on a Saturday morning meant chores, pap and akara, and Ebenezer Obey playing on the radio speaker. You can hear the sound of your neighbor’s speaker playing King Sunny Ade, and that is when your mom calls you to get pepper from Iya Igbo, an Igbo lady so saturated by Lagos culture, her tongue has become fluent in Yoruba. As you go down the street, you will pass Iya Bisi fanning her roasted corn with a rattan fan, surrounded by a huge crowd of varied people, waiting impatiently to buy.

You pass Kabiru, smoking and playing draft with his friends in front of a bar while Olamide badoo croons on, entertaining the

gamers and customers alike. Iya Igbo is just setting out her market for the day, fresh tomatoes, pepper, efo shoko, ponmo, and eja kika. A woman of many businesses.

A few minutes after you return home, the stew for lunch is already on fire. By late afternoon, you are tagging along with your parents to Iya Suliat’s 50th birthday where large men in white agbada have placed their fila on the table, washing their hands to eat hot amala with gbegiri, ewedu, obe dindin and orisirisi, with such expertise that their white remains pristine.

You are amazed by the flamboyant display of colors, textures and fabrics, from the asoebi, iro and buba, to different gele styles adorning the women’s heads. With their huge earrings and even larger neckpieces, the aunties are busy scouting for the next omoge to pair with their friend’s son. Tittering within themselves like birds, they take note of who is wearing the best aso oke, and whose gele stands the highest, mighty

and proud.

Chasing away heat with their souvenir fans, the big mummies have a table of their own, their gele is bigger, their makeup bolder, their jewelry flashier, looking down on all and sundry, and only smiling when they see a member of their association, or when the head of the live band starts singing, “Iya Bola peperempe” during which they will get up and begin to spray minted notes, not minding the scuffle between the little ones eager to snatch up a note or two.

You will get home exhausted, with a full belly and a glad heart; and if you’re lucky, some mint notes under your pillow. And as you go to sleep you realize that dancing, writing, laughing loudly, loving leisurely, spending lavishly, good cheer, great food, living unapologetically, and most importantly, grabbing life by the horns; are an integral part of the Lagos lifestyle.

A typical Lagos Saturday.

By Enemona Udile Chef and Food Writer IG: enemona_udile

Fast Food: The Way Forward for the Nigerian Food Industry

The way forward for the Nigerian food industry is clear. Food is a major commodity in the world. The catchphrase, “Indomie and egg, back for the ground,” is a testament to the fact that when food is available, people are less concerned about the kind of work they do. However, in Nigeria, one of the major problems the masses face is that good food is not readily available, and when it is, it is often not affordable or accessible.

“Chefs in the old days fed entire armies. Chefs nowadays only feed a fraction of that army.”

There are many chefs from different backgrounds with various certifications producing a wide range of food, and they can help. The major issues we face as a country are food loss and poor hygiene. Food loss mostly stems from post-harvest and storage factors, but I dare say the percentage of food lost from private dining is also very high. Fine dining consumes specific parts of ingredients, leaving a lot on the shelf to spoil. The Nigerian narrative is that a good chef is one who practises fine dining, but that is not entirely true. As

the saying goes, “Chefs in the old days fed entire armies; chefs nowadays only feed a fraction of that army.” More chefs need to gravitate towards fast food that is affordable, accessible, and hygienic, rather than fine dining that is not available to everyone.

Consider the case of Korede Spaghetti, a thriving fast-food van in the heart of Unilag. Perfectly positioned to serve as many people as possible, it has achieved over ₦1 billion in sales on Chowdeck alone, with food prices ranging from ₦2,000 upwards. This is a testament to the fact that there is money to be made in the fast food industry and can fuel its growth. From one van, they now own several.

Nigeria’s economy and its population of over 206 million people will not survive on fine dining alone. The quality of food served to the populace cannot be left in the hands of untrained, negligent cooks who currently dominate the fast-food business.

The food culture of Nigeria is such that it allows for the consumption of whole ingredients, from stews utilising whole

tomatoes to sauces using various spices and, often, even leftovers and otherwise discardable ingredients. If more chefs deployed their skills to the utilisation of these whole ingredients, it would significantly reduce waste and mismanagement, leading to a landslide reduction in post-harvest loss. More of us should become chefs, and more chefs should invest in fast and affordable food.

About 40-60% of onions, tomatoes, and chillies produced yearly are lost due to poor storage and a lack of processing and utilisation. In recent times, the topic of where to get safe and hygienic food has been widely discussed. Where exactly can we find safe and affordable food? If everyone focuses on fine dining and builds that sector, is the top 1% going to buy expensive meals every day? What happens to the money on the table that the general masses are offering? Chefs are not meant for fine dining alone. Chefs should look into fast food because that would save the country and push us forward towards food security.

“Chefs in the old days fed entire armies. Chefs nowadays only feed a fraction of that army.”

Interview

Charles Oghogho Oronsaye

Founder and creative director of Africana couture

Meet Charles Oghogho Oronsaye, the visionary Nigerian entrepreneur, creative director, and cultural leader who founded Africana Couture, one of Nigeria’s most admired fashion houses. For over a decade, his life’s work has been a testament to rising above limitations, building a lasting legacy from the ground up. Through Africana Couture, Charles has championed African heritage, global excellence, and a unique brand of legacy-focused entrepreneurship, inspiring many across the continent and beyond.

You’ve become known for turning runways into rituals. But off the runway, when it’s just you and your mirror what kind of looks do you find yourself most drawn to?

The royal oath was an intersection between the wedding and the runway. I prefer to tell stories, stories that hit.

There’s something haunting about the way you stitch silence into your garments, the stillness, the solemnity, the way fabric feels like a throne. What stories do you believe are hidden inside the folds of traditional African clothing?

For me, the philosophy behind it is the ability to merge culture, tell stories to look fly and look tasteful all in one.

From ‘The Art of Life’ to the ‘Royal Oath,’ your shows keep getting more symbolic, more theatrical. Are you slowly turning fashion into cinema? What are you trying to make us witness?

Fashion should be felt as against seen, in our modern day everyone is looking to paris fashion week to see the clothes nobody is taking it further to experience the art that precedes the clothes, so what we are doing is we are telling the art, showing the culture that makes up the entire eco-system amidst the clothes.

Your ‘Royal Oath’ collection resurrected memories, echoing ancient Benin royalty and confronting colonial silence on our fashion legacy. What were you truly invoking with this body of work: return, resistance, or reimagining? How does

contemporary African fashion restore a people’s psyche?

There’s nothing like contemporary fashion, fashion is fashion and you need to be able to put and together. What made what we call modern, modern was information, it started from somewhere. What you think is modern and contemporary originated from somewhere, nothing is original. So what we did at the royal oath was us re-imagininging the story, the collection and thing that happened in the 17th century again in 2025 as against it being contemporary, when we box it to being contemporary it seems like we’re trying to modernize something, no were just re-imagining it. It is therefore possible to restore stories that have been lost in time through fashion.

From Edo court regalia to Pan-African symbolism, your designs often walk between history and now. How do you avoid nostalgia and instead design for a future that still remembers its past?

Nostalgia is a very primary premise for everything. You cannot go forward if you don’t remember where you’re coming from. And the truth is nostalgia is one of the founding fathers of our craft, so you can build rubbish but if it doesn’t remind people of something, it loses taste and value, that’s one of the tricks i employ whenever i want to make magic.

When future African designers look back at King Africana, what do you want them to inherit from you? The silhouette? The soul? The ceremony?

My resilience, my ability to never settle.

‘‘Fashion should be felt as against seen

Interview Chiamaka Okwara Culinary enthusiast and Food influencer

Nigeria’s culinary landscape is incredibly diverse. Could you highlight a traditional dish from a Nigerian culture other than your own that you deeply admire?

That would be Amala and Ewedu soup. I first fell in love with it when I was schooling in Ibadan. It wasn’t just meat, it was an experience. Imagine a soft, dark mound of amala, smooth and smoking hot, sitting next to a bright green ewedu soup that’s silky and sweet. Then there’s the rich, spicy red stew on top honestly, it’s the part that brings everything to life. Big shout out to Amala Skye. They made the softest amala I’ve ever tasted, and their stew always hit the spot. Another absolute favourite part about this meal? The assortment of meat: inu eran, shaki, roundabout, ishan eran… everything! Just talking about it makes me want to pack my bags and head straight to Ibadan for another plate. That’s how special it is.

Meet Chiamaka Okwara, a dynamic marketing executive with a passion for connecting with people and crafting impactful solutions. A true connoisseur of stories and flavors, Chiamaka is a proud bibliophile, movie lover, and adventurous foodie, always eager to explore new culinary delights. Her enthusiasm for food and social media shone brightly during her fulfilling tenure as the social media handler for Burger King and Chicken Republic.

If you had to choose one Nigerian meal to explain our country’s spirit of hospitality, resilience, and community to a complete foreigner, which meal would it be and why?

If I had to choose one Nigerian meal to explain our country’s spirit of hospitality, resilience, and community, it would honestly be garri and suya. Stay with me garri is that humble, ride-or-die friend that never lets you down. It’s resilience in a bowl whether you have fancy milk and groundnuts or just plain water, garri will hold you down through the toughest times. It doesn’t discriminate. Then there’s suya, the life of the party and Nigeria’s unofficial love language. It’s hospitality because no matter how small your portion is, you’ll still break off a piece for your friend or that random person eyeing your wrap. And the community? You’ll find it at the suya stand, where everyone is gathered

laughing, arguing about football, or swapping gist while Mallam fans his grill with Olympic-level focus. Put them together with cold garri in one hand, hot suya in the other and you have the full Nigerian story: we are resourceful, generous, and happiest when we’re sharing good food, no matter how simple it looks.

Beyond restaurants, street food is the pulse of Nigerian cities. What does the street food scene from roasted boli to suya spots tell us about Nigerian ingenuity, community

It says so much about us.It shows ingenuity, because Nigerians can turn the tiniest corner into a full-blown food joint. One second it’s just an empty roadside, the next there’s smoke in the air, music playing, and a line of people waiting for their corn and ube (pear). Street food isn’t just about eating, it’s about catching up on gist, bumping into old classmates, and arguing over which suya guy is the best. Take my old boss, for example. He could drop big money at any fancy restaurant, but every other day he ditched the chauffeur life, strolled down the road, and parked himself beside the woman grilling yam and fish. Why? That smoky roadside stand was his newsroom. He’d soak up neighbourhood gossip, collect real-world insights for his ad campaigns, and feel the kind of “I’m home” vibe no fancy restaurant can give. It shows resilience, too. Rain or shine, you’ll still see vendors fanning their grills, flipping boli, and serving customers with the same energy every single day. Honestly, it proves that no matter what, Nigerians will always find a way to come together over good food and somehow make it feel like the most important event of the day.

Nigerian soups are varied (Egusi, Afang, Banga, Oha, etc.). If you had to describe the “personality” of three different traditional soups, what would they be?

Egusi is that rich Nigerian aunty who has no kids but somehow all the children call her Mummy. Tasteful, extravagant, and always smelling of expensive perfume. One day she’s cool and playful, the next she’s giving you side-eye for not greeting properly. Versatile enough to blend with bitterleaf or ugu, and no matter how you meet her, she leaves a lasting impression. Afang is the no-nonsense village aunty who wears Ankara wrapper and doesn’t say much, but everyone respects her. She’s strong, deeply rooted, and full of wisdom (and vitamins). She might look simple, but once you sit with her, you’ll discover depth, flavour, and plenty of hidden fire. Banga is the soft-spoken uncle from Delta with old money and smooth moves. He doesn’t raise his voice, but when he enters the room, you’ll feel it. Rich, silky, and a little indulgent, he’s the one everyone secretly hopes will adopt them. When you taste Banga, you’ll understand why the whole compound comes alive whenever he visits.

Looking forward, what is your biggest hope for the future of traditional Nigerian food on the global stage?

Honestly, my biggest hope is that traditional Nigerian food gets the recognition it truly deserves. I want the world to see beyond just “jollof rice wars” and discover the depth, creativity, and history in our meals beyond the occasional foreigners trying out fufu and egusi on TikTok for views. I’d love to see Nigerian food celebrated in more international spaces on menus in big cities, in documentaries, in cookbooks that tell our stories properly. I hope more chefs and food entrepreneurs can proudly share recipes the way our mothers and grandmothers made them, without feeling pressured to water things down to please foreign palates. At the end of the day, Nigerian food is vibrant, diverse, and full of soul. My hope is that it becomes something people all over the world look forward to tasting and that it keeps us connected to home, no matter where we are.

I want the world to see beyond just “jollof rice wars” and discover the depth ‘‘

By Timothy Kunat Founder, Discover Jos. I.G: discover_jos

SPOT REVIEW

CHILLERS BY NEW YORKER

When it comes to local cuisine here in Jos, the sentiments of home-cooked meals are strong, and you don’t often find these dishes on the menu in most restaurants. So when I heard that Chillers by New Yorker had added a few local favourites to their bush bar menu, I knew I had to go and check them out, and so I dragged my adventure partner along with me.

Chillers by New Yorker is a hospitality centre in Jos that has an upscale restaurant, bush bar, lounge, cabins, pool and a play area for kids. It has quickly become one of the top locations for people looking for a good time in the city. The bush bar area is a large, well-designed outdoor space with comfy chairs and lots of activities going on around.

After selecting our seats and going through the menu, the waiter took our order: one plate of Amora (a porridge made from the starch of the arrowroot tuber and prepared similarly to yam porridge) and one plate of Gwate (a light porridge made with fonio and lots of vegetables). Amora is quite popular among the Tarok people, while Gwate is quite popular among the Berom people. To add a little twist to our local adventure, we decided to try out their serving of chicken wings.

The wait for the meals to arrive took about 35 minutes, which was much longer than I expected. However, the meals compensated

perfectly for the time. My partner was trying out Amora and Gwate for the first time, so I had my fingers crossed, hoping she would like it. I chuckled with delight when I saw the Gwate served in a wooden bowl – very authentic to the culture – and I wished the Amora had been served in the same way. We started with the Amora, which we loved. It had chunks of fish, beef and chicken and had the feel of ‘comfort food’, the type you make on payday when your account is smiling. The Gwate was good too, full of authentic flavours and meat chunks, but the Amora had stolen our hearts. We finished off with the wings and a drink, staying within our ₦30k budget.

The waiters here are very attentive. As soon as you make a gesture, someone arrives to attend to you, which makes for a pleasant dining experience. I would have loved it if the music in the background was a little more subtle, but I guess the loud music comes with the outdoor bush bar setting.

Altogether, it was a great time, and this is one place I’m visiting again. Maybe next time I’ll try the Tuwo and Karkashi.

Chillers By New Yorker No 1, JIB Road, Jos, Plateau State 08103933587, 07049896744

Average price for the meal: N30,000

Value for money: it’s excellent—fairly priced. The entire experience feels like it should cost a bit more.

Comfort: Quite comfortable. And the food tastes quite traditional, so you feel right at home.

Service 5/5: The service was excellent and the staff were extremely courteous, very professional and didn’t bother us at all except we signaled for them.

Overall Rating: ��