Issuu

EHIKHAMENOR VICTOR

Art, Culture, and Legacy

EDITOR’S NOTE

VPhoto: Kola Oshalusi @insignamedia Makeup: Zaron

ictor Ehikhamenor wears many hats, including those of a visual artist, writer, and photographer.

He serves as a voice in the art industry, exploring culture, religion, history, and identity through his work. His creations today reflect what he was told and what he saw growing up as a child in Udomi-Uwessan. Ehikhamenor drew inspiration from various activities he witnessed during his childhood, including watching his grandmother weave cloth with locally dyed thread on her loom, observing his mother paint and decorate with homemade clay and charcoal pigments, and seeing other villagers create mark-making on ancient shrine walls and altars. Today, these diverse art forms influence his work. Even though his art has taken him across continents, he continues to create from his studio in Lagos, Nigeria.

Giving back to society is important to Ehikhamenor, so he founded Angels and Muse, a creative space in Lagos, Nigeria, with a branch in Benin City, supporting artists and storytellers.

Read Victor Ehikhamenor’s story on pages 8 through 10. Ladies, have you ever wondered how to style a necktie? You’re in luck because our fashion pages show you different ways to wear one and look chic. Scroll to pages 4 and 5 for this.

The living room is the focal point of your home. You host guests, create priceless memories, and unwind there. However, the arrangement of the room must be considered to avoid making it feel awkward. Our décor page examines five living room layout errors and how to avoid them. You’ll find this on page 11.

This week, we feature Oremeyi Akah, the Chief Customer Success Officer at Interswitch Group, one of Africa’s leading digital payment companies. Akah’s career spans a trailblazing two decades, with her fingerprints all over the continent’s fintech evolution. From pioneering electronic payment infrastructures across Sub-Saharan Africa to training hundreds in digital finance systems, she is deeply invested in building people.

Scroll to pages 12 and 13 for her story.

Until next week, enjoy your read.

@onahluciaa + 2348033239132

FASHION #UNSHAKABLE TRUTHS

How to Rock a Necktie And Still Look Chic

M is for Manifestation

Victor Ehikhamenor Art, Culture, and Legacy

5 Most Common Living Room Layout Mistakes to Avoid

Adesina @bolugramm

- Contributing Writer

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

AUSTYN OGANNAH PUBLISHER/EDITOR-IN-CHIEF

Executive Editor: Onah Nwachukwu @onahluciaa

Writer: Johnson Chukwueke

Design & Layout: Olaniyan John ‘Blake’

Digital Media: Oladimeji Balogun

Consulting Art Director: Sunny Hughes ‘SunZA’

www.thewilldowntown.com thewilldowntown thewilldowntown

Dorcas Akintoye @mila_dfa_ - Contributing Writer

Dorcas Akintoye is a dedicated writer with more than 2 years prolific experience in writing articles ranging from food, entertainment, fashion and beauty. She has a National Diploma in Mass Communication from Kwara State Polytechnic, Ilorin. She loves writing, listening to music and playing scrabble. She is a highly-skilled, enthusiastic, selfmotivated professional writer.

Sally Chiwuzie @unshakable.is.a.state.of.mind - Contributing Writer

Sally Chiwuzie is a non-practising barrister who owns the brand #Unshakable. She is the author of Silent Symphonies, a fictional love story, and the creator of the podcast Chronicles of #Unshakable Truths.

Boluwatife

HOW TO ROCK A NECKTIE AND STILL LOOK CHIC FASHION

BY DORCAS AKINTOYE

Gone are the days when neckties were strictly for men. Today, women are boldly embracing this fashion piece and turning it into a stylish accessory that adds an edge to their outfits. Whether you’re aiming for a professional look, a laid-back vibe, or something fun and unique, a necktie can help you stand out if worn correctly. This article will show you stylish ways a woman can wear a necktie.

CLASSIC OFFICE STYLE

The most common way to wear a necktie is the classic office style. This works well for women who prefer neat fashion or have professional careers. Simply button your shirt up, put the tie around your neck, and tie it using a simple knot, such as the Four-in-Hand or Windsor. This style looks clean and confident. Wear it with nice pants or a skirt to look sharp and put-together. It helps you stand out in meetings or job interviews while still maintaining a feminine appearance. For formal places, pick plain or neutral ties, or choose colourful ones to make your outfit more interesting.

Try making your necktie into a bow for a softer, girlier look. This adds a sweet, stylish touch to your outfit. Instead of tying a regular knot, fold the tie into a bow, just as you would with a ribbon. This works best with silk or light ties and looks nice on blouses, dresses, or shirts with high collars. It’s great for brunches, fashion events, or any occasion where you want to look nice without being too formal. A tie bow adds a fun, stylish touch and personality to your outfit.

TIED LIKE A BOW LOOSE AND CASUAL

If you prefer a more relaxed look, try wearing your necktie loose. This style is casual and fun, making it perfect for informal outings. Don’t pull the tie tight, just let it hang loose around your neck or tie it halfway with the ends hanging down. You can wear it with a t-shirt, an unbuttoned shirt, or an oversized blouse. This look shows you care about style but in a laid-back way. The loose tie adds a touch of personality to your outfit and pairs well with jeans, skirts, or sneakers.

AS A BELT

You can also use your necktie as a belt to add a creative touch to your style. This is a surprising but fashionable way to wear it. Simply wrap the tie around your waist and tie it securely, with the ends hanging down in front or to the side. This looks great paired with oversized shirts, shirt dresses, and pants that sit high on the waist. It gives shape to your clothes and makes people notice your outfit. Try using colourful or patterned ties to stand out, and feel free to try different ways of layering your clothes with them.

LAYERED OVER A TURTLE NECK OR DRESS

A very stylish way to wear a necktie is to put it over a dress or turtleneck. This gives your outfit a bold, modern look. Start with a simple top or dress, then place the tie on top instead of under a collar. Tie it normally and let it hang down. This adds a sophisticated touch to basic outfits and works well for events where you want to make a style statement. It’s an easy way to make a plain outfit look interesting without trying too hard.

Wearing a necktie as a woman doesn’t mean you’re trying to copy men’s fashion; it means you’re bold enough to play with style and make it your own. Whether you prefer to go formal, casual, or totally out-of-the-box, there’s a necktie style out there for you. So, go ahead and raid your brother’s, dad’s, or boyfriend’s tie collection, or better still, get your own.

SALLY CHIWUZIE

M IS FOR MANIFESTATION

Sometimes life shifts so abruptly that you’re left standing in the aftermath, questioning everything. That’s how it felt on 11 March when I lost a childhood friend. I already knew about manifestation, but I had never intentionally practiced it — not until that day. Grief cracked me open, forcing me to look inward and question my thoughts, my relationships, and the way I navigated the world. It was during that souldeep introspection that manifestation became something more than just a concept. It became a lifeline.

To be honest, it wasn’t an overnight miracle. Many things I have hoped for still haven’t unfolded in my favour. Yet, there are momentsunmistakable glimmers that confirm to me that I am not walking alone. God is listening. The universe is listening. For example, I remember feeling cash-strapped just a couple of weeks ago, yet carrying on as though everything was fine. I affirmed to myself, over and over, that I would never go without. Then, out of the blue, I won £100. It wasn’t the millions I might have envisioned, but it was a sign — a whisper reminding me that I am supported. Manifestation works not just because of the big wins, but because of the small, serendipitous moments that show you are heard.

Manifestation is both wild and tender. It is the art of whispering your deepest desires into the universe with the faith that they will echo back to you — not as carbon copies, but as fragments of proof that you are seen, heard, and held. Sometimes, it feels like casting dreams into the dark, unsure of what will return, yet daring to believe that light will find you.

The couple from L is for Liminal comes to mind. They knew each other a couple of decades prior when they were both attached elsewhere. At the time, they barely noticed each other. Their interactions, few and far between, were strictly platonic. Then, at a mutual friend’s party years later, they found themselves alone in the garden, both nursing drinks, and both reflecting on life’s unexpected turns. The conversation began as

a casual catch-up but soon slipped into something much deeper — a shared reflection on missed chances and lives lived cautiously.

The woman had been intentionally manifesting deeper connections for some time — repeating affirmations, creating space for authenticity, and letting go of surface-level interactions.

The man, however, had not consciously been manifesting anything — but looking back, he realised he had been craving something more, even if he never put it into words. It was as if she had sent a signal to the universe, and somehow, he had been unknowingly tuned to the same frequency.

In that moment, it was as if they saw each other for the first time — not as the people they once were, but as individuals who had grown, changed, and found themselves in a liminal space where old stories were shed, and new possibilities emerged. It was as if they had manifested each other at just the right moment — not when they were younger and bound by old commitments, but now, as versions of themselves who understood the weight of time and the importance of second chances.

Manifestation is often seen as magical, but in truth, it’s deeply practical. It is choosing to believe, even when reality feels contrary. It is carrying yourself with confidence despite the doubts, speaking words of abundance despite the lack, and welcoming love when it comes, even if it arrives unexpectedly at a party you almost didn’t attend.

We breathe our lives into existence, one affirmation, one hope, one desire at a time. Perhaps that’s the greatest manifestation of all — the willingness to stay open to possibilities, even when they feel just beyond reach.

Do you believe in manifestations and affirmations? What are you currently manifesting? Would you like to know more about the couple next week in N? Maybe we’ll explore N for New Beginnings... ‘See’ you next week.

COVER

Art, Culture, and Legacy VICTOR EHIKHAMENOR

Artin Nigeria has evolved beyond decoration and beauty. It is now a powerful tool for preserving memories, passing down history, and telling stories. Over the years, artists have employed painting, sculpture, photography, and other artistic forms to explore politics, culture, identity, and everyday life. From being valued locally to receiving international recognition, Nigerian artists now showcase their work in galleries and exhibitions worldwide. Art today is more than just talent; it’s a voice, a window into the past, and a link to the present. It expresses our identity as a people and links us to others around the world.

Victor Ehikhamenor is one of the leading voices in this movement. He is a Nigerian visual artist, writer, and photographer known for using his work to explore culture, history, religion, and identity. Born and raised in a village where traditional practices shaped his worldview, Ehikhamenor found early inspiration from his grandmother weaving cloth with locally dyed thread on her mini loom, to observing his mother’s meticulous painting and decorating with homemade clay and charcoal pigments, to watching other villagers mark-making on ancient shrine walls and altars. His journey as an artist has taken him across continents, with his unique style displayed in major exhibitions worldwide. Whether through his abstract paintings, powerful photographs, or thoughtprovoking essays, Ehikhamenor tells stories that honour the past while confronting present realities. He is also the founder of Angels and Muse, a creative space in Lagos that supports artists and storytellers. The space serves as a hub for collaboration, inspiration, and innovation.

In this interview with THEWILL DOWNTOWN’s Dorcas Akintoye, Victor Ehikhamenor discusses his creative process, the heart behind his art, and the role of art in shaping society. He discussed his journey so far, his thoughts on Nigeria’s art scene, the future of Angels and Muse, and the legacy he hopes to leave behind with his brand.

You’ve exhibited your work globally. How does the reception of your art differ across continents, particularly between African and Western audiences? Reception varies, but at the same time, not too much difference. I believe my work is well received both at home and abroad, though I would rather leave that judgement to the viewers of the work. However, there’s no difference in the art that I show. My art is my art. Whatever I show is all made here. I work mainly from my studio in Lagos. There is a shift in materiality or sensibility – or let me say thematic pre-occupation, depending on the exhibition, the museum or the gallery, or what series of my work they want to show.

“I’ve been

drawing

since I was a four-year-old kid, at least to the best of my knowledge. At the age of nine, I had told myself that I wanted to be an artist, and my friends should call me an artist. So here we are today. Every moment is an inspiration for me to say, ok, I’m grateful to God that I’m able to do what I decided to do since I was a kid.”

Some of my art includes largescale immersive installations in museums, or biennales – those get finished on site. Whenever I have the opportunity to show in Nigeria, I go all out because this is home for me. Some of the exhibitions I’ve done here in the past few years have been the most grandiose. For instance, what I did at ArtX in 2022 was quite large. Then at the 2024 Lagos Biennial, I installed one of my largest works thus far in my career. I built an entire church with handkerchiefs and suspended an entire church interior by having everything levitate, as in floating in the air. So again, it depends on the theme of the exhibition, and it depends on the space that I’m given to express myself.

In a world flooded with digital imagery, how did you keep your art deeply personal, rooted, and yet universally resonant?

I have always been true to myself and have never wavered in the origin of my influences and inspiration. So come rain or shine, that will always reflect in my body of work – be it visual art or writing. That’s not to say I ignore what you call digital imagery. I explore digital imagery differently – if I understand what you mean. The internet or technology is an enablement for most artists to share their works, learn about other people’s work and a huge source of research and knowledge for me. Besides that, it doesn’t influence me. I can read and also see other artists’ works and learn about what is going on around the world. It is a quicker way to travel to other regions that you can’t easily get to physically, and explore what they are doing there. If I want to see what is happening in Australia, I can check the digital footprints of museums or artists in Australia and how they are working. Same with other people around the world. If they want to know what is happening in Nigeria or what is happening in Lagos or in Benin City, where I’m from, they can do so through the internet. Even though they have never visited or may not have the opportunity to visit, the digital world is where they can experience my world, and I can experience theirs.

You draw inspiration from local traditions, memories, and nostalgia. What role does memory play in shaping your artistic vision?

I’ve always said that if you don’t know where you are coming from, you’re likely not going to know where you are going. Memory

is a big thing for me. I mined the stories that I was told when I was growing up as a writer. Also, as an artist, I look at what has been done in the past. Nigeria, Africa, and other communities in the global south have produced some of the most amazing artists in the world. We don’t need to go too far to have those references if we can dig into our memories. What I remember being told, what I remember seeing when I was growing up as a kid in the village of UdomiUwessan, are all what reflect in my work today as an adult. Going back to that, the rosary pieces that I use are memories from my childhood when we used to put them around our necks and go to various catholic churches around my community. All that boils down to memory - which are really beautiful memories. I had an amazing childhood growing up, and I fancy and dig into all that beautiful past as inspiration for my works. So what keeps you going during creative droughts or times when the world feels heavy?

I work. I just draw. I don’t think I have experienced creative droughts because there is so much to do. I have many creative outputs; as a photographer, as a multidisciplinary artist, and as a writer. So if one form is not flowing, I switch to the other. Other times, I just read. I read a lot of materials, from novels to poetry to fiction, nonfiction. Whenever I don’t feel like producing work, I pick other people’s works and consume them and get inspiration from them. It could be Ben Okri’s novels or Christopher Okigbo’s poetry - that will unclog those blockades that are referred to as drought.

Is there a particular moment in your career that solidified your decision to devote your life to art?

I’ve always been an artist. There’s no time or moment when I’ve never wanted to be an artist. I’ve been drawing since I was a four-year-old kid, at least to the best of my knowledge. At the age of nine, I had told myself that I wanted to be an artist, and my friends should call me an artist. So here we are today. Every moment is an inspiration for me to say, ok, I’m grateful to God that I’m able to do what I decided to do since I was a kid.

comes to me could be DNA-related. There is a tendency for others to shift our influences and inspiration to other regions that are different from what we are looking at. A young man in Ibadan or Benin can paint a work, and he may never have seen or even opened a book or a monograph of any Western artist - and somebody would say, oh, this work is a copy of a work or this looks like something from Paris or what have you. No, it’s coming to him naturally, you understand what I mean? Uche Okeke said a lot through the philosophy of natural synthesis in this regard.

How do you feel about the commodification of African aesthetics in the global art market?

I don’t know if I can speak to that because, I mean, influences travel. You know, people will always borrow, but what I’ve always said is that they should please acknowledge where they are getting their inspirations from, you know. I mean, we can’t stop the world from being influenced by what is coming out of Africa because every day we keep reinventing ourselves. We have way too many creative outputs for the world not to be able to borrow from us. And we are not trying to shut off the world from Africa. But the thing is that whenever they do this, they should not take the glory. They should say, oh, I’m influenced by Benin Bronze, or I’m influenced by Ife head, or I’m influenced by, you know, Bamileke mask, and so on and so forth. You know, they should be able to say where they first saw it or what they’re inspired by, instead of thinking that they’re the ones who came up with the entire idea.

What advice would you give to emerging Nigerian artists who are trying to find their voice in a rapidly changing art industry?

They should stand their ground and keep working and not look at what other people are doing or selling – if they can, avoid market fads. If it is portraiture that is reigning today, and you paint portraiture, what if it shifts to abstraction tomorrow? What do you do? So, do what makes you feel better and good, and keep improving on your work. And read a lot. You have to read. A lot of our young artists are not reading or even know what art history is. They should also be able to respect what has come before them.

“I have always been true to myself and have never wavered in the origin of my influences and inspiration. So come rain or shine, that will always reflect in my body of work – be it visual art or writing. That’s not to say I ignore what you call digital imagery. I explore digital imagery differently”

What do you think is the most misunderstood aspect of contemporary African art on the global stage? That we are referencing mostly the West, without people knowing that we come from a long line of creative people as well. I am directly linked to my ancestors, and what

What do you think is missing in Nigeria’s art infrastructure, and what would you like to see more of?

I think it would be nice for the government to pay more attention to the creative output because there’s a lot of creativity happening amongst our young population. There needs to be a bit of resurgence in institutions, wellfunded and wellrun museums. Also, if our higher institutions’ curriculum can be revamped to include art history, it will be really helpful. As you can see, the US is cutting back on its funding of art now, and we can say that the lack of art funding is only happening in Nigeria – though we are still worse off here. But I think there’s a lot that can be done if there is genuine

government support. Also, our government doesn’t collect artists’ works anymore. I don’t think so, you understand. But when you look at some of the old museums and other leftover moribund institutions, you realise that people like Ben Enwonwu, Erhabor Emokpae, Bruce Onobrekpeya etc., are all in the national collection. I have been in the ecosystem for a long time now. I’ve never had a request from our government for work acquisition.

Your works have appeared in publications like The New York Times and CNN Online, and your photography has graced book covers. How do writing and photography complement your visual art practice?

This is sometimes difficult to answer in the sense that they are interrelated in many ways. All the art forms you just listed work together. Sometimes I use photography as a form of reference for my writing, or use my writing as a form of expression in photography, you know.

Angel and Muse was launched in 2018 as a multidisciplinary curative space. Is the space active, and how has it evolved since its launch?

Oh, it is very, very active. Angels and Muse was launched in 2018 and since expanded to Benin City, where we opened the first multi-facility that can take more than 12 artists at a time, stay in their own rooms and have places to work. And we have also started a sculpture garden in Benin as we speak, whereby young artists, mid-career artists and older artists can express themselves. We are very big on environmental conservation, so we are going to be planting tropical trees and plants that may be endangered. It’s going to be a mix of nature and man-made space. We have exhibitions almost every month that we rotate for young people who

don’t have spaces to show their works. We also invite other people to teach and run workshops for writers, curators, photographers, movie directors, organza film screening, and music listening. So, it’s very multifaceted for all creatives.

So, what personal rituals or habits help you stay grounded amid your many roles as an artist, writer, photographer, and cultural curator?

When I wake up every morning, I give thanks to God that I’m able to wake up - I pick up my pen and draw. I draw every morning while having my coffee. Whatever the day brings after that, I go with the flow.

What does success mean to you at this stage in your life, and has that definition changed over the years?

Success for me is being able to create one more work that gets me excited, and if I am lucky, it also appeals to others.

Living Room Layout Most Common 5Mistakes to Avoid

BY DORCAS AKINTOYE

The focal point of your home is your living room, where you unwind, host guests, and create priceless memories. However, even the most fashionable living room can feel awkward or uncomfortable if the arrangement isn’t well considered. Fortunately, correcting these errors can have a significant impact. To help you design a living room that is both aesthetically pleasing and functional, let’s examine the top five living room layout errors and how to avoid them.

PUSHING ALL FURNITURE AGAINST THE WALL

Although it may seem sensible to place your couches and chairs close to the wall to create the illusion of more space, doing so might make the area feel cold and disconnected. When every piece of furniture is pushed up against the wall, a large gap remains in the centre, making the room feel less comfortable and discussions seem distant. Try floating your furniture instead, which involves moving chairs and sofas a few inches from the wall. Use a wide area rug to define the space and anchor the seating area. Arrange the furniture pieces closer together to create conversation zones.

IGNORING

TRAFFIC FLOW

Your arrangement isn’t working if people have to navigate around the room by zigzagging through furniture. Your living space may feel claustrophobic and difficult to manoeuvre through if there is poor traffic flow. This can be fixed by spacing walkways by at least two to three feet and arranging furniture to allow people to move about without running into it. Keep an eye out for doorways and the typical routes people take in the space. When flow is prioritised, the space feels larger and easier to navigate.

SKIPPING A FOCAL POINT

Every area requires a focal point, a spot that naturally draws the eye and creates harmony. Your living space may appear disorganised without one. Determine the natural focal point of your space, such as a huge window. If there isn’t one in the space, make one with a striking piece of art, a television, or a striking coffee table. To organise the space, arrange the furnishings around the focal point. The area is visually appealing and centred around a distinct focal point.

POOR LIGHTING CHOICES

One of the most neglected aspects of living room design is lighting. A space that only has one overhead light may appear uninspired and flat. Utilise a range of lighting fixtures, including wall sconces, floor lamps, table lamps, and ceiling lights. Consider adding dimmers to manage brightness and set the mood, and layer your lighting to create ambience and give the room a dynamic sense. A well-lit space feels more inviting and improves the room’s decor.

CHOOSING THE WRONGSIZED RUG

Your living area may appear haphazard and disorganised with a rug that is too small. The right rug can bring the entire space together, even though it may seem like a small detail. Ensure the rug you choose is large enough to accommodate the front legs of your furniture at a minimum. The rug should ideally be large enough to completely enclose the seated area. If you already have a small rug you love, try layering it over a larger neutral rug. A rug of the proper size unifies your arrangement and offers warmth.

It’s not difficult to design a living space that’s both attractive and functional. By avoiding these common layout mistakes, you can transform your space into a cosy, stylish haven that works for everyday living and entertaining. The goal is to create a space that is easy to navigate, welcoming, and balanced. You can create the living room of your dreams with a few wellconsidered changes, so don’t be scared to try different layouts until everything works.

WIRED FOR GREATNESS

INSIDE OREMEYI AKAH’S FINTECH JOURNEY

In a world where innovation often outpaces inclusion, Oremeyi Adeola Akah is the rare force bridging both, blazing trails in Africa’s fintech ecosystem while empowering others to rise alongside her. With an engineering background that meets executive brilliance, she’s not just moving the needle— she’s redesigning the entire dashboard.

Currently the Chief Customer Success Officer at Interswitch Group, one of Africa’s leading digital payment companies, Oremeyi’s career spans two decades of game-changing impact. From pioneering electronic payment infrastructures across SubSaharan Africa to training hundreds in digital finance systems, her fingerprints are all over the continent’s fintech evolution. But beyond the boardroom, she is deeply invested in building people. Through platforms like Africans Build Africa and her role on the board of SHECAN Nigeria, she continues to advocate for the power of mentorship, storytelling, and homegrown innovation.

In this interview with THEWILL DOWNTOWN’s Johnson Chukwueke, he sits down with the powerhouse engineer-turnedcustomer champion to talk about tech, transformation, and trailblazing. We also peel back the layers, getting a glimpse into the woman beyond the title. What drives her? What grounds her? And how does she find balance in a world that never stops spinning?

You’ve had such a dynamic career in tech and fintech. What first sparked your interest in electrical and electronics engineering?

Honestly? It all started with my love for math. But I didn’t want to study math — let’s be real, at the time it didn’t sound “impressive” enough. I liked standing out from the crowd. Engineering sounded cooler and had loads of math, so I thought, why not upgrade this love affair with numbers into something more dramatic? Also, very few girls were choosing Electrical/ Electronics Engineering back then, which made it even more appealing. So, in true “watch me be different” fashion, I dove in. Looking back, it was such jejune serendipity — a young girl’s bold leap, with zero clue of the incredible journey it would spark. I chose engineering to be different… and it definitely delivered on that promise.

As the Chief Customer Success Officer at Interswitch, how do you define success when it comes to serving African consumers?

Success is not one-size-fits-all, especially not in Africa. Our markets come with real infrastructure gaps and unique behavioural patterns. So for me, success means our customers feel understood, valued, and inspired. It’s about designing experiences that are both accessible and meaningful. You can’t copy-paste what works in developed markets — that’s the quickest route to irrelevance here. We build with empathy, with context, and with a deep respect for the resilience of African consumers.

You were the first certified ePayment Postilion Trainer in Africa outside South Africa. What challenges did you face breaking ground in a male-dominated space, and how did you overcome them?

Oh, where do I start? I was still serving in NYSC when I got certified — barely out of school, and suddenly sitting in rooms full of seasoned professionals. My biggest hurdle wasn’t the men in the room — it was the voice in my head whispering, “You’re too young, who do you think you are?” But I held on to Philippians 4:13 — “I can do all things through Christ who strengthens me.” That scripture has carried me through many boardrooms. And of course, I had incredible mentors — my boss at the time, and some of Interswitch’s founding leaders — who saw something in me and gave me the room to grow into it.

Your involvement in Africans Build Africa shows your passion for mentorship. What drives your commitment to empowering others?

I truly believe we are each born with a light, and Matthew 5:14 says, “You are the light of the world.”

For me, that’s not just a nice verse — it’s a call to action. I’m here to light up others, to pass the torch. Africa is brimming with potential, but we must be intentional about creating platforms for growth, learning, and confidence. Mentorship is my way of saying, “You’re not alone. I’ve been there too.” Plus, I firmly believe that Africa deserves more, and the solutions won’t come from outside. It’ll take us, building each other up, one honest conversation and one bold step at a time. If I can play even a small role in that chain reaction, then that’s my purpose, right there.

Tell us about a defining moment in your personal life that shaped the way you lead today. I was raised in a home where academic excellence

wasn’t negotiable. My dad’s a professor. My mum’s a librarian. You only write one JAMB, one SSCE — if you fail, you’re on your own! (laughs) There was no cutting corners — just get it done, and do it well. That environment made me a driven, resultsoriented person. In the early years of my leadership journey, I was quite intense — I demanded excellence and expected everyone to be equally selfmotivated. But over time, and with life’s lessons, I’ve become more empathetic. Today, I still push for results, but I do so

What role has family played in supporting your journey, especially through your transitions between technical and leadership roles?

A huge role — I truly don’t take it for granted. My husband, Ejimofor, has been my rock. When I went off to pursue my Master’s, he stayed back with our children — doing school runs and running the home front like a champ. That level of partnership gave me the space to grow professionally without being weighed down by guilt. Of course, balance isn’t every day — some days you drop one ball or the other. But having a strong support system makes the juggle possible. Family has been the invisible engine behind the visible journey.

If you weren’t doing what you do today, what other path—perhaps something completely outside tech—would you have loved to explore?

Definitely something in education or fashion (I love colours). I love the idea of shaping minds and shaping style — one moulds the future, the other makes it look good doing it. (laughs) I’d probably have been a fun, slightly dramatic school principal, or maybe running a fashion brand that combines tradition with bold innovation. Who says I can’t still explore both someday? Life is long, and I believe in evolving.

GROW FULLER LASHES AND FULLER BROWS

If you have thin or patchy brows or lashes, castor oil can help them grow stronger and fuller. This oil contains ricinoleic acid, a fatty acid that promotes hair development and helps nourish the hair follicles. If you apply a small amount to your lashes and brows each night, they will receive the moisture and nutrients they need to grow healthier. To prevent it from getting into your eyes, apply it carefully with a cotton swab or a clean mascara wand.

CASTOR OIL IN YOUR BEAUTY ROUTINE 4 WAYS TO USE

BY DORCAS AKINTOYE

Although castor oil is not the most expensive beauty product available, it is undoubtedly one of the most effective. Castor beans are used to produce this thick, natural oil, which is rich in nutrients and can revolutionise your beauty regimen. Castor oil can do a little bit of everything, from your lips to your scalp to your lashes. This article will guide you through incorporating castor oil into your beauty routine.

PROMOTE HEALTHY HAIR GROWTH

MOISTURISE DRY SKIN NATURALLY

Castor oil works wonders as a natural moisturiser for dry or flaky skin. Its thick and rich consistency helps retain moisture, keeping your skin feeling smooth and silky. You can blend it with a lighter oil, such as coconut oil, or apply a few drops directly to your face for a thinner texture. Dry hands, feet, elbows, and any other area of the body that requires additional care will benefit from its use.

One of the most common uses of castor oil is promoting hair growth. Using castor oil on your scalp can increase blood flow and provide your hair follicles with nutrients that will strengthen them. This can lead to less breakage and faster hair growth. To use it, warm a small amount of oil (not too hot) and apply it to your scalp, then gently massage it in with your fingertips. Before removing it with shampoo, let it sit for at least an hour, or overnight if possible. By doing this once or twice a week, you can make your hair appear healthier and thicker.

SOOTHE AND HEAL CHAPPED LIPS

If you struggle with dry or chapped lips, castor oil can help soothe and revitalise them. Its thick texture makes it perfect for coating the lips and locking in moisture. Plus, it’s a safe and natural alternative to some store-bought lip balms that contain harsh chemicals. Simply dab a drop of castor oil on your lips and gently rub it in. You can also mix it with honey or shea butter for extra softness. Use it at night before bed or anytime during the day when your lips feel dry.

Castor oil is a simple, natural product that deserves a spot in everyone’s beauty routine. It’s affordable, easy to use, and packed with benefits for hair, skin, and lips. Whether you’re dealing with dry skin, thinning brows, or scars you’d like to fade, this oil can do wonders.

CASSY’S CHRONICLES NOT THAT SHY GIRL ANYMORE

Isaw him before he saw me.

Tall, dark-skinned, and devastating in a tailored navy suit, he looked even better than I remembered.

Daniel. My best friend’s older brother. The boy I used to daydream about when I was seventeen and hopelessly shy.

Back then, I couldn’t form a full sentence around him. Just giggles and nervous glances. He barely noticed me. I was his sister’s quiet little friend who always disappeared into the background.

But I’m not seventeen anymore.

I walked into the wedding reception in a fitted red dress, confidence on my lips and sway in my hips. And when his eyes finally landed on me from across the room, he paused mid-conversation. The way his gaze travelled down my body and back up made something deep inside me tighten.

“Amara?” he asked when we finally stood face to face.

“Hi, Daniel,” I smiled, bold and unbothered, like I hadn’t fantasised about this exact moment for years.

“Wow. You look... different.”

“I grew up.”

He looked at me like he was trying to remember why he had never seen me before. And honestly? I let him stare. I wanted him to.

We danced. We talked. We caught up. The reception faded into a blur of music and laughter around us. Every brush of his hand on my lower back, every glance that lingered a little too long, lit a fire in me. I didn’t want to go back to my hotel room alone. And when he offered to walk me out, I knew he didn’t want that either.

The elevator ride was quiet, thick with tension. When the doors closed behind us, I turned to face him. My heart raced, but my voice didn’t shake.

“I used to have the biggest crush on you,” I said.

His eyes darkened, voice low. “Used to?”

I stepped closer, closing the small gap between us. “Maybe not.”

The air snapped between us. He moved fast, one hand at my waist, the other cradling the back of my head, and he kissed me like he’d been holding back for years. Heat surged through me. I clung to his shirt, lips

parting, tongues tasting, heart pounding.

The hotel room door slammed shut behind us.

Clothes scattered on the ground like confetti; his jacket, my dress, my bra. He kissed down my neck, hands learning my curves like a man starved. When his mouth found my breast, I moaned, fingers digging into his shoulders.

“God, Amara,” he breathed. “You’re driving me crazy.”

“Good,” I whispered, pulling him down with me onto the bed.

His hands were everywhere; rough and gentle, greedy and reverent. He kissed my thighs, my stomach, then lower, tongue teasing me until my back arched and I cried out his name. My legs trembled as he brought me to the edge, then over it.

Then he slid inside me, slow, deep, and delicious. I gasped, clutching him as he moved. Every thrust sent sparks through me. Every kiss stole my breath. He held me like I was something precious, something he didn’t want to break, but couldn’t stop devouring.

“You feel so good,” he groaned against my ear, and I melted.

We moved together like we were made for this. For each other. It wasn’t rushed. It wasn’t just sex. It was everything I had imagined and more.

When it was over, we lay tangled in the sheets, skin to skin, breath slowing.

BY BOLUWATIFE ADESINA

The Amateur

Thefact that Rami Malek looks entirely unqualified to play an action hero is the point of The Amateur. As Charlie Heller, a nerdy CIA cryptographer, he’s thrust into the role by his urge to avenge the murder of his wife – an idea that attracts loud snorts of derision from his co-workers.

The film is drawn from a 1981 novel by spy novelist Robert Littell, a former Newsweek correspondent based in Europe during the Cold War. For that reason, it makes perfect sense that the film should be directed by James Hawes, who brought the first series of Mick Herron’s Slow Horses to the TV screen. When it comes to the art of marrying espionage with extreme cynicism, Herron is unlikely ever to find a rival.

In this film, however, the cynicism is dialled down. While the plot includes a group of rogue CIA agents engaged in black ops, the writers have extended a lot of compassion to Charlie, who is haunted by memories of his wife, Sarah (Rachel Brosnahan), and the happiness they had together.

The film is a remake. The screenplay for the original was written by Littell himself, who knew quite a lot about cryptology from his time as a code officer in the US Navy but he and the movie’s producers fell out during the rewrites and he denounced the final result for its “truly awful dialogue”. I imagine that he’s more pleased with this version.

The mayhem begins when Sarah, a climate control campaigner in London for a conference, is taken hostage during a terrorist attack on her hotel and killed as the gang are shooting their way out.

A distraught Charlie then embarks on a hunt that takes him to London, Paris, Marseille and Istanbul, finally ending up on Russia’s Baltic coast. This could make for a travelogue with a side serving of suspense but

Hawes has a taste for Europe’s grittier neighbourhoods and the settings give the action some intriguingly rough edges.

Charlie’s CIA bosses do everything they can to deter him from this nomadic exercise, but he comes up with an offer they can’t refuse, and Laurence Fishbourne, cast as a field agent trainer, is assigned to prepare him for the rigours ahead. It’s a job he takes on very reluctantly, for Charlie, he discovers, can’t shoot straight, panics in a fight and blunders into all kinds of trouble if he happens to get caught up in a chase, as often happens.

He does have a talent, however, for planning ingenious methods of cornering and trapping his prey. He can’t shoot them. Even when he can see them properly, he’s incapable of pulling the trigger. Instead, he employs a system of putting them in harm’s way and letting them do the rest.

Malek gives a strangely compelling performance. It’s slightly stilted, as if he’s checking himself before he speaks, but somehow it’s right for Charlie, whose mind is probably taken up with algorithmic calculations much of the time. And fortunately, he has a strong supporting cast on hand to respond to his famously pop-eyed stare – although the best of them are wasted in small roles.

A shaggy-looking Jon Bernthal appears briefly as an affable field agent, and Caitriona Balfe has a small but potent role as a mysterious Russian computer hacker who becomes Charlie’s closest ally, largely because she can understand what he’s talking about.

Some of the script is too clever for its own good – so convoluted that you’re not quite sure where it’s going – but it’s fun and, at times, surprisingly poignant.

Rating:6.5/10

How much do you want to know about a ruthless assassin? Do you want to know their backstory? Their childhood trauma? Their mom’s name?

In the 1973 film The Day of the Jackal, the killer remains a complete cypher. Is it more or less unnerving to know nothing of an individual capable of murder-for-hire? We can fathom immorality, but amorality? That’s a different ball game.

The film was based on a 1971 novel by Frederick Forsyth, which was inspired by a real-life 1963 assassination plot against then-French president Charles de Gaulle. It has now been updated for 2024.

As befitting our times, what was a film (there was also a 1997 movie starring Bruce Willis) is now a 10-part miniseries, and the contract that was worth $500,000 in the 1970s is $100 million today. Even evil cabals feel the pinch of inflation.

The target is not de Gaulle but a billionaire tech titan named Ulle Dag Charles (get it?) who is threatening to release software that would make transparent all the financial institutions in the world. As you can imagine, that doesn’t suit a lot of people.

They hire an assassin known only as the Jackal (Eddie Redmayne), who has recently killed a far-right German politician with a shot from an impossible distance. There are not many people who could even come close, even fewer weapons experts who could craft a custom sniper rifle.

These two facts kick off the hunt for the Jackal by Bianca (Lashana Lynch), a determined and prickly MI6 agent who isn’t interested in being liked or popular. What she wants is to get the job done, even if that means the ends justify the means.

This brings us back to the Jackal himself, who we first meet while he’s in disguise as an old man, trying to infiltrate an office building with beefed-up security.

Redmayne is in full prosthetics and with altered physicality, and across the show, there will be different opportunities for the actor to really flex those muscles playing a character who takes on different roles. It’s not just being in disguise, it’s also the highwire act of calibrating that performance so that it’s distinct to the audience but in the universe of the show, impressionistic.

On top of that, and this is where this version of The Day of the Jackal deviates the most from its source material, is that the character is not a mere conduit for other people’s schemes.

This Jackal has a backstory, albeit this is very slowly drip-fed, and he has a family - a wife, a baby son and in-laws ensconced in a stunning Spanish mansion. This gives the character emotional stakes and vulnerabilities, he has something to lose that’s not just the failure of the mission.

It also plays with audience empathy in the cat-and-mouse game between the Jackal and Bianca. The series gives both characters shading and perspective, and you follow them in their respective worlds. One is a killer and the other has killed, although this isn’t a “sides of the same coin” thing.

But it does split your loyalty. You don’t want the Jackal to get caught but you also want Bianca to catch him. They can’t both win, and you don’t know who you want it to be. That the series plays with that conflict demonstrates its willingness to be thorny.

The Day of the Jackal isn’t trying to reinvent the espionage thriller but what it does is lean into the tropes. They work

for a reason and when it’s done with the mastery and tautness that this series puts in, it works very well.

So, yes, there are leaks out of MI6, lots of skulking around, computer screens with dossiers, car chases, foot chases, even one with a horse. But they’re used judiciously.

The show, not coincidentally, also evokes Bond, not just with the casting of Lynch, who was in No Time to Die, but with its sultry opening theme song by Celeste, who could easily be a voice double for Adele.

It’s suspenseful and intense but not overplayed. The action sequences have an impact and a level of restraint, which is not an easy balance to strike. The Day of the Jackal is disciplined and slick – this is not something Dwayne “The Rock” Johnson ever would have made.

If Red Notice or Hobbs & Shaw are pieces of candy, artificially sweet and insubstantial, then The Day of the Jackal is the lush richness of dark chocolate. A spy thriller for grown-ups.