THISDAY STYLE MAGAZINE 8TH AUGUST 2021

...NOT IN THISDAY STYLE? THEN YOU’RE NOT IN STYLE

SUNDAY, AUGUST 8, 2021

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CONTENT Society AN EVENING WITH THE AMAZON PG 6-7

ART MEETS WHISKY AT THE EXCLUSIVE LAUNCH OF GLENFIDDICH’S GRANDE COURONNE PG 8

Fashion COLOURS OF LIFE PG 17 POWER SUIT AND SNEAKERS PG 18 COLOUR BLOCKING PG 20-21

IT’S A WRAP PG 22

Boisterous Nike Davies –Okundaye, fondly referred to as Mummy Nike, needs little or no introduction. She is Nigeria’s foremost Batik and Adire designer, owner and chief curator at Nike Art Gallery and the CEO of Nike Arts and Cultural Centre, a centre where budding artists get free training in many artistic skills.

From her first exhibition at the Goethe Institute in Lagos in 1968, Nike has become one of the prominent names on the art scene internationally and locally.

FUNKE BABS-KUFEJI speaks to the doyen of Arts and Culture, who tells her about turning 70 and her journey thus far.

THISDAY STYLE FASHION DIRECTOR/EXECUTIVE EDITOR RUTH OSIME

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EDITOR PRINT OLUFUNKE BABS-KUFEJI EDITOR DIGITAL KONYE NWABOGOR

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SENIOR ART DESIGNER MATHIAS ARCHIBONG 07054965500 CONTRIBUTORS ISIOMA USIADE GUEST CORRESPONDENTS AZUKA OGUJIUBA ZINA ANUMUDU JOANNA MACGREGOR SEYI ALAWODE PHOTOGRAPHER TY BELLO DIRECTOR, PRINT PRODUCTION CHUKS ONWUDINJO 08077092196

Never has our art been more appreciated as it is today. They have become collector’s item. Today’s art is richer in texture, more conceptual in their messages.

African Art has fast become an investment because of its increase in value.

What has made art more interesting is how artist now know the true value of their work and have learnt to command deserving prices for their labour which in turn, give their profession more respect and value. When we speak of Art, we refer to every aspect of it from furniture, paintings, sculptures and even fabrics.

Our cover personality, Nike Davies Okundaye, better known as Mummy Nike, owner of Nike Art Gallery, had a show called Eko Culture, a living exhibition of Lagos art and fashion at Ebonylife Place where she displayed an array of adire bubus in the most exciting display of colours and designs. Every woman wore Nike’s signature gele hairstyle for the fashion and l must say we all looked absolutely regal.

An Art Connosieur, Nike also has the most amazing array of art collection which is a reflection of her love for art and the years she has invested in creating awareness for our local talents, this has perhaps put her collections of artworks as the biggest in Africa.

Nike is never seen wearing anything else but the adire fabric she so loves. What makes her own attire more interesting aside from her huge headpiece which is her trademark, is the sneakers she wears under each of her outfits. Now, nothing could be more juxtaposed than wearing a native attire with western footwear.

In Power Suit Sneakers, you can take a peek at sneakers women love to wear now. Many women are glad for this next best alternative to heels. Just as sexy. Just as cool and way more comfortable. In fact, more women actually have more sneakers than they have heels, or at least, older women with Mummy Nike being one. This look is much preferred because it is quirky and most importantly, so comfortable it’s almost sinful! I, for one, have totally od’ed on it with no signs of slowing down!

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An Evening With The Amazon B Y K O N Y E C H E L S E A N WA B O G O R

Nneka Onyeali-Ikpe, MD/CEO of Fidelity Bank was celebrated by friends and family at a dinner event which took place at the Balmoral Hall, Federal Palace Hotel, Lagos recently.

Nneka was recognised for her achievement over the years culminating in her appointment as the first female CEO of the institution. The event, which was attended by top leaders in the financial and other business sectors also served as an ocassion to encourage the younger generation of women.

It was a night of fun and laughter with Phyno and the Limpopo merchant, KCee dishing out lovely songs to the delight of audience.

In her speech , she pledged to lead Fidelity Bank to greater heights on the back of her 7 Key Imperatives of Brand Refresh, Innovation, Workforce Transformation, Performance Discipline, Accelerated Growth, Service Excellence and Digital Transformation.

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HRH GERALD OBUNNADIKE MBAMALU

KENNEDY & ICHECHI OKONKWO

ALICE ONYEMA & UJU IFEJIKA

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BISOLA & SAMUEL OTIGBA

AYOOLA GBOLAHAN & ZAINAB ASHADU

Art meets Whisky at the Exclusive launch of Glenfiddich’s Grande Couronne

The world’s most awarded single malt whisky, Glenfiddich, recently introduced the latest addition to its robust whisky collection, ‘The Grande Couronne’ in Nigeria. The Grande Couronne sits within Glenfiddich’s revolutionary Grande series and is a 26-year-old whisky matured in American and European oak casks and finished in French Cognac casks. The Grande Couronne nods to Glenfiddich’s experimental maverick spirit of consistently pushing the boundaries of whisky innovation.

The highly anticipated launch event held at Cilantro Restaurant, Victoria Island, Lagos, allowed guests to exclusively experience the Grande Couronne through the artistic expression of the Grande Composition.

The Grande Composition is a series of artistic collaborations, which sees a cross-cultural reimagination of the brand’s Grande Couronne bottle design. Glenfiddich discovered some of the world’s most exciting artists from 19 countries, including Ayoola Gbolahan from Nigeria, and challenged them to take inspiration from the original design and put their maverick eye to it, turning it into something new, celebratory, fresh and unexpected.

The night of glitz and glam culminated in the reveal of the Grande Couronne, and guests were treated to a tasting of the Grande Couronne spearheaded by Struan Grant, Glenfiddich’s Global Brand Ambassador (Virtually).

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THISDAY Style WWW.ARISEPLAY.COM Vol. 22, No. 9586 Sunday, August 8, 2021

COVER

THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

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THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

S E I V A D E K NI

E Y A D N U OK @70!

IFE! L S T E E M WHEN ART

Boisterous Nike Davies –Okundaye, fondly referred to as Mummy Nike, needs little or no introduction.

She is Nigeria’s foremost Batik and Adire designer, owner and chief curator at Nike Art Gallery and the CEO of Nike Arts and Cultural Centre, a centre where budding artists get free training in many artistic skills.

Okundaye spent her adolescent years in Osogbo, one of Nigeria’s Centre for Art and culture, where she learnt indigo dying and Adire production from the famous Osogbo Art School. With this training, she discovered a passion for textile designs in the Adire and batiks and became exceptional.

From her first exhibition at the Goethe Institute in Lagos in 1968, Nike has become one of the prominent names in the art scene locally and internationally.

FUNKE BABS-KUFEJI speaks to the doyen of Arts and Culture, who tells her about turning 70 and her journey thus far.

Turning 70 in this day and age is such a huge deal, and we celebrate you for that. How do you feel at 70?

I am filled with joy. I never knew I would get to celebrate 70 years on earth, so this has been a very memorable year and birthday for me. I have been celebrating other birthdays, but this year has been very special for me.

First, a birthday celebration was thrown in my honour

by Diana Chen, who I also call Adunni, the Chairman of CIG Motors authorised distributor of GAC Motor in Africa in conjunction with the Lagos state government.

I was celebrated in a very big way and was given the Arts Iconia Awards in recognition of my contribution to the arts and culture in Nigeria. I had not just one, but two governors attend that event, and I was happy to have been given such a huge honour. I thank Adunni Diana Chen for celebrating me.

I remember the celebration like yesterday because I was in attendance. What was the most memorable part of that day for you?

What was most memorable for me was the car I was gifted. It is the first time in my life that I am getting this kind of gift; despite my hard work, I didn’t know I will see someone who could gift me a car. The Governor and Diana gave me a car worth more than 35million naira. When will I have saved such an amount of money? We practically live on our daily earnings now, especially with the covid-19 pandemic. It was a surprise for me. I never saw it coming. I couldn’t believe it. I was very happy and speechless.

I also never thought I would meet the Lagos Governor. I am not a politician or anything of that sort; I do whatever I can to help. Lagos, I will say, is “Ilú Ajè” (the land of opportunity). Anyone who is hardworking will make it in Lagos; that is why I moved to Lagos.

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The gele idea came up one day when an Obioma tailor was passing by. I called him and gave him the concept of what I had visualized, and after much back and forth and adjusting here and there; my signature gele was born.

I was based in Osogbo before, but because people didn’t visit Osobgo to patronise us back in the ‘70s, then I moved to Lagos. Now Lagos has honoured and celebrated me, and I’m grateful.

I know you opened your first gallery in 1983 in Osogbo, and you trained girls for free on Batik and Adire. Is that still in existence?

My first Art shop in Osogbo was in 1967, and that was in my bedroom. I moved to Osogbo when I was six after my mother died to live with my mother’s sister, an adire maker married to a man with 16 wives.

We were three living inside her room, and that was where our gallery was too. I will call that my African shop No 1.

Osogbo was and still is a place where people come to worship the Osun, and if you believe in the Osun, whatever you want, you will get. After being

in Osogbo for a while and learning from my mother’s sister the Art of adire making, I met Susan Wenger, a white woman who married a Nigerian and told her I want to be like her. She asked what my skill was, and I told her Adire. When she took a look at my work, she said I was already a professional. She advised that I focus on my craft and work hard that things will work out for me.

I left for the USA in 1974, chosen by the American government. It was my first breakthrough. I was to teach Aso-oke weaving women’s loom. In class, I had 48 men and two women. I was surprised to know that the men took so much interest in learning the women’s aso-oke loom, so I asked further why men were interested in the women loom, and they said, “this is America, what a woman can do a man can do and vice versa”. So that was when I decided that when I returned to Nigeria, I would learn the men loom and teach it to other women in my centre since it was a faster craft to learn.

Your Nike Art and culture centre in Osogbo used to be for only girls. Is this still the case, and why?

I first opened it for girls until it was threatened to be closed down. I was told I couldn’t bring my American feminism back to Nigeria, especially not Osogbo. So, I was made to open my doors to men as well. When it was for only women, it was called Cooperative, but I was advised to name the centre after myself; that was how the name Nike’s centre for Art and Culture came along. When it was for only girls, I was arrested or harassed by the police every other day via some disgruntled men saying that once the women learn the craft, they won’t give money to their husbands anymore. These were women who were 3rd or 4th wives. Some were even 7th wives to a man. I was teaching them the adire and Aso Oke craft and

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THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

advising them to invest their money rather than give it all to their husbands, so the husbands concluded I was teaching American Feminism.

I went into film production when sales were slow in Osogbo. We produced a movie called Ayaba, where I featured as the Ayaba, and still, I was arrested because, according to them, I was delving into men’s trade. Back then, I always thought about other means of income, and that’s when I started running workshops on wood carving. I even allowed my daughter to join. All the crafts and trades that women were not allowed to do, I started going into them. When I used my daughter on wood carving, they said she must worship Ogun. At the end of the day, the training became for both men and women and even children. After a while, children from different schools will come to the Art shop in Osogbo for internships for about three months, which made me write to schools encouraging them to send in their students to learn about textile, adire, carving, etc.

My advice for the young upcoming artist is to work hard and focus, hold on to their hope, and always think wisely. It shouldn’t always be about the money but do your work for your love for Art.

I know you don’t have any formal education.

Everything learnt was self-taught; how were you coping and communicating when you first went abroad to teach in schools like Harvard?

The first time was in May 1974, when I went to teach. I kept asking for an interpreter, but they encouraged me to say whatever I wanted to say.

When I say, ‘signature my tribe’, and they asked what I meant, I will tell them my work is my signature; the Adire is called Alaworan, and when they further asked what ‘alaworan’ meant, I told them it meant Adire. Eventually, after a while of us going back and forth on language barriers, I was given an interpreter.

It was my interpreter after many lessons that taught me how to speak America English. You see, I only read up to primary 6, and as soon as I left primary school, I became a babysitter with an Indian woman.

This was in 1966. She taught me little English and how to write and say my name in English. It was initially difficult, but I gradually learnt, and whenever I have white people visit Osogbo, I communicate

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daughter made fun of me, and I told her she would also wear it someday. I started wearing them everywhere, and every time I went out, people complimented my gele.

I put up a fashion show with my gele, and Prof Soyinka was impressed; he complimented my new style and called it “gele gala”. He took me to Napoli and Panama in Italy, where we got the chance to put the gele on the Mayor’s head. You know our culture is valued internationally. In Panama, I put the head-tie on more than 100 white people. So, when the Meristem campaign came and asked if I could make the biggest head tie; I accepted and took up the challenge. The gele was 42meters high while the first I ever did was 32m.

That is how I started with my gele business and lecture.

During the Eko at 50 events, Prof Wole Soyinka brought 200 young children to wear the gele, and you needed to see the joy on their faces when they put it on.

What accomplishment are you most proud of and why?

The gallery. This Nike Art Gallery here in Lekki. The day I opened this gallery was the happiest day of my life.

Also, in 1976 when I travelled to America, I was the only female among nine men who travelled to go and teach the aso-oke loom because the American Government insisted, they must include a female in the group. When we got to New York, we found some of my work being sold at the craft shop at the Museum in New York. A lady I met here took them to the museum, and they were being sold for a dollar. I opened this gallery in 2000, it took me two years to build it, and I planned to accommodate as many artists as possible. I wanted all Artists voices to be heard, and I wanted their works to speak for them hence why I curate arts from so many artists. I wanted the Nike Art Gallery to be a place people visit and find at least ten or over 10 Artist voices being heard.

So, are you saying Osogbo Arts and Culture Centre has proper facilities to accommodate those who come?

I started using my house to provide accommodation/feeding and material for them for free, and to date, it remains free. I have now built a hostel to be able to accommodate more students.

How are you able to sustain the centre at a certain basic standard since training is free?

I don’t get free funds. I get funds from my lectures abroad. I divide any money I get from my lectures into three (3) one for myself, one for my family, and one for my centre. Now that I have a gallery, anyone that gives me their Artwork to sell, if I sell, I take 10%, which I also divide into 3. I run the centre in Osogbo with young students and for young students, which help to keep spending low.

The one in Abuja is for job seekers. When they are stranded and have nothing to do, they go to my centre. When El-Rufai was Minister of the Federal Capital Territory, I invited him to the centre because he is an art lover, and he was very impressed. This made him tar the road to the centre and gallery to make it more accessible. He encouraged me to do everything I could to help build the youths, and then we decided to teach them how to recycle.

We taught and still teach them how to use scraps to make Art. All the works previously taught are still in the Abuja centre and gallery. Then we went a step further; we took the Osogbo concept and brought it to Lagos. The gallery in Kogi was opened after opening one in Abuja, which attracts ambassadors to visit. There are similarities between Ogidi in Kogi and the Ogidi Anambra culture. The food, the red cap, etc.

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with them through the pictures of my works.

In 1983 I decided to take up the responsibility to explain my work to visitors without the help of an interpreter in LA, I was working for 10hrs daily, and I had many people come around asking me questions about my work. I will try my best to communicate in English, and sometimes I just let them watch as I work.

Tell us about your experience at Harvard University and how you got into the school as a teacher?

I met a lady Susan Bell in 1979 when I took African Study. When I joined the study group, we travelled to different states to teach. Which helped every year, professors will come to the Africa Study class and write books and lecture on everything African, and that was where I met Susan Bell. she said she would love to bring me to Harvard for the Cultural week and that if it works out, she will bring me more often. The first year they invited a UN Ambassador and the Mayor who knew me back then in Osogbo in 1975, Roland Abiodun and myself to lecture. Roland lectured on texture while I lectured on Adire. All the students would assemble in the hall, and I will play my video on the processes of making Adire; how we remove cassava from the ground, pounding and turning it into Adire. After showing them the stages of making Adire, I will then ask them if they have any questions. They always laughed whenever I spoke English, but they understood that English wasn’t my language and seemed eager to hear more from me. This was how I got to the point that I will be sent to different

universities to teach every February. I have been to Columbus, Chicago, Saint Paul, New Halley, Detroit etc. You name it. I have been to all the 50 states, I have been to all the Universities, libraries, museums to teach Art. But there is a place I don’t like much, which is Hawaii, it’s so cold. When I went there, my ears nearly froze. When I went there, I was a single mother looking for money to pay my son’s school fees, so I had to do lots of lectures to make sure to get money which made me stay there very long. In a year, I lecture more than ten universities.

Let’s talk about Arts. What would you say has been your most successful craft to date?

The craft that has given me the most success is textile. Even though I have done batik, also called Vegetable dye, I would say textile because all my works are in different Museums in Britain, Germany, Canada etc. It has made me what I am today, and that is what I lecture on. My boss Prof Wole Soyinka has been taking my signature geles on tour. When I realised it would bring in money, I jumped on it. “Gele mì gájú ti èlo” started when Prof Soyinka took a liking to my geles and said we should do a show on it and it was a success.

That is how the Gele project was birthed.

Interesting. Tell me more about your gele?

The gele idea came up one day when an Obioma tailor was passing by. I called him and gave him the concept of what I had visualised, and after much back and forth and adjusting here and there; my signature gele was born. When I first wore it, my

How do you curate your Artwork, is there something special you look out for before you exhibit an artist’s work in the gallery?

No! I have some people on my board who help with the selection. First, we ask for pictures, and if we like what we see, we put them in the gallery. I try to make sure we have female artists exhibit their works because the industry is already male dominated. Also, every year in March, we organise exhibitions for female artists to make sure their voices are heard. The last presentation for women was held in my daughter’s gallery. Her gallery is much smaller and different, but it was ideal for the exhibition.

What is it that you have that makes you unique and makes people more curious to know you better?

People are always surprised that a woman who didn’t go to school can achieve this much. I am also not shy when communicating, so I think my openness has made people see that I have nothing to hide. If I see a small girl who I know is creative, I will beg her to train me even when learning English.

Can you compare the Nigeria Art industry to its counterparts abroad?

African Art has come of age, and it has become a huge source of income for people. The first female artist, Njideka, under the age of 50, has been able to sell one Artwork for 3.4m dollars (1.6billion naira) and is from Nigeria. This is an outstanding achievement for Nigeria and Africa, and this happens to be the first time an African artist will sell art worth that amount. So, Africa Art will be everywhere, and this is the right time to tap into it.

What do you think makes Africa Arts unique to other Arts?

I would say the way we create. Nigerians are very talented in every aspect. We are very hardworking. Even when we go overseas, we excel. The richness of our culture makes us unique.

THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

Colours of Life with Koko Kalango

Missing Donkeys Kish lost his donkeys. He sent his son, Saul, For Saul the journey began with a loss; the and his servant to look for them. Their loss of his father’s donkeys. It continued with search took them through the mountains of a quest: a quest to find the missing donkeys.

Ephraim and the land of Shalisha. They passed The servant who accompanied him kept him through Shaalim and combed the land of the focused and the young women they met Benjaminites. By the time they got to Zuph, encouraged them to stay the course. Different Saul thought it wise to call it a day. He figured circumstances and different people played a that by this time his father would be more role in bringing Saul and Samuel together. worried about himself and his servant than he For Samuel the journey began with a would be about the donkeys (there were no relationship with God from his childhood. mobile phones then).

To fulfil a vow she had made to God before But the servant came up with an idea; they Samuel was born, Hannah took her little son should go and see the man of God; a seer to the temple, where she left him to serve God whose prophecies were always accurate. under Eli. Samuel eventually replaced Eli as He reckoned that Samuel would be able to Israel’s prophet. Samuel had such a close walk reveal the whereabout of the with God that his prophecies missing donkeys. were one hundred percent The servant suggested spot on. Samuel recognised the Are you a Saul; they journey to the city voice of God, when it spoke in chosen for a where Samuel was. But Saul his ear: “tomorrow about this purpose that worried that they had no gift time, I will send you a man from you are not even to offer the man of God; they the land of Benjamin, and you aware of? Unusual could not go to consult him shall anoint him commander circumstances empty handed. The servant over My people Israel…” lead you to this volunteered the quarter of a The meeting between both purpose. Or are silver shekel in his possession, would mark a turning point so they headed out. Saul and in the lives of Saul, Samuel you a Samuel, the servant journeyed up a hill and Israel. Things happened whose sensitivity where they came across some in quick succession; Saul soon to the voice of God young women who confirmed found himself honoured by is pertinent to the that the man of God was in Samuel, amongst a select destiny of a king, a the city. People in that city group of guests at a feast to people, a nation? were offering a sacrifice and which he did not even have an they would wait for him to invitation. Saul and the servant come and bless it before they spent the night at Samuel’s. sat down to eat. As the travellers approached The following day Samuel anointed Saul king the city, Samuel was coming towards them, of Israel, told him where the missing donkeys headed to the high place to bless the sacrifice. were, what his father was up to and the Just the day before, God had told Samuel events he will experience that day. Everything that He was sending Israel’s future king for him happened just as Samuel had said it would. to anoint. God pointed Saul out to Samuel: Are you a Saul; chosen for a purpose “There he is, the man of whom I spoke to that you are not even aware of? Unusual you. “This one shall reign over My people”. circumstances lead you to this purpose. Or Finding the missing donkeys was the are you a Samuel, whose sensitivity to the one thing on Saul’s mind as Samuel walked voice of God is pertinent to the destiny of a towards him. He knew the prophet was key king, a people, a nation? God may use ‘missing to this objective being met so he enquired donkeys’ to direct you to the prophet or he of Samuel: “Please tell me where is the seer’s may use ‘missing donkeys’ to bring the king house?” to you. When you meet the prophet, believe Samuel introduced himself as the seer. He the word of God He speaks, for it will certainly invited Saul to eat with him in the high place be fulfilled. When the king comes you must and to spend the night. He promised to allow recognise him, you must tell him the purpose Saul leave the following day, after revealing to of God. Saul what was in his heart.

An adaptation of the story in 1 Samuel 9 & 10 “But as for the donkeys that were lost three days ago, do not be anxious about them, for COLOURS OF LIFE SHOW they have been found” Samuel added.

Our Colours of Life show airs on DOVE The search for the missing donkeys had TV, DSTV channel 349. It is also available finally ended! But unknown to Saul, a destiny on you tube (colours of live TV). Follow appointment had just begun. What started as us on Instagram (@coloursoflifeministry) an ordinary day turned out to be anything but for daily devotionals. Reach us – contact@ ordinary in the lives of two men. coloursoflife.org

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THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

STYLE & DESIGN

THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

BY US IA

DE I

SIO

M A

STYLE & DESIGN

ENKAY EDE

NTANDO DUMA

Simple Colourful short Suit

A great style for nice warm weather. Blue and white gives a warm feel and the white sneakers gives a casual feel to the whole outfit.

YVONNE NWOSU

SHARRON CLEAR

Mix And Match Suit

Who said a suit has to be match? Suit trousers and blazer in contrasting colours is risky but if done right, can look amazing.

Adding sneakers to this style creates a casual look with a touch of attitude.

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Classy Suit Style

All black suits work well with sneakers. Keeping a suit oversized will also give a masculine feel. The statement necklace and sneakers added to the ensemble will give the whole look a more casual and edgy vibe. This look is great for city days out.

BLUE MBOMBO

Business Style

A great way is to pair patterned suits with original black and white sneakers.

Ideal fashion for women who love to make a statement.

City Swag Style

A powerful look filled with confidence! Striking pink suit, open with white bralette and matched with white converse.

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STYLE & DESIGN

k ake or brea m r e h it e n urs ca ral to feel a tu Pairing colo a n ly n o ’s So, it ith your outfit. imenting w r e p x e n e h yw esn’t little uneas But that do . s o b m o c d n in old headla p new tones a o t k c ti s n ave to nge has bee a mean you h r O r u lo o c . The s the to-toe black essed juice a et r p ly h s e fr ke arp spreading li nway, red c u r y r e v e n o for a colourcan is are looking u o y If . le ck. ty and street s h this hue, you are in lu n atc r eve colour to m w, Purple o o ll e Y h it w it he You can pair lourblocking pair of t o ec es a Pink, but th nge and Green. It mak ra itely moment is O look chic and it’s defin to You who wants statement. e n o y n a r ller fo n. a crowd pu e of attentio tr n e c e h t remain

THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

BY FUNKE BABS-KUFEJI

STYLE & DESIGN

THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

RAMONA GREEN BLAZER

J. TOMSON

SHEZ SPAGHETTI STRAP TOP

ORANG E & GR

ATTICO DEVON-MULES CHICHI

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RULES G N I K C O L COLOUR B TO KNOW g creates a lockin

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ELLA

ADEWUNMI EEHABOR FASHIONABLE GREEN SATIN SKIRT

COLVILLE PALAZZOTROUSERS

u ke daring eno ere is no need to ma pure is th It , . beginners by adding patterns d complicate ly. on s with solid are OU: If you r Y E ID U G othe ONE LET THE T cool tones, keep the for bold ith going starting w t if you are olours you u b o to l o c colours co Whatever t. t. u o ll a o g ual weigh tones then ll have the same vis a pick should

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JESSICA

AMINA MUADDI

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STYLE & DESIGN

THISDAY Style Vol. 22, No. 9586 Sunday, August 8, 2021

TEXTURED AND LONG

The easiest way to wear a head wrap is to simply leave your hair down.

All you have to do is grab your head wrap and slip it on while leaving your locks as they are. If you’re using a hair scarf, simply wrap it around your head and tie it at the nape of your neck. Your head wrap or hair scarf will keep your hair out of your face.

HAFFY

LILIAN AFEGBAI

A S ’ IT BOW HEADBAND

We’re sure you’ve seen this retro hair scarf style circulating your social media feeds, and you can rock it too. Simply wrap your scarf around the base of your neck and tie it at the top of your head, forming a bow. You can then let your remaining hair fall down or style it into an updo or ponytail, it’s really up to you.

Head wraps have really grown in style variety and popularity and we are inaundated with head wraps and scarves of countless colours and prints. We love how timeless they look because it is all about expressing yourself. Some like it subtle and small while others like it big and dramatic! From easy turban styles to bow headwraps and elegant Gele headwrap styles, the possibilities are endless. They’re the perfect stylish solution for bad hair days, below are a few favourite headwrap styles that you can try, to jump on this trend.

BY USIADE ISIOMA

MODEL FOR BIBI

MODEL FOR CECE

MODEL FOR ZARINAH ELAMIN NAEEM

MODERN PIGTAILS

Head wraps and hair scarves come in all sorts of fun textures and patterns. From lace to polka dots, there are plenty of playful options. Why not play up the fun factor by taking a style tip from your childhood self and putting your hair in pigtails?

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