Connect with us

Business

Catch Hollywood’s biggest awards ceremony, the Oscars® on DStv

Published

on

MultiChoice

 

 

Hosted by Jimmy Kimmel, the 89th Academy Awards will be broadcast live on DStv this Monday, 27 February on M-Net Movies Premiere, DStv channel 104 at 2:30am and during Prime Time on M-Net, DStv channel 101/102, from 6:30pm.

The Oscars also will be televised in more than 225 countries and territories worldwide. Viewers can look forward to seeing perfomances by Oscar®-nominees Lin-Manuel Miranda, Sting, Justin Timberlake and 2014 Oscar-winner John Legend. Movies currently distributed by M-Net (highlighted in yellow): Hacksaw Ridge, Florence Foster Jenkins and La La Land are also competing for the most coveted award in their categories.

For more information, visit mnet.tv. Follow M-Net on Twitter @MNet (#Oscars #MMPremiere #MNet101) and Facebook https://www.facebook.com/MNet/

Attached is an image of Jimmy Kimmel. More images available on request.

Please see below the list of nominees:

Performance by an actor in a leading role

Casey Affleck in Manchester by the Sea

Andrew Garfield in Hacksaw Ridge

Ryan Gosling in La La Land

Viggo Mortensen in Captain Fantastic

Denzel Washington in Fences

Performance by an actor in a supporting role

Mahershala Ali in Moonlight

Jeff Bridges in Hell or High Water

Lucas Hedges in Manchester by the Sea

Dev Patel in Lion

Michael Shannon in Nocturnal Animals

Performance by an actress in a leading role

Isabelle Huppert in Elle

Ruth Negga in Loving

Natalie Portman in Jackie

Emma Stone in La La Land

Meryl Streep in Florence Foster Jenkins

Performance by an actress in a supporting role

Viola Davis in Fences

Naomie Harris in Moonlight

Nicole Kidman in Lion

Octavia Spencer in Hidden Figures

Michelle Williams in Manchester by the Sea

Best animated feature film of the year

Kubo and the Two StringsTravis Knight and Arianne Sutner

MoanaJohn Musker, Ron Clements and Osnat Shurer

My Life as a ZucchiniClaude Barras and Max Karli

The Red TurtleMichael Dudok de Wit and Toshio Suzuki

ZootopiaByron Howard, Rich Moore and Clark Spencer (Catch it on M-Net Movies Premiere at 104 on Sunday 26 February at 18:40)

Achievement in cinematography

“Arrival” Bradford Young

“La La Land” Linus Sandgren

“Lion” Greig Fraser

“Moonlight” James Laxton

“Silence” Rodrigo Prieto

Achievement in costume design

“Allied” Joanna Johnston

“Fantastic Beasts and Where to Find Them” Colleen Atwood

“Florence Foster Jenkins” Consolata Boyle

“Jackie” Madeline Fontaine

“La La Land” Mary Zophres

Achievement in directing

“Arrival” Denis Villeneuve

“Hacksaw Ridge” Mel Gibson

“La La Land” Damien Chazelle

“Manchester by the Sea” Kenneth Lonergan

“Moonlight” Barry Jenkins

Best documentary feature

“Fire at Sea”

A Stemal Entertainment Production

Gianfranco Rosi and Donatella Palermo

“I Am Not Your Negro”

A Velvet Film Production

Raoul Peck, Rémi Grellety and Hébert Peck

“Life, Animated”

A Motto Pictures and A&E IndieFilms Production

Roger Ross Williams and Julie Goldman

“O.J.: Made in America”

A Laylow Films and ESPN Films Production

Ezra Edelman and Caroline Waterlow

“13th”

A Forward Movement Production

Ava DuVernay, Spencer Averick and Howard

Barish

Best documentary short subject

“Extremis”

An f/8 Filmworks in association with Motto Pictures

Production

Dan Krauss

“4.1 Miles”

A University of California, Berkeley Production

Daphne Matziaraki

“Joe’s Violin”

A Lucky Two Production

Kahane Cooperman and Raphaela Neihausen

“Watani: My Homeland”

An ITN Production

Marcel Mettelsiefen and Stephen Ellis

“The White Helmets” (Netflix)

A Grain Media and Violet Films Production

Orlando von Einsiedel and Joanna Natasegara

Achievement in film editing

“Arrival” Joe Walker

“Hacksaw Ridge” John Gilbert

“Hell or High Water” Jake Roberts

“La La Land” Tom Cross

“Moonlight” Nat Sanders and Joi McMillon

Best foreign language film of the year

“Land of Mine”

A Nordisk Film Production

Denmark

“A Man Called Ove”

A Tre Vänner Production

Sweden

“The Salesman”

An Asghar Farhadi/Memento Films Production

Iran

“Tanna”

A Contact Films Production

Australia

“Toni Erdmann”

A Komplizen Film Production

Germany

Achievement in makeup and hairstyling

“A Man Called Ove” Eva von Bahr and Love Larson

“Star Trek Beyond” Joel Harlow and Richard Alonzo

“Suicide Squad” Alessandro Bertolazzi, Giorgio Gregorini and

Christopher Nelson

Achievement in music written for motion pictures (Original score)

“Jackie” Mica Levi

“La La Land” Justin Hurwitz

“Lion” Dustin O’Halloran and Hauschka

“Moonlight” Nicholas Britell

“Passengers” Thomas Newman

Achievement in music written for motion pictures (Original song)

“Audition (The Fools Who Dream)” from “La La Land”

Music by Justin Hurwitz

Lyric by Benj Pasek and Justin Paul

“Can’t Stop The Feeling” from “Trolls”

Music and Lyric by Justin Timberlake, Max Martin

and Karl Johan Schuster

“City Of Stars” from “La La Land”

Music by Justin Hurwitz

Lyric by Benj Pasek and Justin Paul

“The Empty Chair” from “Jim: The James Foley Story”

Music and Lyric by J. Ralph and Sting

“How Far I’ll Go” from “Moana”

Music and Lyric by Lin-Manuel Miranda

Best motion picture of the year

“Arrival”

A Paramount Pictures Production

Shawn Levy, Dan Levine, Aaron Ryder and David

Linde, Producers

“Fences”

A Paramount Pictures Production

Scott Rudin, Denzel Washington and Todd Black,

Producers

“Hacksaw Ridge”

A Pandemonium Films/Permut Presentations

Production

Bill Mechanic and David Permut, Producers

“Hell or High Water”

A Sidney Kimmel Entertainment/Film 44/LBI

Entertainment/OddLot Entertainment Production

Carla Hacken and Julie Yorn, Producers

“Hidden Figures”

A Fox 2000 Pictures Production

Donna Gigliotti, Peter Chernin, Jenno Topping,

Pharrell Williams and Theodore Melfi, Producers

“La La Land”

An Impostor Pictures/Gilbert Films/Marc Platt

Production

Fred Berger, Jordan Horowitz and Marc Platt,

Producers

“Lion”

A See-Saw Films Production

Emile Sherman, Iain Canning and Angie Fielder,

Producers

“Manchester by the Sea”

A Pearl Street Films/The Media Farm/K Period

Media/The A | Middleton Project/B Story Production

Matt Damon, Kimberly Steward, Chris Moore,

Lauren Beck and Kevin J. Walsh, Producers

“Moonlight”

A Dos Hermanas Production

Adele Romanski, Dede Gardner and Jeremy

Kleiner, Producers

Achievement in production design

“Arrival” Production Design:

Set Decoration:

Patrice Vermette

Paul Hotte

“Fantastic Beasts and Where to Find Them” (Warner Bros.) Production Design:

Set Decoration:

Stuart Craig

Anna Pinnock

“Hail, Caesar!”  Production Design:

Set Decoration:

Jess Gonchor

Nancy Haigh

“La La Land” Production Design:

Set Decoration:

David Wasco

Sandy Reynolds-Wasco

“Passengers” Production Design:

Set Decoration:

Guy Hendrix Dyas

Gene Serdena

Best animated short film

“Blind Vaysha”

A National Film Board of Canada Production

Theodore Ushev

“Borrowed Time”

A Quorum Films Production

Andrew Coats and Lou Hamou-Lhadj

“Pear Cider and Cigarettes”

A Massive Swerve Studios and Passion Pictures

Animation Production

Robert Valley and Cara Speller

“Pearl”

A Google Spotlight Stories and Evil Eye Pictures

Production

Patrick Osborne

“Piper”

A Pixar Animation Studios Production

Alan Barillaro and Marc Sondheimer

Best live action short film

“Ennemis Intérieurs”

A Qualia Films Production

Sélim Azzazi

“La Femme et le TGV”

An arbel Production

Timo von Gunten and Giacun Caduff

“Silent Nights”

A M & M Production

Aske Bang and Kim Magnusson

“Sing”

A Meteor Filmstudio Production

Kristof Deák and Anna Udvardy

“Timecode”

A Nadir Films Production

Juanjo Giménez

Achievement in sound editing

“Arrival” Sylvain Bellemare

“Deepwater Horizon” Wylie Stateman and Renée Tondelli

“Hacksaw Ridge” Robert Mackenzie and Andy Wright

“La La Land” Ai-Ling Lee and Mildred Iatrou Morgan

“Sully” Alan Robert Murray and Bub Asman

 

Achievement in sound mixing

“Arrival” Bernard Gariépy Strobl and Claude La Haye

“Hacksaw Ridge” Kevin O’Connell, Andy Wright, Robert Mackenzie

and Peter Grace

“La La Land” Andy Nelson, Ai-Ling Lee and Steve A. Morrow

“Rogue One: A Star Wars Story” David Parker, Christopher Scarabosio and Stuart

Wilson

“13 Hours: The Secret Soldiers of Benghazi” Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth

Achievement in visual effects

“Deepwater Horizon” Craig Hammack, Jason Snell, Jason Billington

and Burt Dalton

“Doctor Strange” Stephane Ceretti, Richard Bluff, Vincent Cirelli

and Paul Corbould

“The Jungle Book” Robert Legato, Adam Valdez, Andrew R. Jones

and Dan Lemmon

“Kubo and the Two Strings” Steve Emerson, Oliver Jones, Brian McLean and

Brad Schiff

“Rogue One: A Star Wars Story” John Knoll, Mohen Leo, Hal Hickel and Neil

Corbould

Adapted screenplay

“Arrival” Screenplay by Eric Heisserer

“Fences” Screenplay by August Wilson

“Hidden Figures” Screenplay by Allison Schroeder and Theodore

Melfi

“Lion”  Screenplay by Luke Davies

“Moonlight” Screenplay by Barry Jenkins;

Story by Tarell Alvin McCraney

Original screenplay

“Hell or High Water” Written by Taylor Sheridan

“La La Land” Written by Damien Chazelle

“The Lobster” Written by Yorgos Lanthimos, Efthimis Filippou

“Manchester by the Sea” Written by Kenneth Lonergan

“20th Century Women” Written by Mike Mills

MOTION PICTURE NOMINATIONS – 89TH AWARDS

NOMINATIONS BY PICTURE

(This list does not include Short Films or Documentary Short Subjects.)

“Allied,” a Paramount Pictures Production

Costume design

(1 nomination)

“Arrival,” a Paramount Pictures Production

Cinematography

Directing

Film editing

Best picture

Production design

Sound editing

Sound mixing

Adapted screenplay

(8 nominations)

“Captain Fantastic,” an Electric City Entertainment/ShivHans Pictures Production (BleeckerStreet) Viggo Mortensen – Performance by an actor in a leading role

(1 nomination)

“Deepwater Horizon,” a di Bonaventura Pictures/Closest to the Hole/Leverage Entertainment

Production

Sound editing

Visual effects

(2 nominations)

“Doctor Strange,” a Marvel Studios Production (

Visual effects

(1 nomination)

“Elle,” an SBS Production

Isabelle Huppert – Performance by an actress in a leading role

(1 nomination)

“Fantastic Beasts and Where to Find Them,” a Boswell Street Production Costume design

Production design

(2 nominations)

“Fences,” a Paramount Pictures Production

Denzel Washington – Performance by an actor in a leading role

Viola Davis – Performance by an actress in a supporting role

Best picture

Adapted screenplay

(4 nominations)

“Fire at Sea,” a Stemal Entertainment Production

Documentary feature

(1 nomination)

“Florence Foster Jenkins,” a Paramount Pictures Production

Meryl Streep – Performance by an actress in a leading role

Costume design

(2 nominations)

“Hacksaw Ridge,” a Pandemonium Films/Permut Presentations Production

Andrew Garfield – Performance by an actor in a leading role

Directing

Film editing

Best picture

Sound editing

Sound mixing

(6 nominations)

 

“Hail, Caesar!,” a Working Title Films Production (Universal)

Production design

(1 nomination)

“Hell or High Water,” a Sidney Kimmel Entertainment/Film 44/LBI Entertainment/OddLot

Entertainment Production

Jeff Bridges – Performance by an actor in a supporting role

Film editing

Best picture

Original screenplay

(4 nominations)

“Hidden Figures,” a Fox 2000 Pictures Production

Octavia Spencer – Performance by an actress in a supporting role

Best picture

Adapted screenplay

(3 nominations)

“I Am Not Your Negro,” a Velvet Film Production

Documentary feature

(1 nomination)

“Jackie,”

 

Business

Aare Adetola Emmanuelking Welcomes President Tinubu to Gateway International Airport Commissioning in Iperu-Remo

Published

on

Aare Adetola Emmanuelking Welcomes President Tinubu to Gateway International Airport Commissioning in Iperu-Remo

 

In a momentous occasion that underscores the rapid infrastructural advancement of Ogun State, renowned real estate mogul and philanthropist, Aare Adetola Emmanuelking, warmly received the President of the Federal Republic of Nigeria, Bola Ahmed Tinubu, at the official commissioning of the Gateway International Airport, located in Iperu-Remo.

The landmark event, held under the visionary leadership of the Ogun State Governor, Dapo Abiodun, marks a significant stride in the state’s economic transformation agenda, positioning Ogun as a key hub for aviation, commerce, and investment in Nigeria.

Aare Emmanuelking, who is also the Chairman/CEO of Adron Homes and Properties, commended the Ogun State Government for its foresight and commitment to infrastructural excellence. He described the airport project as a “game-changer” that will not only boost connectivity but also stimulate real estate growth, tourism, and industrial expansion across the region.

Speaking during the commissioning, President Tinubu lauded Governor Abiodun’s administration for delivering a world-class facility that aligns with the Federal Government’s Renewed Hope Agenda, emphasizing the importance of strategic infrastructure in driving national development.

The Gateway International Airport is expected to serve as a critical gateway for investors and travelers, further enhancing Ogun State’s reputation as one of Nigeria’s most business-friendly environments.

The presence of top dignitaries, industry leaders, and stakeholders at the event underscores the project’s significance and its anticipated impact on the state’s socio-economic landscape and beyond.

Continue Reading

Business

N4.65 Trillion in the Vault, but is the Real Economy Locked Out?

Published

on

N4.65 Trillion in the Vault, but is the Real Economy Locked Out?

BY BLAISE UDUNZE

Following the successful conclusion of the banking sector recapitalisation programme initiated in March 2024 by the Central Bank of Nigeria, the industry has raised N4.65 trillion. No doubt, this marks a significant milestone for the nation’s financial system as the exercise attracted both domestic and foreign investors, strengthened capital buffers, and reinforced regulatory confidence in the banking sector. By all prudential measures, once again, it will be said without doubt that it is a success story.

Looking at this feat closely and when weighed more critically, a more consequential question emerges, one that will ultimately determine whether this achievement becomes a genuine turning point or merely another financial milestone. Will a stronger banking sector finally translate into a more productive Nigerian economy, or will it be locked out?

This question sits at the heart of Nigeria’s long-standing economic contradiction, seeing a relatively sophisticated financial system coexisting with weak industrial output, low productivity, and persistent dependence on imports truly reflects an ironic situation. The fact remains that recapitalisation, by design, is meant to strengthen banks, enhancing their ability to absorb shocks, manage risks and support economic growth. According to the apex bank, the programme has improved capital adequacy ratios, enhanced asset quality, and reinforced financial stability. Under the leadership of Olayemi Cardoso, there has also been a shift toward stricter risk-based supervision and a phased exit from regulatory forbearance.

These are necessary reforms. A stable banking system is a prerequisite for economic development. However, the truth be told, stability alone is not sufficient because the real test of recapitalisation lies not in stronger balance sheets, but in how effectively banks channel capital into productive economic activity, sectors that create jobs, expand output and drive exports. Without this transition, recapitalisation risks becoming an exercise in financial strengthening without economic transformation.

Encouragingly, early signals from industry experts suggest that the next phase of banking reform may begin to address this long-standing gap. Analysts and practitioners are increasingly pointing to small and medium-sized enterprises (SMEs) as a key destination for recapitalisation inflows, which is a fact beyond doubt. Given that SMEs account for over 70 percent of registered businesses in Nigeria, the logic is compelling. With great expectation, as has been practicalised and established in other economies, a shift in credit allocation toward this segment could unlock job creation, stimulate domestic production, and deepen economic resilience. Yet, this expectation must be balanced with reality. Historically, and of huge concern, SMEs have received only a marginal share of total bank credit, often due to perceived risk, lack of collateral, and weak credit infrastructure.

Indeed, Nigeria’s broader financial intermediation challenge remains stark. Even as the giant of Africa, private sector credit stands at roughly 17 percent of GDP, and this is far below the sub-Saharan African average, while SMEs receive barely 1 percent of total bank lending despite contributing about half of GDP and the vast majority of employment. These figures underscore the structural disconnect between the banking system and the real economy. Recapitalisation, therefore, must be judged not only by the strength of banks but by whether it meaningfully improves this imbalance.

Nigeria’s economic challenge is not merely one of capital scarcity; it is fundamentally a problem of low productivity. Manufacturing continues to operate far below capacity, agriculture remains largely subsistence-driven, and industrial output contributes only modestly to GDP. Despite decades of banking sector expansion, credit to the real sector has remained limited relative to the size of the economy. Instead, banks have often gravitated toward safer and more profitable avenues such as government securities, treasury instruments, and short-term trading opportunities.

This is not irrational. It reflects a rational response to risk, policy signals, and market realities. However, it has created a structural imbalance in which capital circulates within the financial system without sufficiently reaching the productive economy. The result is a pattern where financial sector growth outpaces real sector development, a phenomenon widely described as financialisation without productivity gains.

At the center of this challenge is the issue of credit allocation. A recapitalised banking sector, strengthened by new capital and improved buffers, should theoretically expand lending. But this is, contrarily, because the more important question is where that lending will go. Will Nigerian banks extend long-term credit to manufacturers, finance agro-processing and value chains, and support scalable SMEs or will they continue to concentrate on low-risk government debt, prioritise foreign exchange-related gains, and maintain conservative lending practices in the face of macroeconomic uncertainty? Some of these structural questions call for immediate answers from policymakers.

Some industry voices are optimistic that the expanded capital base will translate into a broader loan book, increased investment in higher-risk sectors, and improved product offerings for depositors; this is not in doubt. There are also expectations that banks will scale operations across the continent, leveraging stronger balance sheets to expand their regional footprint. Yes, they are expected, but one thing that must be made known is that optimism alone does not guarantee transformation. The fact is that without deliberate incentives and structural reforms, capital may continue to flow toward low-risk assets rather than high-impact sectors.

Beyond lending, experts are also calling for a shift in how banking success is measured. The next phase of reform, according to the experts in their arguments, must move from capital thresholds to customer outcomes. This includes stronger consumer protection frameworks, real-time complaint management systems and more transparent regulatory oversight. A more technologically driven supervisory model, one that allows regulators to monitor customer experiences and detect systemic risks early, could play a critical role in strengthening trust and accountability within the system.

This dimension is often overlooked but deeply significant. A banking system that is well-capitalised but unresponsive to customer needs risks undermining public confidence. True financial development is not only about capital strength but also about accessibility, fairness, and service quality. Nigerians must feel the impact of recapitalisation not just in improved financial ratios, but in better banking experiences, more inclusive services, and greater economic opportunity.

The recapitalisation exercise has also attracted notable foreign participation, signaling confidence in Nigeria’s banking sector. However, confidence in banks does not necessarily translate into confidence in the broader economy. The truth is that foreign investors are typically drawn to strong regulatory frameworks, attractive returns, and market liquidity, though the facts are that these factors make Nigerian banks appealing financial assets; it must be made explicitly clear that they do not automatically reflect confidence in the country’s industrial base or productivity potential.

This distinction is critical. An economy can attract capital into its financial sector while still struggling to attract investment into productive sectors. When this happens, growth becomes financially driven rather than fundamentally anchored. The risk therefore, is that recapitalisation could deepen Nigeria’s financial markets but what benefits or gains when banks become stronger or liquid without addressing the structural weaknesses of the real economy.

It is clear and explicit that the current policy direction of the CBN reflects a strong emphasis on stability, with tightened supervision, improved transparency, and stricter prudential standards. These measures are necessary, particularly in a volatile global environment. However, there is an emerging concern that stability may be taking precedence over growth stimulation, which should also be a focal point for every economy, of which Nigeria should not be left out of the equation. Central banks in emerging markets often face a delicate balancing act and this is putting too much focus on stability, which can constrain credit expansion, while too much emphasis on growth can undermine financial discipline, as this calls for a balance.

In Nigeria’s case, the question is whether sufficient mechanisms exist to align banking sector incentives with national productivity goals. Are there enough incentives to encourage long-term lending, sector-specific financing, and innovation in credit delivery? Or does the current framework inadvertently reward risk aversion and short-term profitability?

Over the past two decades, it has been a herculean experience as Nigeria’s economic trajectory suggests a growing disconnect between the financial sector and the real economy. Banks have become larger, more sophisticated and more profitable, yet the irony is that the broader economy continues to struggle with high unemployment, low industrial output, and limited export diversification. This divergence reflects the structural risk of financialization, a condition in which financial activities expand without a corresponding increase in real economic productivity.

If not carefully managed, recapitalisation could reinforce this trend. With more capital at their disposal, banks may simply scale existing business models, expanding financial activities that generate returns without contributing meaningfully to production. The point is that this is not solely a failure of the banking sector; it is a systemic issue shaped by policy design, regulatory priorities, and market incentives, which needs the urgent attention of policymakers.

Meanwhile, for recapitalisation to achieve its intended purpose and truly work, it must be accompanied by a deliberate shift or intentional policy change from capital accumulation to productivity enhancement and the economy to produce more goods and services efficiently. This begins with creating stronger incentives for real sector lending with differentiated capital requirements based on sector exposure, credit guarantees for high-impact industries, and interest rate support for priority sectors can encourage banks to channel funds into productive areas and this must be driven and implemented by the apex bank to harness the gains of recapitalisation.

This transformative process is not only saddled with the CBN, but the Development finance institutions also have a critical role to play in de-risking long-term investments, making it easier for commercial banks to participate in financing projects that drive economic growth. At the same time, one of the missing pieces that must be taken into cognizance is that regulatory frameworks should discourage excessive concentration in risk-free assets. No doubt, banks thrive in profitability, as government securities remain important; overreliance on them can crowd out private sector credit and limit economic expansion.

Innovation in financial products is equally essential. Traditional lending models often fail to meet the needs of SMEs and emerging industries as this has continued to hinder growth. Banks must explore new approaches, including digital lending platforms, supply chain financing, and blended finance solutions that can unlock new growth opportunities, while they extend their tentacles by saturating the retail space just like fintech.

Accountability must also be embedded in the system. One fact is that if recapitalisation is justified as a tool for economic growth, then its outcomes and gains must be measurable and not obscure. Increased credit to productive sectors, higher industrial output and job creation should serve as key indicators of success. Without such metrics, the exercise risks being judged solely by financial indicators rather than its real economic impact.

The completion of the recapitalisation programme represents more than a regulatory achievement; it is a defining moment for Nigeria’s economic future. The country now has a banking sector that is better capitalised, more resilient, and more attractive to investors. These are important gains, but they are not ends in themselves.

The ultimate objective is to build an economy that is productive, diversified, and inclusive. Achieving this requires more than strong banks; it requires banks that actively power economic transformation.

The N4.65 trillion recapitalisation is a significant step forward. It strengthens the foundation of Nigeria’s financial system and enhances its capacity to support growth. However, capacity alone is not enough and truly not enough if the gains of recapitalisation are to be harnessed to the latter. What matters now is how that capacity is deployed.

Some of the critical questions for urgent attention are as follows: Will banks rise to the challenge of financing Nigeria’s productive sectors, particularly SMEs that form the backbone of the economy? Will policymakers create the right incentives to ensure credit flows where it is most needed? Will the financial system evolve from a focus on profitability to a broader commitment to the economic purpose of fostering a more productive Nigerian economy and the $1 trillion target?

The above questions are relevant because they will determine whether recapitalisation becomes a catalyst for change or a missed opportunity if not taken into cognizance. A well-capitalised banking sector is not the destination; it is the starting point. The real journey lies in building an economy where capital works, productivity rises, and growth becomes both sustainable and inclusive.

Blaise, a journalist and PR professional, writes from Lagos and can be reached via: [email protected]

Continue Reading

Business

Precision and Heritage: How Fifi Stitches Is Rewriting African Fashion Narratives

Published

on

Precision and Heritage: How Fifi Stitches Is Rewriting African Fashion Narratives

 

 

A Nigerian-born designer is gradually carving out a cross-continental footprint in contemporary fashion, blending African textile heritage with British technical discipline.

 

Esther Fiyinfoluwa Adeosun, Founder and Creative Director of Fifi Stitches, is gaining recognition for structured womenswear and bridal couture that reinterprets traditional fabrics through architectural tailoring and precision construction.

 

Born in Ibadan, Oyo State, Adeosun’s fashion journey began at home, seated beside her mother’s sewing machine. What started as childhood curiosity, sometimes jamming the machine just to understand its mechanics—evolved into a disciplined design practice now operating between Nigeria and the United Kingdom.

 

During an interview with journalists the fifi Stitches once mentioned “I was fascinated by how flat fabric could transform into something structured and meaningful”.

 

In her Story , early designs made for her family, though imperfectly finished, were worn with pride—an encouragement that laid the foundation for her professional confidence.

 

Today, Fifi Stitches is recognised for sculpted bodices, controlled tailoring, corsetry construction, and the contemporary reinterpretation of Ankara, Aso Oke, and Adire textiles.

 

The brand challenges the long-held perception that African fabrics belong solely in ceremonial contexts, instead positioning them within global luxury and modern design spaces.

 

Adeosun’s training reflects this dual perspective. She studied Fashion Design and Entrepreneurship at the Institute for Entrepreneurship and Development Studies, Obafemi Awolowo University, and earned a Diploma in Fashion Design through Alison Online.

 

In the UK, she undertook industry-focused technical training with Fashion-Enter Ltd and gained fashion business exposure through Fashion Capital UK.

 

Her technical expertise spans pattern drafting, draping, garment technology, structured tailoring, corsetry, and bespoke fittings—skills she describes as central to credibility in fashion. “Precision builds trust,” she says. “A designer must understand construction as deeply as creativity.”

 

Fifi Stitches has showcased collections at the Suffolk Fashion Show, Liverpool Fashion Show – FB Fashion Ball, Red Carpet Fashion Event in London, and through editorial features in London Runway Magazine.

 

The brand has also received coverage in The Guardian Nigeria and Vanguard Allure, expanding its visibility across markets.

Beyond couture, Adeosun integrates community impact into her practice.

 

She has facilitated garment construction workshops, draping sessions, and introductory training programmes for women and emerging creatives, promoting fashion as both artistic expression and vocational empowerment.

 

 

Fifi Stcithes Boss operates between Nigeria and the UK, in order to continue to shape her brand identity.

 

 

According to her “Nigeria provides cultural richness and expressive textile traditions, while the UK offers structured production systems, sustainability conversations, and institutional frameworks”.

 

Looking ahead, Adeosun said she plan to establish a fully structured fashion house spanning Africa and the UK, develop scalable production partnerships, launch capsule collections, and expand independent editorial visibility.

 

Her broader ambition is clear: to position African textile craftsmanship within global contemporary design conversations—through structure, discipline, and technical excellence.

Continue Reading

Cover Of The Week

Trending