“We created a platform last year called NBA Meets Culture,” Gbemisola Abudu, NBA Africa VP and Country Head, NBA Nigeria, explains of the initiative. “The five pillars of the platform are arts, fashion, film, music and tech. Tech has become a fifth part of our culture because it enables all the other pillars. It just so happened that arts was the element we started out with last year, choosing to celebrate basketball through the lens of Nigeria’s rich heritage and arts culture first.”

It is almost symbolic that the evening event celebrating the 2023 instalment of the NBA Meets Art initiative took place in the Tiffany Amber Gardens. This lifestyle hub, housing the flagship store of one of Nigeria’s premier luxury fashion brands from the tail-end of the 20^th century, is a testament to how following a dream, no matter how crazy it may seem, can have unexpectedly wonderful and positive consequences.

This is not the NBA Nigeria’s theme this year in its collaboration with artist, Dennis Osadebe; however, it is the overarching message in its commitment to supporting the culture of the communities it exists in and extending its influence beyond the courts.

“First, people don’t realise that when you think about sports and arts, those are two languages that the youths resonate with. They’re the language of the youths. Arts is a way in which the youths express themselves, and, there is that natural synergy between arts and sports, it’s always been that way historically,” explains Ms. Abudu.

“Then, on top of that, one thing has become quite exciting in Nigeria. Through the invention of Art X and Art Week, art has been democratised. It has taken it away from the elite to the average Nigerian. That is why it was very important for us to do an installation there because we wanted to speak to the youth in a language that resonated with them. So, if you look at the installation that we created with Dennis where we talked about team building, working together, and building communities together, this is part of our messaging for the youth. So when you say why arts, that’s why arts. If you really peel back the layers, you can see where the natural fit comes in between sports and arts and specifically, basketball and arts.”

Dennis Osadebe concurs wholeheartedly.

“I would say that arts is in the fabric of everything … I got into basketball from playing video games. So from NBA2k to NBA streets, NBA figurines, NBA toys like a toy of Kobe Bryant, a toy of Iverson – that was my entry into the sports. And I would say, that’s arts. That is expression. That is almost giving the user the tool to express themselves. And you know, I found that very important in this collaboration because art also is very representative of culture, and a big part of culture is visual art.”

Based on the theme ‘Passing/Building/Victory’, the installation features five masked figures — Osadebe’s signature style — all holding a ball.

“This collaboration speaks to passing, it speaks to teamwork. And that is the ethos behind basketball – teamwork. You can’t win by yourself and I wanted to draw that into the work. That is why in the installation there are five different sculptures. So those five sculptures represent a basketball team about to make a point. And they’re arranged like that because that is an offensive position in order for you to attack and make a point. And the reason why it’s rotating and they’re spinning around is because they’re looking for who to pass the ball to.”

How did this collaboration come to be? For Dennis, it all started when “Gbemisola reached out to me saying look Dennis, this is our objective with NBA Nigeria and we would love to work with you on this next version of NBA Meets Art. And once that conversation started, I was excited because what is very important to me is to elaborate on being an artist and showing that there is not just one way to be an artist. You can be an artist that also celebrates community in a sexy way. So we started the conversation and what stood out to me is that basketball is a sport of 5 people that play as a team. So I said I wanted to build on that idea of teamwork because teamwork is important to sports and it is important to the community. As a community we can’t be great by ourselves; we can’t even go through the day by ourselves. We need people in every part of it. So it was just organic once we started the conversation to build on the collaboration.”

For Gbemisola, it was a bit more complex than that.

“When this conversation started about creating an installation at Art X, it really was about what type of artist’s body of work and signature speaks to who we are as a brand, and, who has a natural affinity for the brand. And I am not saying … a natural affinity for the NBA or for basketball is a requirement for us to work with an artist. But for the thought process for the first work we do, we wanted an artist that had a natural affinity for the game, understood the game, and understood the ethos of the NBA.”

“A name that was consistent in all the conversations I had, whether it was from research I did (I’m a lover of arts as well, so I’m familiar with several of the artists in the space), having conversations with Art X, having conversations with different patrons of art; a name that kept coming up consistently was Dennis Osadebe.”

“As we grow the footprint of the brand in Nigeria, there is a level of intentionality on how we showcase Nigeria to the world, how we showcase our excellence and the amazing things happening in our creative industry. So, when you look at all those different layers and you have all these criteria that we sort of spelt out, one person that checked a lot of those boxes was Dennis. And that’s why we decided to go with him for our first collaboration with an artist. And expressing to him what we were interested in creating, and him being able to come back and say, based on what you’ve said, based on my work, here’s what I would present. And the theme of ‘Passing/Building/Victory’ came together.”

Judging by the response NBA Nigeria has received from this first installation, Ms Abudu is more than confident that the initiative is not only here to stay, but would also unlock incredible and unimaginable opportunities for the Nigerian art community and just about everyone who is affiliated with the NBA here in the country.

“So this is the first time we have collaborated with an artist in Africa for our NBA Meets Art initiative; we’ve never done this before. And what we’ve seen so far … is an insane level of interest from galleries around the world. Everybody has been like this is amazing work. I’ve received calls from galleries from all around the world who’ve said, ‘Can you bring this work there?’ There is a hunger for it, seeing the reaction even at the fair, all the pictures of kids painting on it and really just having a great time, seeing a bunch of kids saying they want to take the figurines home with them. And a lot of people saying they want a piece of this at their home, can they buy the figurines? It just really drives home the point that wow, this really was successful, people love it, people care about it.”

As for what is next for Nigerian art and the larger community within the NBA, Gbemisola is very optimistic. “We’re going to find very interesting ways to implement programs and initiatives to deepen our involvement with the arts community in Nigeria in a sustainable manner. There are plans to figure out what that would look like after the success of this installation with Dennis.”

The post NBA Meets Art at Art X 2023 to Influence Beyond the Court first appeared on Aspire Luxury Magazine.

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Hennessy launched In The Paint back in 2021 to foster community development through a blend of art and sports. So far, seven courts have been unveiled and are in use all over the world from Nigeria to Ghana, Tanzania to South Africa, Barbados, Mexico and Hong Kong. By bringing Joakim Noah on board, Hennessy hopes to move from just building physical structures that local communities can enjoy, but establishing programmes that would also elevate and empower its members.

Noah is no stranger to sports and arts. The former basketball star who is renowned for his grit and tenacity on the court, as well as his contribution towards his teams’ successes has been busy since his retirement in 2021. His personal project, the Noah’s Arc Foundation (which he co-founded with his mother, artist Cécilia Rodhe) combines arts and sports to help people living in underserved areas discover who they really are outside of the physical realities they live and deal with. He is also heavily involved in other initiatives like the One City Basketball League in Chicago, the Basketball Africa League, and, the NBA.

This October, Joakim Noah came to Lagos, Nigeria to launch the latest Hennessy In The Paint basketball court located in VGC Lagos. We sat down with him to talk about his life and pursuits and find out more about this new initiative.

In conversation with Joakim Noah begins now …

ALM: You come from a strong professional athletic family. Did this in any way pressure you into sports?

JN: I don’t think it pressured me into sports. I think sports is what I’ve always wanted; basketball is what I’ve wanted. And I was blessed to see … at a young age, I was able to see my father train. And you know, just being in that kind of environment, it definitely shaped me. So I knew what it takes, the sacrifices it takes to become a professional athlete. And it’s not easy.

So I’m happy that, even though that part of my life is over now, it’s [now] about mentoring and partnering with the right people and building infrastructure.

ALM: What has been the downside of coming from such a strong, athletic background?

JN: Downside? No! I am living out my dream. Ever since I was a kid, my goal was to become a professional basketball player and I was able to do that. Now, it’s about transforming my experience into inspiring the youth, and, being able to partner with initiatives like In The Paint and Hennessy and big platforms like this only make the work easier because they are building the right infrastructure for these kids.

ALM: With the type of work you’ve been doing with different brands (the NBA and BAL (Basketball Africa League) to develop basketball as a sport, what has been the greatest achievement(s) for you so far?

JN: The biggest achievement has definitely been investing in the NBA African League … because a lot of these initiatives, especially when I was younger, as a player [did not exist and] I was alone. And you know, that’s always tough. So just connecting with the right people [has been great] but I think, so far the one that I am most proud of is the [court] that we built in Cameroon on my great-grandfather’s land.

So, we built a beautiful court and the team – we have a local team – just made it to division 1 last week. Being able to partner with these initiatives like In the Paint is only going to make it better. We’re just trying to grow basketball in the continent as much as possible and all around the world.

ALM: What is it about sports (basketball) that keeps you coming back? How important, in your own perspective, is sports in character and career development?

JN: Well, I think that basketball gave me the opportunity to live out my dream, so I think that these are things that kids can really explore on the continent. I think we’re still in the early stages when it comes to basketball. So the more we can highlight basketball and put the light on basketball, the more the kids will be inspired. And the more we grow the game, the more opportunities will come for people on the continent. I think that’s what it’s all about.

ALM: So apart from the opportunities, how do you think basketball can help with career development and personal improvement on the continent for our people? 

JN: I think that basketball is not only about becoming a professional basketball player. It’s the whole ecosystem around it that you can learn from. The values from the game are so important. The team building — you know, when you’re working for a company, you’re not going to be alone, it’s not just going to be your thoughts. So, it’s about teaching people how to work together, so I think that using sports to build communities makes so much sense because it’s the ultimate unifier. When I think of the top unifiers, I think of music and I think of sports. So, not everybody is going to be a musician, not everybody is going to be an artist, not everybody is going to be a top basketball player, but the values you can get from it can help you in the next endeavour.

ALM: Now that you’ve put it this way, with the basketball team you’re building in Cameroon, what are the things you’ve seen that make you think, ‘this was a good thing to do?’

JN: Well, I just see the growth; I see the talent is growing. I see it’s going to be the year for the NBA Africa league, so I see the top players playing on the continent, on government investment. I see government investment in different countries: Congo is building stadiums; Rwanda just built a beautiful stadium, Senegal – the NBAs just made a big investment with the academies. Our goal is to build an academy in Cameroon.

So I just see basketball really growing on the continent. Not only can we bring the people together through basketball, but I think that we can also add workshops and really localise some of the things to make the communities better. I think a great way to do it is to bring the youths into sports initiatives.

ALM: Sometimes we focus too much on the players, forgetting that there is an entire ecosystem: you have the referees, you have the coaches, you have the physiotherapists and all of that. What are the plans for people like that to come and support the court and actual players?

JN: Well, I’ll give you an example. There is a kid in Cameroon who really had the ambition and dreams to play in the NBA. So he was posting videos of him playing basketball. And he would go viral all the time because of the structures which were very limited. And he was doing whatever it takes. We were able to use him as an influencer in the BAL and utilise his platform to kinda help grow the sport [locally].

So I think what is beautiful is the relationships that you build during these community events, and then you can incentivise the kids as well: OK you guys come in, this is more than just a basketball tournament. We are not here to find an NBA player. This is about building and coming together, having a good time, and seeing what kinds of relationships you can make out of it.

ALM: What was the one principle you applied while playing professionally that you can say contributed greatly to your success?

JN: I think a line I always go with is, “Humble yourself or the game will humble you” because a lot of the time, people come and think they’re the best because they’re the best in their region but you’re always going to find somebody who is better than you. You’re always going to be in a position where somebody might dunk on you and embarrass you on the court. But you have to move back quickly. So it’s important to have a humble soul and just live in the moment.

ALM: So what is one special moment you look back and think, “I’m glad that I did that?”

JN: Well, I was just saying that when I built my court in Cameroon this is something that took a long time, that was not easy, you know, just bringing all the resources from America and bringing it to Cameroon and getting that kind of access was very hard. But, when it got done, to be able to go home – see, the court is near my grandmother’s school that she had built 65 years ago, still going on today – it’s something I’m very proud of. This is my responsibility. I was able to build a court, my father was able to build a tennis court, and my grandmother built a school … this is all part of our roots and our tradition.

ALM: What is it about the In the Paint and all these collaborations that made you think it is a good fit for you?

JN: I think that this initiative with In the Paint and Hennessy makes a lot of sense to me. Art and sports are the main things about my foundation. So I think this initiative makes a lot of sense because I see them using local artists to build the courts, and expression is something that is very important for us. So I just think this partnership came very organically. I’m really excited to go to the court today and feel it out and see the vibes and then we go from there because at the end of the day, I work with the NBA and to have a partnership like this that focuses on sports and arts. It was just a no-brainer.

ALM: Are you an artist in any way? Do you draw, do you paint? Do you sculpt?

JN: My mother is an artist. My initiatives were a lot in the city of Chicago, so my mum does sculptures with the kids; it’s art therapy. And I understand how therapeutic sports and arts can be. I really believe in these core values, and I think that’s why I’m here.

ALM: What is the toughest challenge you faced in your basketball career? How did you overcome it?

JN: Honestly, there were a lot of highs, and there were a lot of lows. It was a career that I wouldn’t trade for anything — you know, I played at the highest level against Lebron James and Giannis and all these great players. I also played with the youngest MVP, Derrick Rose, playing for one of the most prestigious teams in the world, the Chicago Bulls, but it wasn’t easy. There were suspensions and some tough moments: losing is hard sometimes. You know, I was a very emotional player and it’s tough. While I was playing, I didn’t sleep well throughout my whole career. I sleep a lot better now!

ALM: What do you think would be a natural progression on the continent now with what Hennessy is doing?

JN: I think the progression is happening. Infrastructure is very important; they’re building sustainable models where we can follow up and make sure the kids are getting the right coaching. I think that that’s something that is great. But for me, this is my first day working with Hennessy so I’m not over here trying to say what we should and shouldn’t do. For me, I just want to be here and pay attention and see where I can make myself the most helpful as possible.

ALM: Is this your first visit to Nigeria? What has your experience been like so far?

JN: Yes, this is my first visit to Nigeria and I’m really excited to be here. I’ve spent a lot of time in Cameroon and this is the country down below. But when I think of Nigeria, I think of Lagos; I think of Fela Kuti and I really hope we have enough time while I’m here to go check out the shrine.

ALM: What are your 3 favourite cities in Africa and why?

JN: I mean, I’m going to definitely say Yaoundé first because Yaoundé is … that’s my root and my heritage. You know, I kinda have a few spots over there that I know where to go to and see my friends.

I love going to Dakar, I think Dakar is a beautiful, beautiful city. We were also able to bring some kids from Chicago on our last trip over there. We went to Gorée Island and I think that was a really powerful trip for the youths … for them to feel their roots and their heritage even though they’re not sure exactly where. It is definitely empowering so I was very proud of the Dakar trip.

And Kigali. We just came back from Kigali. Kigali is a beautiful, beautiful place, the heart of Africa. We went to see the gorillas as well. You know, a vibrant city, but a little more chill. I think that Nigeria has a lot more action, a much faster tempo but I’m used to it.

And you know, I love Morocco as well. There’s so much to see.

Complete the following sentences

If it wasn’t basketball … I think I would have enjoyed coaching or being a part of working in a community centre with kids. I love working with kids.

I cannot go into a meeting without … talking points!

I cannot leave home without … my debit card.

My favourite thing in the world to do is … to chill on the beach.

‘In Conversation with’ by ASPIRE Luxury Magazine celebrates stars, influencers, celebrities and public figures, shining a spotlight on their lives and the incredible stories they have to share.

The post In conversation with Joakim Noah, Former NBA All-Star and Global Ambassador, Hennessy In The Paint first appeared on Aspire Luxury Magazine.

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With recent events, however, it seems that this is set to change, and it has got us wondering: is 2023 the year of the Nigerian cuisine global takeover?

Can African dishes be considered haute cuisine?

When we say haute cuisine, the focus is less on the classic French definition as it is on the dishes that incorporate its principles.

Back to the question above, you would probably say yes, but the reality is different. Most top culinary schools do not focus on African foods and ingredients, and, even when they do, there is usually no in-depth exploration of their capabilities. It is probably why African dishes are not considered fine dining, and also why you may be hard-pressed to find restaurants, whether top or mid-range, that include them in their menus.

Yet, as chefs like Chef Moyo and dining establishments like the Itan Test Kitchen are showing, our African dishes are as haute cuisine as they come, and it is only a lack of knowledge about their possibilities that has restricted their reach and adoption by non-African and even African chefs.

Until now.

Hilda Baci and the making of a world record

When Hilda Baci decided 5 years ago to break the Guinness World Record for the longest cooking marathon by an individual, her goals were simple: “Put Nigerian cuisine on the map [and] … inspire young African women to chase their dreams.”

Not even she could have fathomed the reach her cook-athon would have: by day 2, her official cook-athon handle announced that over 1 million people had live-streamed the event. On day 3, not only had it started streaming on DSTV, a popular satellite TV service in Africa but organisers also had to close the gates of the venue to visitors as it had reached full capacity.

yeah, so this is our best performing tweet of all time with nearly 25 million news feeds reached https://t.co/iGBDw0qdLK

— Guinness World Records (@GWR) June 15, 2023

Upon announcing that she had indeed broken the record, Guinness World Records received so much traffic that they confirmed that their Twitter post announcing her win was their “best-performing tweet of all time,” and also that their “website crashed for two days due to the immense volume of traffic … received from her legion of loyal fans.”

It is safe to assume that the popularity of this single event has definitely caught the attention of chefs from other parts of the world, enough to pique their interest and set them on a path of discovering and exploring African dishes and ingredients.

Chuku’s Nigerian Tapas Restaurant: from Beyoncé’s approval to global dining stage

For Beyoncé, giving a grant to the businesses around the venues of her ongoing Renaissance tour was her way of saying thank you to the communities that welcomed her and showered her with so much love. For Chuku’s, a Nigerian tapas restaurant in north London, the $10,000 grant was the beginning of a new chapter, one that afford them the opportunity to introduce Nigerian cuisine to the world.

Chuku’s is owned and run by siblings Emeka and Ifeyinwa Frederick. It started off as a pop-up in 2016, and following years of success, the siblings decided it was time to move into a building, a decision they actualised in February 2020.

Sadly, their opening coincided with the global coronavirus-induced lockdown, and, in spite of the love they received from their community, they soon began to grapple with soaring costs and shrinking disposable income among their customer base. The struggle to keep their doors open was on, and, by the end of 2022, it was clear that they were running (an increasingly lost race) against time.

And then, the Renaissance Tour came along.

Ahead of her highly-publicised tour, Beyoncé, through her BEYGOOD foundation, had announced that small businesses in cities along her world tour could apply for the Black Parade Route initiative, a fund that highlights and supports small Black-owned businesses. One of the cities was London, and even better, the concert took place at the Tottenham Hotspur Stadium on 782 High Road, a few kilometres from Chuku’s 274 High Road address.

Entering the last 6 months of the year after a media STORM >>

ICYMI, news that @Beyonce’s @BeyGOOD foundation has awarded us $10,000 created a bit of a media frenzy last week – with our sibling co-founders @efrederick90 & @Ifey_Frederick featured in a whirlwind of interviews pic.twitter.com/7bv3CAUGOp

— Chuku’s (@chukusLDN) July 5, 2023

The Fredricks wasted no time in taking advantage of this opportunity: they applied for the grant before its April 27 deadline, and quickly spread the word that they would be open even past their normal hours to cater to the Renaissance crowd, encouraging the latter to pre-book and creating a healthy feeling of FOMO around their service.

Their efforts paid off. They sold out their tables, secured the £8000 grant and dominated the headlines of major media outlets in the UK and the US. With the publicity they received, they now have a bigger customer base beyond their local community and the UK.

2023: the breakout year for Nigerian/African cuisine?

It may be a bit of a stretch to think that 2 Nigerian culinary brands whose efforts have drawn more attention to African cuisine translates to global adoption and acceptance. But, this is an excellent step in that direction, and, because of their achievements and those of countless others who continue to introduce our dishes to people of other cultures, 2023 might just be the year you walk into the Waldorf Astoria in say, Dubai, and staring right back at you on the menu is a dish of amala rolls dipped in spicy gbegiri and tomato soup, and topped with mint leaves.

The post Is 2023 The Breakout Year for Nigerian Cuisine? first appeared on Aspire Luxury Magazine.

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An Icon of Celebration since 1743

A long history of grand and festive events has made Moët & Chandon a global icon of celebration since 1743.

Served in the White House by the early 1900s and enjoyed at the coronation of Edward VII and Elizabeth II, Moët & Chandon has invited the world to create a sparkling ambience and shared unforgettable moments since its earliest years.

This holiday season will be no different: Moët & Chandon will once again deploy its legendary ‘savoir-fête’ to celebrate togetherness around the effervescence of its champagnes with spectacular lights to climax each event.

Effervescence Events around the World

The holiday season is about bringing people together to build and share memorable moments, marked by bubbles and lights. For the second year, Moët & Chandon will present a spellbinding display of illuminations and unmissable parties to share the joy of togetherness in more than 20 cities around the world.

It was a desire of Jean-Remy Moët, grandchild of the founder of the House, to make his champagne known to the globe and bring people together under its name and vibrancy. It is in the spirit of this that Moët & Chandon has put together a series of events — which started in mid-November and will end on New Year’s Eve — to celebrate the festive season around the world.

The Effervescence Events have been expertly designed to delight guests and Friends of the House and would include musical performances and entertainment, punctuated with cork-popping sounds and the joyful ‘savoir-fête’ of Moët & Chandon. The star of these exceptional gatherings is Moët Impérial, whose ability to appeal to all cultures everywhere has made it the most widely enjoyed champagne on earth. Its universal likability is the special ingredient of celebrations both grand and intimate.

Holiday Season 2022 Limited-Edition Bottle

To accompany its end-of-year festivities, Moët & Chandon is pleased to present a special 2022 Holiday Season bottle, allowing champagne lovers and collectors to take home a memento of the House’s legendary ‘savoir-fête.’

The special bottle, dubbed The Spark of Light, comes in the classic 75cl size and is dressed in a bespoke golden, cheerful firework pattern on a white background, symbolizing displays of radiance that have illuminated the most extraordinary celebrations throughout the history of Moët & Chandon.

A piece that defines a holiday table; a treat for families and friends; a treasure for passionate collectors; a new journey of adventure and discovery for those who are enjoying it for the first time, or, an appreciated detail for those who have it all: The Spark of Light is the gift transforming each gathering into a festive moment. This limited-edition bottle will be available exclusively during this year’s holiday season.

About Moët & Chandon:

Moët & Chandon was founded in 1743 by Claude Moët and elevated to international renown by his descendant, Jean-Rémy Moët, who dreamt of “sharing the effervescence of Champagne with the world.” From royal court to red carpet, Studio 54 to Grand Slams, Moët & Chandon has been bringing people together around thrilling, extraordinary moments. With the largest, most diverse vineyards in the region, the House offers a universal & versatile portfolio of champagnes for every occasion and palate. Easy to love, each creation – from the iconic Moët Impérial to the refined Grand Vintage Collection, the glamorous Moët Rosé Impérial to the refreshing Moët Ice Impérial – dazzles and delights with a broad spectrum of flavours and aromas to capture the astonishing breadth of its terroir. Through Natura Nostra, Moët & Chandon’s long-term sustainability program, the House works to protect biodiversity in the region and, since 2009, Moët & Chandon also supports philanthropic initiatives through Toast for a Cause. For nearly three centuries, Moët & Chandon has been the champagne of choice to mark both significant events in history and personal celebrations, enhancing each toast with the spark of effervescence.

The post Effervescence Events: Moët & Chandon illuminates the Holidays with Sparkling Champagne and Lights first appeared on Aspire Luxury Magazine.

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This year’s edition of the Lagos Fashion Week (LFW) which kicked off on the 26^th of October came to a grand end four days later with presentations from creatives like Andrea Iyamah, Banke Kuku and Imad Eduso. Throughout the week, new and returning designers from all over the continent and beyond showcased their collections to thousands of guests ranging from head buyers to fashion enthusiasts, members of the press, and industry experts.

Since its inception in 2011, LFW has worked tirelessly to provide a global platform for indigenous African fashion designers and others of African descent who normally, might have found it extremely difficult to generate the right buzz around their designs, talk less of gracing the runways of major, international fashion shows.

LFW is growing, and the world is paying attention. Except for the country where the annual fashion show takes place.

There appears to be no formal data yet, but, from all visible indications, everything that happens at the Lagos Fashion Week stays at the Lagos Fashion Week. Which, while disappointing, is not entirely surprising.

Why does fashion week even exist?

Historically, fashion week was born out of a desire to influence the fashion of the day and satisfy people’s desire for newer and better ways to express their individual tastes. Designers would put together a collection influenced by the society and the environment they had access to, in the hopes that their target audience agrees with their work and deem them worthy enough to become an expression of who they are or at the very least find them useful enough to adorn their bodies.

Fashion week is how many trends over the years caught fire and spread throughout the world. Like the bandanas and bell bottoms of the 90s or the chunky belts and platforms shoes of the early 2000s. The loungewear trend that started in 2020 may have had its roots in the pandemic and the resulting lockdown, but as major fashion houses started to offer their own versions, it become wildly popular over the world.

Sadly, we cannot claim that this is the case in Nigeria (at least) where LFW holds. No one can deny the sheer talent that is on display year after year, or the fact that some of the pieces that make an appearance on the runway reflect emerging or past fashion trends in the country and continent. However, once the curtains come down on the show, it appears to come down on everything else: the beauty and fashion expressions; trends; decor – even the participating brands are not spared as their names seem not to resonate beyond certain circles nor do their creations influence everyday fashion or make appearances in the media after the event.

There appears to be a lack of robust representation among celebrities and influencers

One reason why the designs at the Lagos Fashion Week are not ubiquitous may be because they are not largely worn by celebrities and influencers, whose followers and fan base are always eager to copy everything they do. If there is anything brands from out of the continent understand, it is the power of representation. It is why they choose ambassadors in markets and groups they want to dominate. Maybe this is not a job for the LFW organisers, but, one of the ways to get Africans more invested in the show is to feature designers whose work they care about and have interacted with before the show.

Fashion week is more than the catwalk. LFW does not appear to have evolved to this point

This paragraph from Fashion United explains this point best.

“[…] Successful fashion weeks need foreign buyers and foreign press. Fashion weeks also need critics to decipher the looks and to make it cohesive. To give us the context in terms of the current zeitgeist and to extend its meaning beyond the immediacy of social media and front row celebrity.”

Every year the Lagos Fashion Week holds, the only reports in the media appear to be comments on the designs and designers, how the show went and prevalent trends on the catwalk. For some reason, no one appears to give a balanced critique of the show and the designs, what worked well and what could be improved upon to make the show bigger and better, and help the designers create pieces that resonate more with their local communities and a wider global audience.

Again, this may not be so much the fault of the organisers as it is of the media and industry stakeholders. However, if it is the case that the fashion show is not open to these sets of people, it may explain why balanced reviews are scare year in, year out.

Welcoming critques and experts who have no affiliation with the show, and can therefore produce balanced, non-biased reporting, would be a step in the right direction towards making much-needed improvements and creating even more buzz around the show on the the continent, especially if these people are locals.

The disconnect between the fashion at LFW and what is considered fashion in Nigeria and Africa is huge

And this perhaps is the most important point.

Back in the day when we did not have these kinds of shows in the continent, and because the industry itself was largely fragmented with little mass production of everyday clothes taking place, it just made sense for designers to look at what America and Europe were doing and incorporate it into their designs. This was worsened by the thriving preloved market that is still prevalent to this day.

It is why when bandanas became mainstream in America and possibly Europe, they trended in Nigeria. When bootlegs were the in-thing, they were also the fashion of the day back here.

If the Lagos Fashion Week were looking to make more of an impact in Nigeria (at least) beyond its runway, an apparent course of action would be to feature designers who fill in a missing gap – African fashion for Africans by Africans. Yet, 11 years in, and LFW is still full of designers showcasing Spring/Summer collections, two seasons most African countries do not experience. Designers are creating pieces that are not practical for the continent or representative of our values and belief systems.

The fashion industry as a whole in Nigeria and other African countries is not very developed

In Nigeria at least, we still rely heavily on pre-loved fashion while ignoring production/manufacturing.

Perhaps a reason why fashion week is such a big deal in other parts of the world is that production (of fashion items) takes place within these countries and even when it is outsourced, it is usually by businesses domiciled in these places.

Therefore, while not everyone in America or Italy, for example, can afford an Oscar de la Renta or a Caroline Herrara, because there are smaller local fashion businesses who take care of everything from production to distribution,  it is easier for them to make affordable look-alikes of the beloved  designs of larger, more established fashion houses for the masses.

It is impossible for LFW to establish small fashion businesses to create affordable look-alikes of the designs that appear on their platform, but maybe using this same platform to engage stakeholders to influence policies that help to regulate and develop the industry might be a feasible solution.

The 2022 Lagos Fashion Week has come and gone and with it an opportunity to influence and revolutionalise the Nigerian/African fashion industry. Thankfully, there would be many more fashion weeks. The time has come for the LFW organisers to do things a bit differently for the sake of the future of African fashion, and with the kind of global platform they have managed to build over the years, they appear to be the best people for the job.

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Both fashion shows are slated to take place in December, with the Chanel show happening on December 6, and Dior’s on December 3.

A decision rooted in necessity

A report published in 2019 makes a case for Egypt as an underrated luxury market, explaining that apart from luxury auto brands, wealthy Egyptians are forced to shop for their preferred luxury goods outside as these brands are not represented in their country.

This is in spite of the fact that Egypt is rather wealthy. It is not only the second richest African country but also the sixth in wealth per capita, making it a regional power (at least economically) in northeast Africa. It is therefore not surprising that Egypt is where Dior has chosen to showcase its men’s pre-fall collection.

Kim Jones’ connection to Africa

Even if Dior did not choose Egypt because of its capacity to develop into a mature luxury market, its men’s artistic director, Kim Jones’ great relationship with the African continent would have seen the luxury fashion house eventually put up a show on the continent. Jones spent time in Botswana, Ethiopia, Ghana, Kenya, and Tanzania during his childhood and has since been inspired by Africa.

In 2020, he worked with Ghanaian painter Amoako Boafo on Dior’s SS21 collection, incorporating the artist’s drawings into pieces of the collection. While this new drop will not follow the same path, according to Dior, “the celestial collection celebrates a lifelong passion for travel.”

A new beginning?

It is remarkable that in just one year, two major luxury houses have announced their decision to hold their shows in Africa. This is besides the Fenty Beauty in Africa launch earlier this year. While these shows appear to be a way of testing the waters, it is clear that the luxury niche now considers Africans necessary, not just as consumers but also as contributors to its growth and sustenance.

We might see legacy luxury houses set up shop here on the continent in the nearest future, but for now, it’s time for us to sit back and simply enjoy the shows.

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“What is Nigerian food exactly? I cannot say that I know. And that is the beauty of our cuisine. We have over 250 ethnic groups, and that means we have over 250 methods of cooking. It might be [that the] asaro from Ijebu is different from [the] asaro in Abeokuta. And those variations really open us up … and it also shows our similarities. We all eat native rice, we all eat zobo, (sic) we all eat asaro in different ways.”

“Nigerians, I think in some ways we can have a sense of unity but when it comes to our food, we can be a bit tribalistic. People are like, ‘Ah! Me I don’t eat amala: what is that black Yoruba food?’ You might think it is not your food, but have you tried it? Have you truly experienced it?”

I first met chef Moyo at the premier Atije Experience pop-up back in May. Like other diners, I was shocked to see everyday dishes take on new forms and different food items, that I would have sworn before that day could not be eaten together, appear on the same plate. For example, the sweet potato puree and the egusi. I have seen the odd mix – egusi and white rice, egusi and bread – but uziza-flavoured egusi and sweet potato puree? That was a definitely first, and the main reason why the Atije Experience exists.

“I think one of our primary goals is just to encourage Nigerians to enjoy our food in different ways. I think Nigerian, West African food, we kind of relegate it to home food, celebration food, but it is not like special food, it is not like fine dining,” explains chef Moyo. “It is like we can all cook rice, we can all do this, but I think it’s opening our minds – including myself – to see that Nigerian food has more potential.”

Since Awari, Ms Odunfa has gone on to host two other food tasting events – Asiri and Ajowa. For now, she is focused on these pop-ups, which happen every 4-6 weeks, rather than on opening or running a traditional restaurant. “I guess in a sense, [what I do] is not very common, but I think it is something that a lot of chefs do. Even if I were to open a restaurant, I don’t think it would be typical. I think I would still want to do like a set menu. We might have different types of set menus, maybe for different days, or maybe like lunch versus dinner … but I don’t think it will be the regular ‘oh, let’s choose something off the menu.’ I think we would still use this concept because I really enjoy doing it.”

Moyo may have fallen into some sort of routine for the culinary pop-ups at the Atije Experience, but the challenges she faces in bringing people together to discover Nigerian food in a whole new way have not abated in any way.

“Nigerians, we love our food [but] if I can just get people to come, that is usually the major [challenge]: convince people to just come. Once they come, we [can] have beautiful experiences together and … show [them] what we do. Because people can be a bit dismissive of Nigerian food like ‘Ah, we know it, we don’t want to go out and eat it.’ So, truly being able to convince people that this is a worthwhile experience for [them is] just something.”

“[In terms of putting together the menu for each experience] having to do a new menu every month can be challenging, it can be interesting, it can be exciting and balance is very key for us. And that is another thing that can be a bit tricky because … let me use Ajowa as an example. To me, I think when we think of asaro, a lot of times, we eat it with fish – smoked fish, dried fish. But initially, I wanted to do the dish with chicken because I wanted to use fish for the main course. But we had to switch that around because we realised that no, this dish is simply eaten with seafood, so we had to keep that there and change the main course to accentuate that. So, even when we start off thinking that this is what we want to do, we realise that no, there has to be balance, everything has to flow. You cannot give people a palate cleanser and then a very spicy and overpowering dessert – the palate cleanser would have had no effect at the end of the day. So, we really try and make sure that everything … makes sense even as a person is eating it.”

“[Lastly], having the faith to put out that menu actually [is another challenge we face]. Because, if I use Ajowa as an example again, the desert was zobo. And it went through so many iterations because we really tried … at the beginning, it kinda tasted like a palate cleanser because zobo can be very light, and we were thinking, ‘ok, how do we make this a dessert? Something that people would actually, you know, want to relish and it’s sweet and all that.’ And, even after the dessert was done, I wasn’t sure that it was the right thing. And people loved it! I couldn’t even believe it! So sometimes, it’s really just that courage to believe that what we’re doing is good enough. What we’re doing is worthy of being experienced. As much as I believe in Nigerian food … there’s a difference between ok I believe in Nigerian food and I believe in my own Nigerian food. Having that faith to say I am putting this out, and I am going to believe that people would enjoy it. I am going to make sure that it is good enough to be enjoyed. And I think with every menu – even menus that we have done before – sometimes it’s just to click that button to say ‘post’ that can be a daunting moment but so far so good, we’re making it work.”

But in the end, the entire process appears to be paying off on both sides. “I think people have been surprised. Sometimes when people come, they’re sceptical. And they say, ‘let’s just go, sebi it’ll be a nice time.’ [But they] are surprised at the amount of networking they have there at that long table because it can be daunting. [But] the ice actually breaks over time, and [they] are surprised that the food tastes how it tastes. Because, they think, you know, in Nigerian restaurants there is a lot of hype. There is a lot of glitz and glamour, and the food might not actually meet up to your expectations. So people are actually surprised that [the] food is actually nice, [it] tells a story and they learn. They go home with new information about Nigerian food. ‘Oh, I didn’t that that dawadawa and iru were the same. I did not know that native rice, Abakaliki rice is also the same as ofada rice but not just fermented’ So that knowledge really really makes a difference, I think.”

“I have [also] learnt a lot! I have learned the importance of having a full overview of this kind of event [which] has been really important. Because for me, I am a chef, but doing this kind of thing, I have to wear so many more hats: to be a sommelier and think about wine pairings; to be an events planner; to be logistics [manager] … everything, too many moving parts at every time and it has taught me the importance of teamwork.”

“When it comes to the kitchen, honestly speaking, it has taught me that there is really no boundaries. This last Ajowa menu, we were trying to play on ileya and ram, and we had to buy a whole ram, so that we could control the parts of the ram that we were cooking. And that for me was something I would have felt afraid of before, but once you set your mind to something, truly truly – and it might sound cliché – but you’ll do it if you have to do it and that just gives you more boldness and courage to do it another time.”

Chef Moyo may be intentional about reintroducing us to our food in ways we did not think possible, but for her, the Atije Experience is deeper than that. The Atije table is the foundation of relationships. And the success it has recorded so far has actually amazed her.

“The networking has surprised me. When people sit on a table, sometimes we’re really privileged to have someone who is like a very engaging person and just draws everybody in. I don’t know, especially Fridays, Fridays can be so … they don’t even want to listen to me talk anymore: they’re talking to each other, they’re sharing about their careers. One time, someone was even playing their song because she was like a musician. I’m so encouraged when I see everyone truly just connecting. And there was even a person who said someone was sitting opposite him at one dinner and he didn’t say a word throughout dinner and he thought ok, he didn’t really want to talk. Later on, he sent a message on LinkedIn saying, I met you here, I would like to connect. You know, and those things, they really, I don’t even know how to say it, they really bring me joy because … that thing of, we’re actually eating together. We can all sit on one table from different walks of life, different tribes, different languages, different cultures. We can all eat together and it has an effect on all of our lives afterwards.”

At the moment, chef Moyo is planning a new pop-up that is set to happen from the 23^rd to the 25^th of September. And this time, the experience is a bit special. “This time last year, we were in a competition called The Kitchen, Nigeria, and I think that was an opportunity to really test out the Atije concept in general, like in public. [Now] we’re bringing that menu back so that people that did not get to experience it then [can do so]. [We’re] bringing it back a bit better, revamping some of the recipes, rethinking them. But still bringing back the same stories and the same essence.”

“So this menu is Atije, literally the original Atije, meaning how we eat. We’re exploring in general how we eat as Nigerians … we have dishes from Calabar, dishes from the South West … things like abula, things like banga and we’re really just bringing … I think a lot of the dishes were really delicious, and we are trying to think of a way to bring it back even better and enable our guests who didn’t know about us then to try it out once again.”

Want to get a feel of what The Atije Experience is? Register for the upcoming pop-up at www.atije.com  or click on the link in the bio of the Atije Experience page on Instagram.

The post At the Atije Table, Chef Moyo Delivers an Elevated Fine Dining Experience first appeared on Aspire Luxury Magazine.

The post At the Atije Table, Chef Moyo Delivers an Elevated Fine Dining Experience appeared first on Aspire Luxury Magazine.

Well, I have, and it would not be an exaggeration to anyone who owns a Roja and already knows about the wonderful fantasy that is a Roja scent. For its latest launch, Apex by Roja, the maxim ‘experience is the best teacher’ is the only fitting description.

On September 8, 2022, in Lagos, 31 specially-curated guests united by the love for great scents and comprising fragrance collectors, luxury aficionados and the media were hosted by Montaigne place at the Z kitchen to a multi-sensory experience involving fine dining, delightful scents, deep conversation and a budding camaraderie. Underpinning it all and at the centre of the evening was the ‘scent of the hour’, Apex by Roja Parfums.

On arrival at the dinner after pre-dinner drinks, one was immediately drawn in by a large, leafy wreath, with the words APEX at its centre providing a green shade for the perfume.

Dotting this wreath were all the fruits and fruity notes that make up the new fragrance. From the introductory flavours of lemon, bergamot, mandarin and orange, to the slightly stronger scent of pineapple in the middle and a definitely powerful base note of juniper berries.

The bottle itself is square-shaped, with a black into green ombre effect from top to bottom. Inside this dark and mysterious bottle is Roja Apex, a fragrance that begins with a citrus-based top consisting of zesty lemon, bergamot, mandarin and refreshing orange.

Connecting us to our primal energies, the animal-like effects of leather, ambergris and musk lay in the shadows, bringing their sensual impulse to this highly-addictive new fragrance. Roja Apex celebrates the natural wonders of the world, honing in on those who roam it.

The result is a fruity, floral and chypre fragrance that is at once fresh as it is strong, not in the least overbearing, but incredibly sexy and unapologetically bold.

The brand might have created this as a masculine scent, but all the ladies at the event including yours truly, unanimously agreed that we had no reservations whatsoever in getting our hands on a bottle for ourselves!

The launch event delicately and with the utmost attention to detail delivered on the Apex ethos. From the delicious green signature cocktails at the pre-dinner reception to the entire decor and menu. It was an evening that was most befitting of the powerful fragrance that is Apex by Roja.

Roja Dove, the perfumer behind this new fragrance, said Apex was inspired by ‘primal instincts.’

“I have always said that we must not forget that we are animals. We’ve been using scent for millions of years to catch food, escape danger, and to find a mate. it is these primal instincts that inspired me to create Apex. [It] connects man and nature. The citrus opening represents the beginning of reaching your Apex with a bright blend of bergamot, lemon, mandarin and pineapple. Base notes of patchouli and fir balsam evoke the feeling of being surrounded by nature, while notes of leather add warmth and sensuality. We have also used sandalwood and frankincense to give it a spiritual feel,” explains Dove.

If you’re on the lookout for a scent that is as smokey as it is woodsy, but one that is also fresh and invokes the feeling of the great outdoors while still somehow conferring upon its wearer a hint of prestige and success, then you should try Apex by Roja. As we’ve said, it is a fragrance that is better experienced than described.

Apex by Roja is available at The Montaigne Place, Nigeria’s largest luxury Skincare, Cosmetic, and Fragrance retail company. For more information and enquiries follow @montaigneplace on Instagram and Facebook.

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Using AI and music to create the Usher x 1738 A.I. Powered

When Rémy Martin set out to work with “long-time collaborator”, Usher, on this special project, the general idea was to have the latter’s work physically present in the end product. How is it possible to have music physically present in cognac?

The short answer? Technology

The long answer? Usher was tasked with using his own musical vocabulary to describe his olfactory experience with the renowned 1738 Accord Royal, a smooth cognac characterized by notes of toasted bread, vanilla and brioche.

Working with an A.I. technology, known as Generative Adversarial Neural Networks and Contrastive Language-Image Pre-Training, his words were then transformed into artwork. The final design, which aptly embodies the harmony of music, technology and art, was then transferred to a reimagined 1738 Accord Royal bottle in black that features a special seal which celebrates Usher’s 25th anniversary of My Way, Usher’s breakthrough album that catapulted him into stardom.

“For nearly 300 years, excellence has been at the core of Rémy Martin, and through this partnership, we’ve reached an incredible milestone, where we see brilliance breakthrough at the intersection of art, fine cognac, and technology,” said Amaury Vinclet, Global Executive Director of Rémy Martin.

“…An artist at my core, … I leaned into the exemplary Rémy Martin 1738 Accord Royal that flowed through me and am so impressed by the visuals that came out of the A.I. process – they truly represent the medley of tasting notes captured in the flavour,” explains Usher of the process. “It’s rewarding to see those words translate to real-world artwork that my fans can engage with while bringing taste front-and-centre.”

A limited-edition bottle for a lucky few

Only 50 bottles have been created from this unique project. Of this number, 25 will be available to purchase exclusively on BlockBar, the world’s first direct-to-consumer NFT marketplace for luxury wines and spirits.

The drop will go live at 10 am EST on Friday, July 29 on a first come, first served basis. At a recommended retail price of $500, each NFT is available to purchase with ETH or credit card. At 10 am, the first users to reserve the bottle will then have 10 minutes to checkout. Users who successfully check out will receive an NFT proving ownership of the physical bottle, which is stored with BlockBar until the bottle owner is ready to redeem. The remaining 25 bottles will be gifted to Usher and his team.

Each NFT is uniquely marked, and each purchase comes with the option of keeping the NFT, reselling it on BlockBar.com’s marketplace, gifting it, or redeeming it for the physical bottle beginning in October 2022.

Usher x Rémy Martin 1738: A Taste of Passion campaign

What would happen to those who would be unable to purchase the Usher x 1738 A.I. Powered limited-edition bottles?

Thankfully, the partnership between the cognac brand and the musician goes way beyond the bottles. A Taste of Passion Experience will be holding live in Las Vegas, A.I. technology will once again be used to visually articulate the taste of the Usher x 1738 Accord Royal A.I. Powered offering.

The event, which will run on select nights from July 15 through October 29, will be a multi-sensory experience that nods to Usher’s illustrious career. To build on the splendour of the evening, attendees will savour an array of Rémy Martin 1738 Accord Royal cocktails specially curated by Rémy Martin and Usher, including The Rémy Roller, brimming with an effervescent blend of Rémy Martin 1738 Accord Royal, aromatic notes of ginger ale and Angostura bitters, and finished with a lemon wedge garnish.

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The fashion house will be holding its annual Métiers d’Art fashion show in the capital of Senegal on December 6, 2022. According to Chanel, Métiers d’Art is ‘an ode to craftsmanship and a tribute to the specialist ateliers with which the house works.’ It is the first time the Maison will be holding the show in an African country.

It is also the first time since the pandemic that Métiers d’Art will be held outside of France. Following the last show designed by Karl Lagerfeld in 2018, Virginie Viard, Chanel’s creative director, had chosen Paris and the Grand Palais the following year as the show’s location. COVID hit, and the Maison presented its subsequent collection by means of a film shot at Chenonceau Castle in Touraine. In December 2021 the show was held at 19M, the group’s new centre of excellence.

“By choosing Dakar, the company intends to make the savoir-faire of its artisans resonate with the artistic and cultural energy of the city,” says the official press release. It describes Dakar as a city that never ceases to invent and innovate, boasting a status that is still unequalled in Africa. It is the meeting point for fashionable designers, a jewel box of art and culture that has reinvented itself while preserving its institutions.

The choice of Senegal also allows the label to gain a foothold in Africa, which is considered an exciting emerging market for luxury goods.

As usual, this year’s Métiers d’Art by Chanel in Dakar will continue with the decades-old tradition of paying tribute to its feather specialists, glove makers, embroiderers, boot makers, pleaters and hat makers – artisans whose skills the luxury house has made its mission to preserve since 1985 due to their undeniable importance to haute couture.

Source: Fashion Network

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