Showbiz
The Runway Heist on Broadway: When Lagos Fashion Stepped into Theatre
Lagos fashion witnessed a defining creative moment as The Runway Heist on Broadway, a fashion-theatre production curated by BareFashionEvening, concluded to wide acclaim, positioning itself as one of the most conceptually ambitious runway experiences in the city’s recent fashion history. Far beyond a conventional fashion show, the production fused high fashion, live music, theatrical performance, and storytelling, reimagining the runway as a stage where garments, bodies, and narratives converged in a single immersive experience.
Inspired by the tradition of Broadway productions, the show unfolded as a cinematic performance rather than a linear runway. Carefully choreographed walks, dramatic lighting, expressive movement, live vocals, and dance sequences transformed the space into a living story. Each designer’s collection was intentionally staged to unfold as a narrative, allowing garments to communicate emotion, memory, and meaning rather than exist as isolated looks. The result was a multi-layered presentation that reflected the evolving identity of African fashion as expressive, collaborative, and culturally grounded.
Speaking on the creative direction behind the production, Jonarry Agraka, the convener of the event, described The Runway Heist on Broadway as a deliberate rethinking of how fashion should be experienced on the continent. According to him, the platform was created to move fashion beyond aesthetics and return it to its core as a medium of expression and storytelling. He noted that the intention was to create a space where designers, models, and creatives could tell honest stories through movement, sound, and performance, rather than being confined to the traditional runway format. Agraka further explained that the vision behind the show was to provide visibility and opportunity for emerging talent, encouraging collaboration, discovery, and creative freedom within the fashion ecosystem.
At the heart of the showcase was a carefully curated lineup of emerging and forward-thinking designers whose collections explored themes of memory, celebration, sustainability, structure, and contemporary African expression. One of the most emotionally resonant moments of the evening came from Ethnic Stitches, whose collection was inspired by her late brother, a painter whose artistic influence shaped her bold use of colour blocks. Remarkably put together in just ten days, the presentation stood as a tribute to love, loss, and creative inheritance. The moment her son presented her with flowers after the showcase became one of the night’s most touching scenes, capturing fashion’s ability to hold personal memory and emotion.
Creative Director of Sassy by Etty presented a collection titled “Essentials for Christmas,” built around a refined palette of blue, red, and black. Drawing inspiration from the festive season, she described the collection as a significant improvement on her previous work, citing stronger structure, clearer styling, and better overall execution. Her presentation reflected the confidence of a designer growing into her creative identity and refining her voice within the industry.
Sustainability features prominently through KODIELZZ, whose designs are created entirely from recycled waste. Rooted in faith and environmental responsibility, her collection reinforced the increasing relevance of eco-conscious fashion within Nigeria’s creative landscape. By transforming discarded materials into wearable art, her work highlighted the possibility of aligning fashion with purpose and accountability.
Architect and fashion designer Adebayo Oyenuga, who returned as both a guest and sponsor, described the event as a vital discovery platform for emerging designers. Having been impressed by previous editions, he returned to support the initiative, encouraging young creatives to remain original, committed to their craft, and open to continuous improvement. He noted that platforms such as The Runway Heist on Broadway are critical for uncovering new talent and sustaining the growth of the fashion industry.
Distinctively, the production challenged conventional modelling norms by positioning models as performers and storytellers rather than passive participants. The runway demanded emotional engagement, vulnerability, and expression. Model Enoch Adeoluwa described the experience as intense yet rewarding, highlighting the strong bonds formed during rehearsals and training sessions. He openly shared that he experienced a panic attack during rehearsals but was able to pull through with the support of a close friend, underscoring the emotional demands behind live performance.
Similarly, Ayomide Ayoola described feeling anxious, scared, and physically shaken before stepping onto the runway, but ended the show with a deep sense of fulfilment after overcoming her fears. For Umole Arnold, the experience stood apart from traditional fashion shows. He described it as a full Broadway-style performance filled with music, acting, and dance, admitting that while he was nervous at the beginning, he eventually found his rhythm and confidence. Dominance described the experience as marvellous, praising the outfits, makeup, and overall production quality.
International representation came through Lein, a Congolese-born model with Nigerian roots, who reflected on adapting to Lagos’ fashion scene despite early language barriers. Having relied on translation tools when she first arrived in the city, her participation highlighted the inclusive and global nature of the platform.
Music played a central role in shaping the emotional rhythm of the show. Singer Keleya, from Imo State, delivered live performances of three original songs that were seamlessly integrated into the runway narrative. She revealed that she performed without collecting a fee, choosing instead to use the platform to promote her music and connect with new audiences. Her contribution reinforced the collaborative spirit of the production, where creative expression took precedence over commercial considerations.
The event drew a diverse audience of industry professionals, creatives, sponsors, and fashion enthusiasts. Industry figures Demirah, Jeremiah, and Victor Bayo noted that such platforms provide valuable exposure, placing creatives before influential audiences and opening doors to future collaborations. Fashion enthusiast Oluwatosin praised the attention to detail in the event’s planning, from the smooth red-carpet experience to the quality of the audience, describing the show as defined by excellence, poise, and luxury. Former models Hannah and Rosemary attended to reconnect with the creative energy of the runway and observe emerging talent, while emerging designer Maryjane of Black by MJ, accompanied by Deborah, attended with the intention of learning and preparing for future participation. Fashion model and designer Ochanya, from Benue State, described fashion as her happy place, expressing excitement about drawing inspiration from the showcase.
More than a fashion event, The Runway Heist on Broadway emerged as a cultural statement, affirming that African fashion is evolving beyond presentation into performance, narrative, and emotional engagement. It demonstrated that when fashion collaborates with theatre, music, and movement, it becomes a powerful medium for storytelling and cultural expression. As Lagos continues to position itself as a global creative capital, The Runway Heist on Broadway stands as a compelling example of how African fashion can innovate boldly, speak authentically, and command lasting attention.
Heartbeat wasted no time turning up the heat in its premiere episode, kicking off with instant attraction, bold choices and dynamics that immediately set the tone for the season.
Ten singles, five men and five women, stepped into the Love Pad, but instead of long introductions, they were thrown into their first test. Each person had to make an initial choice based solely on photos, no conversations, no context, just instinct. Chidera, a 30-year-old who revealed she had been single for ten years, was the first to choose, picking Alvin, a 25-year-old actor. Alvin, however, followed his own instinct and selected Queen Latifa, a 26-year-old entrepreneur whose calm confidence stood out instantly.
As the house filled up, it became clear that some singles were already emerging as early favourites. Igwe, a 26-year-old oil and gas professional, quickly became one of the most sought-after men, attracting interest from more than one woman. On the other side, Hilda, a 28-year-old actress from Ghana, found herself drawing repeated attention, setting the stage for potential rivalry and connection.
The dynamics shifted again with the introduction of the Love Nest, a private room designed for two singles to spend the night away from the rest of the house. A hidden key added suspense, and when Kenna found it, he made a bold move by choosing Queen Latifa. The decision made them the first pair to share the Love Nest and instantly altered the energy in the house.
Next came the Love Dip game, where housemates picked numbers from a ballot box. Matching numbers meant becoming partners for the night, creating unexpected pairings and opening the door to fresh conversations. New combinations like Igwe and Hilda, Shekina and Alvin, Toria and Henry, and Chidera and Kenna sparked curiosity, chemistry, and a few raised eyebrows.
By the end of the episode, the singles had settled into the Love Pad, but emotionally, nothing was settled. The men openly discussed attraction and possibilities, while the women made it clear they were watching closely and not ready for half-hearted intentions or games.
Episode One didn’t give all the answers, but it asked the right questions. With overlapping interests, early connections, and choices already creating tension, Heartbeat is clearly gearing up for deeper emotions, surprises and evolving relationships.
Catch Heartbeat every Sunday at 9 pm on Africa Magic Showcase, GOtv Channel 8, and Showmax.
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The first episode of Africa Magic’s newest dating reality show, Heartbeat, premiered on Sunday night, January 11, 2026, and it is clear that Sunday nights are about to get a lot more fun. The singles came in and wasted no time in giving a show.
With Seyitan Atigarin at the helm and ten eclectic singles searching for a “Promise Lock,” the stage is set for a 12-week journey that promises to be more than just your average dating show.
Following an impressive first episode, here are five things we expect to see as the season unfolds.
1) Strong Personalities:
These singles came in with all confidence in who they are and what they represent. They have an idea of what they are looking for and seem like they will be going for it. Will there be a personality clash at some point or even ego bruises over partners? Time will definitely tell, and we’ll all be watching.
2) The Inevitable (and Messy) Love Triangle
If the First Glance reveal told us anything, it’s that tastes in the house are overlapping fast. We’ve already seen Henri and Ken eyeing the same ladies, while more than one woman seems intrigued by Igwe’s “cool and collected” energy. We expect a classic love triangle to form by the end of week two. There is nothing like a little competition to turn a “Love Pad” into a pressure cooker, and we are here for every bit of the “who-chose-who” drama.
3) Romance and Some “Heated” Tension:
If there is one thing that was obvious in the first episode, it is that the singles may have some physical attractions already. All thanks to the love pad, we got a first kiss from Ken and Queen Latifa, and one can only wonder what is to come in the following weeks.
4) High-Stakes “Compatibility” Challenges
Heartbeat isn’t just about sitting around and looking pretty. We expect to see weekly games and challenges specifically designed to test more than just physical attraction. From teamwork exercises that reveal who has a short fuse to “compatibility quizzes” that expose how well the pairs actually know each other, these tasks will likely be the catalyst for the season’s biggest arguments and its most romantic breakthroughs.
5) Intellectual Fireworks (The “Slumflower” Effect)
With Chidera Eggerue (The Slumflower) in the house, we aren’t just getting romance; we’re getting a masterclass in boundaries and emotional intelligence. Chidera has already made it clear she isn’t here for “bare minimum” energy. We expect her presence to challenge the men to step up their game, not just with flashy gifts, but with deep, intentional conversation. Expect some heated debates on feminism, dating standards, and “the patriarchy” over breakfast.
6) The “Promise Lock” Pressure Cooker
The show’s ultimate prize isn’t just a partner; it’s the Promise Lock. As the 12-week deadline approaches, the pressure to “lock it in” is going to turn friends into foes. We expect the final episodes to be a high-stakes showdown where couples have to decide if their “house romance” can survive a Lagos traffic jam or a Ghanaian family meeting. Who will commit, and who will leave their partner hanging at the gate?
Heartbeat Episode 1 successfully set the stage for a season of “romance, tension, and side-eyes.” If what we saw on the first episode is any indication, we’re in for a very messy, very entertaining three months. Catch the next episode on Africa Magic Showcase (DStv Channel 151 | GOtv Channel 8) at 9 pm on Sunday. You can also watch all the drama on the go via the DStv and GOtv Stream apps, available on the iOS and Play stores.
By Modupe Gbadeyanka
Love Nwantiti crooner, Chukwuka Chukwuma Ekweani, professionally known as Ckay, recently told CNN International on African Voices, which aired on January 10, 2026, the legacy he intends to leave behind.
Speaking in his home studio with the show anchor, Larry Madowo, the singer said, “I want my legacy to be that I innovated the sound, I advanced the culture, and I made the world a better place than I met it.”
Ckay, who also doubles as a songwriter and producer, further said, “I would say it’s definitely made its mark in the history books of Afrobeats, definitely, and I’m really proud to, you know, be a part of this whole culture.”
While explaining the rationale behind his biggest hit, Love Nwantiti, with over a billion streams on Spotify, said, “I was in between relationships at the time I wrote that song […]. I was making a beat, and I freestyled on the beats. I was just vibing my feelings straight from the heart. Like most times I don’t always take a pen and write songs. Sometimes I like to just pour it straight from the heart.”
With other popular releases such as Emiliana and Felony, Ckay spoke to his growth as an artist, saying, “As a person I’ve grown in love with each time I make a song. If you listen to the lyrics and what I’m saying, you can tell that I’ve grown in love […]. I’m a lot more mature now and my music has grown with it as well.”
Ckay broke out by going viral on TikTok and reflects on the phenomenon of social media trends and he said, “There was a time when in the early stages of this people would laugh that I was making TikToks for songs. People didn’t think it was cool to make TikToks. Fast forward now because people have seen the impact, everybody is making TikToks.”
He is carving his own path in the world of Afrobeats. His music comes under the subgenre of Emo Afrobeats. He tells Madowo how this sound came about, “Being a cancer, cancers are known to be emotional people. We’re known to be very like in touch with our feelings. As a creative, my essence, which is my feelings, just naturally comes through my music even without me really trying. Afrobeats being my cultural heritage, I just felt like for me to come into this space, it was very important that I brought a different perspective to the sound.”
Despite using the term ‘Afrobeats’, Ckay addresses the overgeneralisation of the style of music, saying, “Africa has over 50 countries, more than 50 cultures. Nigeria alone has over 36 ethnic groups with different languages, food, music, rhythm. With the music they also have their own instruments also not all of them play guitar and piano, there’s African instruments too. Coming to a whole continent and just calling everything Afrobeats, it’s not the most apt, but it’s a start, right? I think for the Western world, it’s a start to help them understand African music.”
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