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.
By Modupe Gbadeyanka
The application deadline for the 2026 intake of the MultiChoice Talent Factory (MTF) has been extended to Monday, April 27.
The deadline for the pan-African film and television training institution was earlier fixed for February 27, but it has now been extended by two months, giving aspiring African filmmakers, directors, producers, scriptwriters and storytellers across the continent additional time to apply for its fully funded, industry-accredited training programme.
The programme is open to young creatives aged 18 to 35 with a passion for the screen industry. Applicants may hold qualifications in film, television, media, drama, or related creative disciplines or possess one to two years of industry experience. A formal film degree is not required.
Participants will be exposed to a structured 12-month programme across key areas, including scriptwriting, production management, directing, cinematography, editing, sound, and various post-production specialities, gaining experience in bringing stories to life. The programme is fully funded, covering tuition, production costs, and monthly stipends, allowing participants to focus entirely on developing their craft.
MTF operates academies across four African cities: Johannesburg (South Africa), Nairobi (Kenya), Lagos (Nigeria), and Lusaka (Zambia), ensuring a diverse pool of talent is trained to contribute to the growth of Africa’s film and television industry.
The initiative was established in 2018 by MultiChoice Group, a CANAL+ company, to discover and nurture the next generation of storytellers by providing access to mentorship, technical training, and real-world production experience in film and television.
Almost 300 filmmakers have been trained by MTF, with participants producing over 42 movies during the programme. These projects are broadcast on DStv and GOtv channels, including Maisha Magic, Zambezi Magic, and Africa Magic. MTF graduates have earned nominations and awards at major platforms such as the Africa Magic Viewers’ Choice Awards (AMVCA), Uganda Film Festival, and Women in Film Awards. Alumni also collaborate in global creative spaces, including the European Film Market and Durban FilmMart.
By Aduragbemi Omiyale
Nigeria and the United Kingdom have forged new pathways aimed at tapping into the growing global creative economy.
The UK, through the British Council, will help Nigeria build stronger systems, infrastructure and professional capability to unlock opportunities in the sector.
The collaboration will support the development of creative systems and partnerships by focusing on artistic collaboration, creative infrastructure, institutional capacity, skills development and exchange.
This is an offshoot of the two-day state visit to the UK by President Bola Tinubu on Wednesday and Thursday. The President returned to Nigeria on Friday.
The deal with the UK concerning the creative industry aims to deliver practical, long-term value through stronger partnerships and technical cooperation.
The sector is recognised as a key engine for job creation and foreign exchange earnings, with explicit targets to increase the value of creative industries and strengthen infrastructure, digital integration, and international market access.
In the UK, the creative industries are recognised as one of the country’s highest-growth sectors, supported through government funding, investment incentives, and industrial strategy to boost innovation, skills development, export growth, and international partnerships.
Already, the Nigerian government has articulated a comprehensive vision to grow its creative economy through initiatives such as the Nigeria Destination 2030 creative economy framework, skills development priorities, strategic policy reforms, and fostering public–private partnerships aimed at scaling creative business outputs and increasing global competitiveness.
Through one of the partnerships between both nations, the UK/Nigeria Bilateral Season, there would be a focus on strengthening creative systems and production infrastructure, including the adoption of emerging technology; supporting skills development and leadership across arts, culture and education sectors; improving access to UK and international markets through structured mobility pathways and industry engagement, and enabling UK and Nigerian creative institutions to form lasting partnerships that continue beyond the Season.
Activities will take place across both countries in 2028, following two years of partner engagement involving visiting delegations and programme incubation, unlocking resources in both countries to catalyse greater cultural collaboration.
The other arm of the collaboration is the launch of the British Council SCALE UK-NG Creatives Entrepreneurs Award Programme (2027/28)
The British Council and the Department for Business and Trade will partner on the new SCALE (Supporting Creative Acceleration, Leadership & Exports) Programme.
SCALE will enhance international connections and export readiness, supporting both the Nigerian and UK creative economy growth and trade.
The Award and associated fast-track training programme will draw on a decade of learning gained from the delivery of the British Council Young Creative Entrepreneurs Programme and from DBT’s sector expertise and network of investors.
“Culture has an amazing power to bring people together. When we work together, we open our eyes to new creative possibilities and build opportunities to grow our creative sectors.
“With the UK being home to the largest Nigerian diaspora in Europe, we’re perfectly placed to make the most of these opportunities.
“So many of our brightest stars have shared heritage across Nigeria and Britain, and I look forward to these cultural bonds only growing stronger through the joint Season of Culture in 2028, the UK’s Arts Minister, Ian Murray, said.
Also commenting, the Country Director for British Council Nigeria, Donna McGowan, said, “The UK/ NG Season will involve a range of innovative initiatives to be designed by diverse UK and Nigeria creative organisations, with activity taking place in both countries.
“SCALE is a transformative initiative that aims to empower the next generation of Nigerian creatives.
“By fostering innovation and providing vital resources, we are not only investing in individual talents but also strengthening the cultural and economic ties between the UK and Nigeria.”
By Adedapo Adesanya
Showmax has announced that it would shut down its streaming services on April 30, 2026, bringing an end to its current operations.
The company disclosed this in an email sent to its subscribers, outlining key dates and what users should expect in the coming weeks.
According to the notice, the streamer set March 31, 2026, as the deadline for users to renew subscriptions or redeem vouchers, adding that from April 1, 2026, new subscriptions and renewals will no longer be available.
Recall that Canal+, which now owns MultiChoice, a pay-TV firm, earlier this month announced its decision to discontinue the streaming service due to its unsustainable operations.
MultiChoice launched Showmax across Africa 10 years ago in August 2015 to compete with the advent of streamers like Netflix, Apple TV, Amazon’s Prime Video, Disney+ and others, but it faced some challenges and couldn’t hit its target.
Even after it relaunched in partnership with Comcast’s NBCUniversal in 2024, it kept haemorrhaging cash without a viable return. Canal+ is looking to cut a combined €400 million by 2030, which will affect content.
NBCUniversal has a 30 per cent stake in Showmax as a joint venture. In its last annual results before the Canal+ takeover, MultiChoice revealed that Showmax’s trading losses had worsened by 88 per cent while revenue significantly declined.
With the winding-down plan now in full flow, Showmax informed subscribers that existing users can continue watching content until their subscriptions expire or until the end of April 2026.
“31 March 2026: Last day to renew your Showmax subscription or redeem vouchers,” the email stated.
It further reassured subscribers that there would be no immediate disruption for active users, noting that they can keep streaming content as usual within the transition period.
“No stress, you can keep watching as usual until your subscription ends, or until the end of April 2026, whichever comes first,” the company said.
The platform also hinted at a transition plan, stating that more details would be shared on how users can continue enjoying its content through other channels, particularly via DStv Stream.
“We’ll soon share how you can keep enjoying Showmax Originals and more on DStv Stream… So, ‘be on the lookout,” the email added.
MultiChoice has already started rebranding Showmax Originals as Africa Magic, M-Net, kykNET and Mzansi Magic Originals, with original series that will transition to these various DStv linear TV channels on the MultiChoice pay-TV platform.
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