ICYMI: From Passion to Profit -The Realities of African Fashion Today
The Science of Trade Conference 2025, held at the Landmark Event Centre in Lagos, brought together some of the brightest minds and boldest brands in Africa’s fashion and business landscape. At the heart of this event was the collaboration between FashionEVO, Olorisupergal, and Made in Africa, a partnership that sought not only to elevate conversations around African fashion but to interrogate the real mechanisms behind growth, sustainability, and global relevance in the industry.
This collaboration curated a compelling series of conversations and debates, drawing in everyone from seasoned designers to young creatives and curious onlookers eager to learn about the business of fashion in Africa. Unlike the polished Instagram reels that often portray fashion as a world of glitz and gowns, these discussions stripped things down to the bones, offering raw, honest, and sometimes even uncomfortable truths about what it really takes to thrive in this industry.
One of the most poignant moments came during the panel moderated by Oluwatosin Ajibade, better known as Olorisupergal, whose calm but probing presence invited reflection from her panelist. She was joined by the formidable Mrs. Adenike Ogunlesi, the matriarch behind the beloved children’s fashion brand Ruff ‘n’ Tumble. Ogunlesi recounted how a simple need (to make pyjamas for her children) evolved into a household name that now serves customers across Africa. But her story was not simply one of passion, it was a story of discipline, systems, and an unrelenting commitment to growth. She emphasized the importance of succession planning and her current mission to empower younger leaders to take the fashion industry to the next level. Her presence in the room felt like both a history lesson and a roadmap for future success.
Throughout the conversation, she spoke with clarity about the structural challenges fashion entrepreneurs continue to face: limited access to financing, inconsistent government policies, and the difficulties of scaling without infrastructure. Despite the challenges, her optimism was grounded in the belief that African fashion can only industrialize if it begins to think beyond tailoring (as important as that is) and move toward building full-fledged fashion businesses with production pipelines, quality control systems, and export capacity.
Later, during a panel titled Markets and Money, Seyi Amao facilitated a lively and introspective conversation between design stalwarts Lanre Da Silva Ajayi (of Lanre Da Silva Ajayi), Kola Yusuf (of Kola Kuddus), and Mrs. Sola Babatunde (founder and CEO of the One Stop Celebration garment production). Lanre Da Silva Ajayi, who this year celebrates two decades in the fashion industry, offered a masterclass in longevity and vision. She talked about her early days as one of the few Nigerian designers presenting globally and how over time, both the market and her clientele evolved. Her reflections emphasized that while many things have changed, the need for quality has remained a constant. She spoke about how her customers have become more confident and more discerning, asking deeper questions, expecting more, and proudly wearing African pieces in spaces that previously demanded European validation.
Kola Yusuf of Kola Kuddus added a gritty realism to the discussion. His commentary peeled back the layers of aesthetic beauty to reveal the inner workings of fashion as a business. He stressed that designers must see themselves not just as artists, but as entrepreneurs with intellectual property that needs to be protected. He called for legal structures that protect designers’ ideas and criticized the culture of short-term thinking that plagues the industry. His contribution was particularly resonant for younger creatives, many of whom struggle to balance creativity with the demands of running a business.
Mrs. Sola Babatunde, on the other hand, was laser focused on the power of clarity. She challenged the audience to define their customer and stay committed to serving that segment well. “Every fashion business cannot be everything to everyone,” she insisted, urging entrepreneurs to niche down, understand their market deeply, and build with intention rather than imitation.
The conversation around money in fashion continued with another panel exploring the financing ecosystem for fashion brands. It featured Mo Olumide Obidiran, Nnena Jacob-Ogogo, Sanusi Abubakar, and Dr. Ayokunmi Olugbenro, all of whom brought a refreshing sense of possibility to what is often considered a bleak topic. They collectively debunked the myth that funding doesn’t exist, arguing instead that structure, accountability, and a strong grasp of financial language are prerequisites for attracting serious investment. Mo shared insights into the kinds of businesses investors are actually looking for: those with well defined goals, operating procedures, and a deep understanding of their numbers. Ms. Jacob-Ogogo added that passion is great, but the fashion industry needs to become as data driven as it is trend driven.
What was especially interesting about this panel was how they tied macroeconomic policies back to fashion. Dr. Olugbenro highlighted a little known but powerful policy: that military uniforms are now required to be made locally. This, she argued, is a policy victory that could inspire similar mandates across sectors if industry leaders advocate strategically. It was a clear reminder that fashion is deeply entangled with governance and that progress in this sector cannot be isolated from wider policy reform.
The final day closed with an electrifying debate: “Creative Marketing for Fashion — Are Dancing Reels Effective or Just Desperate?” This wasn’t just a lighthearted topic, it brought out divergent views on how fashion should be presented in the digital age. Adaeze led the opposition with sharp commentary on the difference between visibility and credibility. She argued that while dancing reels and trendy videos may attract attention, they don’t always convert into brand loyalty or meaningful engagement. Linda and Abigail, on the other side, passionately defended the tactic. They shared examples of how such content has helped businesses reach wider audiences and create emotional resonance with customers. “Sometimes people don’t just want to buy a product,” Abigail said. “They want to buy into a personality, a vibe.” Oluaseun, speaking from the floor, offered a middle ground while opposing the motion. She questioned whether the theatrics sometimes distract from the actual product, suggesting that a more balanced approach might serve brands better.
In a fun but meaningful twist, the debate wasn’t just for bragging rights. It came with a cash prize of five hundred thousand naira, awarded to the winning team based on judges’ votes. The winners, who argued in favor of dancing reels as a valid and effective marketing strategy, celebrated not just the prize money but the validation of their approach to connecting with customers in a fast paced digital world.
While not every answer was agreed upon, the debate encapsulated what made the FashionEVO x Olorisupergal x Made in Africa showcase so powerful: its willingness to create space for honest, nuanced, and even contradictory views. The aim was never to tie things up in a bow, but to ignite real conversations that could carry beyond the walls of the conference.
Ultimately, this collaboration was more than a series of panels, it was a movement toward greater clarity, ownership, and collective action in African fashion. The sense of purpose in the room was palpable, and though everyone came from different backgrounds and beliefs, they were all united by one thing: a deep, unshakable belief in the future of African creativity.
