The night of February 13th was an electrifying event, with a palpable sense of anticipation filling the air at The Roundhouse for the M3LO Word Tour sold-out show. This was a pivotal stop on the European world tour of the French singer, a moment of high anticipation and excitement for all present.
The show, a celebration of his 2024 album BDLM Vol 1, was a testament to his star quality. It was a vibrant gathering that brought together the French diaspora, united in their shared love for Tiakola's music, and brimming with energy from the first note to the last. It was a true testament to the power of music to unite and energize.
Opening the show with T.I.A the setlist included hits from throughout his career and his latest offering. The music filled The Roundhouse from top to bottom, never stopping for a moment apart from moments when he spoke with the crowd. Joined on stage by his band and a DJ who got the crowd warmed up before he took the stage, the hour-and-a-half-long show was a strong display of his artistry and his ever-popular each that has developed outside of his home country of France.
Various moments of the show stood out, including when he played 'Aprés Minuit, the track he is featured on the latest Wizkid album. He also played PASCOMMECA, PING PONG, MAMI WATA, and MANON B before closing the show with psychologique. Dave, who would've made it for quite a moment, was missing from the show when SPECIAL and MERIDIAN dropped.
Overall, the show was a vibrant display of the talent Tiakola possesses and how he has continuously been able to rise as one of the biggest and most diversely popular French artists. His music, which infuses everything from hip-hop to Afrobeats to elements of R&B and other musical notes, was a testament to his diverse influences and rich artistry.
There’s something about Col3trane that slips through the cracks of easy definition—like mercury in motion, always shifting, never still. The London-born artist Cole Basta carries a sound that bends genres at will, folding R&B’s smoky allure into hip-hop’s cadence, laced with the kind of alternative edge that keeps you guessing. From his early SoundCloud days to international stages, he’s never played by the rules, and that’s exactly what makes him magnetic.
As we sit down to talk, there’s an ease to his presence—disarming, unhurried, but undeniably sharp. He speaks like he makes music: fluid, intentional, laced with a quiet confidence. And beneath it all, there’s a deep understanding of his craft, a reverence for those who paved the way, and an urgency to carve out something entirely his own. This is Col3trane—not just an artist but an architect of feeling, a curator of soundscapes that linger long after the music stops.
Q: First, let’s start with the meaning of Hamartia. What does it mean to you personally, and how does it relate to this EP and chapter in your life?
A: The most straightforward way to describe it is that Hamartia comes from Greek tragedy—a character's fatal flaw. In Romeo and Juliet, their hamartia is their love for each other because it ultimately leads to their downfall. In modern terms, it’s your red flags—the characteristics that might lead to your detriment.
I’m still figuring it out, but memory is one thing I touch on in the EP. I have a really bad or very selective memory. I often don’t remember things people tell me I’ve done or said, which can really mess with my perception of reality.
Q: So you feel like a victim of your own memory?
A: Definitely. I tell people I have a bad memory, but then I’ll remember the most niche, irrelevant details. It’s like my memory is working against me sometimes.
Q: Collaboration is a central part of your artistic process. How do you choose who to work with, and what do you look for in a creative partner?
A: First and foremost, I have to be a fan. I have to love what you do. But beyond that, collaboration is a close, intimate process, and I don’t like it to feel transactional. I’m grateful that everyone I’ve worked with is someone I can call and have an honest conversation with.
For example, Eric the Architect—I probably spent more time with him last year than with my grandparents. That’s real. Same with Chase—I’m a fan first, and then we linked up, and his whole team is cool. It just felt natural. I have to be able to break bread with someone.
Q: Speaking of collaboration, Crocodile Tears is a gorgeous song. Walk me through how it came together.
A: I actually wrote that song before Chase was on it. I had the first verse and chorus, and I made it with my boys Alex and Rayo one especially cold night in London. I was fed up with life at that moment, and I channelled that feeling into the song.
Then, I met Chase a couple of months later. We were in the studio, played each other some music, and when I played him Crocodile Tears, he jumped on it immediately. The version you hear now is basically what happened that night. Chase is so talented—he works in a different way from me, and that’s inspiring.
Q: Let’s talk about Trane of Thought. It’s a great name. Did you spend a long time thinking about it?
A: Honestly, I don’t even remember how that name came about. My memory is proving to be my hamartia here.
Q: Your EP’s narratives feel very cinematic. Do you visualize scenes when you write? What’s your creative process?
A: I love dramatic things—movies, art, music. My process changes all the time because if it stayed the same, it would get boring. I write a lot—memories, cool phrases, voice notes, and anything meaningful. Then I go into the studio, and sometimes it works, sometimes it doesn’t.
Q: Would you say that’s how Memory Game came about as well?
A: Yeah, that one was crazy. I went into the studio, heard the sample, and the first verse and chorus just flowed out in about 10 minutes. I didn’t even write it down.
I didn’t know what the song was about at the time, but when I listened to it later, it was obvious—it was about my memory and how it affects my life. That realisation shook me because I had no idea when I wrote it.
Q: Your music blends personal stories with broader cultural themes. As an Egyptian artist, what messages do you hope listeners take from your work?
A: I love that music can be interpreted in so many ways. People will come up to me and say, “This song was the soundtrack to my relationship,” and in my head, I’m like, That’s a somber song. But it doesn’t matter what I intended—what matters is that they took something from it.
Q: What are your favourite songs from your own catalogue?
A: That’s tough. But hearing you say Malibu Sleep and Someone to Watch Over Me means a lot—those are deep cuts. Malibu Sleep is really sad, though. If you really listen to the lyrics, I was not in a good place.
Q: How do you balance staying authentic while expanding to a global audience?
A: I think because my background is so mixed—Egyptian and American, but growing up in London—it doesn’t feel like I have to try to balance it. London is such a melting pot of cultures, and I’ve always pulled from different influences.
That said, LA is an easy place to get lost in. You just need good people around you. I’m lucky to have family that will keep me grounded.
Q: What’s the last dream you remember?
A: Oh, wow. Hold on, let me check my messages—I sent this one to my friend.
Okay, so I dreamed that my friend George was throwing a party with loads of water balloons… That’s about all that made sense.
Q: That’s wild. Dreams never actually make sense, though.
A: Right? It’s always something inexplicable happening, and you’re just stuck in it.
Q: Lastly, what’s next for you?
A: Right now, it’s just me, but I want to expand Train of Thought into something bigger—maybe sign artists I believe in and help them navigate the industry. That’s one of my goals this year.
CREDITS
Photographer - Peter O’Sullivan
@peterosullivan_
Art direction and fashion - kwamena @kwamxna
Producer - Seneo Mwamba @seneomwamba
Co Director - Co-Director: Zekaria Al-Bostani - @zek.snaps
Fashion Assistant: loly and co - @lolyndco
Makeup Artist- Maryam Sofia
@maryamsofia_
Creative Assistant - Whitney sanni @its.whit_
Writer - Thandie Sibanda @thanddd
Studio - Blankboxstudio @Blankboxstudio
*Styling Credits*
look 1: jacket - daily paper (@dailypaper), top - guess originals (@guessoriginals), bottoms - hadisa ahmad (@fa_hadisa_), footwear - clarks (@clarksoriginals)
look 2: jacket and bottoms - daily paper (@dailypaper), top - true religion (@truereligion), footwear - clarks (@clarksoriginals)
look 3: jacket - napapijri (@napapijri), top - meyba (@meybaofficial), bottoms - guess (@guess), footwear - dr martens (@drmartensofficial)
pr companies: future brand thinking (@futurebrandthinking), agency eleven (@agencyeleven), exposure (@exposurelondon), rich london (@richlondon___)
In the vast world of contemporary art, few artists bring the raw, emotive power of storytelling to life as vividly as Sinatra Ahmed-Zantout. A multi-disciplinary artist with a unique approach to identity and representation, Sinatra has pioneered a style she calls “Masqueradism” a practice rooted in the use of African masks to explore the layered realities of women of color.
Her latest body of work, “No Eye Can See Me”, is a deeply personal and political statement on the invisibility of hardworking women, particularly those in lower-income societies. The collection challenges the way these women are perceived: present but unnoticed, seen but not truly acknowledged.
For Sinatra, masks are more than just artistic motifs—they are a visual language that speaks to the duality of identity. They symbolize the ways women navigate between tradition and modernity, strength and vulnerability, visibility and erasure. Through bold compositions and intricate details, she captures the silent resilience of these women, making their stories impossible to ignore.
The series is also a reflection of the artist’s own frustration with societal norms that fail to uplift women who keep entire communities afloat. With every brushstroke and sculpted form, Sinatra’s work demands recognition for these women’s labor, sacrifices, and existence.
Beyond No Eye Can See Me, her broader artistic practice continues to challenge perceptions, redefine representation, and create space for women’s voices in the art world. Sinatra Ahmed-Zantout is not just making art—she’s making history.
Hailing from the storied streets of Watts, right next door to Compton, emerging rap artist Vonni Mack infuses raw energy and authentic flair into everything he does—be it music, fashion, or even combative-style fighting. Grounded by the rich history of his neighborhood, he channels the spirit of his city into a distinctive voice, cadence, and style.
Deeds Magazine: Growing up in Watts, how did the environment shape your music and artistry?
Von: Growing up in Watts, everything around you and everything that comes your way, shapes you. The spirit in the city alone provides a raw, authenticity to self. So when people ask me where I’m from, I tell them Watts – which is right next door to Compton. The dynamics of the community has influence on my message, slang, style of cadence, and wear. Watts has a rich history, and what you see ain’t always what you get, sometimes it’s more.
Deeds Magazine: As a versatile rap artist, what specific genres or styles do you explore in your music and how do they reflect your diverse background?
Von: Hip hop and rap is what I grew up on, those are the styles I explore and gravitate to the most, it’s a part of my DNA. I have a unique style that’s raw and unfiltered; chaotic, charismatic, and smooth. Every now and then, I like to switch it up to give more of a creative and authentic feel.
Deeds Magazine: You dabble with music, fashion, and combative style fighting. How do you plan to merge these three creative outlets to reflect you as an artist?
Von: I think by branding myself with these various creative outlets and making it my lifestyle – through photo shoots, music videos, and it reflecting in my lyrics. I have a brand that I’m currently working on – it’s a streetwear brand that’s inspired by combative style fighting and fashion. This is one avenue that will also be an outlet that reflects me as an artist.
Deeds Magazine: How do you envision your music evolving over time? Are there any new sounds or concepts that you’re excited to explore?
Von: I’m always exploring new sounds, anything to push the limits. I feel so versatile as an artist, that I can mold into any genre, which is what sets me apart from the rest. I’m excited for what’s to come.
Deeds Magazine: Fashion seems to be a growing passion for you. What role does it play in your overall artistic identity, and what can we expect from your fashion ventures?
Von: From the moment I wake up and walk out the door, till the moment I walk back in and go to sleep, it’s fashion. There will always be some different shit to expect from Vonni Mack just to keep the mind wondering, and keep them mf’s on they toes!
Deeds Magazine: Collaboration is key in both music and fashion. Are there any artists or fashion designers you’re particularly interested in working with in the future?
Von: Musically, I would love to work with SZA, Doechii, 03Greedo and Tru Carr! There’s more, but those four specifically. As far as fashion designers, I think David Minor is dope, Grace Wales Bonner, Everard Ev Bravado, Téla D'Amore, Rick Owens, and Helmut Lang – I could see myself partnering with all of them!
Armed with an unfiltered rap style, a flair for streetwear, and a passion for pushing creative boundaries, Vonni Mack stands ready to keep the world guessing—and on its toes. It’s safe to say we can all be excited for what’s to come.
Photography has always been more than a profession for Adaeze Okaro (@adaezeokaro)—it is the medium through which she translates her inner world into visual stories. Her work captures the delicate, often unspoken moments of human existence, revealing raw emotions and layered identities. From her early fascination with images to her professional journey in fashion and documentary photography, Adaeze’s evolution behind the lens is a testament to resilience, curiosity, and an unwavering commitment to storytelling.
A Lifelong Passion for Capturing Moments
Even as a child, Adaeze envisioned herself in many roles—doctor, musician, designer—but photography remained the constant. It was her way of making sense of the world, freezing fleeting emotions into tangible memories. Her father, a dedicated medical doctor, unknowingly influenced her approach to storytelling. His warmth and authenticity taught her that care and intention are essential, not just in life but in art.
Her journey formally began at the age of six, when she first experimented with cameras, borrowing from friends and testing the limits of her phone’s capabilities. What started as a hobby soon turned into an obsession. In school, she took on small projects, capturing moments for classmates, refining her craft through trial and error. The turning point came in 2018, after graduating from university. With her first professional camera in hand, she embarked on her inaugural project—a moment that confirmed her calling. Since then, every frame has been a step in her creative and personal evolution.
A Process Rooted in Emotion and Exploration
Adaeze’s creative process is an intricate balance of intuition, structured exploration, and spontaneity. She begins by immersing herself in the emotions or themes she wishes to capture, drawing inspiration from films, literature, and everyday life. Before each project, she builds mood boards and sketches rough concepts, outlining her vision while leaving room for organic moments to unfold.
For Adaeze, storytelling is about trust. Whether she is working alone or in collaboration with her subjects, she prioritizes connection, allowing her images to feel deeply personal. “The most powerful photographs aren’t just about composition or lighting,” she says. “They are about emotion—about making people feel something.”
Expanding Boundaries: Documentary, Mixed Media, and New Narratives
As her career progresses, Adaeze continues to push the boundaries of her craft. While she has made a name for herself in fashion and portrait photography, she is now returning to the documentary roots that initially ignited her passion. Currently, she is exploring mixed media techniques, blending traditional photography with digital art forms to create immersive visual narratives.
One of her most anticipated projects is a photobook that delves into the unspoken—emotions, vulnerabilities, and identity. This new direction is deeply personal, reflecting not only her growth as an artist but also the experiences that have shaped her perspective.
Her work for Dazed & Confused and collaborations with VSCO, where she helped develop signature blue-hued presets, have been pivotal in refining her aesthetic and expanding her creative reach. These experiences have enriched her visual language, reinforcing her belief that photography is more than documentation—it is a medium for self-exploration and cultural commentary.
Looking Ahead: A Vision for the Future
Adaeze’s upcoming projects are a continuation of her lifelong mission: to tell stories that resonate. As she prepares for new exhibitions and collaborations, she remains committed to capturing life’s complexities with honesty and depth.
Through her lens, she invites us to see beyond the surface—to embrace vulnerability, identity, and the beauty in everyday moments. In a world that often rushes past quiet emotions, Adaeze Okaro reminds us that photography has the power to pause time, offering a glimpse into the soul of both the subject and the artist.
Temilade Openiyi, better known as Tems, is making waves beyond the music industry. The Lagos-born Grammy-winning artist has officially stepped into the world of sports by becoming a part-owner of Major League Soccer’s (MLS) San Diego FC. With this move, she becomes the first African female to hold ownership in an MLS team—a groundbreaking achievement.
Fresh off her Grammy win for Best African Music Performance with “Love Me Jeje,” Tems is taking her influence to new heights. Her company, The Leading Vibe, partnered with Pave Investments, a prominent African private investment firm known for its work with NBA Africa, to facilitate the acquisition.
Expressing her excitement, Tems shared:
"I am thrilled to join San Diego FC’s ownership group and to be part of a club that celebrates creativity, culture, and the power of community. Football has a unique way of bringing people together, and I am excited to help build something special in San Diego, a city that thrives on diversity and innovation."
San Diego FC’s Chairman, Sir Mohamed Mansour, warmly welcomed her to the team, emphasizing her global influence: "Tems is a globally significant artist who will help us reach new audiences and spread the word about our unique project, which has its foundations in sub-Saharan Africa through the Right to Dream organization."
Tems now joins an impressive lineup of partners backing San Diego FC, including actress Issa Rae, former Spanish football star Juan Mata, retired U.S. Navy SEAL Jocko Willink, and MLB All-Star Manny Machado.
This partnership highlights the growing connection between entertainment and sports, as African artists continue to expand their impact on the global stage. With San Diego FC set to make its MLS debut this month against reigning champions LA Galaxy, all eyes will be on the team—and its newest co-owner.
For more details, visit San Diego FC's official website.
Looking to treat the girls in your life? Whether you’re scrolling for something extra special for your GF, or giving a Galentine’s gift to your bestie, these are the styles she’ll love.
Top up her cosy ‘fits with snug fleece hoodies, and make sure her trainer collection is 10/10 with the latest kicks from adidas Originals, New Balance and more.
Whether you’re picking up premium heat from brands like BOSS and EA7 Emporio Armani, or keeping it classic with Nike and adidas Originals, we know you’ll find the perfect Valentine’s Day gift for him here.
From everyday basics ft. his favourite logos, to box-fresh trainers, gym gear and accessories, our men’s Valentine’s Day gift edit has you covered this time.
Wrap up the perfect pick for your sole-mate and shop our complete collection of men’s Valentine’s gifts right now.
Wear your heart on your sleeve and shop our favourite picks that are made to match. From top-trending trainers to street-ready track tops, hoodies, and tees, you and your Valentine will be showing the love in style.
In the heart of Lagos, where the city hums with the chaos of survival and dreams, young couples navigate love in public and then at home, often in small apartments—spaces that force intimacy and also magnify every flaw. These apartments, frequently called "Face Me, I Face You" or "Mini Flats," are more than just physical structures; they are stages where the drama of modern Nigerian romance unfolds.
Victony and Saint Jhn’s “Tiny Apartment” captures this duality, vividly depicting modern love in Nigeria, where passion and frustration coexist in a delicate dance. The song becomes a metaphor for the emotional turbulence of two people striving to hold onto something beautiful, even as the walls of their shared space seem to close in. There’s no hiding, no room for secrets or grand illusions. Love here is stripped bare, raw, and real.
A tiny apartment is not just a physical space but a psychological and emotional arena. It is where love is nurtured and tested, and every corner tells a story. The bed, pushed against the wall to maximize space, becomes a sanctuary for whispered dreams and aches. It is where the mundane—ordering food and showing each other funny tweets—can quickly spiral into heated arguments.
The lyrics, “I was in my tiny apartment. It was a normal Saturday night… But then, we started fighting,” echo the reality of many young Nigerian couples. The apartment becomes a microcosm of their struggles. The fight isn’t just about the moment—it’s about unmet expectations, the fear of failure, and the longing for a love as boundless as the dreams they once shared. Love, in these moments, becomes a tightrope walk, balancing passion with frustration, intimacy with claustrophobia.
Yet, even in the chaos, there is beauty. The tiny apartment is also a fortress, a sanctuary where two people find solace in each other’s arms. “In my tiny apartment, I loved your body often,” Saint JHN and Victony sing. In a country where the cost of living often outpaces dreams, young couples learn to be innovative with romance.
According to Reuters, “Nigeria's inflation rate rose for the fourth straight month in December, advancing to 34.80% in annual terms (NGCPIY=ECI), opens new tab from 34.60% in November.”
Chart showing Nigeria's economic inflation over the past 6 months.
A power outage, lit by the glow of a rechargeable lamp, paired with sticks of Suya can turn into an impromptu date night. Love here is not about grand gestures but about the quiet, everyday acts of holding on—choosing each other, again and again, even when the world outside feels too heavy.
Yet, love in a tiny apartment is not without its challenges. The lack of privacy can strain even the strongest bonds. Arguments over whose turn it is to buy fuel for the generator, a sink full of dishes that becomes a metaphor for neglect, or an unmade bed symbolizing disarray—all test the resilience of a relationship. Fights over trivial things—whose turn it is to take out the trash, why he never replaces the toilet paper roll, or why she left her shoes in the middle of the hallway—reveal deeper tensions.
Robert Sommer, a pioneer in environmental psychology, conducted extensive research on personal space in a digital age. His work shows that when individuals feel crowded, they experience heightened physiological stress responses (e.g., increased cortisol levels) and are more likely to engage in aggressive or defensive behaviours.
In these moments, couples learn the true meaning of love—not as a fairy tale but as a choice—a choice to forgive, understand, and stay.
Love in a tiny apartment is the warmth of her body against his on a cold night, but also the sharp edge of her voice when exhaustion takes over. It’s the way he makes her laugh until her sides ache, but also the way he retreats into silence when the world becomes too overwhelming. The song’s refrain, “I don’t need all the card games, I don’t want all the heartache,” captures the weariness of modern love—a love that demands resilience in the face of constant pressure.
Social media amplifies insecurities and comparisons; relationships are often reduced to percentages and performances. The Instagram posts, the bikini photos, the constant need to prove one’s worth—these are the card games that drain the soul. In Nigeria, societal expectations often clash with personal desires; the tiny apartment becomes a battleground for identity and autonomy. The line, “Abeg, make you no give me excess trouble, sake of I no geti excess bundle,” reflects the tension between individuality and compromise. Love in a tiny apartment is not just about two people; it’s about navigating the pressures of family, culture, and ambition. It’s about finding a way to breathe, to hold onto each other without losing oneself.
But perhaps this is the essence of modern love—finding beauty in the chaos, holding on even when it hurts. Learning to read each other’s silences, to recognize the difference between a sigh of exhaustion and a sigh of resentment. Learning to say “I’m sorry” even when you don’t fully understand why you are fighting. Learning that love isn’t about perfection; it is about showing up, day after day, in a space that is too small for secrets but just big enough for two hearts to beat in sync.
“Tiny Apartment” captures the essence of modern love in Nigeria and other countries—a love that thrives not despite its imperfections but because of them. As the city buzzes outside their window and the walls of their tiny apartment seem to shrink with every passing day, they hold on. because home is not just where the heart is; it’s where the heart strives.
Listen to Tiny Apartment
Following a tide of anticipation that had curdled and compounded for weeks, at the last minute, LaQuan Smith elected to cancel his fall-winter 2025 show, instead inviting clients and buyers for a close viewing of his latest offering at his Long Island studio. “It's really an important time to focus on my business, focus on the collection, focus on my market,” he said to Vogue.
Consistent with his signature aesthetic, his latest collection leans into a sumptuous blend of sexy and provocative; a range of looks that recall the distinctive sense of grandeur and fearlessness that defined American fashion in the 80s. “The FW'25 collection is a striking homage to the audacious allure of American gangster films, reimagined through the world of LaQuan Smith,” reads the official press release.
Railing against the minimalist sensibility that seems to have enveloped the greater part of today’s fashion landscape, the looks in this collection aim to take up space and do so in style. All which is to say, if you’re looking to fly under the radar at an event, or at least blend in with the crowd, you’d be better off with something else.
The collection seems to lean into a diverse yet cohesive constellation of aesthetics. Yet, certain motifs decidedly stand out. Smith generously taps sheer looks—a favorite aesthetic of his over the years—in multiple iterations. Sheer dresses appear in the collection but so do elegant sheer rompers and bodycon jumpsuits. Geometric patterned silhouettes, gorgeous bold colors, and graceful fur coats also make repeated appearances.
LaQuan Smith’s fall-winter collection is carefully constructed around the serrated and ominously exciting atmosphere of 80s gangster films. In an age where mining nostalgia has become the primary propulsive force for creativity—Y2K being the most plumbed era—it is easy for such reimaginations to fall flat, or fail to inspire excitement. But this collection, thankfully, offers a surfeit of exciting moments and a general sense of nostalgic release. Poring over the collection—photos of which are available on their Instagram—one is transported to the dreamscape of the 80s where danger, sex, and beauty exist in a stunning equilibrium.
Tia Adeola’s 10th anniversary show was nothing short of a traditional celebration, complete with a money spray symbolizing prosperity and community. Returning to the NYFW calendar for the first time since February 2023, Adeola stunned on Sunday evening with a refreshed perspective of her unapologetically feminine tributes to her roots.
Tucked in a cozy corner of Brooklyn, an angelic opening cascade of feathers and furs graced the label’s return. The audience softy hummed along to Hezikiah Walker’s, “Grateful” as the familiar ancestral hymn filled the air. An appreciative homage to past collections, chic reimagined versions of the brand’s distinctive ruffle sets and airy teal chiffon dresses exuded a dreamy nostalgia.
After reflecting on the past decade of her eponymous brand, the gates opened to a new era of Tia Adeola. Leaving the soft and sexily subdued details behind, bright carnival hues emerged down the runway head-turning glittering bodycon dresses and intricate coral beaded sets. A sunny yellow and rainbow ruffles transported the crowd straight to Lagos in the heat of the summer.
Flirty flamenco embellishments breathed life into men’s silk sets and loose slack silhouettes, nodding to Adeola’s long-standing admiration for Spanish design. The party was non-stop from head to toe, from strappy side lacing to sharp proportions accented by bright feathered fans.
A long simple sheath was the backdrop for three bold words “STOP COPYING,” expressing the designer’s unapologetic protest not only for her own influential designs, but for all Black designers who are setting the tone, yet being imitated by fast fashion competitors.
Two identical duo-tone polo sets explored the dichotomy of being Nigeria born and London raised, enmeshing preppy details with rich green and traditional prints. The Nigerian flag was woven throughout the collection, elevating the foundational national pride that inspired the brand ten years ago.
As the roar of the party winded down, the stunning soft clatter of hundreds of cowrie shells embroidered onto a flowing bodice floated down the runway. Through it all back home to the shores of Lagos, where artisans crafted the very first looks of the blooming brand.
“The collection is more than a milestone, it’s a bridge between the past and future. It's a love letter to my roots, a celebration of identity, and a promise of what’s to come,” the designer shared in the show notes.
Glimpses of an edgier future at the brand appeared as a dress woven entirely from braiding hair with a cone bra took center stage and models strutted with braids wrapped around their wrists as key accessories. A slight departure from the dainty feminine aesthetic, silver metal accents and denim were juxtaposed with pearl belts and feather leg warmers.
Iconic viral moments from the past decade were celebrated with a debut of designs boasting the brand logo. Flowing diagonal text evoked the elegance of drapery, bridging the illusion of dimension to a skin-tight form. With this bold return, Tia Adeola is reclaiming her throne —the party is just getting started.
For this week's ART WITH DEEDS segment, we shine a light on Anna Gibson, a Barbadian artist whose work deeply explores the mental and physical relationship between women, their bodies, and societal beauty standards. Through her paintings, Gibson challenges the pressures placed on women to conform to ever-changing ideals of desirability, while also reflecting on self-perception, transformation, and nostalgia.
Gibson’s artistic journey began in childhood as a passionate pastime and later evolved into her chosen career path after studying art throughout secondary school. Her creative process is rooted in personal experiences, self-reflection, and storytelling. She starts by writing out her ideas, drawing inspiration from lived moments and memories, which she then translates into sketches before bringing them to life through painting.
Exploring Beauty, Transformation & Nostalgia
In her recent work, Gibson has shifted from focusing solely on insecurities and self-doubt to questioning the constant cycle of self-re-evaluation that many women experience. She transports her altered female figures into dark, dreamlike gardens inspired by the rebirth story of the Narcissus/daffodil flower, symbolizing introspection and personal transformation. These surreal landscapes serve as spaces of escape, comfort, and reflection, where women can reconnect with themselves free from societal judgment.
Scattered throughout these gardens are objects of nostalgia, a deeply personal element of her work. This inspiration came from a house cleanout, where she rediscovered childhood treasures like old hair accessories and beloved toys. These items evoked memories of a time before external beauty standards dictated self-worth—when choices were made purely for joy, without concern for attractiveness or social expectations. Gibson captures this longing for unfiltered self-expression, reconstructing moments of innocence and confidence within her artistic world.
Art as a Tool for Social Commentary
Beyond personal reflection, Gibson’s work also extends into socially engaged art. She is currently working on a collaborative project with the **UWI Barbados Institute for Gender and Development.
It’s impossible to grasp the full scope and significance of Black History Month without first understanding the historical backdrop that birthed it. The story starts in 1916, with a man called Carter G. Woodson, a historian and writer often credited with being “the father of black history.” Born in 1875, into an America that had just passed the Civil Rights Act but was still a fraught environment for the black man, Woodson grew up with firsthand knowledge of the horrors of slavery and institutionalized discrimination of black people.
Slavery had been abolished ten years before he was born, but its aftermath still lingered through his formative years. The scars of slavery persisted, literally and figuratively. And black people remained institutionally marginalized. Not to talk of the scourge of poverty that blighted black communities. Through all of this, he realized that perhaps the greatest transgression against the black man was America’s deliberate erasure and undermining of their history and contributions to America and the world. This precipitated his founding of The Journal of Negro History, which later gave rise to Black History Month.
It’s against this canvas that we consider the history of Reggae music at the Grammys, one of the most seminal moments for Black music in contemporary history. One thing to consider when contextualizing Reggae music within the breadth of Black history is that Reggae is as much a political and spiritual movement as it is a music genre. Reggae’s journey to recognition at the Grammys stage is a story of unflinching resistance against the tethers of black oppression, a story of healing from the tyranny of black oppression and consolidation of the black diaspora. It’s also an awe-inspiring tale of the slow but inevitable acknowledgment of black traditions.
Reggae’s story starts in the 1960s when artists like Bob Marley and Jimmy Cliff synthesized and distilled its distinctively entrancing rhythms from earlier sounds like Ska and Rocksteady. By the 1970s, helmed primarily by Bob Marley & The Wailers, Reggae would achieve global cultural acclaim. What was most distinctive about Reggae’s feverish proliferation was its singular emphasis on themes of love, peace, global harmony, and resistance in the face of tyranny. Reggae’s dovish disposition resonated globally because it functioned as a salve for the precarious political climate of the time: Martin Luther King had been assassinated just as the Civil Rights Movement was pushing for more Black American civil liberties. The Vietnam War was underway and with it a tide of global anti-American sentiments. Blacks in South Africa were fiercely resisting colonialism and segregation. Against this cacophony, the visions of serenity offered by Reggae felt especially powerful. Even today, when you play Bob Marley’s One Love or Redemption Song or No Woman, No Cry, you can still feel a visceral gust of total tranquility caress your soul.
Despite Reggae’s immense commercial success, as well as its cultural impacts, it would take years of pressure and clamoring, as is usually the case with things concerning Black people, before the Grammys would finally award the genre its category in 1985. By then Bob Marley, who had been the face of the genre, had been dead for four years. He’d however win several awards posthumously. This year’s award went to the soundtrack of an autobiographical musical drama film in his honor entitled Bob Marley: One Love, which features an eclectic ensemble of black artists including Wizkid, Bloody Civilian, Shenseea, Daniel Caesar, Leon Bridges, Mystic Marley and Skip Marley. In recent years, contemporary acts like Koffee and Kabaka Pyramid have won the award. Woodson, the father of black history, intended for Black History Month to be as much a celebration of black legacy, an illumination of the joys of black existence as it is a reflection of our haunting history of slavery and colonialism. And so, anytime we reflect on instances of black excellence, whether in music or sports or the arts, as we have in this retrospective of Reggae’s journey to the Grammys, we’re celebrating the true essence of Black History Month.
Timeless scenes were set as Canadian R&B maestro Dylan Sinclair returned to Islington Academy Hall, London, on February 4th for the second day of his UK/European tour.
Returning to the city which gave him his ‘favourite show’ to date, Sinclairs' eclectic set saw him perform flawless live renditions of tracks from his new album, as well as revisit the classic tracks from his first two offerings, Proverb, and No Longer in The Suburbs. Blending sounds of his various musical influences - mixtures of R&B, rap, and gospel from the 90’s and early 2000’s - with the distinctive sounds from Toronto, his home city, the JUNO award-winning artist owns a distinctive sound that blends vulnerability, soul, and nostalgia.
The air dense with anticipation, Jordon Manswell (manager and producer) set the tone for a night perfect for R&B lovers with his DJ set, fusing old and new R&B anthems from the likes of artists such as Usher, Summer Walker, Drake, and Brandy to make for a vibe that kept everybody standing, awaiting Sinclair and his new album live, for the first time.
The Filipino-Guyanese singer arrived on stage wasting no time, beginning his set with a surge of energy from the city that awaited his presence with ‘LEMON TREES’, the notable Timbaland-inspired central single from his album. Continuing with tracks from across his discography such as ‘Just Anybody’, ‘NARCISSIST?’, ‘Lifetime’, and ‘SWEET LIFE’, Sinclair’s set was full of vibrancy, the changing colours in the atmosphere reflecting his eclectic discography and agile voice that is able to navigate a range of rhythms and sounds with ease.
Though the night was filled with a collective liveliness, Sinclair also stripped things back by performing gospel-tinged track ‘GOLDEN’, playing the piano himself to the thought-provoking ballad which dissects themes of identity and purpose. ‘Pleasure’ also saw him serenade a fan on stage, his voice slowed and rich with feeling. Followed with ‘IMY’ (an acronym for ‘I miss you’), the crowd was able to enjoy Sinclair’s rich vocals fused with intricate runs, adlibs, and melodies decorating the harmonious piano chords he so effortlessly played.
Saying goodbye after performing ‘FOREVER’, fans stood in their place, demanding ‘one more song’, and one more opportunity to share another moment with the artist, and Sinclair returned to the stage to perform ‘Home’, his hit track from 2020’s Proverb, a long-distance anthem about trust and loyalty. The standout moment saw the singer perform the track with cadence and agility, leaving the London crowd satisfied with his intimate and soul-filled performance. Accompanied by colour-changing lights, Sinclair took hold of the stage and made the night his own, reminding us once more, that R&B is in good hands indeed.
The title speaks for itself, but what does this really mean, and how does it resonate with Central Cee’s evolution as a rapper?
On Friday, the 24th of January, Central Cee debuted his awaited album, “Can’t Rush Greatness”. An impressive collection of 17 tracks including features from the likes of 21 Savage, Lil Baby, Skepta, Dave, Lil Durk, and Young Miko. This isn't just a compilation of songs but deep and meaningful themes surrounding topics about street life, persistence, hope, love, self-dependence, and success.
So, what does the title signify? It's more than just a catchy phrase. First and foremost, to be prosperous in life, you need to trust the process and not rush the progress which resonates entirely with Central Cee's evolution as an artist. Back in 2020, for his freestyle with Kenny Allstar, he pretty much references this, rapping, “This took ages; you should have known you can't rush greatness, you're too impatient, one million views ain't famous”. This heavily relates to Central Cee’s patience, resilience, commitment to his career, and journey as a rapper. Let's admit, he most definitely raps what he preaches, a genuine connection between his experiences and artistic approach.
Central Cee’s admiration and self-discovery for music started at the age of 8 when his father introduced him to various styles of music.
Being exposed to music at such a young age indirectly foreshadowed his quest for the love of music and becoming an artist and rapper. In a revealing interview with Crack magazine in 2021, he states and revisits the memories where he explains attending studio sessions with friends dating back to 2013 which startled his passion for writing raps and creating music. In 2014, a young Central Cee in the making featured freestyling on “Fire In The Streets” for Charlie Sloth’s YouTube platform in February of that year. In 2015, on the 19th of January, he featured on the remix track “Ain’t on Nothin” with J Hus, Bonkaz, Reeko, Wholagun, Yung Reeks, Bully & Shower Malik, and Link Up TV’s #StreetHeat freestyle also in 2015. As well as featuring on a collaborative song, he delved into melodic rap in 2017 on a single named “Over You”. He hasn’t just appeared on the scene out of nowhere; Cee has an extension of records from over the last ten years, so it’s only right to name his 2025 album “Can’t Rush Greatness”.
Fast forwarding to 2020, Central Cee began to dominate the music rap scene when his two hits went viral, “Loading” and “Day in the Life”. He also showcased his Mixtape Madness: “Next Up?” performance in 2019. You can admit he has a talent for delivering and achieving various rap styles, but he undeniably isn't a newcomer as he has mentioned himself which is agreeable. Not forgetting his appearance with Kenny Allstar for Mad About Bars (2020), in 2021 and 2023, Central Cee released his first two mixtapes, “Wild West” and “23”. You probably contemplate why he didn't strike the chance to release an album since he received a remarkable reception from his last two mixtapes. But assumably, I would only imagine he wanted to connect with his fans, perfect his skill set to the best it could be for his first album, and not rush to release music. Central Cee wanted to be thoughtful instead wanting an instant gratification with releasing an album early in his career, and when he felt it was correct to do so instead of just releasing an album for the sake of it.
This album is not just about releasing music; there is a story to hear and an understanding between the listener and the artist. Unfortunately, some artists make the mistake of rushing their progress, wanting engagement, and even potentially hindering their career by not understanding the industry, which they fail to fathom. But Central Cee has understood how this all works and that his excellence can't be rushed, which takes time and it's not all about making money since his focus was always about perserverance and consistency.
The suspense evolving "Can't Rush Greatness" has built up to what could be the most next-level album rollouts we have been waiting to see for a while, which has captured everyone's attention and this is that album.
New York Fashion Week is officially underway! And with it, the characteristic beauty, glamour, and effervescent anticipation that usually defines this period. Having landed a headliner spot on day one of the fashion week schedule, Christopher John Rogers makes an ecstatic return, after an intermission that lasted nearly two years.
Christopher John Rogers’ Fall/Winter collection, keeps with the label’s trademark flamboyant style. The collection leans into an eclectic mix of bright hues, bold silhouettes, and ornate tapestry. And yet the priority this time seems to be an understated type of elegance. Think the best parts of minimalism and maximalism, somehow collapsed into a singular brilliant whole.
Composed of elegant frilly dresses, ball gowns with intricate tailoring, and bold fur coats with interesting silhouettes, the looks in this collection aren’t ones you’d don to work or a casual night at the club. Instead, they look tailored for a stately occasion—an awards ceremony or a romantic dinner.
Across the sprawl of the collection, several themes recur—geometric elements and Rococo-esque patterns that bring to mind 17th-century England. But no motif features as frequently or as forcefully as the colorful stripes that hold the collection together, almost like how Pharell has made a signature of the checkered pattern in his time at the helm of Louis Vuitton.
These colorful stripes feature in almost every aspect of the collection: on the hems of dresses, on bags, on blouses, even on scarves and cardigans. The stripes seem to be inspired by the work of Rothko, a renowned 20th-century abstract artist who made a career of painting colorful striped patterns.
Christopher John Rogers’ Fall/Winter collection felt like a journey back in time to 17th-century England. Despite the collection's seamless cohesion, there was still a lot to provide excitement. With each passing minute, the show supplied moments to keep the viewer engaged and guessing. It’s also a collection laden with layers of meaning, and it’ll make even more impact as the days go by.
Following an exciting 2024 with the release of his stellar two-packproject Adenuga x Concerning and an assist on “Dia Dia” by Chinese hip hop star Vinida Weng,Nigerian hitmaker, Joeboy is gearing up to shake up 2025 as well starting with his single,“SMH” set for release on February 7th, 2025. The release coincides with the first anniversary ofthe artist’s record label, Young Legend.
“SMH” sits as one of Joeboy’s most ambitious attempts yet. It samples “Neela Nilave” (a Tamilsong from the album “Mandhera Vasal”) backed by an intricate bounce and wispy production bylongtime collaborator, Tempoe (“Sip (Alcohol)”, “Don’t Call Me Back”, “Better”).
On the mid-tempo number, Joeboy enters a contemplative head space as he delivers soulfulvocals while directly addressing his love interest on the pitfalls of their relationship. Speaking onthe track, he said, “There’s a certain clarity of mind that hits you when you finally understandthat not all relationships are supposed to last forever. Some are better as phases with lessons tolearn. Simple as. Whatever seems to be missing no matter how hard you try is missing for areason.”
With “SMH”, Joeboy continues to showcase his abilities as an artist and businessman ofinternational repute with limitless drive and inspiration.
ABOUT JOEBOY
Joseph Akinwale Akinfenwa-Donus (born May 21, 1997), better known as Joeboy, is an Afropopsinger from Ogun State, Nigeria. The youngest of four children, Joeboy grew up in a religioushousehold, often quiet and reserved. Surrounded by musically inclined parents and an olderbrother, as well as the vibrant sounds of the Nigerian church, Joeboy was immersed in a richblend of musical influences from an early age.
At 18, Joeboy began creating music privately before finally gaining the confidence to share histalent with the world. His cover of Ed Sheeran’s “Shape of You” caught the attention ofAfrobeats superstar Mr. Eazi, which set the stage for his breakthrough. Joeboy quickly gainedrecognition with his hit single “Baby,” followed by a string of successful tracks, including“Beginning” and “Don’t Call Me Back” featuring Mayorkun. Since then, Joeboy has emerged asone of Africa’s top talents, making waves globally. Often called “Young Legend,” Joeboy hasamassed over 2 billion streams across major digital platforms, with his songs topping charts inover 20 countries. His discography includes over 60 songs (including collaborations), twoalbums—Somewhere Between Beauty & Magic and Body & Soul—and two EPs, Love & Lightand Body, Soul & Spirit. Some of his standout hits include “Alcohol,” “Nobody,” the remix of“Love Nwantiti” (with CKay and Kuami Eugene), “Baby,” “Beginning,” and “Celebration.”
Joeboy’s breakout hit “Alcohol” has surpassed 100 million streams on Spotify, making him the17th Afrobeats artist to reach this milestone. At 27, Joeboy has spent six years at the forefrontof the African music scene and is poised to take his career to even greater heights.
Jane Wade’s F/W 2025 collection, entitled “The Merger” for NYFW, is all about business wear and minimalism but with a sexy-chic, ultra-modern twist.
Looks consisted of open zipped, knitted dress ponchos in azul-blue, accentuating fitted corset denim jackets teamed with kinky onyx-black leather gloves and fitted dresses showing a cheeky glimpse of under boob. You wouldn't dare to dress like this for an office job or could you, I mean why not, who's going to stop you.
An iconic moment at the Jane Wade collection was witnessing Lisa Rinna sporting a 90s-style headset with a microphone and interacting with I could only assume an intern looking frighteningly nervous. She then exits her interaction with walking off beginning her catwalk for the runway which eerily reminds you of that scene from American Psycho where protagonist, Patrick Bateman is seen aggressively entering the hallways listening to Walking on Sunshine, rhythmically walking in sync to the beat of the music.
This collection is futuristic; even down to the choice of eyewear and slick back hairdos which was intentional and oozes reminiscent of The Matrix but in a tasteful, vibrant, and revolutionary way. The colour tones for this collection were muted, including hues of ashy grey, olive green, cinnamon brown and polar white—a refreshing choice of colours for Winter that is teamed well instead of a predictable colour palette.
Wade's explorative approach challenges the conversations of surveillance and the hierarchy within the corporate world but in way that is poking fun at the same time.
Jane Wade used her growth as her vision for the collection and stating "I feel like the collection is a reflection of me growing as a corporate person and a business professional,".
The Merger collection was an engaging show which kept you on your toes and after each look that was displayed, it kept on getting greater and delivered exceptionally each time.
Nigerian Afrobeats-R&B singer Tems won and secured the Best African Music Performance award with her single “Love Me JeJe.”
After obtaining her second victory in 2023 and being the first Nigerian to have two Grammys, this was a vital and monumental moment for the music genre, Afrobeats and as a solo artist.
As she approaches the stage to accept and begin her speech, she humorously starts by saying, “I do work out, but it’s not showing up right now,”.
Throughout her acceptance speech, she begins by praising God and expressing her gratitude for her team: “…Dear God, thank you so much for putting me on this stage and bringing this team…”
She does not forget to mention her Mother, whom she appreciates and acknowledges by saying, “I just want to thank you, mum. Because she has done a lot for me and my brother.” She states that this is her mother’s first time attending the Grammy Awards and would be her Mother’s birthday the following day.
Tems’ work ethic and talent has been exceptional and consistent throughout her career over the last few years. Winning the Grammy for 2025 was well deserved and earned.
In 2019, Tems first gained global success and attention with her song “Try Me,” which now has 20 million views on YouTube and later became a feature for Wizkid's song “Essence” in 2020.
After more than a century in the game, Converse’s Chuck Taylor has held its position as one of the world’s most worn and most iconic sneakers. Since its first release in 1917, the shoe has found fans in every corner of culture from basketball players to punk rockers world famous professional athletes, Seattle Grunge-kids, skaters and fashion’s most discerning critics.
Despite the shoe’s origins in basketball – a sport of which Chuck Taylor himself was an avid fan and player - its popularity extended beyond polished hardwood courts being adopted by youth tribes and various counterculture groups who reject mainstream ideals and embrace individual expression.
Like so many iconic designs that have gone on to capture the zeitgeist, the Chuck Taylor’s enduring appeal lies in its simplicity and classicism. Its upper canvas invites creators and athletes to imbue their own meaning and mantra on it - whether it’s customising the shoe’s rubber soles with a marker pen or applying its minimalist form to any sport, style or silhouette.
Though Converse has cemented its place in skate and basketball, the brand has continued to be adopted by creators connecting, playing and exploring freedom of movement in many arenas over the decades. Dancers from ballet to temporary dance wear Chucks on and off point. Serious weight trainers are wearing Chuck on leg day. And boxers lace up in Chuck for core training.
Today more than ever, the Chuck Taylor is synonymous with those who stay-ready no matter the event. For them, there is no distinction from the court to the street, from the stage to the dance floor, or from the weight room to the mat. They don't ask permission they move, play, and connect wherever they are. They "Pull-Up" performance ready.
Colourism in hip-hop isn’t new. It’s been a shadow lurking in the industry for decades, sometimes subtle, sometimes blatant, but always present. As conversations around racism and discrimination become more mainstream, it’s become impossible to ignore how these biases show up in music, especially when it comes to Black women.
For years, lighter-skinned women have been pushed to the forefront of the industry, granted more opportunities, and positioned as the ‘face’ of hip-hop. They land the magazine covers, the brand deals, the prime-time slots. Even in the video vixen era, the women cast as leads in rap videos often fit a Eurocentric beauty standard.
And when a dark-skinned woman does breakthrough? She faces an uphill battle of scrutiny and double standards. Look at Megan Thee Stallion; despite her undeniable talent and work ethic, she’s constantly met with criticism that her lighter-skinned peers never experience. When Tyla, a lighter-skinned artist from South Africa, emerged on the global stage, she was immediately embraced by the mainstream with a level of adoration that darker-skinned artists rarely receive. Yes, she has her own share of critiques, but the industry’s readiness to champion her contrasts sharply with the resistance Black women with darker skin tones often face.
But as the industry globalises, as hip-hop becomes less Western-centric, and as new artists break through on their terms and with an increase in globalisation and rise in other music genres, we’re starting to see the tides shift.
Enter Doechii a powerhouse who refuses to be boxed out.
Doechii’s ascent isn’t just about making good music; it’s about dismantling the outdated ideals that have kept dark-skinned women from claiming their rightful place in hip-hop’s top ranks. She’s an artist who thrives on experimentation, blending hip-hop with alternative sounds and creating music that resonates with an audience that has long been overlooked.
Her rise is proof of just how much talent and resilience to push back against an industry that wasn’t designed to support women like her.
Historically, hip-hop has upheld the same beauty standards that dominate the wider entertainment industry. Lighter-skinned Black women have always been positioned as more ‘marketable,’ given bigger platforms, and afforded the grace to experiment without being harshly judged.
Think about the early 2000s; who were the women at the centre of hip-hop’s visual landscape? The industry leaned heavily toward women with features that aligned more with European beauty ideals. Even when dark-skinned women were included, they were often hypersexualised or relegated to background roles.
The music industry’s bias extends beyond aesthetics. Lighter-skinned female rappers, whether it’s Cardi B, Saweetie, or even Ice Spice, often experience a faster rise with significant label backing. Meanwhile, darker-skinned artists like Megan Thee Stallion and Doechii have had to prove themselves in ways their counterparts haven’t. Even legends like Lauryn Hill and Missy Elliott had to fight against these biases. Hill, despite being one of the most celebrated lyricists of all time, was never given the same level of crossover pop success that her lighter-skinned contemporaries enjoyed. Missy had to redefine hip-hop’s aesthetic to make space for herself.
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