Deeds Magazine is proud to present an exclusive interview with Chisom Njoku, a leading figure in the luxury and media Industry in Africa. Renowned for his deep influence in luxury fashion, Chisom has played a pivotal role in reshaping how African luxury is perceived globally. His groundbreaking art film Luxe Eko, created in collaboration with Porsche, challenged conventional narratives and brought a fresh perspective to African luxury. Today, as the face of the Porsche x Boss Spring/Summer 2024 campaign, Chisom continues to merge his unique vision with global brands, pushing the boundaries of modern luxury while staying true to his Nigerian roots.
As the founder of the creative agency Huemaine, Chisom is at the forefront of innovation, partnering with both established global brands and rising African talents. His commitment to showcasing the sophistication and elegance of African fashion has positioned him as a trailblazer in the industry.
In this interview, Chisom shares insights into his journey, the inspiration behind his work, how he balances creativity with executive responsibilities, and his contributions to the evolving luxury landscape in Africa.
Deeds Magazine: Chisom, it’s a pleasure to have you here today. Let’s dive right in. How did you begin your journey as a luxury influencer and media mogul, and what inspired you to pursue this path?
Chisom Njoku: That’s an interesting question. So, my journey with luxury has honestly been something that fascinated me my whole life. As soon as I was able to identify the parameters that define luxury, I realized it wasn’t just because something was fancy or expensive. For me, luxury was always about the detail and the intentionality behind it. Luxury brands, by their very nature, put a lot of effort into their branding because their clientele expects a certain level of attention to detail. And to me, effort is sexy. It’s what makes luxury stand out—this incredible attention to detail.
My interest in luxury translated into a career when I started working on projects that brought those ideas to life. A pivotal moment for me was working on a project with Porsche, which involved creating their first art film on the African continent. This was shortly after the pandemic, a time when many global brands were still cautious about how they approached the market. But I was able to secure a partnership that led to a project called Locks of Cool. This project was particularly important because it showed luxury brands that they didn’t need to rely solely on European or American markets. They could create high-quality content locally in Africa and use it to connect with our audience here. This approach not only influenced the African market but also had global implications, as the content was used for Porsche’s marketing worldwide. Since then, I’ve been able to work with other luxury brands like Hugo Boss, and each project has further cemented my love for luxury branding.
Deeds Magazine: Can you elaborate on how your personal style reflects the different aspects of your life and career?
Chisom Njoku: My personal style is an integral part of who I am—it’s what sets me apart, especially visually. When I walk into a room, whether it’s with high-profile clients like Dangote or artists like Wizkid, I stay true to myself. I dress in a way that reflects who I am at that moment, whether that means wearing a tailored suit or my chains and diamonds. My style transcends all aspects of my life—it’s constant, but it adapts depending on the occasion.
For example, when I’m meeting with corporate clients, I might not go all out, but I will still be myself. I will dress appropriately for the occasion but always with my own twist. There’s always a piece of me in what I wear, whether it’s the way I accessorize or the way I style my hair. My personal style is a statement of who I am, and it reflects my versatility—how I can navigate different spaces while remaining authentic to myself. This approach allows me to connect with a wide range of people, from business executives to creatives, without ever losing my sense of identity.
Deeds Magazine: Could you share more about the significance of Clarence Avant’s influence on your career and public image?
Chisom Njoku: Clarence Avant is the GOAT, the Black Godfather. His influence on my career and public image is profound. Avant opened doors for Black creators in ways that were virtually non-existent before his time. He had this incredible ability to secure proper representation and fair deals for Black talent during an era when it was almost impossible to do so. This was a time when Black artists were underpaid, undervalued, and often threatened for simply trying to perform in certain spaces.
What really influenced me about Clarence Avant was his ability to work behind the scenes, to influence the industry without needing public recognition. He was the man who moved things from the shadows, the one who made sure that Black talent got what they deserved. His approach was all about being strategic, being a boss behind the scenes, and making sure that his influence was felt even if his name wasn’t always in the spotlight.
For example, during the election that brought Jimmy Carter to the presidency, Avant was instrumental. Carter was a farmer with no significant political influence, but he found favor with Avant. Clarence organized shows in highly populated Black areas where Carter would have otherwise gotten zero votes. This strategy, bringing out Black talent and organizing proper rallies, helped Carter secure the presidency. And the public didn’t even know who Clarence Avant was unless they were part of the inner circle that moved things. His ability to set up these powerful moves behind the scenes has deeply influenced how I operate in my career. I strive to make moves that are impactful, even if they aren’t always publicized.
Deeds Magazine: How did you stumble upon Clarence Avant and his work?
Chisom Njoku: I came across Clarence Avant’s work through my study of the history of Black executives and their impact on the music industry. His ability to orchestrate powerful moves from behind the scenes, without the need for public validation, really intrigued me. It showed me the power of influence without constantly being in the spotlight, which resonated with how I wanted to shape my own career. His story and his work became a blueprint for how I could navigate the complexities of the luxury and media industries while maintaining a strong sense of self.
Deeds Magazine: How do you approach empowering fast-rising brands through your agency, and what sets your strategy apart from others?
Chisom Njoku: At Huemaine, we don’t equate a client’s value solely based on their size. Whether they’re a global brand or a small start-up, we see them for what they could be, and we strive to create a better version of themselves. Our strategy is to find interesting ways to spark curiosity about our clients, to revamp their image, and to ensure they leave us in a better position than when they came in.
We focus heavily on perception because we understand that it’s crucial for any brand, big or small. The quality of the product is important, but perception is what will draw people in, what will make them curious enough to want to know more. That’s something we help our clients understand from the beginning. We treat every client, regardless of their size, as if they are already at the top of their game. We help them dream big and push beyond their current limits. It’s all about the effort and attention to detail—effort is sexy, and that’s what truly sets our clients apart in a crowded market.
A good example of this is our work with Buju. We were very critical of his name change from Buju to Benson. I can’t go into the details of what that was, but we received a note that we had to do that almost in a week’s time. I co-founded his NFT project ‘Heads by Buju’ at the time, but then something popped up, and we had to change his name. This project was already done and ready. So, we had to come up with a new name, introduce that name, and hope that people would f*** with it because people have tried to change names in the past, and it didn’t pop. Even Wizkid tried from Wizkid to Starboy, and it didn’t stick. Two-Face changed to 2Baba, but it didn't pick up. Even DRAM tried to change his name to Shelly, and it didn’t pick. He had to go back to DRAM. But with Buju, we made it work.
Deeds Magazine: How do you balance your creative side with your executive responsibilities, and what challenges do you face in doing so?
Chisom Njoku: Balancing my creative side with my executive responsibilities is not always easy, but it’s something I’ve learned to manage by merging parts of myself to execute different roles. My creativity is something I bring into my executive functions—it’s what allows me to think outside the box, to come up with innovative ways to connect with clients and share ideas. At the same time, I bring my executive experience into my creative projects, ensuring that there is organization, structure, and a clear plan for execution.
One of the biggest challenges is time—when I was younger, I had more freedom to be spontaneous with my creativity, to go out into the streets and create content on a whim. Now, everything has to be planned and structured. But I’ve found that by bringing my creative approach into executive roles and my executive discipline into creative projects, I can balance both sides effectively. It’s about finding that harmony, understanding that both aspects of who I am are essential to the work I do.
Deeds Magazine: Can you tell us more about the global creators network you’re building through The Conclave Club and its recent event in London?
Chisom Njoku:The Conclave Club is something I co-founded with my friends to consolidate Nigeria’s creator network and integrate it into the global framework. It’s an intentional move to bring together the best creatives, offering them resources, connections, and opportunities to thrive.
For example, our recent event in London was a chic gathering in partnership with GAC Motor. We brought together some of the best creatives from around the world under one roof to discuss ideas, break bread, and plot towards the future. The idea behind The Conclave Club is to create a space where content is seen as the new crude oil—valuable, powerful, and something that can’t be taken away. We’re particularly focused on onboarding Black creators and Africans in the diaspora because we feel they are often underserved in the global market.
We want to provide these creators with the knowledge and tools they need to succeed. We hold regular events, both locally and internationally, and we’re expanding rapidly. Our goal is to ensure that creators are informed, empowered, and connected to the resources that will help them reach their full potential.
Deeds Magazine: What are some of the exciting projects you’re currently working on or have upcoming, particularly with Huemaine?
Chisom Njoku: We have a number of exciting projects in the pipeline. One project I’m particularly passionate about is expanding Nigerian fashion brands into the American market through a startup called Zimi. I’m consulting with them to help export these brands, which I believe have reached a level of development that deserves global recognition. Nigerian music and movies are currently enjoying a lot of global interest, so it’s only natural that Nigerian fashion should be next.
In addition to that, I’m working with Forbes to create a tech issue that will highlight African startups and the innovative ways they’re overcoming challenges in the finance sector. The focus is on companies that build systems that have allowed Africans across the diaspora and the continent to better their lives, particularly in the areas of remote work and financial transactions. We’re looking to showcase how these startups are not just surviving but thriving, despite the many obstacles they face.
Beyond that, there are several other activations and marketing efforts I’m involved in, all aimed at creating value, pushing boundaries, and ensuring that our work at Huemaine continues to innovate in the industry.
Deeds Magazine: What role does fashion play in your life beyond your professional engagements, and how do you see it evolving in the future?
Chisom Njoku: Fashion is one of my escapes—it’s a way for me to relax and express myself outside of the pressures of work. I’ve always had a love for fashion, and over the years, I’ve built an interesting collection of pieces, from jewelry to clothes. Fashion allows me to express how I’m feeling at any given moment, and it’s something that I find joy in, whether it’s putting together an outfit for an event or just experimenting with looks late at night.
Dressing up is more than just about looking good for me; it’s a form of creative expression. Sometimes, even in the middle of the night, I’ll find myself trying on different outfits, just for the thrill of it. It’s a way to de-stress, to connect with myself, and to enjoy the process of creating something beautiful. I see my relationship with fashion evolving as I continue to explore new designers, new styles, and new ways to express myself through what I wear.
Deeds Magazine: Which designers or brands do you consider your go-to for both professional and casual settings?
Chisom Njoku: For professional settings, I gravitate towards Hugo Boss, Prada, and Tom Ford. These brands offer a level of sophistication and elegance that suits the environments I often find myself in. When it comes to casual settings, I love Ashluxe, Balenciaga, and several Nigerian brands like David Blackmoore and Tuff. My favorite shoes for casual wear are Air Forces—I have them in many different variations, from suede to leather, in a range of colors. I love them. I feel like those are my most comfortable shoes.
Deeds Magazine: How do you incorporate cultural influences into your work, and what impact do they have on your overall brand?
Chisom Njoku: Culture is everything to me. It’s what shapes our world and makes us who we are. When I work on campaigns, I make sure to push the Nigerian and African conversation forward. Whether it’s through marketing Afrobeats with Wizkid or ensuring that African creatives are represented globally, I’m always looking to influence the culture in a meaningful way.
For instance, with the Made in Lagos campaign for Wizkid, the idea was to emphasize African pride, to show the world what African creativity looks like. We focused on the visuals, the storytelling, and the overall branding to make sure it resonated not just locally but globally. This approach helped elevate the entire genre of Afrobeats and created a new appreciation for African music worldwide. For me, it’s about creating a legacy and ensuring that our voices are heard on a global stage. And Essence happened, and Tems came out from that, and is now, you know, Grammy Award-winning, Emmy Award-winning. Culture is a significant part of my work, and it’s what drives me to keep pushing boundaries and innovating.
Deeds Magazine: Lastly, how do you stay motivated and inspired to continually innovate in the luxury and media industries?
Chisom Njoku: I don’t allow myself to get too comfortable. I’m always looking beyond what’s happening in my immediate space, seeking inspiration from global trends, and thinking about how to push things further. Whether it’s exploring new technologies, innovative marketing techniques, or simply staying on top of what’s happening in different parts of the world, I’m constantly evolving and challenging the status quo.
One thing that keeps me motivated is the knowledge that there’s always more to learn, more to do, and more to achieve. I look at how things are being done in places like Seoul, London, or Dubai, and I think about how we can incorporate those ideas into our work. I’m always looking for new ways to market, new ways to brand, and new ways to tell stories. It’s about not settling for what’s already been done but always striving to do something new, something better. That’s what keeps me going.
