Mowalola’s “Silent Madness” Could Be Precisely What Nigerian Fashion Needs

Mowalola Ogunlesi is disrupting the design of gender, sex and culture through her own volition. Born and raised in Lagos in an expressive household, as a child Mowalola would use words like “sexy” to describe her mother, which would be frowned upon at her school. The third-generation Nigerian-British designer makes it her purpose to free us from social bondage as every inhibition is out for play in the Mowalola universe. From her debut CSM Graduate Collection in 2017, “psychedelic”, we were titillated by her presentation of sexy Lagos biker or “Okada” boys then transported to her emotionally charged Spring 2020 collection “Coming for blood”. Already in a short but impressive tenure Mowalola has scored the dream spot as design director for Yeezy Gap, a collaboration that is estimated at $1 billion dollars. Mowalola is truly embodying her motto of “Do What You Want”, effortlessly.

““The man I want to dress is not afraid to celebrate his masculinity in different ways””

““I find Yoruba people very fashionable, but Igbo people take a lot more risks””

Finding your identity as a brand isn’t easy but Mowalola’s commentary on gender fluidity and sexuality particularly of the “African Man” is beautifully frank. The devil is in the detail and Mowalola knows how to exploit it: her AW19 collection, “Exposed”, had leather jackets with sharp laser cut-outs as well as tight leather pants exposing the chest and waists of the male models. Her exploration of sex, often taboo topic in Nigeria, is brought to the forefront and not in our peripheral vision. Her driving force being music, includes 1980’s Nigerian psychedelic rock with influences like Fela Kuti, who was fearless with his style and his masculinity. Film also plays a huge role in her work with “Pseudo-Nollywood” imagery blended with salacious vignettes of nude bodies on the front and back of her signature leather jackets. Here she has taken the “cringy” sentiments of Nigerian film culture from the past decade and instead made it bolder, more unapologetic and sexy. Fundamentally, Mowalola boldly celebrates her Nigerian culture which is equally “over the top” whilst subverting it enough to expose the subtle nuances of things that go unsaid.

““I get angry but it never consumes me, the anger is pushing me to do more of what I want to do””

Always elevating her visual message, Mowalola’s short-film “Silent Madness” shows us that it’s not always about the clothes, it’s the fantasy it creates. The film which accompanied the exhibition, invites us into a dark inferno of visual textures and inaudible breathing encapsulating a shifting and unnerving mood. On one hand the film disguises as a PSA for recreational drug use, highlighting Mowalola’s acerbic humour and yet there is also a deeper reflection of what it’s like to continually push ourselves too far past our limits. Art often imitates life as Mowalola dropped out of her MA due to not being understood by her tutors, yet her anger is what propels her to do better, “ The anger is pushing me to do more of what I want to do”.

““The key things that inspire me in life are music, film and people””

Her current appointment at Yeezy Gap is serendipitous because here is another perfect opportunity to push and challenge the narrative. As Yeezy is known for luxury “basics” with neutral silhouettes perhaps Mowalola can create a collection that addresses the universal issue of class divide. Particularly in Nigeria where the creative scene suffers due to the stark disparity between rich and poor. Communication has been a key factor for Mowalola’s message of diversity as she has collaborated with many creatives of colour like Ibrahim Kamara, Ruth Ossai and musician Yves Tumor. Hopefully she can use the Yeezy Gap platform to push more people of colour into the limelight.

““Not much collaboration is taking place, whereas I think it’s important to learn to communicate with other creatives around you””

Mowalola’s designs provide the familiarity and comfort in what might be uncomfortable territory for Nigerian people. Her love for Nigeria is evident with earlier trips made throughout her design process, fittings and promotional shoots. Yet she has not forgotten her British training which very much informs her skills including, impeccable mastery of leather. As she continues the challenge to make everyone feel comfortable expressing their sexuality through fashion, ‘stirring the pot’ of archaic and rigid attitudes along the way, may she not lose her voice in the process.

Watch Mowalola’s fashion film Silent Madanes above. You can also follow her on Twitter here and Instagram @mowalola

Words by Funmi Olagunju