By Chinazam Ikechi-Uko.
Photo Credit: Danielle Mbonu (Instagram @thelifeofdanmbo).
Late nights and bright skies which are not from twinkling stars but thanks to the light pollution. Lagos remains a promising city for millions of people aspiring to build a better life than the one they met. Everyone is a dreamer, everyone is trying to tell a story or sell you something. The future is so bright or that’s what we are made to believe because the city runs on our dreams. But it is a little different for Chinyemugo, an emerging Nigerian designer who’s currently pursuing a degree in Fashion design.
While it isn’t uncommon to meet someone who’s chasing their dreams and still running to libraries to read for their exams, this boldness and resilience say a lot about the young talent. Chinyemugo is equally a dreamer, however, her fascination doesn’t lie with what’s ahead. She glanced behind and once she met the gaze of Nigeria’s history, her history, couldn’t stop looking. A lot of who she is and what will become of her is influenced by her upbringing, the environment and the people around her, likewise Nigeria. She found herself intrigued by the Nigerian civil war and people in positions of control.
Lately, there’s been a paradigm shift in the Nigerian youth. Being political is lauded and the kids want to change the nation and if they can’t, they want to tell their stories so it isn’t forgotten. Chinyemugo encapsulates this in the first part of her collection. The freedom from social constraints and the disillusion from the perfection we have feigned. She challenged herself and embarked on a journey to create a collection that shows both the conscious and rebellious young adult alongside the stressed and burnt-out vicenarian looking for a playful escape.
This happens to be the debut collection of her eponymous brand “CHINYE MUGO” which stems from her name. There’s been an online debate on how much weight a debut collection holds on the perception of a brand; one side of the argument implies that a debut collection should be focused on giving your brand visibility. The other counters that a debut collection should focus on telling the story of your brand. What’s the difference, after all the long-term goal is the same. Well, one suggests making clothes that will sell with no story as means of publicising your label. The other is about building a brand that eventually finds a community that it resonates with based on its values and designs.
MUGO follows the second path, Chinyemugo aims to be intentional with her brand, it’s more than a business to her. Fashion itself is more than that for her, from the location of the photoshoots to the detailing on the garments, she remains consistent in her story. When it comes to fashion, especially in the African space, my ears are on the ground so discovering there was an upcoming womenswear collection debuting this summer was a regular Tuesday in my life. But hearing about the themes and symbolism of the collection had me making calls. Titled Controlled Chaos she introduces an array of influences- gothic and brutalist architecture, the Nigerian Civil War and military officials. Sticking to the theme, she uses various shapes and patterned techniques yet she manages to blend them harmoniously, hence, the controlled chaos.
Meeting with Chinyemugo had a poetic feeling to it, we met in a church and she told me about how her love for the church has been a significant inspiration in her life as a designer. The sheer opulence associated with the Roman Catholics; the historical idea of donning one’s favourite outfits to the House of God, colloquially referred to as Sunday’s Best. Stained glasses, sculptures and such intricate architecture that moves you to tears and sometimes you fall to your knees. This admiration is also seen in her collection as she cites gothic architecture as one of her inspirations.
Gothic and Brutalist architecture are two distinct architectural styles that emerged in different historical periods, reflecting unique design philosophies and aesthetic principles. Gothic architecture is a Medieval European style characterized by pointed arches, ribbed vaults, and ornate decorations. Emphasizes grandeur and verticality. On the other hand, Brutalist architecture is a 20th-century style featuring exposed concrete, geometric shapes, and functionality. Prioritizes simplicity and honesty over ornamentation. The use of antonymous inspirations for the design is a reoccurring theme in the first part of the collection- Controlled Chaos.
With a spellbinding personality, she spoke about her life as a designer. She explained that although this is her debut collection, she has been a designer for 10 years. Now, the math of that might seem a little confusing because that would insinuate that she abused a few child labour laws. But you see, she took the phrase “fake it till you make it” to another level, she decided that if she can dream it then she can become it and if she can become it then she’s already it. So she never says she’s an aspiring designer- she is simply a designer and has been one since she chose this career path.
The collection much like Nigeria is an amalgamation of two clashing ideals. The first part of the collection Controlled Chaos focuses on objective history: subtle ogival arches incorporated into the designs as an ode to the Gothic architecture of the Middle Ages; deconstructed and upcycled pieces reminiscent of the raw, exposed concrete surfaces, geometric shapes that are characterized with Brutalist architecture; exaggerated shoulder pads and vests mimicking Military uniforms but adding a satirical twist to them; hairstyles that reflect the 80s Nigerian fashion scene.
The Biafran War was a conflict in Nigeria from 1967 to 1970. It arose from ethnic and political tensions, with the predominantly Igbo region of Biafra declaring secession. The Nigerian government rejected this, leading to a brutal war characterized by blockades and humanitarian crises. The war resulted in the loss of many lives and ended with Biafra’s reintegration into Nigeria. It remains a significant event, highlighting Nigeria’s challenges with ethnic diversity and power-sharing.
The second part of the collection takes a subjective turn, she reflects on her childhood and her experiences growing up in Nigeria. It’s nostalgia alright but it’s from her lenses, dubbed Growing Circumspection. This can be seen in the use of childlike silhouettes that are reminiscent of school uniforms.
War and fashion seem like an unlikely match, and that’s what Chinyemugo feels at home with- the uncomfortable. To create art, she isn’t afraid of triggering emotions; when she is sad, angry, isolated or hurt, she uses fashion as a creative outlet and the collection reflects a lot of that.
The fascination with war-architecture-inspired fashion intertwined with childhood nostalgia is a captivating exploration of personal identity and emotional resonance. This unique fusion taps into cherished memories and connects individuals with the transformative power of fashion. By merging the resilience and symbols of wartime with nostalgic elements, this genre of fashion enables wearers to embark on a journey where they can reclaim the past, express their present identity, and evoke a sense of empowerment and freedom. In this way, fashion becomes a vehicle for both personal and collective storytelling, weaving together the threads of her experiences and childhood dreams.
