Designers presenting dramatic clothing was the unannounced theme of the latest installment of Lagos Fashion Week. It felt like the crowd anticipated this as they applauded every time there were significant moments. A highlight? Frank Aghuno the designer behind Fruché orchestrated a carefree performance as a model threw a maxi bag at an attendee. Ugo Monye came up with two surprises; Davido walked the runway and colleague Sandrah Tubobereni who also appeared as a model in menswear. Éki Kéré gave birth to a stunning collection consisting of compelling uses of raffia. And a prominent one from Iamisigo consisted of a wonderful beaded veil. Many other moments also stood out – below we’ve compiled them all and I spoke to a few designers to learn more about their inspirations.

LFW’s October season was opened by Banke Kuku and for the brand a record was set. The 43-look collection felt like a three-course meal; it featured swimwear, ready-to-wear and a nightwear lineup. It was beyond amazing, with the prints holding the weight of the story. The collection was titled ‘The Oceans’ which highlights Kuku’s optimism while shedding light on bodies of water and our duty to care for the planet. The set design was like an Atlantis dream; bold structures of columns with fish carvings and seaweed sculptures, with a water bubble machine to the side for dramatic bubble effects. What made this collection exciting was the color choices – Kuku made sure all the prints came in vibrant colors that went well with shiny floral silk materials. The designs were also majestic – think long kimonos, body-con pieces and turtle neck capes.

Next, Desirée Iyama showed off an impressive line. Her latest collection was filled with vibrant colors, materials and garment constructions. And it didn’t matter that the collection was titled “Crab and Lobster, A Timeless Resilience,” each look made an extraordinary statement. From the opening look, it felt sensual, a draped two-piece, two fishtail coats, a gently slit at the back, a red polka dot dress, a cozy kimono and flared trousers. “I was inspired by the wonders of nature,” Iyamah said. “Specifically the ability of crabs and lobsters to adapt and thrive in turbulent environments resonated with me. Their resilience and transformative qualities guided my design process, blending elegance with sustainability.”

The designer also incorporated 3D embroidery appliqués and lightweight printed fabrics to evoke flowing waves. Elsewhere, her collection featured a fluffy dress with an iridescent tulle detail across the chest – it also featured a crab-like embroidery that featured most of the looks.

For the brand Oríré, their latest collection “Everyday Is A School Day” debuted with an assortment of impressive silhouettes. As the models walked into creations by Orire Aleshinloye, I saw a colorful butterfly dress, an off-shoulder dress, three looks in an oríré denim print, and a pair of black gloves to accompany the final look. For Aleshinloye, the collection was inspired by the journey of continuous learning. A bubble hem dress in red gave a compelling spin on the ongoing trend.

“As a creative and a brand in general, we are (always) forced to learn something new,” Aleshinloye told ESSENCE. “‘Everyday is a school day’ is about embracing adaptability and celebrating learning. We see throughout the collection trying to work with prints and also bringing back old signature styles and making them more refreshing.” She added that she worked with multiple shades and aimed to fuse old and new.

Where other designers fail to deliver, Michelle Adepoju’s latest Kíléntár models strolled down the runway in experimental creations. After making its New York Fashion Week debut a month ago, it felt important to bring the “Mama Ibeji” collection home and to the eyes of 1,000 people at the LFW tent. What followed was a magnificent collection displayed with echoes of an oriki or Yoruba hymn poetry.

The message of the collection was clear: to create a novelty to feminine glamor while incorporating elements from Yoruba culture. This was seen in detailed storytelling elements through the materials that were somewhat durable, with a bustier mini dress stitched with velvet. Adepoju also delivered waves in a slit dress and a white dress frilled at the hem. A metallic skirt and blouse also made their way down the runway, along with a rose petal mini dress. There was also an off-shoulder blouse that I liked that was worn with a layered skirt.

Oshobor Odion Peter made a fiery statement, choosing red for every look while taking us to Benin Kingdom and shining a spotlight on the Oba’s courtroom. The queen opened the show wearing a red dress made of fringes and then the maidens entered with a golden belt around their waists. Next followed the royal guards, then the counselors donned creamy constructions, then came the high priest and finally the king himself.

Despite debuting their SS25 collection in Paris a month ago, Lagos Fashion Week witnessed a presentation by the Lagos Space Program as models walked the runway to the beat of Yoruba speaking drums. The collection titled “The New Lagos Look” features a new play with materials; especially denim; denim jackets, open-chest denim jackets, blazers, a metallic waist belt, crop hoodies, maxi pants and open-chest long shirts, with some models featuring unique necklaces.

One of the obvious setbacks at this year’s Lagos Fashion Week was embracing the comfort zone. It felt like a few designers weren’t ready to take risks and create more elaborate designs that the audience hadn’t seen on the runway. A woman sitting next to me on day three mentioned how she felt some designers were still following the Pinterest mold of fashion. I agreed with her – and it pointed out why some designs from two or so designers ended up looking the same but with different fabrics and color choices. While I understand the hard work the designers put in and how there is a great concentration around a specific group of looks that they take as their strongest armor, it was a choice to leave the rest as collection filler. Regardless, brands like Oshobor and Ugo Monye reinvented their codes and created elevated versions of their designs.

Overall, there was a bit of experimentation at this year’s Lagos Fashion Week, especially in materials, garment construction and the stories that go with each collection. I saw the use of jute fabrics and metallic two-piece decor from Kíléntár, thick knits from loves from Jules and beadwork from Iamisigo. It was a joy to bring in designers who are pushing the bar higher on what is already known and who are creating innovative designs that are driving the industry forward here in Nigeria.