PHOTOGRAPHY & STYLING Abigail Ajobi
MODELS Anai, Fahd Bello, Olumide Funmilola & Naomi Oyagwa
In February, British-Nigerian fashion designer Abigail Ajobi showed her debut runway collection at London Fashion Week – in the car park of a North London flat block. “I wanted something that felt grungy and authentic with a feeling as rebellious as the collection itself,” says Ajobi. “That punk rock aesthetic of 2000s London-meets-Yoruba royalty and what better than a Camden council estate with models wearing Dr Martens.”
The collection, entitled “I’m Not English, I’m British” – Japa Syndrome, is an ode to her first-generation British-Nigerian upbringing. Utilising a phrase many expats living in the UK can relate to, the collection blends the striking patterns and colour palettes of traditional Nigerian finery with dark-wash denim – a symbol of blue-collar immigrants – alongside patchworked football shirts and motorcycle jackets using British heritage prints including tartan and houndstooth, resulting in a global style sensibility.
Unafraid for her work to confront audiences, a stand-out look from the runway show saw a curly-haired, albino model stomp through the car park catwalk in an oversized white t-shirt emblazoned with the collection’s title scribbled across a hand-painted English flag. The t-shirt, simple in its design but intricately layered with meaning about what it means to belong, represents the message at heart of Ajobi’s brand – that beauty can be born from cultural fusion.
Below, Abigail Ajobi shares the inspiration behind her collection and latest photoshoot, shot and styled by the designer.
Your AW25 collection, pictured here, is entitled “I’m Not English, I’m British” – Japa Syndrome. What does this phrase mean or represent to you?
My parents grew up in Nigeria as opposed to myself and my siblings who were born and raised in the UK. “I’m not English, I’m British” is a phrase I said to my parents a lot growing up after many times of being referred to as an ‘English kid’. It is a phrase that highlights a dual identity, yet also not quite fitting in on either side.
The term “Japa” – a Yoruba word meaning “to break away” – is a popular slang in Nigeria, describing the act of leaving the country to escape hardship. However, although this is a popular notion which is pushed, the grass is not always greener hence the term ‘Japa syndrome’.
JAPA SYNDROME’ refers to this experience unique to Nigerians. How did you incorporate your Nigerian heritage and perspective into this collection?
The term ‘Japa’ is unique to Nigerians but the theory behind ‘Japa Syndrome’ of leaving your home country in search of a more fulfilling life is not synonymous with one nation. Both my Nigerian and British heritage was incorporated into this collection through the prints & fabric selection.
I used classic British textiles, such as tartan and dogtooth, then distorted it through digital print into wavy patterns to symbolise the movement and fluidity of identity that also represents the intertwining of my Nigerian and British culture.
Your work uses print to bring awareness to important and sometimes confronting social issues. Can you tell us more about the inspirations behind the digital prints you developed for this collection, featured alongside iconic British prints like tartan and houndstooth?
I used classic British textiles, such as tartan and dogtooth, then distorted it through digital print into wavy patterns to symbolise the movement and fluidity of identity that also represents the intertwining of my Nigerian and British culture. Denim, traditionally associated with blue-collar immigrant workers, also plays a key role in the collection, serving as a metaphor for the resilience and labour of those – like my parents – who migrate in search of better opportunities.
Your work uses upcycling techniques to create your garments – can you tell us about the raw/sourced materials you utilised in this collection?
As with each of our collections, we retain the offcuts from our production to make smaller accessories such as masks and key chains. This time around we sourced vintage adidas football shirts, in addition to our production offcuts, to create our Japa football shirt. We also use deadstock denim which is a consistent staple across our collections.
I would encourage larger platforms and businesses that host global fashion weeks to create more accessible opportunities that help emerging brands grow.
Following LFW, how do you feel about London’s fashion scene? What’s doing well, and what needs to change?
I think there is a lot of talent but not enough support for those emerging. I would encourage larger platforms and businesses that host global fashion weeks to create more accessible opportunities that help emerging brands grow.
Alongside your LFW AW25 runway show, you’ve shared this editorial you personally shot and styled. What was your creative vision and inspiration behind this photoshoot?
I wanted it to feel authentic and to show a juxtaposing reflection of my two cultures which is why I shot it in Lagos against obvious Nigerian backgrounds, with fabrics and silhouettes that feel foreign to that particular environment.
What’s inspiring you right now?
My culture – always! – as well as music. I’ve been DJing a lot more recently. Although music has always influenced me even for this collection, 2000’s British rock influenced my designs. But the influence of music in my life feels a lot more prominent nowadays.
I want to add to the brand holistically while giving back, whether that be through events or even DJing, creating atmospheres that are about more than just the clothes.
Looking ahead, what are your upcoming plans/next steps for your brand?
To expand more through community engagement. I want to add to the brand holistically while giving back, whether that be through events or even DJing, creating atmospheres that are about more than just the clothes.
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