“I enjoy introducing myself to people. I never expect that everyone will know who I am,” remarks Mai Atafo as he addresses a group of journalists after a documentary screening showcasing his trailblazing 2023 fashion show at Eko Hotel’s iconic event space.
This wasn’t just any runway event. Held in the main hall of Eko Hotel—a venue typically reserved for major concerts and high-profile award ceremonies, with a seating capacity of up to 6,000 guests—the showcase became a landmark moment for the Nigerian fashion industry.
Watch highlights on Instagram
Born Ohimai Atafo, he is the visionary founder of Atafo, a name now synonymous with contemporary luxury in Nigerian fashion.
Despite his brand’s broad influence, Mai says the Nigerian fashion industry still battles for respect. “Some people still think all we do is sew clothes; I’ve met several who are shocked by a ₦250,000 price tag on my shirts,” he laments. This perception, according to Atafo, reflects a lingering underestimation of the artistry and skill that define Nigerian design today.
He further explains that the creative and technical process behind a premium garment is more complex than many suspect. While imitation is common, true craftsmanship can’t be replicated easily, he notes, emphasizing the gap between original designs and their lower-quality copies.
To illustrate how the world regards luxury fashion, Mai draws attention to Bernard Arnault—one of the globe’s wealthiest individuals and owner of numerous high-end labels—highlighting how fashion has shaped economies abroad. “Why can’t a Nigerian label take up an office space as grand as MTN’s in Marina?” he asks. The ambition is clear: for Nigerian brands to mirror the scale and recognition seen elsewhere, both locally and on the global stage.
He urges both the Nigerian private sector and government to consider how supporting homegrown luxury fashion could drive significant economic contributions, drawing inspiration from economies made strong by thriving creative industries.
“Nigerians love fashion, but often lack deep appreciation for its real value,” he observes, reflecting on the disconnect between enthusiasm for style and recognition of the effort it takes to produce true luxury.
Over the years, Atafo has crafted looks for many of Nigeria’s most stylish personalities, with celebrities such as Ebuka Obi-Uchendu often seen in his creations—visual proof of his innovative approach to design.
This stellar reputation is rooted in a tradition of excellence; Mai honed his tailoring skills on London’s storied Savile Row, self-described birthplace of the modern suit—a fact that sets his craftsmanship apart in both Nigerian and global contexts.
Today, while many grooms across Nigeria dream of donning an Atafo suit for their big day, the brand’s portfolio extends well beyond bespoke menswear. Atafo is involved in women’s fashion, ready-to-wear, and exquisitely detailed bridal pieces—reinforcing his belief that Nigerian creativity should not be boxed in.
Although proud of building a profitable fashion brand, Mai insists that the journey has just begun. He envisions a future where Nigerian designers go global, much like their counterparts in the booming Afrobeats scene, and sees no inherent barriers preventing such expansion.
![Mai Atafo on the state of the Nigerian fashion industry [Instagram/maiatafo]](https://nowahalazone.com/wp-content/uploads/2025/10/d96acd0f-bc47-4f76-ae3a-08d2132f2689-1.jpg)
Mai Atafo comments on the state of Nigeria’s fashion industry [Instagram/maiatafo]
Yet, he acknowledges a core challenge: breaking away from Nigeria’s constraints, especially the tough economy that can limit the reach and ambition of even the most talented creators.
Adding to the hurdles, Mai points out the sometimes fraught relationship between Nigerian fashion and the local media.
Reflecting on his experiences, he shares disappointment at how the press responded to his groundbreaking show. “It was the first of its kind, but media organisations kept requesting payment,” he recalls, a sentiment echoed by several local designers who find media coverage prohibitively costly.
![Mai Atafo on the state of the fashion industry in Nigeria [Instagram/maiatafo]](https://nowahalazone.com/wp-content/uploads/2025/10/a022d371-1aab-415e-acc2-4fcb63404c71-1.jpg)
Mai Atafo on the fashion industry’s trajectory in Nigeria [Instagram/maiatafo]
The business realities of media are not lost on Mai—he has held high-level marketing and brand management roles at British American Tobacco and Guinness Nigeria. Still, he argues that the local press sometimes prioritises financial deals above quality journalism, which can stifle in-depth, investigative coverage that would elevate the industry as a whole.
During a conversation, Mai turns to Cynthia Lawrence, head of strategy for his brand: “The New York Times requested permission before using our imagery, didn’t they?” Cynthia affirms, highlighting the professionalism often present in international media dealings—a contrast to experiences at home.
Looking back at the 2023 record-breaking show, Mai admits his feelings are mixed. While he managed to meet his investors’ and sponsors’ goals and set a new industry standard, he also reveals that the high production costs did not necessarily bring in the anticipated returns.
He has since recognised that his label appeals to a select audience—much like the global luxury brand Hermès, whose price points naturally exclude many. “Our focus is on our core clientele. After all, when private jets go on auction, we (non-billionaires) aren’t on the call list,” he jokes, noting the importance of catering to a targeted market.
The journey of Nigerian fashion is emblematic of the wider creative economy’s promise and challenges. Local industry experts, such as Lagos-based stylist Amaka Okafor, argue that with more government support, fairer media practices, and a shift in public perception, Nigerian designers could rival global icons in both visibility and profitability. “If we respect and promote our artists at home, the world will have no choice but to notice,” Okafor said.
The conversation surrounding Atafo’s work is increasingly a microcosm of West Africa’s creative aspirations at large. Success here could inspire a generation of designers across Ghana, Côte d’Ivoire, and beyond. The question remains: Who will champion Nigeria’s creative sector, and how can these brands claim their rightful place on the world’s luxury stage?
As Nigeria and the wider region continue to assert their cultural influence globally through music, art, and now fashion, industry players stress the need for collective effort and policy reforms for local talent to truly thrive.
What do you think it will take for Nigerian and African fashion brands to earn the global respect they deserve? Have you experienced or witnessed similar challenges in other creative industries? Drop your thoughts in the comments and follow us for the latest on African style, culture, and entrepreneurship.
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