GTCO 2025 was all and more than I expected. It didn’t disappoint at all. From the moment I stepped into the arena, it was like a fashion heaven on earth. All my favorite designers came out with their best designs for the new fashion season and boy did I have more than enough to feed my eyes on. The fabrics were giving; the patterns were insanely unique.
I don’t know what to say but Nigerian fashion designers are certainly world class standard and certainly out-doing themselves at this point. I’ve been covering fashion for years and yet this year’s event under felt like an awakening. From the moment I stepped into the venue I knew we were in for something spectacular.
The setting itself was flawless. The management of GTCO created an unstoppable vision this fashion weekend and I could see it clearly. Over the years, GTFW has managed to create a stage that not only celebrates the best of the best of Nigerian designers, but also a stage that celebrates creativity at its peak, a hub that has become an enterprise for business to thrive and make a name for themselves.
Walking through the sea of vendors, I could sense that this fashion weekend has become more than a fashion show; it has become a community promoting and exporting the Nigerian fashion culture at its loudest.
One of my favorite highlights had to be the showcase by the label Tongoro Studio, founded by Sarah Diouf. Their pieces came in bold, sculptural silhouettes, shimmering prints and designs that declared “I am powerful”. They brought a blend of Senegalese heritage and global couture sophistication and the audience responded with welcome applause. This was GTFW delivering on its promise to highlight African creativity on a broad stage.
Then there was the return of Ituen Basi – a trailblazing Nigerian brand that has always used fabric as storytelling. In this show I saw vibrant Ankara patchwork reimagined with newspaper‑print motifs and bold textures. The collection felt like a joyful narrative of resilience and identity and it made me stop and think about fashion as conversation. GTCO’s platform framed it well.
From South Africa came Mmuso Maxwell – their designs were architectural, minimalist, and yet full of quiet power. As I watched the models stride the runway I noticed how tailoring, structure and subtle colour palettes created a commanding presence no loud prints could match. GTCO had programmed that contrast beautifully: loud and quiet both, heritage and modern both, all under one roof.
Luxury and spectacle were present too. The designer Sevon Dejana showed velvet, sculptural gowns and embellishments that glistened under the lights. It felt like a moment of glamour in the heart of Lagos, proving that African fashion isn’t just about raw street energy but can deliver couture dreams too. GTCO gave that glamour the stage it deserves.
The sustainable and crossover story was alive in the collection by Ahluwalia. Combining heritage sportswear references, reclaimed fabrics and heritage print, this British‑Nigerian‑Indian label brought the narrative of growing up between worlds and making that visible through clothes. Watching their collection reminded me that GTCO isn’t just about the now, it’s about the future—sustainable, hybrid, global.
I also found myself entranced by the pieces of Tia Adeola, who fused ruffles, romantic silhouettes and strong identity. Her designs exuded femininity and defiance at once, and when they burst on the runway there was a soft but unavoidable fierceness that filled the space. GTCO rewarded that kind of bold softness, and I found myself scribbling notes as each model exited the stage.
Beyond designers and runways, the masterclasses hosted at GTCO were equally compelling. From emerging modelling talent to styling and business innovation, the sessions were buzzing with ideas. I sat in a talk where industry veterans walked us through how African fashion commerce must evolve, how craftsmen must be respected, and how the runway can be more than spectacle—it can be enterprise. GTCO made that experiential, not just promotional,
In the exhibition hall I wandered through stalls displaying hybrid fashion labels, emerging accessories brands and tech‑infused design experiments. It felt like the beating heart of GTCO’s mission: access, visibility and celebration for all levels of the industry. I met young designers whose pieces I will remember next season, whose ambition mirrors what GTCO is trying to achieve at scale.
But perhaps what stayed with me most was the audience. From street‑style stars to industry insiders, from curious students to veterans of the craft, the energy of the crowd was inclusive and electric. I believe GTCO has succeeded when the backdrop of its event becomes a meeting ground for inspiration, commerce and cultural dialogue. I saw this happen in person.
As I reflected walking out of the grand space on the final evening I realized how GTCO had choreographed not just clothes but a narrative: that African fashion sits at the intersection of heritage, innovation and global aspiration.
And the list of designers I mentioned above were examples but not the whole story; dozens of labels, up‑and‑coming brands, artisans and creatives filled the weekend. The smiling vendors, the models backstage yet calm, the curious attendees—they were all part of the vibe. GTCO captured that.
