The 11th Africa Magic Viewers’ Choice Awards (AMVCA) Cultural Night in Lagos (May 9, 2025) was a riot of colors, textiles, and heritage. As Legit.ng noted, the night is “one of the most anticipated events” – a platform for stars to showcase Africa’s heritage, including fashion, music and creative expression. Sponsors even promised ₦1 million prizes for the Best Dressed Male and Female, underscoring how seriously style is taken. At a glance, the red carpet looked like a royal court: men in flowing agbadas and women in bold, sequined gowns that demanded attention. Indeed, BellaNaija aptly described it as “a full-circle moment for African fashion,” with celebs “turning up in their finest cultural looks, celebrating roots, royalty, and heritage”.
The overall vibe was unmistakable. As fashion critics noted, men were decked out in agbadas that were more than just garments – “pieces of art” celebrating a legacy of strength and identity. The ladies, meanwhile, delivered the wow factor: corseted gowns, extravagant trains, intricate beadwork and embroidery in abundance. And those accessories! Every female look was matched with a perfectly tied gele, and the men finished their agbadas with coral beads, embroidered caps or even walking sticks. In short, the AMVCA carpet that night announced that fashion is a statement of identity and pride – a showcase of “richness of African heritage” on every hem and lapel.
Regal Romance: Lateef Adedimeji & Mo Bimpe
Lateef Adedimeji stood like an emir of another era, draped in layers of indigo and gold. His head is wrapped in a rich cobalt turban and face-veil—reminiscent of the Sahelian tagelmust—framing only his eyes behind dark shades. Beneath his sheer veil you can just make out a long, golden brocade tunic embroidered with filigree motifs; over that, a navy-blue robe (akin to a northern babban riga) patterned in metallic thread. In his hand he carried a tall, ivory-tipped staff, a silent emblem of authority and lineage.
Seated before him, Mo Bimpe blended Itsekiri opulence with modern couture. Her fitted bodice is swathed in gold lace and edged with long, beaded fringe that drapes like ceremonial regalia. At her waist a voluminous skirt of deep indigo woven with shimmering gold threads spreads outward—its texture evoking adire cloth, yet cut like a sculpted ball gown. Around her neck she wore layered coral-and-metal beads, and her hair was wrapped in a dark headscarf punctuated by tiny gold accents. Every element—from the coral tones to the indigo silk—spoke of royalty reimagined for today’s red carpet.
Itsekiri Empress: Uche Jombo
Uche Jombo commanded the AMVCA Cultural Night in a mustard-gold velvet mermaid gown that fused traditional Itsekiri opulence with contemporary flair. The one-piece silhouette hugs her form through a corseted bodice before exploding at the knee into a dramatic balloon hem—a modern riff on ceremonial wrappers. Oversized puff sleeves lend the look a regal drama, while gold-beaded fringe cascades from shoulder to elbow like abstracted George tassels.
Around her neck and wrists she wore layered strands of white and pale coral beads—an unmistakable nod to Warri royalty—balanced by a sculptural updo crowned with tiny metallic accents. The gown’s rich velvet, the suspended fringe, and the coral jewelry together spoke of heritage reworked for the red carpet: a vivid statement that true cultural dressing can be both rooted and refreshingly new.
Igbo Royalty: Stan Nze & Chimezie Imo
On the male side, actors Stan Nze and Chimezie Imo transformed the carpet into an Igbo royal court. Stan Nze, who often plays aristocratic roles, looked every bit like a tribal chief in a lavish Isiagu shirt – the embroidered “leopard head” tunic that is the badge of Igbo chieftaincy. Completing the look was the red Okpu Agu cap, the traditional Igbo hat that signifies elder status. Chimezie Imo redefined northern–Igbo fusion in a look that blended Sahelian and Eastern regal codes. He wore a cream-colored tunic with a central panel splashed in abstract blue and gold—more art installation than traditional Isiagu—and draped a voluminous taupe faux-fur cloak over one shoulder like ceremonial ermine. Around his neck and wrists hung multiple strands of chunky coral beads, their deep red hue popping against the neutral tones. On his head sat a vivid red cap adorned with ivory tusk motifs and a single white feather—a modern twist on the Igbo Okpu that signaled chieftaincy. Dark sunglasses and a lacquered black staff completed the ensemble, merging contemporary flourish with the gravitas of ancestral authority.
Yoruba Kings: Saga & Yemi Cregx
The Yoruba delegation was equally impressive. Reality TV star OkuSaga Adeoluwa (“Saga”) and influencer Yemi Cregx embraced full-on Yoruba monarch vibes. Saga “slayed in Yoruba traditional attire” – that is, an embroidered agbada and matching fila (cap) in rich indigo. Yemi Cregx went even further as a crowned king. His look featured a regal Aso-Oke ensemble – the handwoven Yoruba cloth traditionally reserved for royalty – and a tall, beaded crown (the Ade). Legit.ng captioned it bluntly: “Yemi Cregx [was] representing as a Yoruba king”. And rightly so: the gold-accented coral beads around his neck and wrists added the final throne-room flourish. Together, Saga and Yemi made it clear that Yoruba royalty is alive and well on the Lagos runway.
(Sidebar: Aso-Oke deserves a quick explainer. It is the glittering woven fabric of the Yoruba, used for men’s agbadas and women’s gowns. Think of it as Nigerian haute couture: heavy, shiny, and unmistakably traditional.)
Northern Elegance: Hawa Magaji
Media personality Hawa Magaji showed a different side of culture: Northern flair. Dressed head-to-toe in cobalt blue, she turned the carpet into the sky at dusk. Her gown – presumably by Lagos-based Burgundy Atelier (per styling credits seen later online) – was beautifully draped, and atop it sat an elaborate matching turban by Eminence Mez. In this ensemble, Hawa evoked the grace of Hausa-Fulani aristocracy, yet with a very modern cut. She exemplified BellaNaija’s observation that even elaborate outfits can look soft and elegant. The monochrome blue was a bold choice that paid off: Hawa seemed to float like a princess from the North, reminding everyone of Nigeria’s diverse tapestry beyond just Yoruba and Igbo motifs.
BBNaija Glam: Liquorose & Uriel
Reality-TV royalty and media mavens also made statements. Ex-BBNaija star Liquorose (Roseline Afije) was singled out in photos as a showstopper. She opted for a head-turning ensemble that fused modern glamour with cultural nods – think sculpted silhouette, exaggerated headpiece, and embellishments that suggested but didn’t slavishly copy any one tradition. Liquorose’s style felt celebratory and fearless, much like the energy she brings on dance floors.
On the women’s side, Uriel Oputa was the epitome of polished chic. Though details of her look vary, she reportedly wore an Ankara-print gown with layered textures and a dramatic bustle – “looking good herself,” as one blogger noted. Combining bold patterns with figure-hugging tailoring, Uriel’s outfit struck a balance between party-ready and regal. Her presence (and digital buzz) reminded onlookers that cultural night is as much for TV stars as for movie icons. These ladies demonstrated BellaNaija’s point: women’s ensembles that evening could be “both bold and soft,” thanks to intricate details and perfect geometry.
Dapper Gents: VJ Adams & Elozonam
Among the men outside movie circles, VJ Adams held court in an embroidered agbada – a look channeling 1970s Lagos high society. He combined Yoruba royal aesthetics (think coral beads and fila cap) with contemporary tailoring, effectively bridging generations of style.
Actor Elozonam (the “It’s ZoZo” star) also embraced tradition. He was photographed in an Aso-Oke ensemble (a sure sign: the rich stripes of the Yoruba prestige cloth). His outfit featured the thick, shimmering fabric cut in a modern suit style, proving that Aso-Oke can be sexy and streamlined, not just ceremonial. In indigenous textile, Elozonam’s look paid respect to his heritage while remaining fashion-forward.
Tradition with a Twist: Designers and Symbolism
What tied all these looks together was an undercurrent of meaning. The event made it clear that many Nigerian designers are now masters of blending history with high fashion. For instance, Uche Jombo’s designer would have known to work coral beads into the silhouette; Saga and Yemi’s tailors expertly cut the stiff Aso-Oke into fluid shapes; Stan Nze’s stitcher included the golden lion-head motif on the Isiagu to signal Igbo nobility. Each piece of clothing wasn’t just for show – it signaled identity. A coral bracelet might mean royalty, a hat means title, a wrapper design means origin. By mining these motifs, the stars weren’t just dressing up – they were wearing their cultures on their sleeves, literally.
Of course, the night wasn’t without its critics – every bold choice invites debate. A few commentators quipped that the men “were representing” (that is, they got it right) but some of the ladies’ looks were very elaborate. (One onlooker admitted, “I’m not really understanding the ladies’ dresses,” noting the complexity.) But that’s the point: cultural fashion is often maximalist. As one fan marveled, Nigerian designers “eat every time,” pushing creativity to the edge. On the flip side, when outfits gelled, they were pure art: see Saga’s pristine Yoruba whites or Uche Jombo’s serene Itsekiri whites and reds. The humor and critique among fans (who jokingly compared some gowns to wedding dresses or space suits) only underscored how attached we are to these symbols.
Ultimately, the AMVCA Cultural Night was a win for Nigerian fashion. It reminded us, in the words of BellaNaija, that “fashion is more than just what you wear, it’s a statement of who you are, where you come from, and where you’re headed”. By weaving traditional Edo, Yoruba, Itsekiri, Hausa, Igbo (and beyond) threads into contemporary couture, these celebrities celebrated their heritage with pride and style. The sponsors’ ₦1 million prize wasn’t just a gimmick – it recognized that tonight, every outfit was a potential crown jewel. In the end, Lagos’s Cultural Night wasn’t just a red carpet; it was a runway through history, showing that Nigeria’s past can indeed be tomorrow’s future – one stitch at a time