Showcasing Nigerian Heritage Through Art and Fashion

Author(s): Scott Douglas Jacobsen

Publication (Outlet/Website): The Good Men Project

Publication Date (yyyy/mm/dd): 2025/04/23

Christiana Opalaye, founder of NeverKnowlinglyBoring, talks about her art and cultural advocacy. Opalaye, originally from Nigeria and now in London, started her work to teach her children about Nigeria’s rich ethnic diversity. Her Akikitancollection, meaning “endless praise” in Yoruba, highlights African cultural heritage, especially Nigerian women from lesser-known ethnic groups. She discusses tribal fashion, facial markings, and historical traditions, such as the Calabar fattening room. Opalaye aims to expand her work internationally, bridging cultural gaps and showcasing Africa’s talent. Her art is both a fashion statement and an educational tool celebrating African identity.

Scott Douglas Jacobsen: What inspired the creation of this?

Christiana Opalaye: My name is Christiana Opalaye, and I founded NeverKnowlinglyBoring. 

It’s all about Africa, specifically West Africa. As I told someone a few minutes ago, I grew up in the diaspora. I live in London, having moved from Nigeria, and wanted to teach my children about Nigeria. We started with the core ethnic groups in Nigeria—the Igbo, Hausa, and Yoruba.

As I explored further, I realized Nigeria has over 250 ethnic groups, so I began drawing pictures representing different ones. That’s how this project came about. I wanted my children to understand that Nigeria, as vast as it is, has a rich diversity of cultures, traditions, and beauty. Each of these elements is reflected in the art I create.

Today, in Diamonds Watch, we discuss the United Nations, women’s empowerment, untapped female talent, and gender equality. I decided to showcase notable Nigerian women from various ethnic groups. You have the Benin, the Yoruba, and the Kalabari. These are women that many people don’t even know about because discussions often focus on the three major ethnic groups.

My art helps bring awareness to this cultural richness. We are showcasing Africa’s untapped talent and saying, “Yes, we are here—women, we are here.”

Jacobsen: And for Akikatan, what is the origin of the name, and what does it mean as a fashion statement?

Opalaye: My brand is NeverKnowlinglyBoring, and this particular collection is called Akikitan. The name is derived from Yoruba and means “endless praise.” When I thought of the name, I thought about Africa and the endless praise Africa deserves.

I’m talking about talent—about untapped talent. Africa deserves endless praise. West Africa deserves infinite praise. Nigeria—the world needs to know Nigeria. We have started with Nigeria and West Africa and the ethnic groups within, but we will expand to all African countries. That is my next step.

Jacobsen: What are the main tribes? So, the hairstyling, the colours, and the facial makeup designs—like the stark white dots and red accents—how do those elements characterize each tribe?

Opalaye: Each tribe has distinct cultural markers. For example, let’s take the Benin people. Benin women are known for their elaborate beadwork. They use very historical, richly symbolic beads.

This is a Benin woman; you can tell by her beads, which signify royalty. From looking at her attire, you immediately know she is from Benin. Even during marriage ceremonies, they incorporate these beads into their traditional attire.

A Yoruba woman, on the other hand, is different. Let me tell you about Yoruba women. This one is a Yoruba woman. I am Yoruba myself, and my name is Tokunbo. In Yoruba culture, we have something called an Oríkì name, which is a praise name.

The grandparents usually give it as a form of endearment. Oríkì is a name used to pamper or calm a child when they are misbehaving. When someone calls you by your Oríkì, it is meant to soothe and honour you.

So, for example, my Oríkì name is Abeke, which means “to pamper.” I believe I was created to do so—to pamper. Each name has a meaning. You have Akombi, which means “the firstborn.” You have Abeke, which means someone who has been blessed. Abeke also means “to pamper.” There are many different names, each carrying a unique significance.

Another distinguishing feature of Yoruba culture is facial markings. In the past, Yoruba people had tribal marks that indicated their heritage—what tribe or family they belonged to. Although this practice has largely disappeared in modern times, these marks were critical identifiers. A Yoruba woman, for example, could be recognized by these markings.

You can see a Yoruba woman here. Then we have the Hausa woman. For example, our Honourable Minister for Women’s Affairs is from the north—she is Hausa. This represents the Hausa identity. Within the Hausa ethnic group, there are also the Fulani people. This is a Fulani woman, and you can tell from her facial markings, distinct from Yoruba markings.

A Yoruba person might have just two marks, and in earlier times, those marks could immediately indicate what part of the Yoruba tribe they were from. For instance, marks could show if someone was from Ibadan, Owo, Ijebu, or Ogbomoso. These tribal marks were essential identifiers.

Here, you see a woman from Abeokuta and a Hausa-Fulani woman. You can recognize them by their facial markings—three marks distinct in their placement. This is not just an artistic or fashion statement but also educational.

Now, let me show you another example—this is a Calabar woman. The Calabar ethnic group has a unique tradition. Before a woman gets married, she is placed in what is called a fattening room. This tradition is meant to prepare her for marriage.

By fattening, I don’t mean just weight gain. The process involves pampering—she is placed in a room, massaged, nourished, and cared for. She is not allowed to do any strenuous work. Then, just before marriage, she is adorned in beautiful attire.

This is a Calabar woman about to get married. She is wearing elaborate accessories—the headpiece, the jewelry, everything that symbolizes her cultural heritage. She looks stunning.

Every single piece of art I create has a story behind it. There is always an inspiration. That’s why all my headpieces are one-of-a-kind. I don’t sit down and overthink them. I start, and whatever comes to me, I believe it is from God.

Here, for example, is a Yoruba woman representing royalty. You can see it in the gold corals around her neck and, of course, in her headpiece—very regal.

I call these women here water maidens. In ancient times, women would go to the stream, collect water in clay pots, and carry it home for cooking and daily life. This artwork represents those women returning from the stream, ready to care for their families.

As I said, this is not just art—it is also a fashion statement. Women were created to stand out. We are unique.

Anywhere you go, as my brand depicts—Never Knowingly Boring. We are never… I am never knowingly boring. I should stand out. These pieces have great art features as well. I am currently collaborating with an interior decoration company. What they are doing is incorporating my designs into wall art.

Imagine going to the beach, wearing your fashion statement, and then, instead of storing it in a cupboard, you place it on the wall as a feature. And so, yeah. That’s it.

Jacobsen: This is not just a hat. It’s a statement on the wall.

Opaleye: It is a statement, yes.

Jacobsen: How far back do these traditions go?

Opalaye: Oh, God.

Jacobsen: Do we know?

Opalaye: No exact timeline, but thousands of years. These are traditions that have been passed down from generation to generation.

And they are still alive today. If you go to Nigeria, you will still find all the ethnic groups preserving their traditions. Some communities still practice facial markings for tribal identification.

If you visit certain villages, rather than the big cities, you will still see children with these marks, identifying their lineage and heritage.

Jacobsen: Do you notice any conceptual gaps when presenting these ideas to Londoners? Do they struggle to understand the reasoning and style behind these traditions, or do they generally grasp it?

Opalaye: In what context? Do you mean with the facial markings and similar traditions?

Jacobsen: Yes, for example, the styling and the reasoning behind certain customs—like how the fattening room tradition was part of pampering before a marital ceremony. Do they find it difficult to relate?

Jacobsen: Yes. When translating these traditions, there are always cultural gaps, and many people just can’t grasp them.

Opalaye: In one sense, people can understand that markings help identify geographic origins and tribal affiliations. Let’s use the case of the Calabar people and their fattening room tradition. Londoners, particularly women, can relate to the concept because, before getting married, we engage in pampering rituals. We go to spas and have makeup parties—it’s all a form of self-care.

But in the past, there weren’t modern spa facilities. Instead, women were taken to a designated place where they were pampered in preparation for marriage. 

So, they had a special place where women would receive beauty treatments, much like a spa retreat. When I explain it this way, people understand it. But when they hear the fattening room, their initial reaction is shock—they assume it means force-feeding women. That’s not the case at all. It’s more of a pampering room, but we still refer to it by its traditional name.

There are some cultural gaps people don’t immediately grasp. For example, Nigerians have a deep tradition of adorning themselves with jewelry. Some Londoners appreciate this, but it’s not as common in British culture. Just look at the Nigerian women attending this conference—they look incredible.

My art showcases this—it sends a message to the world that women are meant to stand out. We are unique. We shouldn’t be confined to the background.

Jacobsen: It seems like a cultural gap in conceptual understanding. I believe cultures share specific universal ways of organizing themselves, but how they express those traditions varies. British culture, in particular, is very utilitarian. The language is efficient, almost excessively neutral. If you want to add vibrancy, you must put effort into it. Where are you planning to take this next?

Opalaye: Oh, gosh.

Jacobsen: London?

Opalaye: Yes. London, Nigeria, America, Canada.

So far, my work has reached these countries: America, Canada, London, and Nigeria. But my goal is for it to reach everywhere in the world. We live in a time where people travel extensively. There are so many countries people know little about.

Imagine being in a country far from home… Nigerians are everywhere—in Iceland, in the most unexpected places. But if you’re somewhere wearing this hat, someone will ask you about it. And in that moment, you have the opportunity to share your heritage—to talk about your tribe, your origins, and Africa.

That’s the most fantastic thing in the world—to represent where I come from. I am proud to be Nigerian. I want the world to know about Nigeria, West Africa, and Africa. And I want them to see that we are doing things. We have talent. We are creative.

And being African, being Nigerian—and being a woman—is powerful. 

Jacobsen: Thank you for your time.

Opalaye: Thank you very much.

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