Latest / thefashionroundtable / The Woman Behind Nollywood’s Most Iconic Looks- Yolanda Okereke S1 E6

Transcript

The Woman Behind Nollywood’s Most Iconic Looks- Yolanda Okereke S1 E6 · thefashionroundtable

• 0:07
  SPEAKER_01: This episode is brought to you by Credit Direct.
• 0:10
  SPEAKER_01: My name is Bemi Olatera Lakbiki, and welcome to the fashion roundtable.
• 0:14
  SPEAKER_01: My guest today is someone who has been responsible for the way you see your Nollywood characters.
• 0:21
  SPEAKER_01: Think of all the big projects you can think of.
• 0:24
  SPEAKER_01: She's been there from Sugar to the Wedding Party, Blood Sisters, King of Boys, Uloturi, The Meeting, and so many more projects that I'm sure you know she's she's she's worked on.
• 0:40
  SPEAKER_01: She is Yolanda Okirike.
• 0:42
  SPEAKER_01: Please put your hands together for her.
• 0:44
  SPEAKER_01: Incredibly talented.
• 0:46
  SPEAKER_01: Welcome.
• 1:21
  SPEAKER_01: I pray you get this one too.
• 1:22
  SPEAKER_01: My goodness, congratulations and welcome.
• 1:25
  SPEAKER_01: Now, usually I start these um conversations with how did you get started?
• 1:29
  SPEAKER_01: But we'll get into that in a second.
• 1:31
  SPEAKER_01: How does a stylist go for I know you used to also style celebrities and different people?
• 1:36
  SPEAKER_01: How does a stylist get a gig as um or get a film project or a TV project?
• 1:43
  SPEAKER_01: How does that work?
• 1:44
  SPEAKER_02: Huh?
• 1:45
  SPEAKER_02: So um the truth is it when I say a stylist as a costume designer, I can tell.
• 1:54
  SPEAKER_02: Because what they're doing is styling and not telling the story.
• 1:56
  SPEAKER_02: Okay.
• 1:57
  SPEAKER_02: Using the costume.
• 1:58
  SPEAKER_02: Okay.
• 1:58
  SPEAKER_02: So I would always say stylists should stick to being stylists.
• 2:02
  SPEAKER_02: Uh-huh.
• 2:03
  SPEAKER_02: And fashion designers, be a fashion designer.
• 2:05
  SPEAKER_02: Costume designer, be a costume designer.
• 2:08
  SPEAKER_02: Because for costume design, you're not styling anymore.
• 2:10
  SPEAKER_02: You're actually building the costume per frame.
• 2:13
  SPEAKER_01: Okay.
• 2:14
  SPEAKER_02: Every scene is telling a story.
• 2:16
  SPEAKER_01: Okay.
• 2:16
  SPEAKER_02: So if I were a stylist and Bimi's my actor on the set and she's playing Mrs.
• 2:21
  SPEAKER_02: Dandruma, I'm going to style her as Bimi.
• 2:24
  SPEAKER_02: But if I am a costume designer and I understand that Bimi's playing Mrs.
• 2:27
  SPEAKER_02: Dandruma, who is Mrs.
• 2:28
  SPEAKER_02: Dandruma?
• 2:29
  SPEAKER_02: Okay.
• 2:29
  SPEAKER_02: Is she very vain?
• 2:30
  SPEAKER_02: Is she very?
• 2:31
  SPEAKER_02: Is she very loud?
• 2:32
  SPEAKER_02: Is she, you know, all of those things now come together.
• 2:35
  SPEAKER_02: What colors flatter her?
• 2:36
  SPEAKER_02: So I go to Bimi's IG page, look at what Bimi looks like, and Miss Dandruma cannot look like that.
• 2:44
  SPEAKER_02: So that's where the difference is.
• 2:46
  SPEAKER_02: So I'm very, I can very quickly identify, oh, that's the stylist work.
• 2:50
  SPEAKER_02: That's the custom designers work.
• 2:51
  SPEAKER_02: Because I've done it for over 15 years.
• 2:53
  SPEAKER_01: 15?
• 2:53
  SPEAKER_01: Okay, so to be a customer design.
• 2:54
  SPEAKER_01: More than 15 years.
• 2:55
  SPEAKER_01: So what happens?
• 2:56
  SPEAKER_01: They said do they send you like the character breakdown or the script or what?
• 3:00
  SPEAKER_01: How does it work?
• 3:01
  SPEAKER_02: It's our whole process.
• 3:02
  SPEAKER_02: So it starts from the phone call or the email.
• 3:05
  SPEAKER_02: Oh, hello, Yolanda.
• 3:06
  SPEAKER_02: Hi.
• 3:06
  SPEAKER_02: My name is So and So and So, and so production.
• 3:09
  SPEAKER_02: Um, we want you to be the custom designer for the movie.
• 3:12
  SPEAKER_02: Okay, then I say yes.
• 3:14
  SPEAKER_02: Then the next thing is send me the script.
• 3:16
  SPEAKER_02: So the script is the bedrock for everything.
• 3:18
  SPEAKER_02: So I have to read the entire script.
• 3:19
  SPEAKER_02: Even if it's 150 pages, I'll read everything.
• 3:22
  SPEAKER_02: Though we must sign an NDA because in Nigeria now we must put pen to paper out.
• 3:27
  SPEAKER_02: Yes.
• 3:27
  SPEAKER_02: But sometimes you can read all of that and then tomorrow show your ideas.
• 3:30
  SPEAKER_02: Somebody else will go and do it.
• 3:32
  SPEAKER_02: Oh, yes, I've had that before where I've done the breakdown, I've done the load.
• 3:35
  SPEAKER_02: The mood board and everything and shed it.
• 3:37
  SPEAKER_02: And then I'm sitting out waiting for the call, then I just see day one on IGE.
• 3:42
  SPEAKER_02: Ha ha, they took all your ideas.
• 3:44
  SPEAKER_02: Oh yeah.
• 3:45
  SPEAKER_02: Or they just never call you back.
• 3:47
  SPEAKER_02: So I'm very particular.
• 3:49
  SPEAKER_02: If I'm going to sign that ND, it means we're doing that work together.
• 3:52
  SPEAKER_02: It takes a lot to read 150 pages.
• 3:54
  SPEAKER_02: It takes a lot to read 90 pages.
• 3:56
  SPEAKER_02: So you have to read the entire script, then you now break it down.
• 4:00
  SPEAKER_02: In breaking it down, you're doing it for two purposes.
• 4:02
  SPEAKER_02: One is for the budget, the second is for the look.
• 4:05
  SPEAKER_02: Because I need to know how many looks does each character have in the entire film.
• 4:10
  SPEAKER_02: So some characters can have about 30.
• 4:12
  SPEAKER_02: Then you now break down those looks.
• 4:15
  SPEAKER_02: So you see how why I say if you go and carry, you can give somebody else a cue.
• 4:18
  SPEAKER_01: I didn't say that.
• 4:21
  SPEAKER_02: It's painful.
• 4:22
  SPEAKER_01: What projects did you read the script?
• 4:25
  SPEAKER_01: And you were like, oh my god, I cannot waste to get my hands on these characters and dress them.
• 4:32
  SPEAKER_01: I've done so many.
• 4:33
  SPEAKER_01: I know.
• 4:33
  SPEAKER_01: I've done so many in 15 years, I'm sure.
• 4:36
  SPEAKER_02: Which one would I say I read?
• 4:39
  SPEAKER_02: And I'm like, oh my god, I can't wait.
• 4:42
  SPEAKER_02: I would say the two of them.
• 4:47
  SPEAKER_02: Okay.
• 4:48
  SPEAKER_01: Blood Sisters was one.
• 4:49
  SPEAKER_01: I knew it.
• 4:50
  unknown: I knew it.
• 4:51
  SPEAKER_01: I knew it.
• 4:52
  SPEAKER_01: It was it was in my mind, but I didn't want to.
• 4:55
  SPEAKER_01: So Blood Sisters, because I had worked with every single actor.
• 5:00
  SPEAKER_01: Okay.
• 5:01
  SPEAKER_01: You had styled them for like red carpet events and stuff?
• 5:05
  SPEAKER_02: All the movies.
• 5:05
  SPEAKER_02: Or the movies.
• 5:06
  SPEAKER_01: And also red carpet.
• 5:07
  SPEAKER_02: So one or two personal clients.
• 5:09
  SPEAKER_02: So it was one of those I was like, oh my God.
• 5:12
  SPEAKER_02: Like when you get to the point where somebody dies, the whole thing changes from fairy tale.
• 5:16
  SPEAKER_02: So it's like you started with a fashion film and now you're going into something really serious.
• 5:20
  SPEAKER_02: So that one, I was just like, what do I do with this film?
• 5:24
  SPEAKER_02: What do I do differently with this film?
• 5:27
  SPEAKER_02: It can be a fashion film, but it should not necessarily be a fashion film.
• 5:30
  SPEAKER_02: There's also like a strong story.
• 5:32
  SPEAKER_02: There's a strong story here.
• 5:33
  SPEAKER_02: There's suspense.
• 5:34
  SPEAKER_02: There's real drama playing here.
• 5:36
  SPEAKER_02: So that one really challenged me.
• 5:38
  SPEAKER_02: Um I remember when Auntie Mabudu was like, oh, we need to look.
• 5:42
  SPEAKER_02: I said, no, I need to.
• 5:43
  SPEAKER_02: She said, two objects for the lookbook.
• 5:45
  SPEAKER_02: I said, Mah, yes, oh.
• 5:46
  SPEAKER_02: I needed to break every single scene.
• 5:49
  SPEAKER_02: And I think the most challenging character that stuck for me, stuck out for me was Kitensra.
• 5:54
  SPEAKER_02: Because she had to play older.
• 5:56
  SPEAKER_02: See.
• 5:56
  SPEAKER_02: How do you play her older?
• 5:58
  SPEAKER_01: We had a whole moment.
• 6:00
  SPEAKER_01: When I say we, people on Twitter had a whole moment.
• 6:04
  SPEAKER_01: First of all, I have to say this.
• 6:05
  SPEAKER_01: If you are have if you have a project on, whether it's TV, film, a series, whether it's Nigerian or not Nigerian, and Twitter is not talking about it.
• 6:14
  SPEAKER_01: You have not done anything.
• 6:15
  SPEAKER_01: That's number one.
• 6:17
  SPEAKER_01: Every think of every hit film or series, whether it's from Shonda Rheim scandal, Bridget to Emoabudu project, whatever it's.
• 6:27
  SPEAKER_01: And they're not talking about it on Twitter.
• 6:29
  SPEAKER_01: You know, yeah.
• 6:30
  SPEAKER_01: It didn't hit the clothes, were a whole conversation on Twitter when Blood Sisters um premiered.
• 6:37
  SPEAKER_01: I will never forget.
• 6:39
  SPEAKER_01: And I was always looking forward to seeing what Kate Henshaw's character, she was such a nasty character in the first place.
• 6:44
  SPEAKER_01: She was a very wicked woman in the film.
• 6:48
  SPEAKER_01: But her outfits, I was like, why is she like there's tragedy, but this woman has a train.
• 6:56
  SPEAKER_01: I'm just like, why is she?
• 6:57
  SPEAKER_01: At some point, somebody says she's just like a Disney villain because it was a lot of elements.
• 7:03
  SPEAKER_01: Your children, somebody has killed your child, and then you are wearing this purple, luxurious Auntie Yaveno.
• 7:08
  SPEAKER_01: Like, what's going on?
• 7:10
  SPEAKER_02: So it was a I I took um, I went to the deepest part of my creativity, like my deepest, deepest, biggest creative bone.
• 7:18
  SPEAKER_02: And I said, but I pulled that inspiration from women in Nigeria.
• 7:24
  SPEAKER_02: My grandmother found a powerful woman, okay.
• 7:26
  SPEAKER_02: Yes, God bless her memory.
• 7:27
  SPEAKER_02: I miss my grandma so much.
• 7:28
  SPEAKER_02: She was my biggest inspiration for Kate Henshi's character.
• 7:31
  SPEAKER_02: Because she was a woman leader for a political party.
• 7:35
  SPEAKER_02: And every morning, but before, even before she became that, my grandma never had a bad day.
• 7:40
  SPEAKER_02: Okay.
• 7:40
  SPEAKER_02: Like when I mean it never had a bad day.
• 7:42
  SPEAKER_02: Looks like in the morning, her wig is on the weekstand.
• 7:45
  SPEAKER_02: Okay.
• 7:46
  SPEAKER_02: So I learned as early as when I was like eight, nine, I knew that the three steps for a woman was to um um cleanse, tone, and moisturize.
• 7:56
  SPEAKER_02: Fashion fan, all of those things.
• 7:57
  SPEAKER_02: She would do all of that.
• 7:58
  SPEAKER_02: Then you see her with a wig and see her with her outfit, like really flamboyant.
• 8:02
  SPEAKER_02: I'm like, grandma, you going somewhere?
• 8:03
  SPEAKER_02: Like, no.
• 8:04
  SPEAKER_02: I'm like, see, somebody's gonna come and visit me.
• 8:06
  SPEAKER_02: I need to look good.
• 8:07
  SPEAKER_02: And she'll look like that, like she's going out, but she's not going anywhere.
• 8:10
  SPEAKER_02: Then I had the an opportunity to style um, was it um um um Lady Abba Folabio in her house?
• 8:20
  SPEAKER_01: Okay.
• 8:20
  SPEAKER_01: Jesus.
• 8:21
  SPEAKER_02: She's so regal.
• 8:22
  SPEAKER_02: Yeah?
• 8:23
  SPEAKER_02: Huh?
• 8:24
  SPEAKER_02: You see how you say in Patty?
• 8:25
  SPEAKER_02: That's how she looks at home.
• 8:26
  SPEAKER_02: So when you put all these women together, you can birth an Udo Akadimola.
• 8:30
  SPEAKER_02: So for me it was every frame, and also because you know, Kate Henshaw is slim.
• 8:34
  SPEAKER_02: Yeah, how do you make her look big on screen?
• 8:37
  SPEAKER_02: So I needed to go a little bit.
• 8:38
  SPEAKER_02: So every time she came, that's why it says frame by frame.
• 8:42
  SPEAKER_02: I had to design every frame.
• 8:43
  SPEAKER_02: Like every time she was on screen, and you see her, you're like, ah, so even when she's at home watching news, I must know she's there.
• 8:49
  SPEAKER_02: She's going here, I must know she's there.
• 8:51
  SPEAKER_02: Well, I think my favorite outfit that I designed was when she went to see the uh the commission of police.
• 8:57
  SPEAKER_02: And she had to come come down from the private jet.
• 8:59
  SPEAKER_02: I created the outfit three times.
• 9:00
  SPEAKER_02: I think I got on the third one.
• 9:02
  SPEAKER_02: The first one, like, eh, it didn't work.
• 9:04
  SPEAKER_02: The second one, like, mmm, not there yet.
• 9:07
  SPEAKER_02: I just, there was some, I just wanted her to be visible and not visible at the same time.
• 9:13
  SPEAKER_02: So I told her, I said, I made a hood.
• 9:15
  SPEAKER_02: She was like, and the mom was like, What's the hood for?
• 9:17
  SPEAKER_02: I said, Don't worry, it will work.
• 9:19
  SPEAKER_02: You said private jet I be, it has step, don't worry.
• 9:22
  SPEAKER_02: I said, She's going to float.
• 9:23
  SPEAKER_02: I told her, I said, once you come out, have the hood on.
• 9:26
  SPEAKER_02: As you step, push it back and don't work.
• 9:29
  SPEAKER_02: That is my best scene in the whole film.
• 9:32
  SPEAKER_02: Because that outfit money.
• 9:35
  SPEAKER_02: I understand.
• 9:36
  SPEAKER_01: Like, yeah.
• 9:37
  SPEAKER_01: Because back in the day, you'd watch, you know, a film or something, and maybe the family is supposed to be rich, and you're looking at them, and they're like, they look regular.
• 9:46
  SPEAKER_01: They're not supposed to look rich.
• 9:47
  SPEAKER_01: They're supposed to look, do you understand?
• 9:50
  SPEAKER_01: Yes, and I'm not saying that rich people are always flamboyant, but there is a way wealth is is is portrayed without before the character even says anything.
• 10:01
  SPEAKER_01: Give you an example.
• 10:02
  SPEAKER_01: I'm not even talking about Nollywood now.
• 10:04
  SPEAKER_01: If anybody has seen Succession, Succession is about this very wealthy family.
• 10:12
  SPEAKER_01: They look so well put together without labels.
• 10:16
  SPEAKER_01: Yeah.
• 10:17
  SPEAKER_01: In fact, I remember there was a character, I think one of their characters brought a girlfriend or some girl he was seeing to a party, and she had on, you know, these um these designer bags that have logos on them.
• 10:28
  SPEAKER_01: Yeah.
• 10:28
  SPEAKER_01: And they made fun of this person.
• 10:30
  SPEAKER_01: I said, what sort of what is she wearing?
• 10:32
  SPEAKER_01: Like that quiet luxury look that everybody wants to try to embody a few years ago.
• 10:38
  SPEAKER_01: That's, you know, and it adds to the story when the characters look the parts.
• 10:44
  SPEAKER_01: You cannot tell us that someone is a student from a modest background, but they have, and they're not a thief in the film, and they don't look the parts, basically.
• 10:55
  SPEAKER_01: So you are definitely a an integral part of the story.
• 11:01
  SPEAKER_01: Okay.
• 11:01
  SPEAKER_01: But how much research goes into building a character's wardrobe?
• 11:05
  SPEAKER_01: Like, what do you, what are you thinking?
• 11:07
  SPEAKER_01: Because it's not every, now let's break it down.
• 11:10
  SPEAKER_01: It's not every time you're going to get a script where the characters are rich.
• 11:15
  SPEAKER_01: How does the somebody's a you know, but she makes Bully?
• 11:20
  SPEAKER_01: How is she gonna look?
• 11:21
  SPEAKER_01: Is she out there with uh do you understand micro-bleed brows or I know John do you understand what I'm saying?
• 11:28
  SPEAKER_01: Like, like it bothers me when I'm supposed to be looking at a character.
• 11:31
  SPEAKER_01: For example, I watched an epic movie two, three years ago.
• 11:35
  SPEAKER_01: And the person, not really Liz from the person, the warrior had veneers.
• 11:38
  SPEAKER_01: I was like, bro, now the warrior had veneers when they were fighting with spare.
• 11:44
  SPEAKER_01: Ah, his teeth perfect.
• 11:46
  SPEAKER_01: Like, do you understand?
• 11:47
  SPEAKER_01: They didn't even colour it, they didn't even maybe make one look missing, they didn't even do anything.
• 11:51
  SPEAKER_01: So, yeah, these little things.
• 11:54
  SPEAKER_02: Um, I think I went with a mindset of being a fixer because all of these things you said were the things that I thought about.
• 12:03
  SPEAKER_02: Because I I was exposed to Nollywood from a really young age, from teens fall apart to living in bondage, so I would do all of these movies or to the last one that we have all seen.
• 12:12
  SPEAKER_02: So I used to struggle with looking at what they looked like.
• 12:15
  SPEAKER_02: So I didn't go into the industry wanted to be a costume designer.
• 12:19
  SPEAKER_02: I just went in like, I think I even started with fashion design.
• 12:22
  SPEAKER_02: Okay.
• 12:22
  SPEAKER_02: I went from fashion designer to being a stylist.
• 12:24
  SPEAKER_02: So you started so I've gone the whole three.
• 12:27
  SPEAKER_01: So you started out as a fashion designer?
• 12:29
  SPEAKER_01: Yeah.
• 12:29
  SPEAKER_01: Okay.
• 12:30
  SPEAKER_01: How long did you do that for?
• 12:31
  SPEAKER_01: That was in uni.
• 12:32
  SPEAKER_01: I did it for about um two years.
• 12:35
  SPEAKER_01: Okay.
• 12:36
  SPEAKER_02: Two, two, three years.
• 12:37
  SPEAKER_02: I realized it was too tough, it was too expensive.
• 12:40
  SPEAKER_02: Oh, and Taylors will run new masks.
• 12:42
  SPEAKER_01: Yeah.
• 12:43
  SPEAKER_02: Oh, it was my friends.
• 12:44
  SPEAKER_02: I was delighted.
• 12:44
  SPEAKER_02: So in school, then it was myself, one assamble, and funky had the poor.
• 12:50
  SPEAKER_02: Now she's funky freak.
• 12:51
  SPEAKER_02: Okay.
• 12:51
  SPEAKER_02: Yeah, so yeah, when I was still trying to figure it out, when I had a sewing machine on it, burn, I'd be like, Wanna, ah, this was tied as well.
• 12:59
  SPEAKER_02: Then I was always in school every two, I was in Lakers every two weeks.
• 13:02
  SPEAKER_02: Okay.
• 13:03
  SPEAKER_02: To go and buy fabrics and all of that.
• 13:04
  SPEAKER_02: So I knew I had my label, it was called Runny Giselle at the time, but then I was in love with the uh um model called Giselle.
• 13:12
  SPEAKER_02: I was a big Bollywood fan running my umkaji, and I just joined the tour and I said, That's my bracket.
• 13:17
  SPEAKER_02: Okay.
• 13:18
  SPEAKER_02: But after when I hear almost died of tail, I say, Hey, Jesus.
• 13:23
  SPEAKER_02: I just said, maybe I'll just do this staging thing, small, small.
• 13:26
  SPEAKER_02: So from stagnant was where I found costume design.
• 13:29
  SPEAKER_04: Okay.
• 13:29
  SPEAKER_02: And so, in tying to what you just said about the veneers and all of these things, it takes a village to make a film.
• 13:36
  SPEAKER_02: Meaning that every single person, even the actor, must be involved in it.
• 13:40
  SPEAKER_02: So, but sometimes there are struggles where the actors feel like, oh, it's gonna make me look bad on screen, but you're not playing yourself.
• 13:47
  SPEAKER_02: So, those are some of the things that we struggle with.
• 13:50
  SPEAKER_01: To make you look bad on screen.
• 13:51
  SPEAKER_02: Oh, yeah, there was a time I had to speak to production and it had to input in some contracts that most actors will not have a say in what they look like wardrobe-wise.
• 14:01
  SPEAKER_02: Because you can't look like your Instagram self, you can't look like your red carpet self every time.
• 14:06
  SPEAKER_02: Even if you're playing someone glamorous, who is this person?
• 14:09
  SPEAKER_02: You are a character.
• 14:10
  SPEAKER_02: When you're you, you're you.
• 14:12
  SPEAKER_02: So, for example, that whole veneer thing had to have been a conversation with from the director to the producer to the makeup SFX.
• 14:21
  SPEAKER_02: Now we have a lot of SF, there's Hakim Effect, there's Karina, there's uh what's her name?
• 14:25
  SPEAKER_02: Abisoye.
• 14:26
  SPEAKER_02: There's so many of them.
• 14:26
  SPEAKER_02: There's so many of them, they read really good.
• 14:28
  SPEAKER_02: And they can do like false teeth or something.
• 14:31
  SPEAKER_02: They could have given him something.
• 14:32
  SPEAKER_02: I was just like, I remember seeing one movie, and then it was a village film, and this person had a lace front.
• 14:38
  SPEAKER_02: I said, okay, maybe, but then we don't know the reason why she had that.
• 14:42
  SPEAKER_02: Maybe she was on another set.
• 14:44
  SPEAKER_02: Sometimes I don't blame them.
• 14:45
  SPEAKER_02: Money is mmm.
• 14:47
  SPEAKER_02: So maybe they have to like two, three sets.
• 14:49
  SPEAKER_02: In that, if that was me as a costume designer, I'll put a scarf on the head so I can cover this.
• 14:54
  SPEAKER_02: And they probably just see the end.
• 14:56
  SPEAKER_02: Just find ways to mask it.
• 14:58
  SPEAKER_02: So I call it, I say we also have to um reinvent ourselves.
• 15:03
  SPEAKER_02: You must reinvent, go back and look at your last book and be like, what did I do here that I can do differently?
• 15:08
  SPEAKER_02: Because these things show, even up to the nails.
• 15:11
  SPEAKER_02: Oh, yeah.
• 15:12
  SPEAKER_02: Because sometimes we'd have actors who come and then everybody's like, oh my god, she has nails.
• 15:17
  SPEAKER_02: Because we have to look at every single thing.
• 15:18
  SPEAKER_02: You miss some.
• 15:19
  SPEAKER_02: Like the other said, we're on, we're oh, we're struggling with piercings.
• 15:23
  SPEAKER_02: They're like, Oh, why did she?
• 15:24
  SPEAKER_02: I said, No, you guys forget that apart from her being an actor, she's also herself.
• 15:28
  SPEAKER_02: I said, So, what we should have done is a week before, we could have looked at her picture and said, Oh, she has piercings.
• 15:34
  SPEAKER_02: Please can you take everything off?
• 15:35
  SPEAKER_02: We're literally struggling.
• 15:37
  SPEAKER_02: They're taking the first shot.
• 15:38
  SPEAKER_01: We will just say, eh.
• 15:39
  SPEAKER_01: And they noticed that she had piercings.
• 15:41
  SPEAKER_01: It's time to talk about money.
• 15:42
  SPEAKER_01: Listen, as much as we love to talk about the fashion, we have to talk about money.
• 15:46
  SPEAKER_01: Let's talk about investments.
• 15:47
  SPEAKER_01: Now, for a long time, investment felt complicated or maybe out of reach for many, many people.
• 15:54
  SPEAKER_01: And yield by Credit Direct helps investing feel more accessible and less intimidating.
• 16:00
  SPEAKER_01: You can choose options that fit your comfort level from flexible plans to fixed plans that offer strong annual returns.
• 16:08
  SPEAKER_01: Seriously, up to 21% per annum, depending on the option you choose.
• 16:13
  SPEAKER_01: So think about what option you want to choose.
• 16:15
  SPEAKER_01: If you want to find out more, uh, you need to download the credit direct app.
• 16:20
  SPEAKER_01: Also, it's about creating a habit of growth and letting your money quietly build over time.
• 16:25
  SPEAKER_01: If you've been curious about investing but you don't know where to start, again, download the Credit Direct app and explore yield.
• 16:33
  SPEAKER_01: All right.
• 16:34
  SPEAKER_01: You mentioned something about money.
• 16:36
  SPEAKER_02: Yeah.
• 16:36
  SPEAKER_01: How are costume budgets typically structured in Nollywood, for example, in productions, basically?
• 16:43
  SPEAKER_02: Oh, um, so the truth is from the inception of the project, before you even get called, production already has a budget.
• 16:50
  SPEAKER_02: And I I know this because I'm also a producer.
• 16:53
  SPEAKER_01: Okay.
• 16:53
  SPEAKER_02: So we already, there's the holistic figure of what you want to spend to make a movie, but there's also the reality of what the script is saying.
• 17:02
  SPEAKER_02: Yes.
• 17:03
  SPEAKER_02: But sometimes some scripts are larger than life.
• 17:05
  SPEAKER_02: Yes.
• 17:05
  SPEAKER_02: And you read it, you're just like, where do I start from?
• 17:07
  SPEAKER_02: So I've learned over time, I've learned that you know what?
• 17:11
  SPEAKER_02: This one is not for me.
• 17:13
  SPEAKER_02: Sit it out because you're going to get into trouble.
• 17:16
  SPEAKER_02: And you're not going to stain my white, my small white manage, you're not going to stain it.
• 17:20
  SPEAKER_02: Bleach can't even clean it.
• 17:22
  SPEAKER_02: So from the script, everything is broken down to even the underwear.
• 17:28
  SPEAKER_02: You start a budget for it.
• 17:29
  SPEAKER_02: So are you renting?
• 17:31
  SPEAKER_02: Are you buying?
• 17:32
  SPEAKER_02: Are you pulling?
• 17:33
  SPEAKER_02: Are you creating, like producing, like sewing from scratch?
• 17:37
  SPEAKER_02: So all of those things, that's what varies in making up the budget.
• 17:41
  SPEAKER_01: Do you have like an army of tailors who work for you?
• 17:44
  SPEAKER_01: Because I know you've mentioned when we're speaking off camera, you mentioned that you don't like pulling a lot of times.
• 17:50
  SPEAKER_01: You like to create like an outfit from scratch, that sort of thing.
• 17:54
  SPEAKER_01: So if you have read this script and you realize, look, I'm going to have to create a lot of these outfits or these costumes.
• 18:03
  SPEAKER_01: Do you have like your own team of tailors to say, okay, I want you to do this?
• 18:07
  SPEAKER_01: Or there are designers you work with to say, help me create this.
• 18:11
  SPEAKER_02: Ah, I have a team of tailors, then I also have a team of young designers.
• 18:16
  SPEAKER_02: Then I have some relationship with some older designers.
• 18:18
  SPEAKER_02: So a typical example to answer your question would be something about the BRICS.
• 18:23
  SPEAKER_02: This one I talked about, I said at the AMBC nomination.
• 18:26
  SPEAKER_02: I created over 160 clothes from scratch.
• 18:30
  SPEAKER_01: Wow.
• 18:31
  SPEAKER_01: How long did that take?
• 18:32
  SPEAKER_02: It's the fastest I've ever done, but I never want to do it again in such a short time because I I almost died.
• 18:38
  SPEAKER_02: I only had one month to do that.
• 18:39
  SPEAKER_02: It was crazy.
• 18:40
  SPEAKER_02: But because over time I built capacity, I knew how to like share and say this person, this person.
• 18:46
  SPEAKER_02: But what I did with the project in saying that I built an army was I had just recently finished a reality show called Star Magnet on ShowMax.
• 18:56
  SPEAKER_04: Okay.
• 18:56
  SPEAKER_02: My friend show Bisola Molade, show the showrunner.
• 18:59
  SPEAKER_02: I was a lead producer on that.
• 19:02
  SPEAKER_02: So it's like God just gave me this young people because I was looking for there's a lot of young people actually very creative.
• 19:08
  SPEAKER_02: So I had a class of 20 um designers, and I already knew those that were going to go really, really far.
• 19:15
  SPEAKER_02: So I picked seven of them and I said, I'm gonna give you seven of your opportunity.
• 19:20
  SPEAKER_02: You're gonna work with me on a movie, okay, and we're going to kill it.
• 19:23
  SPEAKER_02: So I designed every single outfit.
• 19:26
  SPEAKER_02: And I said, You get five, you get ten, you get this, you get that.
• 19:30
  SPEAKER_02: I paid.
• 19:31
  SPEAKER_01: What happens to these outfits after the production?
• 19:34
  SPEAKER_01: So, like 160 outfits, I'm sure some you still added.
• 19:37
  SPEAKER_01: What happens to the clothes after each production?
• 19:40
  SPEAKER_02: Hey, it belongs to the production.
• 19:42
  SPEAKER_02: So it depends.
• 19:43
  SPEAKER_02: It belongs to some, it belongs to the production.
• 19:46
  SPEAKER_02: Um, if we pulled it, we send it, we send it back.
• 19:51
  SPEAKER_02: If it was made for us, let's say it was a kind gesture, like, okay, I'll make it for you, give me this credit, give me credit, give me the end credit, we send it back.
• 20:00
  SPEAKER_02: But most times it belongs to the production.
• 20:02
  SPEAKER_02: Some productions say they don't want to keep it, and then I end up inheriting it.
• 20:05
  SPEAKER_01: So, what do you do with it?
• 20:06
  SPEAKER_02: Um, some you're able to repurpose.
• 20:09
  SPEAKER_02: Some, it's just there.
• 20:11
  SPEAKER_02: You know, it's just there.
• 20:12
  SPEAKER_02: And after a while, maybe after like two, three, I can't use, so I never like to, I don't know how to repeat stuff in other productions.
• 20:19
  SPEAKER_02: I have made one or two mistakes in doing that, or maybe my team, they've made one or two mistakes in pulling something that I use in another production, and then I see it, it's not good for you.
• 20:28
  SPEAKER_02: So I repurpose what I can repurpose.
• 20:31
  SPEAKER_02: And sometimes we do like a sale.
• 20:33
  SPEAKER_02: Okay.
• 20:34
  SPEAKER_02: So you can do like a garage sale and set, okay.
• 20:37
  SPEAKER_02: Where some people get to buy stuff, but I never like that because if the movie hasn't come out, you buy it, I see it.
• 20:43
  SPEAKER_01: Okay.
• 20:44
  SPEAKER_02: So I rather keep it until when the movie has come out, then three to four months post-movie coming out, you cannot say you want to do a sale or something.
• 20:52
  SPEAKER_02: But some people keep like everyone, we keep everything.
• 20:55
  SPEAKER_03: We keep everything.
• 20:56
  SPEAKER_02: And if we really need to use it in another production, like two, three years down the line, it wouldn't even be for a lead.
• 21:02
  SPEAKER_02: It would be maybe for like the day players, maybe like a wedding scene or like uh be like an extra scene.
• 21:09
  SPEAKER_02: Because you know, with the extras these days, you have to help that wardrobe.
• 21:12
  SPEAKER_02: So I have a line on my budget that says extras.
• 21:16
  SPEAKER_02: Sorry, I don't call the extras, day players' wardrobe.
• 21:19
  SPEAKER_02: Okay.
• 21:22
  SPEAKER_01: Yeah, yeah.
• 21:23
  SPEAKER_01: Yeah, yeah.
• 21:23
  SPEAKER_01: It doesn't make sense to shoot a scene that has extras and the extras don't look like they're actors.
• 21:28
  SPEAKER_01: Yes.
• 21:29
  SPEAKER_02: So I'm very particular about that.
• 21:30
  SPEAKER_02: So yeah, sometimes we we keep them.
• 21:32
  SPEAKER_02: Then also I use sometimes, or recent in recent years, in the last three, four years, I've done a couple of exhibitions.
• 21:39
  SPEAKER_02: So because we've kept and archived some of them, I can take some of these pieces and say, Oh, this was from Far From Home.
• 21:44
  SPEAKER_02: This was from the meeting, this was from La Femme Angela, this was from Blood Sisters.
• 21:48
  SPEAKER_01: La Femme Angela was another good one.
• 21:50
  SPEAKER_01: Oh, yeah.
• 21:50
  SPEAKER_01: That was another good one.
• 21:52
  SPEAKER_02: That was another challenging one because I really, really like, we need this to be.
• 21:58
  SPEAKER_02: And I said, Okay, no matter how we're doing.
• 22:00
  SPEAKER_02: gonna do with an African twist to it.
• 22:02
  SPEAKER_02: But then I did I then I didn't re realize that we had a lot of Ankara prints in different textures.
• 22:09
  SPEAKER_02: I always imagined that it would be but I never found it.
• 22:12
  SPEAKER_02: And then one day I walked into um a store I think owned by Patrick Ianski and she has all three Ankara print you can think about in silk in different textures in silk in the case.
• 22:22
  SPEAKER_02: I was like in Fabric Haven that was how I I was able to achieve lap and go because I really just wanted um Dominic to look a certain a certain way but not just the Ankara wax cutting all through.
• 22:35
  SPEAKER_02: So when that happened I was like yeah I got a nomination for that one too.
• 22:38
  SPEAKER_01: See you know the you know the good ones yeah no I've got no honesty because I I've I've when you are watching I don't know some people don't understand this but I'm not just watching because oh I'm the story is interesting I'm also looking like does this thing make sense?
• 22:54
  SPEAKER_01: Does it make does this character is this?
• 22:56
  SPEAKER_01: Yeah is this person dressed appropriately yeah the person is supposed to be a fraud star there's a certain Yahoo aesthetic for example did they nail it or does it do you understand?
• 23:07
  SPEAKER_01: There's a reason why characters should be dressed the way they are dressed.
• 23:10
  SPEAKER_01: Now have you ever had to create a luxury look on a very tight budget I have because people think I'm the fixer and it's like she's a magician I'm not I think because I I really love what I do and I'm very passionate about it.
• 23:30
  SPEAKER_02: So sometimes I I I feel like most times I don't budget enough.
• 23:36
  SPEAKER_02: I'm just like yeah let's just go let's just go then have and then your eyes will clear when you get to the market when it's time to buy when it's time to create I have I have I have not on multiple projects I have and you know I'm I've given you my word we're going to do it right so I'll find a way sometimes I bleed sometimes I go home with no money but then I think the fulfillment that comes with that satisfaction of just doing that work and seeing the end product yeah just that now house rents have cost now so I can't be doing that again.
• 24:07
  SPEAKER_01: What is the highest budget you've worked with for a production can you give us like a like a range you don't have to mention the production so just say for for a particular project the budget was so and so okay I can call the amount but I cannot call the yeah you don't have to call the the production I mean if you feel free if you want to um it was about 75 or 76 million wow wow yeah it was a lot of money because of how intentional she was with the project how many costumes over a hundred okay okay it was a lot of costumes what's the name of the production I said it I've already thought the name of the I know I think I know who it is there's a person who has a reputation for being very particular about her about their productions even when the person is not around I hear that the person is on uh video call oh yeah paying attention the person the person is busy yeah they might not be on set every time they're shooting but the person is their video call because the person wants to see what is going on you have to be intentional you have to be meticulous if you want things to go well you and some people will look at it and say oh it is micromanaging but look if you want your stuff to go well you're not going to be careless yeah about your projects and thanks to technology you can keep an eye I've done a couple of remote projects like at some point when life was happening and I had to I had to be out of the country had to do with my team so every night would be on the video calls or tagging every second.
• 25:52
  SPEAKER_02: So like you said thanks to technology has made everything feel like you're in that same space with them.
• 25:57
  SPEAKER_01: Have you ever had to dress a character or create costumes for a character that you were confused about?
• 26:03
  SPEAKER_02: Ah yes or okay recently on shop one or there I think we figured it out when the actor finally came to set because I we he had some issues so we couldn't um do you fitting yeah because typically my role is you don't I don't fit on set we must fit before the production yeah one week too everything has to be hanging it's it's better that way so you also see it you feel it you understand who you're playing and then we just didn't know I said director what are we doing like I don't know yet or we can't we couldn't see it was just a very hard character for us to see so I think until we saw him and he walked in and he was like we now look at each other like yes we see it now yeah so it's sometimes there those um fashion is the easiest thing to actually I always say fashion films are the easiest because fashion is very easy to just run and just do fashion but when you're shooting anything that's like a thriller or a bit of action has got suspense in it or it's just that's just like a basic normal world it can be a little bit challenging because you can't make it too ordinary there has to be something unique about it.
• 27:09
  SPEAKER_02: It might be the color or might just be the color or the style or something or maybe it might not be the little spice but the character adds to it that now makes the outfit come a knife.
• 27:20
  SPEAKER_02: So those ones are the hardest you just in your mind like oh just go and buy a brown t-shirt and brown pants it just might not work the way you you've seen it so those ones have I call them their technical challenging to costume design.
• 27:32
  SPEAKER_01: Okay.
• 27:33
  SPEAKER_01: I remember Blood Sisters um there was a particular character that was dragged it was Maurice Sam's character he was supposed to be the hitman and he was and it was a wedding or something I can't remember it was a party scene in the beginning of the and everybody's dressed you know nice you know the mask and this and you know how we dress up for events they were all wearing trad or something or the wedding I can't remember what it was and he was there in a leather jacket yeah and people dragged the character because they were like this is the worst hitman in the history and I guess it also makes sense because at first I was like why will you dress up in a leather jacket if they sent you to kill somebody would you not try to blend in but it further showed that the hitman himself was useless.
• 28:17
  SPEAKER_01: And that's why he was dressed in a leather jacket at a wedding do you understand like there's certain things it's so technical and people don't really sometimes pay attention to these things.
• 28:26
  SPEAKER_01: Okay you've already mentioned you've already answered a few questions I asked because I wanted to ask how actor do actors ever resist your styling choices um do you feel like costume designers get enough credit in Nigerian film?
• 28:41
  SPEAKER_02: Be honest no okay that's part of the things I talked about in my masterclass so I just had a class about three weeks ago and I called the conversation with the master it was very intimate I only wanted 10 people and I needed to get into their heads to understand where the where they were and why they chose to do this.
• 29:01
  SPEAKER_02: And because I've done it I can teach you what I know and it was very interesting to what you said is part of what um they said because I always tell people that if you don't have a camera you can't film.
• 29:14
  SPEAKER_02: If you don't have costumes you can't film so costumes are as important as the camera and I call them the big fives that make up the picture so there's this producer there's a director the cinematographer there's the production designer and a costume designer everybody has to align.
• 29:31
  SPEAKER_02: So that same respect you give to production design like if you don't have this entire set there's nothing so Mimi has to look a certain way so I I walked in here what did I tell you I was gonna wear black but I said how I have the background I said what the it might be black no let me pop some of color it makes a difference.
• 29:49
  SPEAKER_02: Yeah because and then on screen we don't like black black has a way of just being there.
• 29:56
  SPEAKER_02: So a replacement for black is navy blue so when you learn all of these tricks and trade and you're dealing with so many people you're handling so it's a whole institution like some sets I have the last set I was in last year it was me plus about 10.
• 30:11
  SPEAKER_02: Sometimes it takes an army a team of 10 okay to turn the whole thing around and if we have like really big days we got get extra hands we can get another extra five or ten.
• 30:21
  SPEAKER_02: So it's a lot of work so I I don't think that it's being treated the way it should be and I'm very quick to say I'm not a costume here.
• 30:31
  SPEAKER_02: I'm a costume designer two different people okay so we do this thing in other words it just feels like just bring your clothes anything anything no we've passed that stage that was 10 years ago that was 20 years ago now there's a story the story is what we're using as the framework for the film.
• 30:46
  SPEAKER_02: So can we read it?
• 30:48
  SPEAKER_02: Can we understand who these people are can we know who these people are can we know them early enough and then get to work if not it's going to keep being trivial and I've said to some people you have to learn how to say no I learned how to say no just two years ago before I almost die I would how many sets I want to die because oh no you know I cannot hold now just say you know because I now carried insomnia on my back and was wearing it like a medal what do you prefer to do um design costumes for productions or do you prefer like red carpet styling or personal styling what do you prefer to design costumes for really yeah even though it's tougher and the master I love it yeah I've done it for so long so I can do it in my sleep.
• 31:32
  SPEAKER_02: Okay and I love creating so and I also have I think it's also because I have a greater like percentage of creative control and I know how to bring these characters to I love telling stories.
• 31:46
  SPEAKER_02: So anything that will make me bring a character to life it's exciting to be it's a new challenge.
• 31:50
  SPEAKER_02: So everything now has to be it's challenging.
• 31:53
  SPEAKER_02: So now I'm looking for the challenging script like there's some now I'm like I don't want to do this I've been there done that yeah I really I love it because you it's like a play it's like a canvas and you just have your paints and your brushes and you're you're just painting every day.
• 32:07
  SPEAKER_01: What sort of projects do you prefer do you prefer like epic projects where you know they're in the bush somewhere and they are oh it's you know 2000 BC or do you prefer like modern stories?
• 32:18
  SPEAKER_02: Oh so I don't know 6000 times I think I think the story is what does it for me okay so now I'm all about story I've done all the let's just do it because we are now if the story is sweet you don't need to call I I'm writing because I mean I'm very traditional I write before I type yeah so the story I've read some really incredible epic stories some I've never shot them then I've read some really great modern story I just read one really beautiful story also YouTube.
• 32:53
  SPEAKER_02: And person like oh I was thinking I said no I'll do it like you will I said yeah somebody somebody supported me somebody gave me a chance so I don't see anything there's so to me there's no nothing like YouTube film cinema film Netflix every movie is a movie I treat it that way.
• 33:08
  SPEAKER_02: So I read one and I was like wow their budget wasn't it but I said we'll do it like we'll I said for the love of it yeah for the passion for the passion yeah I love it all this love and passion you land after so no I know so I have my um baskets of the yeah where I just say only two people get the because I was going to report to you let me tell you what happened so that I did wrong you didn't do anything wrong but there were times when I think I had reached out and said oh I'd like you to style me for one thing or the other thing the one you told me you starting from Iran Iran Iran oh Iran let me explain to you a little time sorry please and this was like five six years ago or thereabouts when you now say I I looked at the I looked at the amount I blinked twice I think we even spoke on the phone I was like I was my creative gene that time now you know you and you what I was creativity was doing me I I I know but it was it was costly hey you know that time my eye was big the big designers they were calling big money so now when we see all things have passed away this is a new era do I look like what I looked like five years ago no I look sweet after you collected almost 600 million for costuming of course it was not look sweet but I just told you now that I did the YouTube one okay not just tell you okay don't scare my future uh uh clients for those who are it's a good thing that you mentioned that you had a masterclass for those who are interested in costume uh design or styling do you have to go to school for it there are courses right there courses yes I don't know about in Nigeria or but even the good thing is I've seen like lots of online courses for different things but how what are the ways that people can learn apart from school attach yourself to school masterclasses internships internships yeah okay and see the problem is they don't want to they don't want to work on anybody they don't understand that service is where you learn okay i did i i answered this same question in my class and i said look for somebody that you like their work okay and say can I work with you okay can I intern with you okay and you stay there okay so the problem is they don't stay too long it's almost like I'm there for two months I've learned it how can do don't go and come and say work with me or so I'm very strict on getting you did not do freedom never exactly I have to do freedom for you well now I'm very so my DM at some point was a lot of oh I want to I want to I want to I was like you can mentor me if you just want to come and take pictures with JNAV Van ARMD I told them I said do you know for the longest time I never had a thought with any actor I was too busy working to actually even just stance ha there's one before I won't say pimp shall wear costume I see what they would say they say as road I said so who will hold the cloth me she was there for wait she was there to assist you but she quickly walked close to join this I went down to get something came back I saw her I was like um excuse me she was like yeah the director said I said the director said I thought I said to her I said you know what every other person is stay like this since you are wearing cloth and costume and be your actor you will be the standby when they say cut you'll fix everybody here because they were about to go so I just felt like I was like so some of them are distracted like that so it's hard to for me to now say I want to take this person and then pour myself into whatever.
• 36:38
  SPEAKER_02: So if I see it and I identify it I don't have a problem I will coach but if you want to be that whether it's director producer costume designer side serve.
• 36:51
  SPEAKER_02: Go under somebody and learn ask a lot of questions I ask a lot of questions.
• 36:54
  SPEAKER_01: My director can wake up in the morning and say like five questions I've already asked you so many questions we're making a film it's called a film by him not a film by me but I'm here to make his job easy and to translate his vision so if you can serve you get to where you're going to okay please tell the truth and I'm not trying to put you on the spot um today on many Nollywood sets do actresses still come on set with their wigs and use those wigs for the character because you know I've done small small acts here and there and a lot of those it's not like I've done many but those productions I used my own hair so what's happening with that?
• 37:33
  SPEAKER_02: I don't I don't I I say this every time I don't like when actors come to set and they use their hair because when you buy your hair you buy your hair for you your own personal use for your own personal use.
• 37:47
  SPEAKER_02: Yeah and there's the way you like to style it there's the way you like it to look there places.
• 37:52
  SPEAKER_02: So a woman can have five weeks and these five weeks she wears them to five different places like I'm gonna expose myself but you see this is my Bob now there for me I should not wear this bob but I don't have anything to wear here.
• 38:01
  SPEAKER_02: But this is it what's wrong with the Bob Oh no they say they say I should go and buy another week that I've the time I've passed.
• 38:07
  SPEAKER_02: There's nothing wrong with the big boss master class and I did want hair like your hair we're like hey I said that just one I'm going back to the Bob so if I were an actor and I came to say that I knew this Bob it's not the same Yolanda.
• 38:19
  SPEAKER_02: That's why I use myself as an example.
• 38:21
  SPEAKER_02: So she's a character please create a budget for hair I know one thing that we do in Every life very well is no actor must show up with their hair.
• 38:30
  SPEAKER_02: Okay.
• 38:31
  SPEAKER_02: Oh no she's gonna have your neck no because it's a movie we don't want you looking like this.
• 38:37
  SPEAKER_02: So that's why I said do the homework go to their Instagram pages.
• 38:40
  SPEAKER_02: Instagram is now free is free Abby so you can always you can see what they've looked like in the last six months and say okay let's stay away from this so we'll now start to create the hair according to what the character should look like okay so there are different kinds of waves and now they have um I'm not a hair person but I know that they have this one they call something blend.
• 38:58
  SPEAKER_02: Blend yeah yeah synthetic hair I will love I love it past the other one because it makes me look yeah so you can buy that it's cheap you can buy that how was it you know every film has films have different um duration so some maybe the film story is like 10 days some is one day some is like three months or a year so you break it and so at the end of the day Bim's character might have like three hair why do three hair have actors ever stolen your costumes ah they'll run away with the costume.
• 39:34
  SPEAKER_02: Yeah sometimes you just take it offset and you never get it back yeah even if if you call and say please can you bring back that blouse yeah some do that it's a bad habit no I'll I'll send it back I'll send it back and you just never send it back.
• 39:49
  SPEAKER_02: So now I report it so if I notice it now now I'm very so I think some of them got away with it in my early middle days but now you can't try it no the production somebody has to pay for it somewhere if you like it pay for it.
• 40:04
  SPEAKER_02: But then I don't sell costumes yeah because you can wear the clothes before the film comes out I don't I can't it took me time to design that oh you might need to reshoot for continuity or something or something or something along the lines.
• 40:15
  SPEAKER_02: Don't you need a lot of do you like do you have like a warehouse where you keep all these things I do I have a rental store okay I have okay I have a warehouse where I keep stuff but just that Lord want to finish my life oh yeah yeah rent is rent is crazy I want to give me grants I'm open for grants and I I can tell you what I want I want big you know those big warehouses that look like that conga place yeah that's kind of warehouse you need that's the dream I love it yes I love it yes finally who controls how the characters look the most the director the stylist or the budget or all of the above it's uh it's the the answer is is two the director really because he has to see what he has to see that's why it's a director's film but the budget cannot get in the way okay of interpreting the director's uh television okay the stylist too can be overzealous and get in the way of seeing it another way but it's that's usually the director so the person you talk to the most is the director because he already has because there's a treatment he gives so after you've read the script and you've agreed to do the film before you even do your lookbook you have to work off his treatment.
• 41:27
  SPEAKER_02: So his treatment has everything that he wants to see from production design to the tone of the film the theme color palette everything is there.
• 41:35
  SPEAKER_02: So it's like the template you now use to work to do your lookbook.
• 41:39
  SPEAKER_02: So if what you give him as your lookbook or your mood board is entirely different from what he gave in his treatment then that's a conflict of interest.
• 41:47
  SPEAKER_02: So it stems from him because that is the treatment that is the whole film that you see at the end of the day.
• 41:54
  SPEAKER_01: Thank you Yolanda for stopping by it was really really good to have you and I think you know what we'll probably have this conversation again very soon.
• 42:02
  SPEAKER_01: Well it's a never ending conversation it's a never ending conversation because there's so much to learn but there's so little time uh thank you again don't forget to follow her at Yolanda Okirike right yes yes on all social media platforms only on IG Tok I don't know I'm don't know it's I'm not I'm too old I don't see I can't keep up with this social media you know I love a giveaway and as usual this week we're giving you a gift voucher to shop at a Nigerian fashion brand but all you have to do is first download the Credit Direct app and then follow them on IG follow us at the fashion roundtable show us proof in the DMs and you could be this week's winner.
• 42:44
  SPEAKER_01: Thank you for watching this episode was brought to you by Credit Direct