Under my regime, once you launch your new fashion line and up to five of your designs look like what everybody and their tailor is already selling, you will be shut down. Because what exactly is the gap you claim you came to fill?
If more than two designers are producing the exact same designs, all of you will report to court and prove who launched first. If nobody can prove it, only the designer with the better price point survives. The rest of you, back to the sketchbook.
If your brand story and your designs are not speaking the same language, you will be shut down. You also cannot be shouting “empowering the everyday working woman” while your dresses start from ₦100k. You’ll be shut down and fined for your deceptive advertising.
If your finishing is poor and you still have the audacity to be launching more collections instead of getting better, you will be shut down and sentenced to two years of compulsory and intensive design training. You will only return to the market after you pass with an above-average score. No mercy because what are we here for?
If you just woke up one day and because you dress well, you decided to start a fashion brand without any training or real business knowledge, no fashion license for you. Bring a co-founder who actually understands design and the fashion business, then the state can listen to you.
To obtain the state fashion license, you must prove that at least twenty people in your immediate circle can actually afford what you’re selling. The state will not entertain “aspirational pricing.”
Everybody running RTW brands must think carefully before naming them. Words will mean exactly what they mean. If you claim RTW and you are operating like couture-by-whatsapp, you will be shutdown and fined wickedly.
If you give your designs traditional human names like Aduke, Ijeoma, Amaka and friends, the state will conduct background checks. We will locate real women who bear those names. If up to ten of them cannot afford the outfit you named after them, you will be barred from using human names moving forward. Because if the actual humans carrying the name of your design cannot even dream of buying it… what exactly are you doing? Tribute or subtle mockery? You and your pricing delusions will be shut down.
And if you say you cater to diverse body types, you must prove it. Either use state-assigned models across sizes or submit your casting for review. If your “diversity” is size 6, size 8, etc., you will not only be shut down, you will do jail.
the cast though.
all the actors here are good. but the novel is deeply literary. for instance, aunty lola maintained the usage of symbol. the characters’ body sizes/carriages acted as metaphors/symbols which reflected some of the realities, like authority for one.
iya segi is portrayed as someone that took up space. her size reflected her authority, dominance and permanence as the matriarch/first wife of the family. she is not portrayed as someone soft. her body was commanding. and outside fiction, her features are peculiar to women in such setting (child birth, stress induced weight gain, etc).
and her size is also linked with her obsession with food. hence, her carriage and body size are important to the narrative.
and i am yet to see any of the cast members who penetrate into that quite well. and amongst other wives, bolanle was a perfect contrast to her (in light of physique, education, composure, etc).
and also, to a large extent you can compare her character with the character of lady portia featherinton in bridgerton: both are manipulative, protective, tailored by structural violence, and were both oppressors and survivors. they called the shots, even though their husbands were deluded enough to think they were the ones steering the affairs of their respective households. and polly walker is widely regarded as a strong and fitting interpretation of the character in the novel.
iya tope, she is portrayed as someone who weaponized her sexuality. she fought for attention. she cared more about being felt. she used her body, dressings, emotional currency, etc to fight for her place. her character was defensive, and reactive. and i think bimbo ademoye will enact her character sublimely.
amongst the male actors i have seen, femi branch may do justice to the character of baba segi.
for iya femi she equated visibility with danger. she’s cautious and was engulfed by anxiety. she was portrayed as small and fragile. she was constantly shrinking to avoid confrontation. her body size reflected her invisibility. she was an antithesis to iya segi. her body was literally saying “see, please i am not threatening. just live and let me be. i am content with whatever i am given”.
the author is deliberate about their physique. she pays rapt attention to both big and wee details, and highlight their importance to the story and to the readers. and i think this is typical of aunty lola, because it’s a trait even her students express (aiwanose odafen for example).
the characters were intricately and symbolically shaped. each character was portrayed to point to something larger than what is presented visibly to the reader. liberty is given in literature, but justice is also expected especially when it comes to an adaptation.
fingers crossed sha.
@fadekeojora He should have married & got children between 18-29. Doesn't he know men expire at 30? Tsk! Tsk!😌
Also, see now he's going to join a church, rebrand, and a clueless woman will be praying for her womb for the next 30+ years bc he made her believe she's the one who is infertile.
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Actually, Christian podcast girls need to start talking about other things asides "season of singleness".
Let's make good money, can't we?
Let's do street envagelism, let's pray sick people to healing.
Let's donate to our local communities.
Let's do stuff and talk about stuff.