What characteristics distinguish a great film? Taken at face value, it is typical to see how the performers and directors are frequently in the spotlight. However, other players are tasked with moving from set to set for every movie you've ever seen to make sure that the characters we grow to love on our screen are brought to life. The costume designer is one of those participants. It is impossible to overstate the importance of a costume designer in interpreting and portraying a character. In actuality, if the project is successful, it is because the costume designer performed a wonderful job.
We've enjoyed a number of Nollywood movies and television shows over the years, both on Netflix and in theaters. The level of nuanced depiction that the characters in today's biggest movies have attained is chartstopping, from The Wedding Party to Blood Sisters. Yolanda Okereke-Fubara, the top costume designer in Nollywood, spoke with Sophia Edisi about that industry sector, the work they do, and its relevance.
Yolanda Okereke-Fubara describes her professional history when asked to introduce herself to DOWNTOWN, stating that she has been a fashion designer for more than 15 years. After graduating from university in 2009, I started watching movies. After completing my chemical engineering degree, I made the decision to return to my passion for creating and designing women's clothing while I waited to be hired by the big oil companies. I therefore began as a stylist, and after dressing a number of my clients for red carpet occasions and snatching their screenplay, I made the decision to start dressing their characters suitably. I essentially entered the field as a fixer, then.
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Yolanda's entry into the cinema world marks the start of the sector's amazing expansion. Nollywood's output has steadily increased over the past 15 years, from the time when we all used to refer to "home video" to the present, when our films are reaching a wider, international audience by streaming on Netflix. Yolanda's entry into the movie industry could be considered "fate" in some circles.
She described how, ten years ago, she unexpectedly found herself on the set of a project for which she had not been hired. Speaking about the project, which would ultimately become her breakthrough effort, she said, "The Meeting, produced by Rita Dominic, is the one that really threw me out there—because I wasn't even prepared, I was just doing what Yolanda does. I did not have a contract for the work. I had just entered the set to give Kate Henshaw and Nse Ikpe-Etim clothing when I was asked if I had any bookings, to which I replied, "No." And they advised me to continue tomorrow.
I simply followed it. Actually, that was my very first time meeting Rita Dominic for the movie. I received a nomination for costume design out of our six AMA Award nominations. Rita had to play the old school secretary, which was difficult. My buddy Jennifer did a terrific job with the makeup, and since I had seen one of those in person, I was familiar with exactly how they appeared. Ugo did the hair, which is why I mentioned that everything comes together because even if the costume and makeup are perfect, the tale will still not be compelling.
As a result, Rita's character was beautifully created by the three of us when we came together. I never even anticipated receiving an award or being nominated, but here I am. As a result, that was the first project that really challenged me.
Nollywood has matured. The business has been improving steadily but definitely, thanks in part to directors' more all-encompassing approach to production. The benefits of focusing on the parts of the production that are typically ignored by moviegoers are now beginning to show. As the top costume designer in Nollywood, Yolanda receives her justly due flowers from the same bouquet as the biggest personalities in the business. She initially entered the field as a fixer but has now evolved into the bandage keeping it on for more than ten years.
