By Gregory Austin Nwakunor

Funmilayo Adekanye is a mental health advocate. The University of Ibadan-trained psychologist, however, has found joy in the creative industry, where visuals play a great role in shaping human perceptions.She likes crafting costumes that communicate character traits and enhance storytelling. She knits emotions into her costumes. Little wonder she has received critical acclaim, with the award-winning film, Eagle Wings, the poster of what she has done over the years.

Her attention to details paid off, as the film earned multiple awards, particularly for its costume design.

According to her, the success was largely driven by authenticity. With the film rooted in patriotic and institutional themes, she focused on precision—accurate uniforms, clear rank distinctions, fabric aging and continuity.

The film, produced by Papel Productions, in collaboration with the Nigerian Air Force and NAF Investments Limited, was released in 2022. It is widely regarded as Nigeria’s first full military-themed feature film.
She has gone to prove her mettle in such other film as Ireke: Rise of the Maroonand over the years, has steadily positioned herself as one of Nollywood’s most intentional and research-driven designers, using costume not merely as wardrobe, but as a narrative tool.

The designersays“my passion lies in creating costumes that go beyond aesthetics to communicate character traits and deepen storytelling in film.”

She muses, “every costume is designed to reinforce character evolution and support the story.”

Adekanye says costume designers play a vital role in influencing how stories are told and perceived in various media, from film and theatre to television and fashion.

These past years, she has risen through the ranks—from assisting roles to leading costume departments—building her craft through discipline, research and continuous learning.

She observes that Nollywood itself has undergone significant transformation, moving from basic wardrobe styling to more intentional, research-driven design. With the rise of global platforms such as Netflix, she noted, expectations around quality, detail and authenticity have increased.

On the evolution of costume design in Nollywood, Adekanye observes a shift from basic wardrobe styling to more intentional, research-driven design, driven in part by global streaming platforms raising production standards.

At the core of her technique is an unusual foundation— psychology. “My process begins with understanding the human being,” she says. “I break down each character’s fears, motivations, status and internal conflicts before I even think about fabric.”

She saysever since she has grown through experience, research and continuous learning.

According to her, “I begin with character profiling. I break down the emotional structure of each character — their fears, motivations, status and internal conflicts. Before fabric selection, I understand the human being.”

She believes that this approach allows her to build a visual identity using silhouette, texture and colour, with structured and sharply tailored outfits used to convey authority, while subtle fabric variations reflect vulnerability.

“When costume feels real, the audience believes the story,” Adekanye says, explaining that the inspiration behind the designs drew from a mix of military research, Nigerian identity and cinematic storytelling principles.
Tracing her journey in the make-belief industry, she reveals that her interest began with storytelling and acting, while Nollywood’s role as a cultural archive drew her in.

Adekanye, however, emphasised that collaboration remains key, noting that constant engagement with the director and production team ensures harmony with the film’s tone, pacing and emotional depth. Like many productions in Nollywood, the journey was not without its challenges.She identified balancing realism with cinematic appeal within tight budgets and timelines—a familiar struggle in the industry—as the biggest hurdle. She said careful pre-production planning, strategic sourcing and custom tailoring helped her deliver both accuracy and visual impact.

Beyond structure and realism, she also infused subtle elements of Nigerian culture into the film, while maintaining the discipline of military styling, local identity was expressed through textures, tones and off-duty scenes—most notably a wedding sequence featuring Ankara fabrics. “The blend was intentional—modern silhouettes with cultural undertones,” she explains.

Adekanye believes she has contributed to this evolution by integrating psychological analysis and structured pre-production processes into her work, helping elevate costume design into a key storytelling element.

While the former tested her ability to deliver precise, research-based military costumes, the latter allowed her to explore cultural history and symbolism, earning international recognition, including a screening at Cannes.

Despite the progress, she points to persistent challenges facing costume designers in Nollywood—limited budgets, tight schedules and insufficient recognition. To address this, she calls for better planning, structured budgeting and greater institutional support, stressing that costume design plays a critical role in shaping a film’s narrative quality. To aspiring designers, her advice is clear: go beyond fashion.

Offering advice to aspiring designers, Adekanye stresses the importance of studying human behaviour alongside fashion, noting that costume design is fundamentally about storytelling. She also urged practitioners to develop discipline, master continuity and build strong professional relationships.