Beyond Patriotism: Why Mary Nwamu Obi-Rapu Believes Nigerian Luxury Must Earn Its Premium

African fashion is growing rapidly, with demand for high-end African couture expected to surge by 42% over the next decade, according to UNESCO. Nigeria, one of the prominent powerhouses in the global fashion industry and in Africa, is leading this shift, even while spending over ₦1 trillion on imported fabrics each year.

In this interview with ThisDay, Mary Nwamu Obi-Rapu, the founder and creative director of ASAABA, a contemporary luxury fashion house, shared how she uses local, handwoven fabrics to honour Nigerian history, the daily challenges of rising production costs and power cuts, and why local brands must earn customer trust through great quality instead of patriotism alone. Excerpts:

Nigeria imported over ₦1 trillion worth of textiles in 2025. With our rich textile heritage, why do you think we still depend so much on foreign fabrics? 

Nigeria has a rich textile heritage, but rebuilding a modern textile industry takes more than that. We face serious production challenges, including unreliable electricity, inconsistent supplies of cotton and other materials, ageing machinery and high operating costs. Many large textile companies have closed or reduced their operations. That has weakened the links between farmers, mills and fashion businesses, and local producers often struggle to meet the market’s needs for volume, variety, quality and price. 

Government support needs to be consistent and practical. We need investment across the value chain, from farming and processing to power, equipment and finance. We also need to address smuggling. Import restrictions alone will not rebuild the industry; local producers need the conditions to make fabrics that businesses can depend on and customers want to buy. 

Nigeria’s textile story is not only about large factories. Our traditional textiles carry knowledge, identity and skill. At ASAABA, we bring heritage fabrics into contemporary designs, and we believe supporting weavers and other makers is part of strengthening the wider industry. 

The global luxury market has faced slower sales in recent years. How do you convince customers that Nigerian luxury is worth paying a premium for? 

I don’t believe customers should pay a premium simply because a product is Nigerian. The product has to earn that value through its design, materials, quality, finishing and the skill behind it. 

At ASAABA, we bring heritage fabrics into contemporary designs that women can wear with confidence today. Each piece connects the wearer to Nigerian craft and identity while still feeling modern and personal. We produce in small batches and pay close attention to the details. 

I want customers to understand the hands and knowledge behind what they are wearing. When someone chooses ASAABA, they are choosing a distinctive piece and supporting the artisans and traditions connected to it. Nigerian luxury can stand on its own through its craftsmanship, creativity and quality. We have to make sure the product lives up to that promise. 

Many Nigerians still prefer foreign designer labels. Do you think that mindset is changing, and what will it take for local brands to earn the same prestige? 

I do think the mindset is changing, although there is still work to do. Nigerian designers are creating beautiful, distinctive fashion, and local brands are becoming more visible. For that interest to grow, customers need to trust the quality, fit, finishing and service they will receive. 

A brand earns trust through its work. That means thoughtful design, consistent quality, good finishing and dependable service. We also need to tell our stories with confidence. At ASAABA, we draw on heritage textiles and bring them into contemporary designs that feel relevant to a woman’s life today. 

Visibility matters too. When people can discover local brands, see the work presented well and hear from customers who have worn it, that helps build confidence. I believe the mindset is moving. Lasting prestige will come from continuing to deliver work that is original, well made and proud of where it comes from. 

African designs often inspire international fashion brands. Do you think Nigerian designers are getting enough recognition and financial rewards for their creativity? 

African fashion is receiving more international attention, and Nigerian designers are part of that. But visibility does not always mean fair recognition or reward. When our designs and cultural heritage inspire commercial work, the source should be acknowledged, and the people behind it should have an opportunity to benefit through collaboration, licensing or payment. 

We also need stronger support to help Nigerian designers protect their work and build businesses that can reach wider markets. At ASAABA, we work with heritage textiles because they carry history, skill and identity. I hope people value not only their beauty, but also the makers and communities behind them. 

You work closely with traditional weavers. Are young people interested in learning these skills, or are we at risk of losing an important part of our heritage? 

I would say it is both yes and no. Many young people are looking for opportunities beyond their villages, and it can be difficult to encourage them to learn weaving if they do not see a reliable way to earn a living from it. We have to make the work sustainable as well as preserve the tradition. 

At the same time, some young people are learning. Some of the weavers I work with are teaching their sons and daughters the skills and techniques so the knowledge can continue in the family. That gives me hope. We need to pass those skills on and create stronger opportunities for young people to build a livelihood from them. 

What has surprised you most about the spending habits and fashion preferences of Nigerian women? 

What I have noticed is how thoughtfully women balance personal style, quality and value. Nigerian women know what they like. They want clothing that feels beautiful, fits well and works for the occasion. I also see interest in local designers who bring a fresh perspective to familiar fabrics and traditions. Heritage can feel entirely contemporary when it is designed with care. At ASAABA, I listen to our customers and learn from the ways they make each piece their own. 

With rising production costs in Nigeria, how do you keep your designs affordable to your target customers without compromising quality? 

This is a difficult question because I want ASAABA to be accessible, but the cost of producing our work has risen considerably. The materials used for weaving cost more, and power is unreliable. Even after investing in solar, I sometimes have to buy fuel to run a generator when there has not been enough sun to charge the panels. Labour costs have also gone up with the cost of living. 

These pressures affect our margins. I am still working out how to make our pieces more affordable without compromising quality or undervaluing the people behind the work. I am determined to keep building ASAABA and to be thoughtful about how we produce and price each piece. 

Your first collection tells the story of women who survived the aftermath of the Asaba massacre. How do you ensure such a painful history is treated respectfully when translated into fashion? 

With The Women Who Raised Us, my intention was to pay homage to the women who lived through the aftermath of the Asaba massacre. We remember the men who were killed, but the women left to grieve, raise children and rebuild their families are often missing from the conversation. I wanted them to be remembered and honoured as heroes in their own right. 

The collection is not about making light of their suffering. It is about recognising their resilience and ensuring their part in the history of the Asaba massacre is not forgotten. I hope each piece carries that sense of remembrance and respect. 

Social media has helped many Nigerian fashion brands gain international attention. How important has it been to ASAABA, and can one popular post translate into lasting business success? 

Social media is important for a new brand because it helps people discover you. I have seen brands get tremendous attention from a post that goes viral, and that visibility can create opportunities. But I am not sure one popular post on its own can create lasting business success. Customers also need to trust the brand, understand what makes it different and have a good experience with its products. 

African fashion is receiving more attention, but the space is crowded and competition is strong. At ASAABA, we have to keep showing up, telling our story and building trust over time. We have to stay the course and keep pushing through. 

Many women want to start businesses but struggle with funding and support. From your experience, what do you think women entrepreneurs need most to succeed in Nigeria? 

Women entrepreneurs everywhere need fair access to funding, mentorship and networks. Women often have to work harder to prove their abilities and the value of their ideas. In Nigeria, those challenges can feel even greater because entrepreneurs also face high operating costs, unreliable infrastructure and limited support for small businesses. 

The government, the private sector and our communities all have a role to play by improving access to finance, mentorship and practical business resources. Women need encouragement, but they also need the conditions and support to build sustainable businesses. 

Is sustainability becoming a major conversation in fashion? Beyond using traditional fabrics, what practical steps is ASAABA taking to reduce waste and support responsible production? 

Sustainability is at the forefront of what we do at ASAABA. We help preserve longstanding weaving techniques and respect the time and skill that go into creating each textile. We are also intentional about using our materials thoughtfully. We use deadstock to make jackets, vests, scrunchies and pillows, giving those fabrics a new purpose instead of letting them go to waste. For us, responsible production means valuing the materials and the people whose work brings them to life. 

If you could change three things about Nigeria’s fashion industry today, what would they be and why? 

If I could change three things, I would strengthen local sourcing, improve the conditions for producing in Nigeria and invest in technical skills. 

First, we need to rely less on imported inputs by building local capacity to produce textiles and fabrics, as well as accessories and hardware such as buttons, zips and fastenings. That can create jobs and keep more value in the Nigerian economy. Second, we need reliable power and better infrastructure so designers and manufacturers can produce consistently and compete. 

Third, I would invest in technical trades, from weaving and textile production to tailoring, finishing and making fashion accessories, so businesses can find the skilled artisans they need. These changes are connected. Stronger local supply chains, infrastructure and skills can help Nigeria grow its fashion industry and reduce dependence on imported clothing and material. 

Quote:

● “I don’t believe customers should pay a premium simply because a product is Nigerian. The product has to earn that value through its design, materials, and the skill behind it.”

● “We remember the men who were killed, but the women left to grieve, raise children, and rebuild are often missing from the conversation. I wanted them to be remembered as heroes in their own right.”