Yolanda Okereke is a visionary fashion entrepreneur and respected industry leader, known for her exceptional work as a costume designer and creative producer in film and television. With over a decade of experience, she has consistently shaped the visual identity of some of Nollywood’s most iconic productions, earning a reputation for her artistic depth, organisational precision, and bold storytelling through costume.
She is the Founder and Head of The Rani Company, a leading costume design and styling firm, and The Wardrobe Shack, a costume rental house serving high-profile film and television projects across Nigeria. Rani Gisele was launched while studying Chemical Engineering at university.
Her extensive credits include critically acclaimed projects such as Netflix’s Blood Sisters and Òlòtūré, as well as The Wedding Party, King of Boys, La Femme Anjola, The Set Up, and Day of Destiny.
Her contributions have earned her nominations at the Africa Movie Academy Awards and the Africa Magic Viewers’ Choice Awards, and she was recently awarded Best Fashion Collaboration Film at FAME Week Africa, where she celebrated Nigerian costume design through a dedicated showcase.
What inspired your transition from a degree in Chemical Engineering to a successful career in costume design and fashion entrepreneurship?
I have always been a creative at heart. As a child, I would cut the curtains in my house as a kid to make new dresses for my Barbie dolls. Any fabric or cloth I laid eyes on….”oops! Too bad.” I really did want to be an engineer, but it was always a second love, which took a back seat as soon as I found fashion designing, which led me to fashion styling, and ultimately propelled me to costume design.
Fashion styling wasn’t profitable at the time I started, but I did it anyway. I would say costume design found me, and I was blessed to have strong voices to encourage me to stay in that lane and grow into a leader. Mildred Okwo was very instrumental in helping me focus on being the best costume designer I could be. She was the first person to tell me, after I worked on ‘The Meeting,’ that I had an eye and gift for telling stories using costumes. I’m forever grateful for that.
I was just passionate and enjoyed telling stories, even when the budgets were ridiculous. I always found ways to make lemonade out of lemons, so that when Mo Abudu’s FIFTY movie came, life had prepared me for greatness I didn’t know I was destined for.
Eventually, chemical engineering became my fall back plan if fashion didn’t work, but I am still here. The little girl who made dresses for Barbie dolls is now The Yolanda Okereke that is known all over for her craft. To God be all the glory.
Can you share your vision for The Rani Company and how you plan to further redefine costume design in Nollywood?
For The Rani Company – One stop shop for the costume design wardrobe in Africa, first and foremost and then, the world.
I’m taking action now by being a part of innovative projects across all media (print, film, tv, digital) and co-productions whilst training others to equip and finesse the skills of the current generation and those to come.
Beyond looking glamorous on screen, I want people to experience and see costume design from Africa, and come here to understand how we do it and what makes it unique and memorable.
In your experience, how does costume design contribute to storytelling in film and television, and what elements do you prioritize when creating costumes?
Costume design is as important as the camera. Without it, there is no story. It’s a major factor of telling the story. It allows the character to become who they need to be through pieces that are curated to the personalities of the characters.
In creating costumes, I apply the principle of science and my knowledge from Chemical Engineering – Observation, Experimentation and Analysis.
It is important that the intention behind creating every piece comes through in the telling of the story. From the sketch, to the illustration, to selecting the fabrics and colour, down to production of the garment, I ensure everything is well checked. Every element is important, from the body size of the actor to the lighting and when the costumes are fitted.
What are some of the biggest challenges you face in the Nigerian film industry, and how do you overcome them as a costume designer and entrepreneur?
There are three. Budget, time and access. Nollywood budgets are pretty modest, which often impacts the ability to execute the vision of the story. We need better access to capital to allow us to execute without compromise. The better the budget, the better the outcome.
The changeable condition in the Nigerian economy poses unique challenges as an entrepreneur. It’s a tough world, and a hard season for everyone, so we have to be conscious and considerate in the budgeting process to ensure we have mutually beneficial outcomes.
Time is also a major challenge. The more time you have, the better quality and outcomes you’ll get. Time is a constraint and affects productivity. Giving your best is also affected. Budgets also affect time.
Overcoming these factors takes sheer determination and tenacity. I am building a system that works for me and my team, in order to accommodate these mitigating factors.
Among your extensive credits, which project has had the most significant impact on your career, and why?
This is interesting. Let me take you on a trajectory to get to the answer:
The Meeting: I got my first AMAA nomination with this one and it was unexpected and an amazing feeling.
Fifty: This one reminded me that I was onto something and I was destined to do this.
The Wedding Party: This changed the game in the industry and cinema culture. It was memorable.
King of Boys: This was one for books. I did a thing here and everyone loved it. It was talked about for a long time.
Far From Home: Ohhhhh! This was a hit.
Seven Door and House of Gaa: I told the world that I can also do epics, not just boxed to glamour.
Something About The Briggs: This one challenged me.
Blood Sisters: This was the killer, it felt like I had never shot a movie in my life. Its reception and embrace was bigger than winning any award. My phone buzzed throughout the year, I couldn’t say yes to everyone. I knew I had struck gold. Yolanda finally won after all these years.
How did your experience on Style Magnate influence your approach to mentorship and nurturing emerging talent in the fashion and film sectors?
Before Style Magnate, I have been blessed with a group of young costume designers and stylists who look up to me, some of whom I had supported and trained. These mentees have always had access to me for advice and instruction. Style Magnate was different because I got to actively spend time with 20 amazing contestants on a daily basis and understand their uniqueness. The show provided an opportunity to get the best out of emerging talent without making them feel like they are being ridiculed for TV. Mentorship is not easy, and it’s not a charity practice. It involves nurturing and it takes time. There are tricks to the trade that would require time and patience to pass on and follow up. Being able to pour myself into someone is something I dream of. There has to be another Yolanda Okereke, I can’t do it all. My mentorship programme kicks off pretty soon, I am excited for the new faces I am going to meet and run with me on the next projects on my table. It’s hard work but fun work.
How important is it for you to showcase African culture and heritage through your costume designs, and what unique aspects do you aim to highlight in your work?
The past is important so we remember, learn and pay homage to those who came before us.
With the present, I innovate using elements of the past and I hope to showcase where we can go and what we can achieve with the future of African fashion. In essence, my work does all three things about African culture and heritage: Teach, innovate and inspire, and it is beautiful.
Nigeria has hundreds of tribes each with its unique culture. We have stunning variety, radiance, elegance and wealth everywhere we turn, each place peculiar and unique. It is important to me that this commonwealth of culture is seen in full display, in all their glory.
Now we have foreigners wanting to have Nigerian weddings because of the display of beauty, culture, affluence and lush nature. This is an important influence of Nollywood in spreading our culture globally.
What does it mean to you to be invited by the Smithsonian Museum to host a Masterclass, and how has this recognition influenced your career and aspirations?
It was such an honour to be recognised in that way. The Smithsonian team had seen my work and loved it, so they invited me to do a masterclass on costume design and African fashion/culture. It was such an amazing experience. I was proud of myself because I felt like I had earned it, and made real, this dream of a lifetime. It feels good to be internationally recognised and I appreciate it. It shows I’m headed in the right direction and I hope it inspires my colleagues on the continent in my field to keep going.
I also had a piece displayed at the Smithsonian. I was tasked with recreating the dress that Genevieve Nnaji wore on the cover of Ike Ude’s Nollywood portrait book. Seeing it on full display at the Smithsonian Museum with my name written there, it was and still is everything. It made me want to be more and do more. Yes, the world is my oyster.
As the Creative Director of The RaniCompany, how would you describe your personal design aesthetic, and how does it influence your work in costume design?
My style isn’t one style, however, what is consistent about my work is the attention to the small details which has helped me deliver on the briefs I work on and expand on the creativity God has given me to do what I do.
I am a product of my environment. My inspiration comes from many life events and experiences. I often piece elements from my experiences into threads that I use to tell a story through costumes. I like simple, clean looks but costumes are not about my personal preferences, they are about the characters, hence there is a need to understand the lives of these characters in order to deliver the look which accurately depicts them.
The story locations are also a big influence. Costume design is science that is difficult to cheat one’s way through. Growth leads to evolution. I am always on that evolutionary process, and as I evolve, so is my thought process and approach to design.
What advice would you give to young designers looking to break into the costume design industry, particularly in Nollywood?
If you are not passionate about what you are doing, this is not the career for you. However, passion can only take you so far, you have to be disciplined and lead with patience. Costume design is not a get rich quick scheme. You have to be creative, consistent and build a unique voice. You are a major key player in telling a story, so your thought process matters. Your mind and brain are thinking tanks.You have to learn and unlearn every day. The key advice is patience and passion. These two gifts will carry you far and even on the days you have zero faith.
In what ways do you see technology impacting costume design and the fashion industry in the coming years?
There is a lot of growth that has been accelerated by technology, especially AI. For example storyboarding. What you have in your mind could be produced by AI in quick time, so it will provide speed for previsualising work. So, master it and embrace it, then use it as a tool to be the best you can be and provide efficiency.
Can you share some insights into your collaborations with international platforms like Netflix and Amazon, and what you’ve learnt from these experiences?
Industry standards and practices are important and I feel the reason I kept being called back is because I delivered on previous projects, not just the creative outcome but also the process along the way. These international platforms expect you to deliver on time and budget so I would say what I learnt along the way is “know your craft but be willing to learn and adapt.”
The spirit of excellence is key, don’t compromise.
What upcoming projects are you particularly excited about?
Blood Sisters 2! uhhhhhhhhhh…..it’s fire!!!. There are so many of them. There is also Stitches, directed by Shirley Frimpong Mason. And there’s Dust To Dreams, directed by Idris Elba. I am looking forward to that and it’s coming out pretty soon. I’m excited. I am living my dream. Doing what I love.
