Kelechi Oghene, founder of GMYT Fashion Academy, is a seasoned entrepreneur with many years of experience. Through her institute she has empowered over 12,000 women and youths with practical skills. In this interview with NGOZI OKPALAKUNNE, Oghene, who is also the initiator of Global Honours Awards & Business Summit, highlighted key challenges facing the Nigerian fashion industry. She advocated for robust policy frameworks, government-private partnerships, and financial literacy for designers. She stressed that fashion educators should channel enthusiasm into discipline, helping trainees build sustainable businesses, not just brands. Excerpts:
What is the idea behind GMYT Fashion Academy, and what gap do you wish to fill in the industry?
The idea behind GMYT Fashion Academy was born from a deep conviction that talent without structure cannot build legacy. When I entered the fashion industry, I saw incredible creativity, but I also saw a gap. Many designers could sew beautifully, yet they struggled with pricing, branding, scaling, and sustainability.
Fashion was largely informal, skill-based, and disconnected from enterprise thinking. I did not want to build a tailoring school; I wanted to build an institution that trains fashion entrepreneurs. The academy was established to bridge the gap between creativity and business. We introduced structured curriculum, business modules, leadership development, and a clear growth blueprint so that our students do not just sew, but scale.
How has the journey been?
The journey has been intense and transformative. Building an institution in Nigeria comes with significant challenges. Infrastructure instability, economic fluctuations, access to funding, talent management, and policy inconsistencies are realities we have had to navigate.
There were seasons when growth felt overwhelming and seasons when external pressures tested resilience. What has helped me navigate these challenges is structure. From the early days, we prioritised documentation, accountability systems, operational clarity, and continuous education. I invested heavily in my own development so that my leadership would evolve as the institution evolved. Above all, I anchored the journey in purpose. When your work is rooted in impact, you develop endurance.
Where were you before venturing into the fashion world? What has kept you going?
Before venturing fully into fashion, my academic background was in Industrial Relations and Personnel Management. That foundation shaped how I understand systems, people, and organisational development. I also had national visibility in modeling before entrepreneurship. That exposure taught me branding, presentation, and the power of positioning. What has kept me going is purpose. Fashion, for me, is a tool for empowerment. Seeing women and young people become financially independent through skill acquisition is what fuels my commitment. I am sustained by vision and strengthened by continuous learning.
How would you describe the fashion industry in Nigeria and where do you think it is heading to?
The fashion industry in Nigeria is vibrant, expressive, and culturally powerful. It is one of the most dynamic sectors within our creative economy. However, it is still largely informal and fragmented. There is enormous talent, but we need more standardization, more global competitiveness, and stronger policy support. I believe the industry is heading toward greater digital integration, global positioning, and collaboration with technology. Designers are beginning to understand that fashion is not just art, it is data, branding, export potential, and intellectual property. The future belongs to those who combine creativity with strategic thinking.
Having been in the industry for years, what are some of the challenges facing the sector and what is the way forward?
Over the years, some of the persistent challenges facing the sector include limited access to structured funding, weak intellectual property enforcement, dependency on imported machinery and textiles, and inadequate documentation culture among small businesses. The way forward requires a collective approach. We need stronger policy frameworks, partnerships between government and private institutions, revival of local textile production, and deeper financial literacy among designers. The industry must transition from talent celebration to structured economic contribution.
How do you stay current with the latest fashion trends, and how do you incorporate these trends into your academy’s curriculum to ensure students are industry ready?
Staying current with fashion trends requires global awareness. I pay attention to international platforms, trend forecasting reports, digital innovation, and evolving consumer behavior.
However, we do not blindly adopt trends. We analyse them carefully to ensure relevance and sustainability. Our curriculum is reviewed periodically to incorporate digital marketing, global sourcing, sustainable production, and emerging technologies. The goal is not to train students to chase trends, but to understand them and interpret them intelligently within their cultural and market context. Industry readiness requires awareness, adaptability, and strategic thinking.
What do you think is the contribution of fashion education to the nation’s economy?
Fashion education contributes significantly to the nation’s economy. It creates employment, supports small and medium enterprises, expands the creative economy, and reduces unemployment among youth. When structured properly, fashion becomes a powerful economic engine. It sustains a chain of economic activity, from textile producers to stylists, marketers, photographers, and digital content creators. Fashion education moves individuals from dependency to productivity, and that transition has economic implications at scale.
How would you describe Nigeria fabrics and how do they reflect the nation’s cultural heritage?
Nigerian fabrics are deeply symbolic and culturally rich. From Ankara to Adire, Aso Oke, lace, and embroidered northern textiles, each fabric carries identity and heritage. They reflect celebration, tradition, community, and status. Our textiles are storytelling tools. They embody history and artistry. As we modernise fashion, it is important that we preserve the integrity of these fabrics while innovating in design and production. Cultural literacy must remain part of fashion education so that our global growth does not dilute our heritage.
However, my journey in fashion has always been about building institutions that outlive individuals. Fashion is not merely fabric or aesthetics; it is empowerment, structure, and economic transformation. My work is anchored in vision, resilience, and the belief that when education meets enterprHow would you describe Nigeria fabrics and how do they reflect the nation’s cultural heritage?ise, industries evolve.
What are the implications of Nigeria’s new tax reform and how will it impact individuals and business?
Regarding Nigeria’s new tax reforms, the intention to widen the tax net and improve revenue generation is understandable. However, the immediate implication for individuals and businesses is increased compliance responsibility.
Small businesses will need stronger accounting systems, proper documentation, and greater financial transparency. For informal operators, this may feel burdensome. Yet, in the long term, it may push the ecosystem toward more structure and accountability. Businesses that embrace formalisation, tax planning, and financial discipline will be better positioned for sustainable growth
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