From Lagos roots to Scottish runways

Fashion has long crossed borders, but for Scotland-based Nigerian creative Esther Oladapo, clothing functions as a narrative device shaped by migration, memory and identity rather than mere aesthetics. Working between cultures, Oladapo has built a practice that draws on West African heritage while engaging directly with Scotland’s contemporary fashion and creative scenes, positioning her among a growing cohort of diasporic designers redefining how African stories are told in European spaces.

Based in Scotland for several years, Oladapo’s work reflects a dialogue between her upbringing in Nigeria and her professional formation in the United Kingdom. Her designs frequently incorporate hand-crafted elements, textured fabrics and symbolic detailing that reference everyday life, social rituals and women’s experiences across African societies. Rather than leaning on spectacle, her collections are often described by curators and peers as quietly political, exploring belonging, displacement and the emotional weight of cultural inheritance.

Educated in fashion and creative disciplines in the UK, Oladapo has taken part in independent showcases, collaborative exhibitions and community-driven fashion projects across Scotland. Her work has appeared in local fashion weeks, pop-up exhibitions and interdisciplinary platforms that combine design with photography, performance and storytelling. These spaces have allowed her to operate outside the commercial pressures of mainstream fashion while developing a recognisable aesthetic rooted in narrative depth.

Industry observers note that Oladapo’s rise coincides with broader changes in the British fashion ecosystem. Designers from African and diasporic backgrounds are increasingly gaining visibility, not only in London but also in regional creative hubs such as Glasgow and Edinburgh. Scotland’s fashion scene, traditionally smaller and less centralised, has become more receptive to experimental voices, particularly those blending fashion with social commentary and craft traditions.

Oladapo’s creative process often begins with personal reflection. Interviews and exhibition notes describe her approach as research-driven, involving archival study, conversations with family members and engagement with African textile histories. Fabrics such as adire-inspired prints, woven cottons and layered silhouettes are reinterpreted through a contemporary lens, avoiding direct replication of traditional dress while retaining cultural resonance.

Sustainability and ethical production form another strand of her practice. Like many emerging designers working outside large fashion capitals, Oladapo operates on limited runs, prioritising quality and longevity over volume. She has spoken in public forums about resisting fast-fashion cycles and about the importance of slowing down production to preserve creative intent and reduce waste. This approach aligns with wider industry shifts, as consumers and institutions place greater emphasis on responsible fashion practices.

Her presence in Scotland has also shaped her engagement with community-based initiatives. Oladapo has participated in workshops and mentoring programmes aimed at young creatives from minority backgrounds, using fashion as an entry point for discussions on identity and self-expression. Such outreach reflects a broader understanding of fashion as a social tool rather than a closed commercial industry.

Curators who have worked with Oladapo highlight her ability to translate complex cultural narratives into wearable forms. Garments are often accompanied by visual or written storytelling, allowing audiences unfamiliar with Nigerian contexts to engage with the ideas behind the designs. This layered presentation has helped her work travel across disciplines, attracting attention from photographers, filmmakers and performance artists.

The growing international interest in African fashion has provided additional context for her trajectory. Designers across the continent and the diaspora are gaining recognition for challenging stereotypes and expanding definitions of luxury, craft and innovation. Oladapo’s work fits within this movement while maintaining a distinct voice shaped by her lived experience in Scotland. Rather than positioning herself solely as an African designer abroad, she occupies an in-between space that reflects contemporary patterns of mobility and cultural exchange.

As institutions and fashion platforms continue to diversify their programming, creatives like Oladapo are increasingly seen as contributors to national conversations about culture and representation. Her career illustrates how regional creative ecosystems can nurture globally relevant voices without requiring assimilation into dominant fashion capitals.