Words by- Josephine Agbonkhese

For several months earlier in the year, UK-based Nigerian-born Temitope Ayobami Ogunseitan aka Tp4Style—an award-winning visual artist, fashion designer and fashion stylist, was on billboards across the UK, following his recognition in the Portrait of Britain for his resilience and creativity.

The Founder of DrippbyTp4, a sustainable and ethical fashion brand whose journey dates back to 2010 in Nigeria with the sourcing and recreation of vintage clothing from popular thrift markets including Aswani Market, Yaba Market and Katangua Market in Lagos, Ogunseitan’s resourcefulness, resilience and global success is certainly one for the books.
His designs which strongly represent an intersection between fashion and art, have graced major international runways including the London Fashion Week among several others. His creative exploits have also earned him features on the BBC and several other global media platforms.

In this interview with Allure, the dotting father of one, who is also the Founder of ArtsbyTp4 and Tp4 Creative, a fashion styling outfit, delves into his inspiring journey, shedding light on his drive to create a more inclusive and supportive environment for young creatives.

How do all of these make you feel as a Nigerian-born creative?

It’s a testament to the fact that you can always start all over. DrippbyTp4 actually started in Nigeria as Drippcity NG. It was opened in 2010 by me and a partner who was the manager. It got its first physical store in 2019—a place which soon evolved into a hub for young emerging creatives around Akoka in Lagos, as well as students from the University of Lagos; most of whom wanted to do styling, content creation, designing, music, and all.

Between 2019 to 2022, Drippcity had raised scores of successful creatives who became influencers in the fashion industry. Drippcity served as a safe community for these creatives to develop, build and grow in their different creative fields. The space was open to free fashion styling sessions and fitting for music artistes, fashion shoot for models, designers, dancers and gave opportunities to aspiring stylists to learn and grow. The opportunity led to the growth of a lot of fast-rising creatives.

We also linked them up with leaders in the creative industry, especially in the styling industry. Per time, we had around 20 creatives at the hub.

What changed that course?
The hub got demolished without compensation in 2022, and it seemed my whole world and brand crashed–a legacy I had quietly built for over ten years. Everything got demolished and most of the goods were looted by thugs. That left me depressed for several months. Amid all these, my biggest challenge was actually the young people we were working with because the main mission was to support upcoming creatives. I, however, had to relocate with my family thereafter to the UK.

Can you share with us your journey into fashion?

I used to draw as a little child. I did a lot of sketches at the back of my notebooks. During Biology classes in secondary school, I sketched for my classmates too. Because of my passion for both fashion and fine art, I somehow began to visit the popular Aswani Market in Lagos which was close to where I grew up. From the money made from sketches, I would go to the popular Aswani Market to shop for clothes. In the process of shoppers dragging for certain items, some items would get ripped maybe in the arm or anywhere. Someone would still go on to buy one arm and another, the other. Whichever part I got, I would recreate them into something unique. And whenever I rocked them, people would ask where I got them from without knowing it was from the thrift market. I gradually started creating on demand at a commercial level.

That means you knew how to sew?
No, as a creative, I knew how to design and cut my patterns. A tailor would only need to put them together.
Every brand has a message; what’s the message for your brand?

The message is sustainability. I strongly believe in sustainable and ethical fashion, as well as uniqueness. That, therefore, became the guiding philosophy for my brand—and has remained so till date.

How do you maintain that now that you have to deal with increased market demand?

Before, we would create designs in singles. But now that we have more people demanding a particular design, we source more for sustainable desktop fabrics. We do a few custom pieces but in all, our collections are always very limited. At least like five copies of one particular piece in one kind of fabric. We basically go for old fabrics such as even old curtains. So, when the fabric is exhausted, the collection is done.

Tell us about your most recent collection…

My most recent was the Biophilic Collection which was showcased at the London Fashion Week. The Biophilic Collection focuses on ethical practices, bringing together different natural elements such as patterns, shapes, textures and colours to create designs. The goal was to enhance human well-being and brighten up the world.

How is the brand imparting the Nigerian economy as a homegrown entity?

Most of our productions are still coming from Nigeria. We still source our fabrics locally from Nigeria and employ local artisans too. So, most of the staff on my team are still Nigerians based in Nigeria. I have about 20 people on my team working for the brand from Nigeria. We also have a mini showroom where team members access every production and make correction before they are shipped to the UK.

I notice a deep reflection of Nigerian culture in your designs…

Yes. I am from Osun State and in everything I do, I always want to reflect my root. So, you see that in all my designs; every piece tells a story—from texture to colour, fabric and more. I always make sure they connect with African tradition and heritage. Our signature, therefore, comprises multiple patterns, motifs, and colours.

Your personal style is reminiscent of ace stylist Swanky Jerry. Do you have any tie with him?

(Laughs) Not really. But we know each other. I first knew him through friends when he was attending Command Secondary School in Lagos. We called him Obodo back then. I’ve watched his style evolve over the years and I respect him a lot.

What do you consider your biggest achievement so far?
I would say appearing on the Portrait of Britain. It is a prestigious project that celebrates diverse creatives that have been contributing to the rich culture of the United Kingdom. It’s a big achievement for me, being placed on billboards across the UK for over two months. More recently, my project was featured at the Museum of Wales and I consider that a big win too.

You’ve tasted the fashion industries in Nigeria and the UK. What’s your assessment of both government’s approach to the industry?

The Nigerian government has to do more. The British government invests a lot in the creative industry and that is evident in the growth of the industry at every level. Many other countries do same. But it’s different in Nigeria and that has been a major setback for the industry. My demolition experience in Nigeria is a pure testament to that.

Tell us more about your drive for grooming young creatives…

That commitment was the driving force behind the establishment of Drippcity NG, which gradually evolved into a safe community space for creatives. Among other efforts to groom emerging creatives, I remember that in 2017, I started a creative tour alongside my creative friend Lyno Artworld, going to schools and slums across Nigeria, organising and delivering art workshops for youths. This initiative led to an award by the Ogun State Governor. In 2018, I launched an independent art programme, Kopas Art Jamboree, which was a skill acquisition scheme for fresh graduates at the NYSC camp in Lagos.

Over here in the UK, among other things, in 2023, I organised my first art workshop with the African Welsh News in Cardiff, to introduce young persons into the Digital Art space as digital is the next big thing in art. The focus was on illustration, animation and graphics design for the young ones and the turnout was impressive.

Your proudest moment so far?
That’s working on the runway with my one-year-old baby. He has been part of the brand’s identity since he was two-month-old. You always see me with him when I walk on the runway and every event to which I am invited must be able to allow that before I participate.

What was growing up like?
I grew up in a community called Abule near Ajao Estate in Lagos. While the background limited many in their dreams and aspirations, I resolved to earn myself the opportunity I never had, and to also give opportunities to other young people who would have ordinarily been limited. That was why Drippcity strived to create that platform.

How do you relax?
I go camping. Currently, I’m in a camp in Wales and I will be here for about a week. I love to go close to nature, get refreshed, stay in tent for days so fresh ideas come in. Then I set off for the next move.

Who has been your biggest influence?

My dad. But he’s late now. He made so much sacrifices for the family. Growing up, I loved the way he dressed. I think I tapped into his classic sense of dressing. I always want to look classic and vintage, without competing with anyone. From him, I also developed love for vintage cars. My mum too has been a big part of my journey. My wife too has been a great and supportive manager. She actually manages my business.

Your favourite destination?

That will be the Ijesha Waterfall in Osun State, Nigeria. The place is quite relaxing and I enjoy the ambience. It makes you feel so close to nature.

What do you look forward to?

I look forward to being able to support more young creatives to fulfill their dreams of breaking in and excelling into the global creative industry; to see their dreams come through.