Shola Bamidele is the CEO and founder of Loom Rooms, a firm that manages a creative ecosystem in Nigeria. In this interview withFELIX OLOYEDE, he says that the Nigerian creative industry needs to build institutions to sustain its current successNigeria’screative industries have become one of the country’s biggest cultural exports. What story do you think the headlines about Afrobeats and Nollywood are not telling?Afrobeats and Nollywood didn’t conquer the world because Nigeria built the perfect creative system. They conquered the world because Nigerians became remarkably good at succeeding despite an imperfect one.When people see sold-out arenas, Netflix premieres, Grammy wins, or global chart success, they’re seeing the result. They’re rarely seeing the years of uncertainty that came before it—the producer creating hits through power outages, the filmmaker stretching impossible budgets, or the young creative trying to understand contracts without legal guidance.Those stories don’t make the headlines, but they are the reality for thousands of people across this industry.Working with creatives at Loom Rooms has reinforced something I believe deeply: Nigeria has never lacked talent. What we’ve lacked is a system that consistently allows talent to flourish. Too many brilliant people spend more time solving everyday problems than developing their craft. That isn’t how a thriving creative economy should work.I’m equally encouraged by another story that’s quietly reshaping the industry – the rise of women in leadership across music, film, fashion and media. More women are directing, producing, managing, building companies and telling stories from perspectives we’ve not heard enough of. That isn’t simply progress for representation; it’s expanding the creative possibilities of the entire industry.The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Nigeria’screative industries have become one of the country’s biggest cultural exports. What story do you think the headlines about Afrobeats and Nollywood are not telling?Afrobeats and Nollywood didn’t conquer the world because Nigeria built the perfect creative system. They conquered the world because Nigerians became remarkably good at succeeding despite an imperfect one.When people see sold-out arenas, Netflix premieres, Grammy wins, or global chart success, they’re seeing the result. They’re rarely seeing the years of uncertainty that came before it—the producer creating hits through power outages, the filmmaker stretching impossible budgets, or the young creative trying to understand contracts without legal guidance.Those stories don’t make the headlines, but they are the reality for thousands of people across this industry.Working with creatives at Loom Rooms has reinforced something I believe deeply: Nigeria has never lacked talent. What we’ve lacked is a system that consistently allows talent to flourish. Too many brilliant people spend more time solving everyday problems than developing their craft. That isn’t how a thriving creative economy should work.I’m equally encouraged by another story that’s quietly reshaping the industry – the rise of women in leadership across music, film, fashion and media. More women are directing, producing, managing, building companies and telling stories from perspectives we’ve not heard enough of. That isn’t simply progress for representation; it’s expanding the creative possibilities of the entire industry.The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Afrobeats and Nollywood didn’t conquer the world because Nigeria built the perfect creative system. They conquered the world because Nigerians became remarkably good at succeeding despite an imperfect one.When people see sold-out arenas, Netflix premieres, Grammy wins, or global chart success, they’re seeing the result. They’re rarely seeing the years of uncertainty that came before it—the producer creating hits through power outages, the filmmaker stretching impossible budgets, or the young creative trying to understand contracts without legal guidance.Those stories don’t make the headlines, but they are the reality for thousands of people across this industry.Working with creatives at Loom Rooms has reinforced something I believe deeply: Nigeria has never lacked talent. What we’ve lacked is a system that consistently allows talent to flourish. Too many brilliant people spend more time solving everyday problems than developing their craft. That isn’t how a thriving creative economy should work.I’m equally encouraged by another story that’s quietly reshaping the industry – the rise of women in leadership across music, film, fashion and media. More women are directing, producing, managing, building companies and telling stories from perspectives we’ve not heard enough of. That isn’t simply progress for representation; it’s expanding the creative possibilities of the entire industry.The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. When people see sold-out arenas, Netflix premieres, Grammy wins, or global chart success, they’re seeing the result. They’re rarely seeing the years of uncertainty that came before it—the producer creating hits through power outages, the filmmaker stretching impossible budgets, or the young creative trying to understand contracts without legal guidance.Those stories don’t make the headlines, but they are the reality for thousands of people across this industry.Working with creatives at Loom Rooms has reinforced something I believe deeply: Nigeria has never lacked talent. What we’ve lacked is a system that consistently allows talent to flourish. Too many brilliant people spend more time solving everyday problems than developing their craft. That isn’t how a thriving creative economy should work.I’m equally encouraged by another story that’s quietly reshaping the industry – the rise of women in leadership across music, film, fashion and media. More women are directing, producing, managing, building companies and telling stories from perspectives we’ve not heard enough of. That isn’t simply progress for representation; it’s expanding the creative possibilities of the entire industry.The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Those stories don’t make the headlines, but they are the reality for thousands of people across this industry.Working with creatives at Loom Rooms has reinforced something I believe deeply: Nigeria has never lacked talent. What we’ve lacked is a system that consistently allows talent to flourish. Too many brilliant people spend more time solving everyday problems than developing their craft. That isn’t how a thriving creative economy should work.I’m equally encouraged by another story that’s quietly reshaping the industry – the rise of women in leadership across music, film, fashion and media. More women are directing, producing, managing, building companies and telling stories from perspectives we’ve not heard enough of. That isn’t simply progress for representation; it’s expanding the creative possibilities of the entire industry.The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Working with creatives at Loom Rooms has reinforced something I believe deeply: Nigeria has never lacked talent. What we’ve lacked is a system that consistently allows talent to flourish. Too many brilliant people spend more time solving everyday problems than developing their craft. That isn’t how a thriving creative economy should work.I’m equally encouraged by another story that’s quietly reshaping the industry – the rise of women in leadership across music, film, fashion and media. More women are directing, producing, managing, building companies and telling stories from perspectives we’ve not heard enough of. That isn’t simply progress for representation; it’s expanding the creative possibilities of the entire industry.The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. I’m equally encouraged by another story that’s quietly reshaping the industry – the rise of women in leadership across music, film, fashion and media. More women are directing, producing, managing, building companies and telling stories from perspectives we’ve not heard enough of. That isn’t simply progress for representation; it’s expanding the creative possibilities of the entire industry.The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. The next chapter shouldn’t be about proving that Nigerians are talented. The world already knows that. It should be about building an industry where success depends less on extraordinary resilience and more on opportunity, professionalism and institutions that help great ideas become lasting businesses.Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Through Loom Rooms, you’ve worked closely with emerging creatives across different disciplines. What patterns are you seeing that convinced you Nigeria’s biggest challenge isn’t talent, but infrastructure?The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. The biggest surprise for me wasn’t discovering how talented Nigerians are, but how much of that talent is spent fighting problems that shouldn’t exist.When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. When people hear the word “infrastructure”, they immediately think of roads and electricity. Those matter, but creative infrastructure goes much further. It’s access to affordable workspaces, reliable internet, legal advice, funding, mentorship and professional networks. Those are the things that quietly determine whether someone builds a career or gives up.At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. At Loom Rooms, we’ve met musicians who create incredible records but don’t understand music publishing. We’ve met filmmakers with outstanding scripts who have no idea where to access development funding. We’ve met designers building world-class brands without protecting their intellectual property. These aren’t failures of creativity; they’re failures of access.One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. One pattern I’ve noticed is that opportunities often travel through private networks instead of public knowledge. Funding exists. Grants exist. Training exists. But unless you’re connected to the right circles, you may never even hear about them. That’s an industry challenge we have to address.That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. That’s one of the reasons we built Loom Rooms, a creative hub in Egbeda, Alimosho Local Government Area – the most populous local government area in Lagos State. The name “Loom Rooms” reflects what we believe creativity should do: weave people, ideas and opportunities into communities.We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. We deliberately chose Egbeda because we wanted to challenge the idea that creative excellence only happens in Lagos’ traditional commercial districts. Some of Nigeria’s most gifted creatives live in communities like Alimosho. Talent is everywhere. Opportunity shouldn’t have an exclusive postcode.When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. When creatives share the same environment, remarkable things happen. A producer meets a filmmaker. A fashion designer meets a photographer. A songwriter meets an animator. Those conversations become projects, businesses and, ultimately, careers. That’s the kind of creative community we’re intentionally building.That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. That’s why I don’t believe Nigeria has a talent problem.Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Some argue Nigeria has become very good at producing stars but not institutions. Do you agree, and what explains that gap?I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. I think Nigeria has mastered the art of producing exceptional individuals. What we haven’t mastered yet is building organisations that can outlive those individuals.Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Our creative industries are full of remarkable success stories, but too much of that success is still personality-driven rather than institution-driven. When one person leaves, the structure often disappears with them. That’s a challenge because lasting industries are built by organisations, not only by stars.Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Part of that comes from the environment we’ve grown up in. For many people, survival comes first. When you’re focused on paying salaries, supporting family or finding the next opportunity, it’s difficult to think twenty years ahead. Institution-building requires patience, long-term thinking and the willingness to invest in something that may benefit someone else more than yourself.I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. I understand why many creatives think that way. The industry is incredibly competitive. Opportunities can feel scarce. But if every generation starts from zero, progress becomes much slower than it should be.I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. I also believe we don’t spend enough time studying and celebrating the people who built the foundations of today’s industry. Every mature creative economy has a strong sense of continuity. People learn from previous generations instead of constantly reinventing the wheel.The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. The real measure of success isn’t how many stars a country produces. It’s how many great companies, schools, studios, labels and creative institutions continue creating opportunities long after their founders have stepped aside.That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. That’s the shift I believe Nigeria now needs to make.There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. There’s an argument that the creative industry in Nigeria quietly exploits young talent—long hours, no contracts, no credit. Is that a fair charge, and who is responsible for changing it?Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Yes, it’s a fair criticism, and one we shouldn’t be afraid to confront honestly. Sometimes we’ve romanticised exploitation by calling it hustle. Too many young creatives are told they should simply be grateful for an opportunity, even when they’re working without contracts, proper credit or fair compensation. Passion should never become an excuse for poor professional standards. At the same time, I believe knowledge is one of the strongest forms of protection. Young creatives need to understand contracts, intellectual property, negotiation and the business side of their craft just as seriously as they develop their artistic skills. Talent opens doors, but knowledge helps you keep ownership of what you create.Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Relationships also matter enormously in this industry. Your reputation often travels before your work does. Building trust, treating people well and understanding your own values are just as important as technical ability.Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Responsibility, however, cannot rest only on young creatives. Industry leaders have to model better behaviour. Labels, agencies, production companies and employers should embrace transparency and fair agreements as standard practice rather than exceptions. Investors should recognise that healthier businesses produce better long-term returns. Policymakers should strengthen the legal systems that protect creators.A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. A stronger industry benefits everyone. The goal shouldn’t simply be to produce more successful artists. It should be to build an industry where the next generation doesn’t have to choose between pursuing their dreams and protecting their dignity.Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Related NewsDon’t let me die, Actress Ngozi Nwosu seeks N30m for life-saving surgeriesTalent alone won’t sustain a career, discipline is key, says Ramsey NouahEmeka Ike’s N10bn suit: Voter information not confidential, INEC tells courtLoom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Loom Rooms positions itself as more than a co-working or creative space. What problem were you trying to solve that you felt the market had overlooked?We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. We didn’t set out to build another creative space. We set out to build the kind of environment we wished existed for creatives in Nigeria.When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. When most people think about creative hubs, they think about desks, Wi-Fi and meeting rooms. Those things matter, but they don’t solve the deeper problem. Creatives don’t just need a place to work; they need a place to grow.What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. What we kept seeing was incredibly talented people working in isolation. A filmmaker didn’t know a composer who lived ten minutes away. A fashion designer had never met the photographer who could transform their brand. A producer was looking for a songwriter while a songwriter was looking for a producer. Everyone was moving, but not necessarily moving together.Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Loom Rooms was built to create those collisions. Beyond collaboration, we also wanted to challenge the idea that creativity and business are separate things.For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. For too long, many creatives were encouraged to see business as something secondary – something to think about after the art had been made. We believe the opposite. Your creativity deserves structure. It deserves strategy. It deserves financial discipline. Building a creative career isn’t just about making great work; it’s about building something that can sustain you for years.Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Ultimately, Loom Rooms exists because we believe great ideas shouldn’t fail simply because people don’t have the right environment to develop them.How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. How do you measure the success of a platform like Loom Rooms? Is it occupancy, partnerships, or the careers that emerge from the community?If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. If our biggest achievement is that our building stays full, then we’ve aimed far too low. Occupancy matters because it keeps the lights on. Partnerships matter because they create opportunities. But neither of those is the reason Loom Rooms exists. We exist to build people, businesses and creative communities.I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. I’m especially proud that those stories are beginning in Egbeda, Alimosho Local Government Area. For too long, many people have assumed that meaningful creative ecosystems can only exist in a handful of Lagos neighbourhoods. We’re proving that world-class creative communities can grow wherever people are willing to invest in talent, relationships and opportunity. If creatives from Alimosho go on to build globally recognisedcompanies because they found collaborators, mentors or opportunities at Loom Rooms, that’s success to me. That’s exactly the kind of impact we hoped to create.Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Success, for me, is measured by what happens after people leave our space. Did someone meet a business partner here? Did a collaboration become a company? Did an artist release a project they once thought was impossible? Did a young creative become confident enough to build a sustainable career?Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Those are the outcomes that matter.I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. I’m also interested in how far those stories travel. I don’t want Loom Rooms to contribute only to Nigeria’s creative economy. I want it to become part of Africa’s creative conversation and, ultimately, a global one.That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. That means learning from other markets while remaining rooted in our own identity. We shouldn’t imitate the UK, South Africa or the United States. We should understand what works, adapt it to our realities and build something uniquely Nigerian.If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. If, years from now, people can point to companies, films, albums, fashion brands or creative ventures that began because two people met at Loom Rooms, I would consider that a far greater achievement than any occupancy rate.Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Buildings don’t create legacies. Communities do. People do.The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. The creative economy is often described as Nigeria’s next economic frontier. What would actually have to change for it to become a genuine driver of jobs and sustained economic growth?The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. The biggest opportunity isn’t creating more artists. It’s building more creative businesses.When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. When people hear “creative economy,” they immediately think about musicians, actors or filmmakers. But creativity runs much deeper than that. It’s designers, software developers, architects, animators, game developers, fashion entrepreneurs, writers, photographers, marketers and thousands of people whose ideas create value every day.To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. To unlock that potential, we have to stop treating creativity as entertainment alone and start treating it as serious economic infrastructure.That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. That begins with better data. Investors fund industries they understand. Governments support industries they can measure. Without reliable information about employment, exports, revenue and growth, we’re often making billion-naira decisions based on assumptions.We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. We also need financial products designed specifically for creative businesses. Intellectual property should become something creators can build wealth from, not simply something they produce and move on from. Equally important is education. We need more people trained in entertainment law, music publishing, rights management, creative technology, animation, production management and business development. Every successful artist depends on an entire ecosystem of professionals behind the scenes.Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Finally, we have to strengthen Nigeria’s domestic creative market. A healthy creative economy isn’t sustained only by international recognition. It’s sustained when millions of Nigerians can afford to buy books, attend concerts, visit cinemas, purchase fashion, subscribe to streaming services and support local creators.When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. When creativity becomes both culturally valuable and commercially viable, it stops being viewed as an alternative career. It becomes an engine for national development. And I believe that’s exactly where Nigeria has the potential to go.If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. If you compare Nigeria with a market like the UK or South Africa, what specific support structures exist there that we haven’t been able to build here, and why?The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. The biggest difference isn’t talent. It’s that those industries make it easier for talent to become an enterprise.Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Countries like the UK and South Africa have spent decades building layers of support around creative work. They have stronger funding systems, more developed publishing industries, better copyright enforcement, established festivals, specialisededucation, stronger guilds and more mature professional networks.Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Those structures don’t make people more creative. They simply make it easier for creativity to become a sustainable career. I also think they are more comfortable investing in experimentation.In Nigeria, we often wait for something to be validated somewhere else before we fully embrace it. We’ve seen that happen across several creative genres and formats. Yet some of the most exciting ideas I’ve encountered come from young Nigerians who are blending local culture with global influences in completely original ways.We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. We also need to recognise that building institutions takes time. None of these countries developed their creative industries overnight. They invested consistently, protected intellectual property, built professional organisations and kept improving over decades. Nigeria doesn’t need to copy another country’s model. We need to build one that reflects our realities, our culture and our strengths. Because if we create the right support systems here, I genuinely believe Nigerian creativity can compete with anyone in the world.Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. Looking ahead, what do you think Nigeria’s creative economy will need over the next decade that it doesn’t have today?First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. First, intellectual property has to become a serious economic asset. As artificial intelligence transforms content creation, ownership will become even more valuable than production. Creators need confidence that the law will protect what they build. Second, we need investment in creative infrastructure beyond Lagos. Studios, performance venues, post-production facilities, gaming hubs and creative districts should exist across multiple cities because talent certainly does. Third, we need better access to finance. Financial institutions must become more comfortable valuing intellectual property and designing products that reflect how creative businesses actually generate revenue.We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy. We also need reliable industry data. Investors, governments and businesses make better decisions when industries are measurable rather than anecdotal. Education has to evolve as well. Tomorrow’s creative economy will require people who understand animation, gaming, entertainment law, AI-assisted production, digital marketing, rights management and creative entrepreneurship, not just artistic practice. Perhaps most importantly, we need stronger Nigerian creative companies. We’ve done an extraordinary job exporting artists. The next challenge is exporting record labels, film studios, technology platforms, fashion houses, production companies and media businesses that are owned, built and scaled from Nigeria. My biggest hope for 2036 is that the conversation is no longer about Nigerian talent finally being recognised. I hope it’s about Nigerian institutions leading the global creative economy.