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Ayra Starr’s All-Black VMAs Look Was a Futuristic Fantasy We Didn’t See Coming

Somebody check on our mood boards because Ayra Starr just wrecked them—in the best way possible. The Afrobeats princess stepped onto the 2025 VMAs red carpet in New York and delivered an all-black look so sharp, so sleek, and so unapologetically bold, we’re still catching our breath. Let’s start with the pixie cut. Clean. Modern. Effortlessly chic. It had that “don’t play with me” energy, like the kind of hair you get when you’re booked and busy but still serving face. Honestly, we almost booked a salon appointment mid-show.   Now, the outfit. Whew. This bandeau-meets-armor situation was a textile masterpiece: alternating bands of black leather and sheer mesh stitched into futuristic perfection. That diagonal strap across her chest? Chef’s kiss. It was giving warrior princess on a fashion battlefield.   The matching high-waisted trousers sealed the deal. Same leather-and-mesh drama, same sculpted energy, just… flawless. Coordinated sets are clearly not going anywhere, and Ayra just reminded everyone how it’s done. Accessories? On point. Gold drop earrings against all that black were a stroke of genius, while strappy heels echoed the whole bandage-meets-power aesthetic. And the bold lip? The exclamation point we didn’t know we needed.   Sure, the night technically belonged to Tyla—who scooped her second consecutive Best Afrobeats award—but when it came to the red carpet, Ayra Starr left no crumbs. This look wasn’t just fashion, it was a statement: she’s that girl, and she knows it.

Tyla Just Did It Again: Best Afrobeats at the 2025 VMAs

At this point, should we start calling Tyla the face of Afrobeats at the VMAs? Because the South African superstar just scooped her second consecutive win in the category — this time for her addictive hit Push 2 Start. The ceremony, held at New York’s UBS Arena, turned into another career milestone for the 23-year-old, who first took home the trophy last year with Water. This year, she edged out a stacked line-up of Nigerian heavyweights including Burna Boy, Wizkid, Rema, Tems, and Asake — proving once again that her global takeover is only just beginning.   And while the award itself is major, Tyla also knew exactly how to make the red carpet her runway. She turned heads in a vintage ’90s Chanel dress that gave drama, elegance, and a touch of nostalgia — the kind of fashion statement that cements her status as both music and style’s next global force. Of course, the night was packed with other big wins: Lady Gaga dominated with four awards (including Artist of the Year), Ariana Grande snagged Video of the Year, and Mariah Carey accepted the prestigious Michael Jackson Video Vanguard Award. But let’s be honest — Tyla’s back-to-back victory is the one that has Afrobeats fans everywhere celebrating.   Two years, two VMAs, and one unstoppable rise. Tyla isn’t just part of the Afrobeats conversation anymore — she is the conversation.

Ankara, Reimagined: Goodluck Jane Unveils Ankara in Harmony in Abuja

This September, Ankara steps beyond the familiar and into a new visual language. From September 8–12, 2025, Nike Art Gallery will present Ankara in Harmony, a solo exhibition by contemporary visual artist Goodluck Jane, whose work continues to redefine how African textiles function within contemporary art. Ankara in Harmony is not an exhibition about fabric as fashion or ornament. Instead, it positions Ankara as a disciplined artistic medium capable of structure, rhythm, and narrative depth. Across a carefully curated selection of works, Goodluck Jane transforms a widely recognized textile into a site of visual experimentation, cultural reflection, and compositional precision. At the heart of the exhibition is an attention to balance. Patterns are aligned with intent, colours are sequenced with restraint, and layers are constructed to create harmony rather than excess. Each piece invites the viewer to slow down and observe how repetition, spacing, and form work together to tell stories of identity, memory, and community. The fabric itself becomes a voice quiet in some moments, bold in others but always deliberate. Goodluck Jane’s practice is grounded in a strong understanding of cultural inheritance, paired with rigorous training in design and visual expression. This dual foundation allows her to handle Ankara with both respect and confidence, pushing its possibilities without disconnecting it from its roots. In Ankara in Harmony, familiar materials are reshaped to reflect contemporary sensibilities while remaining unmistakably connected to tradition. The exhibition will be presented with clarity and intention. Works will be generously spaced, allowing each composition to stand on its own while contributing to the exhibition’s overall rhythm. Thoughtful lighting and clear sightlines will highlight texture, colour, and detail, encouraging close looking and quiet reflection. Visitors from students and emerging artists to collectors and cultural professionals will be able to engage deeply with both the technical and conceptual layers of the work. Beyond the gallery walls, Ankara in Harmony opens space for broader conversations. The exhibition invites dialogue around African textiles, material culture, and the evolving role of traditional media in contemporary art practice. By repositioning Ankara as a tool for storytelling and aesthetic refinement, Goodluck Jane challenges viewers to reconsider what familiar materials can communicate in modern visual contexts. Hosting the exhibition in Abuja adds another layer of resonance. As a city shaped by cultural, political, and diplomatic exchange, Abuja offers a diverse audience whose perspectives will enrich discussions around heritage, innovation, and identity. The exhibition is expected to draw wide interest, fostering exchanges that extend from informal conversations in the gallery to deeper professional and educational engagement. Ankara in Harmony also holds strong relevance for art and design students, who will find in the work valuable references for material handling, compositional discipline, and conceptual clarity. Informal interactions between students, artists, and collectors are expected to create opportunities for mentorship and dialogue, expanding the exhibition’s impact beyond visual appreciation. With the institutional support of Nike Art Gallery, the exhibition brings together artist-led vision and professional presentation. The result is a body of work that is formally rigorous, culturally grounded, and visually compelling demonstrating how African textile-based art can occupy a confident place within contemporary gallery spaces. Ultimately, Ankara in Harmony continues Goodluck Jane’s exploration of rhythm, structure, and narrative through African textiles. It offers audiences a chance to encounter Ankara anew not just as fabric, but as a powerful medium for expression, reflection, and cultural continuity.