Tems is taking stock of a career that has carried her from Lagos to the global stage. In a new interview with British Vogue, the Grammy-winning singer-songwriter discusses the choices, creative discipline and quiet conviction that have shaped one of music’s most distinctive voices.

Photographed by Nadine Ijewere and styled by Jessica Willis, the editorial presents Tems in a series of refined looks from leading fashion houses, highlighting the connection between her evolving musical identity and her expanding presence in fashion.

Photo: British Vogue

The feature also revisits her childhood in Lagos, where she describes herself as exceptionally quiet, revealing that she did not begin speaking until she was three years old. While naturally reserved, music became her earliest form of expression. She began writing songs at around nine years old and spent much of her childhood singing, a habit that continued regardless of attempts to distract her with schoolwork.

The conversation also turns to the artists who have influenced Tems’ creative outlook. She names Frank Ocean and Sade as her dream collaborators, revealing that she has followed Ocean’s music since his SoundCloud days. Tems recalls downloading every song she could find onto an iPod her uncle gave her, while crediting his lyrical approach as a lasting source of inspiration. British Vogue notes that traces of that influence can be heard in her soulful, conversational songwriting, even as she continues to shape a sound that is distinctly her own.

Photo: British Vogue

Since releasing her debut single in 2018, Tems has gone on to become one of Africa’s most celebrated artists. Collaborations with artists including Wizkid, Drake, Beyoncé, Future, Rihanna, Justin Bieber and Dave have expanded her international profile, while her own catalogue has established her as one of contemporary R&B and Afrobeats’ most unique voices. She has earned two Grammy Awards.

Despite those milestones, Tems explains that external validation has never been the driving force behind her career. Rather than measuring success through awards or industry recognition alone, she says her focus remains on creating music that feels authentic to her. That perspective has become one of the defining themes of the British Vogue profile, highlighting an artist whose confidence comes from purpose rather than public approval.

Photo: British Vogue

Fashion occupies an equally important place in the conversation. Working with stylist Dunsin Wright, Tems has cultivated a fashion identity characterised by bold shapes, statement jewellery and luxury labels while maintaining a style that feels distinctly her own.

Away from music and fashion, Tems also discusses the next phase of her career. She reveals that new music is already in development as she continues exploring fresh creative directions. The interview also highlights the mentorship initiative she launched in 2025 to support young African women pursuing careers in music, reflecting a growing commitment to creating opportunities beyond her own success.

Photo: British Vogue

Now based in London, where she has lived for the past five years, Tems describes a life that has changed dramatically from the early days of recording independently in Lagos. Yet the qualities that first defined her career patience, conviction and creative independence remain unchanged. Those values continue to shape every new chapter, whether through music, fashion or the wider cultural conversations she increasingly influences.

Schiaparelli opened Paris Haute Couture Week with The Abyss, creative director Daniel Roseberry’s Fall 2026 Haute Couture collection. Presented in Paris, the collection drew inspiration from beneath the ocean’s surface, tapping into the mystery and quiet power of the deep sea.

Photo: Schiaparelli’s

Rather than recreating underwater life, Roseberry translated its atmosphere into couture through sculptural silhouettes, fluid textures, and meticulous craftsmanship. Elements of surrealist art also informed the collection, weaving fantasy into its tailoring. The designs balanced bold, architectural construction with softer, more fluid details.

Photo: Schiaparelli’s

Among the standout looks was an ivory sculpted corset paired with a voluminous skirt of layered ruffles that moved like waves. A pale blue structured bodice flowed into a delicate lace skirt, while a blush pink ensemble combined a cropped embellished jacket with a sculptural high-shine skirt.

Photo: Schiaparelli’s

Elsewhere, glossy black latex introduced a darker, more dramatic mood, with exaggerated silhouettes and curved forms reminiscent of deep-sea creatures. Shades of ivory, blush pink, powder blue, lobster pink, saffron, and glossy black ran throughout the collection, complemented by statement gold earrings, sculptural jewellery, and coordinating handbags.

Photo: Schiaparelli’s

Every look reflected the precision that has become one of Roseberry’s trademarks since taking over the house. Sculpted corsets established strong silhouettes, while layered ruffles, floral appliqués, and sheer lace softened the overall effect with movement and texture.

Photo: Schiaparelli’s

Hand-applied embroidery, intricate beadwork, and richly textured finishes added depth to each design. Roseberry also played with contrasting materials, pairing glossy surfaces with delicate fabrics so every garment held its shape without ever looking laboured.

Photo: Schiaparelli’s

With The Abyss, Roseberry gave the ocean’s hidden world new form through silhouette sculpted corsetry suggesting shell and layered ruffles moving like current. It’s proof that Schiaparelli’s couture doesn’t need reference to feel like the deep sea; it just needs Roseberry’s eye.

Nigerian twin directors Arie and Chuko Esiri‘s new film, “Clarissa”, a Lagos-set adaptation of Virginia Woolf’s 1925 novel “Mrs Dalloway”, made its world premiere on May 16 in the prestigious Directors’ Fortnight section, and the film has received strong reviews from critics Cannes. Shot entirely on 35mm film, was led by Oscar nominee Sophie Okonedo, the film marks one of the most prominent Nigerian entries at this year’s festival.

The story follows “Clarissa”, a wealthy Lagos high-society matriarch, as she spends a single day preparing to host a party at her waterfront home. As guests from her past begin to reappear, old memories, buried feelings, and unfinished stories come rushing back. The Esiri’s have taken Woolf’s themes of class, regret, and social performance and replanted them squarely in modern Nigeria.

The adaption places greater emphasis on class divisions and Nigerian’s political tensions. A crooked mosaic of Nigeria hangs on a wall throughout the film, with characters constantly trying to straighten it but never quite managing. The Big Ben clock chimes that run through Woolf’s original are replaced here by Islamic prayers over loudspeakers.

Photo: Instagram

Sophie Okonedo plays the present-day “Clarissa”, with David Oyelowo as her old friend and former admirer Peter. India Amarteifio of “Bridgerton” plays young “Clarissa”, Ayo Edebiri of “The Bear” takes on young Sally, Toheeb Jimoh of “Ted Lasso” plays young Peter, and Nikki Amuka-Bird appears as the present-day Sally. Fortune Nwafor plays Septimus, a soldier returning from fighting Boko Haram in the north. The screenplay was written by Chuko Esiri. US studio Neon, known for backing major Cannes titles, acquired the film back in November 2025 before it even reached Cannes.

The reviews coming out of the festival have been strongly positive across the board. The Guardian’s Peter Bradshaw gave it four stars, calling it a seductively mysterious, mesmeric drama with commanding performances. Variety’s Jessica Kiang headlined her review “Sophie Okonedo Illuminates a Quietly Dazzling Nigerian Reinterpretation of Mrs Dalloway.” The Hollywood Reporter’s Lovia Gyarkye called it a quiet revelation, and RogerEbert.com critic Brian Tallerico declared it one of the better films he expects to see this year. The film also received a standing ovation at its Directors’ Fortnight screening.

Photo: Instagram

For Nigerian cinema, the film represents a significant Cannes breakthrough. The Esiri brothers have taken Nigerian stories, Nigerian faces, and a very Nigerian reality to one of the most watched film festivals in the world. With Neon already behind it and the international press firmly on board, “Clarissa” is not just a festival win. It is proof that when Nigerian filmmakers are given the space and resources to tell their stories fully, the world will show up to watch.