Nana Akua Addo’s Cathedral Dress at the 2026 Africa Magic Viewers’ Choice Awards (AMVCA) may have lasted only a few minutes on the red carpet, but its impact continues to spark conversations around the future of wearable art in fashion.
Behind the sculptural piece is Nigerian multidisciplinary artist Ifechukwu Gerald, whose growing body of work is steadily influencing how fashion, painting, and storytelling intersect.
Working alongside designer Mohammed Abass Ossu, Gerald contributed to the creation of the architectural-inspired piece, transforming fabric into a hand-painted visual structure that blended fashion, sculpture, and design language.
In this exclusive interview with The Nollywood Reporter (TNR), Gerald discusses his journey into wearable art, his viral AMVCA moment, and the legacy he is building through his practice.
Where the Journey Began
Gerald explains that his realization that fashion and fabric could serve as his canvas did not happen by accident but through an intentional artistic path. As a graduate of Fine and Applied Arts, he majored in painting, while fashion design also formed part of his academic specialization.
He notes that fashion and art are often treated as separate disciplines, but in reality, they overlap more than people assume.
“Fashion is still itself an expression of art through costumes and what we wear,” he explains.
He adds that the term “wearable art” emerged largely because of its audience-facing nature, even though the practice itself has existed for years.
According to him, artists like himself are only expanding an already existing tradition rather than creating something entirely new.
“It’s not the first time people have painted on clothes, but we’ve taken it a notch further by merging wearable art with high fashion,” he says.
He recalls that his wearable art journey began in 2023 when designer Veeky James approached him for a collaboration on Toke Makinwa’s AMVCA gown. Gerald describes the project as a complete experiment with no room for error.
“It was a one-shot experience. We had just one chance to get it right. That was the beginning for me,” he shares.
He adds that the project influenced how wearable art began to gain attention within Nigeria’s fashion space, especially as more designers started to explore similar creative risks.
“There are things you cannot achieve on fabric without artists like us bringing them to life,” he notes.
Inspiration and Creative Process
Gerald describes his inspiration as a mix of experience, environment, and collaboration.
He also highlights Nigerian fashion designers as central to his creative process, noting that their ideas often shape the direction of his work.
“First of all, of course, I need to say that these fashion designers are creative. Fashion designers are artists and their canvas is fabric,” he says.
Most of his work, he explains, involves interpreting a designer’s vision and merging it with his own artistic approach.
He adds that inspiration can come from small and unexpected places, including lived experience and observation.
“What inspires me really is the journey, my environment, my personal experiences as an artist, and also even the fashion designers themselves,” he says.
He also acknowledges that his position in wearable art comes with responsibility, especially as the space is still evolving in Nigeria.
The AMVCA Moment and Its Impact
The Cathedral Dress became one of the most talked-about fashion moments at the 2026 AMVCA due to its structural and visual complexity.
For Gerald, the response served as both recognition and validation of his creative direction.
“More importantly, it was also a moment of recognition. To see that your work is gaining that much traction is a blessing most creatives yearn for,” he says.
He adds that despite public attention, his creative motivation remains unchanged.
With a light laugh, he notes that he has never considered stepping away from his craft.
“This is what I love doing. Traction, social media attention or not, the vision would never waver,” he insists.
He expresses gratitude for the growing recognition of his work both locally and internationally.
Red Carpet Fashion and Functionality
Gerald addresses recurring conversations around whether red carpet outfits prioritize functionality or artistic expression.
He explains that such designs are not intended for everyday use, but for visual impact within a specific context.
“And what do you do on a red carpet? You walk the red carpet,” he says.
According to him, red carpet events like the AMVCA or Met Gala are spaces for creative expression rather than functional dressing.
“So for red carpets, be it AMVCA, be it Met Gala, there’s no pressure on striking the balance between those two,” he adds.
He notes that the wearer often has alternative outfits for sitting and other event moments.
Making the Cathedral Dress
Gerald describes the Cathedral Dress as one of the most challenging projects he has worked on.
He explains that the initial structure of the dress did not resemble a cathedral at all.
“The skeletal part of the dress before the paint came on it looked like a bunch of shapes. It was not yet a cathedral,” he says.
As he began painting architectural details such as windows and columns, the structure gradually transformed.
Even the client initially expressed doubt about the direction of the design.
“Nana was not even convinced at all that it was going to work. But when I started painting and detailing those windows, the columns, all of the architectural structure, it started looking promising even to me,” he explains.
The project took nearly two weeks, with work done in phases rather than continuously.
“I know I started in one week and I ended the following week… I went out, came back, went out, came back for two weeks before we finalized it,” he adds.
He describes challenges as an essential part of the creative process.
“The greater the challenge, the greater the glory,” he says.
Culture and Wearable Art Growth
Gerald explains that while his work may not always visibly reflect cultural symbols, his environment still influences his creative process.
He notes that working with local fabrics such as Aso Oke creates a stronger sense of connection.
“There’s this synergy when I am painting on Aso Oke that is locally made compared to when I am painting on other fabrics,” he says.
He believes wearable art is gaining traction because audiences naturally gravitate toward beauty and innovation.
He also emphasizes the importance of collaboration and proper crediting within the industry.
“Collaboration has a very good way of creating that. Artists should be credited. When people see the list of people you worked with for a particular product or dress, it gives it more value,” he says.
On Credit and Industry Recognition
Gerald reflects on challenges around crediting artists in Nigeria’s fashion industry.
He appreciates collaborators who ensure proper acknowledgment of creative contributions.
“I’m paying the price so that future generations will share in the spotlight,” he says.
He adds that failing to credit artists reduces the value of creative work.
“They don’t know that when you credit an artist, what it does is to give that job depth, value and quality,” he notes.
He further explains that proper attribution strengthens the overall perception of a project.
Building a Legacy
Looking ahead, Gerald says his goal is to establish wearable art as a recognized discipline within fashion and visual art globally.
He hopes to be remembered as one of the pioneers who helped define the practice in Nigeria and Africa.
“I want foreign brands like Gucci and Versace… to want it hand-painted by an artist,” he says.
For him, the long-term vision is to ensure fabric painting becomes an essential part of global fashion conversations.
