Culture Photography

Lakin Ogunbanwo’s “E Wá Wo Mi” is a alternative representation of Nigerian Brides

Lakin Ogunbanwo is amazingly one of Many Nigerian talented photographers right now, with his latest work that explores visuals around Nigerian brides and ceremony.

Featured on vogue, E Wá Wo Mi which simply means ‘Come Look At Me’ explores and reinterprets the visual imagery around Nigerian brides, marriage and ceremonies, representing the traditional ceremonial wear of the Yoruba, Igbo and Hausa-Fulani tribes, amongst others.

In his series, weddings are perceived to be a performative ritual as well as a transformative one, with a direct implications for the representation and construction of the female identity.

E Wá Wo Mi was picked up by Vogue Italia alongside an interactive interview where Lakin shed more light into his work, inspiration and culture surrounding E Wá Wo Mi and the need for diversity in photography in the world at large.

Nigerian photographer Lakin Ogunbanwo new series about the visuals o Nigerian weddings featured in Vogue [Credit: Vogue.it]

Lakin Ogunbanwo’s E Wa Wo Mi [Credit: Vogue.it]

The new series of the photographer “e wá wo mi” is on show at WHATIFTHEWORLD gallery until June 8, 2019.

When asked about his inspiration, Lakin spoke about the thriving wedding culture in Nigeria and his friends who were getting married in particular.


I developed the series from noting that my friends who were getting married, were having to change their lives, who they are. These women were changing their names, going through administrative processes to change their passports and speaking about how different their lives would be. I honed in on the wedding day as a symbol of this. As a catalyst for this change.

Lakin Ogunbanwo

Also, E Wá Wo Mi can be seen as a contemporary representation of femininity, Lakin Adds.

Nigerian photographer Lakin Ogunbanwo new series about the visuals of Nigerian weddings featured in Vogue  [Credit: Vogue.it]

Lakin Ogunbanwo’s E Wa Wo Mi [Credit: Vogue.it]


This series is my first time using women as subjects. I am very aware of this as a man, and prefer to engage with this work fully as an outsider. It is important to note that this is an expansion on existing forms of womanhood and femininity, and not a way of defining. I can be inspired by women, and femininity, but I am not seeking to say who has access to this, or what this is. I also do not think the contemporary African women is properly represented. Africa is a huge continent, with so many different cultures, and ways of being a woman — there are so many ways of just being a Nigerian women that are shown in this series.

Lakin Ogunbanwo

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