Inside Valentina Effiom’s World of Costume Designing
Jerry Adesewo
As the lights dimmed inside the Transcorp Hilton’s plush auditorium and the curtain rose on Tauraron Arewa, a production by Patrick Otoro’s Rivers of Water Productions, my theatre-trained eyes should have naturally gravitated toward the star-studded cast or the technical wizardry of the lighting and set. Instead, what held me spellbound were the costumes—rich, symbolic, and deeply woven into the narrative of the play. They didn’t just dress the actors; they told a parallel story.
READ ALSO: Actors Guild of Nigeria to Unveil National Secretariat, Launch Mobile App in Landmark Digital Push
Curious, I turned to my colleague beside me and asked, “Who costumed this show?” I hadn’t finished the question when I got the answer: Valentina!
Stitching Stories on Stage
Valentina Effiom is not your typical theatre practitioner. She’s an actor, dancer, choreographer, designer, plumber, and above all—a master costumier. A graduate of Theatre and Media Studies from the University of Calabar, with further training in Film and TV production from SIFTI in Ibadan, Valentina now serves as the PR/Stage Manager for Blackbones Theatre Kompany and the official costumier for the Dance and Art Festival Abuja (DAFA). Her work, she says, “explores themes of culture and human nature.”
In conversation with her, it became clear that costume design in Nigerian theatre is far more than fashion—it’s a delicate, often demanding, process of cultural translation, visual storytelling, and logistical execution.
“Acting was my first love,” she tells me, laughing. “My late mum never bought a TV because, according to her, I was the entertainment. She’d call me from the playground to perform for her guests.” That early exposure to the power of performance blossomed into a career that would eventually span several disciplines within theatre.
When Roles Collide
Wearing many creative hats inevitably leads to overlap. Valentina admits that her roles as dancer, actor, choreographer, and costume designer sometimes clash—but mostly, they complement one another. “There have been days where I step in as a designer and end up dancing or acting to fill in roles,” she explains. “This field always complements itself.”
And yet, that intersection can be overwhelming. “Tauraron Arewa was fun but very tasking,” she recalls.
“My most challenging designs were for Abdulahi and Amina, the lead characters. I had to make sure the costumes honored cultural sensitivities. Some elements were even rejected because they might offend local customs.”
Still, the triumphs shine through. “I especially cherished designing for Alhaji Musa, the students, and Amina. Those costumes brought the characters alive.”
Culture as Compass
Valentina is unapologetically rooted in her cultural identity. “My culture is the fundamental aspect of who I am. It shapes my beliefs, values, and provides the lens through which I interpret my storytelling, movement, and costume designs,” she says. This cultural fidelity is a powerful asset, particularly in Nigerian theatre, where tradition and modernity often collide on stage.
In productions like DAFA 2022, she had the rare opportunity to bring all her skills to bear—choreographing, performing, and designing. “That was one project where I fully expressed my entire creative range,” she says proudly.
Beyond the Fabric
Costume design, Valentina emphasizes, isn’t just about aesthetics.
“I design with roles in mind—character arcs, dance movement, the plot. Everything is intentional,” she notes. “It’s not just about looking good; it’s about telling the truth of the character.”
As a theatre maker, one thing I have not failed to notice is that young artistes often overlook this vital arm of theatre. Many are so fixated on being seen on stage that they ignore other departments where they could thrive. Costume design is one of those places where artistry and functionality meet. It’s deeply rewarding.
The Road Ahead
Despite the challenges, Valentina remains optimistic. “Stage performances are taking the lead in Nigeria. People want to unwind, connect, evolve—and theatre offers that.” What keeps her going, she says, is passion: “It’s the craft that drives me.”
To young creatives exploring theatre, her advice is simple yet profound: “Enjoy and explore the theatre. You don’t have to be an expert to start. You can learn as you go. Theatre is fun, educational, and has endless opportunities. Embrace the space.”
Final Curtain
In Valentina Effiom’s hands, fabric becomes voice, movement becomes meaning, and costumes become carriers of cultural memory. Watching Tauraron Arewa, I realized that her designs didn’t just clothe the actors—they choreographed with them, acted beside them, and whispered meaning into every stitch.
In a theatre landscape still finding its feet in contemporary Nigeria, it’s talents like Valentina who remind us that the story isn’t just in the script—it’s in the seams.
Inside Valentina Effiom’s World of Costume Designing