One of our secrets is that we focus on access, storytelling and travel, not just aesthetics – Taylor

Femi Taylor is a digital strategist, creative storyteller, and founder of The Conclave Club, a global network connecting and empowering the next generation of African and allied creatives. With roots in Nigeria and the UK, he works at the intersection of culture, strategy, and expression, crafting bold narratives through immersive campaigns and curated experiences. He has collaborated with brands like Johnnie Walker, HOFF (Spain), Bolt, East London Liquor Company, The Singleton, and Gordon’s Gin delivering standout work across film, influencer marketing, and live activations, all through a proudly African lens. He holds degrees from Kings University (Nigeria) and the University of Dundee (Scotland), and currently leads content strategy at Africa Oil+Gas Report and Siellared. In this interview with KENNETH ATHEKAME, he spoke about the current state of the Nigerian creative industry and cultural translation in his various works. Excerpts:

What inspired your journey from accounting to becoming a digital strategist and creative storyteller?

I started in accounting because of its structure, and, to be honest, because I was good with math but I quickly realized numbers alone didn’t satisfy my need to create. My brain craved stories… I began experimenting with fashion shoots and content creation, and that’s where the shift happened. I realised I could fuse strategy with storytelling, merge logic with intuition.

How did your experiences in both Nigeria and the UK shape your worldview and approach to creativity?

Nigeria taught me resilience and resourcefulness… you learn to make magic with what you have. The UK exposed me to global standards and diverse perspectives. Now I blend bold Nigerian energy with polished international finesse in everything I create.

Can you tell us about the moment or experience that sparked the idea for The Conclave Club?

The idea came to me during a creative retreat in Lagos. I was surrounded by incredibly talented people. stylists, writers, filmmakers, many of whom had brilliant ideas but lacked the right access points to bring them to life. I remember introducing two guests… one a visual artist, the other a brand strategist and months later, they launched a campaign together that got regional attention. That’s when it hit me: sometimes all people need is the right room and a nudge in the right direction.

That experience became the blueprint for The Conclave Club, a curated space where connection isn’t just possible, it’s intentional. A place where talent meets access.

How would you describe the current state of the Nigerian creative industry its potential and pain points?

Nigeria’s creative scene is electric… there’s no other word for it. From Mowalola redefining luxury fashion on global runways, to Kemi Adetiba pushing the boundaries of Nollywood storytelling, and Odunayo Eweniyi championing tech-driven culture platforms. See, there’s clear evidence that we’re building something iconic.

But while the talent is world-class, the systems are still catching up. We lack infrastructure… basic things like reliable power or production grants. There’s a lot of gatekeeping, and not enough long-term investment in the grassroots where the next generation is already innovating without support. The potential? Massive. The energy? Unmatched. What we need now is structure so we’re not just creating in spite of Nigeria, but with it.

In what ways do you think Nigeria’s creative sector has evolved in the past decade?

There’s a massive shift… Nigeria’s creative sector has gone from passion-driven hustle to structured, globally competitive industry.

We’ve gone from uploading skits on Instagram to premiering series on Amazon Prime and Netflix. Think of what creatives like Teezee and Odunsi have done in music, pioneering the Alté movement and now collaborating with international fashion houses and media brands. In fashion, designers like David Wej, Kenneth Ize and Orange Culture are showcasing on Paris Fashion Week runways while still drawing from Nigerian culture. Even brand collaborations like Gucci x Reni Folawiyo are no longer just about cultural aesthetics, but about ownership, representation, and strategic storytelling. We’ve shifted from being trend followers to cultural architects. Nigerian creatives are no longer asking for seats at global tables, we’re designing the tables, curating the guest list, and setting the tone.

What systemic or cultural shifts are still needed to better support Nigerian creatives, especially at the grassroots level?

We need infrastructure… affordable studios, grant schemes, accessible high-speed internet. But beyond that, we have to reframe creativity as a career, not a cute hobby. Schools should teach creative business, not just theory. And our parents? Most of them still see creativity as a side quest, not a real path. They need to move from “become a Banker” to “go chase your Art” because creativity isn’t just expression, it’s enterprise. Because this art we’re chasing? It’s not fluff. It archives our stories, shapes the way people think, reflects how we treat one another, influences mental health, drives tourism, fuels movements, and employs thousands. It literally builds culture.

As someone who operates between Lagos and London, how do you navigate cultural translation in your work?

I’m basically the middleman with passport stamps and playlists from both sides. Lagos gives me energy, flair, and big ideas. London teaches me how to package those ideas so the world can understand them. I switch codes, mix vibes, and try to keep it real on both ends. Think jollof rice with afternoon tea… unexpected, but it works.

What are some misconceptions international audiences often have about African creativity and how do you challenge them?

Some folks still think African creativity is stuck in time, like we only do beads, drums, and dusty documentaries. That narrative is wildly outdated. We’ve got artists designing virtual galleries, stylists blending tradition with tech, and creatives telling stories in ways that feel like science fiction meets ancestry. I challenge the clichés by spotlighting creators who don’t just break the mold, they melt it.

In your brand collaborations, how do you ensure the African narrative remains authentic and not diluted?

Simple… I don’t do surface-level storytelling. From the first brainstorm to the final cut, I make sure African creatives aren’t just on the moodboard, they’re in the room, making input. That’s why, from day one, I push for co-creation. Not just featuring African talent, but involving them in the creative decisions.

For one project, we brought in a textile expert to guide wardrobe choices not for the look, but for the meaning behind every stitch. I work with local stylists, when needed. For instance, if you’re telling a Nigerian story, but nobody from Nigeria is shaping it… then what are we really doing? Authenticity isn’t a vibe, it’s a way of being. And for me, if the work isn’t rooted in lived experience and layered context, it doesn’t leave the room.

You’ve worked with major global brands. What do you look for in a potential collaboration?

I’m all about good energy and clear intention. First off, shared values are important. Second, I love when there’s room to play, explore, and bring our own flavor to the table. And finally, I’m not here for a one-hit-wonder…I look for partners who want to build meaningful stories that stick…not just viral campaign, partners who understand that real impact takes time. I want the work to feel effortless, but intentional like culture just doing what it does best… showing up and shining.

How do you balance creative freedom with brand expectations in commercial projects?

I treat it like a dance you let the brand lead on the rhythm, but you still throw in your own footwork. I listen closely to what the brand wants, then figure out how to weave that into something creatively unexpected. If we’re not bringing soul to strategy, then we’re just decorating ads. And I didn’t come here to decorate; I came to create.

Which of your collaborations has been the most creatively fulfilling and why?

That would be the HOFF project hands down. It wasn’t just a sneaker collab; it was a love letter to movement, identity, and self-expression. We got to play with style, sound, and storytelling in a way that felt personal. It wasn’t about showing products, it was about showing people. Black, bold, free. HOFF trusted us to bring our full selves into the frame… no filter, no watered-down narrative. And that freedom? You can feel it in every shot. It reminded me that when brands stop trying to control the message and start letting creatives lead, the work becomes culture not just content.

What sets The Conclave Club apart from other creative networks?

It’s not just another link-in-bio community. We’re global but private, premium but deeply human. We focus on access, storytelling, and travel, not just aesthetics. You don’t just meet cool people; you build with them. And our retreats? Let’s just say we don’t surface. Every experience is designed to challenge your comfort zone, celebrate your voice, and leave your algorithm for real connection.

What really sets us apart is who we let in. We have a dedicated team that thoroughly reviews every application because this isn’t just about who can pay. Yes, we offer different packages, but you also have to bring something real to the table. Skill. Vision. You’ve got to be doing something special, or at least be becoming someone extraordinary. We’re curating a room where iron sharpens iron because when the right people are in the room, everything changes.

Can you share a story or success that emerged from a Conclave retreat or cultural activation?

At our London retreat, a photographer and a fashion model both meeting for the first time got paired up during one of our creative challenges. What started as a spontaneous shoot idea turned into a full concept film exploring identity through movement and clothing. A few days later, they shot it independently, and it ended up being featured in an emerging creatives platform in London. That’s the beauty of Conclave: people walk in as strangers and walk out with collaborators, even lifelong creative partners. It’s not just community…it’s momentum.

How do you curate the spaces and experiences that make creatives feel both seen and challenged?

We’re intentional about everything who’s invited, where we gather, and why it matters. We vet every member to make sure they’re not just talented, but open and serious about growth. Then we create experiences that go beyond networking… real conversations, creative risks, and environments that pull people out of autopilot.