With training in Accounting & Economics and an MBA from the UK, Sulaimon Monayajo, better known as Sly Monay, is a leading name in Nigerian fashion.
He stumbled into fashion by chance but stayed by design. Sly creates with tradition and modern flair, turning classic agbadas into statements of style and innovation.
At the 2025 FashionEvo Summit & Show in Lagos, he dropped jaws with his latest creation: a detachable agbada cape that adds drama, flexibility, and modern elegance. With awards behind him including African Achievers Award for Creativity in Fashion and Fashion Innovator of the Year—he is illustrating how Nigerian fashion can stand out, evolve, and lead.
We spoke with Sly about his FashionEvo moment, the journey of designing in Nigeria, and what drives his creative innovations.
FashionEvo just happened. How did it feel to unveil your detachable agbada cape on that stage?
It was electrifying. FashionEvo 2025 brought together some of the most influential voices in African fashion, so it was the perfect stage to unveil an idea I had been refining for months. When the models walked out in the detachable agbada cape and the audience erupted into cheers and a standing ovation, I felt both humbled and proud. It reaffirmed my belief that Nigerian fashion can innovate in ways that resonate globally.
The cape is innovative, it can be removed and reattached. What was your goal with that design, and what story were you trying to tell?
The detachable cape is about flexibility, grandeur, and modern practicality. Traditionally, agbadas are beautiful but heavy and sometimes restrictive. I wanted to create something that carried the same dignity but allowed the wearer to adapt to different settings. By making the cape removable, I was telling a story of heritage that adapts without losing its essence. African tradition meeting modern functionality.
You studied Accounting & Economics, then an MBA. How did you move from that path into fashion design?
Fashion found me almost by accident. I was always passionate about style, but my academic background gave me a business-first mindset. When I began creating garments, I realised that fashion could be both my creative outlet and a viable enterprise. My training in economics and my MBA from Cardiff University gave me the tools to treat fashion as more than art, it became a structured, scalable business.
Looking back, what was the moment when you knew fashion wasn’t just a side passion, but your professional calling?
It was the moment I showcased at African Fashion Week London in 2016. The reception from an international audience convinced me that my designs had global potential. That was when I fully committed myself to fashion…not as a hobby, but as a lifelong calling.
Many designers work with tradition, but your agbadas and kimonos feel modern, bold, yet respectful of heritage. How do you balance tradition and trend?
For me, tradition is the root and trend is the branch. My work deconstructs silhouettes like the agbada and reworks them into something layered, versatile, and global while keeping their soul intact. I often incorporate Adinkra symbols into my pieces to embed storytelling. The result is fashion that honours heritage but speaks the language of modernity.
Let’s talk about FashionEvo specifically, what kind of feedback did you get from attendees, fellow designers, and the press after your show?
The feedback was overwhelming. Punch Newspaper called the detachable cape “a revolution in traditional African fashion.” Fellow designers congratulated me on pushing boundaries while staying true to our roots. The audience’s energy; cheers, applause, and the sheer demand for more was one of the most affirming moments of my career.
Innovation comes with risk. Did you face doubts or pushback when creating the detachable agbada, and how did you persevere through them?
Yes, absolutely. Some questioned why I would “tamper” with such a revered garment. But I believe innovation means respecting the past while daring to imagine the future. My perseverance came from knowing that if done right, it would open a new conversation about how African fashion can evolve. The reception at FashionEvo proved that risk was worth it.
Being in Nigeria, what are some of the biggest challenges you’ve faced as a designer trying to innovate—materials, cost, perception?
Infrastructure is a huge challenge, unreliable power, limited access to advanced production tools, and high costs of importing materials. These factors slow down scaling and experimentation. But as I shared in my Nation interview, constraints force ingenuity. They push me to be resourceful, to train my team, and to keep innovating despite the hurdles.
Out of all the pieces you’ve made so far, which character or design is your favourite—perhaps among agbadas, kimonos, or other garments and why?
The detachable agbada cape is currently my favourite because it embodies everything I stand for: tradition reimagined, cultural storytelling, and modern practicality. But my earlier deconstructed agbada remains close to my heart because it was the piece that established me as an innovator in the industry.
You’ve won awards (African Achievers Award, Africa CEO Merit, etc.). How do those recognitions impact your work and motivation?
Each award is both an honour and a responsibility. Being recognised with the African Achievers Award at the UK Houses of Parliament was deeply symbolic; it showed that African fashion has global resonance. The Africa CEO Merit Award and being named among the 100 Persons of the Year 2025 remind me that my work goes beyond design; it’s about leadership, impact, and building a sustainable creative economy.
For the younger designers watching you now, what advice would you give about staying true to your vision while finding commercial success?
Stay authentic. Your vision is your fingerprint, don’t dilute it to chase trends. But also, learn the business side of fashion. Creativity without structure struggles to survive. Combine artistry with strategy, and you will build something that lasts.
Finally, what’s next for Sly Monay? Are there more innovations lined up, new collections, perhaps shows outside Nigeria or partnerships ahead?
Absolutely. I’m currently working on a sustainable eco-line that reduces waste and uses ethical sourcing, aligning with global fashion shifts. More showcases are lined up, and my goal is to strengthen cultural exchange between Africa and the UK while continuing to mentor and train new talent.
Closing Note
Sly Monay showed at FashionEvo that innovation and tradition don’t have to be at odds—they can coexist in powerful, gorgeous ways. With the detachable agbada cape, he didn’t just design a piece; he made a statement: Nigerian fashion is ripe for reinvention. He’s not just making clothes—he’s making waves. We can’t wait to see what he does next.
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