I relish in the little things these days, such as using my skin care products, wearing a favourite clothing item, slipping my feet into a much-loved pump or mule and walking past an art piece I love. Every item in my life right now is a chapter in my story, filled with the exhilaration of an unexpected find, the satisfaction of a long-awaited acquisition, or the unbridled joy of discovering a hidden gem.
As I stare at these items, I feel a profound sense of fulfilment and connection to my present while thinking through my past and knowing I am setting a precedent for the future. Why so dramatic, you ask? They are just objects, right? No, they are not just objects anymore; my collection, no matter how small, are fragments of my mind and expressions of my thoughts. Touching each belonging is like turning a page in my life’s book, reinforcing my conviction that the true magic of collecting resides not in ownership but in nurturing a lifelong appreciation for the extraordinary in the ordinary.
“Collecting is fun, addictive, and challenging – it demands intention, commitment and engagement to build a valuable collection”. – Niyi Adennubi
Origin story of a collector’s journey
I wasn’t always a collector. In fact, I didn’t get it. I used to be a fast fashion junkie, buying cheap thrills without a second thought. Then, I moved to Lagos, where my access to cheap, fast items was hindered, and I was forced to slow down. That’s when I discovered the art of collecting and realised it wasn’t just for the wealthy but for those who value the wealth of the mind. I’ve come to understand that collecting is a deeply personal exploration that intertwines passion, knowledge, and emotion, telling a story about each collector.
Developing a collector’s mindset
Having the right mindset starts with understanding that each piece you collect carries its own story, whether a historical artefact, a work of art, or a unique item of personal significance. For instance, my art piece by Rewa was procured in the beginning stage of building my restaurant in 2017. Back then, I felt one-dimensional and uncertain as a woman breaking into the male-dominated hospitality industry. But Rewa’s vibrant artwork, celebrating women’s strength, resonated deeply. I had been following many women like Emma Grede and Reni Folawiyo, who were taking up space. I felt like I needed a touch of colour on myself to stop seeing myself as one-dimensional but rather colourful enough to thrive in my work. Despite my financial constraints at the time, I decided to buy a print of her artwork, and I never looked back.
“Collecting makes me interact with so many people and institutions locally and globally, and it’s like we all speak a unique common language. An immediate bond. It can be quite exciting.” – Niyi Adennubi.
In my first article, titled ‘My Journey with African Brands‘, I explained that I transitioned to buying more locally produced brands out of sheer necessity. Today, this has evolved into a profound journey that has unexpectedly enriched my life. Standing amidst my collection now as I write this article, I am staring at my Éki Kéré dress made out of tie & dye and raffia, which is a unique piece. Whenever I see someone wear it in person or online, we smile, say hello, comment or acknowledge our joint love for this special piece made by a brand that prides itself in blending heritage with innovation.
As Adennubi aptly puts it, “Collecting makes me interact with so many people and institutions locally and globally, and it’s like we all speak a unique common language. An immediate bond. It can be quite exciting.” I must say, he was right.
For me, the journey of collecting has created continuous learning and discovery — researching origins, understanding craftsmanship, and appreciating the cultural contexts that give meaning to each acquisition. It is challenging me to refine my tastes, make thoughtful choices, and sometimes even negotiate with myself over the value and meaning of each addition.
This progression to seeing my collection as cherished symbols of a journey of discovery, appreciation, and cultural exchange was further reinforced by a man I met recently named Mr Femi Akinsanya, who owns the biggest art collection in Nigeria. I asked him why he started collecting, and he said, “I stumbled upon collecting, then it became a hobby, then became a way of life for me to express”. Listening to him, I realised that the profound desire to connect with stories, cultures, and craftsmanship as a collector resonates deeply with me.
I’m not just a collector; I’m a guardian of stories, a witness to the evolution of brands that inspire me. – Tobi Hamilton
Building a collection
I didn’t have much money when I started collecting, but I didn’t let that hold me back. I chose to focus on the value of the journey, not my financial situation. I gave myself a monthly allowance to acquire something meaningful, starting with humble finds from the Lekki Art Market – beads, leather goods, and, eventually, fashion pieces, jewellery, and artwork. By setting a self-imposed budget, I stayed committed to my passion while being mindful of my finances. This approach allowed me to prioritise intention over expense, and I’ve cherished the journey ever since.
Confession time: I’m a total sucker for a good story when it comes to collecting; I’m not just gathering items – I’m curating a treasure trove of tales, traditions, and passion projects, so technically, I’m not just a collector; I’m a guardian of stories, a witness to the evolution of brands that inspire me. I’m talking pop-ups, brand journeys, and the thrill of the hunt for that perfect piece.
My dream is to have a vault of items for brands that help the brands also cherish their progressive journey and help me build a vintage collection for the generations after me to have a sense of reference for my time. What was 2018 – 2024 like? I will have pictures and physical items for you to feel, touch, taste and experience! How cool would that be?
During my journey, I also got into vintage. It started with a friend’s simple post when my friend, Feyi Bello, shared photos of her stylish outfits on social media. Two of the tops immediately caught my eye – they were her mum’s vintage Buba tops, expertly paired with jeans and Tom Ford heels. At first, I admired the pictures and moved on.
But later that evening, while watching ‘A California Christmas’ on Netflix, a pivotal scene struck a chord. The male lead gifted his fiancée a precious family heirloom ring, and suddenly, my mind connected the dots. I gazed at my daughter and wondered, ‘What treasures will I pass down to her?’ In that moment, my desire to collect meaningful items became unwavering. I realised that to create a legacy of vintage treasures for her future, I must start collecting them now.
As Kevin Systrom wisely said, “If you’ve got an idea, start today.” I knew I couldn’t delay – every item I collect is a piece of history, waiting to be cherished by the next generation. I want things my children and grandchildren will cherish, tell stories about, or pass on to their lineage. Maybe I would also have a great-grandson who might give a ring I owned/collected to his future wife. As a black woman, that would be super special.
Falling in love with collecting led me to seek worthy items that are a reference point for creatives and manufacturers. This led me to Pedros, which produced, bottled and commercialised Africa’s first premium ogogoro through 100% organic palm spirit. Handcrafted in Nigeria’s riverine communities and then refined in Lagos, this brand has now been exported out of Nigeria, and critics have labelled it better than some of the top gin brands in the world.
I remember the thrill of getting my hands on Pedro Zero, the first-ever bottle that tested the market. Lola Pedro, the founder, was blown away when she discovered I had collected bottles from all three production cycles. She joked, “Maybe one day, I’ll buy it back from you!” Little did she know, I’m holding onto that bottle for dear life- it will be a priceless treasure when Pedros becomes a global household name! I have the same passion for collecting items from innovators like Kilentar, Rendoll, Dye Lab, and Reanna.
Collecting isn’t merely about amassing possessions; it’s about preserving heritage, celebrating craftsmanship, and connecting with the stories embedded in each item. – Tobi Hamilton
The impact of collecting
One story that stuck out with me last year was what Adedoyin, the founder of Raenna, a Nigerian jewellery brand, told me about why she started producing jewellery for the African woman. She said, “My grandma had a suitcase of gold and silver jewellery that was her wealth, pride and joy, and during family festivities, she would line all her grandchildren up and adorn them with jewellery from her collection”. While that seems like a cute, funny story, it stuck with me in a few ways: her grandmother collected jewellery for wealth, and reused the collection for herself and her lineage, which inspired her granddaughter to set up a business.
For many across the continent, especially our parents and grandparents, collecting isn’t merely about amassing possessions; it’s about preserving heritage, celebrating craftsmanship, and connecting with the stories embedded in each item. This has formed the main crucifix of my reason for collecting. Like Adedoyin’s grandmother, it starts within families where heirlooms and artefacts are cherished as links to ancestral traditions with many historical contexts.
These pieces — be they intricately carved masks from cities like Benin in Nigeria, finely woven textiles from Senegal, or delicate beadwork from South Africa — carry with them a wealth of cultural symbolism and historical significance that communicate a lot of what we are dealing with in the world as at today such as liberation, economic and social inequalities, racism etc. Each artefact tells a story of resilience, creativity, and adaptation, reflecting the diverse experiences and identities that define the continent.
Collecting has taken on a new meaning for me – it’s no longer about accumulating objects, as collecting and preserving cultural artefacts serve as a vital link between generations, connecting us to our ancestral heritage and helping us understand the significance of cultural traditions. I’ve experienced the importance of bridging the past and present. Growing up in Lagos until I was 16 and then living in England for over 15 years, I faced a culture shock upon returning home.
Despite my affection for the UK, reconnecting with my roots through local brands has been instrumental in navigating complex historical narratives of colonialism, independence, and cultural revival. Similarly, collectors often find themselves on a journey through layers of history, uncovering how objects have evolved and continue to influence our contemporary identities and aspirations.
Collecting has ignited a fire within me, fuelling my passion and curiosity. As a seeker of stories, a champion of craftsmanship, and a patron of local legacies, my journey takes me to hidden corners – local markets, artisan workshops, and remote villages – where I uncover rare treasures and unexpected delights. Like when I stumbled upon a glass-blowing village in Ilupeju, Lagos, where skilled artisans create breathtaking pieces that now adorn my home. I recall being mesmerised by the Netflix show ‘Blown Away’ in 2021, never imagining I’d find a similar world of wonder in my backyard.
My journey has evolved from mindless shopping at Zara to meaningful connections with artisans like Ighoo, where I can collaborate on designs, learn traditional techniques, and support local economies. Each glass piece I collect from Ighoo becomes a testament to the artisan’s skill and a tribute to Africa’s rich artistic heritage. How I display them also tells a story of community, tradition, and the beauty of human craftsmanship.
Pioneers like Coco Chanel, the OG rebel and style icon, continue to inspire me during my collecting journey. Born in 1883, she defied convention and revolutionised fashion with her pioneering spirit. She turned fashion on its head, leaving us with a legacy that still slays. I see a parallel in the African brands I love – Vicnate, Kilentar, Dye Lab, Abiola Olusola, Clan, Banke Kuku, etc – who are redefining African style with their innovative vibes and unstoppable energy. By supporting these rockstars, I’m not just collecting objects; I’m part of a tribe that celebrates creativity, community, and the beauty of our shared stories.
Like Adennubi says, “Artists suffer emotionally and economically, so patronage from collectors is a way to support artists, their practice and their entire existence”. I am super motivated when I realise the impact on the creator whenever I procure or consume what they have created!
“Each piece in my collection symbolises my journey towards a more meaningful and thoughtful way of living — one that celebrates craftsmanship, supports local economies, and preserves the essence of Africa’s diverse cultural tapestry” – Tobi Hamilton
The Nigerian collector’s dilemma
Collecting, however, comes with its share of obstacles, especially for Nigerian and African brands. Economic uncertainty, political turmoil, and globalisation’s ripple effects threaten traditional craftsmanship and local artisans. Add to that the hurdles of inconsistent quality, limited infrastructure, and lengthy production timelines. Founders and manufacturers must navigate poor roads, inadequate amenities, skill gaps, and logistical nightmares. These challenges can make the collecting journey feel like an uphill battle, testing the resolve of even the most passionate enthusiasts like myself.
However, I think the rewards of collecting far outweigh the challenges. Each acquisition represents a piece of Africa’s mosaic, a tangible link to its past, and a source of inspiration for future generations. Collecting in Africa is a testament to resilience, creativity, and the enduring spirit of a continent that continues to captivate and inspire collectors worldwide, so I think the challenges perhaps add to the charm of these items. Ultimately, I experience the challenges, but my motivation to collect is rooted in the belief that every piece has a story and a legacy to uphold. It’s a journey that continues to evolve, guiding me to seek treasures that enrich my life and carry forward the spirit of creativity, authenticity, and cultural pride.
Speaking on his journey, Adennubi tells me, “My collecting journey has been transformational! I have learnt a lot about myself, about us, about my heritage, and more importantly, I have learnt to accept and love us, which is so crucial.” I mirror these sentiments and can say collecting has become my mission — a way to preserve cultural heritage, promote sustainable practices, and empower artisans.
As I continue on this collector’s odyssey, I am inspired by what we can achieve when we embrace our heritage, advocate for sustainable practices, and champion the creativity and ingenuity of African artisans, as I’m honoured to be a part of their journey. We’ll create a legacy that will inspire future generations. Through my collection and advocacy, I hope to contribute to a brighter future where African-made goods are celebrated globally and the spirit of craftsmanship and cultural pride thrive.
