L-R- Abimbola Ozomah, Executive Director, Polaris Bank; Mojisola Hunponu-Wusu, Founder/CEO, Woodhall Capital; Sola Carrena, MD/CEO, Helios Investment; Onyinyechi Aderigbigbe, Head, Brands & Marketing, Woodhall Capital; Jonny Baxter, British Deputy High Commissioner at the signing ceremony of the N1.5bn Creative Sector Fund & Launch of the Creative Currency Podcast at the weekend, Lagos
For years, Nigeria’s creative economy—rich in talent, vibrant in spirit—has operated like a street artist painting masterpieces with no gallery to showcase them, no safety net, and no steady buyer. From young fashion designers in Yaba to independent filmmakers in Surulere and musicians uploading hits from makeshift studios, creatives have long hustled on the margins, big on potential, but small on support.
That narrative is beginning to change.
In a landmark collaboration that feels less like charity and more like recognition, Woodhall Capital, in partnership with Polaris Bank, the Lagos State Government, and the UK Government, has launched a ₦1.5 billion Creative Sector Fund—a dedicated lifeline designed to move Nigeria’s creative entrepreneurs from hustle to industry.
The announcement, made at the Ikoyi residence of the British Deputy High Commissioner, was more than a policy rollout. It was a reckoning—a moment when the system publicly admitted what creatives have long known: the talent is world-class, but the financing model is broken.
At the heart of the launch was the unveiling of the Creative Currency Podcast, a policy-meets-media platform that aims to drive conversation and connection among stakeholders who, until now, have largely operated in silos. The goal is simple but radical: structure the unstructured, fund the underfunded, and dignify the overlooked.
“We’ve Always Been Bankable—They Just Never Saw Us”
Abimbola Ozomah, Executive Director at Polaris Bank, sat on the launch panel with a message that resonated beyond the room:
“This fund represents more than capital—it reflects our belief in Nigerian creativity as a global force. We’re not just exporting talent. We’re exporting ownership, structure, and long-term value.”
For many in the audience—some already stars in their lanes, others just getting started—her words felt like long-awaited validation. Ozomah emphasized that creatives are not hobbyists or side hustlers. They are entrepreneurs sitting on monetizable intellectual property and cultural capital, often worth more than brick-and-mortar businesses.
“We Need to Bank the Beat, the Brush, the Brand”
Mojisola Hunponu-Wusu, the CEO of Woodhall Capital, echoed this belief, reflecting on how the financial sector has failed to see value in things it cannot physically touch.
“The current financial system is not wired to understand a fashion brand that gains followers before profits or a music producer with royalties spread across four continents. That ends now. We are redesigning how finance sees creativity.”
Hunponu-Wusu committed to developing tailored financial products—flexible loans, investor matching, and advisory services—suited to the unconventional cash flows of creative MSMEs.
Lagos and London, Building the Future Together
The UK Government, represented by Deputy High Commissioner Jonny Baxter, pointed to the UK-Nigeria Creative Industries Partnership (signed in 2024) as a cornerstone for long-term collaboration. He praised the fund as a model for international cooperation that centers African talent.
Back home, Lagos State, represented by Mrs. Folashade Ambrose-Medebem, Honourable Commissioner for Commerce, Cooperatives, Trade and Investment, reaffirmed its ambition to cement Lagos as Africa’s creative capital.
“We are not giving handouts,” she said. “We are providing zero-interest loans of up to ₦10 million and building the policy and infrastructure backbone for creatives to scale, export, and own their value.”
Creatives Speak: “We Don’t Want Pity. We Want a Platform.”
As panel discussions continued, the human stories behind the industry came into sharper focus. A young filmmaker from Ogun State recounted how he maxed out three personal loans to complete a short film that has now won international awards, but still hasn’t generated income. A fashion designer in attendance, who started her label with thrift fabric and a borrowed sewing machine, said she’s been turned down by banks “simply because they didn’t understand what I was selling.”
Stories like these underscored the urgency of not just providing capital—but changing the mindset within financial institutions. Panelists agreed: creative enterprise is unlike traditional business, often powered by intangible assets and nonlinear revenue. But with structure, IP protection, and export pathways, it holds vast economic potential.
A New Kind of Currency
The Creative Currency Podcast is now live, acting as a hub for knowledge-sharing, policy advocacy, and cross-sector connection. It will bring together creators, legal experts, investors, and cultural stakeholders to elevate Nigeria’s creative sector to global standards—one insight, one collaboration at a time.
The event ended not with a ribbon-cutting, but with a challenge: “Invest in the system, not just the story.”
Nigeria’s creatives have always been rich—in rhythm, vision, and resilience. With this ₦1.5 billion fund and the institutions now backing it, the question is no longer whether Nigerian talent can compete on the world stage. The question now is: Will the world catch up to what Nigeria already knows?
Because the real currency isn’t just naira.
It’s ideas.
It’s identity.
And now—finally—it’s infrastructure.
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