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By Rita Okoye
For fashion designer, Bright Urhobo, owing a fashion line wasn’t the first important thing but learning the structure of trade at Tiannah’s Place Empire, where deadlines were strict and finishing was non-negotiable.
From a small client base and careful production process, his label, Ranto Clothing has grown steadily, finding its way onto notable figures such as Ini Edo, Tana Adelana and Adesuwa Etomi-Wellington.
He spoke with Daily Sun about apprenticeship, building systems, and why he believes consistency matters more than noise.
You didn’t start out on your own immediately. What were the early years like for you?
I began as a junior designer at Tiannah’s Place Empire. Those years were important because they gave me structure. I wasn’t thinking about recognition then; I was focused on learning, pattern drafting, fittings, fabric selection those details shape how you see clothes. When you work under someone else, you understand that fashion is technical before it is glamorous.
At what point did you decide it was time to start Ranto Clothings?
By 2018, I felt ready to test myself. Not because I knew everything, but because I understood enough to take responsibility for my own mistakes. Starting Ranto Clothings was not dramatic. It was gradual. A few clients at first. A small team. A lot of trial and correction. The early months were more about stabilizing production than chasing visibility.
What were the biggest challenges in those early days?
Consistency. Delivering the same standard every single time. It’s easy to produce one impressive piece. It’s harder to maintain that quality across multiple orders while managing deadlines and finances. I also had to learn the business side like pricing, sourcing, paying staff. Creativity is only one part of running a fashion house.
When did you begin to feel the brand was gaining traction?
I would say when clients started returning and recommending us. That is usually the first sign. Participation in platforms such as Glitz Fashion Week and Africa Fashion Week Nigeria also expanded our audience. Being on those runways exposes your work to people who may not walk into your studio. It forces you to refine your presentation and identity.
How would you describe the identity of Ranto Clothings today?
Structured, deliberate and rooted in craft. I am interested in garments that hold their shape and tell a quiet story. I like incorporating cultural references without being literal. The goal is not costume; it is refinement. Over time, we’ve paid more attention to finishing and fabric sourcing. I want the inside of the garment to look as considered as the outside.
You often speak about sustainability. What does that mean in practical terms for you?
For us, sustainability starts with reducing waste in production and choosing materials carefully. It also means producing pieces that are meant to last. In our market, sustainability cannot be theoretical; it has to make sense economically. So we focus on responsible sourcing and efficiency in the studio.
How has the business evolved over the years?
We started small. Now we operate with a more structured team and clearer processes. We serve clients beyond Nigeria, which means tighter coordination and stronger quality control. Growth has been steady rather than sudden. I prefer that because it allows you to build systems as you expand.
You’ve styled some notable celebrities including Ini Edo, Tana Adelana, Omowunmi Dada, Uche Jombo and Adesuwa Etomi Wellington. How did that come about?
It happened gradually. There was no single turning point. In fashion, your work often travels ahead of you. A stylist sees a piece, someone attends an event in your design, a referral comes in. That’s how most of those relationships began.
When you’re consistent with finishing and fit, people notice. Over time, conversations start happening. For me, it was less about chasing celebrity and more about focusing on quality. The visibility followed.
What has been the experience styling top celebrities in and outside Nigeria?
It requires preparation and attention to detail. Public figures are constantly photographed, so every seam and silhouette matters. There’s also timing; red carpet fittings are often close to event dates, so production must be precise. Beyond the glamour, it’s collaborative work. You deal with stylists, managers, sometimes event curators. Everyone is working toward a specific look and mood. It sharpens your discipline because there’s very little room for error.
How would you describe your days working with Tiannah’s Empire?
They were intense and structured. I worked at Tiannah’s Place Empire as a junior designer, and it was a fast-paced environment. Deadlines were tight. Expectations were high. I learned technical discipline there, pattern drafting, garment construction, finishing standards. It also exposed me to how collections are prepared for major showcases. Those years taught me that fashion is work before it is recognition.
With so many recognitions attached to your name, how would you describe your journey so far?
Steady. I don’t see it as a straight line. There were quiet years of learning before there was visibility. Even now, I see it as ongoing. Recognition is encouraging, but it doesn’t replace the need for improvement. Every stage has required adjustment from learning the craft to managing a team and scaling operations. The journey has been about growth, not speed.
What loopholes do you see in African fashion today?
Infrastructure remains a challenge. Production systems are still developing in many places. Access to high-quality materials can be inconsistent, and distribution channels need strengthening. There is also a documentation gap. We have talent, but we need stronger industry organization, clearer export pathways, better policy support and more structured supply chains. Creativity is strong; systems need improvement.
How would you say the industry has evolved over the years?
There is more confidence now. African designers are presenting their work with pride and clarity. Digital platforms have expanded visibility, and runway platforms across the continent have grown in influence.
Designers are thinking beyond local markets. There’s a stronger understanding that fashion is both culture and business.
What has been your major impact on African fashion?
I believe my contribution has been in building structure alongside creativity. Through Ranto Clothings, I’ve focused on combining cultural elements with disciplined production systems.
I’ve also worked with local artisans and textile suppliers to preserve craftsmanship while adapting it for contemporary audiences. For me, impact is not only about visibility; it’s about building something sustainable and reliable.
Looking back, what do you think shaped you most as a designer?
Apprenticeship. Observing how things are done before attempting to change them. Fashion can move quickly, but foundations matter. The years I spent learning before launching my own label taught me patience.
Where do you see Ranto Clothings heading in the next few years?
I want to deepen what we already do well. Strengthen international relationships, refine our ready-to-wear offerings and continue improving our internal structure. Growth is important, but clarity is more important. If the foundation is strong, expansion becomes natural
