Anita Ashiru is Shaping the Future of Production Design

“When I was a kid, I never thought Nigerian visuals could look this good. Now, people look to us for inspiration,” a friend messaged Anita after she shared behind-the-scenes shots from Davido’s Na Money video. “What you’re doing for Nigerian art and set design is history-making, it’s elevating the country’s prestige in ways that can’t even be calculated.”

In just five years, after stumbling into production design almost by chance, Anita has become one of the most sought-after names in the Nigerian music industry. She’s brought cinematic worlds to life for some of the continent’s biggest stars, Wizkid, Davido, and Burna Boy, and in the process, helped redefine what African music can look like on a global stage. Through her vision, Nigerian aesthetics have found bold, contemporary expression, elevating the country’s visual identity and inspiring a new wave of African creatives.

Culture Custodian spoke with Anita to discuss her journey so far, why visibility matters in her field, and how she’s using storytelling to shape the future of production design in Nigeria and beyond.

I read that you fell in love with production design during a random visit to a film set with our friend Dami Twitch. Looking back, do you think you were already searching for something that marketing couldn’t provide, or did that creative world truly catch you by surprise?

Growing up, I was constantly making things. During the holidays, I’d organize little DIY camps at home with neighborhood kids, where we made paper mache slippers, bags, and even shoes. In secondary school, I started organizing events, so that creative streak was always there.

When I visited Dami’s set, I naturally gravitated toward the design elements. I didn’t even know it was called production design, I just had this instinct for what looked right. Someone on set asked if I was the art director, and that question sparked everything. I went home, did some research, and discovered the world of production and set design. I fell in love with it because it lets me express myself in a way that feels intuitive, there’s no right or wrong, just vision.

How does being a leading female production designer in Nigeria feel? 

I’ve always been an overachiever. Whether in school or any other area, I give everything my all because I never want to look back and wonder, “What if?” So when I got into production design, it was about fully committing, putting all my ideas on the table, and doing the work with integrity.

Now, seeing that effort resonate with people is incredibly reassuring. It means the hard work isn’t in vain. I love that I’m not just contributing to the industry, but also inspiring others, especially women. I actively try to uplift and empower other female creatives who want to explore this path, because I truly believe women have a superpower: our attention to detail is unmatched, and we need more of that in production design.

When you’re building a visual universe for artists like Davido or Wizkid, how do you balance honoring their vision and leaving your own creative fingerprint on the work?

Because of my marketing background, I have a strong understanding of branding and how to interpret and expand on a brand’s identity. Take Wizkid’s Morayo album, for example, it had a clear visual identity. When I got the brief for Kese I studied that identity closely: the colors, mood, and overall aesthetic. I made sure to stay true to it, while also bringing my own creative spin. That’s the balance, respecting the brand while using my style to bring something fresh.

Clients come to us because they trust our creativity. They don’t want to dictate every detail, they want us to interpret the brand and create something that resonates. I approach each project with that mindset. I’m constantly researching and staying inspired. Sometimes a single image in a brand deck will trigger a memory or visual reference, and I’ll build from there.

This job is exciting because every brief is different. I get to enter different worlds, study different styles, learn new cultures, and translate all that into design. It keeps me curious, and it keeps the work dynamic and fulfilling.

You’ve spoken about how production designers often remain unseen. What was the turning point that made you step into the spotlight and advocate for more visibility in your field?

The turning point for me was the day I spent 24 hours straight on set and then crashed for another 24 at home. I was exhausted, and I just thought people need to know what goes into this work.

Before production design, I was in marketing and already used my Instagram to share business tips and creative ideas. Storytelling through content was second nature to me. So I decided to start sharing behind-the-scenes moments from set, nothing fancy, just showing the process. And people were shocked. They’d see a finished music video, and then realize how much work went into building that world.

I wasn’t the first to do this job, but many others didn’t talk about it because it didn’t seem glamorous. I wanted to change that. I wanted to make it look cool, to give it visibility, and to show that production design is a real, impactful role. And it worked, people started seeing the craft through a different lens. 

From crafting award-winning visuals to developing a course that helps launch creative careers, how has your idea of success shifted over time, beyond personal recognition?

I think as we grow and hit certain milestones, our idea of success naturally evolves. When I started out, I was earning 30k to 40k per job, mostly working with upcoming artists, and I was so proud of that. Then I moved on to working with the biggest artists in Africa. I’ve won awards, and been nominated for international ones too. If you had told 16-year-old me this is where I’d be, I wouldn’t have believed you. Back then, success was just getting to meet Davido. I thought working on Fem would be the biggest moment of my life, but I’ve gone on to do much more.

Now, success means impact. It’s about how many people I’ve helped, trained, and inspired. I’ve mentored several art directors who now run their own companies, and that makes me feel incredibly fulfilled. Even beyond mentorship, I’ve started finding ways to give back through the work itself. For example, after building a toilet set once, I donated all the latrines to a government school. These little things, knowing I’m leaving a legacy and making a difference, even in small ways, mean more to me now than personal accolades.

You’ve received many awards, the most recent being the Future Prize for Creativity and Innovation in 2024. How have these shaped your sense of responsibility as a creative leader, and do they influence the way you approach new projects?

For me, awards, like the Future Prize, serve more as reassurance than pressure. They remind me that I’m on the right path, but I don’t let them change how I approach my work. I don’t feel the need to overdo or shift who I am creatively just because there are more eyes on me now. The reason I received that recognition is because of the work I was already doing, so why change that?

What keeps you inspired to continually push boundaries and redefine the visual identity of African music, especially in a world where trends move faster than ever?

What keeps me inspired is the knowledge that we’re making history. I think back to when I was younger, Nigerian visuals didn’t look this good. We all looked up to American music videos; they set the standard. You’d watch MTV or Trace and just know the Nigerian videos weren’t on that level yet.

Women were often either victims or just background dancers in skimpy outfits. We rarely showcased our culture in a way that felt proud and aspirational. It was like we weren’t fully owning our identity, or maybe we didn’t think it was “cool” enough to highlight.

But everything started shifting when Nigerian music went global. Artists like Davido and Rema began collaborating with international stars. Nigerian cinema started showing up on platforms like Netflix and Amazon. Suddenly, the world was watching us, and we had the power to shape how people see Africa. It’s part of why people now want to come here for Detty December, they see this vibrant, visually rich experience on screen and want to be part of it. So honestly, what keeps me pushing boundaries is the opportunity to reshape perception. It feels like we’ve been handed a magic wand, and we get to define what Nigeria looks like to the rest of the world. That’s powerful.