When Ikechukwu Urum first read the script for To Kill A Monkey, he knew he wanted the story to live in the costumes just as much as in the dialogue.

“Clothes are visual cues for emotion,” he says. “They don’t just finish a scene, sometimes, they start it.”

That idea became the foundation for the film’s striking and layered costume design. As both stylist and costume designer, Ikechukwu helped define the characters through purposeful, emotionally-driven wardrobe choices. Working with some of Nigeria’s most influential designers—Odio Mimonet, Isaac Jon, Hertunba, Draemp, Yahaya, and Uju Estelo—he made sure fashion wasn’t just aesthetic, but expressive.

Ikechukwu Urum

In this piece, we sat down with Ikechukwu to break down the choices behind some of the film’s most memorable characters, and how he worked with Kemi Adetiba to craft wardrobes that are as emotionally layered as the script itself.

Idia

“Let’s start with Idia. She’s the woman who wakes up already dressed for a party,” Ikechukwu laughs.

From the first time we meet her, Idia is drenched in wealth. Tight dresses, bold jewellery, vibrant fabrics, everything about her wardrobe screams for attention.

“She’s rich, and she wants you to know it,” Ikechukwu explains. “There’s nothing subtle about Idia.”

But that changes in the courtroom. For her final appearance, she’s dressed in a structured piece by Isaac Jon, sleek, composed, and surprisingly understated.

“That was intentional,” he says. “It was our way of saying, ‘She’s in charge now.’”

Nosa

Nosa’s first big moment comes at a family birthday party. While others are in loud prints and bright colours, she steps out in a soft two-piece jumpsuit and cape from Yahaya Studio.

“Her style is what happens when money meets restraint.”

It’s not shouting, but you still can’t ignore it.

“That look was quiet transformation,” he adds. “Nosa doesn’t have to prove anything. She lets the clothes speak gently.”

Inspector Mo

Of all the characters, Inspector Mo’s styling may be the most emotional.

“We styled her through trauma,” Ikechukwu explains. “Her clothes are part of her breakdown, and her recovery.”

When we first meet her, she’s sharp: clean lines, structured blazers, no-nonsense tailoring. But after a personal tragedy, everything shifts. Her looks become darker, looser, and more muted.

“It’s grief, and the unraveling of control,”

By the end, though, we see her restored. “We gave her back intention. A clean outfit. One that felt like her again.”

Sparkles

Sparkles is a nightclub darling, but Ikechukwu didn’t want her to fall into stereotype. Her styling pulls from two worlds: Lagos high-life and Marilyn Monroe’s old-school allure. She wears show-stopping dresses, but they always hint at something more, intelligence, ambition, self-awareness.

“She’s more than sequins and sass,” Ikechukwu says. “We wanted her to be a star in her own right.”

Her final outfit in the court scene, a striking all-white look by Hertunba, was a deliberate choice. “We wanted it to be her own visual declaration of innocence, even though she played a pivotal role in Efe’s downfall.”

Superintendent Babalola

While other characters evolve in and out of style, Superintendent Babalola stays consistent, and that was the point.

“She’s not trying to impress anyone,” Ikechukwu says.

Think comfortable formals, minimal accessories, and a grounded colour palette, everything about her wardrobe reflects her steady presence.

“I didn’t want her to disappear,” he explains, “but I didn’t want her to distract either. She is the system.”

Madam Adunni

For Madam Adunni, who runs a popular buka, the temptation was to go traditional. But Ikechukwu chose a different route.

“She’s not your average market woman,” he says. “She’s commanding, smart, and always in control.”

Her outfits avoid headscarves and wrappers, leaning instead into strong silhouettes, bold fabrics, and comfortable separates.

“She needed to feel grounded, like someone who makes the money and manages the chaos.”

The Doctor

“The doctor’s look was simple on purpose,”  Ikechukwu says. “He’s not a character you’re supposed to read too deeply. He’s there to steady the story.”

Muted colours, clean tailoring, and no flourishes, his wardrobe is professional, practical, and almost invisible.

“Sometimes,” he adds, “the absence of style is a statement itself.”

 

In To Kill A Monkey, the costumes dress the characters and they reveal them. Under Ikechukwu Urum’s direction, fashion becomes a second script.

“Sometimes, people think costume design is about making people look good,” he says. “But really, it’s about making them look real.”

And in this film, they do.