Inspiration, imitation & the fine line between creative influence and intellectual property theft at the 2026 AMVCAs

The 2026 AMVCA red carpet showcased standout fashion moments, but the conversations that followed quickly turned toward debates around inspiration, originality, and credit in design.

It has been over a week since the 2026 AMVCAs, yet the conversations surrounding the event remain at the tip of the audience’s tongues. Unfortunately, much of the discussion has not centred on celebration, but on allegations of plagiarism, copying, and intellectual property theft within fashion.

Anyone active on social media would have seen some of the night’s most talked-about looks become engulfed in controversy. From the conversations surrounding Nana Akua Addo’s viral cathedral-inspired look to comparisons between Laura Ikeji, Lesliana Pereira, and their butterfly-inspired designs, the discourse quickly shifted from admiration to scrutiny.

Toni Tones’ gold ensemble also became part of the conversation, further fuelling debates around inspiration, originality, and creative ownership in fashion.

For fashion lovers, these discussions hit particularly hard. The AMVCA red carpets should have been a moment to celebrate African fashion creativity and craft on a global scale — and in many ways, it was. However, these debates have also pushed people to reflect on where inspiration begins and ends, and how originality is defined within some of the industry’s most highly praised creations.

Read also: Copycat culture is fashion’s open secret, and it’s time to confront the industry’s obsession with imitation

The AMVCA conversations and rising controversies

Cambodian Fashion house Almée Couture accused Nana Akua Addo of copying, alleging that her viral Gothic cathedral-inspired gown closely mirrored their original sketches and final design concept, which they say had already been developed before the project was discontinued and refunded. Addo, however, responded that the cathedral concept originated entirely from her own idea, and that she later worked with a different designer, Abass Woman, after parting ways with Almée Couture.

Designer Rexhep Nuhiji also called out Laura Ikeji and her designer Lipex Stitches, as well as Lesliana Pereira and her designer Abikss Couture, for allegedly replicating a digital butterfly-wing sketch he had shared on social media in January without permission or a prior heads up.

British illustrator Hayden Williams raised concerns regarding an outfit worn by Toni Tones and styled by Style Dejavuu, stating it closely resembled an illustration he originally created for Hollywood star Teyana Taylor. Only after he was alerted by fans and made aware of the situation did the actor give him proper credit. Initially, he was tagged by both Toni Tones and her stylist, but Toni Tones later removed the tag for reasons that remain unknown.

Read also: The Desiree Iyama issue: When inspiration becomes imitation

A global stage that changes everything

In Nigeria and Africa alike, our fashion has reached global heights as a result of social media and the vast audience it has created. Our designs are now commanding attention on international platforms, used to highlight a designer’s creativity, skill, and vision.

This visibility brings opportunity — recognition, wider audiences, and commercial growth. However, it also comes with heightened exposure and scrutiny. Ideas are now easier to trace, compare, and question, especially when similarities appear across different creatives and regions.

When credit is missing, conflict begins

The recent AMVCA-related discussions have brought tension to the forefront. Though the core issue in these conversations is not inspiration itself, but credit.

When ideas are borrowed, adapted, or reinterpreted, acknowledging the source is essential. Without that, the line between inspiration and intellectual property theft becomes blurred. Nothing exists in complete isolation. However, influence without giving due regard creates tension.

Creativity, in many ways, is shaped by influence and inspiration drawn from different people and places. There is rarely anything entirely “new,” but every idea still comes from somewhere and someone. For an industry that thrives on originality, there can’t be repeated cases like this.

That is why acknowledgement matters. Even when a design is altered or reinterpreted, it is important to clearly state the origin of the initial structure. This simple act of crediting is what maintains respect within creative spaces.

Instead of addressing these issues directly, they have dragged on and become a debate, which now shifts focus away from what should have been a celebration of African craftsmanship and talent.

As an observer, it is unfortunate that what could have been a moment to highlight the strength of African fashion has instead become clouded by controversy and disagreements over ownership and due diligence.

Building a healthier creative culture

A better way forward lies in fostering clarity, giving proper credit, and strengthening accountability. Nigerian fashion is deeply creative, expressive, and rooted in craftsmanship. But because so much of it is bespoke and custom-made, it becomes increasingly difficult to clearly distinguish between inspiration and original design.

No designer creates in isolation, and no creative wants their work used without acknowledgement. The emotional response to being copied is universal across the board. That is why regard, proper recognition, and even collaboration are essential.

If the industry is to grow ethically, both creatives and audiences must be willing to have honest conversations, give credit where it is due, and engage with fashion in a way that respects its origins. 

Read more: Our best-dressed stars from the 2026 AMVCAs — Africa’s biggest night in entertainment

The post Inspiration, imitation & the fine line between creative influence and intellectual property theft at the 2026 AMVCAs appeared first on Marie Claire Nigeria.