Jaiz Bank, founded in 2012 as the pioneer non-interest (islamic) financial institution in Nigeria, says it maintains a record of being the first Shariah Compliant Bank in the world to break even within the first three years of operations.

Read Also: Nigerian Banking-as-a-Service company, Anchor, unveils refreshed identity to harmonise its visual identity across all its brand touchpoints

The rebrand, which sees the company introduce a new logo, fresh colours, and a new tagline, is the first of such since its founding in 2012 so it represents a fresh chapter in its journey.

According to Haruna Musa, Managing Director of Jaiz Bank PLC, the new corporate identity is more than a cosmetic change, “it symbolises Jaiz Bank’s renewed commitment to ethical, inclusive, and customer-centred banking.”

The transformation, he explained, involved a new logo, tagline, and vibrant colour scheme, replacing the familiar green and gold with deep blue, yellow, and grey. “Deep blue reflects trust and stability, yellow conveys optimism and innovation, while grey represents sophistication and balance,” Musa said.

Read Also: Nigerian Telecommunication Operator, 9Mobile, rebrands as T2

While the bank’s outward expression is evolving, Musa stressed that its foundation of Shariah-compliant principles remains unchanged. “What is changing is our visual identity and how we present ourselves to the world. What is not changing are our core values and the Shariah-compliant principles that continue to define us,” he said.

The new tagline, “With You for Life,” he noted, reflects Jaiz Bank’s promise to support customers at every stage of their financial journey.

Something ‘Bixby’ is going is on

Since the announcement on social media, the new Jaiz Bank identity has attracted welcoming and not so endearing reactions from customers, with a lot of comments on the official X post indicating that most prefer the old logo to the new one.

Read Also: Opay reveals new logo and declares the dawn of a new era

“The unique typography treatment of “Jaiz”, Green and gold pallete, and the geometric motif were all abandoned for a look that could easily be mistaken for a tech product, and also sacrificing the originality and heritage,” one comment on a post about the new Jaiz Bank logo notes.

Aside from the ‘old is better than the new’ reactions, several people have also pointed out that the “new logo looks more like the Samsung bixby logo but inverted.”

While the company on X says “this new identity is about stability, innovation, and serving you even better”, it’s impossible to overlook the similarity between the new logo and the Samsung Bixby icon.

The big question is: Did the designer(s) and stakeholders who approved this not see the similarity between the new icon and Samsung Bixby icon during the process, or they just chose to ignore it because it’s not the exact same thing?

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Founded in 2022 by A'chille Aruoko and Samy Chiba, Bujeti set out to help African businesses issue corporate cards to their employees, control and manage their expenses and keep track of their finances.

Read Also: Nigerian Banking-as-a-Service company, Anchor, unveils refreshed identity to harmonise its visual identity across all its brand touchpoints

The rebrand, the company notes, reflects its evolution from a corporate cards and expenses management platform for African businesses to the Finance Control Centre for African businesses empowering them to scale smarter and with total control. “This isn’t just a new logo. It’s a symbol of our evolution and a sharper focus on what truly matters: helping African businesses take full control of their finances,” the company shared.

With a sharper mission to accelerate business growth with a unified, fully automated solution, the new visual identity, Aruoko says, is simple: No noise, no fluff—just precision, strength, and confidence.

Read Also: Bransolute's brand refresh for AjoCard conveys its vision to deliver financial services to the excluded

“We needed a bold identity that reflects who we are today—and our bigger mission: empowering African businesses to move faster, grow smarter, and scale with confidence,” the company notes.

Video Credit: Bujeti

According to Aruoko, this isn’t just a rebrand. It’s a full reset. “Bujeti is now the Finance Control Centre for growth-focused companies across Africa. Whether you're running payroll in Ghana, approving vendor payments in Kenya, or tracking multi-currency spending across your group in the Ivory Coast, Bujeti gives you one place to control it all,” he wrote.

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The festival, founded by filmmaker and creative strategist Obinna Okerekeocha, is dedicated to spotlighting a new generation of filmmakers harnessing the power of AI to create groundbreaking cinematic experiences. “As Nigeria’s first-ever festival dedicated to AI-filmmaking, NAIFF is set to explore the intersection of technology and storytelling, opening new doors for filmmakers and creatives in general,” the announcement reads.

“With artificial intelligence rapidly penetrating and reshaping the global film industry, Nollywood faces a pivotal moment, one that creates an opportunity to embrace an already known future where human creativity and Artificial intelligence will work hand in hand to accelerate her capacity. NAIFF will serve as a platform to foster an ethical integration while highlighting innovative filmmakers.”

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NAIFF, scheduled to hold on Saturday, 13 September, 2025 at the Alliance Française Centre, Ikoyi, Lagos, will bring together filmmakers, content creators, AI artists, and tech enthusiasts. The festival will feature exclusive screening, training workshops, masterclasses, panel sessions, AI live demos, VR and Games, networking opportunities, and an award gala.

With the theme, “AI_FRICA”, this maiden edition of the festival invites creatives to reimagine the future of African storytelling at the intersection of artificial intelligence, innovation, and indigenous creativity. “The world of filmmaking is undergoing a creative revolution — and AI is leading the charge,” NAIFF notes. “At NAIFF, we believe storytelling should have no limits. That’s why we’re spotlighting a new generation of storytellers using artificial intelligence to push the boundaries of what’s possible on screen.”

For Okerekeocha, “NAIFF is about championing the next frontier of cinematic innovation where art and technology converge.”

Read Also: African SDGs Film Festival set to happen this September

Visit naijaaifilmfest.com to register to attend. Follow NaijaAIFilmFestival on socials to stay updated.

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The rebrand, which comes a year after LH Telecommunication Limited acquired a majority stake in the network provider, is “the beginning of a bold new chapter,” said Femi Banigbe, CEO of Emerging Markets Telecommunication Services Limited (EMTS), the parent company of T2.

The rebrand is the second in the company’s history since its first launched in 2008 as Etisalat Nigeria. The first rebrand from Etisalat to 9mobile happened in 2017 after the exit of its UAE-based parent company due to the company’s debt crisis.

Read Also: Vodafone Ghana rebrands to Telecel Ghana following acquisition of major shares by Telecel Group

Eight years since the rebrand to 9Mobile, the company, which is the fourth-largest telecom operator in the country, has continued to face serious challenges and struggled as it has seen a drastic fall in its subscribers—from over 22 million in its early years to about 3.2 million in January 2025, according to reports.

This rebrand, Banigbe said, goes beyond a new logo or tagline, “It is the beginning of a bold new chapter in our history. It is a declaration that we are no longer who we were, but we are becoming something greater. We are becoming something more ambitious.”

Read Also: Nigerian financial services company, First Bank Nigeria (FBN) Holdings PLC, rebrands as First HoldCo Plc

According to report, the rebrand is a key milestone within the company’s comprehensive four-phase recovery roadmap — stabilisation, modernisation, transformation, and growth. The company said it is embracing a new name, T2, and a new ambition to lead in innovation, customer experience, and digital lifestyle enablement, as it enters the ‘transformation’ phase in its recovery roadmap.

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Hosted by Chanja Datti, an Abuja-based waste recycling company, the African SDGs Film Festival wants to “showcase films and animations that emphasises the pressing issues and solutions towards achieving the SDGs - No Poverty (SDG 1), Gender Equality (SDG 5), Promoting clean water and sanitation (SDG 6), Decent Work and Economic Growth (SDG 8), Climate Action (SDG 13), Promoting Peace, Justice, and Strong Institutions (SDG 16).”

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With the theme, “Inspiring Sustainability Through the Lens,” the festival will take place from September 11- 12, 2025, at Silverbird Cinema Abuja, Federal Capital Territory, Abuja, and will feature film screening, panel discussions and workshops, networking opportunities, exhibitions, and awards ceremony.

The festival, which aims to inspire, educate, and mobilise communities across Africa towards achieving the Sustainable Development Goals by 2030, will showcase films that highlight critical issues such as poverty, gender equality, climate change, and sustainable practices.

Read Also: Batch collaborates with Tendril for its first community film project

With over 2,500 film submissions, the judges—made up of Temitayo Boroffice, a visionary filmmaker and engineer; Carolyn Seaman, a social entrepreneur and social impact filmmaker; Nwamaka Nwobi Okoye, a visual storyteller, media producer, and interior architect; Bruno Olmedo Quiroga, a strategist and storyteller; and Cynthia Bwanhot, a Chicago-based entrepreneur and designer—will select films that will pushing informative and positive narratives and catalyse action nationally on the necessity of embracing, educating, and empowering communities and organisations with the information and tools to drive the attainment of the SDGs by 2030.

Visit sdgafricanfilmfestival.com and follow African SDG Film Fest on socials to stay updated.

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Founded in 2023 by Omolara Sanni and Adeola Owosho, the startup set out to build “an escrow payment platform that will give buyers the confidence of paying before delivery and protect sellers from losing money and customers.” However, the startup has since pivoted to payments after “they quickly realised that the African market wasn’t quite ready.”

“In May 2024, the company began to address a challenge the cofounders were well acquainted with from their experience running different e-commerce businesses: paying suppliers in China. Today, Midddleman helps African vendors fund Chinese Yuan (CNY) wallets and pay their suppliers,” the condia reports.

Read Also: Nigerian crypto startup, Zap Africa, announces rebrand to reflect its ambition

According to Adeola Owosho, co-founder and CEO of Midddleman, the rebrand captures the company’s evolution from an escrow service addressing Nigeria’s e-commerce trust deficit to a platform redefining Africa-China trade, empowering SMEs to scale globally. “Our rebrand reflects Midddleman’s mission to bridge African ambition and global opportunity,” he wrote.

The new logo, which merges a bridge (engineered solutions spanning divides) and a shield (security and assurance in delivering innovative solutions), he notes, embodies the company’s Sage and Creator archetypes—wise, transparent, and innovative. “Our warm, conversational tone simplifies trade complexities, celebrating SME successes while addressing challenges empathetically,” he shared.

Read Also: Nigerian Non-Interest Bank, Jaiz Bank, unveils new brand identity

“Headlines like ‘Source Goods from China Like It’s Next Door’ and CTAs like ‘Exchange RMB’ resonate with traders, aligning with our promise of accessible, empowering trade.”

“For businesses navigating Africa-China trade, success hinges on clear, reliable paths through complexity. Midddleman doesn’t just facilitate transactions—it creates essential infrastructure, connecting communities to opportunities with confidence,” Owosho noted.

“Midddleman is a movement to empower African SMEs in the $296 billion Africa-China trade. By blending cultural trust, AI, and a rebranded identity, we dismantle barriers, enabling traders to compete globally and inspiring a productive, self-sufficient African economy.”

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Founded in 2018 by Audu Israel Kashim, CEO of Ezzykash Media Concept, the Kaduna International Film Festival (KADIFF) brings together filmmakers and film enthusiasts from around the world to celebrate and promote the art of filmmaking while promoting entertainment and cultural exchange.

With the theme, “Film for Social Change,” the 2025 edition of KADIFF will take place from August 26th - 30th, 2025, featuring masterclasses, workshops and seminars, panel discussions, tourism, and film screening.

According to the organiser, this year’s festival will hold across multiple venues, with Silverbird Cinemas, Galaxy Mall hosting all film screenings, while Stronghelge Hotel will serve as the central hub for masterclasses, exhibitions, workshops, and panel sessions.

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Having received over 2,000 film submissions from more than 50 countries, 168 films, selected by a 9-member board of jurors, will be screened during the five-day event. With multiple nominations from 15 countries, including Uganda, Nigeria, Kenya, Russia, Finland, France, USA, India, Tunisia and Ghana, Uganda, for the third consecutive year, led with the highest number of entries, according to the organiser.

Read Also: Dex Ghana confirms dEX Design Conference will return this September

This year’s festival is to draw attention to how films can challenge societal dysfunctions, confront injustice, and promote peace and development, Audu Israel Kashim, the festival’s founder said. “Film tells us stories about everyday experiences – love, hope, death, good, evil, violence, and peace. It can be an effective tool to create meaningful social impact. It entertains, educates, and inspires people to act,” he noted.

“What this means is that creators hold the power to become the drivers of the future. The script, the camera, and the editing suite are tools of inspiration. We must channel them to spark real change,” he added.

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For this year’s festival, KADIFF also announced a special short film competition for young filmmakers, in partnership with Lipton. The competition invites submissions of 10-minute short films depicting families or friends sharing breakfast with Lipton. Submission closes on August 21st, 2025.

Visit kadunafilmfestival.com and follow Kaduna Film Festival on socials to stay updated.

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The company, which was born out of rising distrust in centralized platforms, says it is pioneering non-custodial crypto infrastructure in Nigeria. “Zap set out with a mission to hand complete control back to users and focus on building the infrastructure that lets them move, swap, and spend their assets safely and quickly,” it noted.

While the product has since scaled from what it was since its founding in 2022, “the visual identity remained stuck in its earliest iteration, a relic of the MVP phase that no longer reflected the clarity, confidence, or sophistication the product now embodied,” it noted.

Read Also: Nigerian mobility-tech company MAX NG is now MAX

“As we scaled, it became clear our old design no longer reflected who we were,” Tobi Asu-Johnson, Co-founder of Zap, shared. “With Zap version 2 and our expansion plans, we needed a brand identity that reflects the innovation, ambition, and energy of the team today.”

The company, which recently got in a public trademark war with Paystack, one of Nigeria’s leading fintech companies, when it launched a product under the same name, “Zap,” clarified that the rebrand is not a response to the dispute because the rebrand was already in motion, as part of their product roadmap. “The timing might seem reactionary, but we made a deliberate decision to rebrand in April 2024, because it was time to evolve,” Asu-Johnson said.

Read Also: Nigerian financial services company, First Bank Nigeria (FBN) Holdings PLC, rebrands as First HoldCo Plc

With a new identity and a bold new product deliberately designed to give users a ‘control room’ experience, Co-founder and CTO Moore Dagogo-Hart shared, “Everything is designed to give our users more control, with faster transactions, easier access to their data, and a beautiful interface.”

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According to the announcement, the ‘groundbreaking initiative’ is designed to establish Nigeria as a global hub for creativity and media. “Aligned with President Tinubu’s Renewed Hope vision of a fully diversified, private sector-driven economy, the Abuja Creative City will drive economic diversification and sustainable growth through media, technology, culture, and innovation,” the announcement noted.

“This initiative will transform the role of creativity in economic development by providing a dynamic platform that connects designers, artists, entrepreneurs, and technology innovators.”

Read Also: 5 African Film Festivals you should know

The Abuja Creative City, which is inspired by global creative hubs like NEOM, Dubai Media City, and Techhub London, Omoboriowo notes, is about building an ecosystem where creatives can thrive, where ideas turn into industries, and where culture becomes a major driver of economic growth. “This initiative is not just about infrastructure; it’s about people,” Omoboriowo shared.

“I am truly encouraged to see government bodies, particularly the Ministry of Art, Culture, Tourism, and the Creative Economy, actively championing the growth of Nigeria’s creative industry. Their commitment to ensuring that creativity is not just celebrated but also structured as a vehicle for wealth creation and empowerment is a significant milestone.”

Read Also: Chisaokwu Joboson talks working with Google Fonts on the Ojuju typeface, the public reaction to its launch, and his mission to create more type support for African languages

The initiative, with a goal to build a creative ecosystem, provides a clear pathway for creatives, taking them from learning to scaling and exporting. “[The initiative] focuses on financial sustainability by ensuring that creatives transition from skill acquisition to industry-level production,” FMACTCE noted.

According to the agreement, the Abuja Creative City will include a Residency Hub and a Creative lodge, offering spaces dedicated to artistic development and professional networking. The Creative Park notes that it will prioritize environmental responsibility, integrating sustainable practices across spaces, interactions, production, and cultural preservation efforts. “By adopting eco-conscious strategies, the initiatives ensure that creative development aligns with global sustainability standards,” it noted.

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The festival, which is set to commemorate International Women’s Day this year, will bring together key players and industry leaders from the animation world and the broader creative space to share insights, explore opportunities, and inspire the next generation of talent. “From expert led panel discussions to industry insights and connections, this festival is designed to accelerate growth in the animation industry, especially for women,” the announcement notes.

Read Also: Relio Studios announces BreakTunes, an animated series designed to address critical issues children face today in society

According to AFROWIA, the event, scheduled to hold on Saturday, March 22, 2025 at Daystar, Regal Hall, Oregun, Ikeja, Lagos, is free and open to all genders. “It welcomes everyone in the creative industry, from writers to artists, animators, and many more at every level to foster connection, growth, and visibility,” it shared. “If you are passionate about animation, storytelling, or the creative arts, then this festival is for you! Whether you’re an aspiring animator, a seasoned professional, or someone looking to explore opportunities in Nigeria’s growing animation industry, this is your chance to connect, learn, and thrive.”

Call for Short Animated Films

Ahead of the festival, AFROWIA is calling on animators who will love to showcase short animated films at the festival to submit their short film for a chance to have it screened at the festival. “Are you an animator with a short film you’d love to showcase? The Afro Women in Animation Festival 2025 is the perfect platform to share your work with industry experts, fellow creatives, and a passionate audience,” the open call announcement notes.

Entries should be submitted to Ladi@basementanimation.com.

Deadline for Submission: Saturday, March 15, 2025

Visit the registration link to register for the event.

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“AfricPix is shutting down,” Ismeen shared in his announcement post. “Building this platform was an incredible journey, but it’s time to move on. They say, fail fast and move to the next idea—and that’s exactly what we’re doing.”

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According to Ismeen, he and his team made the “drastic decision” to shut down the platform exactly 6 months after launching it. “Today marks 6 months [since] we launched AfricPix. It has been an amazing journey, and we have learnt a lot—both personally and professionally,” he noted. “My team and I have decided to take a drastic decision by shutting AfricPix down.”

The reason for taking the ‘drastic decision’, he said, will be revealed in subsequent video posts. “A huge thank you to everyone who supported us! This isn’t the end, just a new beginning,” Ismeen wrote.

AfricPix, the stock image company, set out with the mission “to empower African creatives by providing a rich and diverse collection of royalty-free stock images, illustrations, videos, and music that authentically showcase the beauty and diversity of Africa,” according to the website.

With this announcement, its vision to become the leading stock photo library that champions the representation of Africa in the global media landscape has been cut short.

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The survey, which is led by Immaculata Abba and a group of volunteers—Elizabeth Akpan, Kachi Eloka, Edikan U, Ama B, and Princess Briggs—wants to “gather data to help us collectively move towards fair pay and reveal the real costs of cultural work.”

A culture worker, according to the group, is anyone whose work entails exploring, reflecting or preserving our ways of life, our stories, and our ideas. “Think- people in Film/TV, Music, Book & Magazine Publishing, Podcasting and Radio, Journalism, Performing Arts (Theatre, Dance, Comedy, Spoken Word), Visual Arts (Painting, Sculpture, Installation, Photography,), Fashion, Architecture, Humanities Research, Libraries, Museums, Archives, and Heritage Sites, Cultural Policy and Organising, Web-based Arts and some aspects of the creator economy,” Abba, an artist, writer and researcher, shared.

“The survey has three short parts: what you do, how much you earn, how much you need.”

Read Also: Inside Creative Nestlings’ evolution: From a community to an African creative network and startup building for African creatives & entrepreneurs

As an extra incentive for filling the survey, the group says respondents “stand a chance to win a no-strings-attached 500,000 Naira project grant or a gift card for Yoga/Pilates/Dance fitness classes at Hearts Wellness Studio.”

To enter the giveaway, respondents will submit their email and a sentence about their project in a separate link at the end of the survey.

“The grant incentive is funded out-of-pocket among us, and an anonymous charitable donor,” the statement notes.

Survey Closes: March 25, 2025

What will be the outcome? The survey results will be published online and accessible for free, accompanied by a downloadable pdf report (on the Studio Styles website and across other media channels).

The release target is April 2025.

Take the Cultue Pay Survey

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Established in 2016, the Joburg Film Festival, a signature property of Native Yards, is presented in partnership with MultiChoice. “The Joburg Film Festival (JFF), set against the vibrant backdrop of Johannesburg—the famed ‘City of Gold’—is more than just a cinematic showcase; it's a celebration of African narratives that resonate across the world,” the festival notes.

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The festival, which is scheduled to take place from 11 – 16 March 2025, will bring together filmmakers, industry professionals and audiences from across the globe to share their experiences and forge connections through the universal language of cinema. “JFF remains committed to promoting diversity, inclusivity and the celebration of universal human stories,” the announcement notes.

“In the ever-evolving landscape of global media and entertainment, the Joburg Film Festival stands at the forefront of Africa’s cultural and creative revolution,” said Nhlanhla Ndaba, Joburg Film Festival Curator. “Now in its 7th year, the festival continues to celebrate filmmaking excellence, offering a unique window into the heart of a continent rich with inspiring stories waiting to be shared on the international stage.”

Read Also: Batch collaborates with Tendril for its first community film project

With the theme, ‘The Golden Thread – Connected Through Stories,’ this year’s festival will explore the profound interconnectedness of our shared human experiences and the timeless value of storytelling.

“We are pleased to present ‘The Golden Thread’ as our theme for the next edition of the festival,” says JFF Founder Tim Mangwedi. “It represents the unbreakable link that storytelling forms between individuals, communities and cultures. Through our carefully curated selection of films, we aim to show how stories, much like threads, interlace to create a larger tapestry of shared human experience. This is a celebration of connectivity, of learning from one another, and of recognising the meaningful impact our stories can have on the world.”

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For this year’s edition, the festival will feature over 60 local, African and international curated titles, including fiction and documentary feature-length films and shorts), with several notable world premieres already confirmed.

Some of the confirmed films include, Sebata, a gripping dark South African detective thriller directed by Norman Maake, Timmy the Kid, a rural-urban comedy from director Gray Hofmeyr, that boasts a star-studded local cast, The Man Died, a powerful adaptation of Nobel Laureate Wole Soyinka’s harrowing prison memoir directed by Awam Amkpa, To a Land Unknown, Lebanese national Mahdi Fleifel directed film, which follows two Palestinian cousin friends as they strive to escape their desolate environment before it’s too late and is shot across five countries, Under the Volcano, directed by multi award-winning author Damian Kocur, and Ernest Cole: Lost and Found, directed by Haitian born, Paris based director Rauol Peck.

In addition to the film programme, the festival will feature a robust industry programme in Joburg Xchange (JBX), incorporating JBX Business (market), JBX Talks and JBX Youth.

Visit joburgfilmfestival.co.za and follow Joburg Film Festival on socials to stay updated.

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“We’re really back this time—no jokes! dEX Design Conference 2025 is coming in hot, and you already know it’s gonna be bigger and better,” it shared on social media. “You can just tell from our change in name and brand refresh!”

The dEX Design Conference (formerly called Artmosphere), which was last held in 2022, will take place on September 20, 2025, at the ISSER Conference Hall, Accra, Ghana.

With the theme, ‘The Evolution of Design in Africa: The Past, Present, and AI-Driven Future,’ this year’s edition of the conference will “explore the past, present, and future of design in Africa—honouring the foundations laid by pioneers, examining the role of contemporary creatives in shaping today’s industry, and envisioning an AI-driven future that redefines creativity and craftsmanship.”

Read Also: Daniel Ampofo: The creativepreneur making people fall in love with brands through his creative solutions

According to the organiser, dEX Design Conference 2025 will feature inspiring keynotes, hands-on workshops, insightful panels, masterclasses, networking opportunities, and ‘dEX goodies’. “You’ll gain new skills, connect with industry leaders, and discover opportunities to grow your craft and career,” it noted.

“dEX Design Conference isn’t just another design conference in Ghana —it’s where Africa’s creative future takes shape. Whether you’re a designer, creative director, entrepreneur, or design enthusiast, this is your chance to connect, learn, and grow in an industry that’s evolving faster than ever.”

Read Also: Google Fonts adds Ga Maamli, a font inspired by handwritten posters found in Accra, to its catalogue

Past speaker at the conference includes Yeayi Kobina, Muhammida El Muhajir, Dela Avemega, Henry Mawuli Adobor, Paul Ninson, Farah Addul Wahab, Natalie Narh, Sunita Kragbe, Yaa Boateng, Nana K. Duah, Nana Asihene, Jonathan Letsa, Osmond Tshuma, Tunji Ogunoye, Sharon Mills, Dela Kumahor, Nana A. Sey, Sydney S. Sam, Aaron Yeboah Jr.

Visit conference.dexghana.org to learn more.

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The move, which was approved at the 12th AGM of the holding company in November 2024, aims to unify the company’s diverse businesses—FirstBank, its flagship and iconic commercial banking subsidiary which has been around since 1894, and its growing investment and insurance arms—under a single identity.

Read Also: 8 African companies that rebranded / refreshed their brand identity in 2024

According to the company, the transformation and rebranding is a pivotal milestone in its journey to redefine its identity, unify its subsidiaries, honour its heritage, and solidify its leadership in the financial services industry. “The new name reflects a forward-looking vision rooted in a timeless legacy of trust, resilience, innovation, and exceptional service delivery,” the announcement reads.

The group, however, added that it will retain First Bank Nigeria Limited as its flagship brand (that is, its bank branches across the country will continue to carry the FirstBank name), while it will adopt new, unified names for its other subsidiaries in Asset Management, Capital Markets, Securities, Trusteeship, and Insurance Brokerage.

Read Also: Nigerian Real Estate Development Company, Adron Homes, unveils new logo

The company said it wants to make it easier for customers to identify all its different services—from regular banking to investment management and insurance.

Wale Oyedeji, Group Managing Director of FBN Holdings, said, “The rebranding represents more than a name change; it is a renewal of our purpose, vision and commitment to delivering world-class financial solutions to our stakeholders. It allows us to unify our identity across subsidiaries and geographies, creating a strong, cohesive brand that reflects our leadership position in Africa and sustains our global presence.”

He added, “We are better positioned to meet evolving market demands while strengthening the trust that has defined our relationships for over a century.”

Read Also: Vodafone Ghana rebrands to Telecel Ghana following acquisition of major shares by Telecel Group

The rebranding, which is subject to regulatory approvals, reflects the company’s evolution from a single-bank entity to a diversified financial conglomerate. “First HoldCo is a well-diversified and one of the largest financial services organisations in Africa,” its website notes.

The “HoldCo” in the new name stands for “Holding Company”—simply, it’s the parent company that owns FirstBank and other financial businesses under the group. “[First HoldCo] is structured along Commercial Banking, Asset Management, Capital Markets, Securities, Trusteeship, and Insurance brokerage. FirstHoldCo drives the Group coordination, collaboration, and synergies across the business groups to deliver innovative financial solutions,” its website explains.

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Announcing the typeface, he wrote, “I’m thrilled to have finally completed what began about a year ago as a type design exploration on African flutes.

“Today, I present Oja Display, a bold and expressive typeface inspired by the anatomical structure of the traditional Oja flute from Eastern Nigeria.”

Oja Display, he explains, “features unique counterforms shaped like the flute's finger holes and boldly tapered stems, striking a balance between modernity and heritage.”

Read Also: Nigerian type designer launches TypeAfrik, a design community for African creatives interested in type design

He notes that Oja Display features 1,042 glyphs, and supports over 180 languages, and “is ideal for impactful headlines, editorial design, branding, and cultural projects.”

Joboson, who released his first typeface in collaboration with Google Fonts, shared that Oja Display is his second released contemporary typeface under Udi Type Foundry, an independent type design foundry he founded.

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Oja Display is one of the many typeface ideas Joboson has been working on in the last year. In a conversation with The Creatives Note last April, Joboson shared, “I have a number of ideas on different typefaces and I am currently exploring and working on 5 different typefaces, all of African essence, which I would like to put out.”

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Opemipo, who is one of the three founding team members alongside Shola and Ezra, shared that he quit Paystack in August [2024]. In his announcement post, he wrote, “Starting as part of the founding team, I scaled our design organization from just me handling all design and frontend development to a 20-person team working across Product Design, Brand Design, Editorial Design, Design Systems, and Design Operations. We built and scaled financial products and systems that now serve merchants across six countries.”

“I was solely responsible for all the design and frontend work in the early days,” he noted in a post about the early days of Paystack.

In a 2023 Medium post where he shared about his role as the head of design at Paystack—which was acquired by Stripe in 2020—Opemipo noted that his responsibilities fell into four broad categories: Design Operations, Design Direction, Branding and Comms, and User Experience Design.

Read Also: Tomi Odusanya: The problem-solving creative leading Growth Design at the first Nigerian Y combinator-backed company

“Paystack feels just as much my baby as I imagine it feels for anyone else who has had such a significant role to play. I still struggle to accept the magnitude of what we've achieved, preferring to operate in my convenient story of being ‘just a maker,’” he wrote in his announcement post.

According to Opemipo, since leaving Paystack last August, he has spent time figuring out what he wants out of life. “I've spent the last six months figuring out what I want out of life, and being in the shadows won't get me there,” he wrote. “My life's goal is enablement: I want to build a creative practice that incubates global enterprise, especially from West Africa.”

He added, “To get there, I have more to learn about:

• Distribution: how to get products to people globally.

• Intelligence: how to build context-efficient teams

• Agency: how to enable both software and human actors to do their best”

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“This phase of my life is about building global roots.”

According to Opemipo, the best articulation of why he left Paystack are: to reclaim his time, challenge himself, work differently, and expand.

“I’ve been working since my first year of uni. A lot of my adult life has been designed around quarterly goals, monthly targets and weekly plans. I wanted to reclaim all of my time and see what I do with it. Rest, health, family, friends,” he notes on reclaiming his time.

On challenging himself, he wrote, “I spent nine years at Paystack and it got too comfortable. Work was challenging but not in the ways I’m interested in. My studio experiments were also within my comfort zone. I want to find out how well I do outside an environment of my own making.”

Read Also: “Closing the studio was a very tough decision to make”— Seyi Olusanya on closing Dá Design Studio

On working differently, he noted, “When I started at Paystack, I was a visionary product designer and engineer. When I left, I was a reliable producer and decent manager. I put a lot into my job and loved the people I worked with, but being a manager doesn’t fulfil me.”

He concluded, “This phase of my life is about building global roots. I’m starting from London and moving outwards from here. Leaving Paystack was step one.”

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What Next

On his next challenge after leaving, he wrote, “I'm looking for my next challenge: a product design role in a global organization. I want to focus on driving business outcomes rather than people management, with the flexibility to work from Lagos or New York. 3-5 years of intense learning.”

He added, “I've set a really high bar for my next role. If you know someone I should be talking to, I'd deeply appreciate an introduction.”

Read Also: Album Cover Bank launches improved filter experience for easier exploration of the archive

Following his departure in 2024, Opemipo says he’s co-founded Moonlight—a venture studio that designs and operates sustainable internet companies—with Princess Ebi. Moonlight is home to Main Squeeze, GRVL, Hello World, and Independent Arts—a non-profit organization dedicated to supporting Nigerian artists.

(Independent Arts launched Album Cover Bank, a digital archive of 5300+ Nigerian album covers from 1950 to date, and other projects like E Dey Happen, Feel Good, LUDO, and Hanky Panky.)

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Founded in 2015, MAX, then MAX OKADA, set out to ‘move Africa forward by simplifying ride-hailing and last-mile delivery services’. After an Okada (Motorbike) ban policy in 2020 in Lagos—their biggest market at the time, it pivoted to ‘pioneering vehicle subscriptions and value-added services’ as MAX NG.

Read Also: Nigerian HRTech company, Pade, unveils new identity to reinforce its commitment to African workers and employers

For its latest move, the company—with the vision to power Africa’s forward movement—is doing away with the NG in its name as it embarks on its mission to lead Africa’s transition to electric mobility. “Say goodbye to MAX NG and hello to MAX — a bold new identity at the forefront of Africa’s transition to electric mobility,” the announcement stated.

“Join us on this exciting journey toward a cleaner, greener, and more connected Africa. The future of mobility is here, and it’s electric!”

For this move, MAX (Metro Africa Xpress) is doing away with the NG in its name but retaining other visual elements—from the typeface to its vibrant yellow.

From simplifying ride-hailing and last-mile delivery services, MAX is now leading the charge in electric vehicle adoption across the continent. “At MAX, we're not just addressing Africa's mobility challenges—we're committed to transforming our planet for the better…we're making eco-friendly, zero-emission transportation a reality.”

Check out more stories on African companies that rebranded or redesigned/refreshed their identity in recent years.

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“Exciting News! We are thrilled to unveil our ‘new logo’ at Adron Homes, a symbol of our commitment to embracing the latest trends, innovation, and ideas,” the announcement stated. “Our new logo is more than just a design; it’s a testament to our unwavering promise to exceed expectations. The world is coming to us, and we are ready to welcome it with open arms.”

Founded in 2012, Adron Homes set out to empower people to become homeowners by providing incredible and affordable housing. “This rebranding marks a new chapter in our journey, reflecting our dedication to staying ahead of the curve and continuously evolving to meet the needs of our valued clients,” it shared.

Read Also: African Language Learning Startup, TopSet rebrands as Lingawa

“The old logo looks way better”

While the company says the rebrand is its way of staying ahead of the curve, it has received criticism for the new logo from many, with some calling it unprofessional and a downgrade from the previous logo. “This is rather hard to read. All your logos before this were easy to identify from afar without straining the eyes, if it’s not broken don’t fix it,” says one comment.

“The old logo looks way way better. The new logo looks like a logo one old man designed in the year 1800. The old logo is far more better,” another shared.

Many comments noted that the new logo is not as memorable and recognisable as the previous one. “I think the old logo is more realistic and unique,” says one comment. “2023 looks more professional and readable,” says another comment.

“The old logo is better, there [are] a lot of things to be considered when rebranding, it feels more like some brands are only rebranding because other brands did theirs,” Yussuph Luqman, a Graphic Designer, commented on the announcement post. He added, “The old logo stands out, it's easy to recognize, maintains readability when scaled down, simple and more importantly communicates the brand more. For the new logo trust me it's not speaking modern rebrand, nothing unique, looks a bit unprofessional (for me), lacks readability and I'm sure it can't be recognized like the old logo on a small medium but in all not much of a rebrand.”

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One common concern raised about the new logo is it scalability, that is, ability to remain legible and recognisable in small size. “Nice logo but one of the principles of a good logo is scalability. The New logo is not Scalable. The old one is more commanding and Precise,” one comment shared.

“People are rebranding and going flat with their logos, una dey go more detailed,” one comment pointed out. “Please check what a good logo should be before rebranding. This isn’t timeless and isn’t memorable, not scalable, I can’t recognize the logo at all small scale. In fact, experiment with this, place your logo as the smallest icon on a phone and see whether you still recognize it. That shows a good logo should be recognizable even at small scale without losing details.”

Read Also: Nigerian HRTech company, Pade, unveils new identity to reinforce its commitment to African workers and employers

Another noted, “The previous logo was a hit, this new one is a proper miss…..it doesn’t follow any of the logo design principle, not scalable or even functional in all cases, it’s not too late to review. Goodluck.”

A few comments also suggested that the new logo is AI-generated. “The New Logo looks AI generated; hope Chat Gpt was well-paid sha,” one comment joked. “This is [a] total waste of resources. It's like going from frypan to fire. The new logo doesn't reflect anything.. It’s just an ÁÌ generated image,” another shared.

Another comment said, “Sorry but I think brands are moving to minimalist icons but for this, it’s not it. It feels more like ai generated image.”

Beyond the comments under the announcement post of the company, designers on X shared their thoughts on the rebrand.

Check out more stories on African companies that has rebranded/redesigned their identity in recent years.

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“Happy New Year!! I just released my first typeface in collaboration with Google Fonts!” Badejo shared. “Agụ Display is live on Google Fonts and agudisplay.com (in collaboration with Studio Null).”

With origins in the Ekpe secret society, Agụ Display brings the ancient mystique of Nsibidi symbols to life with inspiration from a rich West African heritage, extending from Cross River to Cameroon, the official website notes. “From the Ụzọ, Àlà to Osisi masters, let Agụ Display take you on a winding path through time, merging tradition with contemporary style in a unique typographic adventure as your words dance with history!” it adds.

Read Also: Sankofa Display, a typeface that draws inspiration from African art styles, with a focus on straight-line geometric designs, is now live on Google Fonts

According to Google Fonts, Agu Display serves as a bridge between historical symbolism and modern typography. “It's not just a font but a tool for cultural preservation, enabling designers to infuse their work with African heritage's depth and richness,” it explains. “This typeface celebrates tradition while fostering innovative expression, linking ancient communication with today's design needs.”

Badejo says the typeface, which features stylistic influences from the popular Kablammo and Jokerman fonts with decorative influences from Nsibidi and Neo-Nsibidi, was brought to life with contributions from Nathan Willis, Travis Kochel, Lizy Gershenzon, Agyei Archer, and Jordan Williams. “Special thanks to Dave Crossland, Thomas Phinney, Nhung Nguyen, Lotanna Igwe-Odunze, Rainer Erich Scheichelbauer, Eze, Uchechukwu Arinze and Ogonna ‘Maranatha’ Nnaemeka,” he added.

Agu Display is part of Google Fonts’ type project in Africa. The project, which began in 2023, set out to equip African designers with the knowledge, skills, and resources to design typefaces inspired by their culture, story and heritage.

Last March, The Creatives Note first reported the release of 2 typefaces—Ojuju, a san-serif typeface of an afro-grotesque style, created by Chisaokwu Joboson, a Nigerian-based brand and type designer, and Madimi, a rounded-sans with a mixed geometric and organic design, created by Taurai Valerie Mtake, a Zimbabwean visual communicator and type designer—from the collection.

Read Also: “It's a dream come true” — Zimbabwean visual communicator and type designer, Taurai Valerie Mtake, on working with Google Fonts to create the Madimi One typeface

The Creative Note also reported the release of Tac One, a single-weight, bold Sans Serif typeface and Danfo, a tuscan serif font, designed by Afrotype—a Lagos-based type studio founded by Seyi Olusanya, by Google Fonts.

Ga Maamli, a font inspired by the historic handwritten posters found in the vibrant coastal communities of Accra, designed by Ghanaian design trio—Afotey Clement Nii Odai, Ama Diaka, and David Abbey-Thompson, Sankofa Display, a typeface that draws inspiration from African art styles, with a focus on straight-line geometric designs, designed by Zimbabwean designer Batsirai Madzonga, and Matemasie, an ultra-bold display typeface that draws inspiration from the Adinkra symbol 'Mate Masie', designed by Adam Yeo, a graphic and type designer from Côte d'Ivoire, are also part of the collection,

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Check out the Agụ Display typeface on Google Fonts

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