In the fast-paced, visually driven world of Nollywood, where image meets impact, few names resonate as loudly in the styling world as John J. Angel, better known as De Angelic Touch. With a career spanning over a decade and encompassing numerous music videos, red-carpet moments, editorial shoots, and cinematic projects, John has built a reputation as one of the most sought-after and highest-paid stylists in Nigeria. But his latest work, bringing life to the wardrobe in the highly rated Netflix original To Kill A Monkey, might just be his most audacious yet.

Known for his fearless approach to fashion and his ability to merge authenticity with high-end aesthetics, John’s influence on the screen is undeniable. In To Kill A Monkey, a gritty, cybercrime-themed drama, he transforms characters through costume, painting their stories not just with dialogue, but through fabrics, textures, and silhouettes that speak volumes.

Beyond his sharp eye for style, John is also a seasoned makeup artist, creative consultant, and intuitive collaborator with some of Africa’s biggest music and movie stars, including Wizkid, Davido, and others. Yet, behind the glitz is a man who draws inspiration from everyday life, grounded in personal values and a deep passion for visual storytelling.

In this exclusive conversation with THEWILL DOWNTOWN’s Johnson Chukwueke, the style visionary discusses his work on To Kill A Monkey, his creative journey so far, and the life behind the lens.

 

How did you land the role of lead stylist for To Kill A Monkey? Was it different from other projects you’ve worked on?

 

Landing the role of lead stylist for To Kill A Monkey was truly a mix of preparation, reputation, and the right timing. I got the role through my ongoing working relationship with Kemi Adetiba. We had worked together on a few projects in the past, including music videos and King of Boys, so there was already that creative trust and understanding between us.

What made this one different, though, was the emotional intensity and layered storytelling of the film. Every look had to reflect not just the character’s personality but also their emotional state in very specific moments.

While styling the major characters, Oboz, Efe and Teacher, I had the creative freedom to shape how each character was interpreted through their wardrobe. I worked closely with Kemi and Remi to align my interpretation of the styling with the film’s overall vision.

 

The film seems intense and layered—how did you reflect those emotions through your costume choices?

 

The film is really intense and layered, so I knew the costumes couldn’t just be surface-level. I had to dig deeper and ensure that every look captured the emotions the characters were experiencing. It was more than just dressing them; it was about using fashion to mirror their journey. From the fabrics to the cuts, even how their looks evolved throughout the film, everything was intentional. The clothes had to feel like a silent extension of their story.

 

Did the director or actors give you any specific styling input, or did you have full creative control?

 

There was definitely collaboration, especially with the director, Kemi Adetiba, and the producer, Remi, but I was given a lot of creative freedom, which I really appreciated. Kemi has a strong visual language, so she was clear about the tone and emotional layers she wanted to see, but she trusted me to interpret that through styling.

What was the most challenging scene to style in To Kill A Monkey, and how did you overcome it?

 

There were a few particularly challenging scenes, especially those in which the characters underwent significant emotional shifts. Those moments required the wardrobe to convey a lot without doing too much, and striking that balance isn’t always easy. But I trusted the preparation I had done and just followed the feeling of the scene. Sometimes you have to go with your instinct and not overthink it.

 

There’s been a lot of buzz about the fashion in the film. Which character’s style are you most proud of and why?

 

I’d say I’m most proud of Oboz and Teacher. With Oboz, his look had to be bold and flashy, yet still carry the weight of someone trying to prove something; there was a loudness and a vulnerability of money miss road there. Teacher, on the other hand, was more controlled and intimidating in a quiet way, so his style had to reflect that elderly, calm power. Both were very different, but each look told its own story, and that’s what I love most about styling.

 

If viewers look closely, are there any hidden meanings in the costumes you styled?

 

With Teacher, I wanted to channel that unmistakable Port Harcourt kingpin energy, the kind of man who moves like an area godfather. He’s feared, respected, and always calculated, but never loud. So I styled him with a vintage swagger: the papa’s cap, the pipe, it all gave him that old school, street-rooted authority. He’s the kind of character who doesn’t need to say much; his presence and his style say it all.

With Oboz, it was fun to style because he’s that loud, proud Benin boy, very money miss road, the kind of guy who thinks he’s the best dressed in every room, even when he’s doing the absolute most. I played into that with bold colours, flashy accessories, and pieces that scream for attention. He’s stylish in his head, and that confidence, even if it’s misplaced, is what makes his look so entertaining and believable. And that contributed to the character of Oboz.

Everything about his wardrobe was meant to reflect someone who’s trying really hard to prove he’s made it.

From music videos to movies, how do you adapt your styling approach for different formats?

 

I actually started costuming Nollywood movies way back around 2005, 2007, but I stepped away from it for a while and focused more on other parts of the industry, like fashion and music videos. Coming back into film was through Kemi Adetiba with King of Boys, and I think she just understood that I know how to interpret characters through styling.

With music videos, it’s all about the visuals, making bold statements quickly, and a bit of storytelling, too. But with film, you have to slow down and be more intentional. Every look needs to reflect a character’s journey, not just look good on screen. I approach each format differently, but what remains constant is my attention to detail and my ability to interpret a character through styling.

 

What’s one thing fans would be surprised to know about you outside of fashion and styling?

 

I’m a very good cook. No worry I dey cook wella.

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