Veteran Nollywood actor Sylvester Madu has finally addressed the controversy surrounding his alleged involvement with secondhand clothing, commonly known as “okirika” in Nigeria, following a viral video that sparked widespread speculation about his financial circumstances. The respected performer has pushed back against critics, defending the legitimacy of the secondhand market while clarifying his personal connection to it.
Controversy erupted in 2023 when footage emerged showing Madu arranging clothes at a local market in Enugu State. The video quickly circulated across social media platforms, with many viewers questioning whether the established actor had fallen on hard times and resorted to selling secondhand clothing to make ends meet—a narrative that highlighted ongoing concerns about financial sustainability in Nigeria’s film industry.
After months of speculation and commentary from fans and critics alike, Madu has now offered a candid response that not only addresses his personal situation but also challenges broader social stigmas surrounding secondhand goods in Nigerian society.
“They keep talking about okirika as if it’s one thing that originates from the gutter. 80% of Nigerians use okirika,” Madu stated emphatically in his recent online address. “The cars we drive are okirika. Some of the TVs in your house are okirika. Or you think it’s only clothes that are okirika?”
The actor’s pointed remarks highlight the contradiction in Nigerian consumer culture, where secondhand clothing often carries stigma despite the widespread use of other pre-owned items across various sectors of the economy. By drawing attention to the commonplace nature of secondhand cars and electronics, Madu effectively questioned why clothing alone should be singled out for criticism.
While setting the record straight about his personal involvement, Madu clarified, “I’ve made it clear that I’m not selling okirika and it’s not a bad business. Don’t get me wrong, I’m not condemning it, unlike what you guys heard in the interview.”
His response strategically walks a careful line—distancing himself from direct involvement in the trade while simultaneously defending the legitimacy of the secondhand clothing business as an honorable profession. This nuanced position acknowledges both the realities of his own situation and the economic importance of the okirika market to millions of Nigerians.
The controversy surrounding Madu’s alleged involvement with okirika touches on sensitive issues of class, status, and economic survival in contemporary Nigeria. For many Nigerians, particularly those in the middle and lower economic brackets, secondhand clothing markets represent an essential resource for accessing quality clothing at affordable prices amid challenging economic conditions.
Cultural commentator Dr. Funmi Adewole notes that the public reaction to Madu’s situation reveals deeper societal tensions: “The initial shock and speculation about Madu selling okirika speaks to our complicated relationship with status and success. We expect celebrities to maintain certain appearances regardless of economic realities, and when they appear to ‘fall’ to common economic activities, it creates discomfort.
The secondhand clothing trade represents a significant sector of Nigeria’s informal economy, providing livelihoods for thousands of vendors while meeting the clothing needs of millions who cannot afford new items, particularly as inflation continues to erode purchasing power. Industry estimates suggest the okirika market in Nigeria is worth hundreds of millions of dollars annually.
Economic analyst Ibrahim Salau explains, “The okirika economy is not just about affordability but also about quality. Many consumers prefer foreign secondhand items over new but poorly made alternatives. This preference cuts across economic classes, though many middle-class consumers remain reluctant to acknowledge their participation in the market.”
Madu’s viral moment arrives against the backdrop of ongoing discussions about sustainable compensation in Nollywood, Nigeria’s prolific film industry. Despite producing hundreds of films annually and enjoying continental popularity, many actors have spoken publicly about inconsistent remuneration and the challenges of maintaining financial stability through acting alone.
Industry insiders suggest that even established actors like Madu often diversify their income streams through various business ventures—a practical approach to financial security in an industry known for its volatility. Whether through fashion brands, real estate investments, or retail operations, many Nollywood personalities maintain multiple revenue sources.
Film director Chidi Mokeme observes, “What’s unfortunate is not that an actor might be involved in other businesses—that’s simply smart financial planning. What’s unfortunate is the public assumption that involvement in certain types of business must indicate financial desperation rather than entrepreneurial diversification.”
Madu’s career in Nollywood spans decades, with the actor appearing in numerous films that have shaped Nigeria’s evolving cinema landscape. Known particularly for his roles in action and drama genres, he has built a reputation as a versatile performer with significant cultural influence.
The actor’s frank comments about okirika use in Nigeria have sparked renewed conversation about consumption patterns and economic realities. Social media reactions to his statement have been mixed, with some commending his honesty about everyday Nigerian economic practices and others questioning the accuracy of his “80%” estimate.
Twitter user @NaijaEconomist commented, “Sylvester Madu just said what many middle-class Nigerians won’t admit—okirika is everywhere, not just in clothing. We’re a secondhand economy by necessity and sometimes by preference.”
Another user, @FilmCriticNG, noted, “The real story here isn’t whether Madu sells okirika or not, but why we expect our celebrities to be above certain economic activities. The stigma reveals our own class anxieties.”
Public relations expert Tolu Adeyemi suggests Madu’s response represents effective reputation management: “By neither embracing nor rejecting okirika completely, he’s positioned himself as down-to-earth while still maintaining his status. It’s a delicate balance that acknowledges economic realities while preserving professional image.”
For many observers, the controversy highlights the complex intersection of celebrity culture, economic realities, and class perceptions in contemporary Nigeria. As the cost of living continues to rise and economic pressures intensify across all sectors, the boundaries between necessity, pragmatism, and status maintenance become increasingly blurred.
Whether Madu’s clarification will put the matter to rest remains to be seen, but his willingness to address the speculation directly while challenging broader assumptions about secondhand goods reflects a growing trend toward authenticity in public discourse about economic realities in Nigeria.
As the conversation evolves, Madu’s pointed question—”You think it’s only clothes that are okirika?”—invites Nigerians to reconsider not just their attitudes toward secondhand clothing, but the broader culture of consumption and status in a challenging economic landscape where pragmatism increasingly trumps performance.
