FSG (Fusion Sportsgear) presents the new silhouettes of the Sub Saharan Sneaker, which is completely hand made in Nigeria. It is more than just a shoe, it is a product with a cause.
The sales from the shoes go to paying the workers and craftsmen above current minimum wages in West Africa. In addition the patterns are designed and printed by africans locally and in the diaspora, destroying the current social construct of African print.
Future goals of the brand include donating clothing to orphanages and organising sporting events for public schools. Founder of the brand, Funfere Koroye, believes in using innovation and product development to change the current state of manufacturing and product development in Nigeria.
RIP all the innocent men and women shot by the police (of any race) who’s stories are just as important but aren’t getting the news coverage that Mike Brown and Trayvon Martin are!
Let us also not forget the citizens of Hong Kong, students of Mexico, the girls of Nigeria, the teens of Israel, and the women fighting for rights in multiple countries. They deserve as much hope and support as the Ferguson incident!
African textile artists often use the strong, rich blue given by indigo dye to set off patterns that range from simple to elaborate. In resist dyeing, parts of the fabric are protected by tying or stitching or by applying paint or wax before the fabric is dyed. After dyeing, the coverings are removed to reveal the pattern, still in the fabric’s original color. Explore this and other patterning techniques in “Threads of Tradition,” on view in the Perelman Building through January 2017.
Many West African men, including the Hausa of Nigeria, wear garments decorated with distinctive embroidery. The monochromatic designs on their flowing robes, like the popular “eight knives” pattern seen here, derive from Islamic sources and have symbolic or protective meanings. Even their baggy drawstring trousers, usually hidden under their robes, are covered with multicolored embroidery. See “Threads of Tradition” through January.
“Man’s Robe,” c. 1900–70, made by Hausa culture, Nigeria
“Man’s Robe” (detail), c. 1890–1900, made by Hausa culture, Nigeria (Penn Museum, Philadelphia: Gift of the Philadelphia Commercial Museum (also known as the Philadelphia Civic Center Museum), Philadelphia, Pennsylvania, 2003-70-64)
“Woman’s Cloth (One of a Pair),” c. 1930–80, made by Ashanti culture, Ghana.
Figure of an Official or Attendent, early 17th–18th century, made in Benin Kingdom, Nigeria (Penn Museum, Philadelphia: Purchased from W. O. Oldman. Image courtesy of the Penn Museum, Image #250923. Photograph by Gary Ombler for Dorling Kindersley).
“Surgical Clinic and Health Center, Léo, Burkina Faso,” 2014, designed by Francis Kéré. Photograph courtesy of Kéré Architecture.
“my grandpapa don dey old oh! a hundred years e no be joke oh! my grandpapa no get e class he prefers everyone but his own children him get big e big e house but we dey sleep for gutter but my grandpapa don dey old oh! a hundred years e no be joke oh!”
An asylum seeker in Italy was killed on Tuesday, June 5, after responding to racist insults against his wife.
2015, Emmanuel Chidi Nnamdi, then 34, and his partner Chinyere, 24,
made a perilous journey from Nigeria to Italy. The two applied for
asylum, and while waiting on a decision, were housed in a shelter ran by
a Catholic organization in Fermo, a town of about 40,000 in the central
Italian region of Marche. They told Vinicio Albanesi, the priest
overseeing the shelter, that they fled their native country after terror
group Boko Haram set their church on fire, killing both of their
parents and their daughter. But Italy turned out to be no safer.
Nnamdi was allegedly beaten to death on Tuesday
by Amedeo Mancini, a local farmer described by Italian newspapers as
having connections to far-right political groups, and who had been
banned from public sporting events for violent behavior. According to
the initial police reconstruction of the events
(link in Italian), the couple was walking near the seminary where they
lived when 35-year-old Mancini, sitting on a bench by the street with a
friend, started shouting racist insults and called Chinyere an “African
What exactly happened next is yet to be
confirmed, but in the altercation, Nnamdi fell to the ground. Mancini
and another man continued to beat him, according to Chinyere. Nnamdi
ended up in a coma and was declared dead in the hospital shortly after.
Chinyere, too, is severely injured, although the doctors say she will
Mancini has been arrested on charges of murder.
Chinyere reportedly hoped to donate Nnamdi’s
organs, but was not able to authorize the donation—their relationship
had been celebrated only as a religious ceremony (link in Italian) and not formalized under Italian law.
The horrifying episode comes in a climate of
growing intolerance and resurgence of far-right, xenophobic movements
across Europe, and has caused shock across Italy. Earlier this year,
four bombs were found outside buildings belonging to the same community
that hosted the couple.
Adire (Yoruba — tie and dye) textile is the indigo dyed cloth made in south western Nigeria by Yoruba women, using a variety of resist dye techniques. As the translation of the name suggests, the earliest pieces of this type were probably simple tied designs on cotton cloth handspun and woven locally (rather like those still produced in Mali), but in the early decades of the 20th century new access to large quantities of imported shirting material via the spread of European textile merchants in Abeokuta and other Yoruba towns caused a boom in these women’s entrepreneurial and artistic efforts, making adire a major local craft in Abeokuta and Ibadan, attracting buyers from all over West Africa. The cloth’s basic shape became that of two pieces of shirting material stitched together to create a women’s wrapper cloth. New techniques of resist dyeing developed, such as “adire eleko” (hand-painting designs onto cloth with a cassava starch paste prior to dyeing), along with a new style more suited to rapid mass production (using metal stencils cut from the sheets of tin that lined tea chests, using sewn raffia and/or tied sections, or folding the cloths repeatedly before tying or stitching them in place). Most of the designs were named, with popular ones including the jubilee pattern, (first produced for the silver jubilee of George V and Queen Mary in 1935), Olokun (“goddess of the sea”), and Ibadadun (“Ibadan is sweet”).