Veteran Nigerian artist Nike Davies-Okundaye has made her name innovating the art of her heritage and giving other women hope by paying it forward.



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The best learning process of any kind of craft is just to look at the work of others,” says Nobel prize-winning Nigerian novelist Wole Soyinka on pursuing a life in the arts.



This observation is perhaps most true when applied to the
life and work of fellow citizen and internationally-renowned batik artist,
Chief Nike Davies-Okundaye. 



Born in 1951 in Ogidi-Ijumu, a small village in western
Nigeria known for its spectacular rock formations and traditional art industry,
Davies-Okundaye has reached the pinnacle of her career thanks to an enduring
dedication to preserve and innovate the culture of her people.&nbsp; 



The daughter of impoverished traditional artisans, she did
not, like many artists of her stature, receive any formal education in art or
preparatory schooling. The poverty of her childhood led her to leave school
after the sixth grade. Instead, she was trained informally in the traditional
crafts of her people through methods practised by women in her family for
generations.



<div class="wp-block-image"><figure class="aligncenter"><img loading="lazy" decoding="async" width="411" height="616" src="https://www.forbesafrica.com/wp-content/uploads/2019/01/Nike.png" alt="" class="wp-image-38525" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike.png 411w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike-300x450.png 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike-200x300.png 200w" sizes="(max-width: 411px) 100vw, 411px" /><figcaption>Veteran Nigerian artist Nike Davies-Okundaye. Picture: Supplied</figcaption></figure></div>



Yet, over a career spanning five decades, Davies-Okundaye
has gone on to educate generations of artists, at no cost to them, through a
network of art centers across Nigeria. A far cry from the girl shaped by
tragedy very early in life. 



“I lost my mother when I was six and I lost my grandmother
when I was seven. The knowledge was passed on to me by my great-grandmother who
was the head of all the weavers in our village,” she recounts.



Following the death of both her mother and grandmother, she
was taken in by her great grandmother, an established adire, a specialist in
the traditional art of fabric dyeing of southwest Nigeria. From her,
Davies-Okundaye learned to weave fabric on traditional looms beginning the
family’s fifth generation in the craft.&nbsp; 



Her father, too, was a practitioner of the traditional arts.
An accomplished basket weaver, he also practised embroidery and leather work
and was a known musician in the community. 



In Ogidi, parents passed on their skills to their children
in a form of vocational training concentrated within the household.
Davies-Okundaye started as early as seven.



“Once in a week, they taught me crafts. This craft they [taught] is for [us] to be able know how to do handwork&#8230; so that’s how I was learning.” she recalls. 



An adept student, drawing from her family’s many artisanal
specializations, she quickly developed her own style and technique in textile
weaving and painting. 



Unfortunately, the young woman wasn’t allowed to nurture her
talents for long. Her family made the controversial decision to marry her off
when she was just 14 years old, an event that would impact the course of her
life very powerfully.



“They married me to a minister who already had four wives!
This is why I ran away from home and joined a traveling theater,” she says.



It was the traveling theater that took her to Osogbo, the
Nigerian town where she first established herself as an adire in her own right.
Historically, it was the source of beautiful handmade indigo textiles and, in
the 1960s, it became a nucleus of contemporary African art in the country.&nbsp; 



Indigo to the Yoruba people is the color of love. The
process of adire-making is therefore a labor of love. It involves extracting
indigo from the indigenous elu plant using labor-intensive techniques followed
by painting and resist-dyeing the fabric with a homemade cassava emulsion. 



As she became better versed in adire, Davies-Okundaye
decided to sell her work in what would be her very first gallery, out of her
bedroom, in 1968. This was her entry into a formal career in art.



<figure class="wp-block-image"><img loading="lazy" decoding="async" width="1024" height="501" src="https://www.forbesafrica.com/wp-content/uploads/2019/01/Nike4-1024x501.png" alt="" class="wp-image-38526" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike4-1024x501.png 1024w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike4-300x147.png 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike4-600x293.png 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike4-768x375.png 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike4.png 1262w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption> Batik art by Chief Nike Davies-Okundaye. Picture: Supplied</figcaption></figure>



‘I called it African Art Number One Shop and I noticed that
it was only expatriates that would come to my shop and buy the pieces,” she
says.



During this time, she matured as an artist, experimenting
with fabric design and painting as well as teaching herself a new language,
English, to communicate with her foreign buyers. 



One of them was Alan Donovan, the acclaimed American
gallerist and collector of African artifacts. Arriving on the continent in 1967
as an aid worker during the Biafra War, Donovan took every opportunity to
travel around West Africa discovering the art and culture of the region.



When he stumbled upon Osogbo, it was inevitable that he
would end up at the door of the African Art Number One. Now living in Kenya,
Donovan became a repeat customer. He would return time and again, encouraging
her to make more work, which he would take to Nairobi. 



Her work would be distributed to discerning collectors like
Donovan. Among them was Joseph Murumbi, Kenya’s first Vice-President and one of
Africa’s most recognized private art collectors. From that one-room gallery,
Davies-Okundaye reportedly sent over 100 pieces of her work and that of other
Osogbo artists to Nairobi.&nbsp; 



In 1972, Donovan organized the Nigerian Festival, part of a
pan-African trade fair, in Nairobi. This was officially Davies-Okundaye’s
international debut at the gallery of the African Heritage House, founded by
Donovan and Murumbi’s wife, Sheila, the same year. The partnership continued
for decades, returning Nike numerously to Nairobi for East African exhibitions
of her Adire.



Interest in Kenya led to her first international tour,
taking her to the United States at the invitation of the American government,
along with 10 other established artists from across the continent. The
experience, she insists, was a catalyst for the founding of her art centers and
business in Nigeria.



“We were privileged to be the first artists from Africa to
travel to America in 1974. They asked us to bring something back that would
benefit our people. They took us to galleries and museums and they allowed us
to see their craft,” she remembers.



What she brought back was an even greater passion and
understanding of art, one that has led to philanthropy via her eponymous art
centers. The first opened in 1983, where she worked with disenfranchised women
on the streets of Osogbo. There, much like her own informal education, she
shared with them her skills in adire, weaving, painting and other traditional
arts for free. The centers have since grown to three in other Nigerian cities:
Abuja, Lagos and her hometown, Ogidi.



The Lagos center also houses Davies-Okundaye’s monumental
art gallery, said to be the largest in West Africa with over 8,000 pieces from
artists across Nigeria. The gallery, which opened in 1996, was a direct influence
of her American tour in the 1970s.



“The gallery that had in Osogbo was nothing compared to what
I saw [in the US] and I [wanted] to build a gallery where everyone’s voice
would be heard,” she says.



True to form, the gallery has achieved all that and more.
She has been responsible for discovering new talent in the country and actively
takes on an up-and-coming artist every month, building her collection and
diversity of voices piece by piece. 



Any one of these young artists may look at her career and
wonder where her secret to success lies. She is honest about the obstacles in
an industry that in many parts of the continent remains largely unrecognized.



“I always know my work. So whatever you do, you need to do
it very well and I tell people don’t rush, you will get there at the end of the
day. Have peace in your heart,” is her advice.



However, the patience that has carried her through has been
fueled by careful financial planning. As an entrepreneur, Davies-Okundaye has
endured because of this. She reinvests at least two-thirds of her income in her
business and art centers. 



<div class="wp-block-image"><figure class="aligncenter"><img loading="lazy" decoding="async" width="402" height="612" src="https://www.forbesafrica.com/wp-content/uploads/2019/01/Nike5.png" alt="" class="wp-image-38527" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike5.png 402w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike5-300x457.png 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/01/Nike5-197x300.png 197w" sizes="(max-width: 402px) 100vw, 402px" /><figcaption> Batik art by Chief Nike Davies-Okundaye. Picture: Supplied </figcaption></figure></div>



“Always plan ahead because if you make money today, you may
not make any for several months. I keep working. Even if I can’t sell any
pieces, I’ll find other work to pay for the materials,” she says.



This earnest combination of hard work, frugality and
philanthropy has made Davies-Okundaye a veteran artist of not only Nigeria but
of Africa. She has had pieces on permanent display at the Smithsonian
Institution’s National Museum of African Art in Washington DC for the past six
years.



The Gallery of African Art in London held a month and a half
retrospective of her work in 2014. Next year, she will return to the
Smithsonian for a celebration of her 50-year-career. Her work is cherished in
private collections all over with world. 



That doesn’t stop her from adding to her repertoire. Aside
from adire and textile painting, she recently began working with beads,
producing intricate portraits depicting life across Nigeria, completing a
single piece over the course of a year.



Even at 67, Davies-Okundaye has no plans to retire. 



“I still make time for my own work&#8230; and I still manage to cook for my husband,” she laughs.



-Marie Shabaya

nike1

The material of life according to textile queen Nike Davies-Okundaye

September is celebrated as ‘heritage month’ in South Africa honoring history, tradition and culture through food, music, art and fashion.
Here, we deep-dive into the colorful world of African fabric and print, showcasing Aurelie Tshimbombo, born in the Democratic Republic of the Congo (DRC) and now based in Johannesburg as one of the city’s many entrepreneurs promoting African print.
“I fell in love with fabric, I fell in love with how clothes make a woman feel,” says Tshimbombo.
<a href="http://www.forbesafrica.com/focus/2014/08/01/designer-dreams-sweeping-floors/" target="_blank" rel="noopener">READ MORE: The Designer Who Dreams of Sweeping Floors</a>
“Women feel empowered, they feel prettier, they feel braver, and they feel more unique if they wearing something that brings out the confidence in them. I found that whole process intriguing.”
Almost a decade ago, Tshimbombo’s epiphany was when she started making clothes for herself but couldn’t find anything in the market that reflected who she was.
“I am a short, curvy African woman,” she says.
Her label’s name is Afrinique Chic, which she says is a luxury lifestyle fashion brand for Africans and the rest of the world.

Aurelie-BigShots-823

The African Spin

What would you call a person who makes a living teaching women 50 different ways to wrap their heads? A headwrap artiste? Or savvy entrepreneur?
This is serious business, it seems. There are in fact ‘headwrap parties’ and ‘headwrap expos’ around the world exploring the art of headwrapping and the cultures that promote them. We have seen A-listers such as Jennifer Lopez endorsing this trend. Needless to say, the headwrap, worn as a crown or symbol of power and beauty, is currently enjoying its fashion moment.
And where else but Africa to monetize this style, where headwraps are already entrenched in tradition? Known as tuku, originating from the Tswana tribe (one of the major ethnic groups in South Africa), these accessories are made of colorful two-meter long shweshwe fabric, and artfully twisted and layered on in head-turning styles.
<img loading="lazy" decoding="async" class="size-medium wp-image-30975 alignleft" src="http://www.forbesafrica.com/app/uploads/2017/05/Olga-090-300x200.jpg" alt="" width="300" height="200" srcset="https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-090-300x200.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-090-600x399.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-090-768x511.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-090.jpg 1024w" sizes="(max-width: 300px) 100vw, 300px" />
Thirty-year-old Olga Mtshweni, the headwrap artiste in question, seems to have mastered this craft. Raised in Soshanguve, a small township north of South African capital Pretoria, Mtshweni was always surrounded by older women who donned these accessories. But her greatest influence was herself. She never opted for braids or weaves, but chose to go ‘natural’, adorning herself with headwraps, meant both to protect (in cooler months) and be a fashion statement. She started experimenting with various looks and devised her own wrapping styles. The exercise was her “creative outlet” beyond a lackluster nine-to-five office job.
After high school, Mtshweni enrolled for a bachelor’s degree in Information Science at the University of Pretoria. A corporate job was the likely outcome, as she worked for big corporations Microsoft and Standard Bank. It was only a matter of time before she gave it all up to start her own company, Wrapsody, in December 2014.
“I got very frustrated of the corporate world, I had no life outside of work and I wasn’t very happy with that because I do have other interests and other passions outside of work,’’ says Mtshweni.
She had been toying with the concept in her head for a while. A social media campaign, consisting of YouTube tutorials, also helped measure the demand for her skills. She claims Wrapsody soon received orders from clients, including celebrities and corporate companies.
From the R30,000 ($2,100) she had saved before she left her corporate job, she used R4,000 ($290) for her first bulk purchase of the shweshwe fabric.
Headwraps to her are not mere pieces of fabric, but are regal and an art form that promotes culture and revives the spirit of African beauty. Mtshweni’s styles include what she calls Giant Flower, Bow With An Attitude, The Badu, Front Swirl, Twisties and Tower of Power.
She hopes to one day work with such names as American singer-songwriter Erykah Badu, who wore mesmerizing headwraps even before they were even considered cool. African Union Commission chairperson Nkosazana Dlamini-Zuma is also on her wish-list, who she says exudes African beauty and pride – “You will never catch her without a headwrap”.
Mtshweni oversees a team of four – a seamstress, two models and a part-time photographer. Her online store sells headscarves made of African fabric, and she offers her services for headwrap parties, tutorials and workshops.
<img loading="lazy" decoding="async" class="size-medium wp-image-30977 alignleft" src="http://www.forbesafrica.com/app/uploads/2017/05/Olga-061-300x200.jpg" alt="" width="300" height="200" srcset="https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-061-300x200.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-061-600x399.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-061-768x511.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Olga-061.jpg 1024w" sizes="(max-width: 300px) 100vw, 300px" />
She is currently looking to open her own boutique, and continues to use her IT skills to do freelance work to support her start-up business.
Her enterprise seems to be based on a simple premise, as she says: “Do what you can with what you have.”
What keeps Mtshweni driven? It’s believing in her idea, more than anyone else.
“The hustling can be quite draining, but I know that it will eventually take off.”
When that happens, it will be her crowning glory.

Olga-117

A Head For Business

Khothatso Tsotetsi, founder of South African fashion brand Tsotetsi KL, kick-started his career soon after university with the singular aim of dressing up distinguished women who value tailoring, quality and style above all else. The young designer opened the Autumn/Winter show of the Mercedes-Benz Fashion Week Joburg (MBFWJ) in March with his collection, IN-MATE, inspired by the young, chic, distinctive and sophisticated woman. We spent a few moments with him backstage:
How has South Africa received your brand?
It has been warmly welcomed, especially by women with chic distinctive sophistication and who confidently portray stature, transparency and color. We believe that the pride women have, be it internal or external, should be well-articulated through color. We’ve had the privilege of three years (six seasons) in the industry assisting local and international clients in creating awareness that boldness in color, fabric and design is ideal, no matter what the season.
&nbsp;
What makes your collection stand out?
The main fabric is blue velvet: sophisticated, classy, elegant, fragile but still weighted enough to be worn in winter. Embellishments, beads and all other detailing were done by hand, carefully as to not overwhelm, not forgetting the laser cut, high-waist skirts and the elegant wide-brimmed straw hats. We chose cobalt blue in the belief that trends in color also evolve.
&nbsp;
Where do you see South African fashion in the coming years?
At the moment we would say it’s pacing concurrently with Africa. Currently, South African designers are treated more like kids in the international fashion industry. The respect given to designers overseas is more credible, they have influence on a global platform. International fashion comes with bigger budgets and takes opportunities from potential and established South African designers who have limited budgets. On top of that, it’s hard for young South African designers to acquire similar opportunities and experience due to limited investment possibilities.
Luckily, South Africans are starting to acknowledge South African designers to a point where a designer can invest time in finding out more about African fabric and also source resources in South Africa itself.
&nbsp;
What’s an essential item of clothing for women this season?
It will have to be flowy swing dresses or straw hats.
&nbsp;

Tag: Fabric

FORBES AFRICA SOCIAL MEDIA

The material of life according to textile queen Nike Davies-Okundaye

The African Spin

A Head For Business

Blue Velvet And Straw Hats