Ikiré Jones
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Designed by Walé Oyéjidé Esq., the Ikiré Jones archive contains a vivid array of printed silk tapestries that illustrate stories of far-flung myths and undiscovered histories. By Re-Mastering the Old World, each of these unique tapestries pays homage to the work of time-honored artists, while celebrating the perspectives of unheralded people of color. Selected pieces from the Ikiré Jones design archive have been exhibited in museums across Europe, the Middle East and North America.

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Adoration of the Masai

Items from the design archive are extremely limited, and are not often replaced once sold out.
For information about exhibiting any of our archived textiles at a museum, or displaying them in print,
feel free to contact us.

All Rights Reserved. © Ikiré Jones LLC 2017

E X H I B I T I O N S
& publications


Original story-telling and artistic expression are of the highest importance to our work.
We have been fortunate to have our pieces featured in a number of international museum exhibitions.

"AFRICAN-PRINT FASHION NOW!" at Fowler Museum UCLA
African-Print Fashion Now introduces visitors to a dynamic and diverse African dress tradition and the increasingly interconnected fashion worlds that it inhabits: “popular” African-print styles created by local seamstresses and tailors across the continent; international runway fashions designed by Africa’s newest generation of couturiers; and boundary-breaking, transnational, and youth styles favored in Africa’s urban centers.
March 26-July 30, 2017.

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Africa Rising.
Fashion, Design and Lifestyle from Africa.

Vibrant, bold, and enigmatic. Africa Rising showcases the work of Africa’s young creatives alongside more established artists from the voluptuous continent’s vibrant metropolises.
Published by Gestalten. September 2016.

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"Dey Your Lane!" at BOZAR (Brussels Center for Fine Arts).
‘Dey your Lane!’ is a typical Lagos expression for ‘mind your own business’. When you realise that Lagos is one of the fastest growing cities in the world, with a population of over 18 million, you can imagine this phrase comes in handy. With photography, video and soundscapes, the exhibition depicts the individualistic and creative dynamic generated by the huge city. See how the inhabitants of this megalopolis appropriate the public space and make their personal and collective ambitions come true. This exhibition is accompanied by a great selection of Nigerian cinema, literature and contemporary dance.
June 17, 2016 - September 4, 2016

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"Vlisco: African Fashion On a Global Stage" at the Philadelphia Museum of Art.
Discover how the Dutch company Vlisco became one of the most influential textile brands in West and Central African fashion and a design inspiration around the world. Known for its bold and colorful patterns, Vlisco creates fabrics that marry tradition with luxury. This exhibition explores the company’s most enduring designs, follows the creation of a new textile, and showcases a selection of contemporary fashions by African and European makers as well as Vlisco’s in-house design team.
Joan Spain Gallery, Perelman Building
April 30, 2016 – January 22, 2017

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"Sub-Sahara: Accelerated urbanism in Africa" at the Tel Aviv Museum of Art.
"Sub-Saharan Africa—a multitude of nations, cultures and geographic expanses—is gripped nowadays between preserving communal traditions and accelerated economic liberalism. A massive Chinese presence is translated into developing infrastructures and new cities; however, most "African urbanism" is manifested in survivalist solutions for informal towns. The exhibition presents projects by architects, cinematographers and artists from Africa, Europe and Asia, representing the dramatic change processes of the public sphere in this region."
March 17, 2016 - August 27, 2016

 

Tel Aviv Museum of Art - Photography by Morten Bentzon

Tel Aviv Museum of Art - Photography by Morten Bentzon

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"Making Africa"
At Vitra Design Museum in Germany / Guggenheim Bilbao in Spain / Centre de Cultura Contemporània de Barcelona (CCCB) in Spain / Kunsthal Rotterdam in the Netherlands

Making Africa – A Continent of Contemporary Design« illustrates how design accompanies and fuels economic and political changes on the continent. Africa is presented as a hub of experimentation generating new approaches and solutions of worldwide relevance – and as a driving force for a new discussion of the potential of design in the twenty-first century.

Vitra Design Museum

Vitra Design Museum

Guggenheim Bilbao

Guggenheim Bilbao

Centre de Cultura Contemporània de Barcelona (CCCB)

Centre de Cultura Contemporània de Barcelona (CCCB)

Selected Works by Ikiré Jones

Selected Works by Ikiré Jones

"The Evan" suit by Ikiré Jones

"The Evan" suit by Ikiré Jones

Our Heritage

It goes without saying that our collective past affects and influences our work. However, we are intrigued by the notion that our present efforts can shape the trajectories of our unborn children's lives. The following is an ongoing series of stories that scrutinize aspects of present-day African society, and attempt to telegraph their ripple effects in the far-flung future.

The "Africa 2081A.D." series, and other works, have been displayed as part of the Vitra Design Museum's "Making Africa" exhibit. The exhibit was also displayed at the Guggenheim Bilbao in Spain and at the Centre do Cultura Contemporania de Barcelona.

Illustrations - Lekan Jeyifo x Words - Walé Oyéjidé

Nairobi 2081A.D.

"In the beginning, the drones were used to hunt poachers.  Imported technology intended to stop the export and extinction of important wild-life. Motorcycle-sized mosquitoes buzzing mechanically between the tree-tops with decimal-point accuracy and a thirst for blood.  Their efficiency would have been admirable had it not been accomplished with such calculated zeal.  The hungry hum of in-flight havoc blending with our hymns became a common harmony.  Roaming door to door to bear uninvited witness, these unmanned guests seemed increasingly inhumane as their algorithm-driven eyes looked into the faces of men; unable to recognize the souls emanating behind our eye-lids.

What occurred next should have been no surprise to us.  Still, when their hovering shadows careened through our village streets like sentient storm clouds seeking an escape from the sun; when pillars of smoke spontaneously erupted from the ground where children had stood moments before; and when we lifted our spears to take aim at skies that no longer sheltered us; it was then we realized we'd been sitting idly as unseen hands steered us toward our end.


No one remembers which of us was the first to climb atop the cooling metal carcass of a downed flyer, but the story of a lone Masai stepping into a screaming death's flight-plan would travel like an air borne outbreak.  An epidemic pouring through Africa's porous borders; indiscriminately infecting all it touched with the hope of freedom.  Soon, silhouettes of dark skinned sons in brightly hued robes could be seen rising with weapons and shields aloft in the Nairobi sun.

The end was near, but it would not be ours."

Johannesburg 2081 A.D.

"Men like us once made our living on our knees.  Crawling through the bowels of illegal gold mines that hid the threat of a death in the dark abyss behind every corner.  In moments when groups of rival migrant miners ambushed us for our spoils, it seemed like we were at odds with the entire world above us.  For weeks on end, we lived by candle-light.  Scraping at the earth with the fear that we might never again see the skies or loved-ones that had forgotten us.  We were the sort of fathers that became shadows.  Leaving behind ghost memories of tucking our sons into bed.  Phantoms of evening embraces with wives whose faces we now struggled to remember in the dark.

Things changed slowly at first.  More of us began to emerge from the blackness below with increasingly large hauls of gold.  And then we found it.  Gleaming, immeasurable and all ours for the taking.  We returned to Johannesburg as different men.  The kind of men whose hands had become calloused from clutching at ancient treasures, and were now strong enough to mold the future."

Idumota Market, Lagos 2081A.D.

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"In a city so crowded that it is impossible for one to find himself without a mirror and some purposeful soul-searching, there is no space to fall;  life is standing room only.  Like a modern day Atlantis, New Lagos became an oasis in a desert of global despondence.  It was built on the backs of Nigeria's prayers and unforgettable regrets.  On top of the bomb-blast rubble, and in the wake of the political pariahs' exile, its people dared to build something beautiful...and they dared to build it so high, the whole world would see it and stare."

Makoko, Lagos 2081A.D.

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"Once, the fishermen of Makoko village would feed their families with what their hands were able to pull from the water at dawn. They built homes on top of the water; an African Venice created from sheer resolve and necessity. Later, it would become a place that few would seek to visit alone, if at all. The outside world turned a blind eye, as Makoko slowly became engulfed by those who only met in the shadows. It was within one of these dark recesses that a tailor desperately hoping to keep his business open took in an unlikely apprentice. A young boy with sticky fingers and a keen eye for fine fabrics. A young boy who would sew at night, under the blinding searchlights of hovering drones, as his pricked fingers bled into the wax cotton. A young boy who would later become the man that they all whispered about."

Victoria Island, Lagos 2081A.D.

"On the day of the Great Crude Explosion, the ground parted, erupting a rich blackness that crept over the landscape. House by house, like some biblical house-guest, it knocked on the front door of every soul in Lagos and announced itself. Barefoot children whose parents hadn't been able to afford shoes suddenly found themselves ankle deep in more wealth than any could have possibly conceived. The towers sprang from the ground next; a collage of architecture which obscured the scorching sun. Then came the flying machines; beautiful blemishes which blurred against the blue skies. Far away, in foreign boardrooms, fattened oil executives whispered amongst themselves as their stock prices plummeted and their plates became bare. This was a land of a hundred dialects, but there would be no Babel. The people spoke in one voice, and they spoke of freedom. This was it. New Lagos was born."

Ikoyi, Lagos 2081 A.D.

"Later, few remembered what his real name was; or what he actually looked like. Over pints of Goulder, men swore that he was a distant relative. Amidst too-loud whispers, market women blushed and told conflicting tales of their secret moments with him. All of them would agree on this much: In the moments before the tipping point, in the days that seemed darkest from the pall of an entire world's turned shoulder, he was there.

There are few accurate accounts of his sacrifice. Perhaps he flashed a rogue's grin before disappearing into the flames; perhaps he fretted over the blood-stains that spontaneously erupted on the colorful fabric of his jacket; or perhaps he paid the simple but unspeakable price for asking that his people stand up for themselves. However he came to his end, all readily conceded that it was his end that ushered Lagos, and ultimately Nigeria, to its new beginning.

When they spoke of hope, the future, or merely spoke of a child with too much ambition for his size, they would speak fondly of him: Ikiré Jones."

Illustrations - Lekan Jeyifo x Words - Walé Oyéjidé