When most of us see the kiondo, we think of it simply as a beautiful accessor. One that can be passed down from generation to generation. But did you know it carries an entire worldview within its weave?
Its interlaced strands speak of the web of life. It is a reminder that true harmony emerges when men and women work together, drawing on each other’s strengths as well as vulnerabilities to support and complement one another.
This naturally leads us into another key aspect of the conversation: decolonising our minds.
The owner of Kiarie Africa shared an experience that illustrates this perfectly. She mentioned how people often describe her bold use of accessories as “eccentric.” And yet, as she wisely points out, she looks exactly like our grandparents once did.
Hear me out, because I know how that sounds.
We have developed a habit of associating certain forms of dress with poverty, backwardness, or being “outdated.” But what does “looking traditional” even mean?
Typically, it means wearing items perceived as old-fashioned. Pieces linked to the older generation, often symbolised by the figure of a grandmother.
But what does “looking modern” mean? Wearing whatever is trending at the moment.
But who has been shaping these trends until very recently? The West.
And that is the heart of the problem.
African craft becomes labelled as “traditional” while foreign products are elevated as “contemporary.” The bias is subtle but powerful. It shapes perception, alters purchasing habits, and slowly devalues our own cultural identity.
We need to wake up to this conditioning.
We need to embrace the idea that “modern African” is not a contradiction.
We need to look more like who we truly are, rather than who others have conditioned us to be.
Only then can we reclaim the beauty, dignity, and sophistication embedded in our own traditions.
Much like yin and yang, the kiondo stands as a quiet yet powerful call for unity.
However, commercial pressures in recent years have led to modifications of the kiondo that risk stripping away the deeper meaning embedded in its design. While these new versions may still be visually appealing, altering the craft without understanding its cultural significance can be harmful.
In the words of Neha, the owner of an artisanal gallery:
“I run a gallery that showcases pieces like the kiondo, presenting them as what they truly are—works of art and objects of luxury. Yet too often, I notice a pattern: a very specific demographic, mostly wazungu, will visit my shop and pay top dollar without hesitation. Meanwhile, my fellow Kenyans will walk in, ask a few questions, and leave just as quickly.
I welcome the curiosity, but at some point we must move beyond questions and begin to value our own artisanal heritage. When others recognize the worth of our crafts more than we do, we create a vulnerability—one that opens the door for mass producers whose only goal is to manufacture at scale, often at the expense of quality and cultural integrity.
We need to protect our crafts, give them the respect they deserve, and ensure that the artisans and traditions behind them are not overshadowed or exploited.”
There is a clear need for legal and cultural protections that safeguard the integrity of the kiondo, honour its history, and ensure that it is recognized not just as an artisanal product, but as a living heritage that deserves tangible value and appreciation.
Protection begins with institutionalising our knowledge of traditional crafts. This means giving them academic weight, teaching the symbolism, techniques, and history in our education system.
The challenge, however, is delicate. Kenya has more than 47 tribes, each with its own distinct traditions and artistic expressions. While there are similarities, the symbolic differences must be handled carefully to avoid reinforcing tribal divisions or encouraging cultural rivalries.
This is a sensitive national conversation that the Ministry of Education should explore with great care.
The goal is simple yet powerful:
If it is of the land, then it is valuable regardless of which community it comes from.
