Sometime I shoot as well. . In frame - David

Kongo cloth, Kongo Kingdom 🇦🇴🇨🇩 🇨🇬 🇬🇦

Josephine Baker in a sequined catsuit || 1960 Amsterdam

The Hennessy x Severenature "Made for More" streetwear collection*

🇰🇪 Kenyans deserve to know what’s at stake in Upper Imenti Forest. An airstrip inside this Mt. Kenya water tower risks: 🌿 Wildlife corridors 🐘 Elephants & biodiversity 💦 Water catchments Better alternatives exist nearby. Protect Upper Imenti. #MountKenya #WaterTowers

“SHA is a scam”!! The screening of the documentary, Error by Design: How SHA's AI System is Failing Kenyans, by @AfUncensored is showing the missing mark of SHA and its effects on the Kenyan Health System! The story of Florence shows the reality of Kenyans.

The unique soviet modernism of the Drama Theatre building in Grodno, Belarus.

Ceramic works by uGogo Penny Gumbi, a master potter.

Ghézo, roi du Dahomey 1851

Traditional Hausa architecture. Family compounds, enclosed courtyards, rounded chambers, flat roofs and high protective walls were assembled into dense towns whose narrow passages connected household life to the wider community. Hausa builders modelled plaster into interlocking geometric forms, abstract symbols and naturalistic motifs, converting walls into elaborate expressions of craftsmanship, cultural identity and social importance. Source: Paul Oliver, ed., Shelter, Sign & Symbol (1975).

I miss the days when we Africans produced our own clothing. Our ancestors were producers, not merely consumers. Across the continent, African communities spun cotton, wool, silk, bast and raffia; developed complex looms; created dyes from indigo, bark and other natural materials; and mastered embroidery, appliqué, resist-dyeing, printing and weaving. It is therefore a tragedy that, in 21st century, so much of the clothing worn across Africa is manufactured and designed outside the continent. Cheap factory-made imports and enormous quantities of second-hand clothing have weakened many local textile industries, transforming societies that once clothed themselves into markets for other people’s products. The tragedy is not that Africans lack creativity or technical ability. The tragedy is that we abandoned, neglected or were separated from the productive systems our ancestors developed. We should not romanticize the past without rebuilding for the future. Africa must once again control the entire process—from growing fibres and producing dyes to weaving, manufacturing, designing and selling finished garments. Our ancestors were producers. We must become producers again.

Queen Ranavalona II of Madagascar (1829-1883)

Michelle Obama in custom Acne Studios FW26 RTW paying homage to her mother, Marian Robinson, with a portrayed skirt!🔥 Styled by Meredith Koop.

Please help find my Auntie 🙏🏾 Esther Wairimu Keige, she was last seen leaving Senate Hotel & Gym in Juja on Wednesday 10th June 3pm Please report information to Juja Police Station or nearest police station, or call - 0722 809 878 - 0722 791 139 - 0722 510 102 - 0700 012 803

Le roi de Porto-Novo donnant audience au consul de France, Sur la côte d’Afrique, Septembre 1886

This 1747 drawing by Dutch painter Cornelis Troost depicts a young black man wearing a feathered white turban, high cravat, and tailored gray livery. Although livery often signified service and subordination, Troost presents the sitter independently rather than as an accessory to a white patron. The elaborate headdress reflects eighteenth-century European fascination with exoticized dress, yet the close focus on the sitter endows him with a striking sense of dignity and individuality. id.rijksmuseum.nl/200310137

The Palace Guard. 1892, Ludwig Deutsch. ‘Nubian guard in an ornate helmet, chainmail, and a vibrant yellow scarf.’

Rolex just opened a new boutique on the Swiss Alps inside a former telecommunications tower 🤯

The power of fashion.

Le roi Toffa