L-R: Adebimpe Adebimpe Ajarat; Julie Mackaly, public affairs officer, U.S. Department of State; Samad Adejumo; Baba Isiaka Adunola of leather guild; Oluwatoyin Zainab Sogbesan, founder, Asa Heritage Africa, Ibrahim Aliyu and colleagues from the Public Affairs Section U.S. Consulate General Lagos, Adeola Balogun, Abiodun Folawiyo, CEO, Shoespeed.
Walking into the recently held Oyo Leather Craft Exhibition at the Ecobank Pan African Centre in Victoria Island, Lagos, was like stepping into another world, one stitched together with stories, skill, and years of tradition. From November 17-19, 2025, the space curated by ÀSÀ Heritage Africa Foundation, founded and managed by Oluwatoyin Sogbesan in partnership with Lagos Pop-Up Museum, conceived by Odun Orimolade, became a living archive of one of West Africa’s oldest art forms: Oyo leatherwork. The exhibition was not just about the objects on display; it was about the people, the hands, and the history that brought them to life.
At the event, stories about leather pieces that once graced the feet of Yoruba kings and other ceremonial belts and sheaths specially designed for them and worn during various occasions were told. Everyday use items like bags and other items crafted with precision and care were also on display. Each piece seemed to breathe, telling its own story of community, identity, and artistry. But what struck me most was the curatorial balance: centuries-old techniques sitting comfortably beside contemporary interpretations, reminding visitors that tradition is not static—it evolves. It was also interesting that the oldest living artisan of the trade, Baba Isiaka Adunola (Otun Isona) was brought from Oyo to the exhibition to share the history and process of the art. The younger generation was also not left out, but represented at the event. That way, one could see how the art is passed from one generation to the next and how entire compounds (agbo ile) were dedicated to it. This showed experimentation and the blending of modern sensibilities with age-old methods. There was a tangible energy, a sense that this craft is far from obsolet,e showing it is alive, pulsating, and very much part of the now.
Guests were welcomed into the beautifully decorated venue by original drummers from Oyo town itself. This day was for the documentary screening and panel discussion, under the banner “Documenting Nigeria’s Lost Industrial Heritage” a capture of the history of the craft, its impact, process of production of different materials capturing the craft’s fragility and its enduring beauty. For impact, the documentary was screened twice, and by the end, there was a collective acknowledgement of heritage, identity, creativity and commercial viability of the Oyo leather industry.
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The panel section conversation was candid. Nigeria’s once-thriving leather industry, once among the strongest in Africa, of which both Oyo and Kano are part, was quite impressive. From the panel speakers, including Abiodun Folawiyo, CEO of Shoespeed, stories were shared, solutions proffered, and actions urged: support artisans, protect indigenous knowledge, and find pathways to integrate craft into contemporary creative economies. The spotlight was turned on a fading industrial memory. Historians, designers, cultural custodians, and creative entrepreneurs gathered to share experiences, concerns, and solutions.
The audience was as diverse as the craft itself. Scholars, collectors, students, designers, and curious Lagosians. In attendance were the Public Affairs Section U.S. Consulate General Lagos. Led by Julie Mackay, the CEO of Ecobank, Blolaji Lawal, foremost filmmaker, Femi Odugbemi, Makin Soyinka, Oladipo Solanke, Paula Gomes, among others. As the exhibition came to a close, there was a quiet sense that something important had happened. Lagos paused to witness the beauty, resilience, and ingenuity of Oyo leathercraft. A reminder that heritage is not something you simply observe; it’s something you engage with, learn from, and carry forward.
