NO BORDERS X 199XORG

ULIPOKUA HAUEPO - NO BORDERS IN KENYA WITH 199XORG

We had the incredible opportunity of sending our most recent No Borders in-house collection, crafted by artisan-led clusters to 199xorg, a multidisciplinary art collective based in Nairobi. They took those pieces and shot them in Limuru, Kenya, reinterpreting them through their own visual language. What began as a simple exchange turned into a deeper cross-cultural collaboration, our craft, their memory.

199xorg is a creative collective and production company based in Nairobi, Kenya. The collaboration between 199xorg and No Borders In-House is a cross-continental dialogue shaped by a shared commitment to cultural memory, slow processes, and reclaiming creative agency. United by a shared passion for artistic expression and storytelling, 199xorg specialises in creating impactful audio visual projects. They are committed to showcasing the rich cultural diversity of their country and continent through a unique local perspective. Their work is inspired by the raw essence of East African cultures, blending tradition with contemporary creativity.

Their latest project, Ulipokua Hauepo, a film that's releasing soon, created in collaboration with No Borders, continues their commitment to telling emotionally grounded stories rooted in place, memory and cultural intimacy. Set within the quiet beauty of a tea estate the couple calls home, the film offers a tender reflection on absence, love and endurance.

"At the heart of our work is storytelling - culturally grounded and emotionally aware. As a creative collective and production company, we are driven by a simple yet firm intention: preserve, and reimagine Kenyan culture through a contemporary lens. Our creative practice is informed by everyday life, rooted in familiarity and shaped by a deep respect for tradition.

ODEDE

Q: Can you tell us a little bit about yourself and your team at 199xorg?

Odede: I'm a photographer and filmmaker based in Nairobi, Kenya. I'm also one of the co-founders of 199x Org - a creative collective and production company based in Nairobi brought together by a shared desire to shape culture through fashion, film and photography. 

We’re four individuals - Michael, a film director; Odiyo, a stylist; Kennedy, an art director; and myself, a director of photography.

Q: Why do you think cross-cultural collaborations are important for resistance and persistence of culture & art?

O: I think cross-cultural collaborations are essential for both the resistance and persistence of culture and art as they allow us to reclaim our narratives in a world where many cultures - especially from the global south are often misrepresented, undervalued, or forced to conform to western aesthetics in order to be accepted.

For us, collaboration is a form of resistance. Take our work with NO BORDERS, an Indian-born brand- that’s two communities with shared experiences of colonization coming together to create something new - these partnerships challenge dominant narratives and give us space to create on our own terms.

"We approach storytelling through a contemporary lens, using new visual languages to reflect the world as we see it today while always paying homage to those who came before us. Everything we create is grounded in authenticity, with the aim of contributing to a growing body of work that future generations of Kenyan and African creators can look to, build from and evolve."

MICHAEL MWANGI

Q: How did you visualise the concept for No Borders?

Michael: The concept behind ‘Ulipokua Hauepo’ was born from a desire to create something conceptual yet emotionally clear anchored in a universally understood theme: love.

The No Borders pieces became a natural extension of this story, subtle yet intentional accessorising emotion rather than overpowering it. We designed the film so the clothes felt lived in, woven seamlessly into the characters’ lives and memories. It wasn’t about styling a fashion film but letting the garments sit gently within the story, as if they too carried memory. By grounding the film in a Kenyan setting and telling it in Kiswahili, it formed a full circle emotional loop with love as the bridge.

Your editorials have a deep sense of storytelling. How did you bring that to your collaboration with No Borders?

M: Storytelling for us is the foundation of everything we create because it amplifies authenticity. It allows the work to feel honest, rooted in emotion, memory and lived experience rather than just being visually curated. With ‘Ulipokua Hauepo’, that approach shaped how we collaborated with No Borders. The estate, the couple, their quiet affection all formed a world where the garments felt lived in. The clothes became part of the feeling not an accessory to it. That’s how storytelling guided the editorial: by creating space where every element belonged.

Q: Where does your inspiration for your art come from?

M: As a production company and a collective, our inspiration is deeply rooted in the Kenyan and African way of life. We are guided by the richness of our culture, the rhythm of everyday life and the countless undocumented stories that exist within our communities. These narratives often passed down informally hold immense value and our work is about honouring them by giving them a visual form that feels fresh, relevant and lasting.

The story unfolds through the voice of a woman whose husband a soldier left for war and went silent for nearly two years. . In that silence, she carries uncertainty, loneliness, and hope. Their tea farm, once full of shared routine, becomes a place of longing. When he returns, they quietly renew their vows there, affirming a love that endured distance and time.

ODIYO

Q: What were your thoughts on the No Borders textiles?

Odiyo: The No Borders textiles, including the utilisation of natural fibres such as silk and cotton, handwoven fabrics, and the incorporation of traditional techniques such as art printing and embroidery, all imbued with historical significance, promote a sustainable approach to the No Borders designs. This, in turn, contributes to the minimisation of environmental harm and promotion of ethical practices offering consumers exceptional quality and durability which is something I admire.

How does your interpretation of the garments from No Borders bridge the gap between two cultures by employing crafts that are 1000 years old?

O: By adopting and integrating traditional crafts that serve as a sustainable practice into contemporary garments, No Borders transcends cultural boundaries. This approach highlights techniques that have been passed down through generations. In turn, this practice ensures the relevance and vibrancy of these crafts in the modern world by providing a platform for their flourishing and global appreciation.

Q: What are some similarities and some differences you observe between the culture you grew up with and the culture of the textiles you are collaborating with from No Borders?

O: 1) Some similarities between the two cultures are:

  • Drawing Inspiration from Various Cultures and Folk Traditions: Cultural scenes are characterised by bold designs and unique prints, often inspired by traditional crafts or fabrics. For instance, the use of Kitenge in Kenya and the use of traditional textiles, patterns, or symbols by No Borders
  • Local Artisans and Tailors: Both cultures rely on the expertise of local artisans and tailors to create their designs and products.

2) Some differences between the two cultures are:

  • Emphasis on Sustainability and Ethical Practices: No Borders Shop places a greater emphasis on sustainable practices and ethical sourcing, working with local artisans to create pieces that are both unique and environmentally conscious.

"Our approach leans on simplicity and symbolism. Every shot, garment, and line of dialogue is deliberate. We use nostalgia to reference the past while speaking to the present. By grounding our editorial work in culture, craft and emotional honesty, we aim to connect people locally and globally through shared expressions of identity."

KENNEDY

Q: What are some similarities and some differences you see in the culture you grew up with and the culture of the textiles you are working with from No Borders?

Kennedy: One similarity that stood out to us immediately was the attention to pattern. In the cultures we grew up in, African textiles are deeply respected for their storytelling through patterns. That made it easy for us to connect with the No Borders pieces.
On the other hand, there’s something grounding about Indian culture that we’ve admired for a long time. Working with these textiles helped us reflect more deeply on our own roots and pushed us to think about how we can preserve that sense of identity through what we create.

Q: What comes to mind when you hear the phrase “No Borders”?

K: It feels like freedom—both spiritually and creatively. “No Borders” speaks to that feeling of moving through ideas, cultures, and stories without being boxed in. It’s an open space where collaboration can happen naturally. We’ve often felt how borders—whether national, tribal, or even stylistic—limit how people connect and how stories are told. That’s why this project was so inspiring. It gave us permission to unlearn those lines and meet each other where creativity flows.

Q: How do you see art and humanity intertwined?

K: Art is where we get to be our truest selves. It’s how we interpret the world and find our place in it. For us, creating is a way of reclaiming space—especially in a world filled with expectations, rules, and assumptions about how things should be. When people experience our work, we hope they feel a sense of authenticity and connection. We want to express our background and our origins, not just as heritage but as living, evolving parts of who we are. At its core, our work is about self-expression, honesty, and honoring the cultures that raised us.

CREDITS

Ulipokua Hauepo by 199xorg

Film Director: Michael Mwangi Maina

Art director: Kennedy Mirema

Director of Photography: Freddie Odede

Stylist: Dalton Odiyo

Styled in - No Borders In-House pieces

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