One woman's modern vision for the hando

A 28-year-old Edna Dhahabu at her shop that sells mijikenda tradition fashion in Kilifi County [Levis Musumba/Standard]

In the past, the Mijikenda’s hando dress was more than just clothing; it was a symbol of cultural identity worn during sacred ceremonies, community gatherings and rituals.

Elders, spiritual leaders, and traditional healers donned it during ancestral veneration rites, while women wrapped it as a dress and men wore it as a shawl or waist garment.

With the rise of Western fashion trends and the availability of factory-made fabrics, the hando’s everyday use declined. Young people increasingly favoured modern attire over traditional wear, putting this indigenous craft at risk of disappearing.

However, in a bustling workshop in Kilifi County, one woman is determined to rewrite this narrative. Edna Dhahabu, a 28-year-old designer from Rabai, is blending traditional craftsmanship with contemporary fashion, capturing attention both locally and internationally.

“Hando was seen as attire for the Kaya elders and the youth viewed it as outdated. Over time, the fabric began to disappear and the weaving skills remained with the elders, who are passing away daily,” Dhahabu says.

Dhahabu’s hands move with precision, threading vibrant fibers together as she brings the ancient art of hand weaving to life. “Every piece of handiwork carries the spirit of our ancestors and that’s why the elders have held the skill so dear. When you wear it, you’re not just wearing fabric; you’re carrying history, pride and identity,” she says.

For Dhahabu, weaving is more than a craft; it is a family legacy. “My grandmother taught me how to weave the hando. She would sit for hours, weaving intricate patterns while telling stories about our ancestors. I saw an opportunity to keep our culture alive while making a living,” she recalls.

Recognising the decline of the hando, Edna set out to modernise it without losing its essence. She began experimenting with innovative cuts, bold colour palettes and contemporary embellishments while staying true to the fabric’s authenticity.

“I wanted to create something that both young people and the global market could embrace. I have added beads, seashells and white cowrie shells to maintain the coastal touch of jewellery,” she explains.

Her bold approach has paid off. Once confined to local ceremonies and elder gatherings, her designs are now worn in urban fashion circles and have graced runways in Nairobi, Mombasa, Dubai and the United States.

“Last year, I secured a tender to make 150 handos for a Sudanese wedding at Sh20,000 each and the fabric was shipped to South Sudan. That demonstrates how the global market is embracing the hando. I also have clients in Dubai and the United States.”

Edna Dhahabu's employees making beads necklace at her shop in Kilifi town [Levis Musumba/Standard]

A complete hando set sells for Sh15,000 and during peak seasons, her business generates up to Sh300,000. Her designs, which incorporate influences from Western and Southern African attire, have found a growing market beyond the coastal region. Major fashion retailers in Nairobi and Mombasa now stock her pieces, while international buyers appreciate the unique cultural fusion she offers.

Dhahabu’s journey began in 2019 with a modest Sh20,000 in savings. From these humble beginnings, she has built a thriving enterprise that now employs seventeen full-time youth staff and has trained dozens of young artisans in the intricate craft of hand weaving.

“I work closely with Kaya elders who possess the skill and art of hando weaving. Besides providing them with business, they also help train the youth, hence conserving the art and transferring the knowledge to the younger generation.”

Beyond her success, Dhahabu is committed to empowering young people in Kilifi County, where unemployment remains a significant challenge. Through structured training programs, she provides an alternative livelihood for young artisans.

Among those benefiting from Dhahabu’s mentorship is Zawadi Chengo, a young woman who once struggled to find stable employment.

“I never thought I could turn this skill into a career. Through the training, I can now make a variety of fashion items, from bangles to clothing fabric. If this were expanded, it could create more employment for talented youth while conserving our heritage,” says Chengo.

With the recent opening of a second workshop in Rabai Sub-county, Dhahabu has expanded her team to 11 full-time employees and provides mentorship to 15 trainees on a demand basis. Her business model ensures that young artisans not only learn the craft but also understand the business dynamics of the fashion industry.

“Fashion is not just about creativity; it’s also about sustainability and economic empowerment. I want young people to see that our traditions are not outdated relics of the past but valuable assets that can create wealth and global recognition,” Dhahabu emphasises.

Dhahabu’s story reflects a broader economic trend in Kenya, where small and medium-sized enterprises (SMEs) drive job creation and economic growth.

Modern fashion piece made from the Mijikenda hando [Levis Musumba/Standard]

According to the 2023 Kenya Private Sector Alliance (KEPSA) report, Small and Medium Enterprises constitute 98 per cent of businesses in Kenya, employing over 14.9 million people.

The Kenya National Bureau of Statistics (KNBS) 2024 Economic Survey further reveals that out of 848,000 new jobs created in 2023, 721,000 came from the informal sector, highlighting the vital role of youth-led enterprises.

By tapping into Kenya’s rich cultural heritage, entrepreneurs like Dhahabu are proving that fashion can be a viable economic pillar, fostering creativity while strengthening economic resilience.

However, it is not all smooth for Dhahabu. Despite her success, she faces several challenges, such as a labour shortage, as many young people are unfamiliar with the delicate weaving techniques required for authentic hando production.