Afro-Indigenous Beadwork Artist Creates One-Of-A-Kind Designs

Long a stalwart supporter of indigenous artists and cultures, Manitobah has collaborated with Mikailah Thompson, an afro-indigenous beadwork artist and entrepreneur, for the one-of-a-kind Wallowa Moccasin. Named after her tribe’s original homeland, Wallowa, or Wa’lâwa, inspiration for the modern geometric designs derives from traditional Nimîipuu beadwork and cornhusk pieces. “When I sit down and come up with a pattern, I start with what stands out to me most and add to it as I go along,” Thompson says.

Fashioning a strategy that lifts up and empowers indigenous communities, creating a positive impact, is no small feat. Thompson plays homage to her ancestors and her roots by bridging the gap between afro and indigenous communities through a celebration of community and culture.

“Before our treaties were broken and we were forced on to our reservation, we resided in what is now known as Oregon, Washington, and Idaho,” Thompson says. “Wa’lâwa has and continues to be an important place for our people and that was the message I wanted to amplify.”

How we choose to spend our money and what we decide to wear can affect home-grown populations in meaningful ways. Manitobah, founded in Winnipeg in 1997, connects consumers with indigenous artists through not only well designed moccasins and mukluks, but also, through compelling and authentic storytelling.

“The buyer has the chance to gain an understanding of the inspiration of the shoe and, at the end of the day, understanding and acknowledgement is where change begins,” says Thompson. “Celebrating anything involves appreciating what or who one is for who they are.”

Thompson, when discussing how these moccasins are a gift of cultural appreciation, rather than appropriation, says, “Indigenous people are made out to be survivors and our oppression is typically the only story that is told when we aren’t included in the spaces created for us and while understanding the roots of indigenous culture is a part of what makes us who we are, I choose to celebrate what we’ve become, despite what we’ve been through, and all we have yet to be.”

As inimitable as her designs, Thompson’s heritage includes both Nimîipuu and Black cultures. “I’m Nimîipuu on my mother’s side and come from the Halfmoon and Ellenwood families,” Thompson says. “As for who we are collectively, we’re beautiful—we love to laugh and support one another in all the ways that we can.”

Community is a driving force to Thompson’s identity. “Growing up, I moved back and forth between the east and west coasts without feeling as though I had a community and it wasn’t until I was in my late 20’s that it clicked that where my people and tribe are is home.”

Known for their battle-tested warriors and stewards of the land, Thompson’s tribe is rooted in resiliency and strength. “We continue those qualities today whether it’s the fight of breaching our dams to restore our salmon or defying the odds of challenging the norms of enriching acceptance on our reservation,” Thompson says.

Always embedded in culture and tradition, yet with nods to the future and growth, Thompson is currently working with her agency to expand her connections with other artists, utilizing her platform to celebrate indigenous artists and their contributions to the community. “Although this is just the start of my artistic journey, I’ve been very grateful to make the connections that I have,” Thompson says.

With beadwork at the forefront, Thompson continues to think broadly and thoughtfully. “I’ve been taking my time and leaning into creating larger pieces,” Thompson says. “Beadwork has always typically consisted of accessories or regalia, which I love, but I’ve been working on ways to take it a step further whether it’s playing with different shapes and styles or creating statement pieces to really showcase the art form itself.”