As a person who has always been rooted in heritage, African fabrics have played such an important role in my journey as a designer. At Orange Culture, I consistently use fashion as a medium for storytelling, tapping into and celebrating the deep cultural significance woven into each fabric. Whether it is the bold prints of Adire to the structured elegance of Aso Oke, African fabrics are constant reminders of our evolution as a people, and a light to our journey so far.
This journey is not without its challenges, as it was done amidst growing misconceptions surrounding one of the continent’s most popular fabrics—Ankara.
By branding their wax prints as “premium African fabrics,” they blurred the line between authenticity and appropriation, leading many to believe Ankara was African in origin.
The Ankara fabric: Origins and misconceptions
One of the most widely recognised fabrics in modern African fashion is Ankara, a fabric characterised by its bold, colourful, wax-printed designs. Though now synonymous with African fashion, the origins of Ankara are surprisingly not African. Its journey to the continent began in the 19th century when Dutch traders, inspired by Indonesian batik, mass-produced wax-resist fabrics for the Indonesian market. This fabric didn’t gain traction in Indonesia as anticipated. Instead, West African traders embraced the vibrantly coloured, bold designs, and integrated Ankara into local customs and celebrations.
The misconception surrounding Ankara’s African origins is partly a result of the seamless integration into African fashion and lifestyle. Over the decades, Ankara became a fabric used in celebrations, weddings, and modern streetwear. The marketing efforts by European manufacturers like Vlisco further cemented Ankara’s association with Africa. By branding their wax prints as “premium African fabrics,” they blurred the line between authenticity and appropriation, leading many to believe Ankara was African in origin. In recent years, China’s entry into the market with cheaper alternatives has only compounded this issue, as local textile industries in Africa struggle to compete.
This widespread integration, combined with marketing by European manufacturers like Vlisco, led to the common belief that Ankara was African in origin. Vlisco branded their wax prints as “premium African fabrics,” blurring the lines between cultural adoption and appropriation. The flood of cheap, mass-produced Ankara from China continues to challenge local African textile industries today.
Impact on African textile industries
The dominance of European and Chinese Ankara has had detrimental effects on African textile manufacturers. Traditional fabric producers face declining demand as imported Ankara, with its bold, modern designs, outcompetes locally-made textiles in both price and popularity.
According to the Nigerian Textile Manufacturers Association (NTMA), over 80 per cent of the textile products in the Nigerian market are imported. This has led to a decline in demand for domestically made textiles, causing job losses and the collapse of several textile industries across the continent.
Efforts to counter this trend are growing. In Nigeria, some entrepreneurs are producing their own versions of Ankara, but limited access to industrial-scale machinery and raw materials presents challenges. There is a growing call within the fashion community to support locally made textiles and prioritise authentic African fabrics for African consumers.
African fabrics are more than just materials—they are living traditions that tell stories of the continent’s past, present, and future.
Fabrics Made in Africa: A rich heritage
Kente Cloth (Ghana)
Kente, one of Africa’s most iconic textiles, is woven from silk and cotton by the Ashanti people of Ghana. The bright, geometric patterns carry symbolic meanings: yellow for wealth and fertility, green for renewal, and red for sacrifice.
Originally worn by royalty, Kente is now used in many ceremonies and is globally recognised as a symbol of African identity and heritage. Designers like Kofi Ansah and Christie Brown bring Kente into modern fashion, blending its historical essence with contemporary style.
Bogolan (Mali)
Bogolan, or mud cloth, is a handmade cotton dyed with fermented mud, originating from Mali’s Bambara people. Its intricate patterns tell stories steeped in cultural significance. It originates from the Bambara people of Mali and is steeped in cultural significance. The cloth is often worn during important rites of passage, such as weddings or funerals, and its patterns represent historical events, myths, and cultural traditions.
The production of Bogolan involves an intricate, time-consuming process, reflecting the careful attention and respect for tradition that African artisans apply to their work. Designers like Chris Seydou and Awa Meité incorporate Bogolan into their collections, preserving its traditions while introducing it to modern audiences.
Aso Oke (Nigeria)
The ceremonial fabric woven by the Yoruba people of Nigeria is used for special occasions. It comes in several varieties, such as the intricate “Sanyan,” woven from beige silk and cotton, and “Alaari,” which uses red threads. This fabric holds great significance in Yoruba culture, with the different types symbolising wealth, status, and cultural pride. Aso Oke is integral to Yoruba ceremonies and attire, varying between subgroups. The Ijebu people often prefer lighter, more intricately patterned Aso Oke for special events, while the Oyo opt for thicker, bolder designs for royal celebrations.
Designers like Deola Sagoe have pushed the boundaries of Aso Oke, incorporating it into haute couture. Designers like Kenneth Ize have reimagined Aso Oke, using its modern texture to create modern silhouettes.
Adire (Nigeria)
Another traditional Nigerian fabric, Adire is made using resist-dye techniques, which involve either tying or painting the fabric before dyeing it, usually in indigo. This Yoruba art form has been passed down through generations, with each pattern holding symbolic meanings. Modern artisans have adapted Adire to include new motifs and materials, but the fabric remains an important part of Yoruba heritage.
Each pattern carries a symbolic meaning, rooted in Yoruba culture. Designers like Maki Oh and Nkwo blend Adire’s traditional motifs with contemporary fashion, making it a standout in the global fashion scene.
Shweshwe (Southern Africa)
Shweshwe is a printed cotton fabric known for its geometric patterns and is popular in Southern African countries like Botswana, South Africa and Lesotho. It is commonly worn in traditional ceremonies such as weddings and has a deep-rooted history in Southern African fashion. The fabric originally came from European settlers in the 19th century but was adopted by indigenous communities, who transformed it into a uniquely African textile tradition.
Designers like Laduma Ngxokolo blend Shweshwe with knits to create Afrocentric collections that honour both tradition and modernity.
Bark Cloth (Uganda)
Bark cloth is one of the oldest known textiles in Africa, made from the bark of the Mutuba tree by the Baganda people of Uganda. It is a labor-intensive fabric that involves harvesting, beating, and softening the tree bark into cloth. Traditionally, bark cloth is used in burial ceremonies and cultural rituals. Today, it is recognised by UNESCO as part of humanity’s intangible cultural heritage. Ugandan designers like José Hendo have championed its use, weaving it into eco-conscious designs that highlight sustainable fashion.
Akwete (Nigeria)
Akwete is a handwoven textile from the Igbo people, specifically crafted by the women of Akwete town in Abia State, Nigeria. The tradition of Akwete weaving is believed to date back over a thousand years, with its intricate weaving techniques being passed down through generations of women. Traditionally used for ceremonial purposes, Akwete is now woven into modern fashion by designers like Emmy Kasbit and Lisa Folawiyo. These designers seamlessly incorporate Akwete into contemporary garments, celebrating Nigerian craftsmanship and reimagining its role in global fashion.
Kikoy (Kenya and Tanzania)
Kikoy (or Kikoi) is a vibrant, lightweight fabric native to the coastal regions of East Africa, particularly Kenya and Tanzania. Known for its bold colours and striped patterns, the Kikoy reflects the rich heritage of Swahili culture and the Indian Ocean coastal communities. Over time, Kikoy has gained global recognition for its beauty, versatility, and durability. Designers like Katungulu Mwendwa use Kikoy to craft contemporary garments that capture the essence of East African life, blending tradition with modernity in fluid and innovative designs.
The rise of imported Ankara reveals the complexities of postcolonial cultural exchange and economic inequality.
Moving Forward: The future of African fabrics
African fabrics—whether traditionally made like Kente, Bogolan, or Aso Oke, or adopted and adapted like Ankara—are a critical aspect of African culture and identity. However, the rise of imported Ankara reveals the complexities of postcolonial cultural exchange and economic inequality.
To preserve and promote the authentic textile heritage of Africa, several initiatives can be taken:
Investing in local textile industries
African countries can benefit from investing in local textile manufacturing infrastructure. Governments can offer subsidies, grants, or tax incentives to local businesses to produce fabrics domestically. This would not only create jobs but also reduce the continent’s dependence on foreign imports.
Revitalising traditional fabrics
With global interest in sustainable fashion growing, African handmade textiles, such as Adire and Kente, can appeal to international consumers looking for unique, environmentally friendly products.
Consumer education
Educating African consumers about the origins of the fabrics they wear can inspire greater appreciation for locally made textiles. Fashion weeks, exhibitions, and workshops that emphasise the beauty and craftsmanship of truly African textiles could contribute to this movement.
Designers leading the way
Designers can continue to innovate by blending traditional fabrics with contemporary style. By incorporating materials like Kente, Bogolan, or Shweshwe into modern designs, designers can help these textiles regain prominence in global fashion.
More than just materials
The world of African fabrics is a rich tapestry of history, culture, and innovation. While textiles like Kente, Bogolan, and Aso Oke are deeply rooted in African traditions, the story of Ankara fabric represents a complex blend of global influences. As the demand for “African” fashion continues to grow globally, it is crucial to recognise the origins of these textiles and ensure that African-made fabrics and industries are supported and celebrated.
The complex story of Ankara highlights the nuances of African identity in a globalised world. To ensure that African-made textiles receive the recognition and support they deserve, efforts must be made to bolster local textile industries. Designers, consumers, and governments all have a role to play in reclaiming the narrative and ensuring that African fashion truly benefits African people.
African fabrics are more than just materials—they are living traditions that tell stories of the continent’s past, present, and future.
