Africa and Her Ark Full of Textiles and Prints

Introduction: Tick Tock Kaboom! 

The in-your-face TikTok videos about the ‘not so secret within fashion society’ manufacturing processes for allegedly some of the world’s luxury products across fashion, footwear, beauty, furniture, and electronics by some Chinese manufacturing owners, who have resorted to selling their services directly to customers (D2C) to secure the best deals, circumvent those eye-watering tariffs and boost their nation’s economy, have been hilarious to watch. Whether they are genuine or trying to push counterfeit products, I guarantee, as I watched those videos, a wry smile blazed across my face as I immediately thought of former Real Housewives of Atlanta cast members Nene Leakes and Claudia Jordan slugging it out in a verbal ding dong in S7 Ep10 with Nene shouting – while repeatedly clicking her fingers in Claudia’s face – “…Gurl, you better zip this zipper down to see what this is honey… they make em when u gat da coooiiinnnnnnnzzzz…”. 

Nations of Africa: Stand Up! 

It got me thinking about another key missing fact: that most of the leathers, plus other skins used in some of the world’s most renowned luxury bag, footwear and accessory brands, are sourced and originate within the continent of Africa. All this, before these specialist textile pieces – in some cases still in raw material form – alongside other product components, are shipped to China for phase two of the production process. 

Mike Redwood, columnist for International Leather Maker, said, 

“…Africa has a rich tradition of leatherworking, with Egypt, Sudan and Ethiopia having histories that span over 3,000 years…”. 

Including Winston World of Leather – a sister company of Winston Luxury Leather (WLL) & God’s Little Tannery (GLT) and Nigeria’s largest manufacturer of leathers, including rare and exotic skins, which has been in existence for over 100 years – the Nigerian government has also developed a framework that supports collaboration between local tanneries and international designers/fashion houses and buyers to support the national economy while protecting their regional craftsmanship and local artisans. 

In addition, Botswana, Egypt, Ethiopia, Kenya, Morocco, Namibia, Somalia, South Africa, Sudan, and Tunisia all trade in leather exports of various skins or other raw hides to Asia, North Africa, and Europe. Despite being responsible for some 30% of the world’s exports alone – which is worth $3.5 billion to the continent of Africa – the global recognition of her importance in the luxury-market production process, plus robust regulations in place to stop the exploitation of Africa’s natural minerals, fibres and other resources for the world’s voracious consumers, is still sadly lacking. 

Passion for Prints and Embracing African Aesthetics 

Alongside the vast array of leathers, African print fashion is more than just a trend. It is a global cultural phenomenon. From the runways of Paris to the streets of New York and beyond, African prints have become a powerful language of fashion that speaks of resilience, rebellion, creativity, and timeless beauty. 

In recent years, African prints have transcended cultural boundaries, becoming a universal symbol of style and self-expression. With sustainable manufacturing processes, intricate – but meaningful – design patterns that provide diverse storytelling from across the continent through textile design; what was once considered traditional clothing to only be worn by the few has now emerged as a global fashion statement embraced by designers, celebrities, and fashion enthusiasts worldwide. 

Within the wider creative industry, global artists such as Chris Ofili, Hassan Hajjaj, Kehinde Wiley, Yinka Shonibare and many others are renowned for using African print textiles as the main focal point – in some cases as the backdrop – for their respective works of art. Always received with critical acclaim, the use of Africa’s rich tapestry in contemporary ways continues to educate the masses and help push the conversations forward around colonisation, capitalism, tokenism, heritage, culture, belonging, and reparations. 

Background of Some Popular Prints and Textiles 

1. Adire (Nigerian Indigo-Dyed Textile)

- Traditional Yoruba textile from southwestern Nigeria. 

- Created using resist-dyeing techniques. 

- Characterised by intricate blue and white patterns. 

- Represents complex cultural symbolism. 

2. Ankara (West African Wax Print) 

- Vibrant, colourful cotton fabrics. 

- Originally influenced by Indonesian batik techniques. 

- Popular in Nigeria, Ghana, and across West Africa. 

- Bold, geometric patterns. 

3. Barkcloth 

- Popular in costuming for ceremonies and special occasions. 

- Bark natural fibres are from the fig tree. 

- Once manipulated into cloth, it can be dyed or embroidered. 

- Found across Cameroon, Congo, and Uganda. 

4. Batik (Zimbabwe) 

- Handmade starch batiks using cotton and dyes from the local region 

- Sadza paste (maize meal) is used and adds more texture and durability to the cloth. 

- There is a myriad of designs that feature cultural heritage, local flora and fauna. 

- Used in standard clothing and interiors (soft furnishings specifically). 

5. Beading (Kenya, South Africa, Tanzania + others) 

- Bold or delicate colourful accessories that confer status, culture, traditions, age, etc. 

- Often worn around the head or in the hair, neck, shoulders, arms, wrists, waist or ankles 

- Irrespective of design, structure/form, each coloured bead has a symbolic tribal meaning. 

- Made of cowrie shells, wire, silver, plastic, or glass (glass is worn by the Maasai people). 

6. Bògòlanfini (Mali) 

- A unique woven plain cotton textile with intricate designs worn by the Bamana women 

- Handmade using fermented mud and dyed in boiled leaves to create the yellow hue 

- The fabric is often made into garments such as shirts, tunics, skirts and shawls. 

- Typically worn at important life events, e.g., straight after childbirth for protection. 

7. Kente (Ghanaian Cloth) 

- Handwoven silk and cotton fabric 

- Originated by the Ashanti people of Ghana 

- Each pattern and colour combination has a specific meaning. 

- Traditionally worn during important ceremonies. 

8. Raffia (Central Africa) 

- Skirts and wraps are common woven items. 

- Fibres originally from the raffia palm trees/leaves which are indigenous to the region 

- Traditional homespun skills – using raffia looms – are still in use today. 

- Popular in Cameroon, the Democratic Republic of Congo, and the Republic of Congo. 

9. Silk (Madagascar) 

- With over 10 different varieties, the silk is handwoven into traditional textiles. 

- Originated by Malaysian Polynesians 

- The Borocera cajani silkworms used are native to these lands. 

- Heavily used in ceremonial event costuming, including burials and standard clothing. 

10. Souban Cloth (Niger) 

- Handwoven loincloth using wool and cotton 

- Carry detailed designs that symbolise daily life and heritage. 

- Once in black and white only, bolder colour combinations and patterns can now be found. 

- Always opulent, Souban blankets are worn by nobility and used on special occasions. 

Why African Prints are Timeless? 

With generational techniques interwoven into fabrics that incorporate prints which celebrate African heritage and creativity, the fashion industry has begun, albeit slowly, to recognise the power of the African print. 

Partner the above with a more eco-conscious consumer who values authentic craftmanship via a transparent process, is prepared to pay more for certified organic textiles and natural dyes (e.g. African organic cotton from Uganda, Tanzania, Senegal, Benin, Ethiopia, Cameroon and Burkina Faso to name a few countries are produced by hand) and prioritises sustainable business practices covering people, place, production, profits and policies over fast fashion in all forms; it’s no wonder why the sustainable and ethical fashion movement championed by Black women founded brands such as Fashion Africa Trade Expo (F.A.T.E), Interwoven and Colèchi continue to be trusted voices within the community, building upon their well-earned reputations. 

With global recognition of African design innovation and the fusion with hi-tech fabrics to make contemporary and avant-garde designs, it is no wonder – and long overdue – that we are finally witnessing an increased representation of African designers from across the continent on the international stage. 

Some of our favourite designers include Tongoro Studio, founded by Sarah Diouf – Senegal; Maxhosa Africa, founded by Laduma Ngxokolo – South Africa; Thebe Magugu – South Africa; Hanifa, founded by Anifa Mvuemba, Kenya; Imane Ayissi Couture, founded by Imane Ayissi – Cameroon; Orange Culture – Nigeria, and the list goes on and on and on... 

House of Nyabinghi is committed to honouring and advancing the traditions of Black style and craftmanship. Visit our online store to explore our curated collections of contemporary fashion, culture and Diaspora lifestyle pieces.