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Culture Conversation
By The IA Team
Grounded in a myriad of rich cultures and history, African textiles are renowned for their traditional indigenous techniques, inventive patterns, and unashamed use of color. Culturally, African cloth is used to honor a person’s life, a historical event, or even a political cause and to communicate essential cultural information. It also plays a prominent role in cultural celebrations, ceremonies, and auspicious occasions.
From the hand-loomed Aso oke cloth woven by the Yoruba people of southwest Nigeria to the Seshoeshoe (also known as shweshwe or isishweshwe) fabric synonymous with Southern Africa, our regional African cloth guide explores an array of indigenous, sustainable, and artisanal crafting techniques.
Click here to learn more about regional textiles via our Craftsmanship Glossary
SOUTHERN AFRICA
The Gudza textile originates from the Chimanimani area in the Eastern Highlands of Zimbabwe. Gudza is a twisted fiber made from the inner bark of trees—specifically the Musasa/Munondo tree or the baobab tree. Before weaving, the bark fibers are soaked to soften them. Traditionally, the maker chewed the raffia fiber to make it even more pliable before dyeing and weaving. It is primarily used to create bags and homeware products such as blankets, mats, and decorative ornaments.
Textile producer Da Gama Textiles in King Williams Town, South Africa, exclusively produces Seshoeshoe fabric (commonly known as shweshwe or isishweshwe) and, according to the company, it originated in Europe from material imported from India. Manufacturers used a natural indigo dye from the native Indian plant Genus Indigofera and the fabric was initially manufactured and printed in Czechoslovakia and Hungary by Gustav Deutsch, who emigrated to England in the 1930s. Blue Printers Ltd of Wigan would later purchase the aforementioned plant and, after settling in the provinces of Eastern Cape and Natal, German settlers brought the to South Africa to satisfy the needs of the German settler women. As a result, Xhosa women gradually replaced their animal hide clothing with cotton. Although the fabric has its origins in Europe, South African designers have embraced and reclaimed the print by using it in their designs.
Gudza cloth
Seshoeshoe
CENTRAL AFRICA
Since the 16th Century, Kuba textiles have been woven by the Kuba people in the Kasai region of Kongo, today’s Democratic Republic of Congo (DRC). Women, men, and children who come from the same clan all participate in the making of these textiles. The weavers utilize a coarse filament made from the fronds of the raffia palm, as raffia trees are planted widely in the DRC. In Central Africa, raffia is well known as a material of spiritual efficacy, social bonds, and creative expression. The process involves collecting and preparing the raffia fibers for weaving, embroidery, and dyeing, with the adornment of the woven cloth with embroidery, applique, and patchwork being the last step. The raffia fiber is versatile and can be used to make wrappers (or skirts), overskirts, panels, belts, headdresses, men’s garments, caps, tunics, mats, baskets, boxes, vibrant geometric motifs, and religious signs, symbols, and insignia. The weavings were once reserved exclusively for ceremonial purposes and court rites.
Also known as the Bamenda Gown, Ndop is the traditional regalia of the Grassfields people of Cameroon’s Western and Northwestern regions (Bamenda, Bamileke, and Bamum) wherein strips of indigenous cotton woven are sewn together in a resist dyeing process. Hand-embroidered with a variety of wool fiber colors, cotton, raffia filaments, or beaten tree bark are used in the Bamum form of this textile. The moon (“"), the leopard’s eyes (“"), a type of spear called four heads (“”), and a two-headed snake—symbolizing the double victory of King Mbuembu—are among the themes on it.
Ndop
Kuba textile
Adinkra translates to goodbye or farewell in Twi, a dialect of the Akan language spoken in southern and central Ghana.Traditional Adinkra textiles, embellished with motifs and phrases, were initially created in 1817 by Akan artisans in West Africa for kings and spiritual leadersto wear at funerals and special occasions to express their grief and to say farewell to the deceased. They also symbolize the Asante’s history, beliefs, and philosophy. Today, the Asante people no longer wear the Adinkra fabric exclusively, as the fabric has entered popular culture and is used as a source of inspiration by designers like Chrissa Amuah.
Adinkra cloths are distinguishable by the designs applied withcarved gourd stamps and a black dye set within a rectilinear grid. This grid features divisions created by a three or four-tine comb brushed in measured segments across the length and width of the cloth. Some fabrics have a single stamped design, while others have over twenty formats.
Adire (meaning tied and dyed in Yoruba) isan indigo-dyed cloth produced by the Yoruba women of southwestern Nigeria, using various resist dye techniques.Original were simple tie-dyed designs on locally woven hand-spun cotton cloth, much like those still produced in Mali. Women dyers were able to become both artists and businesses in a flourishing new medium in the early twentieth century, thanks to access to vast quantities of imported shirting material made feasible by the advent of European textile merchants in some Yoruba towns, like Abeokuta. New resist dyeing processes emerged, the most famous of which was , the art of hand-painting motifs on the cloth using a cassava starch paste before dyeing. Unlike frequently maintained as a family legacy for decades, was a commonplace textile that was quickly worn out and discarded. Nigerian brands like,,, and have adopted traditional techniques and fused them with contemporary design by incorporating motifs inspired by the Adire fabric into their collections.
Adinkra
Adire
Aso oke fabric (pronounced ah-SHAW-okay) is a hand-loomed cloth woven by the Yoruba people of southwest Nigeria. Aso oke translates to top cloth in English and is frequently passed down through the generations as a family relic. Traditional Aso oke is divided into three categories based on color:Arari—a rich red hue; Etu—a dark blue shade; and Sanyan, which could be light brown or slightly darker. The original versions of these cloths are now quite rare and are fast becoming antiques. Aso oke fabric is used to make various items such as men’s gowns (or Agbada), women’s wrappers (or Iro), and men’s hats (or Fila). Traditionally worn on momentous occasions, such as traditional coronations, festivals, engagement and wedding ceremonies, naming ceremonies, and funerals, Aso oke fabric is also often worn with Aran, a brown velvet with concentric motifs.
Bogolan or Bògòlanfini is a handmade Malian cotton fabric traditionally dyed with fermented mud and plant dyes. The process involves Malian women soaking the cloth in a pigment made from plants before sun-drying it and later hand-painting it with mud rich in iron. Afterward, it is stored in a pot for over a year before being used again. The chemical reaction between the dye and the mud gives the fabric its characteristic brown color. The cloth traditionally used in production is Traditionally (and even today), women wear during female adolescent rites of passage into womanhood as well as other significant events like marriage and birth. Malian designer Chris Seydou is well known for and taking it to the global stage. In addition, the cloth has been exported worldwide for use in fashion, fine art, and decor.
Aso oke
Bogolan
Country cloth
Ewe Kente or Kente Cloth's general aesthetic indicates that it is from the Anlo-Ewe region of Ghana, and its style and color palette date back as early as the mid-twentieth century. Ewe Kente differs from the Ashanti version in the materials used, the overall aesthetic, and the meanings of the design. Cotton has been the predominant material for Ewe Kente for centuries, and the Ewe have only recently started following the Ashanti practice of employing silk and rayon. Unlike Ashanti Kente, which has a more rigid, abstract, and equally dispersed weave design, Ewe Kente has a more abstract design with a higher degree of asymmetry. The narrative of Ewe Kente is less about the qualities and history of leadership, as is typical of Ashanti Kente, and more about the human experience in general or the nature of the designs themselves. Like Ashanti Kente, the Ewe Kente version has two sets of names, one for the individual figurative designs and the other for the background or warp. The name for the latter is Novi Atideke.
The Baganda people of southern Uganda have a treasured fabric called Barkcloth. During the rainy season, the inner bark of the Mutaba tree is gathered for the cloth. Only a small layer of bark is removed from the tree, and banana leaves are wrapped around the trunk for nine months until the following season The tree’s bark regenerates throughout time and can be collected repeatedly. It is heated using fire or boiling water to soften the bark. Afterward, the bark is pounded for hours using wooden mallets to give it a smooth and delicate texture. The fabric is left outside to dry for three days, developing a reddish-brown appearance. During coronations and funerals, Barkcloth remains a ceremonial dress code for monarchs, chiefs, and heirs, and, as a symbol of their position, the Royal family’s Barkcloth is dyed black or white and worn in a particular style. The Baganda wear the well-respected fabric in the form of a toga. Barkcloth’s durability and texture have created endless possibilities for the fashion industry; it has the potential to become a permanent alternative to leather because it is dirt and stain-resistant and can be dyed using plant and vegetable-based dyes.
The Kanga (Leso) has a profound cultural, historical, and economic significance in the Swahili coastal region and has been one of the most appreciated cultural objects in East Africa for more than 100 years. The fundamental elements of the Kanga are the patterned border (pindo) surrounding a central motif (mji) and a proverb or phrase (jina) in Swahili. The printed cloth is rectangular in shape and is approximately 110 centimeters wide and 150 centimeters long, while its print designs typically comprise florals, fauna, and other motifs combined with vibrant, highly saturated colors. The Kanga has evolved into a vehicle of communication; the imagery and Swahili texts printed on the Kanga are used to convey a variety of messages, including social, political, or religious ones, while Swahili women use them to communicate private messages to their friends, husbands, and families. Appreciated for its versatility, the Kanga is used in a variety of ways—it can be wrapped around the wearer's body, used as wall hangings in the adornment of homes, or used to carry babies.
Barkcloth
Kanga
Kikoi
A Kitenge or Chitenge (plural) is an East African fabric akin to a sarong and is often used by women wrapped around the chest or waist, as a headscarf or baby carrier, and to create dresses, blouses, and pants.Chitenge can be utilized symbolically or practically in various ways and are crafted from brightly colored cloth with multiple patterns and styles. Traditional batik techniques are used to print the fabric with typically vibrant and intricate wax prints traditionally being found on its reverse. Wax prints are now produced commercially and are nearly entirely roller printed, with less color flowing through to the reverse side. A lot of the designs are symbolic, traditional tribal patterns and a wide range of religious and political motifs can be found in some Kitenge designs. An example of this is the Swahili proverbs that are frequently written on Chitenge in Tanzania's and Kenya's coastal regions.
In the Maasai language, Shuka means body wrapping, and this cotton or wool textile features distinct plaid patterns and bright colors—frequently red, blue, and black. Worn by the Maasai people of East Africa, the Shuka is a multipurpose piece of clothing that can be used as a blanket at night to stay warm, a skirt, a head covering, or a shawl during the day.
There are different theories regarding the Maasai Shuka's origins, one of which is that Scottish missionaries introduced it during the colonial era. Some say this explains why the pattern closely resembles Scottish plaid or tartan. The Masaai dyed white cotton using clay, purified animal blood, minerals, plants, and crushed insects up until the 1800s when black, blue, and red dyes were shipped from Madagascar to East Africa and traded with West Africa. The that reflects a wearer's social standing. Red, frequently used in Maasai textiles, denotes bravery and strength or is used for ceremonial status changes. Blue symbolizes the sky and the water provided for livestock. Green signifies the land and the food produced for cattle while orange symbolizes hospitality, yellow demonstrates fertility, black represents the difficulties faced in life, and white represents protection.
Kitenge
Masaai shuka
The word Kilim has Turkish roots and refers to flat-woven pileless rugs made in Northern Africa of which rich colors and tribal and spiritual designs are hallmarks. The origins of the word Kilim can be traced to the Persian Empire, but their pileless, textured style (distinguished by the presence of a flat weaving technique) has also long been a ubiquitous part of Moroccan culture. They’re often emblazoned with a series of woven motifs in shades of blue, green, cream, and red, the meanings of which vary greatly, and usually include emblems of fertility, and symbols of protection, like the “evil eye”. Kilims are created by intersecting the warp and weft threads; many flat-weaving methods exist, but the weft-faced plain weave is the most straightforward and widely used. In this technique, the warp threads are positioned on the loom similarly to how they would be for almost any other fabric then taken from side to side across the warp threads in alternative forms of weaving. Since ancient times, Kilims have been woven for practical uses such as tent flooring, tent covers, tent bands, child cradles, and various other benefits. However, Kilims have been admired throughout history for their tremendous beauty, distinctive aesthetic, and practical advantages.
Zerhivas, or knotted pile carpets of North Africa, are Tunisia’s most well-known textiles. The mothers of the families create Zerhivas, which are meant to be sold in souks (markets in North Africa or the Middle East) and used as interior decorations for homes. Typically made by hand from wool, these textiles come in a variety of designs that differ according to which tribe they’re made by. Stripes, fringes, metallic sequins, delicate hand embroidery, and geometric designs like stars and diamonds are examples of common design components. From a variety of vibrant colors to muted color palettes, the color scheme is varied.
Kilim
Zerhivas
Locally known as Frankaa, Asafo flags are paraded on festive occasions by men’s military companies among the Fante people on the coast of Ghana. The imagery on it displays the affluence and power of the company and challenges its rivals, often through an associated proverb. The flags were made from thin imported cloth, and the effect of being hung outside for days at a time in all weathers and repeated use in parades means that older pieces are often quite battered with numerous signs of wear and tear. The damage is likened to “battle scars,” proving their fortitude.
Country Cloth, also known as Kondi-Gulei, is a thick, heavy textile made by weavers of the Mende tribe of Sierra Leone and Liberia. Traditional Country Cloth is manufactured from locally grown cotton manually spun into thread, hand-colored, and hand-woven into strips on a tripod loom. Culturally, Country Cloth was initially used to make clothes and as bed covers and blankets or given as gifts or as part of a dowry. As time passed, Country Cloth began to be used to make clothes and various other accessory items.
A typical item of woven clothing from the East African Coast is a Kikoi. It is widespread in Kenya, Tanzania, and Zanzibar and exemplifies the vibrant Swahili culture. Originally used as a sarong by Arab merchants, it would later become one of the most widespread African fabrics. On the East African coast (Malindi, Mombasa, Tanga, Zanzibar, Dar es Salaam), Kikoi was customarily adopted by men. They are now used to make various goods like purses, pillows, pants, shorts, shirts, skirts, bikinis, robes, and other clothes for people of all ages and genders. A Kikoiis usually a rectangular form woven with unique designs made from pure cotton and finished with hand-rolled fringes. Originally, the cotton yarn was hand-loomed by local artisans; today, the fabric is machine-loomed on a machine using 100% cotton, and Azo-free dyes are used to achieve its characteristic vibrant colors.
Ethiopia's oldest industry is the production of Shema or cotton, the manufacturing of which is deeply ingrained in Ethiopian culture due to its long history. Traditionally, cotton was spun by hand and woven on handlooms, methods that have long been the livelihood of rural and urban artisans, and the techniques have been preserved even in the modern textile industry. Cotton is a crucial component of Ethiopia's economy and is farmed on huge government-owned and smaller privately-owned farms.
Despite a sizable portion of the country's cotton industry being mechanized, many hand spinners and weavers still exist in Ethiopia, and many of the intricate designs on machine-made garments are embroidered by hand and remain very popular. Ethiopian women wore Habesha Kemis (traditional ankle-length dresses usually worn at formal events and holidays that typically come in white, gray, or beige shades) made of handspun and handwoven Shema that feature vibrant jacquard patterns (tibeb) created with shiny silver or gold threads. Other essential items of traditional Ethiopian dress include the Gabi, Kuta, and Netela, which are all Shema throws made using handspun and handwoven processes. Thinner shawls like the Kuta and the Netela are worn in warmer weather, with men wearing the Kuta and women the Netela.
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