AFRICAN CLOTHING AS A CULTURALEXPRESSION: AFRICAN FASHION
HISTORY AND BACKGROUND OF
CLOTH IN AFRICA
African
clothing is known for its
colorful fabrics and distinctive
designs. But few people take the
time to examine the cultural
significance of African fashion. The
presence of textiles in the African
world dates back to Phoenician
times. At various times in history,
migration, and integration have
spread African textiles to different
regions of Africa and the world. The
colorful clothes of Africa first
became a sign of wealth around 1000
BC during the period of the
trans-Saharan trade when traders
used strip cloth as a form of
currency. As a result, African
textiles became known worldwide.
During the European coastal trade in
the 1400’s, African fabrics where
preferred by traders over fine
European fabrics. Traders used
African cloth in the triangular
trade of the 17th and 19th
centuries. African traders exchanged
cloth from India for European goods;
Europeans then traded Indian cloth
to Africans for gold.
The
development of trade with the world
established a ruling class in
Africa, which in turn developed a
need for luxury items. The quality
and color of African textiles became
an expression of wealth and
knowledge in society and it became
and indication of social hierarchy.
The development of kente cloth in
the Ashanti illustrates how the use
of cloth differentiates people by
status as fine kente cloth
symbolizes leadership.
TYPES OF CLOTH
In
order of tradition and value, 1)
weaves, 2) tie dyes, 3) batiks, and
4) industrial prints represent the
four types of cloth Africans use to
create clothing. Woven cloth, the
oldest and most valuable type of
fabric, is the most time consuming
to make. Weaving represents a
tradition that passes down from
father to son and from uncle to
nephew, and from mother to daughter
and aunt to niece. The complexity of
the weave, the color, and the type
of thread used, determines the value
of the fabric. The use of locally
spun threads enhances the value of
the cloth, as Africans believe that
imported textiles have no ancestral
link and therefore less value.
Today, despite this belief, Africans
sometimes use European manufactured
thread to weave cloth.
Bogolanfini, aso oke, kuba raffia,
kente, and country cloth offer
examples of woven cloth. Bogolanfini,
also known as mud cloth, is the
traditional cloth from the
countryside north of the Malian
capital, Bamako. With rich blacks,
browns, and whites, sections of
cloths are composed of individual
motifs or a combination of motifs
such as “fish bones”, “little
stars”, or “square”.
Aso oke,
a traditional cloth of the Yoruba,
has three main designs: etu, a dark
blue indigo dyed cloth (a verse from
an Ifa divination text describes it
as the “father of all cloths”);
sanyan, a brown cloth woven from the
beige silk of the Anaphe moth; and
alaari, woven from Southern European
silk obtained from the Sahara via
Tripoli. For the Yoruba, cloth made
completely of silk is rare. Strips
of silk cloth are communally used as
decoration for indigo dyed cloth.
Kuba
raffia, the traditional cloth of the
Kuba people of the Democratic
Republic of Congo, remains an
example of a tradition of raffia
weaving that was once widespread
throughout central Africa.
Kente,
probably the best known of these,
was worn by the political
authorities and high-ranking
officials of the Ashanti people
presently found in Ghana. A colorful
fabric of golds, yellows, reds,
blacks, greens, and blues, each
intricately designed piece of fabric
is a functional object that conveys
messages about historical and
cultural landmarks, philosophical
concepts, political thoughts, or
religious and moral values of
society.
The
above are all examples of woven
cloths. An example of tie-dye is
indigo cloth. Batiks are cotton
fabrics with designs painted on them
using a wax technique. And
industrial prints, such as wax
prints, are cloths manufactured in
Europe. Batiks and wax prints are
more commonly used today in the
creation of African clothing.
Africans use them not just for
everyday wear, but also for creating
clothes for special ceremonies and
events. The quality of the fabric
and the complexity of the design
differentiate everyday wear from
formal wear.
COLOR
Colors
in the cloths of African people
posses important meaning. Meanings
vary from people to people and cloth
to cloth. For example, the Akan
people in West Africa use dark
colors such as red, black, and brown
for funerals, while the Akon use
white for joyous occasions, such as
naming ceremonies. In kente cloth
made by the Ashanti people of Ghana,
who are also Akan, gold represents
status and serenity. Yellow
represents fertility (like the
ripeness of an egg yoke or a fruit)
and vitality. Green signifies the
renewal and growth seen in plants
and represents the cycle of birth
and decay. Blue represents the
presence of God and the omnipotence
of the blue sky. Blue also refers to
a pure spirit, one which rests in
harmony. Red connotes passion, the
passion of political determination,
struggle, and defense. Ashanti also
believe that red holds protective
powers. Finally, black denotes
seriousness and a union with
ancestors. It implies spiritual
awareness.
TYPES OF CLOTHING
Of
course, at some point, fabric
becomes clothing. Clothing
traditions vary with each ethnic
group. Each society has its own name
for different types of clothing made
out of traditional cloth particular
to that people. However, one finds
similarities across cultures. And
with migration and interactions over
time, ethnic groups have adapted and
shared customs of dress.
Styles
of clothing vary from the simple,
plain shirt, and wrap; to the
intermediate in which there is the
beginning of design and slight
detail; to complex, more detailed
formal cloths. Clothes include tops,
bottoms (trousers, ¾ length pants,
and shorts), and gowns (ankle,
calve, and knee-length). Different
groups have their own name for a
particular piece of clothing. To
illustrate, the Hausa call a top
riga, a bottom wando, and a gown
buba riga, while the Yoroba call a
top buba, a bottom sokoto, and a
gown agbada.FROM
TRADITIONAL TO MODERN DRESS
Traditional use of the cloths for
clothing differs with each group.
People of the Mende in Sierra Leone,
use country cloth for various
ceremonial purposes including
marriage gifts, burials, sacrifices,
religious purposes, and gifts for
visitors. In courtship, the groom or
his relatives gives country cloth to
the family of the bride as a gift.
In burial, the gathering of country
cloth helps to denote the kind of
afterlife one will lead. Those who
bury the dead must dress the
deceased in white handspun threads
and they place country cloth next to
the body or at the bottom of the
grave. Dressing the individual in
white represents Moslem influence;
the preparation for an afterlife
parallels the Egyptian burial
practice.
Traditionally, some cloths such as
kente were used only by people of
certain status or for particular
ceremonies. Today, the Ashanti wear
kente cloth outside of the court
regalia. Men wear kente by wrapping
a piece of cloth (on average 8 feet
wide by 12 feet long) around
themselves, leaving the right
shoulder and hand uncovered. Women
wear it wrapped around their body
with or without a matching blouse.
Cheaper versions of the cloth are
made into shirts, dresses, and ties.
With
the advent of modern fashions, aso
oke, which was commonly worn by the
Yoruba, is now worn only during
major life-cycle events such as
naming ceremonies, engagements,
weddings, and funerals, as well as
for major religious ceremonies.
CROSS CULTURAL INFLUENCES
African
fashion has influenced
and has been influenced by other
cultures. Post-Renaissance Europe
greatly admired the raffia of
Central Africa and it found its way
into European treasuries along with
other creations of African art.
Raffia designs were a source of
inspiration to Matisse, who hung a
large part of his collection on the
wall of his studio.
Different styles of African fashion
have evolved from the mixture of
African and western cultures.
African designers create clothes of
western design using traditional
African cloth. Hence, ones sees
kente ties and coats made from
indigo cloth. Clothes of traditional
African cut are fashioned using a
combination of western and African
cloth Thus, one might see a sora (a
woman’s wrap skirt), made from jean
material with accents of bogolanfini
(mud cloth).
Today,
African dress influences fashion
throughout the world. From 125th
Street in Harlem, New York to a
street in downtown London, women are
wearing bubas (tops), soras (wrap
skirts) and geles (head ties).
African fashion has been adopted and
adapted by Africans of the Diaspora.
And, new events like the Highbury
Dunbar in London, and fashion shows
throughout Europe, now celebrate
African culture and traditional and
non-traditional African dress
further illustrating the dynamic
nature of African fashion.
Sources:
Adire African Textiles. African
Textiles Gallery. http://www.adire.clara.net/afgallery.htm
Ankomah, Baffour. “The Day Africa
Came to London.” New Africa, No.
368, November 1998, pp.36-38.
Ankomah, Baffor and Adit, Mike.
“Designers with a Vision.” New
Africa, No. 328, March 1995,
pp.38-41.
Bawa, M. Interview. Kobos: African
Clothiers. 2444 18th St., N.W.
Washington, D.C. 20009, May 31,
2000.
Edwards, Pamela M. “Attitude
Africa.” Essence, Volume 30/No. 12,
April 2000, pp. 116.
Fall, N Gone. “Fashion: Out of
Africa. . . The Breath of
Inspiration.” The Courier, No. 157,
May/ June 1996, pp53-55.
Gilfoy, Peggy Smolz. Patterns of
Life: West African Strip-Weaving
Traditions. National Museum of
African Art Smithsonian Institution
Press, Washington, D.C., 1987.
Horner, Simon. “Conversing About
Culture.” The Courier, No. 144,
March/April 1994, pp.44-45.
Howard, Joe. “Continuing the Past:
Kente Cloth Yesterday and Today.”
TransAfrica ForumIssue Brief,
October 1999.
Kennett, Frances. Ethnic Dress. A
Facts on Life Infobased Holding
Company, Reed International Books
Unlimited, 1995, pp.74-97.
National Museum of African Art.
History Design and Craft in West
African Strip-Woven Cloth.National
Museum of African Art Smithsonian
Institutional Press, Washington,
D.C., 1998.
Sullivan, Cleo. “Paradise Found.”
Essence, Volume 28/No.12, April
1998, pp.105-112.
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