African waxprints, West AfricaWaxprints sold in a shop in West AfricaLady selling colourful waxprint fabrics in Togo"Afrika im Gewand - Textile Kreationen in bunter Vielfalt", African Textiles Exhibition Museum der Völker 2016
African wax prints, Dutch wax prints[1][2] or Ankara,[3] are a type of common material for clothing in West Africa. They were introduced to West Africans by Dutch merchants during the 19th century, who took inspiration from native Indonesian batik designs.[4] They began to adapt their designs and colours to suit the tastes of the African market. They are industrially produced colourful cotton cloths with batik-inspired printing.[5] One feature of these materials is the lack of difference in the colour intensity of the front and back sides. The wax fabric can be sorted into categories of quality due to the processes of manufacturing. The term "Ankara" originates from the Hausa name for Accra, the capital of what is now Ghana. Initially used by Nigerian Hausa tradesmen, it was meant to refer to "Accra," which served as a hub for African prints in the 19th century.[6]
Normally, the fabrics are sold in lengths of 12 yards (11m) as "full piece" or 6 yards (5.5m) as "half piece". The colours comply with local preferences of the customers. Typically, clothing for celebrations is made from this fabric.
Wax prints are a type of nonverbal communication among African women, and thereby carry their messages out into the world.[citation needed] Some wax prints are named after personalities, cities, buildings, sayings, or occasions. The producer, name of the product, and registration number of the design is printed on the selvage, thus protecting the design and attesting to the quality of the fabric. Wax fabrics constitute capital goods for African women. They are therefore often retained based on their perceived market value.
In Sub-Saharan Africa these textiles had an annual sales volume in 2016 of 2.1 billion yards, with an average production cost of $2.6 billion and retail value of $4 billion.[7]
Ghana has an annual consumption of textiles of about 130million yards (120million metres). The three largest local manufacturers, Akosombo Textiles Limited (ATL), Ghana Textiles Print (GTP), and Printex, produce 30 million yards, while 100 million yards come from inexpensive smuggled Asian imports.[8]
The Vlisco Group, owner of the Vlisco, Uniwax, Woodin, and GTP brands, produced 58.8 million yards (53.8 million meters) of fabric in 2011. Net sales were €225million, or $291.65million.[9] In 2014, Vlisco's 70 million yards of fabric (about 64 million meters) were produced in the Netherlands, yielding a turnover of €300million.[10]
African print brothersAfrican print couple love
History
The process to make wax print is originally influenced by batik, an Indonesian (Javanese) method of dyeing cloth by using wax-resist techniques. For batik, wax is melted and then patterned across the blank cloth. From there, the cloth is soaked in dye, which is prevented from covering the entire cloth by the wax. If additional colours are required, the wax-and-soak process is repeated with new patterns.
During the Dutch colonization of Indonesia, Dutch merchants and administrators became familiar with the batik technique. Thanks to this contact, the owners of textile factories in the Netherlands, such as Jean Baptiste Theodore Prévinaire[11]:16 and Pieter Fentener van Vlissingen,[12] received examples of batik textiles by the 1850s if not before, and started developing machine printing processes which could imitate batik. They hoped that these much cheaper machine-made imitations could outcompete the original batiks in the Indonesian market, effecting the look of batik without all the labor-intensive work required to make the real thing.
Prévinaire's attempt, part of a broader movement of industrial textile innovation in Haarlem, was the most successful. By 1854[11]:16–17 he had modified a Perrotine, the mechanical block-printing machine invented in 1834 by Louis-Jérôme Perrot, to instead apply a resin to both sides of the cloth.[13]:20 This mechanically applied resin took the place of the wax in the batik process.
Another method, used by several factories including Prévinaire's[11]:18,20 and van Vlissingen's,[12] used the roller printing technology invented in Scotland in the 1780s.
Unfortunately for the Dutch, these imitation wax-resist fabrics did not successfully penetrate the batik market. Among other obstacles, the imitations lacked the distinctive wax smell of the batik fabric.[11]:17–18
Starting in the 1880s,[12][11]:47,50 they did, however, experience a strong reception in West Africa when Dutch and Scottish trading vessels began introducing the fabrics in those ports. Initial demand may have been driven by the taste for batik developed by the Belanda Hitam, West Africans recruited between 1831 and 1872 from the Dutch Gold Coast to serve in the Dutch colonializing army in Indonesia. Many members of the Belanda Hitam retired to Elmina, in modern Ghana, where they may have provided an early market for Dutch imitation batik.[11]:41–46
The success of the trade in West Africa prompted other manufacturers, including Scottish, English, and Swiss manufacturers, to enter the market.
The Dutch wax prints quickly integrated themselves into African apparel, sometimes under names such as "Veritable Dutch Hollandais", and "Wax Hollandais". Women used the fabrics as a method of communication and expression, with certain patterns being used as a shared language, with widely understood meanings. Many patterns began receiving catchy names. Over time, the prints became more African-inspired, and African-owned by the mid-20th century. They also began to be used as formal wear by leaders, diplomats, and the wealthy population.
Wax-print cloth production
Prévinaire's method for the production of imitation batik cloth proceeds as follows. A block-printing machine applies resin to both sides of the fabric. It is then submerged into the dye, in order to allow the dye to repel the resin covered parts of the fabric. This process is repeated, to build up a coloured design on the fabric. Multiple wooden stamp blocks would be needed for each colour within the design. The cloth is then boiled to remove the resin which is usually reused.[14]
Sometimes the resin on the cloth can be crinkled in order to form cracks or lines that are known as "crackles". The English- and Dutch-produced fabrics tended to have more cracking in the resin than those produced in Switzerland.[14] Due to the lengthy stages of its production, wax prints are more expensive to make than other commercial printed fabrics but their finished designs are clear on both sides and have distinct colour combinations.[13]:15
Wax-print manufacturers
After a merger in 1875, the company founded by Prévinaire became Haarlemsche Katoenmaatschappij (Haarlem Cotton Company). The Haarlemsche Katoenmaatschappij went bankrupt during the First World War, and its copper roller printing cylinders were bought by van Vlissingen's company.[11]:20–21,59
In 1927, van Vlissingen's company rebranded as Vlisco.
Before the 1960s most of the African wax fabric sold in West and Central Africa was manufactured in Europe. Today, Africa is home to the production of high quality wax prints.[15] Manufacturers across Africa include ABC Wax, Woodin, Uniwax, Akosombo Textiles Limited (ATL), and GTP (Ghana Textiles Printing Company), the latter three being part a part of the Vlisco Group.[16] These companies have helped reduce the prices of African wax prints in the continent when compared to European imports.
African fancy print
The costly produced wax fabrics are increasingly imitated by alternative ways of manufacturing. The so-called "fancy fabrics" are produced in a printing procedure. Costly designs are printed digitally.
Fancy fabrics in general are cheap, industrially produced imitations of the wax prints and are based on industry print. Fancy fabrics are also called imiwax, Java print, roller print, le fancy or le légos. These fabrics are produced for mass consumption and stand for ephemerality and caducity. Fancy Fabrics are more intense and rich in colours than wax prints and are printed on only one side.
As for wax prints, producer, product name and registration number of the design are printed on the selvage. Even the fancy fabrics vary with a certain fashion. The fabrics are limited to amount and design and are sometimes exclusively sold in own shops.
At first the fancy prints were made with engraved metal rollers but more recently they are produced using rotary screen-printing process.[15]
The production of these imitation wax-print fabrics, allow those who cannot afford the European imported wax prints to be able to purchase them. The fancy print designs often mimic or copy the designs of existing wax print designs but as they are cheaper to make, manufacturers tend to take risks and experiment with new designs.[15]
Batik is a dyeing technique using wax resist. The term is also used to describe patterned textiles created with that technique. Batik is made by drawing or stamping wax on a cloth to prevent colour absorption during the dyeing process. This creates a patterned negative when the wax is removed from the dyed cloth. Artisans may create intricate coloured patterns with multiple cycles of wax application and dyeing. Patterns and motifs vary widely even within countries. Some pattern hold symbolic significance and are used only in certain occasions, while others were created to satisfy market demand and fashion trends.
Tie-dye is a term used to describe a number of resist dyeing techniques and the resulting dyed products of these processes. The process of tie-dye typically consists of folding, twisting, pleating, or crumpling fabric or a garment, before binding with string or rubber bands, followed by the application of dye or dyes. The manipulations of the fabric before the application of dye are called resists, as they partially or completely prevent ('resist') the applied dye from coloring the fabric. More sophisticated tie-dye may involve additional steps, including an initial application of dye before the resist, multiple sequential dyeing and resist steps, and the use of other types of resists and discharge.
Chintz is a woodblock printed, painted, stained or glazed calico textile that originated in Golconda in the 16th century. The cloth is printed with designs featuring flowers and other patterns in different colours, typically on a light, plain background.
The dashiki is a colorful garment that covers the top half of the body, worn mostly in West Africa. It has formal and informal versions and varies from simple draped clothing to fully tailored suits. A common form is a loose-fitting pullover garment, with an ornate V-shaped collar, and tailored and embroidered neck and sleeve lines. It is frequently worn with a brimless kufi cap and pants. It has been popularized and claimed by communities in the African diaspora, especially African Americans.
Textile printing is the process of applying color to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fibre, so as to resist washing and friction. Textile printing is related to dyeing but in dyeing properly the whole fabric is uniformly covered with one colour, whereas in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns.
The wrapper, lappa, or pagne is a colorful garment widely worn in West Africa by both men and women. It has formal and informal versions and varies from simple draped clothing to fully tailored ensembles. The formality of the wrapper depends on the fabric used to create or design it.
Textile design, also known as textile geometry, is the creative and technical process by which thread or yarn fibers are interlaced to form a piece of cloth or fabric, which is subsequently printed upon or otherwise adorned. Textile design is further broken down into three major disciplines: printed textile design, woven textile design, and mixed media textile design. Each uses different methods to produce a fabric for variable uses and markets. Textile design as an industry is involved in other disciplines such as fashion, interior design, and fine arts.
A kitenge or chitenge is an East African, West African and Central African piece of fabric similar to a sarong, often worn by women and wrapped around the chest or waist, over the head as a headscarf, or as a baby sling. Kitenges are made of colorful fabric that contains a variety of patterns and designs. In coastal areas of Kenya and in Tanzania, kitenges often have Swahili sayings written on them. There seems to be a confusion with the Kangas, which indeed carry texts in contrast with kitenges, which apparently typically do not carry texts.
Resist dyeing (resist-dyeing) is a traditional method of dyeing textiles with patterns. Methods are used to "resist" or prevent the dye from reaching all the cloth, thereby creating a pattern and ground. The most common forms use wax, some type of paste made from starch or mud, or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using a dye containing a chemical agent that will repel another type of dye printed over the top. The best-known varieties today include tie-dye, batik, and ikat.
Androsia is a type of textile produced by the Androsia Batik Factory on Andros Island, Bahamas. It is handmade and has been manufactured on Andros since 1973 by Bahamians. This type of fabric is considered one of Andros' national treasures and won the Silver Jubilee award in 1998.
Roller printing, also called cylinder printing or machine printing, on fabrics is a textile printing process patented by Thomas Bell of Scotland in 1783 in an attempt to reduce the cost of the earlier copperplate printing. This method was used in Lancashire fabric mills to produce cotton dress fabrics from the 1790s, most often reproducing small monochrome patterns characterized by striped motifs and tiny dotted patterns called "machine grounds".
Obin, real name Josephine Komara, is a textile designer from Indonesia. She is sometimes called a "national treasure" due to her passion for and promotion of traditional Indonesian batik techniques. Her work has achieved worldwide recognition, with fellow Indonesian designers such as Edward Hutabarat and Ghea Panggabean describing her as the real authority and leader of the mid-2000s movement to update and modernise batik. Despite this, Obin describes herself as simply a tukang kain, or vendor of cloth, stating that the genuine artists and designers are the craftsmen who make the textiles retailed through Bin House, her business.
The national costume of Indonesia is the national attire that represents the Republic of Indonesia. It is derived from Indonesian culture and Indonesian traditional textile traditions. Today the most widely recognized Indonesian national attires include batik and kebaya, although originally those attires mainly belong within the island of Java and Bali, most prominently within Javanese, Sundanese and Balinese culture. Since Java has been the political and population center of Indonesia, folk attire from the island has become elevated into national status.
Shweshwe is a printed dyed cotton fabric widely used for traditional Southern African clothing. Originally dyed indigo, the fabric is manufactured in a variety of colours and printing designs characterised by intricate geometric patterns. Due to its popularity, shweshwe has been described as the denim, or tartan, of South Africa.
The Vlisco Group designs, produces and distributes fashion fabrics, especially of the African wax print style, for the West and Central African market and African consumers in global metropolitan cities. Founded in Helmond, the Netherlands, in 1846, the Vlisco Group and their fabrics have grown into an essential part of African culture, receiving widespread attention from the art, design and fashion worlds. Vlisco Group's brand portfolio consists of four brands: Vlisco, Woodin, Uniwax and GTP. The company's head office, as well as the design and production facilities for the Vlisco brand, are located in Helmond. For the other brands these facilities are based in Ghana and Ivory Coast. The Vlisco Group has eight sales offices in numerous African countries and around 2,700 employees.
Akosombo Textile Limited (ATL) is a textile company in Ghana that produces real wax and African Fancy prints with 100% cotton. It is located on the grounds next to the Akosombo Dam in the Eastern Region. It has weaving, spinning and finishing facilities. It has four fabric labels: ATL, ABC, Treasure and Inspiration. The company's current manager is Ing. Kenneth Asare
Ahwenepa nkasa is the Ghanaian given name for a fabric print found in Ghana, Togo, Benin and the Ivory Coast. This fabric is produced by Ghana Textiles Company (GTP) under VLISCO and Akosombo Industrial Company Limited, formerly called Akosombo Textile Limited (ATL). This fabric design is considered a classic design in West Africa just as other designs like L’Oeil de Boeuf and Sika wo ntaban.
Sika Wɔ Ntaban is the Ghanaian given name for a fabric print found in Ghana, Togo and Nigeria. This fabric is produced by Ghana Textiles Company(GTP) under VLISCO and Akosombo Industrial Company Limited formerly called Akosombo Textiles Limited(ATL).
L’Oeil de Boeuf is the given name for a fabric design found in West African fabric markets produced by VLISCO. This fabric design is considered a classic design in West Africa just as other designs like Ahwenepa Nkasa and Sika wo ntaban.
Batik plays multiple roles in the culture of Indonesia. The wax resist-dyeing technique has been used for centuries in Java, and has been adopted in varying forms in other parts of the country. Java is home to several batik museums.
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