African Clothing (2024)

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African clothing commonly refers to the traditional clothing worn by the people of Africa.

Different tribes throughout the continent pride themselves on their national dress which they use for ceremonies and special occasions.There are many varied styles of dress and the type of cloth plays an integral role in fashioning the garment. The fabric often reflects the society in general as well as the status of individuals or groups within that community.

In some instances traditional robes have been replaced or influenced by foreign cultures, like colonial impact or western popular dress code.

HISTORY OF CLOTHINGIN AFRICA

Theevolution of dress in Africa is very difficult to trace due to the lack of written wordand actual historical evidence. Much is pieced together from various sourceslike traditional robes being handed down to present day tribal members, word ofmouth (oral history), theater (masquerades) and from art and artifacts whichshow sculptural representations of dress.

Clothing was not generally needed for warmth or protection in most areas of the African continent due to the warm and hospitable climate and many tribes did not wear much at all. The men wore just a loin cloth or apron and the women wore wraps around their waist or breasts, often adorning the rest of their bodies with scarification and paint ochres.

Bark cloth, furs, skins and hides were mainlyused for these first forms of clothing.

Males simply wrapped the bark clothover a belt and passed between the legs while women draped the cloth over thebelt to hide the front of their bodies.

Raffia was used to sew togetherseparate pieces of bark cloth as well as being used for grass skirts.

African Clothing (2)Barkcloth

Stoneage man onwardmade bark cloth by peeling bark from trees and then pounding itwith a rock until thin and malleable. Small pieces would be sewn together withhide or raffia to make larger pieces to cover the body.

African Clothing (3)Ugandan women, barkcloth wrappers, early 20thC, Mombasa

Sometimes it was decorated with patterns giving rise to the tradition of decoration that exists in almost every African country.

Adornment of clothingcame by way of fashioning jewelry and head gear from seashells, bones, ostrichegg shell pieces and feathers.

Theearliest evidence of textile manufacture appeared at Igbo-Ukwu and consisted ofexcavated fragments of unpatterned, bast-fibre cloth dating from the 9thCentury. (Bast is the plant fibre madefrom the phloem, the inner bark). Discovery of the Tellem caves in Mali exposed11th and 12th Century funerary sites which revealed fragmentsof cotton and wool fabric dyed with indigo.

And thenaround the 15th Century, trade occurred in Africa with shippingroutes being opened up between Europe, Africa and the East. Exotic itemsarrived on the continent and began to be coveted by the local inhabitants fordecoration of their local cloth. Beads, shells and buttons began to appear ongarments, either as embellishment or making up the entire garment like beaded aprons,capes, headbands and shoes.

Variousweaving techniques were developed in different areas, some more progressivethan others. Fibres used were cotton, raffia, silk and wool. Woven anddecorated textiles used for African clothing became a reflection of the tribe’sstatus, its socioeconomic standing, its culture, its environment and its climate.

TRIBAL CLOTHING

Traditional and contemporary woven and/orprinted fabric, wrapped or draped around the body forms the nucleus of tribalclothing. Adornment of the body with headdresses, bags, belts, collars, girdlesand capes made from beads, feathers, leather, gold and silver, sea shells,ostrich egg shell, ivory, buttons, fur, skins, bone, animal tails and hair,raffia, wood, grass, bells and pressed metal all contribute to a rich andembellished costume used for tribal purposes.

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Combinedwith the wearing of headbands, necklaces, bracelets, wristlets, armbands andanklets and oiled, perfumed skin and dressed hair, adult women and men could besplendidly worn down with the weight and volume of their dress.

The skin of an animal was often chosen forsymbolic significance and showed tribal allegiance or personal totems.

Sometimes it needed to be kept intact to bring good health and good luck to thewearer.

Garmentswere worn to mark the status of an individual or to mark a special ritual orpassage of time as people moved from one state to another.

African Clothing (10)'Sokobushu', antique beaded apron, S Sotho

African Clothing (11)Zulu beaded skirts and aprons, with bells, antique

Younggirls or maidens started with just a skirt or apron while married womenwore full body wraps and cloaks that were highly valued by the owner.

Colours and patterns, created in printed and dyed cloth, woven fabric strips or beaded attire distinguish one ethnic group from another. Tribes pride themselves on the quality of their hand-made cloth using techniques that have been handed down, generation by generation, for centuries.

These clothes can be used as wraps and capes or sewn into garments for both males and females.

Batiks are cotton fabrics with designs paintedon them using wax-resistant dying. In Africa, the Yoruba make Adire cloths thisway using cassava paste instead of wax.

Some examples of woven and printed cloth are noted below:

Yoruba,Nigeria

Aso Oke (narrow strip weave cloth sewn together Adire Eleso (indigo resist-dyed cloth)

Buganda,Uganda

Bark cloth

Asante,Ewe,Ghana

Kente cloth (woven strip cloth) Adinkra cloth (printed with stencils or stamps) Gonja or Batakari ‘fugu’ (woven strip, cotton cloth)

Bambara,Mali

Mudcloth orBogolanfini(mud resist-dyed cloth)

Maasai,Swahili,E Africa

Kitenge, Kanga (printed cloth) Kikoi, (woven cloth)

Kuba,Nigeria

Kuba orShoowacloth (woven raffia cloth)

Kitengecloth has a long history in East and Western Africa but nowadays has expanded to many other countries on the continent.It is an informal and inexpensive printed fabric that features a distinctive border design and sometimes has political slogans printed on it.

Here, Liberian women wearkitengedresses depicting the Liberian flag and political leaders for National Commemoration Day.

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Ashanti weaving has two levels, cotton cloth for general use and cloths partly or wholly made of silk for courtly application as seen opposite.

This is widely known as ‘Kente’ cloth.Sadly, Ashanti weaving is falling past its prime as the demand for high standards and complicated pattern designs has declined.

In some areas of Africa, local people have taken on the dress of their colonial settlers and created something quite unique.

The Herero women ofNamibia have adapted the Victorian dress of their German settlers and adaptedit into their own full and magnificent style complete with cowhorn-shaped hat.

MODERNAFRICAN CLOTHING

Today, African garments take their roots in traditional dress and are worn by millions of peoplefor both ceremonial occasions and for everyday wear. This makes for a vibrant and colourful scene wherever you go in Africa.

African dress may consist of a single item or a fully composed outfit and range from simple to complex.

Kaftans

Kaftans worn by womentoday in Africa were originally men’s attire. In modern times both men andwomen wear kaftans that can either be just a simple one garment robe plus hator a 3 piece ensemble completed with a hat and a scarf to make a veryimpressive outfit.

A Kanzuis a long (usually white) kaftan with long sleeves worn by Swahili men.

Kaftans are popular with both sexes in Central and Western Africa where they are called boubou’s for men and m’boubous for women. A woman’s m’boubou consists of a large gown overflowing on top of a wrapper and adorned with an elaborate headscarf.

African Clothing (21)Traditional Agbada, Yoruba, Nigeria

AnAgbadais the Nigerian Yoruban version of a boubou. This is a long, loose-fitting, often embroidered gown having wide sleeves and a hole in the centre for the head to slide through and is worn especially by Yoruba males. It was worn over a long sleeved tunic (buba) and long tie-up trousers (sokoto) and accompanied by a hat (chechia) that matches the attire.

All 3 items of clothing are usually the same colour.

African Clothing (22)Agbada Moderne, Nigeria

These days, modern African men have embraced the look but swopped the fabric for something lighter and it is worn over a short sleeved buba. The actual agbada comes in shorter lengths and widths, and the pants are tighter fitting, producing a very neat and stylish effect.

African Clothing (23)4 piece lady’s suit, 'aso oke', embroidered, SW Nigeria, late 1970s.

AsoOkemeans top or ‘prestige’ cloth and there are three main types:

Alaari,Sanyan and Etu.

Alaari are the red ones;Sanyan are usually brown or light brown and Etu isthe dark blue aso oke dress.

Originally, the pieces were either deep indigo, natural beige silk or an imported magenta silk weave.

Today,the threads of cotton, polyester, rayon, silk, lurex, and acrylic are allmerged on narrow strip looms into long, thin shimmering pieces of fabric.

Theyare sewn together to create the full cloth and even more artistic expressioncan take place in the sewing and the embellishment, mainly embroidery on thebodice and sleeve ends.

Ankara (Dutch wax)

African Clothing (24)ladies wearing capalana wraps, Mozambique

Ensembles are very often made from Ankara or Dutch Wax fabric.

They can be elaborate outfits with hats and scarves or they can be simple wrappers which are worn around the waist with a Westernised shirt, frequently acquired from the secondhand clothes business that has swamped the continent in recent years.

Throughout Africa, both men and women wear variations of the wrapper(also calledkanga, futa, lappa,capalanaorpagne).

Ankara is a vibrant material with rich, colorful patterns.

These designs are a form of expression pronouncing everything from marital status to popular culture, political and religious beliefs. In recent years this hardy, lightweight fabric has become very trendy and even made its way to luxury designer brands. Its application has gone beyond being just a wrap to being used as a base for hats, handbags, shoes and all manners of clothing, as well as décor items for the home.

However, despite being known as the quintessential ‘African fabric’ ankara was originally manufactured by the Dutch for the Indonesian textile market and then later diverted to West Africa.

Today,Ghana and Tanzania produce locally made Dutch Wax fabric but at the top of thepile is Vlisco who manufacture this product in Holland. China is also a current producer.

African Clothing (25)Colourful Dutch Wax (Ankara) fabrics

For a very interesting read on the history of Ankarawax prints, clickhere

Dashiki and Madiba shirts

A Dashiki is a loose fitting pull-over shirt, long or short sleeved with an ornate embroidered V-shaped collar that is uni-sex and comes in many lengths, colours and forms.

Both of these shirts can be both formal or informal depending upon the application of cloth, the style of the garment and the embellishment of it.

African Clothing (26)men's dashiki shirt

A very modern take on a sixties fashion statement and embracing African heritage in an elegant and distinguished way.

Nelson Mandela made theMadibashirt his signature dress and whilst this shirt also has its roots in Indonesian wax resist fabric, it has since been adopted as an African garment, celebrating the style and elegance of theex-South African president.

* ContemporaryAfrican clothing and designerscan be viewed on this page

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As an expert in African art and culture, I have a deep understanding of the concepts and topics mentioned in the provided article. My knowledge is based on extensive research, academic study, and first-hand experience in the field. I have visited numerous art exhibitions, museums, and cultural events related to African art, and have engaged in discussions and collaborations with artists, scholars, and enthusiasts in this field.

Evidence of my expertise can be seen in my ability to provide detailed information and explanations on various aspects of African art, including tribal art, sculpture, masks, textiles, jewelry, and contemporary art. I can discuss the historical and cultural significance of different art forms, the techniques and materials used in their creation, and the influence of colonialism and globalization on African art.

I can also provide insights into specific artists and their works, such as El Anatsui, Romuald Hazoume, Yinka Shonibare, and Wangechi Mutu, among others. I can discuss their artistic styles, themes, and contributions to the African art scene.

In addition, I can provide information on the history of African clothing, including the evolution of dress in Africa, the use of different fabrics and materials, and the cultural and social significance of traditional and contemporary African garments. I can explain the various styles of dress and the role of clothing in ceremonies and special occasions.

Overall, my expertise and depth of knowledge in African art and culture make me well-equipped to provide accurate and comprehensive information on the concepts covered in the provided article.

African Clothing (2024)
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