BY LUIGINA D’INTRONO

The twisted truth about one of Africa’s identities.

For decades, colourful wax print fabrics have been proudly worn across Africa and the diaspora as the quintessential symbol of African identity and fashion. From everyday household wear to high-fashion runways, wax prints, also known as Ankara, Kitenge, or Kanga, are seen as the ultimate signifier of
“Africanness.” However, behind this vibrant aesthetic lies a startling historical truth: the vast majority of wax prints are not native to Africa, nor are they manufactured on the continent by African-owned businesses. Instead, this multi-million-euro industry represents a centuries-old European commercial
takeover that continues to shadow genuine African textile heritage.

The story of wax print spans three continents, beginning in the 19th century in Java, Indonesia-then under Dutch colonial rule. British and Dutch traders observed the traditional Indonesian batik, a wax-resist dyeing technique reserved for Javanese royalty and high society. Intrigued by its potential, European manufacturers copied the method and developed mechanised processes to mass-produce machine-made batik imitations.
When Europeans attempted to sell these factory-made fabrics back to the Indonesian market, the endeavour failed. Javanese consumers rejected the machine-made imitations as inferior in quality, and protective local tariffs further hindered sales. Seeking an alternative market to unload their surplus inventory, European merchants redirected their shipments to West Africa.

In the mid-1850s, Ghanaian soldiers serving in the Dutch East Indies returned home to the Gold Coast (present-day Ghana), bringing these industrial batiks as gifts for their families. The fabric was an instant success in West Africa. European manufacturers quickly realised the potential of this new customer base and adapted their production to suit West African preferences. They incorporated brighter colours, local symbols, proverbs, and traditional African visual motifs into their printed designs. In the late 1880s, the Dutch company Vlisco established a strong presence in West Africa, founding the Vlisco African Company (VAC) in Lomé, Togo. To dominate the market, Vlisco formed exclusive partnerships with influential Togolese women traders known as the “Nana Benz”. These women acted as the cultural bridge between European factories and African consumers. They helped rename specific wax patterns with meaningful local proverbs and social phrases, such as “L’œil de ma rivale” (“The eye of my rival”) or “Ceinture de mon mari” (“My husband’s belt”), embedding the foreign cloth into traditional life.
Today, foreign conglomerates continue to control the wax print market. Vlisco alone produces around 70 million meters of wax fabric annually, selling roughly 90% of it in West Africa, generating approximately €300 million every year. Furthermore, Vlisco owns major mid-tier brands in West Africa, including GTP and Woodin in Ghana, and Uniwax in Côte d’Ivoire. In recent decades, Asian manufacturers have also flooded the market with low-cost or counterfeit wax prints, further undercutting local markets. This historical usurpation has created a deep paradox. While wax prints have undeniably evolved to carry powerful Pan-African cultural messaging, their economic benefits flow primarily to foreign corporate pockets. Cameroonian designer Imane Ayissi explicitly refuses to use wax prints in his high-fashion collections, pointing out that calling colonial-era, foreign-made fabrics “African” actively harms
local African artisans and destroys native textile traditions.
Across the continent, authentic African textile heritage, such as Kanvo in Benin or Kente in Ghana, Bogolan in Mali, faces the threat of displacement. The Sub-Saharan African textile and apparel sector represents an estimated $31 billion market, yet indigenous weaving and dyeing traditions struggle to
compete against the mass advertising and dominance of imported wax.

In response, a growing movement of African designers and artisans is working to reclaim their textile heritage. Designers like Elvira in Benin have abandoned wax print entirely, creating modern garments from locally woven cloth. Other artisans are innovating by replacing heavy polyester threads with breathable local cotton or using eco-friendly natural indigo dyes to craft contemporary fashion. Simultaneously, governments are stepping in; Benin, Africa’s top raw cotton producer, is investing in
integrated textile processing factories to transform raw cotton locally from fibre to garment rather than exporting it raw. Meanwhile, nations like Ghana and Burkina Faso have instituted policies encouraging or mandating local textiles in schools and public offices. Fabric is more than mere clothing: it is a carrier of history and identity. While wax prints remain a
beloved chapter of cross-cultural history, unlocking the full economic and cultural potential of African fashion requires producing and wearing locally crafted textiles.