In less than a month of operation, Ngande Textiles accumulated hundreds of thousands of views on Instagram, sharing the process behind the creation of one-of-a-kind African batik textiles. Founded in June this year by US-based Cameroonian designer, textile maker, educator, and PhD candidate Zingha Foma, Ngande Textiles is shedding new light on one of the continent’s oldest practices and demonstrating a hunger for regional craftsmanship. On her blog, Zingha writes, “At Ngande Textiles, we work with skilled artisans who use traditional techniques to hand-stamp, dye, and create unique batik designs on high-quality cotton fabrics. Each piece tells a story and showcases the beauty and diversity of African textile traditions.”
The Fabric Map of Africa, an artwork by British-Kenyan artist Mia Kora, reveals a defining textile for each of the continent’s nations. South Africa is represented by shweshwe, Nigeria by Ankara, Uganda by kitenge, Egypt by cotton, and so forth. Visually, they are all incredibly distinct, and their main commonality is pattern. Another commonality is that many of these cloths share origins outside Africa.
Bògòlanfini [mudcloth], Kente, and kuba cloth are native materials, often handwoven following centuries-old traditions. Yet, possibly the most famous and identifiable African textiles are the result of colonial imports. Various settlers, from the Dutch to the Germans, introduced Asian techniques and practices which many cultures have not only adopted but adapted on their own terms.
The most common of these techniques is batik, an Indonesian method of dyeing fabric by stamping or drawing patterns in wax, hence the name ‘wax print’. Origin doesn’t always equate to ownership, after all, and for generations, artisans across the continent have reinvented and innovated these techniques with their cultural symbols and values to produce styles all their own.
“Many people might not realise that when they wear Ankara or wax prints, they’re engaging with a form of Asian batik. Ankara prints are actually a European appropriation of Indonesian batik and industrially reproduced for the African market. This history highlights the complex global exchanges that have shaped what we now consider ‘African’ textiles,” says Zingha in one of her viral process Instagram Reel.
For Ngande Textiles, Zingha collaborates with batik artisans to produce designs and motifs of their own making. The mix of stamping and drawing means that it is rare for any two batik cloths to be exactly alike. “No matter how hard you try, this African batik can never be [re]created,” she says.
It’s a living, breathing representation of how African textile traditions are not static relics of the past, but vibrant, evolving art forms that continue to adapt and resonate in the modern world
“It’s challenging to draw a clear line between designs based on cultural or historical motifs and new creations. As makers, we come from diverse ethnic backgrounds, each with our rich cultural heritage. This background inevitably influences our work, even when we’re creating new designs,” says Zingha of Ngande Textiles’ designs.
“We might start with a traditional motif but then reinterpret it in a contemporary way. Or we might create a design inspired by modern life but execute it using traditional techniques. Some designs might be inspired by ancient symbolism, while others could be born from a spontaneous burst of creativity. This fusion of old and new, traditional and contemporary, is what makes our work unique. It’s a living, breathing representation of how African textile traditions are not static relics of the past, but vibrant, evolving art forms that continue to adapt and resonate in the modern world.”
Ngande Textiles pieces can vary by colour, stamp placement, and the maker’s designs, along with the many unpredictable elements such as the placements of rubber bands, cracks, creases, and which parts of the cloth the fabric takes more or less to. This is at odds with an increasingly mass-produced, uniformed fashion world which led Zingha to form the business.
“There was a scarcity of locally made African textiles readily available. This gap in the market became apparent to me not just as a challenge but as an opportunity. My journey took a pivotal turn when I visited Accra. There, I had the privilege of meeting local artisans whose skills and dedication to their craft deeply impressed me,” reveals Zingha.
Localising has its benefits and disadvantages for businesses. More conventionally made materials like Ankara and shweshwe which rely on machinery and industrialisation can be easier to acquire thanks to a complex global supply chain. “The availability of traditionally crafted batik abroad is quite limited,” says Zingha. “We face significant competition from mass-produced ‘African’ wax textiles [Ankara prints]. These machine-made fabrics have, in many ways, become the face of African textiles in the global market. They’re produced on an industrial scale across the world in Europe, Asia, and even within Africa itself.”
“This widespread availability of cheaper, mass-produced alternatives presents a complex situation. On one hand, it has increased access and the global visibility of African-inspired designs. On the other, it often overshadows the rich tradition of handcrafted textiles like batik. As a maker and scholar, I’m keenly aware of the need to educate consumers about the differences between these mass-produced fabrics and traditionally crafted textiles, highlighting the cultural significance, quality, and sustainability of the latter,” says Zingha.
It’s a delicate balance between preserving traditional craftsmanship and adapting to modern market realities
All of Ngande Textiles’ sourcing and production is completed within Ghana. Zingha relies on the expertise and experience of her artisans to navigate the sometimes turbulent dynamic of local production. “While I wouldn’t overstate the challenges, there’s a notable dynamic in the sourcing process. The prices of raw materials, from cotton fabrics to dyes and wax, are in constant flux. This volatility requires our artisan partners to be nimble, often adjusting the prices of the final products to maintain sustainability. It’s a delicate balance between preserving traditional craftsmanship and adapting to modern market realities.”
A great benefit of localising and relying on traditional practices is maintaining a sustainable business model. “In our batik production, we typically produce to order rather than creating large stockpiles. This approach minimises waste and ensures that each piece is made with intention and care. We repurpose dyes whenever possible, reducing chemical waste. We repurpose foam stamps and reuse them for as long as possible. We also harness natural resources, using rainwater in our production process and relying on sunlight to dry our textiles. This approach to production is very much in harmony with nature rather than working against it. It resonates deeply with indigenous philosophies of environmental stewardship, where humans are seen as part of nature rather than separate from it. Moreover, the batik process preserves traditional skills and employs local communities. By supporting artisanal production, we’re not just creating cloths; we’re sustaining cultural heritage and local economies.”
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- All images supplied by Zingha Foma and Ngande Textiles