African Print Politics: Who Owns Ankara Designs?
When we think of African fashion, one of the first things that come to mind is the vibrant, colorful and bold Ankara designs. These beautiful prints have become emblematic of the continent’s style and culture and have also gained popularity in other parts of the world. However, in recent years, there has been a growing controversy on who actually owns the rights to these iconic designs. Is it the local African artisans and communities who have been creating and using them for centuries? Or is it the international fashion industry that has seized the designs and commercialized them for profit? This ongoing debate on African print politics raises important questions about ownership, cultural appropriation, and economic exploitation. In this article, we will delve deeper into the complex issue of who truly owns Ankara designs and the impact it has on the African fashion industry.
The History of Ankara Designs
Ankara is a type of fabric made from 100% cotton and it is commonly worn in West Africa. The prints on the fabric are usually traditional patterns and motifs, but over time, these have evolved to include more modern, abstract and even personalized designs. The name “Ankara” comes from the capital city of Turkey, where the fabric was initially manufactured and sold in the late 19th century. However, due to its popularity in West Africa, it is also commonly known as “African print” or “Dutch wax print.” The fabric was mainly imported and sold by Dutch companies, but it was the African women who incorporated it into their clothing and made it a widely recognized symbol of their culture.
The Rise of Ankara Designs in the Fashion Industry
In recent years, Ankara designs have gained immense popularity in the mainstream fashion industry. Famous international designers such as Stella McCartney, Christian Dior, and Marc Jacobs have incorporated Ankara prints into their collections. Celebrities like Beyoncé, Rihanna, and Kim Kardashian have also been spotted wearing Ankara designs, further increasing its influence and demand. This sudden surge in popularity has led many to question who is truly profiting from the commercialization of these designs.
The Local African Artisans and Communities
For centuries, Ankara designs have been created and used by local African artisans and communities. Women in particular have been the main producers of these designs, passing down the craft from generation to generation. The designs often carry significant cultural and symbolic meanings, representing a particular tribe, social status, or even a person’s marital and religious status. However, the economic benefits from the production and sale of these designs have not been equally distributed among the African artisans and communities. Many of them struggle to make a decent living from their craft, despite the high demand for Ankara designs worldwide.
The International Fashion Industry
On the other hand, the international fashion industry has taken advantage of the popularity of Ankara designs to increase their revenue. They have not only incorporated the designs into their collections but have also trademarked and copyrighted them as their own. This has led to legal battles between African designers and international fashion companies, with the former accusing the latter of cultural appropriation and exploiting their designs for profit. The fashion industry’s control over the production, marketing, and distribution of these designs has also limited the economic growth and empowerment of local African artisans.
The Way Forward
The issue of ownership of Ankara designs is a complex and ongoing one, but steps are being taken to address it. Many African designers and activists have been advocating for the protection of traditional African designs, and some have even launched their own brands to promote and empower local artisans. Additionally, more attention is now being given to ethical and sustainable fashion practices, which prioritize fair trade and respect for the cultural significance of designs and materials used.
The Need for Collaborations
In order to bridge the gap between the local African communities and the international fashion industry, collaborations are necessary. These could involve fair trade agreements, joint ownership of trademarks, and partnerships that promote the cultural meaning and significance of Ankara designs. By working together, both parties can benefit from the popularity and demand for these designs, while also ensuring that the economic and cultural rights of the local African artisans are protected.
In Conclusion
The debate on who truly owns Ankara designs is an important one, as it raises awareness on cultural appropriation and exploitation in the fashion industry. While the local African artisans and communities have been the original creators and users of these designs, they have not reaped the full benefits of their art. It is therefore imperative that we acknowledge and respect the cultural origins of Ankara designs, and strive towards a fair and sustainable fashion industry that empowers and celebrates all parties involved.
