20/10/2026
Initially I meant to repurpose the fabric, until I realised what it was. After all, it is not every day that one bumps into a beautifully handwoven piece of cloth that is most likely Ghana Kente cloth. The name, Kente Cloth, is protected as a geographical indicator.
Bold geometric designs and rich colours make it clear that the cloth is steeped in symbolism and historically significant. Traditionally it was woven in cotton and/or silk.
While Kente cloth has come from a cultural background where the cloth was woven by master weavers and mostly worn by royalty for ceremonial purposes, it is now widely worn at celebrations. So much so, that its designs are now reproduced as printed fabrics.
Just like Mali’s mud cloth, Kente cloth is woven in narrow strips on hand operated wooden looms. The strips are then carefully sewn together for larger pieces of cloth or garments. Nowadays these larger rolls are stamped to signify authenticity.
Of course, just as experienced by many other cultures, designs are often culturally expropriated. What makes it a particularly sensitive issue is that brands serious about “protecting” their own designs and label, may not necessarily be shy to participate in such behaviour. But perceptions are challenged about whether it is still cultural appropriation when the brand’s designer is from that cultural background. A classic example is Louis Vuitton that got caught up in this situation after Kente cloth was used in a winter collection. Creative director Virgil Abloh, who has a Ghanaian grandparent, said "Provenance is reality; ownership is a myth. In the same way, we cannot control our inspirations, we cannot trade-mark natural or cultural heritage as contemporary artistic territory."
Of course, wearing cultural
cloth as a sign of support, even with good intentions, can also evoke controversy as US Democratic Party leaders discovered in 2020 when they wore Kente stoles in the Capitol Visitor’s Centre to show support against systemic racism, but it was seen as political gaming.
In an era of cancel culture, cultural heritage, or the re-interpretation there-of, can be difficult to navigate.
The wider issue is that slow craft is dying and if there are no opportunities to showcase the work, the labour and culture, the artisans themselves are not recognised. How should cultural cloth be taken forward without disrespect?
