Cotton on the catwalk: How fabric is shaping African fashion

At African Fashion Week Sandton, Botswana designer Keabetswe Mogatusi showcased her Technicolour Dreamcoat, a Technicolor creation that incorporates Malian fabrics, hemp-cotton blends, and hand-painted textiles. These materials were all sourced from within Africa, reflecting a growing movement among African designers to place local materials and craftsmanship at the forefront of global fashion.

This movement is drawing attention to Africa's rich textile heritage, with traditional fabrics like Nigeria's aso-oke and Burkina Faso's faso dan fani being reimagined for modern consumers and runways worldwide.

In Burkina Faso, for example, the handwoven cotton cloth known as faso dan fani has become both a fashion statement and an act of economic defiance. Once at risk of being overshadowed by cheaper imports, this fabric carries deep symbolism rooted in national self-sufficiency. Designers like François Yaméogo have since incorporated it into contemporary silhouettes, tailoring it into jackets, blouses, and skirts.

However, behind the celebration of African fashion lies an unsettling contradiction. Despite being one of the world's major cotton producers, Africa derives only a fraction of the value of its cotton exports. The continent exports roughly 90% of its cotton as raw material to be spun and woven abroad, often returning to the same countries at a premium.

The raw cotton generates income for smallholder farmers, but the valuable economic benefits accrue later in the production process, where jobs are created and profit margins expand.

This pattern is not unique to Africa's cotton industry. Many global commodity industries see countries supplying raw materials while receiving only a small fraction of the finished product's value. As a result, African designers and manufacturers often remain dependent on fabrics produced abroad.

Nigeria's fashion scene is witnessing a shift as labels like Onalaja and Emmy Kasbit build direct relationships with weavers producing aso-oke and adire. These designers are transforming these traditional textiles from ceremonial cloth into daily wear, challenging the perception of their value. The increasing demand from international buyers for fabrics and clothing with an authentic story has caught the attention of high fashion, as seen with Lisa Folawiyo's successful Ankara pieces on international runways.

In response to this growing momentum, Afreximbank has invested in the Africa Textile Renaissance Plan, aiming to build 500,000 tonnes of cotton transformation capacity and create half a million jobs. Benin's special industrial zones supported by Afreximbank have already increased textile export revenues more than twentyfold since 2019, positioning the country as a supplier for global brands.

Looking ahead, Afreximbank envisions Africa exiting the raw cotton export business entirely within 15-20 years, focusing instead on textile and clothing exports. The Technicolour Dreamcoat by Keabetswe Mogatusi is a testament to what can be achieved when the full process of garment production remains within Africa, from field to finished product.