We believe it is important to know our products, where they are coming from, and their history. We also think it is important to share these facts that matter with you. The story behind wax fabric is a complex historical and modern one and can explain us more about the ever changing tides of trade, culture and politics.

West Africa, as many other parts of the world, has a deep and beautiful tradition of textile production. Every ethnic group developed own traditions and techniques throughout history. From Bogolan fabrics (also known as mud fabrics) made by a.o. the Bambaran in Mali, Kente fabric made by the Akan in Ghana to the Adire fabric made by the Yoruba in Nigeria.

Wax fabric; the colourful 100% cotton that we use for our collections, is not part of this handmade textile tradition. Wax fabric, a.k.a. Ankara, is the name for machine printed fabric by using melted wax. The fabric is also referred to as Holland wax, Dutch wax, or, in French speaking parts, as wax Hollandaise or Veritable Hollandaise. Why? During the period of time in history where many European countries colonised parts of the world (and became rich; every part of the world that played a part in this history, wanted or unwanted, colonised or coloniser, still benefits or suffers from this period of time….) it was the English that copied ‘batiks*’, printed fabrics from the island Java that was part of the former Dutch India. The Dutch ‘Fentener van Vlissingen’ family wanted to compete with the English competitiors and started Vlisco. However, it was difficult for Vlisco to compete with the people of Java as they modernised their productionprocess. So therefor, after 1880, Vlisco moved their attention from the Dutch Indian market to the West African market. There they found a good businessclimate for their products, also thanks to the Dutch being present in the fort Elmina in current Ghana.

* This technique of using a dye resistant product to create patterns and prints is known in many other countries in the world and has many different names and techniques. As with many things it is difficult (if not, impossible) to state a true place and time of origine.

It is impossible to separate wax fabric and batik from the colonial history. And it is impossible to separate colonial history from slavery. Every part of the world that played a part in this history, wanted or unwanted, colonised or coloniser, still benefits or suffers from this period of time. All had, and still have, their effect on the balance of power in the world and in this case particular, the textile industry. In the 17th century, fabric is the most used product to trade for slaves. An indigo fabric, coming from the Far East, was the regular price for a human being. Even though Vlisco became popular in Africa after 1873, when slavery was abolished in Surinam and the Dutch Caribean islands, the ‘Fentener van Vlissingen’ family owned a plantation where farmers of Java obligatory had to produce products for the European market on one fifth part of their land.

Currently Ankara is produced all over the world. Nigeria used to have a booming textile industry including companies designing and producing wax fabric. However, since the federal government of Nigeria lifted the ban on importation of African prints in 1997, foreign fabrics started to flood the markets. By 2015, more than 80, out over over 100 textile complanies, no longer exist. The dominant products available are the China-made African prints. The game has changed and many Chinese manufacturers now put Nigerian logos and designs on poor quality fabrics.

The clothes, that people in Europe and America donate to charity, thinking they make a positive contribution, is commercially sold and resold before it ends up on these African markets, the ‘bent down boutiques’. It destroys the local industry and effectively shuts down textile production. By sourcing our products from West African based manufacturers, we hope to contribute to a local industry and help to create jobs and opportunities.

All the symbols and patterns used in Indonesian batik have meaning and some fabrics can only be worn during special occassions. As in many countries all over the world, also many ethnic groups in West Africa use different, traditional, techniques to create handmade prints, patterns and symbols on fabric. All of them have meaning and tell something about the age, marital status or socio-economic status of the wearer. Or represent an ancient historical story. This was not the case with the non-traditional, mechanically produced wax fabric from Holland. Prints were designed to be commercial, not to have meaning or to convey a message, the only purpose was to sell it. However, following tradition, and using it as a marketingtool, special names and meaning were given to the designs and fabrics by the bossladies selling the Ankara fabrics.

We are aware of the history of wax fabric and our position in it. The succes of wax fabric was only possible due to colonisation and the accompanying systems of repression in every form, and its are still present. We can not change systemic problems and we know Fact and Matter is a tiny, tiny drop in the ocean. We are not a charity, we are a business done ‘right’. We source all our materials from local suppliers, work with local talented crafts(wo)man, businessowners and designers. In everything we do, we try to create a different story.