Ankara prints, vibrant and bold textiles deeply rooted in African culture, are experiencing a resurgence in the fashion world, thanks to a new generation of immigrant and first-generation entrepreneurs. This movement isn’t just a trend; it’s a sustainable cultural expression fueled by passionate designers showcasing Ankara’s timeless appeal through Nanga Fashion Shows and pop-up shops. These entrepreneurs, predominantly women, are challenging traditional career expectations and building thriving businesses that celebrate their heritage.
These designers are creating affordable and stylish Ankara pieces, ranging from $50 to $200, making them accessible to a wider audience. This contrasts sharply with previous Ankara trends driven by mainstream designers that often featured significantly higher price points. Ankara, often referred to as African print, is a daily wear staple in many African countries, and these designers are bringing that everyday elegance to a global audience.
The entrepreneurial spirit driving this movement is evident in designers like Tehilah Abakasanga, a 21-year-old Nigerian-Canadian whose Ankara apparel business, Öfuurë, has rapidly gained traction, even incorporating her family into the team. Nikki Billie Jean of All Things Ankara, embodies this entrepreneurial drive, encouraged by her mother’s belief in the power of owning a business.
Ankara Bazaar, a roving marketplace founded by Ishmael Osekre, provides a vital platform for these designers to connect with a broader customer base, generate sales, and foster a sense of cultural connection for African Americans. Similar pop-up marketplaces are gaining momentum, offering designers opportunities to earn substantial income and expand their reach. These nanga fashion show events are proving to be lucrative ventures, with designers often earning between $2,000 and $5,000 per day.
The cultural significance of Ankara and Afrocentric clothing within the context of America’s complex racial history is undeniable. While debates surrounding cultural appropriation continue, many Ankara designers prioritize sharing the beauty of these prints and building their businesses. They see Ankara as a universal language of fashion, transcending racial boundaries.
The origins of Ankara fabric are often misunderstood. While widely associated with Africa, the first Ankara textile company, Vlisco, was Dutch and has a complex history intertwined with colonialism in Indonesia. This historical context adds another layer to the ongoing conversations about cultural appropriation and appreciation.
Zuvaa’s Kelechi Anyadiegwu, who receives frequent inquiries about cultural appropriation, envisions her brand as inclusive and celebrates the diverse appeal of Ankara. She acknowledges the sensitivities surrounding cultural ownership while advocating for the beauty and accessibility of Ankara for all. Designers like Mélange Mode’s Pearson view fashion as a bridge between cultures, promoting acceptance and understanding through a “culturally fluid” aesthetic.
Sourcing fabrics and producing garments often involves a network of local and international connections, relying on family and friends traveling between countries. This intricate process highlights the deeply personal and community-driven nature of these businesses. Designers like MidgetGiraffe’s Corey Harris and Linda Omeni find joy in sourcing fabrics locally, supporting small businesses and fostering personal relationships with suppliers. However, the rise of cheap Ankara prints from China poses a threat to the traditional producers in Ghana and other African countries, raising concerns about economic impact and cultural preservation.
Despite challenges from globalization and potential competition from larger retailers, entrepreneurs in the Ankara fashion space remain optimistic. They envision collaborative opportunities with established stores and believe the unique imperfections inherent in Ankara fabric will continue to favor smaller designers, ensuring the artistry and individuality of each garment. The future of the nanga fashion show appears bright, promising continued growth and innovation within this vibrant cultural landscape.
