Abstract
African fabrics based specifically on the Dutch Wax Print, or Ankara, popularized during Africa’s colonial era, have recently made an enormous impact on Western Fashion (especially the US and UK), The trend is impactful in the art world as well, which circuitously, affects fashion design. In fashion, notably celebrity wardrobes, this is partly due to identity/pride in African roots; in the visual arts, artists Yinka Shonibare and Njideka Akunyili Crosby make statements about identity politics, racism, and colonialism. The internet fuels this proliferation, as have improvements in printing technology, combining resist with roller printing. Patterns now authentically designed in African are uploaded for printing in Europe. Ankara’s rage finds several paths. First is its ubiquity in fashion, from authentic textile shops in African American neighborhoods, to low-end reproductions in discount chains. Secondly, increased usage of these patterns appears in important artworks from Philadelphia venues to the Mass MOCA, all the way to the Israel Museum. Lastly, significantly, Ankara trends throughout social media thanks to Instagram, Pinterest and paparazzi. It adapts to the times, staying relevant with motifs which are based on everyday contemporary objects and scenes. In my studio and university design classes, this idea is first and foremost, from spiritual eye motifs to drawings of our art supplies to “politically-loaded” chain patterns. This first-hand creativity experience becomes part of the research of this paper, along with historic and contemporary sources of inquiry, both through a literature/image search and anecdotal experience, into what is behind this exciting and surprising trend.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Pedagogy, Design History, Technology
