Decoding Ghana’s Symbolic Wardrobe

In Ghana, print fabrics are not just fashion statements, they are non-verbal archives that holds symbolic significance often depicting identity, status, and tradition. They also reflect the socio-cultural and artistic values of the people of Ghana. Most of these fabrics transcend beyond this contemporary dispensation, to better understand the cultural significance of textiles in Ghana, I visited Makola Market, Ghana’s biggest textile hub to unravel the hidden meanings embedded in the Ghanaian print cloths.

Patience Offeibea Newman, a cloth vendor at the Makola market

The Canvas of Ghanaian Textiles

A stunning scene greeted me as I strolled along the well-demarcated alleys of the market, an array of fabrics whispering esthetics beyond a twinkle grasp.  As I continued to walk through the market, I could not help but notice the concerned eyes of onlookers fixated on a woman ahead, draped in a beautiful print fabric. A close interaction with Patience Offeibea Newman, an elderly woman who sells fabric at the Makola market later revealed that the fabric she wore was “Afebiy3sae” which translate “This Year is one of doom”

“We do not just wear Afebiy3sae because of its design, you only wear this fabric if you have had multiple disaster hit your home. A striking example is when you lose several family members within a short time. Hence, you cannot gift this fabric to a loved one, if you do, you are indirectly telling the person you wish them doom which is evil” She explained

But why do most Ghanaian print fabrics have large bold patterns with features like tortoise, lipsticks, beads, elephants, trees, fingers, etcetera? I was curious to understand this mystery. An iconic element which makes Ghanaian Textile stand out is the humorous adage yet deep meaning associated with each fabric. Patience went ahead to show me a list of common fabrics which intricate meaning extended beyond its esthetical appeal.  It appears each fabric acts as a silent communicator, whispering warnings, advice, mood, seasons, and intricate stories without uttering a single word. Most of these fabrics have local names like Ama Serwa, Bonsu, Efie mmosea, and Yaw Donkor. Although it is difficult to identify an individual or group who began naming the fabrics, most of these textiles are named after iconic figures, historical events, and proverbs.

A picture of S3 wo b3 ka me hu as3m a fa akonya tinase fabric

How To Choose a Cloth in Ghana?

Choosing a fabric to buy over the counter or the market should be easy but with the culture significance of fabrics in Ghana, it is important to know the occasion, the name of the fabric, message and consult elders or cloth vendors to select the perfect fit.

“Most young people just purchase fabrics, sew and wear them without understanding the meanings behind them. If you are getting married you can not present certain fabrics to your prospective in-laws. A cloth like “S3 wo b3 ka me hu as3m a fa akonya tinase” which means “if you would like to gossip about me, pick a stool because it appears you have nothing else to do with your time” is a terrible choice for marriage. This will mean you are insulting your in law” Millicent Kwei another cloth vendor stated.

For love oriented occasions like marriage ceremonies, she suggests presenting fabrics like Med) wo sɛɛɛ Ahwedeɛ,  )do Lastic, and Ahwenepa Nkasa  which are symbolic to love, harmony and beauty.

Med) wo sɛɛɛ Ahwedeɛ fabric

Preserving the Wardrobe Non-Verbal Archives

There are hundreds of Ghanaian print fabrics each bearing a unique name. Yet in the Makola market, these cloth vendors, majority without formal education, or written documentation possess an impeccable encyclopedic knowledge and memory of fabric names and meanings. They serve as mental catalogues, preserving and passing down these vast textile vocabularies without losing or diluting its symbolic meaning for generations.

“For us this is not a business, it is an inheritance. My mother was a fabric vendor so I was little when she began to bring me to the shop to assist her sell fabric and with time I knew the names of each fabric, and its meaning. So, I’m also training my children to take after me”

This repetitive and observational cultural apprenticeship model serves as medium to preserve the tradition within this trade.  These vendors often overlooked in mainstream discourse function as cultural archivists actively preserving their trade through oral tradition and live experience.

The growing influx of foreign textile prints

Although Textiles are not exclusive to Ghanaians, Ghana is one of the leading producers of African Print Textiles worldwide. However, with the growing influx of foreign textile prints which is often cheaper the trade hangs in a balance.

“Imported fabrics that replicate traditional designs flood the market sometimes bearing sacred symbols without context or meaning. This not only confuses the consumer but also dilute the storytelling potency of embedded in authentic local prints. Millicent says

For traders in Makola market the competition is quite steep since the prices of imported fabrics are relatively cheaper, hence the result is a slow erosion of both cultural value and economic sustainability in one of Ghana’s most symbolic trades. So, is the original language of the cloth fading? Or is it evolving?

Some argue that the soul of the fabric is gradually fading due to to fast paced modernization. Others believe that as long as there are markets, festivals, and occasions, the tradition lives on. The meanings may shift, but the impulse to use cloth as language will remain.

So, the next time you walk through a market or attend a funeral, pause and ask what the cloth is saying. It may be whispering encouragement, bearing a blessing, or subtly revealing a long-held emotion.

In Ghana, even in silence, the fabric speaks.