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Kuba textiles are a type of raffia cloth unique to the Democratic Republic of the Congo, formerly Zaire, and noted for their elaboration and complexity of design and surface decoration. Most textiles are a variation on rectangular or square pieces of woven palm leaf fiber enhanced by geometric designs executed in linear embroidery and other ...
African formal clothing has normalized western clothing conventions and styles. European influence is commonly found in African fashion as well. For example, Ugandan men have started to wear "full length trousers and long-sleeved shirts". On the other hand, women have started to adapt influences from "19th-century Victorian dress". These styles ...
A greater variety in the patterns and functions exist in Ewe Kente, and the symbolism of the patterns often has more to do with daily life than with social standing or wealth. Dagbon: The people are specialised in weaving the Chinchini. This African textile is used to weave the Ghanaian Smock. Queens, princesses and women of Dagbon wear the ...
Sotho woman wearing a brown shweshwe dress. Shweshwe (/ ˈ ʃ w ɛ ʃ w ɛ /) [1] is a printed dyed cotton fabric widely used for traditional Southern African clothing. [2] [3] Originally dyed indigo, the fabric is manufactured in a variety of colours and printing designs characterised by intricate geometric patterns.
Many African cultures have a characteristic traditional style of dress that is important to their heritage. [1] Traditional garments worn in Nigeria include: Yoruba men wear agbada , which is a formal attire, commonly worn as part of a three-piece set: an open-stitched full gown, a long-sleeved shirt, and sokoto (trousers fitted snugly at the ...
Kente patterns vary in complexity, with each pattern having a name or message by the weaver. Ghanaians choose kente cloths as much for their names as their colors and patterns. Although the cloths are identified primarily by the patterns found in the lengthwise (warp) threads, there is often little correlation between appearance and name.
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