The dashiki is more than just a piece of fashion; it’s a symbol of cultural pride with historical significance and deep roots in West African tradition. This colorful garment, which covers the top half of the body, is worn mostly in West Africa.
The dashiki has gained popularity on the fashion scene and among celebrities in the past couple of years. So where exactly does this traditional African clothing staple originate from and what made it so popular?
“Dashiki” is derived from the West African Yoruba word "dàńṣíkí," which means short, sleeveless tunic. Traditionally, a Dashiki is a loose-fitting pullover shirt celebrated for its comfort, vibrant colors, and intricate patterns.
What Exactly is a Dashiki?
Simply put, a dashiki is a colorful, loose-fitting tunic, shirt, or dress that is widely worn in West Africa and beyond. The name itself offers the first clue to its meaning.
The Meaning Behind the Print
More than just a comfortable garment, the dashiki is a symbol of affirmation. It represents a deep connection to African roots, a celebration of Black history, and a statement of pride and protest against Western cultural norms. It symbolises affirmation and a return to African roots for most people.
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Also in the Yoruba culture, certain colors of dashikis were made to represent different emotions and events. For example, traditionally white dashikis were worn by grooms on their wedding day. Sometimes couples opt to wear purple instead for their wedding day since purple is the color of African royalty.
The versatility of dashiki can be seen in its diversity of designs, colors, and variety of shapes, going from pullover shirts or caftan with different sleeve sizes, shorter or longer.
The versatility can be seen also in its patterns, although commonly known as “Angelina”, where each color included has its meaning - gold as a symbol of fertility and wealth, green for life and prosperity, etc.
Origins and Evolution
The origin of dashiki is firmly rooted in West Africa, particularly among the Yoruba people of Nigeria. The traditional dàńṣíkí was often a functional garment.
The Yoruba loaned the word danshiki from the Hausa term dan ciki, which means "underneath." The dan chiki garment was commonly worn by males under large robes. The word “dashiki" comes from the Yoruba word danshiki, used to refer to the loose-fitting pullover which originated in West Africa as a functional work tunic for men, comfortable enough to wear in the heat.
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The origin of the shirt was likely an early influence of Arabian traders who brought Islamic religion and culture to Africa.
With its rich history, originally meant as a work garment, the Yoruba “danshiki” was made from hand-woven strip cloth, with deep-cut armholes and pockets.
The American term dashiki was coined from the Yoruba dàńṣíkí meaning ‘work shirt’, which was itself coopted from the Hausa dan chiki meaning an ‘inner garment’ intended to be worn beneath a much grander robe.
The dashiki style shirt, a loose hip-length garment with an open neckline and central pocket, was bought to America from West Africa by peace corps volunteers during the early 1960’s.
The dashiki shirt is distinct from what is colloquially known as the dashiki textile print. West African participation in the international import and export textile trade began in the 11th century however it was in the 1800’s that a series of events coincided to create what would become the phenomenon of African wax print: (i) The British and Dutch colonized Indonesia. (ii) European factories developed the capability to mechanically reproduce traditional hand-printed Indonesian batik textiles with the goal of selling them in Indonesia (iii) The Indonesian market rejected the textile (iv) An economic upturn in west Africa prompted a surge in demand for printed textiles (v) The idiosyncratic irregularities of wax print ‘bubbles’ and ‘crackle’ captivated the West African market.
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By the early 1900’s British and Dutch textile manufacturers had started adapting Indonesian designs to align with African aesthetic principles, though the legacy of Indonesian themes is still present in wax print today. Further technological developments during the 20th century also led to the introduction of java and fancy print which were wax print variations of lesser quality and price.
Paradoxically, the very textiles once deemed by Indonesians to be inferior imitations of genuine wax batik are now considered “guaranteed real” wax in Africa - premium quality products compared to java and fancy print.
The dashiki textile, originally named Angelina, was a java print designed in 1963 by Toon van de Manakker - an employee of the Dutch textile manufacturer Vlisco which caters to Central and West African markets. Van de Manakker drew inspiration from 19th century Ethiopian tunics when designing Angelina which was one of numerous styles the company produced each year to meet a constantly fluctuating demand for novelty.
While the print shown above is an Angelina print, this print has been so closely linked to Dashikis that many people have started to refer to this particular print as a Dashiki. The Angelina print was created by a Viisco textile designer named Toon van de Manakker and is based upon the 19th century Ethiopian noblewoman's tunic. This particular style of print is extremely popular in West Africa, particularly in countries such as Nigeria, Benin, Ghana, and Togo.
Given that Angelina is java print rather than ‘genuine wax print’, it is also in essence a cheap imitation of itself.
The popularity of dashiki print also ebbed and flowed in Africa. Unfortunately, market dynamics there are not well documented however its appeal undeniably intensified over time and spread over greater territory.
The dashiki rapidly extended its reach beyond initial associations with black heritage to become a leitmotif of mainstream bohemian style. The explosive demand encouraged Southeast Asian manufacturers to mass-produce replicas, undercutting Vlisco’s inflated price.
American dashiki shirts were fabricated from imported Southeast Asian imitations of an original Dutch design made for export to West Africa. The Dutch original was both a simulation of Ethiopian embroidered shirt designs made from imported British and Chinese materials and a failed attempt at reproducing Indonesian batik designs.
The dashiki's political vigor weakened towards the end of the 60s when it became popular among white counterculture groups, whose adoption of the garment-based primarily on its aesthetic appeal-undermined its status as a sign of Black identity. Retailers began to import dashikis made in India, Bangladesh and Thailand in large numbers.
During this period, notable Black intellectuals began to warn their communities against the trivialization of dashikis and other symbols of Black beauty.
Through it all, the dashiki maintains its underlying cultural significance-even with its recent reappearance on the fashion landscape, which some might consider a fad-the dashiki still relays a commanding message.
The dashiki has become a ready-to-wear conveyor of blackness, linking the continent and the diaspora by a shared assertion of the value of an original Black creation. Its inherent symbolism comes from a struggle against white supremacy and an embracing of African culture as its antitheses-yes, this is a lot of weight to put on a clothing item, but symbols are truly that powerful.
The Civil Rights and Black Panther Movements of the 1960s and early 70s gave the dashiki its political potency. African Americans adopted the article as a means of rejecting Western cultural norms. Its meaning developed in the same vein as the “Africa as Promised Land" rhetoric that fueled movements like Pan-Africanism and Rastafarianism.
New Breed opened their first storefront in Harlem and a factory in Clinton Hill soon followed by boutiques in several American cities and partnerships with department stores such as Sears and Bloomindales distributing dashikis across the country. The founders’ mission was to be “to uplift the black man by working toward economic independence and developing pride in his heritage”[1].
It became a powerful symbol for African Americans reclaiming their heritage and making a statement against the social and political climate of the time. The dashiki emerged in the US market during the late 1960s as a symbolism for Black American Afrocentric identity. Worn as a sign of black pride, the dashiki showed unity among the black community.
The informal version consists of traditional printed or embroidered dashiki, while there are three formal versions. First type includes dashiki, Sokoto (drawstring trousers), and kufi and is called dashiki suit worn by grooms for wedding ceremonies. The second version is called a robe or Senegalese kaftan and consists of an ankle-length shirt, matching kufi, and Sokoto. The third style is worn by Tribal chiefs, Nigerians, or Muslims.
The informal version of the dashiki is a traditional print or embroidered dashiki. Three formal versions exist. The first type consists of a dashiki, sokoto (drawstring pants), and a matching kufi. This style is called a dashiki suit or dashiki trouser set and it is the attire worn by most grooms during wedding ceremonies. The second version consists of an ankle-length shirt, matching kufi, and sokoto and is called a Senegalese kaftan. The third type consists of a dashiki and matching trousers. A flowing gown is worn over these.
The United States was introduced with the term “dashiki” circa 1968, developed by Jason Benning, Milton Clarke, Howard Davis, and William Smith, following up the Civil Rights and Black Panther movement of the 1960s, and was worn with pride and as a racial and cultural heritage, at the same time rejecting Western cultural norms.
It became the emblem of Black pride, and metaphorical significance in black activist rhetoric - “Black is beautiful”, while commonly combined with the Afro hairstyle, headgear, and African beads.
Its political vigor weakened at the end of the 60s as its popularity peaked when the trends turned towards more ethnic fashion, especially with the hippie and colorful trends, with young white Americans taking interest in bright colors and ornate garments.
Today, dashiki is featured in popular culture all over the world, although seldom seen as streetwear, it is worn in many different occasions, for modern Kwanzaa celebrations, and particularly during Black History Month as a way to respect the West African heritage and mark the unity of African American descent and pride.
Vintage retailers rank it high as a “must have”, as well as other fashion companies, in combination with dark glasses and a variety of necklaces.
Its popularity continues to rise with movies including them into their costume ideas, book mentions and celebrities wearing it all across the globe, even for press conferences and similar events.
As mentioned before, dashiki took over the popular culture and there are different ways you can wear this African inspired fashion, no matter the gender or age. Starting with toddler sizes, this flamboyant garment will be the most comfortable and colorful part of your wardrobe.
Through all the struggles, its cultural significance stays untouched, even with changes of meaning made on a larger scale in the fashion industry.
The dashiki found a market in America during the Civil Rights and Black Power movements. The term dashiki began appearing in print at least as early as 1967.
The dashiki was featured in the movies Uptight (1968), Putney Swope (1969), and the weekly television series Soul Train (1971).
The Sanford and Son episode "Lamont Goes African" features Sanford's son Lamont wearing a dashiki as part of his attempt to return to his African roots.
Jim Brown, Wilt Chamberlain, Sammy Davis Jr., and Bill Russell were among the well-known African-American athletes and entertainers who wore the dashiki on talk shows.
Hippies also adopted dashikis into their wardrobe as a means to express counterculture values.[12] Former District of Columbia mayor and council member Marion Barry was known for wearing a dashiki leading up to elections.
Fred Hampton of the Black Panther Party made note of black business owners wearing dashikis in his 1969 speech "Power Anywhere Where There's People": "[A]nybody who comes into the community to make profit off the people by exploiting them can be defined as a capitalist. And we don't care how many programs they have, how long a dashiki they have.
In February 2023, freshman lawmaker Justin J. Pearson was inaugurated to the Tennessee House of Representatives while wearing a dashiki, prompting an immediate backlash from conservative lawmakers.
Even though the Dashiki has transcended geographical boundaries and is now a staple in modern fashion, it remains an indication of appreciation for its African roots.
Today the term “Dashiki” has exceeded its original definition, and now covers all kinds of clothing with the iconic “Angelina Print” as well as other traditional African patterns.
Fast forward to today, where both men and women can be seen all over the world, draped in various forms of the dashiki print. The dashiki is sold in its original loose fitting shirt forms still to this day.
The Obioma Dashiki Shirt incorporates and builds on these qualities by combining a blissfully comfortable design with stunning sophisticated patterns across a variety of striking color palettes. Resulting in the perfect blend of casual and chic.
