African king attire is a vibrant tapestry of history and culture, symbolizing power and prestige. Rooted in ancient traditions, these garments are crafted from luxurious fabrics like silk and velvet, adorned with intricate beadwork and embroidery. Each piece tells a story, reflecting the rich heritage of African royalty. From majestic robes to ornate crowns, the attire embodies dignity and elegance. Today, modern interpretations continue to honor these traditions, blending contemporary fashion with timeless elements.
Traditional Elements of African King Attire
The attire of ancient African kings was a powerful symbol of their authority and cultural heritage. In West Africa, kings of the Ashanti and Yoruba kingdoms wore vibrant Kente cloth, often interwoven with gold threads, signifying their wealth and status. African king outfits feature luxurious fabrics like silk and velvet, intricate beadwork, and elaborate embroidery. Key elements include majestic robes, ornate crowns, and symbolic accessories such as scepters and jewelry.
Kente cloth is probably the most universally recognized of all African fabrics. The word ‘kente’ means basket, and the cloth is so-named because of its resemblance to a woven basket design. More than 300 named patterns of kente have been documented, one of which, called adweneasa, is so complex that the name literally means ‘my skill is exhausted.’ Some patterns involved the blending of cotton and silk to produce glistening, vividly colored designs. Kente cloth given its long history and prestige is often worn by high-ranking figures. Kente is most frequently seen at festivals in southern Ghana and Togo and has its origins in the regalia of the Asante and other Akan groups. The Metropolitan Museum of Art has a 19th-century silk and cotton kente woven in green, yellow, and red colors, shown draped over a man’s shoulder as it is typically worn.
Kente Cloth Weaving Demonstration
The Kanzu: A Traditional Robe
A kanzu is a white or cream coloured robe worn by men in the African Great Lakes region. It is referred to as a tunic in English, and as the thawb in Arab countries. The kanzu is an ankle or floor length garment. It serves as the national costume of Tanzania as well as the Comoros, where it is called a kandu as well as a thawb. The robe is also worn in some coastal Muslim regions of Tanzania and Kenya. The men of Uganda consider it their most important dress. Kanzu is a Ganda word of Swahili origin, which means "robe" or "tunic".
The Kiganda/Ugandan kanzu was introduced to the Buganda Kingdom by Arab traders. Kabaka Ssuuna was the first Kabaka of Buganda to wear the kanzu. After the Kabaka adopted the attire it became the formal wear of all Baganda men. The kanzu spread from the Baganda people to other ethnicities and is a national costume of Baganda men. It is a variation of the Arabic thobe. Originally, the kanzu was made from barkcloth. Today the kanzu is made from silk, cotton, poplin, or linen. Linen kanzus are the most expensive.
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The traditional kanzu has maroon embroidery around the collar, abdomen, and sleeves. The embroidery is called the 'omuleela'. Some modern designers create a design of the kingdom emblem (shield, spear, and low-lying lion) lying at the lower part of the muleela. The kanzu is worn at wedding ceremonies during the introduction (also known as the Kwanjula). The kanzu is worn with a suit jacket, blazer, or sport coat.
Modern Interpretations
Today’s African king attire blends traditional elements with contemporary fashion. Designers incorporate luxurious fabrics and intricate beadwork into modern silhouettes, creating pieces that honor heritage while appealing to current tastes. To wear African king attire, start with a luxurious robe or tunic, often made from silk or velvet. Add symbolic accessories like a crown, scepter, and beaded jewelry.
The Zulu King Costume: A Unique History
Zulu traces its origins to 1909 when the founders paraded as a marching club. Between 1912 and 1914, the group had adopted the name “Zulu” and an African theme for their costumes. Their inspiration was a vaudeville skit titled “There Never Was and Never Will Be a King Like Me,” in which the characters wore grass skirts and dressed in blackface - a common practice in vaudeville theater, for both black and white performers. The costume also included black-dyed turtlenecks (known as “goosenecks”) and tights purchased from theatrical supply stores. Some members used Spanish moss from nearby swamps for wigs and rabbit fur as trim. Boots were painted gold.
The origins of the famous Zulu coconut - hand-painted and decorated coconuts used as parade “throws” and souvenir - are not well documented, but Zulu historians believe that these prized items date back to the early 1910s.
In 1916, the group formally incorporated as the Zulu Social Aid & Pleasure Club in the mold of countless African-American benevolent associations that have provided essential social services, such as funeral costs, for their members since the 19th century. In fact, the earliest Zulu parades were sponsored by African-American businesses, such as the Gertrude Geddes Willis Funeral Homes and Good Citizens Insurance Company.
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From 1923 to 1933, male members had masked as the Zulu queen, following a common Mardi Gras tradition of men appearing as women, often to comic effect. When the Ladies Auxiliary formed in 1933, the Zulu club began selecting queens from this group, a practice that continued into the 1970s. In 1933, the first female queen debuted at the official toasting site of Geddes and Moss on Jackson Avenue, a tradition that continues to the present day. In 1948 Zulu became the first Mardi Gras organization to feature a queen in its parade, when Edwina Robertson and her maids rode on the first Zulu queen’s float.
Zulu made civil rights history in 1969 when the city granted the club permission to parade on Canal Street, the route historically reserved for white carnival parades. This route change, not typically viewed as a civil rights victory, was significant and symbolic in that an African-American carnival organization became part of the city’s official Mardi Gras festivities.
The 1970s and 1980s brought even greater popularity. Under President Roy Glapion Jr., who later became a city councilman, Zulu made greater efforts to support the community as part of its mission. Finding inspiration in its benevolent society origins, Zulu members volunteered to feed the needy at holiday time and organized fundraisers for sickle-cell anemia research as the Zulu Grinders Can Shakers. The club also organized the Zulu Ensemble gospel choir, reflecting the spiritual enthusiasm of many members.
Zulu Characters
The Zulu characters have been a part of the parade since the very beginning, starting with the king. Through the years, Zulu developed additional characters including the Witch Doctor, the Big Shot of Africa, the Ambassador, the Mayor, the Province Prince, the Governor, and Mr. Big Stuff.
- The Witch Doctor was created in the 1920s. He is known as the sorcerer asking for safety, good health, and pleasant weather on Mardi Gras.
- The Big Shot dates to 1930. His role is to “outshine” the king for attention. He dresses very flamboyantly and stands out from other members with his large cigar, glass doorknob for a diamond ring, and derby hat.
- Mr. Big Stuff was created in 1972 and named after a hit record by New Orleans soul singer Jean Knight. He’s known as a ladies’ man who dresses with class and style.
But some characters were short-lived. In the 1930s and 1940s, Zulu parades featured characters like Chief Ubangi, Zambango the Snake Man, the Head Hunter, and Jungle Jim.
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Louis Armstrong, Zulu King
Growing up in the New Orleans neighborhood where Zulu began, jazz legend Louis Armstrong had a dream of becoming a member and possibly king. He was named an honorary member in 1931 and saw his boyhood dream of becoming a Zulu king fulfilled in 1949.
Armstrong’s reign was an international media story, and his image as king graced the cover of Time magazine. The club has honored Satchmo’s place in Zulu history many times through a doubloon, a souvenir booklet, and a poster. One of Zulu’s most popular floats today features a giant figure of Louis Armstrong.
The Agojie Warriors: Costume and Culture
Intensity and discipline were trademarks of the Agojie warriors who defended the African Kingdom of Dahomey in the 19th century. The all-female Agojie army was highly skilled and fought to defend their homeland from invading colonizers.
Phillips implemented a blend of authentic and practical techniques to bring these incredible women to the screen. “They would just go topless, but what they would do is put these cross straps on to carry their weapons,” Phillips explained. “That’s when both [director] Gina [Prince-Bythewood] and I were like, well that could be a halter top. We could say it’s a close enough resemblance to something that they actually did."
Phillips’ experience as a costume designer for the futuristic Star Trek: Discovery may seem far removed from The Woman King, but the two projects actually have a common creative element. None of the characters would have utilized a sewing machine.
