Africa has a rich clothing heritage.
From its colourful kente, kitenge, Ankara and other materials to the varied traditional attires particular to individual tribes, nobody can accuse Africa of being a dull continent.
Traditional African clothing represents one of-if not the biggest-symbols of the continent’s rich cultural heritage and diversity.
Typically, African tribal attires symbolise something where they are worn, with some associated with the age, gender, marital and social status of the wearer.
Different tribes throughout the continent pride themselves on their national dress which they use for ceremonies and special occasions.
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Today, African garments take their roots in traditional dress and are worn by millions of people for both ceremonial occasions and for everyday wear.
Often, these dresses reflect the traditional society and the status of certain individuals or groups within an ethnic group.
In this piece, we explored some of these tribal attires and what they represent.
African clothing and fashion is a diverse topic that provides a look into different African cultures. Clothing varies from brightly colored textiles, to abstractly embroidered robes, to colorful beaded bracelets and necklaces.
Since Africa is such a large and diverse continent, traditional clothing differs throughout each country.
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There are many varied styles of dress and the type of cloth plays an integral role in fashioning the garment.
Fabrics for making traditional African clothing vary from one region to another.
For instance, while Sahelian Africans prefer cotton Boubous, Northern Africans naturally make theirs of silk.
African clothes are products of mostly silk, cotton, and chiffon material.
Fibres used were cotton, raffia, silk and wool.
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Colours and patterns, created in printed and dyed cloth, woven fabric strips or beaded attire distinguish one ethnic group from another.
Kente cloth from Ghana, showcasing vibrant colors and intricate patterns.
Key Traditional Attires and Their Significance
Let's delve into some specific examples of traditional African clothing and their cultural importance:
- Tsonga Tinguvu or Xibelani Skirt: The Tinguvu or Xibelani skirt is native to the Tsonga women of Limpopo, South Africa. Introduced sometime in the 1800s, the Tinguvu skirt is now known as Xibelani because of its use in the Xibelani dance. Tinguvu skirts are made of two layers: an upper short layer and a lower long and broad one. They are made from wool, grass, maize meal sacks and cloth. Though the Xibelani skirt suffered disuse for some years, it has remained a part of Tsonga women’s tribal attire.
- Ashante/Akan Batakari War Shirt: The Batakari shirt has been an important attire amongst the Akan/Ashante people of Ghana since the 18th century. Usually worn by men, the war shirt is a smock-like top with amulets and leather pouches containing select Quranic verses sewn on top of it. It is made from cotton, herbs, animal horns and skins, and cowrie shells. Batakari shirts were believed to offer protection to the wearer.
- Botswana Tshega: The Tshega is a tribal loincloth worn by Tswana males of Botswana. It is made from the skin of animals such as antelopes, wild cats, jackals and hares. Due to the influence of modernisation/colonisation, this attire is no longer worn by most Botswanans. The animal hides required to make this attire is another factor that may have contributed to its discontinued use. Although Tshega made a brief comeback when it became the chosen performance attire of Shumba Ratshega, it has since faded away.
- Basotho Blanket: A timely gift of a woollen blanket to King Moshoeshoe I in 1860 led to the birth and adoption of the Basotho blanket as the tribal wear of the Basotho people of Lesotho. Basotho blankets are made from 88% wool, a planet-friendly alternative to the animal skin kaross they used to wear. It is an important part of Basotho culture, used to mark occasions such as marriages, deaths, puberty, and births.
- Zulu Isidwaba: The isidwaba is a leather skirt made from cowhide or goatskin usually worn by married/betrothed Zulu women of South Africa. The skirt is made from the hide of the cow/goat given by the bride’s father to his daughter when she is about to get married. Some are designed with intricate beadworks while others are not.
- Maasai Shuka: Similar to the Basotho people, the Maasai people of Kenya and Tanzania had for centuries worn cloaks made from animal hides and skin. Colonialism and a scarcity of animal hide, however, meant a search for an alternative which they found in the woven thick cotton sheet called shuka. Shuka has been a tribal attire of the Maasai since the 1960s. The sheets are usually red in colour, as red is symbolic to the Maasai. They believe the colour protects them from predators. Apart from red, shukas could also be black, blue, checkered/striped and it is usually tied over the shoulders or around the body and the length reaches the knees or longer.
- Habesha Kemis: For the Habesha peoples of Ethiopia and Eritrea, their tribal attire is the habesha kemis, a dress that takes up to 3 weeks to make. Usually worn by women, the habesha kemis is made from handwoven white, grey or beige cotton called shema or chiffon. It is typically a handmade ankle-length dress, but variations of it exist. What makes the habesha kemis unique are the colourful embroidery sewn around its wrists, neck, bottom, back, middle and waist. This embroidery at times represents religious motifs such as the Christian cross believed to protect the wearer.
Dashiki appears to be the most popular African clothing.
While it is worn mostly in West Africa, its use has spilt to other regions of the continent.
East African users, particularly in Kenya and Tanzania, prefer to call it Kitenge.
As you head towards the northern part of the continent, the most popular traditional cloth will become Djellaba.
This silk robe is usually worn over other clothes by both men and women.
This mode of dressing is predominantly associated with Muslims.
Kente is a unisex traditional African clothing that finds its history among the Ashanti and Ewe people of Ghana.
It is made out of cloth strips of silk and/or cotton, designed to fit the cloth’s patterns.
Despite technological advancements, native Ashantis still weave their Kente clothes by hand.
Historically, Ghanaian royalties wore the fabric in a toga-like fashion.
Iro and Buba (popularly called Iro ati Buba) are native to Yoruba women of Nigeria. The original version of the dress features five pieces. There is the Iro, a large wrapper tied to fit around the waist. Buba is a loose blouse worn on the upper part of the body. Gele is a head tie which Nigerian women are globally famous for. The Pele is a short fabric tied on top of the Iro around the waist. The Iborun is a scarf that drapes over the left shoulder. However, trendsetters are doing away with the Pele and Iborun, replacing the traditional Aso Oke with other fabrics such as lace, cotton, or chiffon.
The Toghu or Atoghu is a traditional outfit that is popular among the Bamileke people of North-Western Cameroon. In the past, only men and women of royalty wore the Toghu as a sign of traditional superiority over the commoner. In terms of design, Toghu is embroidered with colorful patterns. It is made of black velvety fabric. Since the turn of the 21st century, Toghu has gone global as more African Americans continue to trace their roots back to Cameroon.
Among the Wolof of Senegambia, it is referred to as mbubb or boubou (French), while the Hausa and Fulani people of the West African savannah call it riga. This attire is crafted from a single piece of fabric, typically measuring about 150cm in width, with the length tailored to the wearer’s height and style preferences. The grander version of this robe, often referred to as the grand Boubou, utilizes fabric that is approximately 300 cm long, elegantly draping down to the ankles. Distinct variations exist between the genders. For women, the agbada features a generously rounded neck, while men’s versions boast a more pronounced, V-shaped neckline. This subtle distinction adds to the robe’s appeal, allowing for personal expression within the framework of traditional design.
Xhosa traditional attire, known as Isikhakha or UmBhaco, is a vibrant ensemble that reflects the rich cultural heritage of the Xhosa people of South Africa. The centerpiece for women is a long skirt (isikhakha) made from cotton or wool, often dyed with red ochre, symbolizing a connection to the earth and ancestors. This is paired with a decorative apron and a white blouse adorned with black bias binding. The outfit is complemented by intricate beadwork in the form of necklaces, bracelets, and collars, which communicate social status, age, and life stages. Geometric patterns in the beadwork, such as triangles for unmarried women or chevrons for warriors, carry specific meanings. For ceremonial occasions, women wear elaborate headdresses (iqhiya) made from colorful fabrics. Men’s traditional attire includes wrap-around skirts, beaded necklaces (isidanga), and ceremonial sticks.
African mud cloth, known as bògòlanfini or bogolan, is a traditional West African textile originating in 12th century Mali. This handmade cotton fabric is renowned for its unique dyeing process using fermented mud, which creates distinctive patterns with deep cultural significance. The creation of mud cloth involves weaving cotton strips, dyeing them yellow with n’gallama tree leaves, then painting designs with fermented mud. Each pattern and symbol carries specific meanings related to historical events, proverbs, or cultural beliefs. In recent decades, mud cloth has gained international recognition, particularly after Malian designer Chris Seydou introduced it to global fashion in the 1980s.
Kanzus are white or cream African traditional clothing worn by men in the African Great Lakes region. This includes Burundians, Congolese, Ethiopians, Kenyans, Malawians, Rwandans, Tanzanians, and Ugandans. The English call it Tunic, and the Arab, Thawb. It is especially popular in Uganda, where men wear it to weddings and festivals.
Habesha Kemis is usually a robe that stretches from the neck to the ankles. Ethiopian and Eritrean women rock it for formal events and vacations. Nowadays, it comes in various forms including short- or long-sleeves. It typically comes in grey, beige or white shades and is sewn from cotton fabric.
Jillaba or Djellaba is a long, loose-fitting unisex robe. It is usually full-sleeved and worn also in the Maghreb region of North Africa. Traditionally, the main material for designing djellabas is wool. However, these days lightweight cotton djellabas have become trendy. Djellabas often sweep the ground. However, lightweight variants are often slimmer and shorter.
Shuka is traditional African clothing that belongs to the Maasai people of Tanzania and Kenya. Popularly called the ‘African Blanket’, it is often red with black stripes. Before the colonization of Tanzania and Kenya by the Scottish, high-ranking community members wore Shuka as a traditional garment. Today, it is also gaining traction as urban wear. Workers wear a variant of this traditional clothing to their places of work. Previously, only the Maasai originally wore Shuka. However, this traditional African cloth is now gaining acceptance all over the globe.
Dashiki is a Unisex loose-fitting shirt, long or full-sleeved, with an embroidered V-shaped collar. They also come in many colors and forms. Most times, Ghanaians wear Dashikis with drawstring pants for formal and informal occasions. Although once common in Ghana and a few West African nations, Africans and Blacks in the West now wear them. Dashikis are stylish, colorful, and easily point the wearer back to their roots.
Isidwaba is a popular dress among the Zulus. Otherwise known as Isikhakha, Isidwaba is a traditional skirt worn by betrothed or married women in Southern Africa. It is usually made from genuine leather which could either be cowhide or goatskin. The lady adorns it with colorful mat-like fabric. Since the 19th century when it came into existence, Isidwaba has maintained its form and design among the Zulus. Traditionally, fathers of brides give out Isidwabas to their daughters from the cow the bride gets during her coming-of-age ceremony. Subsequently, she has to wear the skirt on the day of her marriage.
The Isiagu finds its roots among the Igbo people of South-East Nigeria. ‘Isiagu’ literally translates to ‘the head of a leopard’. However, it will surprise you to see that the cloth has the head of a lion. Well, the lion is taking over the totem reserved for the leopard. The Isiagu marries a silk fabric with the head of a lion emblazoned in a definite pattern. It is a long, loose-fitting top usually worn over a pair of black trousers or knitted wrappers tied around the waist. Interestingly, the Isiagu is also a status symbol among Igbo men. They wear it for formal occasions such as coronations, traditional meetings, and funerals of Chiefs. It used to be an abomination for women to wear isiagu. However, millennials have changed that narrative. Some even use it to make their wedding dress.
Ankara is a vibrant material with rich, colorful patterns.
These designs are a form of expression pronouncing everything from marital status to popular culture, political and religious beliefs.
In recent years this hardy, lightweight fabric has become very trendy and even made its way to luxury designer brands.
Dashiki is African traditional clothing indigenous to the Ewe people of Ghana. They are also colorful garments that cover the upper part of the body.
A Dashiki is a loose fitting pull-over shirt, long or short sleeved with an ornate embroidered V-shaped collar that is uni-sex and comes in many lengths, colours and forms.
Both of these shirts can be both formal or informal depending upon the application of cloth, the style of the garment and the embellishment of it.
Kaftans are popular with both sexes in Central and Western Africa where they are called boubou’s for men and m’boubous for women.
An Agbada is the Nigerian Yoruban version of a boubou.
This is a long, loose-fitting, often embroidered gown having wide sleeves and a hole in the centre for the head to slide through and is worn especially by Yoruba males.
It was worn over a long sleeved tunic (buba) and long tie-up trousers (sokoto) and accompanied by a hat (chechia) that matches the attire.
All 3 items of clothing are usually the same colour.
