South Africa, a nation of immense cultural diversity, expresses its identity through a vast array of traditions, including its distinctive clothing styles. The country's traditional attire reflects a unique blend of cultures, ethnicities, and historical influences.
Whilst true traditional wear from southern Africa is historically animal skin based, the arrival of European and Asian influences dating back to the 16th century has led to most cultures adopting various textiles as cultural wear.
Fashion, connecting closely with one's daily life, also plays a crucial role in the identification of South Africa's culture and people, merely as it does every elsewhere in the world. Clothing can be chosen for convenience, or be used to express style, political beliefs, religious beliefs and perspective in life.
One of the earliest vestiges of South African attire was traced back to around 2000 years ago when Middle Paleolithic population descendants, the Khoisan, settled in Cape Peninsula in the south-western extremity of the African continent. These people were divided into two groups: the hunter-gatherers San and the pastoral herders Khoikoi.
Without foreign contact, garments and cloth were unavailable for them to import. Instead, these early settlers altered available resources such as game and domestic animals' softened skin, and sometimes, plants and ostrich eggshell for attire making. In addition to these sources, the introduction of metal also gave them more choices for fashion.
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The arrival of the Khoisan people were followed shortly after by groups of Bantu peoples, who, through the Bantu expansion, ended up with conflict and occupied the land of the Khoisan people, forcing them into dispersion and absorption into the Bantu-speaking community.
The settlement of Bantu-speaking peoples of South Africa resulted in the formation of the Kingdom of Mapungubwe, from 900 to 1300 A.D., that flourished with trades from other foreign regions for gold and ivory in the exchange of clothes, glass bead and Chinese porcelain.
Bantu-speaking inhabitants in South Africa also lead to the derivation of modern main groups of people in South Africa, which are the Nguni speaking people, comprising four smaller groups: Zulu, Xhosa, Swazi, Ndebele.
Impact of Colonization on Traditional Attire
Colonization starting from the mid seventeenth century undoubtedly changed South Africa in all aspects, and fashion together all those changes was influenced heavily by the arrival of new materials from Europe as well as the Eurocentric view about the body and clothing, perceiving that South Africans dressed like necked imposed changes on traditional fashion of these indigenous groups of people. Traditional clothing made with local materials were incorporated with new style and items from Europe.
In the early nineteenth century, glass beads and plastic beads from Europe added new materials to the traditional collection of materials that South African indigenous people used to make beadworks.
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Around the late nineteenth century, Isishweshwe fabric was introduced to South Africa through importation from England and Germany. The cloth was made with indigo dye and later, with a synthetic form of indigo dye with a range of colors ranging from blue and red to maroon and brown, associated with decorations from replicated and orderly organized geometric patterns.
Isishweshwe slowly blended itself to the fashion world of South African people, appearing on clothing of working-class people, rural women and male soldiers. Though popular, because it was imported from other countries, it was not recognized as unique to African fashion until 1982 when a South African company, Da Gama Textiles, began producing the cloths helping make it be considered a representative fabric of South Africa.
With the influence of colonizers, Western fashion came to rule over South Africa with educated class people preferring Edwardian top coats and hats. Working men also went with Western style that boost the demand for these products. During this era of classifying people by their ethnicities and races, unique dress of each South African indigenous community served to make that community distinct.
However, besides that, wearing traditional dress also acted as a way for South African coloured people to express their resistance and displeasure with the government ruled by a minority of white people. Traditional clothes were worn by leaders such as Nelson Mandela, who put on a Xhosa traditional garment, in 1962 in his trial for attempting to overthrow the government. The expression of his identity as a true South African person spoke for the aggression in resistance and asking for one's won control of one's country.
While traditional dresses were worn as part of expressing one's identity, South African fashion in the apartheid period witnessed the continuing growth of influence from European fashion. Pre-apartheid fashion in South Africa depended heavily on European fashion import whereas post-apartheid fashion celebrated one's ethnicity through many South African designers bringing a touch of Africa to European style clothing. One noticeable example is Marianne Fassler who incorporated leopard-print with clothing in European style.
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After the apartheid period ended in 1994, South African traditional dresses continue to be the way to express pride in one's nation and identity as well as an enormous source of inspiration for famous fashion brands such as Sun Goddess, Stoned Cherrie and Strangelove. Pieces such as head wraps and A-line skirt inspired by Xhosa people from the nineteenth century were brought back on the runway.
South African fashion is a coming together of different style, culture and response to social circumstances. It's a hybrid between African people themselves and foreigners they interacted with.
As of 2016, there has been a boom in the development shops, clothing boutiques, hotels, as well as major restaurants in Accra, Ghana. As time passed there has been more recognition for the development of art through the creation of fashion in countries such as Kenya, Morocco, Nigeria, and South Africa.
While there is a global disconnect between the western world and their interpretation of African fashion through the use of tribal patterns, many designers have risen and made an impact on the high-end fashion industry by putting a twist on their traditional African garments. New designers are now trying to expand their entrepreneurial footprint and enlighten the world on the versatility of African fashion.
More specifically Johannesburg's development in making an impact on the fashion industry has been more intentional. With the help of many designers, Johannesburg has built up a fashion district in the inner city that has made a name for itself globally. While new designers use this location as a stepping stone for their expansion, established fashion houses also play a role in the maturing of the district.
Conversion of the established and developing fashion houses has built international respect for South Africa with the fashion industry, making South Africa's Fashion Week a major destination in the worldwide fashion takeover at the beginning of each spring/summer and fall/winter season.
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 include: "long sleeves and puffed shoulders, a full skirt, and commonly a colorful bow tied around the waist". This style of dress is called a busuti.
Another popular trend is to pair a piece of modern western clothing, such as T-shirts with traditional wraps. Rural communities have also started to incorporate secondhand western clothing into their everyday style.
There exist non-profit organizations in all western societies that sell used clothes to for-profit companies in Africa. These European clothes are quite common in some parts of the continent.
These used clothing are called Mitumba in some areas and are surrounded by controversy. Before charitable organizations started importing used clothes, cheap cotton clothing from Asia was the biggest import of cotton clothing to Africa. Thereafter, western charitable organizations began to send used clothing to African refugees and the poor.
Countries in sub-Saharan Africa are one of the top destinations for the import of used clothing. Although used clothing was commonly sent for the lower class communities, it is now commonly found within other social classes in Africa. Secondhand clothing is found in everyday apparel for many people, regardless of their class difference. This is because there was always a variety of clothing and it was a good price.
However, typically in Muslim regions, such as North Africa, do not partake in this trade due to religious reasons. Although these clothes are often donated by organizations in belief that people in rural and poor areas will be obtaining them first, the people who live in the cities get the clothing first. Since urban areas are full of fast and changing lifestyles, they are able to adapt to the change in cultures, such as change in tradition dress.
These foreign clothes often are drastically different than what people are used to in more rural parts of Africa. People may believe that they are being insulted by being given something that they believe to be old, tattered and dirty.
The second hand clothing industry has left both positive and negative impacts within African society. An impact that one would commonly not think of is the resale of imported western clothing. South Africa, among other nations, has created legislation of imported or donated goods in order to curb the resale of the donated items. Côte d'Ivoire, Nigeria, Kenya and Malawi had to completely ban the importation/donation of second hand clothes in order to try to control the resale.
Another negative impact commonly argued is that the importation of western clothing leaves a negative impact on local clothing producers. However, the opposite side of the argument believes that the high importation creates new jobs for the people living in the port cities. These jobs include the sorting, washing, re-tailoring and transporting of the clothes to the markets.
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Another impact that could be argued either negatively or positively, is that secondhand clothing has become more common to wear than classic African textiles. In Zambia, where it is known as salaula, secondhand clothing has basically become a new type of traditional clothing. Zambian cities are full of used clothing markets, which are extremely successful.
Since Zambians have been wearing more western clothes, traditional textiles and crafts have seemed to become scarce. While Senegal and Nigeria prefer to "follow long-standing regional style conventions, dressing with pride for purposes of displaying locally produced cloth in "African" styles".
It can be argued that Zambia is losing a piece of its culture by wearing only western styles or even that people in Senegal and Nigeria are not open minded enough to try to incorporate western styles into their fashion.
Traditional Attire of Various Ethnic Groups
South Africaâs vibrant diversity in traditional clothing and style accurately captures the countryâs unique history characterized by a unique blend of cultures, ethnic groups, and religions.
Traditional Indian clothing such as beautiful embroidered âsarisâ and âsherwanisâ are usually featured prominently in the attire of Indian South Africans as they have successfully preserved their cultural heritage over the years. Admittedly, however, traditional Indian dresses, are usually preserved for traditional ceremonies such as weddings, funerals, etc. Western clothing is however worn from day-to-day.
Cape Malay is another minority ethnic group that migrated to South Africa from South-East Asia during the slave trade. In Cape Town, the Cape Malay community is predominantly Muslim. Like Indian South Africans, Cape Malay people wear mainly Western clothing in everyday life and their traditional attire to mosque, madrassah and for special celebrations.
A woman âs clothing and accessories typically reflect the different stages of life. The traditional Xhosa apparel consists of long skirts and aprons in beautiful printed or embroidered fabrics. Elaborate beaded necklaces called âithumbuâ are worn around the neck, as well as beaded bracelets and anklets. The âiqhiyaâ or headscarf is traditionally worn by married women.
Per tradition, Xhosa men play the roles of warriors, hunters, and stockmen and as such, animal skin formed an important part of their traditional wear.
Like Xhosa women, Zulu culture has its women also wear different outfits within the various stages of their lives. A single young woman wears her hair short and only wears a short skirt made of grass reed, adorned with beads. A married woman, on the other hand, is expected to cover her entire body to indicate that she is spoken for. She will wear a thick cowhide skirt that has been softened with animal fat and charcoal.
Traditionally, women covered their bosom with a cloth, but nowadays cotton vests or beaded bras are worn along with beaded necklaces. The most iconic adornment is circular-shaped hats made of grass and cotton called âizicoloâ, which are worn by married women.
Traditional dress for men consists of animal skins and feathers; the kind of skins indicates the status of the person wearing them. The apron worn by men to cover their buttocks is called âibheshuâ, it is made from calf-skin, so it is soft and easily processed.
The Tsonga-Shangaan tribe is mainly found in southern Mozambique and the northern provinces of South Africa. A derivative of the Zulu tribe, The Tsonga-Shangaan tribe is mainly found in southern Mozambique and the northern provinces of South Africa.
The Ndembele tribe is well-known their colorful and intricate bead-made apparel. The main attire Ndebele women wear is aprons. Married women wear longer aprons made of hardened skin that are lavishly decorated in geometric designs. They also wear âisigolwaniâ and copper rings called âidzillaâ around the neck, ankles, and arms.
Ndebele men wear animal skin aprons and beaded breast-plates or âiporiyanaâ which hangs from the neck. The âiporiyanaâ is a symbol of manhood and is given to a young man by his father after he has undergone initiation.
Venda girls traditionally wear a âshedoâ, a small apron that covers the pubic area. When girls develop breasts, they wear a ânwendaâ at the waist or around one shoulder, which is made from brightly coloured striped fabric.
Venda boys and men traditionally wore a loin-cloth called a âtsindiâ. The âtsindiâ is a triangular piece of animal skin covering the front, passed between the legs and tied at the back. In colder weather, they also wore a cloak over their shoulders.
Regional Fabrics and Styles
Besides the traditional clothing styles of the major ethnic groups, South Africa also features unique regional fabrics and styles that contribute to its diverse fashion landscape.
Shweshwe
Shweshwe, also known as "Isishweshwe," is a dyed cotton fabric with intricate geometric patterns. Originally imported from Europe, it has become a symbol of South African identity. Shweshwe is commonly used in dresses, skirts, and other garments, often worn in rural communities and at traditional gatherings.
Other Southern African Fabrics
South Africa shares similar fabrics and styles with other countries in Southern Africa.
- Samakaka (Angola): A bold and colourful fabric with geometric shapes rooted in traditional symbols. The most common print uses black, red, and white, representing the colours of the Angolan flag.
- Leteise (Botswana): A dyed cotton fabric with intricate geometric patterns, often in indigo. It is widely worn for casual and traditional occasions.
- Seanamarena (Lesotho): A distinctive blanket adopted in the 19th century, featuring the maize cob motif, symbolising fertility and wealth.
- Chitenje (Malawi): A widely recognised African fabric, worn mostly by women, wrapped around the chest or waist, as a headscarf, and even used as a baby sling.
- Capulana (Mozambique): Fabrics worn since the establishment of Arab/Indian trade routes, typically featuring imagery of leopards and lions.
- Ohorokova (Namibia): A bold, A-lined, floor-length dress with colourful, vibrant patterns worn with a cow horn shaped headdress, called Otjikaiva.
- Lihiya (eSwatini): Traditional attire specific to gender, age and status.
- Umbhaco (South Africa): Traditional outfit of the Xhosa people, featuring long skirts, beaded panels, and headdresses.
- Retso (Zimbabwe): A red fabric with black and white geometric pattern, linked to spirituality and a connection to one's ancestors.
Here is a table summarizing the traditional clothing, fabrics and their origins:
| Fabric/Attire Name | Country of Origin | Description |
|---|---|---|
| Samakaka | Angola | Bold and colourful fabric with geometric shapes |
| Leteise | Botswana | Dyed cotton fabric with intricate geometric patterns |
| Seanamarena | Lesotho | Distinctive blanket with maize cob motif |
| Chitenje | Malawi | Versatile fabric worn as wraps, headscarves, and slings |
| Capulana | Mozambique | Fabrics featuring imagery of leopards and lions |
| Ohorokova | Namibia | A-lined dress with vibrant patterns and cow horn headdress |
| Lihiya | eSwatini | Traditional attire specific to gender, age and status |
| Umbhaco | South Africa (Xhosa) | Long skirts, beaded panels, and headdresses |
| Retso | Zimbabwe | Red fabric with black and white geometric pattern |
| Shweshwe | South Africa | Dyed cotton fabric with intricate geometric patterns |
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