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fyeahafrica: The politics behind the “fakeness” of textiles in Togo
Real Wax, Veritable Java Print, Guaranteed Dutch Java, Genuine Amsterdam, Vlisco True Original, Vlisco China, Vlisco Wax, African Printed Textiles, etc. These are some of the labels for modern wax print textiles (also known as batik) that are available in West African markets. But which one of the above is real, authentic or legal? And are the others then fake, inauthentic or illegal?
These are the questions posed by Professor Nina Sylvanus in her studies of wax print textiles in West Africa, and particularly Togo. And it is also in Togo that consumers are voicing a desire for the law to regulate the uncontrolled dumping of “fake” wax prints from China.
Many Africans would be surprised, maybe shocked, to learn that the fabric that they have always perceived to be truly African is not. Or is it? Who can claim intellectual property for this popular textile? To get to the bottom of this is not easy, and the story must be traced back centuries, across continents and shifting global politics.
Wax print is a process that traditionally uses a manual wax resistant dyeing technique. Melted wax is applied to cloth before being dipped in dye. The dye will not penetrate the areas that are covered with wax. Sometimes several colours are used, with a series of dyeing, drying and waxing steps. After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to remove the wax. A negative image of the printed pattern remains on the cloth.
The invention of the copper block revolutionised batik production. By using two deep engraved copper rollers, with the mirror image of the design, the two sides of the cotton fabric are printed with a pattern of melted wax. The fact that the cloth is printed on both sides enables the product to be worn on either side, which is an indication of a quality wax print. This intricate wax printing process results in the deep rich colours and the fine crinkle lines that give batik its unique character.
Although many trace the origin of wax prints to Indonesia and India, it is an ancient art form and already existed in Egypt in the 4th century BCE, where it was used to wrap mummies. In Asia, the technique was practiced in China, India and Japan since the 7th century. It is suggested that the fabrics were “reintroduced” into Africa by land across the trans-Saharan routes. In West Africa where fabrics already played an important role in their social life, local populations like the Yoruba in Nigeria, incorporated aspects of batik into their traditional textiles.
(continue reading/ph: Vlisco)
