King Letsie III and Queen Masenate of Lesotho at the Coronation of King Charles III

Queen Masenate is wearing a gown whose colour and print is reminiscent of shweshwe, a printed dyed cotton fabric, often using indigo blue, widely used for both traditional and fashionable dress in Lesotho and South Africa.

'The local name shweshwe is derived from the fabric's association with Lesotho's King Moshoeshoe I, also spelled "Moshweshwe". Moshoeshoe I was gifted with the fabric by French missionaries in the 1840s and subsequently popularised it.

It is also known as sejeremane or seshoeshoe in Sotho as well as terantala (derived from Afrikaans tarentaal), and ujamani in Xhosa, after 19th century German and Swiss settlers who imported the blaudruck ("blue print") fabric for their clothing and helped entrench it in South African and Basotho culture.' X

The Watershed - Cape Town, South Africa

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Part 2.. First time making piping. . . . #pipingcord #piping #sewing #4keyps #degamatextiles #shweshwe https://www.instagram.com/p/Cg1sgkqKiX6/?igshid=NGJjMDIxMWI=

35 Best Sesotho Traditional Dresses 2024 In South Africa

Sesotho traditional dresses are a reflection of the cultural identity of the Basotho people, who are native to Lesotho and also present in parts of South Africa. Vibrant colors, intricate patterns, and symbolic designs often characterize traditional clothing. Here are some key elements of Sesotho traditional dresses: In the picturesque landscapes of Lesotho and parts of South Africa, the Basotho…

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lil patches i made from block printing on shweshwe (south african cotton fabric)

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Lyric with a Lolipop by Bisa Butler

From the Museum of Art and Design, NYC:

“Bisa Butler creates portraits in fiber, applying concepts she absorbed as a painting student at Howard University to make pieced quilts that celebrate Black life and history. Working from photographs, she layers brightly patterned cotton textiles associated with the African continent to illuminate the personalities of her subjects. Butler's father is from Ghana and her mother is from New Orleans, where early forebears were enslaved people. She learned to sew from her mother and grandmother.

Lyric with a Lollipop is one of three portraits made from photographic contact sheets showing the daughter of music teacher Keresse Dorcely, Butler's former colleague and dear friend. Butler purchased many of the fabrics seen here in Johannesburg, South Africa, including the shweshwe cloth of Lyric's vest. To make the skirt, she used a Dutch wax pattern known as "Sugar Cane," a reference to the lollipop Lyric is enjoying, the sugar cane industry's reliance on slave labor, and the ancestors who harvested the product. The contrasting contour lines on Lyric's face acknowledge Butler's Ghanaian grandmother's facial scarification, an identifier of familial affiliation, while the choice of black velvet and lace flowers celebrates the beauty of natural African hair.”

The African print she refers to most likely Shweshwe fabric, esp if the nanny is Zimbabwean. 'Mud cloth' (so named as it's dyed with mud) is used & made in Mali (7000 km from South Africa), & is a hard fabric mostly used for upholstery, wall hangings, etc.

Thank you anon!

Black Contribution to Fashion and Wardrobe in the West: Past, Present and Future

How We Arrived | A Brief Recount with Many Threads

Fashion is a form of communication that reflects the identity, culture and values of individuals and groups. Fashion is also influenced by the social, political and economic contexts of different times and places. Throughout history, Black people have contributed to fashion and wardrobe in the West in various ways, from creating original styles and trends to challenging stereotypes and discrimination. In this article, we will explore some of the aspects of Black contribution to fashion and wardrobe in the West, and how they might shape the future of fashion.

The Origins of Black Fashion

Black fashion has its roots in the diverse cultures and traditions of Africa, where clothing was not only a functional necessity, but also a symbolic expression of status, religion, ethnicity and aesthetics. African textiles, such as kente, adire, bogolan and shweshwe, were made with intricate techniques and patterns, and often dyed with natural colors from plants and minerals. African clothing, such as dashikis, kaftans, boubous and agbadas, were designed to fit the climate and the lifestyle of the people, and often embellished with beads, shells, feathers and metalwork. African fashion also reflected the influence of other cultures, such as Arab, European and Asian, through trade, migration and colonization.

The Impact of Slavery and Colonialism

The transatlantic slave trade and the colonization of Africa by European powers had a profound impact on the fashion and wardrobe of Black people in the West. Enslaved Africans were stripped of their cultural identity and forced to wear the clothing of their oppressors, which was often cheap, coarse and ill-fitting. However, enslaved Africans also resisted and adapted to their situation by modifying, embellishing and personalizing their clothing, using scraps of fabric, buttons, ribbons and jewelry. They also preserved and transmitted some of their cultural heritage through their clothing, such as headwraps, turbans, bandanas and scarves, which were worn for protection, modesty and dignity. Some enslaved Africans also managed to acquire or make finer clothing, especially for special occasions, such as weddings, funerals and holidays, which allowed them to express their individuality, creativity and pride.

The Rise of Black Fashion Movements

The abolition of slavery and the civil rights movement in the 19th and 20th centuries gave rise to various Black fashion movements that challenged the dominant norms and standards of beauty, and celebrated the diversity and richness of Black culture. Some of the examples of these movements are:

The Harlem Renaissance: A cultural and artistic movement that emerged in the 1920s and 1930s in Harlem, New York, where Black artists, writers, musicians and intellectuals created a vibrant and influential scene that showcased their talents and achievements. The Harlem Renaissance also influenced fashion, as Black people adopted and adapted the styles of the Jazz Age, such as flapper dresses, zoot suits, fedoras and pearls, and added their own flair and elegance. Some of the icons of this movement were Josephine Baker, Billie Holiday, Langston Hughes and Zora Neale Hurston.

The Black Power Movement: A political and social movement that emerged in the 1960s and 1970s in the United States, where Black people demanded their rights, freedom and justice, and asserted their identity, dignity and self-determination. The Black Power Movement also influenced fashion, as Black people embraced and reclaimed their African roots, and expressed their solidarity and resistance. Some of the styles of this movement were Afros, cornrows, braids, dashikis, leather jackets, berets and sunglasses. Some of the icons of this movement were Malcolm X, Angela Davis, Huey P. Newton and Kathleen Cleaver.

The Hip Hop Movement: A cultural and artistic movement that emerged in the 1970s and 1980s in the Bronx, New York, where Black and Latino youth created a new form of music, dance, art and fashion that reflected their realities, experiences and aspirations. The Hip Hop Movement also influenced fashion, as Black and Latino youth innovated and experimented with different styles, such as baggy jeans, sneakers, tracksuits, baseball caps, gold chains and graffiti. Some of the icons of this movement were Grandmaster Flash, Run-DMC, LL Cool J and Salt-N-Pepa.

The Influence of Black Fashion on the Mainstream

Black fashion has not only been a source of inspiration and empowerment for Black people, but also a source of influence and appropriation for the mainstream fashion industry and culture. Black fashion has often been copied, imitated and commodified by white designers, celebrities and consumers, who have profited from the creativity and originality of Black people, without giving them proper credit, recognition or compensation. Some of the examples of this phenomenon are:

The minstrel shows: A form of entertainment that originated in the 19th century in the United States, where white performers wore blackface and exaggerated costumes to mock and stereotype Black people and their culture. The minstrel shows also influenced fashion, as white people adopted and adapted some of the clothing and accessories of Black people, such as hoop skirts, bandanas, gloves and canes, and used them for amusement and mockery.

The orientalism: A form of representation that originated in the 19th and 20th centuries in Europe and the United States, where white artists, writers and scholars depicted and distorted the cultures and peoples of Asia, Africa and the Middle East as exotic, mysterious and inferior. Orientalism also influenced fashion, as white designers, celebrities and consumers adopted and adapted some of the clothing and accessories of these regions, such as turbans, kaftans, kimonos and harem pants, and used them for fantasy and fetishism.

The cultural appropriation: A form of exploitation that occurs in the contemporary globalized world, where white designers, celebrities and consumers adopt and adapt some of the clothing and accessories of marginalized and oppressed cultures, such as Native American headdresses, Indian bindis, African prints and dreadlocks, and use them for fashion and fun, without respecting or understanding their meanings and histories.

The Future of Black Fashion

Black fashion has a long and rich history that reflects the struggles and achievements of Black people in the West and beyond. Black fashion also has a bright and promising future that offers new possibilities and opportunities for Black people to express their identity, culture and values. Some of the trends and developments that might shape the future of Black fashion are:

The Afrofuturism: A form of imagination that envisions the future of Black people and their culture in relation to science, technology and innovation. Afrofuturism also influences fashion, as Black people create and wear clothing and accessories that combine elements of their African heritage and their futuristic aspirations. Some of the examples of this trend are the movie Black Panther, the singer Janelle Monáe and the designer Mowalola Ogunlesi.

The sustainability: A form of awareness that recognizes the environmental and social impacts of the fashion industry and its practices. Sustainability also influences fashion, as Black people create and wear clothing and accessories that are made with ethical, organic and recycled materials, and that support local, fair and diverse production. Some of the examples of this trend are the brand Lemlem, the model Adwoa Aboah and the activist Dominique Drakeford.

The diversity: A form of inclusion that celebrates and respects the differences and similarities among Black people and their culture. Diversity also influences fashion, as Black people create and wear clothing and accessories that reflect their various identities, such as gender, sexuality, class, religion and disability. Some of the examples of this trend are the magazine CRWN, the actor Billy Porter and the designer Sinéad Burke.

Black fashion is a powerful and dynamic phenomenon that has contributed to fashion and wardrobe in the West in many ways. Black fashion is also a potential and transformative phenomenon that can contribute to fashion and wardrobe in the West in many more ways. Black fashion is not only a form of communication, but also a form of expression, resistance and liberation.

Amid a period when history classes might opt to reinterpret the Black influence, fashion schools are progressively integrating Black fashion history into their curricula, all credited to the efforts of committed educators. These educators employ diverse methodologies—lectures, discussions, and practical projects—to impart the narrative of Black fashion history. Additionally, they actively strive to broaden the spectrum of Black fashion designers and styles presented within the classroom setting.

Here are some of the experts, educators and advocates for continued education in the evolutionary process of Black Fashion:

- Dr. Jonathan Square, assistant professor of Black Visual Culture at Parsons School of Design and founder of Fashioning the Self in Slavery and Freedom, who teaches courses on Black beauty culture and Black fashion history, and organizes events and exhibitions on these topics

- Dr. Tanisha C. Ford, associate professor of Africana Studies and History at the University of Delaware and author of Liberated Threads: Black Women, Style, and the Global Politics of Soul, who explores the connections between fashion, activism and social movements, and co-curated the exhibition Black Girlhood and the Power of Belonging at the Delaware Art Museum.

- Dr. Monica L. Miller, associate professor of English and Africana Studies at Barnard College and author of Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, who examines the role of fashion in shaping Black identity and culture, and co-edited the book Black Dandyism: A Reader.

- Elizabeth Way, associate curator of costume at The Museum at FIT and co-curator of the exhibition Black Fashion Designers, who researches and showcases the work of Black fashion designers from different eras and regions, and organizes public programs and publications on Black fashion history.

*see also The Experts Bringing Black Fashion History to Fashion Education: https://fashionista.com/2023/10/experts-teaching-black-fashion-history by Fashionista:

Empowering Movements in Black Fashion

The unique expression and activism within Black culture persistently shape fashion's diversity and interconnectedness. This influence resonates through the multicultural fabric of humanity, impacting even mainstream trends, notwithstanding past challenges of appropriation and insufficient acknowledgment.

Discover the world of Black fashion and become an active participant in its vibrant tapestry! Here are actionable steps to engage with and support Black fashion:

Attend Exhibitions: Showcasing Black designers and movements. 

Support Black-Owned Businesses: Empower Black entrepreneurship by consciously choosing to support Black-owned fashion brands.

Educate Yourself: Explore the rich history of Black fashion, discover how these contributions have effected your style.

Black fashion is a global style panorama. Thank you for reading, comment, like and follow.

On the topic of reconciliation, when/if you're up for it, could you write a drabble about Nadine's parents getting back together? I've fully absorbed all your fics as cannon now.

"Nadine, honey, wake up."

Nadine let out a grumble and curled deeper into the gap between her pushed-aside plate and the champagne glasses. Boitumelo had covered her with his jacket, and the little cousins were asleep in adjacent seats like lion cubs.

It had been one too many uncles' speeches, and toasts, and dances. Even with the band still playing, happy chatter around the restaurant, the string lights of many colors casting a glow, they had nodded off.

Chloe tapped her hand again. "You want to see this, trust me."

She said it in an urgent whisper. Nadine's eyes snapped angrily open.

"I want to go home. This is the longest day of my life."

Chloe stepped behind her bride, kissed the top of her head, and pointed across at the bandstand, at the tiled courtyard that served as a dance floor.

It was Loyiso and Keletso--no. It couldn't be. Nadine picked her head up from the tablecloth. They couldn't be--dancing?!

Keletso in her night-blue shweshwe and Loyiso in a three-piece suit, far from the fatigues and cargos Nadine had grown up seeing him in. Looking into each others' eyes--no. No this was a dream. This had to be.

"How many drinks have I had--" Nadine started.

"Two, love."

"This isn't real."

"It is!" Laughter snuck into Chloe's voice. "I should have bet on it. Robbed you blind."

Being that they would have a joint account now, what would the point of that be?

Nadine brushed a leaf off of David's sleeping head, absently.

"And you were worried they'd fight if they sat too near each other."

"I made diagrams of the seating arrangements!"

"They did end up making a scene, though, mate. Just a different genre than you were expecting."

Nadine scoffed. "Ja."

10 Most Shocking And Shameless Wedding Dresses; Scandalous Wedding Dresses; Hilarious Wedding Dresses

Women can put on a summer time sundress or a floral patterned mini, with wedges or dressy sandals. Men should choose to wear dress pants or khakis paired with a collared shirt, with the option to additionally fashion their look with a tie or sports activities jacket. If you're stressed out about style formalities and/or what dress to put on to a wedding, we have got you lined with our handy guide. The Shweshwe prints may be blended with a mixture of plain matching colors, tulle, satin or cotton to create superb Traditional Wedding dresses. Shweshwe brides have turn out to be more open to trendy design tendencies and there is at all times new and exciting designs to watch out for if you are on the lookout for fashionable Shweshwe designs. This wedding season, Traditional Wedding Dress designers in South Africa are creating amazing Swazi Traditional Wedding dresses designs. The Swazi prints may be blended with a mix of plain matching colours, tulle, satin or cotton to create superb Traditional Wedding dresses. Swazi brides have turn into more open to fashionable design tendencies and there's all the time new and thrilling designs to watch out for if you're looking for trendy Swazi designs. One of our consultants will help you in helping you find your dream wedding dress from our big selection of wedding gowns. Even with a slight chill in the air, this blazer mini is a superb alternative for a daytime wedding. The teal hue, crossover bodice, and side cut-outs make for a bold and sultry silhouette, whereas the normal blazer match presents ample protection for fall nuptials. Crafted from embossed organza, you’ll make a delicate assertion at a fall wedding in Theia’s Ellie dress. Plus, it's embellished with tiny glowing crystals good for catching the sunshine in all your photographs. For the bohemian winter bride, this flutter-sleeve dress is good and romantic. Complete with floral embroidery, no one would guess it price less than $300. For the minimalist winter bride, this satin robe is utterly gorgeous. Another choice is to get a sleeveless dress with a matching scarf. This beautiful designer Black Halo gown in sapphire glow is ideal for channeling a bride from the depths of the ocean. The high side slit, one-shoulder neckline, and lengthy, flowing skirt will leave a long-lasting impression on your wedding guests. Get prepared to turn heads in your wedding day on this stunning off-the-shoulder satin robe by Celebrate DB Studio. The shimmering cloth, classic A-line cut, and horny sophistication will make you the focal point. A gentle, off-the-shoulder neckline brings a romantic softness to a silky and body-skimming silhouette. wedding dresses for bride We make the dress choice process simple, so don’t be shocked whenever you discover your dream wedding dress. Your session runs for 1 hour and contains snacks and refreshments served to you and your loved ones while you get pleasure from our wide selection of wedding robe choices. During your go to with us at Bridal de Boutique you’ll experience our collection of  unique bohemian and classic fashion wedding gowns. Surrounded by your loved ones, take your time to look by way of our exclusive collection of wedding gowns. Our chic bridal boutique has been designed with the modern girl in thoughts. Contact us now for a private consultation and allow us to help you find your perfect dress. For the modest bride with a penchant for vintage-inspired dresses, this Erdem number is your dream wedding dress. It's reduce from silk organza and options dream sheer sleeves and romantic ruffled cuffs. We love Black Halo’s Ara Bow Jumpsuit for this occasion, which boasts a sleek, structured type and a big bow detail on the collar, including the perfect female touch. Plus, the brief sleeves make this a suitable choice for warmer temperatures, so it is ideal in your spring or summer season ceremony. If you want a long-sleeved look but also wish to exhibit somewhat more pores and skin, an off-the-shoulder silhouette is the best way to go. However, the bride suddenly seems in the shot — wearing the identical yellow strappy dress with white high-heeled footwear to her rehearsal dinner. Pair this white midi skirt—and its removable "cape"—with the brand's grosgrain cropped prime, and you've got a chic take on the development. Pastel appliqués add colour and dimension, and sequins give this floral-themed column robe a delicate shimmer. The lace-up element highlights your again, while the high-low hem allows you to exhibit your stilettos. A murals in itself, layers of tulle create the amount while the skirt options customized lace, floral embroidery, and appliques. It is out there in ballerina pink or a lightweight green or black for the bride that isn’t afraid to experiment with colour. Pick a cut that accentuates your best options, makes you're feeling beautiful, and can take you gracefully from the ceremony to the reception.

On the fateful morning of November 22, 1978, a small crowd of protesters gathered in Huntersville, North Carolina in opposition to the expansion of strip mining in their community. Although it was a small and seemingly insignificant event, it would go down in local history as a day that changed the town forever.

At the center of the protest stood a brave 13-year-old girl named Bethany Miller. She held a mink made of Shweshwe in her hand – a traditional African fabric which was commonly used in her town to make garments such as ladies’ aprons and shirts.

When asked why she had made such a bold statement, Bethany replied: “I wanted to show the people of Huntersville that the mining companies might be taking away their land, but they can’t take away their heritage. The mink made of Shweshwe stands for our culture and our courage.”

As a result of Bethany’s inspiring show of protest, the town council was eventually persuaded to protect the area from strip mining. Today, Huntersville is a vibrant and bustling community full of proud citizens who will never forget Bethany Miller and her mink made of Shweshwe.

Wow 👌 what a beautiful print to start our Saturday with. Lovely blue shweshwe available at k150/meter order price and k200/ meter retail. Nandy's Paradise the Dean of African Prints ☎️ +26097861669 Good morning beautiful people 💕 https://www.instagram.com/p/Cog2CHAIhjH/?igshid=NGJjMDIxMWI=

Testing out something new. Part 1 complete. . . . #shweshwefabric #kidsrange #elephants #homedecor #madeinsouthafrica🇿🇦 #4keyps #handmadeinsa #shweshwe #nurseryroomideas #nurserydecor https://www.instagram.com/p/Cg1mBkyKqYF/?igshid=NGJjMDIxMWI=

35 Best African Maxi Gown Styles in Nigeria 2023 To Try ASAP

African Maxi gown styles for ladies have countless designs in Nigeria. Nigerian women called this maxi gown a free gown because it is a type of gown for ladies that is very satisfied to sport in weddings and engagements. In this post, we have collected some of the 35 best African maxi gown styles in Nigeria 2023 to try ASAP. The African fashion planet has grown over the years and has become a…

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Venda people of South Africa 🇿🇦 The Venda are a Southern African Bantu people living mostly near the South African 🇿🇦 -Zimbabwean🇿🇼 border. ✍️The dress code 👗 is known as Shweshwe . ✍️ Venda or Bvavenda people speaks Venda Language. ✍️ Venda people are found in South Africa and Zimbawe. ✍️ Venda people belong to the defunct Kingdom of Mapungubwe ( of 9th Century) . ✍️ Historically , the Kingdom declined from 1240, and power moved north to the Great Zimbabwe Kingdom. https://www.instagram.com/p/Ch0Oy7oML6B/?igshid=NGJjMDIxMWI=

Wax & Co.

Antologia dei tessuti stampati d’Africa

Anne Grosfilley

L’Ippocampo, Milano 2018, 260 pagine, Rilegatura cartonato con finitura soft touch, 24x28,5 cm., ISBN 9788867223718

euro 39,90

email if you want to buy :[email protected]

La moda si orienta verso i tessuti africani e in particolare verso il wax i cui tratti grafici distintivi, con i loro colori vibranti e i motivi leggermente sfalsati, si riconoscono fra mille. Si tende a dimenticare che questo stampato, nato a metà del XIX secolo, è il frutto di una lunga storia tra l’Europa, l’Africa e l’Asia. Batik industriale messo a punto dagli Olandesi, il wax era destinato agli indonesiani – che non lo considerarono. Incontrerà però un immenso successo in Africa occidentale dove farà la ricchezza delle Nana Benz, quelle commercianti pioniere che hanno saputo diffonderlo e renderlo popolare. Anne Grosfilley, antropologa specializzata nel tessile e nella moda dell’Africa, ripercorre le strade del wax, del kanga e dello shweshwe da più di vent’anni. Attraverso la sua eccezionale collezione di tessuti ci invita a scoprire la storia misconosciuta degli stampati africani. Un indimenticabile viaggio tessile dove il linguaggio dei disegni acquista una nuova dimensione.

13/09/21

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