Revitalising African Knowledge Systems: The Case for Sustainable Fashion through Community Empowerment and Tradition

In recent years, the fashion industry has come under scrutiny for its detrimental impact on the environment and its exploitation of workers in developing countries. However, the emergence of sustainable fashion, rooted in local knowledge systems and cultural practices, offers a promising solution to these issues. In particular, the model of creating a clothing line from repurposed fabrics, inspired by the traditional weaving practices of the Adanwonmase Kente weaving village in the Ashanti Kingdom, serves as a compelling answer to contemporary challenges in both ecological and socio-economic domains. By exploring this innovative approach, we can illuminate the significance of African knowledge systems in fostering environmental stewardship, sustainability, and community empowerment.

 The Legacy of Adanwonmase Kente Weaving

The Adanwonmase Kente weaving village, located in the Ashanti region of Ghana, serves as a cultural bastion and a vibrant testament to the rich traditions of the Akan people. Kente cloth, a handwoven textile adorned with intricate patterns and vibrant colours, carries deep cultural significance and embodies traditional African values (Osei-Tutu, 2021). Historically, Kente has been used in various ceremonial contexts, symbolising identity, status, and communal ties. The knowledge and skills possessed by the artisans of Adanwonmase represent a living heritage, handed down through generations.

However, the ancient practice of Kente weaving is threatened by modernisation, mass production, and the increasing availability of cheap synthetic fabrics (Owusu-Ansah, 2023). As the global demand for fast fashion undermines traditional craftsmanship, the need to protect and promote this cultural legacy becomes more pressing. By creating a clothing line that employs repurposed materials such as jeans and t-shirts, artisans can honour their heritage while simultaneously addressing contemporary environmental challenges.

 Environmental Implications of Fast Fashion

The fashion industry is often cited as one of the most polluting industries worldwide, with vast amounts of waste generated each year. According to the World Economic Forum, the fashion industry accounts for approximately 10% of global carbon emissions (World Economic Forum, 2023). Furthermore, the processing of cotton for clothing requires substantial amounts of water and often involves harmful pesticides that can degrade both soil and water supplies (Water Footprint Network, 2023). The move towards fast fashion not only results in deforestation and habitat loss but also contributes to the commodification of cultural artefacts, stripping them of their intrinsic value.

Conversely, the utilisation of repurposed fabrics in the production of clothing can significantly mitigate these environmental impacts. By embracing a circular economy, we can reduce waste, lower carbon emissions, and conserve natural resources (Ellen MacArthur Foundation, 2021). Creating a clothing line that harnesses the skills of artisans in Adanwonmase to weave together repurposed materials merges sustainable practices with cultural preservation, fostering a deeper appreciation for both the environment and the traditions that honour it.

 Decentralised Production Systems

One of the most compelling aspects of the proposed model for a clothing line is the emphasis on decentralised production systems. This design promotes small-scale, localised production that leverages the skills of craftsmen working in a communal environment. By allowing artisans to work at their own pace and timing, this system respects their collective cultural practices and enhances their well-being (Moyo et al., 2023).

A decentralised model also counters the oppressive dynamics of fast fashion by promoting fair trade principles and ensuring that artisans retain a higher percentage of the profits from their labour. As the United Nations Conference on Trade and Development (UNCTAD) reported, the fast fashion industry often exploits workers in developing regions, with wages that are well below sustainable living conditions (UNCTAD, 2022). By reconnecting artisans to the market and enabling them to produce goods sustainably, we are creating opportunities for income and fostering community autonomy.

 Mobility and Accessibility in Fashion Production

The implementation of a clothing line built on the foundation of traditional Adanwonmase weaving practices allows for a greater degree of mobility in the design and creation of garments. Given that artisans can work from their communal homes, they are not bound by the constraints of typical garment factories. This flexibility is particularly important in challenging socio-economic contexts, where public health crises, like the COVID-19 pandemic, disrupt established supply chains and production methods. Craftsmanship that can be pursued at home allows artisans to contribute to their communities while managing their personal responsibilities.

Moreover, the use of repurposed materials lowers production costs, making high-quality, handcrafted textiles more accessible to a broader audience. This affordability creates a potential avenue for consumers from diverse socio-economic backgrounds to engage with sustainable fashion ethically. Society is increasingly motivated to support sustainable brands that prioritise transparency and environmental responsibility (Joy et al., 2020). As awareness regarding the implications of fast fashion grows, the model of communal production can be a vital bridge connecting traditional craftsmanship with modern consumer demands.

 Preserving Cultural Heritage and Identity

Beyond environmental and economic advantages, preserving traditional knowledge systems can be a powerful means of fostering cultural identity. The act of weaving Kente using repurposed fabrics is not merely a methodology; it embodies a narrative interwoven with history and community (Nkrumah, 2021). By promoting the practices of artisans from Adanwonmase, consumers and designers alike can better appreciate the stories and teachings embedded in these textiles.

The intergenerational knowledge that characterises African weaving traditions contributes to the collective memory of the community. As the younger generation observes skilled artisans in their craft, they are invited to inherit not just techniques but also the values surrounding sustainability, creativity, and respect for the environment (Kingsley, 2022). Reviving these folk practices while embracing modern challenges is integral to a broader narrative of cultural preservation in an increasingly homogenised global society.

Conclusion

In a world grappling with the consequences of environmental degradation and social inequities, the integration of African knowledge systems and values offers a profound way forward. The model of creating sustainable clothing from repurposed fabrics, grounded in the traditions of Adanwonmase Kente weaving, showcases the potential of community-driven, decentralised production. By empowering artisans to contribute to an alternative fashion economy, we can advance social equity, environmental sustainability, and cultural preservation simultaneously.

As stakeholders in the fashion industry, from designers to consumers, we have a collective responsibility to champion practices that honour both people and the planet. By recognising the value of craftsmanship and the stories woven into fabrics, we can reshape the narrative surrounding fashion to one that is both sustainable and inclusive. This approach is not merely a preservation of the past; It is a celebration of the future we can create together—one rooted in respect for our environment and reverence for the wisdom of ancestral traditions.

This essay advocates for recognising the value of African knowledge systems within the global context of fashion, proving that the evolution of sustainable practices does not mean discarding traditional methods but rather entwining them with contemporary initiatives for a better future.

By Kusi Ampem Darko (Nana Yaw Ananse)