Preserving the Authenticity of Aso Oke in a Global Market

Preamble

About 26 year ago I wrote an outline dissertation in design school on Nigerian fabrics called “Transformation: The Alternative Uses of West African Fabric (Aso Oke) in the West” and thirty years later the local artisans and producers face a challenge of competition from cheaper imitations and imports (See dissertation summary in appendices or draft Here). Aso-Oke (which means ‘cloth from the hinterland’) is the genre of woven cloth that is peculiar to the Yoruba. Traditionally worn in Nigeria usually to mark special occasions such as festivals, weddings, engagements, naming ceremonies or funerals. It is made from cotton and handwoven. Aso oke fabric, (Yoruba: Aṣọ Òkè, pronounced ah-SHAW-okay) is a hand-woven cloth that originated from the Yoruba people of Yorubaland within today’s Nigeria, Benin and Togo. The use and design of Aso Oke has spread beyond the Yoruba people and is welcomed for use by everyone and it has adapted to modern design influence. It is usually woven by men and women. Traditionally (Traditional Aso Oke designs) the fabric is used to make men’s gowns, called agbada and hats, called fila, as well as Yoruba women’s wrappers called Iro and a Yoruba women’s blouse called Buba and a gown called Komole, as well as an head tie, called gele and and has evolved to embrace modern designs. ( Modern Aso Oke designs). See appendices for the market analysis of the fabric market in Nigeria.

The technique and materials used in the making of Aso-Oke

The choice of the colour used in the making of the design for different Aso-Oke is a reflection of aspects of the beliefs and life of the Yoruba people and is usually passed down from one generation to another within family lines. The patterns represent forms of non-verbal communication with each design telling a story. Traditionally, the materials used in the past were locally sourced and included native cotton, silk from caterpillar cocoons, and threads dyed with indigo. The fabric design tools for the weaving include the Akata (propeller), Iye (the long wheel), Akawo (short wheel), Gowu and Kikgun (rollers), Aasa (strikers), Omu (extender used in holding the reel), and Sanrin (metallic peg)

Reference image: Yoruba Clothing and the Significance of Aso-Oke

Summary of the impact of cheap imports

Economic Pressure: Local producers of traditional fabrics such as Aso Oke in Nigeria are facing significant economic pressure due to the influx of cheaper Chinese-made replicas. These imports are often sold at a fraction of the price of locally made fabrics, making it difficult for artisans to compete.
Quality and Authenticity: While initially, Chinese replicas were of lower quality, they have improved over time. Some consumers now prefer these cheaper alternatives, which are often seen as good quality and more affordable.
Cultural Erosion: The traditional methods of producing these fabrics, which are deeply rooted in cultural heritage, are at risk. Artisans worry that the younger generation may not continue these practices due to the declining market

References: https://en.wikipedia.org/wiki/Aso_oke , https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1226&context=artlas

The present: Can the dissertation inform a response to the challenges faced by the local market?

What can the dissertation on the alternative uses of West African fabrics, particularly Aso Oke, offer that can be applied to the current challenges faced by local producers in Nigeria due to the influx of cheaper Chinese-made replicas of traditional fabrics like Aso Oke. Here’s how the dissertation’s findings can inform a strategic response:

1. Economic Pressure: Sustaining Local Production Through Market Expansion

The dissertation highlights the potential for transforming and adapting African textiles for use in different markets, particularly in Western countries. One strategic response to the economic pressure posed by cheaper Chinese imports is to explore and expand into new markets. By leveraging the cultural and historical significance of Aso Oke, local producers can target niche markets in Europe and North America where there is a growing appreciation for authentic and ethically sourced ethnic fabrics.

2. Quality and Authenticity: Differentiating Through Cultural Significance and Authenticity

While Chinese replicas might improve in quality, the dissertation emphasizes the importance of authenticity and the cultural narrative attached to Aso Oke. Local producers should double down on marketing these fabrics as not just products, but as carriers of cultural heritage and identity. Educating consumers about the traditional methods of production and the artisans’ skills can help create a market segment that values authenticity over price. This aligns with the dissertation’s discussion on the impact of using these fabrics in new contexts while maintaining their cultural significance.

3. Cultural Erosion: Preserving Craftsmanship and Expanding Uses

The dissertation’s focus on transforming the use of Aso Oke into fashion accessories and home furnishings demonstrates that the cultural value of these textiles can be preserved and even enhanced by diversifying their applications. Local producers can collaborate with designers to create contemporary products that appeal to both local and international markets while still retaining the cultural essence of the fabrics. This approach can revitalize interest in traditional weaving techniques among the younger generation by connecting their heritage with modern-day relevance.

Suggested Strategies for Local Producers

How regional authentication could work for Aso Oke; The concept of regional authentication or a “kite mark” like the hallmark used for Parmigiano Reggiano cheese can be applied to traditional textiles like Aso Oke. Implementing such a system could serve multiple purposes, including preserving cultural heritage, protecting local artisans, and ensuring that consumers receive authentic, high-quality products. Applying a regional authentication mark or kite mark to Aso Oke is a viable strategy for preserving these traditional textiles while adding value in the global market. It would protect the cultural integrity of the fabrics, support local economies, and assure consumers of the authenticity and quality of the products they purchase.

1. Certification Mark:

A certification mark could be developed and applied to all authentic Aso Oke. This mark would signify that the fabric was produced using traditional methods in the specific regions where these textiles originate (Yoruba land in Nigeria for Aso Oke).
This mark could be woven into the fabric itself, or attached as a label, like how the “Parmigiano Reggiano” mark is etched into the rind of the cheese.

2. Quality Standards:

The certification process would involve strict quality control measures to ensure that only fabrics made with traditional techniques, materials, and designs receive the mark. This could include checks on the type of loom used, the origin of the threads, and adherence to traditional patterns.
The mark would also guarantee that the product is free from synthetic materials unless these are part of a recognized and accepted evolution of the traditional design.

3. Geographical Indication (GI):

Like the way “Champagne” is protected by geographical indication, Aso Oke could be registered as products of specific regions. This would legally restrict the use of the names “Aso Oke” and “Kente” to products that are made in those regions according to traditional methods.
This protection would prevent counterfeit products from being marketed as authentic, helping to protect the market for genuine artisans.

4. Cultural and Economic Impact:

Establishing such a mark would reinforce the cultural significance of these textiles, ensuring that they are recognized globally not just as fashion items, but as cultural artifacts with deep historical roots.
Economically, this could help local weavers by creating a premium market for authentic Aso Oke, allowing them to compete with cheaper, mass-produced alternatives.

5. Consumer Trust and Marketing:

A recognized mark of authenticity would also help in marketing these products to international consumers who are increasingly interested in sustainability, ethical production, and cultural authenticity.
It could be used in branding and marketing campaigns to emphasize the uniqueness and quality of the textiles, much like the Parmigiano Reggiano or Champagne marks do for their respective products.

Implementation Challenges

Infrastructure and Enforcement: Establishing such a system would require investment in the infrastructure needed to certify and enforce the use of the mark. This could include training for local weavers, monitoring production, and legal frameworks to protect the mark.
Education and Awareness: Both producers and consumers would need to be educated about the significance of the mark and what it represents. This would involve marketing efforts both locally and internationally.

Other Strategies

1. Government Support and Policies: Advocacy for stronger government support is crucial. The dissertation suggests that successful transformation projects often require a supportive policy environment. Producers should push for policies that protect local industries, such as tariffs on imports or subsidies for artisans, like the historical protection of silk production in China.

2. Branding and Marketing: Local producers need to develop strong brands that highlight the uniqueness of Aso Oke. The dissertation underscores the importance of branding, suggesting that the appeal of these fabrics lies in their story and cultural roots. A focused branding strategy that tells the story of the fabric—from the hand-weaving process to its cultural significance—can help differentiate it from cheaper imports.

3. Quality Improvement and Innovation: As discussed in the dissertation, the introduction of African fabrics into Western markets can lead to innovation in design and application. Local producers should not only maintain the traditional high standards of these fabrics but also innovate in terms of design, making them more appealing to contemporary consumers (which they have done: Pinterest , Modern Aso Oke designs but could go further). Collaboration with fashion and interior designers can lead to the creation of improved products that combine traditional craftsmanship with modern aesthetics.

4. Community and Cooperative Models: The dissertation hints at the importance of collective approaches. Forming cooperatives can help artisans pool resources, share knowledge, and strengthen their market presence. These cooperatives can serve as platforms for artisans to innovate together, ensuring that traditional practices are upheld while adapting to new market demands.

5. Export Opportunities: Finally, the dissertation’s exploration of new markets provides a blueprint for local producers to explore international opportunities. By participating in international trade fairs and leveraging online platforms, producers can reach a global audience that values authenticity, thereby reducing their reliance on the local market and mitigating the impact of cheap imports.

Conclusion

The strategies outlined in this dissertation provides a blueprint for local producers of Aso Oke who are grappling with the influx of cheaper Chinese imports. By focusing on market expansion, embracing strong branding, fostering innovation, and reinforcing community support, these producers can not only safeguard their livelihoods but also ensure that their rich cultural heritage thrives in an increasingly globalized world. The implementation of a regional authentication mark could further differentiate authentic products from imitations, adding value and trust in the global market. These combined efforts offer a sustainable path forward, preserving the essence of these traditional textiles while adapting to modern demands.

Appendices

The fabric market in Nigeria

The traditional fabric market in Nigeria is a significant part of the broader textile industry. As of recent reports, the overall textile market in Nigeria is projected to grow steadily. For instance, the revenue in the apparel market, which includes traditional fabrics, is expected to reach approximately $9.23 billion USD in 2024. This market is anticipated to grow annually by about 9.64% from 2024 to 2028. The traditional fabric market specifically includes various types of fabrics such as cotton, silk, and other natural fibers, which are integral to Nigerian cultural attire like Aso-Oke and Ankara.

The Aso-Oke market in Nigeria is quite significant. As of 2022, it was estimated to be worth approximately $20 million USD. This includes both domestic and international markets, with about $15 million USD coming from the domestic market and $5 million USD from exports to countries with significant Yoruba diaspora, such as the United States, the United Kingdom, and Brazil.

SWOT analysis for the Aso-Oke market:

Strengths

Weaknesses

Opportunities

Threats

Summary of the Dissertation titled: “Transformation: The Alternative Uses of West African Fabric (Aso Oke) in the West” by SI Adenaike:

Objective

The dissertation explores the potential for transforming traditional West African fabrics, particularly Aso Oke from Nigeria, for alternative uses in Western markets. The aim is to identify ways these fabrics can be adapted for fashion accessories and home furnishings, while considering the cultural and economic impact on local weavers in West Africa.

Methodology

The dissertation adopts a design project management perspective to address several key problems:

– Identifying potential products that can be made from Aso Oke.

– Exploring the best methods for marketing these products in Western countries.

– Analysing the possible outcomes of such a transformation on both the source communities and the target markets.

Key Findings

1. Cultural and Historical Significance: Aso Oke has deep cultural roots in Yoruba land, where it is traditionally handwoven using horizontal looms. The dissertation emphasizes the importance of preserving these traditional methods and the cultural heritage they represent.

2. Market Potential in the West: The research identifies a significant market potential in Western countries, particularly in the UK and the US, for products made from Aso Oke. The focus is on fashion accessories (e.g., ties, scarves, hats) and home furnishings (e.g., cushions, curtains, throws).

3. Product Design and Development: The dissertation proposes that Aso Oke can be successfully transformed into soft furnishings and fashion accessories that appeal to Western consumers. It includes a discussion on the design criteria, including the ease of production, level of acceptability, and cost.

4. Marketing Strategy: A marketing plan is outlined, focusing on price, promotion, place, and product. The dissertation suggests that Aso Oke should be positioned as a niche product in specialist shops and promoted through exhibitions, articles, and collaborations with designers.

5. Economic and Social Impact: The dissertation considers the impact of this transformation on local weavers in West Africa. It highlights the potential for reviving traditional weaving skills and generating income for local communities. However, it also warns of the risks of cultural dilution and the need for careful management to ensure that the traditional significance of the fabric is not lost.

6. Challenges and Considerations: The dissertation identifies several challenges, including the need for quality control, the risk of imitation, and the importance of maintaining the fabric’s cultural context in its new applications.

Conclusion

The dissertation concludes that the transformation of Aso Oke for use in Western markets can be beneficial both economically and culturally if done thoughtfully. It stresses the importance of educating consumers about the fabric’s origins and significance to preserve its authenticity and cultural value. The study recommends a balanced approach that promotes innovation while respecting traditional practices and the social structures of the communities involved in the production of these fabrics. This research provides a blueprint for how traditional African textiles can be introduced into new markets, potentially leading to a renaissance in their use and appreciation globally.

Authenticity over Imitation: The impact of cheap Chinese imports on traditional fabrics like Aṣọ Òkè on local artisan producers:

AUTHOR

Steve Adenaike

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