When Tradition Becomes a Trend — The Commodification of African Culture in Global Fashion

Every few seasons, global fashion discovers Africa again.
Designers sprinkle dashiki prints on Paris runways, use Maasai beads for “boho chic,” or launch “tribal” collections that promise “authenticity.”

But authenticity for whom?

From Ankara prints in Zara to “Nigerian-inspired” accessories in luxury boutiques, African culture has become fashion’s favorite aesthetic and easiest appropriation.

The problem isn’t appreciation it’s erasure.
When tradition becomes trend, and credit skips its origin, the people who birthed that beauty are left behind.

The Cycle of Extraction: Old Story, New Packaging

Colonialism extracted gold, oil, and land.
Modern capitalism extracts culture.

Every time a multinational brand profits from African prints or hairstyles without acknowledgment, it repeats a familiar pattern take, rebrand, profit, erase.

For instance:

Dutch Wax (Ankara) now synonymous with African identity was originally inspired by Indonesian batik, mass-produced by Europeans, and resold to Africans. Yet Africans made it meaningful.

Maasai beadwork, a sacred craft tied to status and spirituality, has been mass-produced and sold globally with little benefit to actual Maasai artisans.

Cowrie shells, once currency and spiritual symbols, now adorn fashion runways with no context of their meaning.

This is not just aesthetic borrowing it’s economic and cultural theft masked as creativity.

Nigeria at the Heart of Cultural Rebirth

Nigeria, with its booming creative scene, sits at the center of this global cultural tug-of-war.
From Lagos Fashion Week to Afrobeats videos, Nigeria has become both the muse and the marketplace for modern African expression.

But with recognition comes responsibility and risk.

Western fashion houses are now borrowing African patterns, slang, and silhouettes, branding them as Afrofuturist or Afrochic.
Yet local designers struggle for funding, visibility, and access to global distribution.

The irony?
Africans are inspiring the world but barely profiting from it.

Appreciation vs. Appropriation: The Thin Line

There’s nothing wrong with cultural exchange Africa has always shared.
What’s wrong is exploitation without credit.

Appreciation celebrates.
Appropriation commodifies.

If you borrow African culture, pay homage  not just hashtags.
Hire African models.
Credit African designers.
Collaborate with local artisans.
Tell the full story.

Because when Western brands adopt African culture without African voices, they strip the art of its ancestry.

The Economics of Identity

Behind every pattern, bead, and braid lies an economy.
African artisans often women in rural communities depend on craft for survival.

When global brands bypass them for mass production, it robs communities of livelihood and pride.

Imagine if Maasai women earned royalties each time their beadwork inspired a collection.
Imagine if Igbo fabric makers partnered with Dior instead of being imitated by them.
That’s the future we should be building a fair trade of creativity and culture.

Culture is not free material its intellectual property, heritage, and history woven into design.

The Role of the Diaspora

The African diaspora plays a complex role in this conversation.
While some Western-born designers of African descent amplify heritage with care others fall into the trap of aesthetic tourism dipping into culture for branding, not belonging.

Diaspora fashion should reconnect, not reinvent.
It should be bridge-building, not border-breaking.

Real representation means asking: Am I profiting from nostalgia or preserving legacy?

When Africans Lead Their Own Narrative

The tide, however, is turning.
A new wave of African brands Orange Culture (Nigeria), Tongoro (Senegal), Rich Mnisi (South Africa), Christie Brown (Ghana) are rewriting the fashion story with authenticity and innovation.

They’re proving Africa is not a muse it’s a movement.
They’re fusing tradition with technology, showing that heritage can evolve without exploitation.

And most importantly, they’re demanding visibility on their own terms.

Media’s Complicity: The Storytelling Gap

Western media often celebrates “discoveries” of African culture as if they were lost artifacts.
A Vogue headline will read, “The Tribal Trend Taking Over Fashion Week,” reducing centuries of artistry to a one-season fad.

True storytelling must credit African origin, voice, and vision.
Otherwise, even good intentions perpetuate cultural theft through omission.

It’s time African media, influencers, and brands step up  to own the narrative and protect the legacy.

Culture Is Not a Costume

African culture is not trend fodder. It’s not tribal. It’s not temporary.
It is living, breathing heritage a map of identity and memory passed down through fabric, sound, and skin.

Fashion must evolve from consumption to collaboration, from appropriation to appreciation.
Africa doesn’t need saving it needs citing.

As Ajoke Brown Media often reminds us:

“To wear Africa is to carry history on your skin. Treat it with reverence, not retail.”

The next time a designer draws from African motifs, let it not be mimicry.
Let it be partnership a fashion revolution built on respect, credit, and cultural consciousness.