In the Ashanti Kingdom, somewhere in the 11th century, it is believed that a hunter, deep in the forest on a quest for game, came across a massive spider weaving its web. The hunter was so mesmerized as he stood and observed what felt like a magical moment.

Fascinated, he returned to the same spot every day, watching the spider meticulously weave its web. One day, he shared his observations with the chief and attempted to replicate the spider’s weaving technique using cotton. This effort marked the birth of Kente, according to the stories passed down through generations. The Kente has since become a great symbolic representation of the culture of the Ashanti Kingdom of Ghana.

“Kente in bright colors is worn during festivals like Akwasidae, weddings, naming ceremonies, and national celebrations, while darker colors such as black, brown, or red are worn at funerals to show respect,” said Awo Osei-Assibey, a local seller of Kente. “Historically, only the wealthy or royal could wear Kente, but now anyone who can afford it can wear it.”

In the five northern regions of Ghana, the traditional attire known as Fugu holds deep cultural significance, with its origins dating back to the 14th century. Commonly referred to various names, such as Batakari, Bingmaa, or, simply, the smock, the term Fugu originates from the Mossi language, meaning “cloth.”

The evolution of Fugu highlights the rich cross-cultural influences between Ghana and other West African countries.

Zoonaa Alaasani Baako, a local weaver and seller of Fugu, explained, “The Fugu was originally introduced to Ghana by the Moshie people, who migrated from Burkina Faso and settled in the northern regions, along with the Hausa people from northern Nigeria.”

The weaving techniques for both Kente and Fugu are similar, using the traditional loom technique. This involves stretching vertical warp threads across a wooden frame and using foot pedals to lift selected threads, creating a gap for a shuttle carrying weft threads to pass through. This intricate interlacing process, repeated in precise sequences, produces vibrant patterned strips that are later sewn together to create the final fabric.

Due to the painstaking nature of creating these traditional garments, the process often involves the collaboration of the entire village. According to Zoonaa, the production begins at the local farms.

“The whole community participates in the smock-making process. Our farmers grow and harvest the cotton for the cloth, which is then processed into yarn and dyed by the older women in the village,” he said. “The dyeing process uses natural dyes sourced from the forest. The time it takes to make a smock depends on its size, and it can take anywhere from four to six days to complete.”

The process of making Kente, like Fugu, is labor-intensive and deeply rooted in tradition. “The raw materials, such as cotton, are mostly sourced locally in Ghana, but for the dyes, we sometimes have to import from places like China,” Assibey said.

She also pointed out that in the past, natural dyes would often bleed when washed, which contributed to the myth that Kente should never be washed. “With modern technology, the dyeing process has improved, and the colors no longer bleed as frequently, even after washing,” she added.

Despite these advancements, Assibey stressed the importance of preserving the traditional methods of weaving.

“Some Chinese merchants have started imitating Kente, but even from afar, I can tell the difference. The traditional Kente has a unique texture, with threads interwoven in a spider web-like pattern, while the fake ones are too smooth and fine.”

For Assibey, this underscores the value of preserving the intricate and time-consuming traditional methods that maintain the true quality and craftsmanship of Kente. The patterns, colors, and designs of Kente and Fugu are deeply embedded with cultural significance in the Ashanti and Northern regions of Ghana.

Zoonaa said several Fugu patterns are named after influential figures, including political leaders, such as Lordina Mahama and Samira Bawumia, the former first lady and sitting second lady of Ghana, respectively.

“Some Fugu patterns, like Paan Kbga (guinea fowl feather) and Bunga (stripes), reflect significant cultural symbolism. If you’re not a paramount chief, you cannot wear certain colors and patterns in his presence. Wearing the cap straight up signifies that you fear no one except God. Sub-chiefs would never wear their caps that way in front of a paramount chief,” Zoonaa added. These subtle markers of status, power, and respect are well understood by members of society.

Assibey said Kente patterns and colors carry deep cultural significance.

“Traditionally, colors like red, gold, green, and blue, as well as black and brown, were worn, but with modern techniques, a mixture of colors instead of one solid color is now used, along with the introduction of ombre shades,” she said. “If you’re important and wealthy, your Kente would have several patterns known locally as ‘Edwene si dwene so’ and your Kente would be heavier.”

Some patterns, like Fathia Fata Nkrumah, are named after Ghana’s first president and first lady, while others, like Obaapa, signify a good wife, with husbands buying this design as a gift for their wives. Assibey also acknowledged the subtle messages conveyed by certain patterns. For instance, “Wosene wo yonko a otan wo” was worn to send a message to rivals that the wearer remains uncontested. These colors and patterns reflect the wearer’s status and the occasion, while also sending subtle messages through non-verbal communication.

She also mentioned how Kente has evolved to fit modern fashion, with changes such as reduced thread counts to make the fabric lighter. “The thread count for women’s Kente has been reduced to make it easier to wear because traditional Kente is quite heavy,” she said.

In 2009, Ghana welcomed U.S. President Barack Obama during his historic visit, which symbolized hope and progress for many Africans. As the first Black American president, his journey to Ghana was celebrated as a moment of deep cultural and historical significance. To honor his visit, Ghanaian Kente weavers created the “Obama Kente,” a unique design reflecting both respect and cultural appreciation.

Assibey said, “The design was simpler and less intricate, with the background woven first and then embroidered, reflecting the Western preference for simplicity.”

Another Kente design, named Theresa, was created in honor of the former First Lady of Ghana: Theresa Kufuor. The design reflected her calm, soft-spoken nature, embodying her peaceful demeanor. These kente designs were named to honor significant figures and reflect their qualities through patterns and craftsmanship. The Kente and Fugu are both worn at significant events by the Ashanti and Northern people of Ghana.

However, she emphasized that, “Commoners can only wear the Kente design worn by the Otumfuo of the Ashanti Kingdom after it has been publicly announced, once the Otumfuo has worn it in a public gathering.” Zoonaa also said that in the north, “Fugu, or smocks, are worn at chieftaincy title events, festivals, and naming ceremonies, weddings, and even in parliament by politicians.”

The labor-intensive nature of both Kente and Fugu significantly influences their prices, making them valuable assets. As Assibey explained, “The prices range from 650 Ghana cedis for ladies to about 6,000 Ghana cedis, depending on who is weaving it and the pattern.”

For men, the range is from 1,500 to 10,000 Ghana cedis, which translates to about $40 to $7,000. She further compared Kente to gold, noting that like gold, unsown Kente appreciates and can be kept as an asset. Zoonaa also mentioned that the price of a smock can vary between 300 cedis and 1,000 cedis or more, depending on factors like size, length, and color which is about $20 to $70 in equivalence.

Kente and Fugu, both deeply embedded in the cultural fabric of Ghana, hold immense symbolic value and are highly revered in the Ashanti and Northern regions.

Assibey added, “All the other groups have embraced the Kente, the Ashanti ones, and Ashantis are wearing the northern ones and vice versa.”

The interconnectedness of Kente and Fugu styles has become a defining feature of Ghana’s cultural unity. Similarly, Zoona highlighted the cultural weight of Fugu, saying, “Wearing a smock gives respect, and you’ll often be addressed as ‘chief’ even if you’re not because it embodies chieftaincy regalia.”

This shift reflects Kente’s transformation into a symbol of Ghanaian identity, transcending regional boundaries Increasingly, the striking colors and designs of Kente and Fugu are being adopted across the globe.

“Even Westerners, influenced by intermarriages and cultural exchanges, are embracing Kente. Although they may not wear it traditionally, it has shaped the fashion industry worldwide,” Assibey said.