Founded in 1846, Vlisco is a textile manufacturing giant that has become synonymous with the rise of African wax prints, which have become increasingly popular around the world. Their fabrics transcend cultures, fusing African originality with Dutch design, and are made with precious methods and techniques rooted in Indonesian batik. The history of Villisco is Well documented on the website And I recently went there for some research to find out more about the origins and history of Vlisco. Some content by Maarten Van Riel, Massachusetts It details key moments in the company’s history. Some of the questions I was trying to answer were: “Where did the term ‘African prints’ come from?” “How did a Dutch company become such a leading manufacturer of such popular fabrics in Africa?”
Well, after careful reading and analysis, we have come to some common sense conclusions that will form the basis of our article on the origins and history of Vlisco. Vlisco has evolved over more than 200 years through wars, industrial revolutions, economic changes and international markets to become a global brand. Read this article to immerse yourself in my research and reflections on their unique journey, their cultural significance, and its impact on Africa’s economy.
Origin of Villisco
The company was founded in 1846 in Helmond, Netherlands. The Dutch textile industry was undergoing a period of industrial growth, and in 1852 the production of wax prints using a local wax-resist dyeing technique known as batik was introduced. This technique and the batik fabrics made using it were already widely respected in Southeast Asia. Frederick “Fritz” Hendrik Ventener van Vlissingen (a family of owners based in the Dutch East Indies or present-day Indonesia) encountered the process for the first time and became aware of its commercial viability. . Eventually, Vlisco started producing its own imitation batik fabric using this method and introduced it to the domestic market. Then, from the 1860s to 1883, the Dutch modernized their operations and batik production process, with an emphasis on industrializing, mechanizing, and expanding the scale of what had previously been a difficult and laborious printmaking process.
From 1883 to 1918, Vlisco began to expand its exports to Africa. Imitation batik fabric was introduced to the local market in Indonesia, but it was not very successful and by 1885 demand had declined. In the Indonesian market, these imitation fabrics were not considered to be of high quality due to manufacturing defects caused by the Javanese printing technique, and imports of these fabrics from the Netherlands lost market preference. Since then, two merchants, F. & A. Swanzy from England and H. J. Haykens from the Netherlands,11 played a pivotal role in introducing Dutch wax prints to Africa. Demand in Africa continued to increase over time after the war, and by the 1950s Africa had become a major market for Vlisco’s fabrics. This African market flourished throughout the era of African independence and continues to grow in recent years.
How did a Dutch company become such a leading manufacturer of such popular fabrics in Africa?
As I mentioned in my previous article on the origins and history of African prints, I said that African wax prints are actually European or Dutch wax prints. It all comes down to market forces, but to effectively analyze why the Dutch company’s fabrics have gained such a huge following on the continent, we need to know how many of the things that may have been the key to Vlisco’s success. It is important to think carefully about this.
Industrial innovation. From the 1860s to 1883, Vlisco invested in improved technology, machinery that enabled the adoption of perrotine and Javanaise printing techniques, which increased the efficiency of the batik printing process. This means you can save time, produce more printed fabrics, expand your overall business and ultimately sell more to meet the increasing demand from the market. .
creative design. After World War I, Vlisco has revamped its design approach by prioritizing distinctive designs that resonate culturally with its audience. The first design department was established in 1918 and employed artists such as Duco Crop (1863-1901). Since then, the complexity of fabric patterns and color combinations has increased, demonstrating how the superior design quality has positioned Dutch textiles as preferred imports, demonstrating a design-centered approach to innovation. is shown.
Customer focused. One of the reasons Vlisco has been so successful is because of its focus on uplifting and empowering its African women customers. To do this properly, you need to know your customers inside and out. Throughout most of the company’s marketing campaigns and promotional videos, women from different parts of the continent are seen celebrated, which has been important to the company’s success. This also marked the company’s first visit to the region to learn and understand local culture, tastes and preferences, as by 1934 the African market for Vrisko’s imported products had grown significantly. It started early, as I was on an official visit to . people.
Distribution networks and partnerships. Since the 1800s, the Netherlands carefully constructed a distribution network that spanned the African countries that were on its trade routes at the time. One theory is that in the early days, they worked with conscripted soldiers to bring back the textiles as gifts to their families, and over the years it became more widely consumed and adopted in West African countries. I am. Throughout the 1960s, Vrisko had business alliances with prominent sellers, particularly Nana Benz of Togo. The women who supported Vrisko’s business in the region helped name the design, which became a symbol of status, identity, storytelling, and cultural expression. Today, the Vlisco network spans offices in different distribution regions, vendors selling fabrics, and tailors sewing a variety of creative garments, bringing these fabrics to life. Vlisco currently owns Woodin, Uniwax and Ghana Textiles Printing Company (GTP). Today, Vlisco is a global brand with various luxury retail operations in Africa, as well as a thriving e-commerce and online store.
If wax prints are a Dutch thing, where did the term “African prints” come from?
When we consider the origins and history of Vrisco, we find that the origin of the name “African prints” is actually not clear and is a matter of controversy in several African communities. Many believe that the term was born many years ago out of a need by European fabric manufacturers to trick people into purchasing wax-printed fabrics based on the belief that they were authentically made in Africa. In reality, it may just have been a clever marketing gimmick that worked. However, it is very important that people know their history and the origin of their fabrics in order to make informed decisions. Most people who deal with African prints on a regular basis can recognize imported prints. To date, European and Dutch wax prints are valued more highly than local indigenous textiles in many markets. This just shows that there is a culture at work where people prefer foreign products due to their quality. It is true that overseas fabrics are made with great care. In my opinion, the history of African textiles is a reality that should serve as an inspiration to stimulate the local textile industry.
The influence of Dutch wax printing on Africa’s local textile industry
Even before the Dutch introduced wax printing to the continent, Africa already had a thriving textile industry of its own. This includes creating fabrics from tree bark, animal skins, cotton, jute, silk, raffia palm, etc., and creating patterns using materials such as mud. For example, bark cloth was widely made in Buganda, Uganda, but to this day, like most other traditional textile manufacturing methods and techniques on this continent, it has become a dying art form. there is. Perhaps an argument could be made that the domestic demand for wax prints is gradually being replaced by other traditional fabrics such as Ghana’s Kente, Nigeria’s Adire, Aso-oke, and Mali’s Bogolanfini. Nevertheless, I personally love all fabrics in all forms, both traditional and wax prints. In 2020, an artist named Priya Shah made an excellent attempt to visually represent all the modern fabrics of Africa using the map shown below. It is a good idea to study maps to expand your knowledge and gain a sound understanding of all African fabrics and textiles.
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Source: Jamila Kyari Co. – jamilakyari.com
