Event Report: AFRI CONVERSE 2025 #2 at Osaka Expo

Interwoven Cultures: Exploring the Power of African Textiles

June 26, 2025

On May 25th, in celebration of Africa Day, the second session of AFRI CONVERSE 2025 was held at the Expo 2025 venue in Osaka. Centered around the theme of “African Textiles”, the event explored the deep and enduring ties between Africa and Japan. The venue showcased vibrant fabrics from across the African continent, accompanied by fashion shows that skillfully blended African textiles with elements of Japanese culture. A panel discussion also took place, where speakers engaged in lively dialogue on the historical roots of exchange between the two regions and the future potential of cultural collaboration through fabric.

Opening Session
The event began with a keynote address by Mr. Naoki Ando, Senior Vice President of the Japan International Cooperation Agency (JICA). In his opening remarks, Mr. Ando emphasized the deep historical ties between Japan and Africa, noting that over 60 years ago, Japanese textiles were exported to Africa and that Japanese companies even established a large-scale textile production facility in Nigeria. He also highlighted the roots of African textile dyeing techniques in Indonesian batik, pointing out the longstanding cultural connections between Asia and Africa.

He also touched on recent developments in Japan, such as the use of African fabrics in Kyoto-made furisode (formal long-sleeved kimono) and businesses launched by former Japan Overseas Cooperation Volunteers who incorporate African textiles into their products. Mr. Ando noted that African fabrics are now “re-entering” the Japanese market. He described Africa as “a youthful, energetic, vibrant, and inspiring place,” and emphasized JICA’s commitment to further strengthening connections between young people in Japan and Africa.

Two performers in colorful kimonos showcase traditional dance on stage. — Fashion Show: "Fabric in Motion"

During the fashion show "Fabric in Motion," the audience was introduced to WAFRICA—a striking fusion of African textiles and traditional Japanese kimono aesthetics. WAFRICA is a kimono collection born from a collaboration between odasho, a Kyoto-based kimono maker with over 100 years of history, and Mr. Serge Mouangue, a Cameroonian French designer. The collection blends the refined elegance of Japanese fashion with the bold energy of West African textiles, creating a unique cultural and artistic expression.

At the fashion show, a kimono was showcased featuring a furisode made of Ariso-donsu brocade, adorned with waves and koi carp fish motifs, paired with an obi crafted from cloth traditionally worn by Maasai warriors. Ms. Mika Shimojo, Creative Director at odasho, highlighted that koi carp fish are considered good fortune, or “success fish,” in Japan, and suggested that in Africa as well, seas and rivers rich in fish may carry similarly auspicious meanings.

Another kimono showcased used African fabric decorated with a variety of “treasures,” ranging from chain necklaces to angel motifs, reminiscent of Japan’s takara-zukushi pattern—a traditional auspicious design featuring a collection of good-luck treasures.

A panel discussion on stage with colorful backdrops and three speakers engaged in conversation. — Talk Session: "Textiles as First Step into Africa"

Following the fashion show, a talk session titled "Textiles as First Step into Africa" was held, moderated by Mr. Shuhei Ueno, Deputy Director General of the Africa Department at JICA. The session featured two speakers: Ms. Aya Ueda, Part-time Lecturer at Kwansei Gakuin University, and Ms. Mika Shimojo. Each offered unique perspectives on the cultural significance of textiles as a bridge between Africa and Japan and discussed the broader potential of fabric-driven international cultural exchange.

The origins of African print textiles (made of 100% cotton) can be traced back to Indonesia’s traditional batik dyeing technique. This method was later industrialized through machine printing by the Dutch and adapted in terms of patterns and colors to suit African tastes, giving rise to what we now know as African print. Ms. Ueda explained that while the designs were initially created for the African market, it was ultimately the African people themselves—through their own process of selection and reinterpretation—who shaped these textiles into something uniquely African.

In the 1960s, printed textiles produced by Daido Maruta Senko, a Kyoto-based dyeing company, were specially designed for the African market and exported to the continent. Ms. Ueda shared an anecdote illustrating the difference in aesthetic preferences between Japan and Africa. She noted that staff at Daido Maruta Senko were surprised to learn that in Africa, “misalignment” in prints was appreciated, and that fabrics wouldn’t sell unless the colors were vivid and deep—a contrast to Japanese preferences for precision and subtlety.

Ms. Ueda also introduced the history of Arewa Textiles Ltd., established in Nigeria by major Japanese spinning companies in the 1960s. Supported by Japan’s Official Development Assistance (ODA), Arewa Textiles grew to become one of the largest textile manufacturers in West Africa. Finally, Ms. Ueda highlighted a 2024 revival project in Kyoto in which fabrics originally produced locally at Arewa Textiles were recreated using Kyoto’s traditional katazome dyeing technique after nearly 60 years, emphasizing the further enduring connection between Kyoto and African textiles.

Ms. Shimojo from odasho, a long-established kimono manufacturer in Kyoto, explained that although fabric exports from Kyoto to Africa are now rare, traces of the era when exports were thriving can still be found nearby today. She also mentioned that the African fabrics used in the WAFRICA kimono collection include not only wax prints (cotton fabrics with printed patterns) but also various traditional textiles such as Ghanaian Kente, Senegalese Bazin, and hand-embroidered fabrics worn by royalty in Cameroon for ceremonies like weddings and funerals. The diversity of fabric types across different African regions was strongly emphasized.

Children wearing colorful dresses perform on a brightly lit stage. — Fashion Show: "Fabric with NexGen"

The fashion show "Fabric with NexGen" by Melanger Etranger was presented. This show creatively combined traditional African textiles with contemporary Japanese Harajuku fashion, showcasing the dynamic creativity and cultural exchange between the two regions.

Ms. Yuka Kobayashi, founder and designer of Melanger Etranger, was inspired by the vibrant African wax prints she encountered while serving as a JICA Japan Overseas Cooperation Volunteer in Benin, West Africa, in 2017. In 2021, she launched the brand Melanger Etranger, which features Lolita fashion made using African fabrics. The brand name, meaning “mixing things from overseas” in French, reflects its unique style that brings together the vibrant power of African fabrics, the elegance of medieval European style, and the playful pop aesthetic of Harajuku girls.

At the fashion show, outfits featuring Lolita fashion made from African fabrics purchased by Ms. Kobayashi at markets in Benin were showcased, along with pieces exhibited at the 2023 Milan Collection for Spring/Summer 2024. Ms. Kobayashi expressed her desire to create “completely new fashions never seen before” and said that “the appeal of Lolita fashion lies in how it allows one to connect with new communities through fashion.”

Three women sit on chairs on stage, engaged in conversation, with diverse cultural attire. — Talk Session: "Fashion as a Force for Social Change"

In the talk session titled "Fashion as a Force for Social Change," Ms. Yuka Kobayashi and Ms. Anieheobi Frances Chinwe from the Federal Ministry of Budget and Economic Planning of Nigeria spoke, with Chika Kondoh, TICAD Partnership Specialist at the UNDP Tokyo Office, serving as the moderator.

Ms. Frances Anieheobi emphasized that fashion serves as a powerful means of expressing one’s identity and cultural roots. She showcased diverse African designs and explained that traditional attire often signifies the wearer’s country of origin and cultural pride. She concluded her remarks by quoting Kwame Nkrumah: “I am not African because I was born in Africa but because Africa was born in me.”

In response to a question about the recognition of African textiles in Japan, Ms. Kobayashi noted a growing popularity—particularly in accessories such as handbags—and shared that over the past six months, more Japanese stores have started carrying these items. Kondoh added that while Japanese culture tends to favor subdued colors, incorporating African fabrics as accent pieces, like in small accessories, may help Japanese consumers become more familiar with and appreciative of the vibrant and colorful nature of African textiles.

Ms. Frances Anieheobi noted that African textiles have recently begun to attract global attention as a rising trend. As someone from Nigeria, she expressed her joy in seeing people from other countries wearing African fabrics. “Through textiles, I hope people around the world can discover African roots and identity, and come to know more about Africa,” she said. She also mentioned that in countries like Burkina Faso, traditional attire has been adopted as official dress, reflecting a growing movement to assert and celebrate African identity on the global stage.

Lastly, Ms. Kobayashi expressed her desire to engage with audiences beyond those already interested in African culture. She encouraged attendees to wear African textiles and actively share the beauty and richness of Africa with those around them. Ms. Frances Anieheobi added, “Africans are not just looking for business partners—they are looking for friends and family who truly understand and appreciate our culture.”

Closing Remarks

In her closing remarks, Chika Kondoh announced that “Africa Week” will be held at the UN Pavilion of Expo 2025 from August 17 to 24, with a central focus on African textiles. She explained that UNDP is particularly emphasizing youth engagement, and in preparation for “Africa Week,” they are working in collaboration with schools to introduce the cultural significance and appeal of African fabrics to children. The initiative also includes an exchange of illustrated letters between children in Japan and Africa, aiming to foster deeper mutual understanding and cross-cultural appreciation.

AFRI CONVERSE 2025 #2 demonstrated how textiles can transcend borders, becoming threads that connect the shared history, creativity, and future potential between Africa and Japan. Fabric emerged as a language of unity, presenting a bold vision of co-creation across continents.