The manufacturing landscape of African print textiles has undergone a major shift in the 21st century, with production moving largely from Europe to China. While these vibrant textiles remain a cultural symbol across the continent, the dominance of “Made in China” products has dramatically altered the economic and social dynamics of the trade — especially for the Togolese women who long controlled its retail and distribution.
Chinese Prints Overtake Traditional Dutch Fabrics in West African Markets
For decades, Dutch manufacturer Vlisco, established in 1846, held a near-monopoly on African print textiles supplied to West Africa. But over the past 25 years, Chinese factories such as Qingdao Phoenix Hitarget, Sanhe Linqing Textile Group, and Waxhaux Ltd have gained substantial market share, producing lower-cost alternatives that now dominate markets like Togo.
Researchers focused on Togo’s capital, Lomé — the region’s historical trading hub — to explore the impact of this shift. According to interviews with over 100 traders, officials, and suppliers, Chinese textiles have taken over the market. In Lomé’s Assigamé Market, six yards of Chinese-made fabric sell for around 9,000 CFA (US$16), compared to over 50,000 CFA (US$87) for Dutch-made Vlisco cloth. Estimates suggest that by 2019, 90% of African print textiles arriving at Lomé’s port were from China.
Rise of the “Nanettes” Reshapes Togo’s Textile Trade Landscape
This affordability has eroded the dominance of Togo’s once-powerful women traders known as the Nana-Benz, named after the luxury cars they drove. These women played an influential role in the country’s political and economic life throughout the mid-20th century, benefiting from tax incentives and helping shape the designs and names of fabrics imported from Europe. Once numbering around 50, the Nana-Benz have now dwindled to about 20 and largely serve as boutique retailers under strict contracts with Vlisco.
In their place, a new generation of traders called the Nanettes has emerged. These younger women source textiles directly from China, advise on designs, and distribute fabrics throughout West Africa. Some have developed their own brands like Femme de Caractère, Rebecca Wax, and GMG. Despite their entrepreneurial spirit, the Nanettes operate with narrower profit margins and limited political clout compared to their predecessors.
While Chinese textiles arrive as unfinished fabric, local tailors and designers still add value by transforming them into garments tailored to African tastes. However, researchers warn that growing Chinese involvement in distribution and retail — especially post-COVID — threatens to further marginalize local actors from the textile value chain.
As China’s role expands from manufacturer to trader, preserving the role of local Togolese women in the sector — as cultural intermediaries and economic contributors — is crucial for sustaining both livelihoods and local heritage.
