geometric patterns

Fit for royalty, this traditional wrap scarf combines mulberry and white to create geometric patterns. Ghana's Akoma of West Africa creates this fringed scarf, which is woven by hand.

In colors of kelly green, maize, and charcoal, zigzags, geometric patterns, and small stripes decorate this Ghanaian shawl. Akoma of West Africa presents this scarf, which is handwoven from a rayon and cotton blend to create three strips of kente fabric that are sewn together.

Fit for royalty, this traditional shawl combines mulberry and white to create geometric patterns. Ghana's Akoma of West Africa creates this fringed shawl, which is woven by hand to form four strips of kente fabric that are sewn together. This shawl's width allows it to double as a scarf.

Handwoven from a rayon and cotton blend in the traditional style of kente cloth, this beautiful wrap scarf is fit for royalty. Ghanaian artisan Rachel Armah creates this fascinating accessory, which features stripes, zigzags, and geometric patterns in tones of tangerine, saffron, chartreuse, leaf, and cornsilk.

Fatia is a name bestowed upon female children of the Ashanti people in northern Ghana. Hannah Dodoo crafts this set of a tote bag and three accessory cases from abright print, the vivid designs representative of the symbolic kente cloth of the Ashanti culture. Geometric patterns clash in tones of blue and yellow, red and green, resulting in an attractive complement for casual attire.

The tote bag features a convenient cinch cord, while the three accessory cases close by means of a sturdy zipper. Ideal for storing makeup, sunglasses, pens and pencils, and loose change.

Forever inspired by the vibrant colors adorned during traditional celebrations and festivities, artisan Rachel Armah uses lively shades of indigo, maize, and crimson to create this stunning kente scarf. The Ghanaian artisan uses a traditional loom to create the rich cotton blend kente fabric, typical to the Akan ethnic group of West Ghana. The scarf is called obaapa, meaning "virtuous woman" in the Ghanaian Akan language.

The intricate texture in this handsome kente cloth shawl is inspired by beach pebbles. Designed by a fisherman around 1898, its name means "pebbles of the shore are hard to crack." The tiny blocks of pattern represent the thoughts of that ancestral craftsman. Handcrafted by the Gobah Tengey-Seddoh Family, this extraordinary double weave textile is one of the most difficult patterns to achieve. These expert weavers use traditional looms and a cotton blend.

Each strip requires considerable effort, and the looms are worked with both hands and feet. Strips are generally three to four inches wide and seven to ten feet long, and the length of time it takes to complete one strip varies by the complexity of the chosen pattern. The simplest use mostly vertical, or warp patterns, and an experienced weaver can make several of those in one day. But patterns with nearly all weft (horizontal thread) patterns, where the warp design is hardly visible, can take up to four days to complete an individual strip. Each color has its own meanings in Asante culture. Green is fertility and new harvest, gold is royalty, black is strength, aging, and spirituality, while white is purity. The patterns themselves are carefully chosen symbols, which a master weaver develops and names, often to honor people, historical events, or proverbs.

Exuding a regal vibe, this traditional shawl is created by the talented artisans of Ghana's Akoma of West Africa. A variety of vibrant colors combine to create striped patterns, woven by hand from a rayon and cotton blend in the kente style. This shawl features four strips of the classic fabric that are sewn together.

Golden yellow stool thrones alternate with black and white squares and stripes in this bold cotton kente scarf. Ghana's Gobah Tengey-Seddoh Family selects the Fiazikpui pattern for a scarf of three fabric strips.

The Fiazikpui motif is created primarily on the weft, or horizontal threads of the loom. The design, which means, "Seat of a King," originated in the 14th century to honor one of the head chiefs or kings of what is now Ghana.

Each strip requires considerable effort, and the looms are worked with both hands and feet. Strips are generally three to four inches wide and seven to ten feet long, and the length of time it takes to complete one strip varies by the complexity of the chosen pattern.

Golden yellow stool thrones alternate with black and white squares and stripes in this bold cotton kente scarf. Ghana's Gobah Tengey-Seddoh Family selects the Fiazikpui pattern for a scarf of two fabric strips.

The "Fiazikpui" motif is created primarily on the weft, or horizontal threads of the loom. The design, which means, "Seat of a King," originated in the 14th century to honor one of the head chiefs or kings of what is now Ghana.

Each strip requires considerable effort, and the looms are worked with both hands and feet. Strips are generally three to four inches wide and seven to ten feet long, and the length of time it takes to complete one strip varies by the complexity of the chosen pattern.

Golden yellow stool thrones alternate with black and white squares and stripes in this bold cotton kente scarf. Ghana's Gobah Tengey-Seddoh Family selects the Fiazikpui pattern for a scarf of one single fabric strip.

The "Fiazikpui" motif is created primarily on the weft, or horizontal threads of the loom. The design, which means, "Seat of a King," originated in the 14th century to honor one of the head chiefs or kings of what is now Ghana.

Each strip requires considerable effort, and the looms are worked with both hands and feet. Strips are generally three to four inches wide and seven to ten feet long, and the length of time it takes to complete one strip varies by the complexity of the chosen pattern.

Woven by hand, three strips of traditional West African kente cloth become a colorful scarf. Deborah Osei Boakye continues her grandfather's craft with this extraordinary design. Each strip of kente cloth requires considerable effort, and the looms are worked with both hands and feet. Each color has its own meanings in Ashanti culture, and the patterns themselves are carefully chosen symbols, which a master weaver develops and names. This design is named Nsatsia, meaning "fingers" in the Akan language. Its motifs suggest interlocking fingers from both hands.