Kente, as most Accra Evening News readers would know, is a traditional, hand-woven textile often made from narrow strips of silk, rayon or cotton. It is sewn edge-to-edge with the use of a hand-driven loom and produced by specific ethnic communities in Ghana and Ivory Coast generally. For the benefit of our new readers, it is important to note that,

Kente is more than a fabric but a living historical treasure trove of philosophy, identity and collective memory.

The generic term ”Kente” actually refers to a diverse set of textile traditions. Depending on the origin, the patterns may refer to a historical event, proverb, or iconography that bears remembrance among a particular ethnic group. The context of each individual kente cloth as well as the technique that spawned it, will reveal not only the craftsman (or woman) but also the culture from which it came.

It is a cloth worn similar to the Roman Toga

You may have read recently that in late September 2025, the government of Ghana officially registered ”Kente” as its first geographical indication (GI). The ceremony held at the La-Palm Royal Beach hotel was organised by the Registrar General’s department of the Government of Ghana in collaboration with WIPO (World Intellectual Property Organisation). More than mere ceremony, this marks an important cultural and historical milestone.

Kente in itself holds a cultural touchstone of black culture worldwide. From the recognisable Akwaaba Icon portrait to the kente stoles worn around the shoulders of graduates the world over, to its ubiquitous presence in black diasporic celebrations including its use as political symbolism, e.g. When US democrats wore it in protest of the death of George Floyd.

Image courtesy of Getty Images ©

What is a Geographical Indication – GI ?

In simple terms a GI is a legally acceptable label that says, ”only products from this particular geographical area bearing specific qualities deserve to be referred to as such.” It is not a far fetched concept but one that is all too familiar in our everyday parlance constricted by our consumer habits and preferences. Without realising it we already instinctively associate certain goods with their places or origin based upon which we have learnt to trust their authenticity. It is more than a ”Made in China” mark but a guarantee that the product’s quality and legitimacy is protected.

Consider that every bottle of ”Champagne” you have ever purchased or consumed is legally protected to a greater extent than most products. Originally registered by France in 1967, Champagne refers to sparkling wine that originates from the geographical region of Champagne; constituting 34,300 hectares within Grand Est, Hauts-de-France, and Ile-de-France. Beyond geography, products bearing the label must be produced according to specific conditions from particular vineyards. The abuse of this label may constitute an infringement upon this protected form of French Heritage. A similar rationale underpins the protection of Scotch whisky from Scotland, and Tequila from Mexico. Hence why the generic term for Champagne is sparkling wine. 

‘’Every Champagne is a sparking wine, but not every sparkling wine is Champagne.’’ 

So, what did Ghana do to earn this geographical indication (GI) for its particular variation of locally woven cloth, now protected under the label, Kente? After all, weaving is not unique to any particular culture. Asian cultures, among others have well documented weaving traditions stretching back thousands of years. Well, interestingly, it didn’t happen overnight. Ghana has been fighting to protect this element of its original cultural heritage for decades. The erosion of the authenticity of Kente has been a long-standing threat to its preservation and long-term commercialisation.

An Empirical Necessity

In more recent times, lower-quality and cheaper imitations (mostly from China) have been mass-produced ; going as far as penetrating both international and local markets. This affects not only the pocket of the local weaver but also the international perception of kente. Over time this erodes the cultural significance and context of original kente and risks creating a broader umbrella term void of the authenticity, symbolism and ancestral veneration. Very soon kente may simply become a colloquial term for a generalised ‘’African fabric’’. 

Ghanaian copyright laws up until this point were woefully inadequate to guarantee wholistic protection of kente globally. The Copyright Act of 2005 protects specific artistic expressions such as specific patterns or designs but not the broader cultural heritage or link to a particular place of origin. 

Moreover, it does not prevent third parties from creating ‘’kente inspired’’ textiles under the same umbrella. Scores of academic scholars such as Michelle Okyere have written extensively on the need for legal reform, providing the legal basis and recommendations for its protection. This applies not only to kente woven today, but includes that of antique cloths sold as rare collectibles on the international market. Collectors such as Amadu Baba of Amba Gallery have spent decades preserving the most exclusive and rare pieces some up to 100 years old. GI protection safeguards their authenticity and extends cultural and economic value for generations to come. 

Against this backdrop the WIPO has been working with the government of Ghana since the early 2000’s to understand the cultural significance and unique qualities that have engendered Ghana this global reputation for kente, providing technical support and guidance to establish a legal framework that recognises and protects the textile as a Geographical Indication. This involves deepening local capacity to identify and authenticate kente from Ghana thus ensuring compliance. 

The new GI ties the label Kente to a specified geographic origin, specifically Bonwire, Tafi-Atome, Adanwomase, Agotime-Kpetoe, and Agbozume in the Ashanti and Volta regions of Ghana, respectively. While this doesn’t settle the debate about the true origin of kente, it does help to uphold clear product specifications, including weaving techniques, materials, and market linkages. In principle, this should do a long way to guarantee that each and every cloth ”wearing” the Kente label reflects the traditions, cultural values and standards enforced by these local communities for centuries.

You may be thinking that this may exclude weaving communities in Ivory Coast. Although there are aesthetically similar textiles based on a shared Akan heritage, weavers from Ivory Coast have also evolved their own traditions and standards. Despite the resemblance, Ivorian textiles are culturally distinct. Often referred to as ”Kita” and Baoule Kente they deserve their own GI not to be misrepresented under the legal framework of Ashanti and Ewe Kente from Ghana.

Challenges and Opportunities facing Kente as a GI

The major challenge following the official GI registration will be enforcement. Government of Ghana must develop clear and strict mechanisms. For example Champagne is governed by an industry body known as the Comité Champagne which is empowered with legal authority to regulate and enforce GI standards worldwide. In the same vein, the Tequila Regulatory Council serves a similar function.

GOG must constitute a similar body to define technical specifications, issue certifications and represent Ghana visibly in legal or trade disputes. Furthermore, these standards can be enforced through multilateral agreements, and the adoption of a QR-code enabled label for global authentication and verification. This may sound futuristic but this may be just the sort of measure that will ensure transparency and consistency in the years to come. Without international cooperation particularly in export destinations, active enforcement globally will be impractical.

Image courtesy of Indelibl Arts ©

Another challenge may come from the digital interpretation of Kente. To what extent can printed textiles or digital prints be referred to as Kente? Given the new GI status, these derivatives may be relegated to a variant label under ”Kente Print” similar to how Silk and leather have ”Synthetic leather” or ”artificial silk” variations clearly distinguishing between the authentic and the variant. This may become inevitable given the rapid advancements in technology and potential increase in consumer demand. If properly marketed, the production capacity may not meet global demand. Ironically, it may be necessary to maintain the price inelasticity and exclusivity of original Kente from Ghana.

The opportunity for Ghana to capitalise on the global appeal of Kente is immense and should go beyond GI registration. The symbol of Kente has become shorthand for Black pride across popular culture, and in contemporary fashion, it transcends regional geography. Nonetheless, it is important to leverage this visibility to protect and honour the traditions of its originators while at the same time developing an economically viable framework that benefits the communities that have sustained its development for centuries. This requires local and international co-operation, training and fair trade mechanisms to strengthen protection measures and increase visibility of Kente within a globally recognised ethical framework.