Ankara is a printed cotton cloth, produced in a variety of patterns formed by the layering of polychromatic dyes. Fashionable in West and East Africa since the late 19th century, ankara is variously known as 'African wax' or 'Dutch wax' print – despite wax rarely being used in its manufacture. Embodying the overlapping colonial interests that prevailed in the region and beyond, the cloth has a complex history – rooted in trade monopolisation and cultural appropriation, yet acting as a conduit for African agency and resistance.

Originally produced in the Netherlands, ankara emerged from experiments to mechanically replicate batik, an Indonesian wax-print cloth traditionally developed by hand. Early Dutch attempts roller-printed a resin-resist onto both sides of the cloth before dyeing; the resist was then washed out, with additional layers of colour added by repeating this process, hand-blocking and/or roller-printing. The intended export market of Indonesia did not respond well to this imitation batik, as the resin was prone to cracking and bubbling, producing defects in the print. A keen market for the cloth did, however, emerge across West Africa in the 1890s, such that several factories – chiefly in Britain and the Netherlands – began producing ankara with this new customer in mind. Responding to market feedback on popular colours and patterns, European producers adapted ankara designs to suit the tastes of their discerning West African customers. In a collaboration between the consumer, dealer and manufacturer, local sellers would inform European merchants which styles were in demand and suggest motifs that would likely sell well.

By the early 20th century, a cheaper and more refined method of ankara production had been developed. Sometimes called 'fancy prints', these ankara are roller-printed with a design on one side of the cloth only, eschewing the use of a resin-resist. Many examples of this later ankara purposefully include the imperfections that originally marred Dutch attempts to replicate batik – alluding to the more esteemed resin-resist technique. Decades after its arrival, independence from colonial rule saw the production of ankara relocate to the continent, when African competitors established their own rival businesses. Ankara designs during this time often featured political symbols and slogans, celebrating a new era of independence. For many, ankara remains a powerful signifier of West African identity, reinforcing personal style and national pride.

This particular cloth is an early example of ankara produced in Europe for the West African market made by Brown Fleming Ltd., the company founded by the Scottish trader Ebenezer Brown Fleming. Fleming was the first merchant to import imitation batik wax prints to the Gold Coast (now Ghana) in 1893, and was instrumental in the development and successful marketing of ankara. The print is double sided and features pale blotches and misaligned block-printing, all features of genuine resin-resist dyeing. The borders between the three main panels exhibit the tell-tale cracking effect, a result of the resin cracking when being roller-printed, meaning that small areas of inidgo dye seep through. The ochre colour has been hand block-printed after the initial indigo dyeing process, and suffers from a subtle misalignment. This may be due to the cloth stretching after the initial roller-printing. The left and right dresses feature a central motif on the skirt known as' turtle back', which is derived from traditional Indonesian batik designs. The bisected square motif on the central dress is also taken from Indonesian batik, specifically a design of diagonally separated dark and light areas known as 'night and day.' Whilst the hand, heart and peacock motifs are seen in later examples of ankara, this particular design and configuration of motifs is rarely seen, suggesting it did not sell well in the West African market.