Anyone who grew up in West Africa in the 20th century inevitably has wax print fabrics as a backdrop to their memories, from accompanying their mothers to endless fitting sessions at their tailors', to fabrics being neatly wrapped and given as presents on various occasions. But fast forward to 2023 and you can't help wondering if this world is not slowly disappearing, steamrolled by ready-to-wear, available in stores as well as through private, door-to-door traders. “People don't wear wax the way they used to. They're now more worn for special events, rather than on a daily basis, like back in the day,” says Patrick Edooard, a prominent Abidjan-based fashion journalist who also consults with a wax company there. This statement was confirmed by Aristide, a salesman I meet at Abidjan’s Cocody market.

Vlisco, the legendary purveyor of premium wax, is well aware of those changing mores, yet remains undeterred and sanguine. The first weekend of December, the brand took Abidjan by storm for the launch of its new creation, Satin Royal, a luxuriously glossy fabric that is a mix of cotton and lyocell. Made of wood pulp, lyocell is often likened to silk, for its soft touch and drape, as well as its resistance. The new product, which has been one year in the making, is an innovation for the Dutch brand. "Our printing process has a lot of layers and demands a lot for the fabric itself,” explains Daniel Arosemena, the brand's creative lead. “That was a challenge, since the fabric only contains 74 percent of cotton.” Yet thanks to the natural yarns and intricate weaving method, the results remain delightfully lightweight.

In order to lure a new generation of social media-first consumers to Vlisco, the company has made Didi Stone, a 1.8 million-follower Instagram sensation, the star of Satin Royal. "We did a collaboration with her last year so it felt like a natural connection,” adds Arosemena. “She comes from a culturally important family, her father (Congolese singer Kofi Olomide) being a key figure across the continent. Plus, she lives in Paris, so she gives a global perspective.”

On the morning of the big bash, Stone paid a visit to the fabric traders on the Rue du Commerce in Abidjan. Later in the evening, she swapped her wax pants ensemble in favour of a floor-sweeping Satin Royal dress, making an elegant entrance into the garden of Galerie Cécile Fakhoury, which had entirely been covered with a blue carpet. The fabric itself was presented like an art object in the gallery space, as hourglass-shaped gowns and Satin Royal samples showcased sweet floral and leaf patterns, some adorned with glitter. The guest-list included football player Didier Drogba, designers Sarah Diouf of Tongoro and Aisha Ayensu of Christie Brown, stylist Alexander Julian and many other regional fashion professionals and socialites who danced the evening away to music from Falana.

The genteel times continued at a chic foie gras and champagne brunch the day after, where Arosemena and select guests discussed the future of wax cloth. We agreed that Satin Royal is beautiful indeed, and the choice of Stone makes sense for Vlisco, her beauty and style appealing to a global audience. But the brunch's debate pointed to some soul searching for the industry. The reality is that wax is still worn, albeit differently. They are popular for occasions such as weddings (traditional weddings have been on the rise in the Côte d'Ivoire). Edooard also noted that occasionally, a celebrity, such as Solange Knowles a decade ago, can generate buzz around wax fabric. But young Ivorians don't wear it daily these days. Besides, these are premium products with a price out of reach of many.

In truth, the tug of war between wax cloth and ready-to-wear started way before Stone was even born. Take the landmark Ivorian movie Bal Poussiere, Henri Duparc's 1988 classic comedy about a polygamous man whose bevy of wives are separated into two groups: the pagneuses, who wore wax and were seen as traditional and old hat, and the robeuses, who wore dresses (their dresses, designed by Pathé Ouédraogo, also had some wax in them, but their styles were much more sophisticated and fashionable). Interestingly, around the same period, Woodin (part of the Vlisco Group) made a splash when it launched Miss and Jo, a line of neon-bright graffiti fabrics that every teenager wore as clothes or accessories. The infectious commercial also contributed in turning it into a phenomenon.

Since then, the story of wax print has naturally continued to evolve. We’ve seen the rise of contemporary African fashion brands on the international scene, many of whom, such as Christie Brown, Lisa Folawiyo, Ituen Basi and Gilles Touré, have kept wax print on the runways. As have the likes of Stella Jean, Burberry, Ozwald Boateng and Stella McCartney who have used wax in stand-out collections. But as the African fashion landscape has developed, innovations in indigenous textiles such as adire and aso oke have held increasing sway.

My bet then is that, in the same streetwise vein as we saw in the 1980s, sportswear and menswear, two thriving sectors across Africa, could be instrumental in making African wax fabrics fashionable for a whole new generation. Satin Royal is effortlessly glamorous and so could naturally take shape in myriad forms. And I'm sure those fearless tunnel walks by athletes like Jeremiah Owusu-Koramoah could also be of considerable help.