What became known as the Angelina was designed by Vlisco textile designer Toon van de Manakker (1927–2015). Drawing inspiration from intricate geometries observed in photographs of traditional Ethiopian garments, such as Coptic funeral cloths and ceremonial tunics, van de Manakker reimagined these elements to create a Java design in 1962. While the creation involved extensive hand-drawn motifs, the striking visual resemblance to these traditional garments has since prompted important reflections on historical
context and the design process.

Following the Civil Rights Act of 1964, the print gained traction in the United States, particularly through its use in dashikis, which became a powerful symbol of Black cultural pride. By the late 1960s, it had become a recognizable emblem of Afrocentricity across the diaspora. Worn by cultural icons such as Muhammad Ali, Jimi Hendrix, and Miriam Makeba, the dashiki became both a celebration of heritage and a statement of resistance. Nigerian musician Fela Kuti once remarked how seeing Black Americans embrace dashikis inspired Africans: "We were even ashamed to go around in national dress until we saw pictures of [Black Americans] wearing dashikis on 125th Street." Today, contemporary interpretations of the Angelina print continue to appear on global celebrities, including Rihanna, Zendaya, and Beyoncé.

But why is it called Angelina? The print’s popularity surged in 1970s Ghana, coinciding with the release of Angelina by The Sweet Talks, which helped link the garment to the country’s vibrant music scene. However, the design carries different names across regions. In Congo, it has been known as Miriam Makeba or, more recently, Ya Mado, referencing dancers who wore the fabric in Congolese singer Fabregas’s music video.

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