Kunjina Tesfaye on Growth and Preserving Artisanal Techniques

Handweaving, embroidery and  fabric manipulation are design elements that communicate stories about Ethiopia. “If you’ve seen photos of Ethiopians wearing the traditional white dress, it’s handwoven.”

Interview with Kunjina Tesfaye

When Kunjina Tesfaye talks about UDET, her eponymous fashion label Kunjina’s collection, growth radiates. UDET is a Geez word meaning cycle. Inspired by Ms. Tesfaye’s personal experience, this collection explores fear, productivity guilt, and growth. “It’s like a butterfly’s story or growth from the first stage, from the caterpillar stage into becoming a butterfly. I’ve used that metaphor to explain how a person goes through these stages to flourish and become the person they want. It’s a cycle. It’s not a one-time thing.”

Since her debut as a twentysomething with a degree in construction technology, Ms. Tesfaye’s life and creative approach have evolved. “Every time I make a collection I’ve grown – my designs and the brand and the aesthetics, everything has changed or has grown.” Today, Kunjina has developed into a platform for local artists. They lobby for growth, preserve traditional handcrafting methods, and promote eco-friendly practices. 

Transitioning From a Novice to a Specialist 

Embedding personal stories and cultures into Kunjina’s collections has always been Ms.Tesfaye’s focus. Her garment construction proficiency has evolved since her aunt gifted her a sewing machine while she was in twelfth grade. However, she admits that she needed more expertise in raw materials and the textile industry during her early years as a designer.

“I knew nothing about them. About the materials. If you have that humanity, you would not treat others (your employees) poorly. I knew that, but about materials? How much damage they cause to the environment and the earth? I had no idea. One of my teachers from the Africa Mosaic Incubator Program, told us to watch the True Coast. That was the beginning of my knowledge about sustainable manufacturing and the direction that I want to go.”

Fusing Traditional Ethiopian Craftsmanship With Contemporary Design Ideas

With this newfound information, she set out to discover and combine modern design principles with time-honored Ethiopian crafts. Each piece showcases the brand’s dedication to conserving these techniques. Handweaving, embroidery, and fabric manipulation are design elements that communicate stories about Ethiopia’s past and present. 

“I started to research the ways to use handmade natural fabrics that are widely available in Ethiopia, such as cotton. I would love to have linen and other natural materials if we had them in abundance. Cotton is abundant in Ethiopia. The weaving technique has been passed down through generations. It was one of the things Ethiopia was known for. If you’ve seen photos of Ethiopians wearing the traditional white dress, it’s handwoven.”

Artists, weavers, and tailors unite to create pieces rooted in ancient and contemporary Ethiopian culture

Ms. Tesfaye’s emphasis on better materials informed her brand and business strategy. Working with local artisans set the brand on a path of community and preserving culture. “In Ethiopia, people go to church wearing a Netela, a very thin, handwoven cloth used to cover the head. That tradition has been for centuries. When you think of Ethiopia, you think of that fabric. What are the ways to work with it? I don’t want to always work with white because that’s what’s widely available. It cannot be all white for me.” Ms. Tesfaye made it a point to put her stamp on each of her collections, which communicate personal stories and collaboration. 

Artists, weavers, and tailors unite to create pieces rooted in ancient and contemporary Ethiopian culture yet appealing to a global audience. “We changed the type of fabrics that we use. I was introduced to one of the weaver unions. The owner trained women who didn’t know anything about weaving. She trained them and then also invited other weavers who are actually trained, and then opened up a workshop.” This collaborative approach has helped keep traditional crafts alive and opened up new opportunities for the artisans involved. “The fabrics were produced using a handloom different from what is widely available in Ethiopia. The most available, the width is like 80 centimeters. The loom that they had was very wide.  It was up to two meters, which changed the game because all this time, all these centuries, we were using the other material.  So, if you want a very wide piece of fabric, you need to stitch them. They also had different colors.”

Kunjina Tesfaye – Adapting, Growing, and Preserving

Like many other developing-world labels, Kunjina isn’t immune to problems like limited access to sustainable materials, unskilled labor, and domestic and global markets, no matter how big its success is. Still, in Ethiopia’s market dynamics, a small but devoted group of visitors and expats are familiar with and appreciate the practicality and quality of Kunjina’s ready-to-wear garments. “Most of our customers were foreigners since I do ready-to-wear. Ethiopians are not used to local brands doing these pieces. So when they imagine designers, they always think of something to wear for weddings or occasions, and then they have to go somewhere else and get measured. That’s the norm.”

Looking back on her entrepreneurial path, Ms. Tesfaye recalled the years spent working out of her shop near the airport area, a move that brought in a broad and transient customer base. However, the unforeseen circumstances brought about by COVID-19 necessitated a relocation. This change symbolized the adaptability and resilience required to navigate the volatile landscapes of modern business. Kunjina’s clientele shifted then, and more Ethiopian people began buying from the brand and learning more about the production process. “A lot of people didn’t understand that you know, it takes a lot to make that garment. Just because it’s produced in Ethiopia, people think it should be cheaper than the ones brought in from outside.”

The Local Textile Sector’s Tenacity

The need to inform consumers about the higher quality and inherent worth of locally made clothing compared to its imported alternatives is something that Ms. Tesfaye discusses at length, as is her commitment to the business’s educational component. “It’s about knowing where you source from and who you source from. After making the garments, we also tell our clients who are curious or want to know where we source our fabrics or anything they want to ask about the business or the supply chain. We’re open to answering and communicating with our customers.” This narrative is not unique to the Kunjina brand but is echoed across the Ethiopian apparel design landscape, as indicated by similar efforts from other designers. 

There is an emphasis on the production process, which demands more time and attention to detail. According to Ms. Tesfaye, this approach proves the local textile industry’s commitment to excellence and hard work. “And so we have to tell every single one of them that this is actually more expensive than the other because of mass production, like the whole process, from buying the fabrics to producing everything. Mass is less costly. And here, we delicately do one garment, you know, taking our time. So, not only me, but other designers that were popping up at that time used to inform their customers. So, it  changed; it somehow evolved the Ethiopian fashion landscape.”

Kunjina Tesfaye is an Ethiopian fashion designer known for her designs that fuse traditional Ethiopian elements with modern aesthetics. Her brand, Kunjina, has garnered attention both locally and internationally. Kunjina Tesfaye adds to the worldwide dialogue on conservation, identity, and design by highlighting her personal stories and Ethiopia’s cultural heritage through her pieces.

Faith Katunga