Founded in Helmond, the Netherlands, in 1846, the Vlisco Group and their fabrics have grown into an essential part of African culture, receiving widespread attention from the art, design and fashion worlds.

In the second half of the 19th century, Fentener van Vlissingen started exporting imitation batiks to what was then called the Dutch East Indies after he was told by his uncle that there was a pressing need for affordable fabrics.

Thanks to the invention of roller printing, it was possible to recreate the batik look a lot less labour-intensively, which meant that Fentener van Vlissingen could produce it quicker and sell it cheaper than local craftsmen could.

Since the Dutch had been dealing in European luxury goods with West-Africans since the Late Middle Ages, it seemed a logical step to move selling activities to that region.

Another reason is that the fabrics sold in Indonesia had become popular among the Belanda Hitam, Ghanaian soldiers who served in the Royal Netherlands East Indies Army and returned home between 1837 and 1872.

[1]: 30 By the time the 20th century rolled around, West- and Central Africa were growing into a booming textile market and by the 1930s the 'wax hollandais' cloth's designs were being adapted to local tastes.

[3] Over time, The Vlisco brand has developed a highly sophisticated production process, whereby the fabric goes through 27 treatments, both by machine and by hand, and takes two weeks to produce.

Four times a year, the Group launches a new collection of fashion fabrics under their premium luxury flagship brand Vlisco, designed and produced in Helmond.

Since it was established in 1846, Vlisco designs and fabrics, have grown to become an essential part of African style culture, with deep-rooted influences across all layers of society.

[5]: 92 In the realms of art, Vlisco fabrics are extensively used by British-Nigerian artist Yinka Shonibare, who dresses headless mannequins in baroque gowns and suits, to challenge Western colonial history.