Samantha IJsbrandy 5/22/24 Samantha IJsbrandy 5/22/24

BLLNR The Impact Issue 34

Beautiful article about AAAA Textile Totems and the process of making them.
Text: Clara Le Fort. Photography: Birgitta de Vos.

In a world increasingly dominated by algorithms and mass production, AAAA—Atelier Autodidacts Anti-Algorithms—stands as a testament to the power of traditional craftsmanship. Featured in BLLNR’s Impact Issue 34, the article by Clara Le Fort, accompanied by the evocative photography of Birgitta de Vos, delves into the story of this remarkable collective of Malian artisans who are preserving the age-old art of Bogolan textiles.

AAAA was founded in 2018 when artist and former fashion designer Birgitta de Vos was invited to Mali as part of a United Nations initiative to explore trends in African fashion. What she discovered was both inspiring and concerning. The traditional Malian Bogolan—handmade cotton fabric dyed with fermented mud—was being replaced with chemically dyed fabrics catering to the tourist market. Ancient techniques were disappearing in favor of commercial shortcuts. De Vos saw an opportunity to encourage artisans to reconnect with their roots, valuing their own heritage over global trends.

With initial funding from the EU, AAAA was formed as a cooperative of artisans committed to reviving and sustaining authentic Malian textile traditions. The process of making a Bogolan is entirely manual and deeply labor-intensive, from picking and spinning the cotton to weaving, dyeing, and hand-painting each unique piece. Natural dyes are derived from locally grown herbs, while mud from the Niger River is used to create intricate patterns. Traditionally, these textiles hold spiritual significance and are believed to possess protective qualities.

Today, AAAA consists of 50 artisans, men and women of all ages, who take great pride in their craft. Producing around 1,800 pieces annually, they focus on quality over quantity, resisting the pressures of fast production. The process is slow and seasonal—rain affects drying times and alters colors—but this organic rhythm is part of what makes each piece so special. AAAA’s mission is not just to preserve an art form but to ensure artisans achieve financial independence and work in better conditions. Women, in particular, benefit from the flexibility to spin cotton from home while supporting their families.

AAAA’s approach is about empowerment, not dependency. By mentoring artisans to take full ownership of their ateliers, the collective fosters a sustainable future, proving that slow design can be both beautiful and transformative.

Samantha IJsbrandy 5/2/24 Samantha IJsbrandy 5/2/24

Happinez France Slow Design au Mali

Slow design au Mali, AAAA featured in Happinez.
Interview with Birgitta de Vos.
Text: Dorien Vrieling. Photography: Birgitta de Vos.

La Renaissance du Textile Malien : La Naissance des Totems Textiles AAAA

Les textiles maliens portent une tradition riche – des tissus en coton tissés à la main, peints avec de la boue fermentée dans des tons terreux. Les motifs, souvent simples, sont pourtant profondément symboliques. Lorsque Birgitta de Vos s’est rendue au Mali pour la première fois il y a 15 ans, elle a été surprise de constater que les Bogolans authentiques devenaient rares. À leur place, des tissus aux couleurs vives et aux motifs complexes dominaient le marché, répondant à la demande touristique. Bien qu’elle comprenne que les artisans dépendent de cette activité pour vivre, elle ressent une perte : les techniques ancestrales et les récits culturels liés aux textiles traditionnels disparaissent.

Un Pays en Transition

Récemment, Birgitta est retournée au Mali et a constaté à quel point la situation avait changé. En 2005, elle pouvait voyager librement, mais aujourd’hui, en raison de l’instabilité et des attaques terroristes fréquentes, se déplacer en toute sécurité est devenu bien plus difficile. Le tourisme a pratiquement disparu, laissant de nombreux artisans sans marché. C’est dans ce contexte qu’elle a été sollicitée par la prévisionniste de tendances Lidewij Edelkoort, elle-même approchée par l’Organisation mondiale du commerce, afin d’aider les artisans à développer des moyens de subsistance durables et ainsi réduire la migration forcée.

De la Tradition à de Nouvelles Formes

Birgitta a entamé un dialogue avec les artisans locaux pour explorer leurs compétences et comment elles pourraient être ravivées de manière pertinente. À travers ces échanges, elle a découvert la signification profonde des motifs traditionnels. Il y a des siècles, les chasseurs portaient des tissus Bogolan pour se protéger, croyant que les symboles les protégeaient des esprits malveillants.

Les artisans lui ont montré de fines bandes de coton tissées à la main, et elle a immédiatement perçu leur potentiel. C’est ainsi qu’est née l’idée des Totems Textiles AAAA. Pour elle, le tissu était déjà parfait – il n’avait besoin de rien d’autre, juste d’une simple tige en bois pour être suspendu. Au départ, les artisans étaient perplexes face à cette approche minimaliste, mais avec le temps, ils en ont saisi la beauté et la pureté.

Un Retour aux Racines

Les Totems Textiles AAAA ont relancé les techniques traditionnelles. Les artisans ont abandonné les teintures chimiques au profit de pigments naturels, et les maîtres tisserands ont transmis leur savoir-faire aux jeunes générations. Plus tard, la collection s’est enrichie de coussins ornés de motifs Bogolan.

C’est du slow design, explique Birgitta. Tout est fait à la main – de la récolte du coton au filage, au tissage et à la teinture. Rien ne doit être précipité.

Un Avenir Durable

Bien que la pandémie ait ralenti les activités d’AAAA, la production et les ventes se sont poursuivies. L’atelier Atelier Sukha, basé à Amsterdam, soutient le projet en apportant une formation sur la logistique et l’expédition. Pour l’instant, les produits sont vendus depuis les Pays-Bas, mais l’objectif à long terme est que les artisans maliens gèrent l’ensemble du processus de manière autonome.

Ce n’est pas un projet éphémère, affirme Birgitta. AAAA appartient aux artisans. Nous les accompagnons jusqu’à ce qu’ils soient totalement indépendants. En seulement deux ans, elle a constaté les effets positifs : des familles retrouvent une stabilité, des enfants vont à l’école, et les artisans reprennent en main leur savoir-faire.

À l’avenir, Birgitta imagine un monde où les voyageurs viendront dans les villages maliens pour découvrir le Bogolan en immersion. Je vois déjà des gens les pieds dans la boue, apprenant à teindre les tissus selon la méthode ancestrale, dit-elle avec une lueur d’enthousiasme dans les yeux.

Cette vision illustre sa philosophie plus large : revenir à l’essentiel. Plus une chose est simple, plus elle porte d’âme, dit-elle. Les gens ressentent la force de ces textiles, même s’ils ne savent pas l’expliquer. Je crois que c’est parce qu’ils sont faits avec amour, à la main, en harmonie avec la nature et la tradition.

Samantha IJsbrandy 5/2/24 Samantha IJsbrandy 5/2/24

Seasons In the colours of Mother Earth

In the colours of Mother Earth. AAAA featured in Seasons, interview with Sam IJsbrandy - Atelier Sukha.
Text: Laura Gommans. Photography: Birgitta de Vos, Mirjam Bleeker & Frank Visser.

AAAA – Atelier Autodidacts Anti-Algorithms: A Testament to Craft, Culture, and Sustainability

AAAA – Atelier Autodidacts Anti-Algorithms – is more than a collective; it is a movement. Owned and led by Malian artisans, it stands as a bold commitment to preserving ancestral craft while forging a sustainable path for future generations. Under this label, artisans create exquisite cushions and textile totems using Bogolan fabric, a deeply symbolic and time-honored Malian textile, dyed with fermented mud and infused with the wisdom of nature. In an intimate conversation with Sam IJsbrandy of Atelier Sukha, the intricate techniques, cultural heritage, and philosophy behind AAAA are brought to light.

The Spirit of Bogolan: A Living Tradition

Bogolan, or Bògòlanfini, translates to “made from mud.” But this textile is far more than fabric; it is a carrier of meaning, a sacred cloth woven into the identity of Mali. Its creation follows an entirely manual, deeply intentional process, passed down through generations. Handwoven cotton strips, known as finimugu, serve as the foundation, while the dyeing process harnesses the power of native plants and river mud, both rich in medicinal and protective properties.

For centuries, Bogolan was worn by hunters who believed its patterns shielded them from harm, acting as both physical and spiritual armor. Women used it in initiation rites, recognizing its connection to transformation and protection. In Mali, this cloth is often called a medicine fabric, as it is thought to absorb negative energies and bring balance to the wearer. Each step in its making reflects this philosophy—an intricate dance between human hands and the natural world.

A Craft Rooted in Patience and Mastery

The creation of Bogolan is a labor of devotion. It begins with cotton, hand-spun and woven into narrow strips on traditional looms. The fabric is then soaked in a leaf infusion, giving it a warm golden hue, before being left to dry under the Malian sun. The magic unfolds when artisans apply fermented mud from the Niger River, a natural pigment rich in iron. Layer by layer, over days or even weeks, the fabric is carefully painted and re-dyed, deepening into an intense black while delicate, ochre-hued patterns emerge. This slow, methodical process demands patience and precision, yet no two pieces are ever the same—each cloth is a singular expression of its maker’s skill and vision.

Symbols That Speak

Bogolan’s power lies not only in its materials but also in its symbolism. Patterns carry meaning, passed down within artisan families for generations. Each motif tells a story—of protection, healing, good fortune, or the balance between humans and nature. For the AAAA collection, eight patterns were carefully selected, each a thread in the vast tapestry of Malian heritage. These designs do not merely decorate; they communicate, preserving ancestral knowledge in woven and dyed form.

A Contemporary Tribute to Tradition

AAAA’s textile totems honour this tradition while offering a fresh perspective. Malian textiles have long been woven in narrow strips and stitched together to form larger cloths. Instead of merging them, AAAA chose to celebrate their original form, allowing each handwoven strip to stand alone as a piece of art. Suspended from a simple wooden rod, these totems embody the philosophy of minimal intervention—letting the fabric speak for itself, in its purest state.

Each piece in the AAAA collection is a bridge between past and future, rural craft and global appreciation. The cushions, adorned with Bogolan motifs, are tactile stories—woven, dyed, and patterned by hands that carry generations of knowledge. These textiles are not merely objects; they are echoes of time, shaped with reverence for the land and the artisans who bring them to life.

Collaboration with Ethical Fashion Initiative

AAAA was born from a vision of resilience and self-sufficiency. In partnership with the Ethical Fashion Initiative (EFI)—a program backed by the EU and UN to connect artisans with international markets—AAAA provides a sustainable model where tradition thrives, artisans are fairly compensated, and their autonomy remains intact. Art director Birgitta de Vos, in collaboration with Atelier Sukha, played a pivotal role in bringing these handcrafted treasures to a wider audience while ensuring that the artisans remain the rightful stewards of their craft.

The Philosophy of AAAA: Craft Over Algorithms

The name Atelier Autodidacts Anti-Algorithms speaks volumes. It is a statement of intent, a defiance against mass production and digital shortcuts. The artisans of AAAA are self-taught masters, working with their hands, guided by intuition and inherited wisdom. Their work is slow, deliberate, and deeply human—each imperfection a mark of authenticity, a testament to the organic rhythm of handmade creation.

In a world driven by algorithms, automation, and instant gratification, AAAA is a reminder of another way—a way where time is respected, materials are honored, and every piece carries the soul of its maker. These textiles are more than products; they are narratives woven with care, dyed with the essence of the earth, and imbued with the spirit of a craft that refuses to fade.

Through AAAA, Malian artisans are not only preserving their heritage but reclaiming their future—on their own terms, in their own time, with the quiet strength of a tradition that endures.

Samantha IJsbrandy 5/2/24 Samantha IJsbrandy 5/2/24

Happinez NL Slow Design in Mali

Slow design in Mali, AAAA featured in Happinez.
Interview with Birgitta de Vos.
Text: Dorien Vrieling. Fotografie: Birgitta de Vos.

The Revival of Malian Textile: The Birth of AAAA Textile Totems

Malian textiles carry a rich tradition—handwoven cotton fabrics, painted with fermented mud in earthy tones. The designs are often simple yet deeply symbolic. When Birgitta de Vos first visited Mali 15 years ago, she was surprised to find that original Bogolan textiles were becoming rare. Instead, brightly colored fabrics with intricate patterns dominated the market, catering to tourists. While she understood that artisans depended on this trade for their livelihood, she felt a sense of loss. The authentic techniques and cultural narratives behind traditional textiles were fading.

A Country in Transition

Birgitta recently returned to Mali and saw how much had changed. In 2005, she could travel freely, but today, due to instability and frequent terrorist attacks, moving around safely is much harder. Tourism has nearly vanished, leaving many artisans without a market. This was the reason for her visit: at the request of trend forecaster Lidewij Edelkoort, who had been approached by the World Trade Organization to help artisans build sustainable livelihoods and reduce forced migration.

From Tradition to New Forms

Birgitta engaged with local artisans to explore their skills and how they could be revived in a meaningful way. As they spoke, stories emerged about the deeper meaning of traditional patterns. Centuries ago, hunters wore Bogolan fabrics for protection, believing the symbols shielded them from evil spirits.

The artisans showed her narrow, handwoven cotton strips, and she immediately saw their potential. This became the foundation for the AAAA Textile Totems. To her, the fabric was already perfect—it needed nothing extra, just a simple wooden rod for hanging. At first, the artisans were puzzled by her minimalist approach, but over time, they saw the beauty in its purity.

A Return to the Roots

The AAAA Textile Totems sparked a revival of traditional techniques. Artisans abandoned chemical dyes in favor of natural pigments, and older master weavers passed down their expertise to younger generations. The collection later expanded to include cushions adorned with Bogolan patterns.

“This is slow design,” Birgitta explains. “Everything is done by hand—from picking the cotton to spinning, weaving, and dyeing. Nothing needs to be rushed.”

A Sustainable Future

While the pandemic slowed AAAA’s operations, production and sales continued. Amsterdam-based Atelier Sukha supports the project with training in logistics and shipping. For now, the products are sold from the Netherlands, but the long-term goal is for Malian artisans to manage the entire process independently.

“This isn’t a one-time project,” Birgitta says. “AAAA belongs to the makers. We support them until they are fully self-sufficient.” In just two years, she has seen the impact—families gaining stability, children attending school, and artisans reclaiming their craft.

Looking ahead, Birgitta envisions a future where travelers visit Malian villages to experience the Bogolan process firsthand. “I can already see people standing in the mud, learning to dye fabrics in the traditional way,” she says with a sparkle in her eyes.

This vision reflects her broader philosophy—stripping things down to their essence. “The simpler something is, the more soul it carries,” she says. “People feel the power in these textiles, even if they can’t explain why. I believe it’s because they are made with love, by hand, in harmony with nature and tradition.”