In Ghana, if someone is wearing particular colors or patterns, I’ll know whether they’re grieving a loved one or annoyed with their spouse,” says designer Chrissa Amuah, alluding to adinkra, the vast lexicon of symbols that has been incorporated into local pottery, architecture, and textiles for centuries. Now the London-born talent, Ghanaian by descent, is celebrating those motifs in Duality, her first collection of fabrics for Bernhardt Textiles. Whereas one pattern, Aya, features an abstracted fern—an emblem of strength, sturdiness, and resilience—another, Sella, reinterprets the iconography of Asesegua wooden stools. “Traditionally these were seats that only royalty sat on,” Amuah explains of the design, now a household staple throughout Ghana. She devised Ink, meanwhile, by applying pigment to walnut veneer—reimagining Kete Pa, a cheeky adinkra motif that means “good bed”…