TAKORADI POLYTECHNIC
SCHOOL OF APPLIED ARTS
DEPARTMENT OF FASHION DESIGN AND TEXTILES STUDIES
PROJECTING OUR CULTURAL HERITAGE: THE USE OF AFRICAN PRINTS FOR
LADIES’ CASUAL WEAR
ESINAM AHIANYEVI
JUNE, 2011
TAKORADI POLYTECHNIC
PROJECTING OUR CULTURAL HERITAGE: THE USE OF AFRICAN PRINTS FOR LADIES’ CASUAL WEAR
A PROJECT WORK SUBMITTED TO THE FASHION DESIGN AND TEXTILES STUDIES DEPARTMENT OF THE SCHOOL OF APPLIED ARTS, TAKORADI POLYTECHNIC IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE HIGHER NATIONAL DIPLOMA IN FASHION DESIGNING AND TEXTILES STUDIES
BY
ESINAM AHIANYEVI (07081838)
JUNE, 2011
DECLARATION I, Esinam Ahianyevi, hereby declare that this project work is the result of my own original research work undertaken the rules and regulations of Takoradi Polytechnic and all works consulted have been acknowledged.
Date………………………..
Signature……………………….
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CERTIFICATION I certify that this project has been supervised and assessed in accordance with guidelines by Takoradi Polytechnic.
Name: Damalie, Sussie Aku (Ms)
Signature…………………….
(Internal Supervisor)
Date…………………………
Name: Nyame-Philips, Edna J. (Mrs.)
Signature…………………….
(Head of Department)
Date………………………….
Name……………………………
Signature……………………..
(External Examiner)
Date………………………….
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ACKNOWLEDGEMENT I wish to express my profound gratitude to Jehovah God Almighty for His protection and guidance through my years of education. I will also like to thank my family for their support and also to my supervisor Mrs. Damalie Sussie Aku, for her guidance and patience through this project. Lastly, I am grateful to all my lecturers, friends and loved ones who also helped and assisted me throughout this project.
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DEDICATION I dedicate this project work to our heavenly father for giving me healthy life, wisdom and delivering me from all forms of troubles to the end of this phase of my tertiary education. I also dedicate it to my wonderful family for their love, care and support throughout these years of my education.
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TABLE OF CONTENTS CONTENTS
PAGES
Title page
i
Declaration
ii
Certification
iii
Acknowledgement
iv
Dedication
v
Table of Content
vi
List of Plates
vii
List of Tables
viii
List of Figures
ix
Abstract
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CHAPTER ONE: INTRODUCTION 1.0. Background of the study
1
1.1. Statement of the Problem
2
1.2. Objectives of the Study
2
1.3. Significance of the Study
2
1.4. Limitation
3
1.5. Delimitation
3
1.6. Organization of the Study
3
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CHAPTER TWO: LITERATURE REVIEW 2.0. Introduction
4
2.1. Ghanaian Cultural Heritage and Fashion
4
2.2. African Prints and Fashion
19
2.3. Readymade Apparels using African Prints
25
2.4. Design
28
2.5. Casual Wears
33
CHAPTER THREE: METHODOLOGY 3.0. Introduction
35
3.1. The Design Process
35
3.1.1. Research
35
3.1.1a. Customer Profile
35
3.1.2. Design
36
3.1.2a. Design Inspiration
36
3.1.2b. Theme Board
37
3.1.2c. Fabrics, Trimmings and Sample Board
37
3.1.2d. Workbook and Motif Development
38
3.1.2e. Style Board
38
3.1.2f. Design Board
38
3.1.2g. Design Brief
39
3.1.2h. Technical Drawing
40
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3.2. Design development
41
3.2.1. Flat Pattern and Toiling
41
3.2.2. Toile Making
42
3.2.3. Production Pattern Making
42
3.2.4. Pattern Adaptation
42
3.3. Garment Assembly
45
3.3.2. Laying and cutting out
47
3.3.3. Cutting out
47
3.3.4. Production plan
48
3.3.5. Finishing and presentation
49
3.3.6. Cost estimate of the projected design
50
SUMMARY
CHAPTER FOUR: SUMMARY, CONCLUSION AND RECOMMEDATIONS 4.0. Introduction
53
4.1. Summary
53
4.2. Conclusion
53
4.3. Recommendation
54
REFERENCES
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LIST OF PLATES PLATES
PAGES
Plate 1. Array of Wax Prints
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Plate 2. Rare Stylish and Gorgeous African Designs
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Plate 3.Rare Stylish and Gorgeous African Designs
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Plate 4. Ghanaian Designs
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Plate 5. The Designer Titi Ademola
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Plate 6. Titi’s Design
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Plate 7. Designer Phyllis Taylor
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Plate 8. Phyllis Taylor’s Designs
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Plate 9. Phyllis Taylor’s Designs
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Plate 10. Kente
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Plate 11.Gye Nyame
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Plate 12. Tie-Dye
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Plate 13. Sankofa
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Plate 14. Wax Printed Fabric
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Plate 15. Gold Prints
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Plate 16. Wisdom Knot on Orange
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Plate 17. Black Dondo on White Gold
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Plate 18. Black Dondo on Oxblood with Gold
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Plate 19. Masks of Glory on White
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Plate 20. Golden man sitting on white
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Plate 21. Mask of Pink
25
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Plate 22. Fashionable Readymade Apparels
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Plate 23. Fashionable Readymade Apparels
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Plate 24. Fashionable Readymade Apparels
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Plate 25. Fashionable Readymade Apparels
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Plate 26. Converging Line
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Plate 27. Diagonal Line
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Plate 28. Horizontal Line
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Plate 29. Dotted Line
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Plate 30. Diverging Line
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Plate 31. Parallel Line
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Plate 32. Dot
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Plate 33. Shape of an Object
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Plate 34. Form
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Plate 35. Colour
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Plate 36. Textures
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LIST OF TABLES TABLES
PAGES
Table1. Materials and Tools Used In the Designing Process Table 2. Tools, Material and Equipments Used In the Pattern
41 43
Production Process Table 3. Tools, Materials and Equipments Used In the Garment
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Assembling Process Table 4. Cost Estimate of the Projected Design
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LIST OF FIGURES FIGURES
PAGES
Figure 1. Customer Profile
36
Figure 2. Theme Board
37
Figure 3. Fabrics, Trimmings and Sample Board
38
Figure 4. Workbook
38
Figure 5. Style Board
39
Figure 6. Design Board
39
Figure 7. Technical Drawing
40
Figure 8. Pattern Construction
43
Figure 9. Laying Out
47
Figure 10. Cutting Out
48
Figure 11. Assembling of Garments
49
Figure 12. Finishing and Presentation
49
Figure 13. Projected Design
52
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ABSTRACT The study sought to project the Ghanaian cultural heritage through the use of African/Ghanaian prints for the production of ladies ‘casual wear on commercial basis. The design was inspired by the indigenous African prints and ‘the flight of stairs’. The concept was further developed and a sample design was selected from among the styles created and produced with industrial best practices. The researcher is of the view that the stage is set for industrialization and also to set the pace in retail clothing production and encourage other people with such skills to rise up to the task and opportunity so that jobs will be created in the sector and for the Ghanaian fashion industry to grow.
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CHAPTER ONE INTRODUCTION 1.0. BACKGROUND OF THE STUDY African clothing for women has a rich history and each style reflects the background and cultural heritage of the great African continent. Women who want to enhance their style, while celebrating their African heritage should consider the many choices of African clothing. African clothing can create unique looks while also celebrating the rich history and tradition held within the African clothes worn. The colours of the fabrics and these designs of making a casual wear are elegant and beautiful yet simple and durable. When one wears African clothes, they are reaching back to the ―CRADLE OF LIFE’’. The history of these clothes runs deep. According to historians, the first clothes worn in African were made of leather and fur. Over many thousands of years, the clothing choices became more varied and were made for comfort and coolness such as the casual wear. The climate in African can be relentlessly hot, so the clothes were made to reduce the effects of the heat Over time, the practice of wearing cloth becomes the norm and looms which was used. Linen, wool and cotton became the most popular forms of cloth and were the primary textiles used to make clothing. Though times and taste have changed, one can still see the rich history of African in the African clothes on sale. They are still made of beautiful colour and cotton fabrics. The way the clothes are designed and decorated is still reflective of the culture from which clothes were derived. These African prints and clothes are versatile and long lasting and they never go out of style. The history and tradition of African prints is long lasting and intriguing and one item that comes from this lasting culture, a continuous use of African prints for 1
fashionable styles will go a long to project the African, and for that matter the Ghanaian cultural heritage.
1.1. STATEMENT OF THE PROBLEM It appears that some ladies in Takoradi Polytechnics prefer the use of ready-made apparels compare to custom-made with African prints for lectures. It appears most youth (ladies) do not know the appropriate fabric to be worn and used for lectures .Some students do not choose the appropriate designs to be worn for lectures.
1.2. OBJECTIVES OF THE STUDY The study specifically seeks to: 1. Examine the importance of the use of African/Ghanaian prints and its value to the ladies. 2. Project the Ghanaian cultural heritage to create employment for designers and grow the Ghanaian economy given the abundance of African Ghanaian prints on the Ghanaian market today; it could be economically viable to create fashion styles mass-produced with African Ghanaian prints. 3. Develop unique designs using the African prints to suit ladies at tertiary levels.
1.3. SIGNIFICANCE OF THE STUDY The outcome of the study when utilized might encourage students at the Polytechnic level, to better appreciate ready-made designs made with the local prints. The patronage of the clothing will help the youth to project the Ghanaian cultural heritage, and also serve as a source of inspiration to others to undertake such beneficial projects in future. This may
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then translate into jobs for the Ghanaian fashion industry and for that matter grow the economy.
1.4. LIMITATION Time and financial constraints were the major challenges the researcher faced during this research. As a result, the information available was rather scanty.
1.5. DELIMITATION The scope of this project was to create and produce unique ready-made fashionable designs using African prints.
1.6. ORGANIZATION OF THE STUDY This study is divided into four chapters. Chapter one consists of the introduction which includes the background of the study, statement of the problem, objectives and significance of the study, limitation, delimitation and the organization of the study. Chapter two reviews related literature of the study whilst chapter three covers the methodology which describes the design process, design inspiration, design development and garment assembly processes. It also mentions the tools, materials and equipments used for all the procedures. Chapter four sums up the study. It comprises the summary, conclusions and recommendations based on the study results.
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CHAPTER TWO LITERATURE REVIEW 2.0. INTRODUCTION This research takes a look at projecting our cultural heritage: the use of African prints for ladies casual wear. The literature has been reviewed under topics related to the topic and objectives of the study under the following topics: 2.1. Ghanaian Cultural Heritage and Fashion 2.2. African Prints and Fashion 2.3. Ready-Made Apparels using African Prints. 2.4. Design 2.5. Casual Wears
2 .1. GHANAIAN CULTURAL HERITAGE AND FASHION The term culture can be referred to as the way of life, especially the general customs and beliefs of a particular group of people at a particular time. Cultural on the other hand means relating to the habits, and beliefs of a society (Cambridge Advanced Learners Dictionary New Version, pg.227). African governments have been urged to commit themselves to enacting legislation and establishing cultural institutions and programmes which will promote African values. They have also been encouraged to generate additional impetus towards the conservation of the continent‘s cultural heritage and the promotion of cultural industries in Africa (Molekane, 2008). The South African High Commissioner to Ghana also reiterated that there is the need for advocacy work on the preservation of Africa‘s cultural heritage, the restoration of threatened cultural sites and retrieval of cultural properties that were taken away during
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the period of colonialism. He encouraged participants to identify roles to play in the protection and promotion of the nation‘s cultural heritage. He noted that even though African cultures and traditions have their short comings, it is still essential that their importance is felt in ways to foster economic growth and development on the continent (GTV News, 2008).
2.1.1. Values of Ghanaian Cultural Heritage
Mr. Obotan Larbi (Cape Coast Metropolitan Director of Education) is of opinion that, preserving our culture is significant as it is a manifestation of the freedom of belief and of expression. ‗It is human right and must be accorded due respect and allowed to flourish‘ (Larbi, 2011). According to him, Ghanaians must protect our cultural heritage strongly, effectively, and unambiguously because while campaigns for eco-tourism has focused on the country‘s beautiful traditions, the cultural and historical heritage are virtually ignored and much of these important and irreplaceable traditions have given way to modernization. He re-accounts that, preservation of cultural heritage is important for the increased need of integration and expertise into higher education. Linking the university curriculum with cultural heritage in an interdisciplinary way is integral to further promote the importance of a sustainable future. The metropolitan director of education observed that, the importance cannot be overemphasized; Cultural heritage he emphasized affirms our identity as a people because it creates a comprehensive framework for the preservation of cultural heritage including cultural sites, old buildings, monuments, shrines, and landmarks that have cultural significance and historical value. In his opinion, as human we can ensure effective
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coordination among concerned agencies in order to avert the diminution, depletion and destruction of the country‘s cultural heritage. This should be aimed at by instituting mechanisms for better management of cultural properties such as creation of categories and privileges for cultural properties, institutionalization of heritage zones, and documentation of traditional and contemporary arts including fashion. The importance of preserving the country‘s irreplaceable cultural and historical possessions must be stressed. Culture and its heritage reflect and shape values, beliefs, and aspirations, thereby defining a people‘ national identity. There is a serious need for Ghanaians and for that matter Africans to know deeply and celebrate our national heritage (Larbi, 2011). He urges all citizens to forget the cultural neglect habit, as some cultural heritages were and are not protected, preserved, conserved and promoted adequately and effectively. This he maintains can be illustrated through a number of examples where citizens repeatedly see neglect Larbi (2011) observes that the country has painfully witnessed the defacement, if not complete destruction of buildings and other historically or artistically significant structures, bridges, parks and other public spaces or landscape.
2.2. FASHION IN PERSPECTIVES Hannerman (Wikitionary, 2010) says, fashion is a general term for a currently popular style or practice, especially in clothing, foot wear or accessories. Fashion refers to anything that is the current trend in look and dress up of a person. The more technical term, costume, has become so linked in the public eye with the term "fashion" that the more general term "costume" which is in popular use mostly has been relegated to special senses like fancy dress or masquerade wear, while the term "fashion" means clothing generally, and the study of it.
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The Cambridge Advanced Learners Dictionary (2000) however says, fashion is referred to as a style that is popular at a particular time, especially in clothes, hair, make-up and many more. Fashion however goes beyond ordinary material for the body as it adopts, implicit, and explicit elements to create a dressing form: influence of thought on wear. Fashion refers to anything that is the current trend in look and dress up of a person .It reflects the society of which it is part (James, 1979). It has reportedly been influenced by wears, conquests, laws, religion and the arts. Individual personalities have also had an impact on fashion like royals and heads of state often set fashion. Since the 20th century, media stars have emerged as leaders of fashion. The French writer Anatole France is quoted as saying ‗‘if I could come back to earth hundred years after my death and have only one thing to read, he would choose fashion magazines because that would show me the way people lived.‘‘ Fashion also has it critics who have at times denounced fashion as irrational, tyrannical and immoral. Why should pink be in fashion one season and gray the next season? Why do people follow fashion like ―fashion slaves‘‘ when they have enough clothing already? A common accusation is that fashion designers accelerate fashion change to create new business yet no new fashion succeeds until people are ready to accept and patronize the products said by observers. Just as clothing signals about gender, it carries messages about situations and occasion; special formal and casual attire of some sort will continue to be part of fashion till the next generations ahead.
2.2.1. Ghanaian Fashion Ghana is one country which is really into fashion and becoming part of the world‘s most notable. There are many seamstresses and tailor‘s making made to measure clothing.
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Photos of women and men modeling the styles are seen on walls of couturiers for clients. Whenever a client is asked: "where you did you get that from" the answer was invariably that someone made it for them or they made it themselves. So far, it seems as an effective way to ensure one does not turn up to a party wearing the same dress as someone else! The best update of fashion is always kept by the youth. They mould themselves so well with changing world that they are ready to experiment anything. With the growing trend people are more conscious of colours, styles, textures and materials used for such outfits (Newton Helmut, 1962). The youth in Ghana today can be described as fashion ―slaves‖. They are ready to patronize any fashionable product as in apparels, accessories, footwear‘s, cosmetics and many more.
2.2.2. The Acceptance and Growth of Dutch Wax Prints by Ghanaians Ghanaians reportedly by embraced these Dutch wax prints, using and assimilating them into societies as a part of culture and self-expression. The English were manufacturing and selling wax print textiles as well, but the Dutch brands were more popular. It has been suggested that the Dutch were viewed as the ―well-meaning‖ traders with West Africa, since a lot of West African nations were under English or French colonial rule (yourdecoratinghotline.com/wax-print.com). Dutch wax prints carried, and still carry, an enormous amount of prestige and this was mostly likely due to their uniqueness as part of an European industry producing for export markets solely in West Africa. Dutch manufacturers of these fabrics thereafter made some changes to designs and motifs in order to cater to the tastes of their new African customers. As can be expecting making prints using motifs designed specifically for the African market took more time and effort.
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Earlier design motifs used plants and animals believed to be universal to all cultures (.ehow.com, 25th February, 2011). Some of the fabric brands presently accepted by Ghanaians are Daviva, Woodin, Vlisco, Treasure and many more which fall under the Dutch wax prints. Fabrics such as GTP, Printex, Batik fabrics, Tie and Dye, ATL, Kente and many more are all made in Ghana fabrics which are also making names in the Ghanaian fashion market.
Plate 1. Array of Wax Prints
Source: kalamu.posterous.com (27th August, 2010)
2.2.3. Challenges Facing the Ghanaian Fashion Industry The environment in which the fashion industry operates according to Stuart (1995) the world over has become turbulent, unpredictable and therefore, difficult to exert managerial
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control. Cultures around the world are constantly influencing each other; hence, the world‘s cultures are changing fashion constantly. Also, social, economic, political and legal factors keep changing than before. Competition in the fashion industry is so rife such that the survival of fashion organizations cannot be guaranteed. During the last decade, the developments of new technologies all over the world and growing globalization of countries economies have produced the fastest changes ever. The fashion industry in Ghana, especially, the clothing sub sector has not been without the effect of economic, political, social, cultural and legal pressures brought to bear on all organizations. As retailers become larger and more globally connected, they continue to build global brands marketed around the world. In doing so, they eliminate many Ghanaian clothing companies from their supply chain. The result has been major market share declines and job losses in the industry. The Ghanaian clothing sector of the fashion industry faces many challenges. The rise of low-cost goods from Asia, a slowdown in consumer spending, difficulty in accessing capital, lack of innovation from entrepreneurs, relatively high prices of products due to high unit cost, poor distribution channels and inability to promote local brands(Africano.com, March 5, 2011). The Ghanaian fashion industry has reportedly experienced their fair share of challenges, but has remained consistent to deliver the best textiles that we see on runways, fashion events and worn more than ever by the younger generation of today. As one of the largest textile and apparel manufacturers in West Africa, the Ghanaian textile industry has provided some of the most influential fabrics that are sold around the world (shadders.net/Ghana/html, 4th Mar. 2007). With their quality and unique ideas and designs, the rise of cheap fabrics from Asia has slowdown in consumer spending and not benefiting to the textile printers, preventing local
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brands getting the exposure that it deserves and slowing the economy. However, with African prints fabric getting all the exposure around the world, the fashion industry in Ghana are bringing a flare of eclectic and fresh designs. The future for the industry looks bright for Ghanaian designers in 2011 bringing to clients nothing but the best.
2.2.4. Looks to Create New Styles with Africa Prints. Today Ghanaian fashion designers, both young and established, are fusing traditional African materials with Western contemporary styles, into a new trend dubbed ―Afropolitan‖—a melding of African and cosmopolitan. With an international customer in mind, they are blurring the boundaries between Africa and the West, proving that ancient Ghanaian fashions can survive. In Accra, the capital, where professional people tend to wear conservative Western dress – ties, suits and blouses — to work, traditional clothing is mainly worn on important occasions, such as births, marriages and funerals. In 2004, the Ministry of Trade had the brainstorm of creating ―National Friday Wear,‖ a day dedicated to wearing African fabrics and prints. The idea was to both celebrate African traditions and boost the struggling national textile industry. ―It is a way of really boosting the fashion industry,‖ said Zita Okaikoi, one time Ghana‘s Minister of Information. ―Every part of the economy that brings income or job opportunities is very important, and we recognize that.‖ Ghana had 14 textile and garment factories in 1975; by 2009 the number had dwindled to five. ―National Friday Wear‖ has created a niche for some top Ghanaian designers, such as Bee Arthur, Ben Nonterah, and Kwesi Nti, who sell to the small upper middle class, mainly domestically.
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―Now, because of traditional Friday, I get a lot of top executives who want to come and wear a shirt on Fridays,‖ said Arthur, 39, who runs B‘Exotiq. ―It was a good idea, a really, really good idea.‖ Kofi Ansah, Ghana‘s leading fashion designer, said designing successfully with African prints turns on how attractively those designs are featured. Kof Ansah, who trained at the Chelsea School of Art in London, caught Europe‘s attention when he used African fabrics for European styles. Kofi Ansah says an uncut diamond is a rock, but if one cuts it and get enough surfaces that when it turns it captures the light and it glitters, it becomes valuable. According to him ―We need to show the world the usage of our prints,‖ in order to be profitable internationally (fanelelove.blogspot.com, 18th -22nd Feb. 2011). Plate 2. Rare stylish and Gorgeous African Designs
Source: Africandaydreams.weebly.com
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Plate 3.
Source: (www.africanattire.co.uk) While Ghana‘s fashion industry is gaining international recognition, it imports far more clothing than it exports. Kofi Ansah estimated that 60 percent of Ghanaians wear secondhand clothes imported from Europe and the United States. The Ministry of Information said the government is working to increase taxes on imported clothing. ―When they come in, so they will be able to compete fairly with the locally manufactured ones,‖ (Zita Okaiko, fanelelove.blogspot.com, 18th -22nd Feb. 2011) It has been observed that, now designers are starting to target Accra‘s young urbanites, who are carving space in their closets next to their Levis and Puma. Ghanaians are patronizing the African wears more than the western readymade products. President Obama coming to Ghana for 24 hours has put Ghana on the map, (U.S. president‘s brief visit in July 2009). The FIFA World Cup staged in South Africa in 2010 created another opportunity for creative field based in Ghana and Africa as a whole. It is a heritage thing Africa has been in the backstage for a long time, so it is time for us to be forward. The next step for many designers is to secure export markets and to look forward into the future and beyond to showcase their talented designs using African prints to the world.
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Plate 4. Ghanaian designs
Source:
[email protected]) Ghanaian designers are using local fabrics in Western styles, and are hoping to attract well-off and Western buyers.
2.2.5. Fashion Designers in Ghana Promoting the Use of African Prints for Their Designs
Kiki Clothing
Titi Ademola immersed herself in the fashion scene – she worked with renowned companies including Burberry, Betsey Johnson and Nicole Farhi. It was not until she arrived back in Ghana – her mother‘s home country that Kiki Clothing was born. What started as a children‘s clothing company has blossomed into a fashion house encompassing women‘s clothing, children‘s clothing and footwear. From her base in Ghana, Kiki Clothing is a popular choice among locals and tourists – she is able to blend Nigerian and Ghanaian influences to create her pieces. The label showed at the recent Exopa Ghana Fashion Week and was featured at the Face of Africa launch in Ghana. (BellaNaija.com, 2009).
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Plate 5. The Designer Titi Ademola
Source: (BellaNaija.com, 2009).
Plate 6. Titi’s Design
Source: Titi Clothing @ Exopa Ghana Fashion Week (BellaNaija.com, 2009). Monday 9th August, 2010.
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Designer Pyllis Taylor
In her interview with Kenya Hunt a fashion magazine journalist, Phyllis chats about sourcing and producing Sika‖ garments in Ghana. S he also talks about the tradition behind the fabric – such as the ―respect‖ for fabric in Ghana and the initial resistance she faced because she went against the grain, ―We respect the fabric and wear it to places that are important, the designer reckons. There is one style of fabric that the Ghanaian ladies would wear to church and then another would be for weddings or funerals. Phyllis honed her fashion skills at the London College of Fashion and is currently based in London. Her label, Sika‖ recently expanded to include accessories, cushions and children‘s clothing. She hopes to see the African fashion industry flourish in the future ―Ghana does not have the same history of dressmaking that Italy or India does but they are now learning new techniques and beginning to see that manufacturing traffic could be diverted to Africa. I do not know if we‘re ready for that just yet, but it‘s certainly possible.‖ Plate 7.Designer Phyllis Taylor
(bellanaija.com, 20th January, 2011).
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Plate 8. Phyllis Taylor’s Design
Source: Africandaydreams.weebly.com
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Plate 9. Phyllis Taylor’s Design
Source: Africandaydreams.weebly.com
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2.3. AFRICAN PRINTS AND FASHION Too often the image of Africa is one of civil war and famine that over shadows the positive image of extraordinary sense of creativity and artistry that has been a generational endowment. It has been observed that, people who manufacture local fabrics normally produce them according to one‘s choice of motif, colour, pattern and texture. Many common African print designs in Ghana trace their sources from figurative expressions like, ―GYE NYAME‖, representing the omnipotence and morality of God, as well as, ―SANKOFA‖, which means going back to reclaim the past. Some suitable fabrics that can be used alongside printed wax are batik, tie -dye, and kente.The origin of the kente cloth for instance dates back to the 12th century in Ghana (www.tk.designs/African -fabrics.htm). The clothes are normally worn by the aristocrats and represents very important national icons of the Ghana society as well as Africa.
Plate 10. Kente wax print
Source: (www.tk.designs/African -fabrics.htm)
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Plate 11. ‘Gye Nyame’
Source: (www.tk.designs/African -fabrics.htm) Plate 12. Tie-Dye
Source: (www.tk.designs/African -fabrics.htm) Plate 13. ‘Sankofa’
Source: (www.tk.designs/African -fabrics.htm)
2.3.1. The Origin of African Prints The precise origins of cloth production in Africa are lost in time, but archaeological findings indicate some of the earliest sites. Drawings of looms can be seen in the tombs of ancient Egypt, dating back to at least 2000 B.C.E. Archaeologists have found linen 20
remnants in ancient Egypt, as well as fifth-century cotton cloth remnants in Meroe, in northern Sudan. In West Africa, woven fiber pieces dating back to the ninth century C.E. have been found in Nigeria, and woven cotton cloth dating to the eleventh century has been recovered in Mali. Evidence of loom use in Mauritania dates back to the eleventh century (en.wikipedia.org/wiki/www. the free dictionary.com). According to archaeologist, many African societies weave cloth from locally grown cotton. In North Africa and the Sahel, women also spin and weave camel and sheep wool. Other sources of fiber include the raffia palm in Central and West Africa, jute and flax in West Africa and Madagascar, and silk in Nigeria, Madagascar, and East Africa. All these fibers can be dyed using vegetable and mineral dyes. The two main kinds of textile looms in Africa are the double-heddle loom, used for narrow strips of cloth, and the single-heddle loom, used for wider pieces. The narrow strips are typically sewn together, and then cut into patterns for clothing. The double-heddle loom is generally used only by male weavers, who use it to weave in colored threads and create richly textured fabrics. In addition, weavers in North Africa and in Ethiopia also use ground looms, while looms similar to those used in Southeast Asia are found in Madagascar. Although Africa's weavers produce a wide variety of patterned, colored fabric, they also weave plain cloth. This cloth can either be used for daily wear around the home, or it can be decorated. Common fabric-decorating techniques include appliqué designs, sewn on in contrasting fabrics; embroidery with brightly colored threads; and dyeing. (en.wikipedia.org/wiki/www, the free dictionary.com)
2.3.2. The Ghanaian Textile Industry The craze for foreign goods is so high that people prefer imported used or second hand clothing to local clothes. Mr. Foli Kuma, Western Regional Director in the Ministry of
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Trade and Industry (2011), observed that the Ghanaian local textile industry is reportedly losing over GH¢50 million annually in revenue due to the craze for anything foreign among the country‘s populace (Annan, 2011). Mr. Kuma also cite the negative effects of trade liberalization programmes along with smuggling of cheap wax prints, as among the causes that affect the local textile industry. Speaking on the theme "Branding the Local Textile Industry; Challenges of the 21st Century" at the annual Technological Fair organized by Takoradi Polytechnic, the Director said that textile import constitutes 70 percent of the country‘s total national consumption. He noted that the increasing textile import has affected the five major textile manufacturing companies in the country. Mr. Kuma blamed China‘s excellent production technology and some Ghanaian traders who pirated exotic Ghanaian design patterns. He, however, stressed that the Government is trying to intervene so that the negative trends in the textile industry can be reversed, resulting in positive economic gains. In this regard, the Trade Ministry according to Eshun (2011) is consulting the textile companies to design a public awareness campaign to educate the masses about adverse impacts of smuggling. Suggestions have also been made towards improvement in packaging to withstand the competition in the industry. The academia is also dedicated to reversing the negative trends. For instance, the Department of Textiles Design and Technology of Takoradi Polytechnic have reportedly started a programme to help industries with their branding (Akrofi, 2011).The Vice Rector of the Takoradi Polytechnic, Mr. J. F Eshun, asked local industries to improve their packaging to withstand the stiff competition in the industry .
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2.3.4. Samples of Some African Printed Fabrics
Wax and African Print Fabric Wax is the name for a factory-made fabric produced using a mechanical wax resist (batik) during the cloth dying process; each color is dyed into the cloth. African Print Fabrics are also made by rolling ink across a printing plate and rolling the ink onto the cloth
Plate 14. Wax Printed Fabric
Source: www.fibre2fashion.com, June 4, 2007.
Gold Prints
When a design in metallic ink is rolled over the top of a printed or solid colored fabric a GOLD PRINT is the result. Sometimes the gold design is tied in with the images or design on the cloth, sometimes not. The ―gold‖ is a metallic material suspended in a petroleum base, thus it can be abraded away with heavy use. The metallic material may oxidize over time and may lose its sheen.
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Plate 15. Gold Prints
Source: www.fibre2fashion.com,June4, 2007.
T.K Designs Has Highlighted some of Africans Unique Prints Plate 16. Wisdom Knot on Orange
Plate 17. BlackDondo on White with Gold
Plate 18. Masks of Glory on White
Plate 19. BlackDondo on Oxblood
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Plate 20. Golden Sitting Man on White
Plate 21. Masks of Pink
Source: www.tk.design/African-fabrics.htm.
2.4. PRODUCING READYMADE APPARELS USING AFRICAN PRINTS Conditions in Ghana seem very rife for the production of readymade clothing. Apart from the deliberate Government policies to encourage Ghanaian fashion consumers to patronize the local textiles (African Prints) (Bawuah, 2011); there are various brands of the local prints available. There is also skilled labour in the fashion industry. There are also numerous entertainment events on the calendar such as television reality shows, beauty pageants, music video awards, celebrity mass birthday celebrities, film premiering and fashion shows. The youth who are caught up in this programme strive to stand out ―dress to kill‖. Many of them can be seen at this programmes dressed in fancy Ghanaian /African costume in exotic cuts. These prevailing conditions attest to the assertion of Damalie (2009) that Ghanaians are not only highly fashionable but also have very sophisticated taste. In Ghana, fashion on all such occasions call for different styles of clothing (Damalie, 2009) and therefore make it a viable venture to produce readymade apparels using African Prints.
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2.4.1. Some Fashionable Readymade Apparel These are some unique readymade apparel found in the fashion industries in Ghana and are mostly patronize by retailers and consumers because these designs are very fashionable and can be worn by people to important places such as parties, gatherings and more.
Plate22. Fashionable readymade
Plate 23. Fashionable readymade
Apparel.
Apparel.
Source: Dream Wedding Magazines (www.dreamwedding.com, 1st July, 2011)
Some designers in Ghana are using only African prints for their line because that is what the people are patronizing. Some of them though are using the cut- to- stock production method in producing their readymade apparels into the market. Even though it is a risky task, they say ‗we are ready to take any risk philosophy of production. Fortunately, the Ghanaian fashion manufacturers are producing readymade apparels using African prints and designing western styles which people are ready to buy and the fashion designers are 26
not only focused on Ghana market but are also exporting their products around the world and making names all over the continents. Given the abundance of African Ghanaian prints on the Ghanaian market today, it could be economically viable to create fashion styles mass-produced with African Ghanaian prints. This collaborates Damalie‘s (2009) assertion that the prospect of the prêt-a-porte industry cannot be ignored in the economy of a country as it has been demonstrated else in the West. Source: The rise of ‗Afropolitan‘ journalism.nyu.edu/publishing/fashionpiece(Aurthur .L. Carter, 8th June, 2011).
Plate 24. Fashionable readymade
Plate 25. Fashionable readymade Apparel
Apparel
Source: Dream Wedding Magazine (www.dreamwedding.com), 1st July, 2010.
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2.5. DESIGN The word design according to Longman English Dictionary is the way that something has been planned and including its appearance, how it works. It also sees it as to make a drawing or plan of something that is to be built or made. To Alexander (1963), design is to find the right physical components of structure. Design can also be as a well planned structure of something to be made especially garment to suit the physical structure of the wearer. 2.5.1. Elements of Design These are the small units of visualization that make up a design. It includes lines, dots, shape, textures, form, space, colour, value. These units are organized to create design. The effectiveness of the design perfectly depends on how these elements are organized.
Line
A line can be described as a path made by a moving dot on a surface. There are two categories of lines namely natural and artificial lines. Natural lines can be seen in natural objects or ranges from the outline of a natural objects.eg: shape of a human figure, river, plants, and many more. Artificial lines are however seen in man-made objects such as buildings, tables, cars and many more. Types of Lines
Diagonal lines
Horizontal lines
Dotted lines
Vertical lines
Parallel lines
Diverging lines
Converging lines 28
2.5.2 Samples of Type of Lines
Plate 26. Converging line
Plate 28. Horizontal Line
Plate 27. Diagonal line
Plate29. Dotted line
Plate 30. Diverging line
Plate 31. Parallel line
Source: (www.webdesigndepot.com, 12th February, 2000).
Dot
According to Amenuke (1991), a dot is a point or small round spot which may be created by means of painting, tracing, sprinkling, drawing and others. Example of natural dot
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includes human heads, eggs in a crate, seeds etc. Artificial dots include beads, balls, holes in buildings and others. Plate 32. Dot
Source: (www.howdesign.com)
Shape
It is the outline of an object or an enclosed area when a line is made to move from a dot. It can be created looking at edges of an object (Cambridge advanced learners dictionary).
Plate 33. Shape of an Object
Source: (en.wikipedia.org/wiki)
Form
The form includes the thickness, weight, and whole being and it‘s associated with three dimensional and the voluminous. Plate 34. Form
Source: (bricoleurbanism.org.com)
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Colour
According to oxford advance dictionary, colour is the most influential and existing thing in our lives. Studies have shown that, colour affects our moods and feelings, as well as looks. Colour can also be described as a sensation which causes stimulation of the eye. Colours which are seen in every object are defined by Longman dictionary as the appearance of something with a lot of different colours. Plate 35. Colour
Source:(www.weblog.latte.com)
Textures
It is the surface quality of an object which can either rough or smooth. There are two main types of textures namely actual and visual texture is what your eyes perceive, while visual texture is what the eye perceive to be which may be or may not be so. Plate 36. Textures
Source: (en.wikipedia.org/wiki)
Value
Value is considered to be the lightness or dullness of a colour. Too many values used in combination can be confusing. This application might result in a weak design with a limited range of values such as light, medium and dark.
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2.5.3. Principles of Design
Elements of design alone cannot make a design to be complete; they rather constitute it unless the controlled by something and that thing is the principle of design. The manners in which the elements are combined determine the quality of the work of art. The principles therefore serve as a guide on how the elements should be combined. Some of the principle are; balance, repetition, emphasis, contrast, unity, harmony, rhythm, variety. Elements and principles of design are things that come together or are organized to create designs in fabrics. Every fabric contains elements and principles of design. (www.johlovett.com/test.htm)
2.5.4. Importance of Principles of Design Balance: it serves as decorative effect (beautification) and attraction. Repetition: it helps in forming patterns and enhances the design in the motives. Emphasis: it is for communication, identification and also for cultural heritage. Contrast: it creates uniqueness in the work of art. Unity: it creates agreement among motives, designs and patterns in the fabric. Harmony: it creates unity in a design and helps work of art to be appreciated. Rhythm: It gives blending to the motives. Variety: It is for beautification and attraction. Source: (en.wikipedia.org/wiki/Design_elements_and_principle)
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2.6. CASUAL WEARS OF THE PAST Fashion with changing time has categorized itself in various categories- casual wear, formal wear, traditional wear, celebrity wear and others. Fashion has always change with passing time, as it is well said that ‗fashion is not static’. This is supported by Nellis (1986).
According to the Oxford Advanced Dictionary, casual clothes are garments that one chooses to wear in one‘s free time. Over the last two generations, the term casual wear has seen a radical change. Princeton Review magazine (2004) said it has changed in style and look from what it was in the early 80‘ and 90‘s Casual wears have become trendier and smart recently. Edward (1976) supported that the best update of fashion is always kept by the youth they mould themselves so well with changing world that they are ready to experiment anything. Newton Helmut (1962) also suggested that, with the growing trend people are more conscious of colours, styles, textures and materials used for such outfits.
Casual wear as typically the dress code in which new forms of gender expressions are attempted before being accepted into semi-casual or semi-formal situations (Cambridge Advanced Dictionary, 30th June, 2011). Amelia Bloomer introduced trousers of a sort for a woman as a causal alternative to formal hoops and skirts. In recent mirror image, Sarongs and other skirts have been embraced by a few men of the European tradition as a casual alternative to formal trousers.
.Casuals though, the most used and common category of fashion transformed itself, with this passing time. Casual wears has changed its style and looks from what it was in its
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earlier 80‘s and 90‘s. Casuals have become more trendy and smart in this modern world. The best update of fashion is always kept by the youth. They mould themselves so well with the changing world that they are ready to experiment anything.As far as people are ready to experiment with fashion, the fashion industry will also cater up to their needs of making new trends, styles and comfort clothing.
Casual wear is the dress code which emphasizes comfort and personal expression over presentation and uniformity. With this growing range of fashion people become choosier of what they need. They become more and more conscious of the colours, the styles, the texture and materials leading to brand names. Brand names do play a vital role in the fashion industry. Brands are so well defined that it has been identified with certain clothing. In so far people become choosier of what they need, there is market for readymade apparels using African Prints. Positive talks about ourselves serves as a positive branding (Damalie, 2009).
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CHAPTER THREE METHODOLOGY 3.0. INTRODUCTION This chapter focused on the processes, procedures and techniques used in creating a custom made artifact which to a large extent is to project a business –like image for the students. The design, design development and garment assembly processes are all explained in this chapter.
3.1. THE DESIGN PROCESS In this process, collection of all relevant visual resources and information needed for production were done after through research to create designing tools. One has to research and also go through some processes in order to come out with unique designs desired by his or her customers. These processes focus on the look out for innovative ideas and trends to be inspired to create original and marketable designs. These processes which were followed have been demonstrated below sequentially with pictures to illustrate further.
3.1.1. Research The research process was conducted to identify a target market designs, looking at factors such as age, gender, socio economic status to meet the wants of the consumers. The research also developed strategies to get the right merchandise (apparels).
3.1.1a. Customer Profile The researcher went on to determine the personality of the client for whom the research is based. The focus was based on creating something new and modern for ladies of Takoradi
35
Polytechnic campus. The researcher decided to investigate and focus on the social status of person to come out with findings that would provide answers when designing, such as where she lives, Age, Occupation, hobbies, favorite food, clothing and accessories and the environment. This helped the designer to determine the factors that met the requirements specifications of the clients. The board helped the general information about the customer the researcher is designing for.
Figure1. Customer profile
Source: Field Data, 2011.
3.1.2. DESIGN This stage is derived from both tangible and global influences, past, present and future using mixing port ideas to create a design.
3.1.2a. Design Inspiration CONCEPTS BOARDS:
Theme/Mood Board
Fabrics/Trim/Sample Board 36
Workbook/Motif Board
Style Board
Design Board
Design Brief
Technical Drawing/Miniature Patterns Board
3.1.2b. Theme board The theme board was prepared using a collage of pictures under the theme used for designing. It was images or articles that give inspiration for design or style ideas. Pictures were collected according to the theme which formed the source of the design. The pictures were collected in order to create and construct the wet fits. A mood board is a phrasal term which means the collection of two or three dimensional features to depict a situation. Flight of stairs was the theme for the mood board because the orientation of the researcher is to make casual wears that are to make the youth look smart and appealing.
Figure 2. Theme Board ‗Flight of Stairs‘. .
Source: Field Data, 2011. 3.1.2c. Fabrics, Trimmings and Sample Board. These boards entail the fabric and trimmings the designer used to make the garment. Also samples of some features to be applied on the garment were presented on the boards. This was done with the fashion fabric to be used alongside the linings and the trimmings 37
Figure 3. Fabrics, Trimmings and Samples.
Source: Field Data, 2011
3.1.2d. Work Book and Motif Development. Work book is a visual reference, data- base and a valuable source of images. It documents one‘s design ideas showing fabrics sensitivity and development of the design, whilst the idea developments obtained from the workbook brings out the various ideas used in manipulating and producing the garments. The workbook is also called a fashion journal or fashion diary. It contains valuable source of information‘s for the design project. Figure 4. Work Book.
Source: Field Data, 2011.
3.1.2e. Style Board According to Cambridge international dictionary (1995), style is defined as a shape or design of something such as an object like a piece of clothing. The styles board provides different style collection which deals with the final style selection. At this stage the motif selected from the theme board was used to create unique set of styles.
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Figure 5.Style Board
Source: Field Data, 2011.
3.1.2f. Design Board The design board contains styles from the development board which were converted into designs emphasizing every detail needed. The design was projected in both front and back. These processes reveal the total detail in a way as the model is expected to appear in the dress. Figure 6. Design Boards
Source: Field Data, 2011
3.1.2g. Design Brief The design brief simply describes how the apparel was made and the designs created were carefully executed with the elements and principles of design which guided the whole designing process. The apparel comes in plain and cotton printed fabrics. The plain cotton fabric was used at certain parts of the garments such as the waist band, sleeve band and the 39
buttons of the straight dress. It was also used to make decorative patterns on the front part of the dress. The cotton printed fabric was the main fabric for designing this unique style. The style is an asymmetric dress whereby one side of the asymmetric pattern was in a plain fabric whilst the other side comes in the cotton printed fabric for the front. The back was made using the cotton printed fabric which was attached with buttons using the plain fabric for making the buttons.
3.1.2h. Technical Drawing The technical drawing and miniature (1/5) patterns board was made in order to make the production of the garment easier as it shows all the constructional details of the costume without colour. The miniature patterns (1/5) scale also represents the standard size patterns to be used for the final garment. The patterns provide all pattern instructions and necessary information needed in the garment. Additional purpose of this board is the guidance that it offers in costing and procurement. Figure 7. Technical drawings and baby patterns.
Source: Field Data, 2011
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3.1.2i. Materials, Tools and Equipment Table 1. Materials, Tools and Equipment S/N
Tools
1
Pencil
Pictures
Uses It was used for ruling fine lines on paper and fabrics.
2
Eraser
It was used for cleaning and erasing pencil marks.
3
Colour pencil
It was used for colouring drawings.
Materials 4
Pictures
Uses
Fabric pieces
It was used to portray the type of fabric to be used. Source: Field Data, 2011
3.2. DESIGN DEVELOPMENT
Flat Pattern Making
Toile Making
Production Pattern Making
3.2.1. Flat Pattern Making During the flat pattern construction process, patterns were made for the design based on the specification drawings to ensure quality output. The patterns were made according to the body measurements of the model to fit the particular attire. Pattern construction was meant to achieve the shape around the body and to ensure accuracy of sizing. The patterns
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also contained instructions and information to make sewing very comprehensive. The flat pattern drafted was used in cutting out the fabrics.
3.2.2. Toile Making The patterns were then interpreted into garment sample in order to choose and to correct mistakes on the specifications before transferring it onto the fabric. This was made with cheap fabric but similar characteristics that performed like the fashion fabric in order to access pattern quality relatively with regards to fit. The toiling method was to obtain the design on a dress form to get the desired pattern pieces, and design sampling as the detailed but not needed for a finished work. Toils prevent endless fitting problems and to verify if the patterns made were correctly done. In a nut shell, the toils were obtained to correct laying out, cutting, assembly and fitting before transferring to the main fabrics.
3.2.3. Production Pattern Making The final patterns were transferred onto another brown paper and all pattern instructions, markings and informations were all shown on the final patterns. These patterns prepared were used for cutting out.
3.2.4. Pattern Adaptation Trace around all the dress, skirt and top outfit blocks. Increase the blocks to the desired length of the figure. Adapt style lines from the blocks onto another brown paper with seam allowances. Indicate all pattern instructions and information‘s on the final patterns for cutting out.
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Figure 8. Pattern Construction
Source: Field Data, 2011
3.2.5. Tools, Materials and Equipment Table 2. Tools, Materials and Equipment S/N
Tools
1.
French curve
Pictures
Uses It was used for shaping waistlines, necklines and armholes.
2.
Pins
It was used to hold fabric in places during cutting.
3.
Push pins
It was used to hold papers in place when drafting.
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4.
Ruler
It used was to check grain lines and marking hems.
5.
Paper cutting scissors
It was used for cutting papers.
6.
Tracing wheel
7.
Pencil
It was used for transferring pattern markings unto fabrics or papers. It was used in marking outlines and drawing.
S/N
Materials
8.
Tape Measure
It was used for taking measurements for accuracy.
9.
Brown Paper
It was used for drafting patterns.
10.
Masking tape
It was used in mending paper tears.
11.
Eraser
It was used for erasing unwanted markings when drafting.
Pictures
Uses
Source: Field Data, 2011
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3.3. GARMENT ASSEMBLY Garment parts were assembled accordingly to the information and instruction on the specification sheet board and subsequently on the stitch marking and dart positions were identified by working tailors tacks; which were to assist in indicating where the sewing machine is supposed to stitch. After assembling every part of the garment together, fastenings were also attached to every garment for easy wearing and removal.
3.3.1. Materials, Tools and Equipments. Table 3. Materials, Tools and Equipment Pictures
S/N
Materials
1.
Fashion Fabric
The fabric was one used for the final design.
2.
Pins
It was used to hold fabric in places during cutting.
3.
Thread
It was used to join two pieces of fabric together or making stitches on a fabric.
4.
Covered buttons
It was used and fixed at the back of the dress for easy removal.
5.
Tape Measure
It was used for taking measurements for accuracy.
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Uses
6.
lining
It was used for covering or coating for an inside surface in a garment. It was used for cutting out.
6.
Cutting table
7.
Scissors
It was used for cutting fabrics and also trimming seams and facing.
8.
Hand needle
9.
Machine
It was used for hand sewing and making of tacking and hemming. It was used for making stitches in the apparels to be sewn.
10.
Hemelt
It was used to neaten the edges of garments.
11.
Ironing Board
It was a flat board where ironing and pressing was done.
12.
Fusible
It was used for interfacing the garments to add stiffness and thickness to the fabric.
13.
Seam ripper
It was used to remove unwanted stitches when sewing.
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14.
Steam iron
It was used to remove creases and folds in a fabric when pressing or before cutting out. Source: Field Data, 2011
3.3.2. Laying Out That is where fabrics are laid accurately. During laying and cutting out, the weight of the fabric, arrangement of motifs in the fabric and the ply direction (bias or straight grain) were all considered. A smooth surface large table aided needed spreading. The fabric was then pressed and laid flat on the table. The paper patterns were then placed on the fabric and this was done according to the instructions of the patterns. The patterns were held in place together with the fabric using pins. Fabrics were folded lengthwise for both selvedges to meet with right sides facing each other. Figure 9: Laying Out
Source: Field Data, 2011
3.3.3. Cutting out Cutting out was done according to the instructions on the patterns and was mainly done with the aid of a pair of scissors; the several pattern parts of garment were labeled after cutting out to help in identifying them easily. 47
Figure 10. Cutting Out
Source: Field Data, 2011
3.3.4. Production Plan This is a systematic process of the assembly garment parts together to form the threedimensional form with stitches.
Straight Fitted Dress
Stitch pieces of the style lines in the garments together for both front and back.
Stitch front and back darts
Open seams by pressing them and including the darts.
Stitch front and back linings and also stitching the darts in them.
Press and open. Fuse the button extension.
Fuse the button extensions of the back dress before joining the pieces.
Join the linings to the fabric for both front and back.
Join both front and back seam together and also stitching the shoulders.
Press sides seams and open and knitting the edges.
Mark button holes at the back and stitch.
Fix buttons, press and remove unwanted flaws.
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Figure 11. Assembling of Garment Parts
Source: Field Data, 2011.
3.3.5. Finishing and Presentation After assembling all parts of the garments together and finishing it, all stray seams and unwanted threads were removed, pressed, and hemmed before it was hanged and presented for final assessment in an exhibition. Figure 12. Finishing and presentation.
Source: Field Data, 2011
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3.3.6. Cost estimate of the projected design
Determine the Cost
The final cost for each style to be shown in the new line must be determined before showing the line at market. Calculating the cost requires knowledge about production techniques and facilities. Production or cost engineers use known factors to arrive at the final cost. There is always the possibility that a style will actually cost more than it was calculated, or perhaps less than calculated (Burns and Bryant, 1997). Contractors can be asked to: 1. Examine a prototype garment 2. Sew a garment, and thus provide a labour cost estimate. 3. Review a complete and detailed spec sheet and provide a firm cost. Establishing as accurate a cost as possible, is important to the successful financial underpriced can be a disaster to the apparel company. The amount that is calculated at this time is called the COST. This is the manufacturers cost to produce the goods. The wholesale price will be the price shown to the buyers at the market and will be amount that the retail store will pay the apparel company for the goods. The wholesale price includes the manufacturers profit as well as the funds needed to run the business (Burns and Bryant, 1997).
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3.3.6. Cost of Manufacturing Sample Garment: African Print Straight Dress ‘‘Flight of Stairs’’
S/N 1.
2.
3.
Table 4. Cost estimate of the projected design MATERIALS QUANTITY UNIT TOTAL PRICE Fashion Fabric 3 yards GH¢9.50 per GH¢9.50x3=28.50 (Woodin) 1 yard 1 yard GH¢3.50x1=3.50 Vilene 2 yards GH¢3.50 per GH¢1x2=2 Lining 1 yard Subtotal= GH¢1.00 per GH¢34.00 1 yard Trimmings: Covered Buttons Hemet
Labour: Designing and Production
20 pieces 1 yard
20p per 1 piece 50p per 1 piece
20p x 20 = GH¢4.00 50p x 1 = 50p Subtotal = GH¢4.50
1 piece
GH¢20.00 per 1 piece
GH¢20.00 x 1 = GH¢20.00 Subtotal = GH¢20.00
4.
Miscellaneous: Packaging and Labelling
Total cost of Production
1 piece
GH¢1.00 per 1 piece
GH¢1.00 x 1 = GH¢1.00 Subtotal = GH¢1.00
-
-
GH¢59.50
Source: Field Data, 2011
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Figure 13. Projected Design
Source: Field Data, 2011
SUMMARY A successful fashion garment is one that sells. The creation of apparel is all about developing an idea or concepts needed for the production of the apparel. Designing a fashion range has all the characteristics which includes planning, co-ordination and management to ensure all objectives are met for a design to be presented through certain processes which was described in this chapter.
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CHAPTER FOUR SUMMARY, CONCLUSION AND RECOMMENDATION
4.0. INTRODUCTION This chapter highlights the whole project in summary and draws a conclusion and recommendation based on the study.
4.1. SUMMARY This project was undertaken to project our cultural heritage and the use of African prints in the case of ladies casual wear. The purpose of this study is to popularize western base casual wears made in African/Ghanaian prints. Background of the study, statement of the problem, objectives, significance of the study, limitations, delimitations and organizations of the study were the main factors treated in chapter one. The researcher gathered information of various authors with views using African prints for casuals. This also recognizes the need for Ghanaians to showcase and patronize locally made African/Ghanaian prints by advancing it to intercontinental standards. The literature were reviewed under the topic s related to the project topics and objectives of the study which identifies Ghanaian cultural heritage and fashion, Fashion in perspectives, readymade apparels using African prints, design and casual wear was lastly elaborated on. Lastly, detail description was given on the production of the apparel from designing process to design brief through design development and to the assembling of garment process which helped in the creation of the project. Again, the final chapter was the concluding part of the project.
4.2. CONCLUSION This research was conceded to widen and enlighten consumers or retailers of fashion about the fashion designers work and to be esteemed for its assessment. The study has also helped the researcher to gain knowledge and improve upon its requisite technical skills on the importance of using African prints for designing to achieve its aim .Consequently, it 53
has been establish that fashion has all elements and principles which guides it in other to produce designs to ensemble the demands of the market.
4.3. RECOMMENDATION Based on the successful outcome of these researches, this project is highly essential for all fashion and textile students. It is highly recommended by the researcher that, this report be made available for them. This is also recommended for these students to promote the use of African-Ghanaian printed fabrics in our institutions. It will actively aid them to further explore very pertinent areas, so as to come out with innovative ideas and also the ability to have good creative thinking and skillful in the area of designing.
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REFRENCES Aldrich, W. (1994). Metric Pattern Cutting Book, Third Edition, U.K, Blackwell Science Oxford. Burns Davis Leslie and Bryant .O. Nancy (1997). The Business of Fashion Designing, Manufacturing and Marketing. Fairchild Publications, New York. Cambridge Advanced Learners Dictionary (1996). New Version, U.K, Cambridge University Press. Damalie, S.A. (2009). International Journal of Home Economics Research: A Quick Responds to Consumers Clothing Demands, Vol.1, pg 184-188, Ghana: Home Economic Hannerman (2011). Wikitionary: Fashion Perspective H.K Annan. Ghanaian Textile Industry Affected By Foreign Craze, May 26, 2011(Ghana). Research Association of Ghana. Jeffreys, Chris. (2006). The Complete Book of Sewing, New Edition, U.K. Oxford Students‘ Dictionary, (2000). Oxford University Press.
WEBSITES Stuart (1995). March 5, 2011.Challenges facing the Ghanaian Fashion Industry. Retrieved from Africano.com. Titi Ademola and Phyllis Taylor. (20th January, 2011).Fashion Designers in Ghana promoting the use of African Prints for their designs. Retrieved from BellaNaija.com, 2009. Dream Wedding Magazines. Fashionable readymade apparel. Retrieved from www.dreamwedding.com. The acceptance and growth of Dutch wax prints by Ghanaians. Retrieved from yourdecoratinghotline.com/wax-print.com. Types of African prints. Retrieved from www.tk.designs/African-fabrics.htm.
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