TAKORADI POLYTECHNIC REPOSITORY

TAKORADI POLYTECHNIC
SCHOOL OF APPLIED ARTS
‘‘DENIM COMBINATION WITH AFRICAN PRINT FOR MEN’S DAILY
WEAR ON TAKORADI POLYTECHNIC CAMPUS’’
THE CASE OF TAKORADI POLYTECHNIC
A PROJECT WORK SUBMITTED TO THE DEPARTMENT OF FASHION
DESIGN AND TEXTILES STUDY OF THE SCHOOL OF APPLIED ARTS,
TAKORADI POLYTECHNIC IN PARTIAL FULFILMENT OF THE
REQUIREMENT FOR THE AWARD OF THE HIGHER NATIONAL
DIPLOMA IN FASHION DESIGN AND TEXTILES STUDY.
BY
THELMA ABA MONTFORD
(07081824)
JULY, 2011
i
DEDICATION
This project work is dedicated first and foremost to Mary Dowuona Owoo and to the entire
Montford family.
ii
DECLARATION
I, Thelma Aba Montford declare that, this project work is the result of my original research work
undertaken under the supervision of the undersigned, and that all works consulted have been duly
acknowledged and has not been submitted to any other institution for the award of any Higher
National Diploma Certificate (H.N.D.).
Name of Student: Thelma Aba Montford
Signature…………………….
Date …………………………
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CERTIFICATION
I certify that the project work has been supervised and assessed in accordance with laid down
guidelines by Takoradi Polytechnic.
Name of internal Supervisor:
Kenneth Boateng (Mr.)
Signature:
…......……………….…
Date:
…………………………
Name of Head of Department
....................................
Signature:
…………………......…..
Date:
………………………….
Name of External Supervisor
.......................................
Signature:
…............…………………
Date:
.....…………………………
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ACKNOWLEDGMENT
By the grace of the Almighty I have been able to settle another challenging score and to personally
take all the credit due this project makes me ungrateful, in this regard I will like to adopt this as a
medium to express my sincere gratitude to some individuals who contributed immensely to the
success of this study.
I first of all want to express deep appreciation to my supervisor Mr. Kenneth Boateng and all the
Lectures of Takoradi Polytechnic School of Applied Arts especially those of the fashion
department for equipping me with the necessary expertise to embark on this project.
I secondly want to thank my entire family for their financial, moral, mental and spiritual support
during my stay on campus and throughout this project. God will richly bless them
I would finally thank all of my colleagues who supported me with prayers, encouragement and so
on. Not to forget Festus Solomon,s Victoria Lartey, Rockson Kondoh and Joan Korang
MAY GOD BLESS YOU.
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TABLE OF CONTENTS
Content
Pages
Profile page
Dedication
Declaration
Certification
Acknowledgment
Table of contents
List of Plates
List of tables
List of figures
i
ii
iii
iv
v
vi
viii
ix
xs
Chapter One
Overview
Background to the Study
Statement of the Problem
Objective of the Study
Significance of the Study
Delimitation
Limitation
Organization of the Study
1
1
2
2
2
3
3
3
Chapter Two
Literature Review
2.0
Introduction
2.1
Denim
2.2
African Print
2.3
Men’s Daily Wear
2.4
Western Outfit and Globalization
4
4
5
6
7
Chapter Three
Methodology
3.0
Introduction
3.1
Research
3.2
Customer Profile
3.3
Idea Development
3.3.0 Mood Board
3.3.1 Workbook
3.3.2 Fabric Board
3.3.3 Sample Board
3.4
Designing
9
9
10
10
11
11
12
12
13
vi
3.4.0
3.4.1
3.5
3.5.0
3.5.1
3.4.2
3.6.0
3.6.1
3.6.2
3.6.3
3.6.4
3.7
3.7.0
3.7.1
Styling
Projected Design
Specifications
Flat Drawing
Specification Drawing
Costume manufacture
Patten Making
Toileing
Spreading and Cutting Out
Seaming and Assembling
Fitting
Finishing and Presentation
Finishing
Presentation
13
13
14
14
15
15
16
17
19
22
23
23
23
24
Chapter Four
4.0
Introduction
4.1
Summary
4.2
Conclusion
4.3
Recommendation
References
26
26
27
27
vii
List of Plates
Plate 001: Spreading and cutting out
Plate 002: Garment Assembling
Plate 003: Front View of Final Design
Plate 004: Back View of Final Design
21
21
24
25
viii
List of Tables
Table 001
Table 002
Table 003
Table 004
Table 005
Table 006
Table 007
Tools and Equipments for Patterns
Body Measurement
Materials for the Toile.
Tools and Equipments.
Materials
Tools and Equipments
Tools and Equipments for Garment Assembling
ix
17
17
18
19
20
21
22
List of Figures
Figure 001
Figure 002
Figure 003
Figure 004
Figure 005
Figure 006
Figure 007
Customer Profile
Mood Board
Fabric Board
Sample Board
Projected Board
Flat Drawing
Specification Board
10
11
12
12
14
15
15
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CHAPTER ONE
INTRODUCTION
1.0 Overview
This deals with the basics of the study through to the making of the case and
justifying it as enough reasons for the investigation. It has been treated according to
the provided factors.
1.1
Background
1.2
Statement of the Problem
1.3
Objective of the Study
1.4
Significant of the Study
1.5
Limitation of the Study
1.6
Delimitation of the Study
1.7
Organisation of the Study
1.1Background
Fashion, as a study started some few centuries ago but clothing itself originated from
the early days of Human race, when men used leaves, furs and back of trees to cover
their nakedness. The miraculous transformation figured by modern civilisation did
not exempt fashion; it has brought an immeasurable improvement in the fashion
industry and added a new definition to fashion. In the 21st century, people wore
garments not only to cover themselves but to exhibit their national, religious,
cultural and social background. As a complement people dress to suit their occasion
or chosen endeavours at that moment in time.
In as much as an individual dresses for various purposes, the fabric used is
paramount. Fabrics come in different types, such as denim, brocade, damask,
chevron, satin, organza, jacquard, fugu, kente among others. Among all the fabrics
stated, the popularly used among young men is the denim. Denim is more than a
cotton fabric and it inspires historians, designers, writers, reporters, teenagers etc. It
is usually worn in different styles for assorted occasions mostly by youth.
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Students on Takoradi Polytechnic campus often wear jeans. Jean garments are worn
in different styles and mostly combined with lactose and T shirts. African print on
the other hand is one of the most affordable prints among the local fabrics. Years
back, it was mainly used for kaba and slit and other ladies garments but now, men
have also found interest in the local prints using them as shirts and trousers. The
combination of denim and African print as a daily men’s wear for Takoradi
Polytechnic students would make a good outfit owing to the background of students,
the weather condition and the casual nature of their daily activities.
1.2 Statement of Problem
i.
Students on Takoradi Polytechnic campus are mostly dressed in all Western
outfits and very less of garments made in Africa fabric prints.
ii.
The dressing style of male students especially, does not come in different
varieties but limited to a particular style. It appears jean trousers and foreign or
imported shirts are worn and not African printed shirts.
iii.
It appears male students wear outfits made of woollen fabric even on sunny
days which brings them much discomfort.
1.3 Objective of the Study
i.
To discourage student from wearing all Western outfit them promote the
combination of African prints with denim.
ii.
To introduce into the male students fashion domain different varieties of styles
with passion.
iii.
To highlight one of the major importance of denim as a multipurpose fabric
suitable for different weather conditions.
1.4 Significance of the Study
i.
One of the outcomes of the study will be to make students and other Ghanaians
patronise not only Western outfit but also clothes made of African fabric.
ii.
To introduce more varieties into male students outfit on campus.
iii.
Will be to help the Ghanaian economy by reducing the importation of already
made jean garments by creating local brands.
2
1.5 Delimitation
The study is centred on casual wear using denim in combination with African print
for male students on Takoradi Polytechnic campus. From observation, Takoradi
Polytechnic is rated very high in fashion hence the decision to centre the
investigation there.
1.6 Limitation
A study of this nature should cut across the nation to bring excellent results, but due
to time constraints the researcher decided to limit the study to Takoradi Polytechnic
campus. Also, machines in sewing denim are limited because it is expensive to come
by. Combination of the study with academic work was a big score to settle due to
this researcher resorted to strict time management policies to tirelessly work to the
success of this study; this was done with formalised semester hours with research
work.
1.7 Organization of the Rest of the Study
This project has been divided into four chapters.
i. The preceding chapter is developed to introduce and elaborate on the
background of the study.
ii. The second chapter is designed to review related literature which consists of
similar works done by others on the chosen topic.
iii. The third chapter looks at the methodology adopted to conduct research relating
to the problem of the study.
iv. The fourth and final chapter actually talks about the conclusions and
recommendations drawn out of the collected and analysed data of the entire
project.
3
CHAPTER TWO
LITERATURE REVIEW
2.0. Introduction
Over the years, various authorities like authors, fashion designers, scholars, and
other prominent individuals have written on how designers have selected various
fabrics and the means by which the fabrics were styled to produce clothing. It is
with this background that the researcher seeks to review the literature about what
others have said or written in relation to the chosen study. The following are the
topics analysed
2.1. Denim Fabric
2.2. African Print
2.3. Men’s Daily Wear
2.4. Western Outfit and Globalization
2.1. Denim
According to Washington, (1789), denim is a twill-weave fabric that uses different
yarns where one yarn is predominant on the fabric surface. Denim wears well and
resists snags and tears. It is available in different weights and is usually made of
cotton, although hemp denim is also an equally effective derivative. Denim is
commonly used for jeans and work clothes as well as for casings for organic futons
and pillows. Tortora and Merkel, (2007), also defines denim as a serviceable fabric
woven in the twill weave and traditionally made with indigo-blue or brown
lengthwise yarns and white crosswise yarns. However, denim is now made in many
colour variations and in novelty striped and figured patterns. From the authors,
although denim was originally a cotton fabric, polyester and stretch fibres are now
blended to give a more comfortable feel and make pants worn skin tight. A
prominent writer for American Fabrics Magazine, (1969), wrote that, “denim is one
of the world’s oldest fabrics, yet it remains eternally young”. To throw more light
on it, Bellis, (2010), claims denim is believed to have been derived from the French
phrase "serge de Nimes": a serge fabric from the town named Nimes in France. In
4
the 18th century, denim or jean was worn by slave labourers or cotton plantation
workers because of its strength and did not wear out easily.
Based on the above, combination of denim with African print should give a perfect
fit as men’s daily wear for students on Takoradi Polytechnic campus since denim is
a rugged twill textile in which the weft passes under two or more warp threads.
This produces the familiar diagonal ribbing identification on the fabric which
distinguishes denim from cotton duck. Denim fabric is used in numerous ways
because of its hard wearing and durability. In apparel, it is used as jeans skirts,
shorts, light-weight jackets and suits, uniforms, work-cloths, overalls, sportswear,
caps, evening wear and children's cloth. In home furnishings, it is used as
bedspreads, slipcovers, draperies and upholstery, Brackmamn, (1965).
2.2 African Print
According to the Advanced Learner’s Oxford Dictionary, an African is a person
from Africa and is particularly a black person. The dictionary also defines print as a
design made on a surface or fabric by pressing a surface against it which has been
coloured with ink or dye. Also, according to Calasibette, (2003), African print can
be explained as a mark or impression made in or on a surface of a fabric by
pressure. Prints can also be defined as design applied to a fabric by means of
mechanical or hand method of printing. Tortora and Merkel (2007), shares the same
sentiments that, African print is a bold geometric design inspired by some
traditional African prints. It went on further to state that it is frequently carried out
in blacks, browns, and whites. The design is applied by means of a mechanical or
hand method of printing. Fabrics printed were customized and designed to reflect
local African tradition, culture, and symbols. Many of the designs found on fabrics
depict events and proverbs and persons of importance, Roshan, (1983). African
print can then be described as fabrics designed with African based inspiration and
motifs and registered on fabrics through printing, dyeing, and stitching by people
from Africa. Therefore, a combination of African print with denim as men’s daily
wear for students on Takoradi Polytechnic campus should contribute to enhancing
the rich African culture, customs, and traditions of Africa.
5
Polakoff, (1945), a prominent writer concisely stated in the book African Textiles
and Dyeing Technique that many centuries ago, hair from animals was woven to
insulate and protect homes. Hair, along with fibres from various plants and trees
were used to create bedding, blankets, and clothing likewise wall, window, and
door hangings. As textiles became more sophisticated, they were also used as
currency for trading. Many of the ancient designs and weaving methods are used
today and remain an important part of African lifestyles. Weaving methods and
fibres used today varies within the African continent. For instance, narrow strip
weaving is used in West Africa and in the Democratic Republic of Congo (formerly
called Zaire). However, the weaving is slightly different in the Democratic of
Republic of Congo in that, raffia palm leaf is incorporated to create the Kuba cloth,
Algotsson and Davis, (1986).
Polakoff, (1945), continued that, handmade looms are still used today to weave
various textiles. The loom and associated technology are usually handed down from
generation to generation. During the weaving process, they are placed in horizontal,
vertical, or angular positions. Textiles are often enhanced through hand-stamping,
stencilling, dyeing, painting, or embroidery. Sometimes soil is used to make paint,
and dyes can originate from herbs, leaves, bark of plants, nuts, fruits, vegetables,
and grasses. These vegetable materials are mixed with water or other chemicals
such as zinc, sulphur, or iron to obtain the desired thickness and hue. According to
Algotsson and Davis, (1986), colours hold different cultural meanings based on
village or family affiliations. In some parts of Nigeria, red is a threatening colour
worn by chiefs to protect them from evil, but it is a sign of accomplishment in other
areas, while red robe is used for mourning by the Akans in Ghana and as burial
cloths in Madagascar.
2.3. Men’s Daily Wear
According to the Advanced Learner’s Oxford Dictionary, wear can be defined as to
have something on your body as a piece of clothing, an ornament or used in shops
or stores to describe cloths for a particular purpose or occasion. The Cambridge
Advanced Learner’s Dictionary defines daily as a happening on or something
related to everyday. Men’s daily wear can be defined as to have a covering such as
6
a piece of clothing, an ornament or cloths for a particular purpose or occasions
which are worn by men everyday. According to Longman Dictionary, casual
clothes are comfortable clothes that one wears in informal situations. Casanese,
(1982), also defined casual wear as garment designed for informal use. The make of
casual wear can be two or more separate items of apparel with the same or
contrasting fabric; colour, pattern, and trimming that are group together. In the
European tradition, casual is the dress code that emphasises comfort and personal
expression over presentation and uniformity. It includes a very wide variety of
costumes, so it is perhaps better defined by what it is not than what it is, Wikipedia,
(2011).
2.4. Western Outfit and Globalization.
According to Autry and Rogers, (1940), Western wear is a category of men and
women’s clothing which derives its unique style from the clothes worn in the 19th
century American West. Western wear ranges from accurate historical reproduction
of pioneer, mountain man, civil war, cowboy and vaquero clothing to the stylized
garment popularized by singing. Westernization as globalization is seen by many as
progress, democracy, and free trade and it has been spreading gradually throughout
the world. Others view Westernization as a disadvantage. Some have protested that
Asian cultures that have traditionally existed on a primarily plant-based diet might
lose this healthy lifestyle as more people in Asia switch to a Western-style diet that
is rich in animal-based foods, Cornell Times, (2001). Widely adopted Western style
dress cuts across cultures. There remains a powerful desire to express culture,
personal, and local difference through dressing. The prevalence of global brands,
counterfeit or genuine remains engaged in multifarious style accommodations and
resistance in their day-to-day choice of self-presentation, Maynard, (2004). From
the points stated above, it can be deduced that western outfits have successfully
washed away the traditional African mode of dressing. It is expected to be worse
thereby requiring some sort of intervention. Hopefully, the object of this research
will help in a significant proportion to motivate young men into adopting the
African way of dressing. There are different ways Africans dresses for different
occasions. The varying clothes include boubou, abadza, fugu, batakari, anago, and
tekua. Others are embroided cap, pants, and buba. It can be worn to work, parties,
7
or evening events with friends. Also, African buba consists of men’s three piece
buba, Sokoto and hat. Materials used for African buba is tie-dyed guinea brocade
fabric with machine embroidery. Buba and Sokoto also consist of three piece
African Buba small outfit. Attached to it is pants and hat in attractive colours.
Material used is tie-dyed brocade fabric with machine embroidery, African Wear,
(1986).
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CHAPTER THREE
METHODOLOGY
3.0. Introduction
The chapter mainly deals with the detailed procedures and methods used in the
design and production of the costume. Tables, figures and pictures have been used
discretionally to demonstrate processes employed. It includes:
3.1. Research `
3.2. Customer Profile
3.3. Idea Development
3.4. Designing
3.5 Specification
3.6. Costume Manufacture
3.7. Finishing and Presentation.
3.1 Research
One peculiar thing about the field of fashion is that designs and collections are
produced to customers’ preference. This means that the designer was left with the
responsibility of determining the background, scope, and objective of the clientele
put together in the design. The only sure way to arrive at this was to embark on an
investigation exercise. This finding from the research exercise was put together in
the customer profile. This gave a clear picture and information about the materials
needed for the collection. Also, it contained various developments which were
useful for the composition of the design. It also gave an idea about alternative styles
and accessories for the design to meet the client’s specifications.
9
3.2. Customer Profile
The customer profile broadly informs the researcher about the total personality of
the customer. In other words the customer profile was essentially the client in
question put in pictures and inscription. It displayed the customer’s social status,
age, occupations, interests, and hobbies. This was very important because, it
enabled the researcher to design garment that suited the lifestyle of the client and
the occasion for which the exercise was embarked.
Fig. 001: Customer Profile
Source: Field Data, (2011)
3.3. Idea Development
Idea development was a creative process that helped the researcher to generate
meaningful ideas which were explored beyond. Based on this information, a mental
picture of a garment which will best suit the client was generated. The major
contribution of the idea development was, it aided in crafting styles that reflected
the theme and met the established specifications. The information was displayed on
boards. The following were the boards derived from the idea development process:
3.3.0. Mood Board
3.3.1. Work Book
3.3.2. Fabric Board
3.3.3. Sample Board
10
3.3.0. Mood Board
Mood board was used to convey the overall perception of the project by putting
together images and objects which inspired target desires and facilitated creativity
and innovation. It again enabled in illustrating visually the direction of style which
were pursued. The mood board illustrated the concept and context within the
emotions and ideas about the client. According to Wikipedia, (2011), a theme is
broad idea or a message conveyed by a word. The theme for the mood board was
“Shells” based on which the title “Calm and Ramp” was crafted which aided in
determining the materials to be extracted. The board consisted of pictures which
were neatly shaped and pasted on a chip board as a composition. Shells were
chosen as the dominant pictures for the board because of the smooth and rough
nature of the denim fabric from which the title was derived; “Calm and Ramp”.
Calm for the smooth nature of the shells and ramp for the undulating edges. The
board helped in developing ideas and inspiration for the choice of style, colours,
fabrics, trimmings and notions. Fig.002 illustrates mood board.
Fig. 002: Mood Board
Source: Field Data, (2011)
3.3.1 Workbook
The workbook was made of inspirational pictures, fabrics, trimmings, and notions
needed for the production. Out of the inspirational pictures, motifs were derived
and put together to create various patterns. The patterns were structured into
assorted details of which one was refined as the final design.
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3.3.2 Fabric Board
The fabric board included all swatches of fabrics chosen, trimmings, and colour
story used in the collection. The fabrics, colours, and trims were arranged according
to tint and shades of colours adopted. The fabric board was as presented in figure
003.
Fig. 003: Fabric Board
Source: Field Data, (2011)
3.3.3. Sample Board
The sample board provided the opportunity to study real samples of materials
before final decisions were made on the types to adopt for the work. It also showed
varieties of samples from the design. The sources of the samples were traced from
the theme board. The sample board is presented in figure 004 below.
Fig. 004: Sample Board
Source: Field Data, (2011)
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3.4. Designing
Designing is one of the most crucial and involving part of the study undertaken.
The processes conducted involved the act of adding natural beauty and aesthetics to
clothing and accessories. This was highly influenced by the information provided
by the customer profile and the idea development. The designing process was
executed through the following.
3.4.0. Styling
3.4.1. Projected Designs
3.4.0. Styling
The styling process aided in developing initial ideas in relation to forming
standardised costume. It involved the combination of distinctive features of artistic
expressions to characterise the client in question. The theme provided several
motifs from which the styling was developed. The processes made use components
of patterns as in lines, shapes, colours, textures, silhouettes, and even fabrics for
making the project design.
3.4.1. Projected Design
The projected design marks the outcome of the entire research. Findings from the
collated data were put into pattern components and assembled to create the
perceived costume. The garment was produced in a printed blue, brown, and yellow
calico combined with blue jeans. The front view of the shirt had pleats and
scalloped edges designed in embroidery. The back view of the shirt also had
matching scallop in embroidery. The front view of the pair of shorts had pleats on
the left leg with scalloped edges and the right leg with scallops on the jeans to
match. The back view came with printed patch pockets. The final design was
accessorised with a pair of slippers, belt, and a bag. The embroidery placed more
emphasis on the garment and beautified it. The depicted image is the projected
design:
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Fig. 005 Projected Design– A Shirt and a Pair of Shorts (front and back)
Source: Field Data, (2011)
3.5. Specifications
Specifications were the technical drawings used for the construction of the apparel.
It was treated under:
3.5.0. Flat Drawing
3.5.1. Specification Drawing
3.5.0. Flat Drawing
This board clearly showed the design in clear detailed drawing without colour and
model. The flat drawing board also had the design in front and back view. The board
was used to communicate directions and specifics to ensure that the lines, curves,
and shapes were rendered to scale. Fig. 005 shows the technical drawing board.
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Fig. 006: Flat Drawing
Source: Field Data, (2011)
3.5.1. Specification Drawing
Specification drawing is a detailed description of how the final patterns would be to
make a costume complete. The dimensions and labels were calculated at 1/5 inches
scale. It revealed the possible challenges associated with the patterns yet to be
drafted.
Fig. 007 Specification Drawing
Source: Field Data, (2011)
3.6 Costume Manufacture
Making up is largely the purpose of this sub-chapter which converted the graphical
images from the boards into real apparel. The following are the processes which
were engaged.
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3.6.0. Pattern Makings
3.6.1. Toileing
3.6.2. Spreading and Cutting Out
3.6.3. Seaming and Assembling
3.6.4. Fitting
3.6.0. Pattern Making
The patterns were developed using the flat method. There were three types of
patterns used during the drafting. These are as follows:
i.
Basic pattern block was the initial pattern constructed from the measurement.
The pattern was constructed in brown paper from which the working pattern
was developed.
ii.
The working pattern was used for the adaptation of styles and design
features. These included collars, yokes, button holes, button position, and
pleat insertion. Patterns were traced out onto new brown paper as the final.
iii.
The final pattern marked the main construction template. It was
appropriately labelled with balanced marks and notches likewise grain lines
and seam allowances. It was also numbered titled, and named.
16
The following were the tools and equipment used in developing the patterns.
Table 001 Tools and Equipment for Patterns
Materials, Tools, and Equipment
Uses
Brown Paper
The brown paper was used in drafting
and adapting all required blocks and
final pattern pieces.
Pencil
Hard pencil (2H) was used for drafting
and marking out.
Eraser
The eraser was used in erasing unwanted
markings and making corrections.
Tape Measure
It was used for taking body
measurements for pattern marking.
French Curves
Plastic shapes and curves were used for
drawing good curves.
Yard Stick/ Metre Rule
It was used for making long straight line
during drafting.
Tracing Wheel
It was used for transferring pattern
markings onto other brown papers to
obtain the final pattern pieces.
Scissors
The scissors was used for cutting out the
final patterns.
Source: Field Data, (2011)
The following were the body measurement taken from the client and used for the
pattern preparation.
Table 002: Body Measurements
Chest
90cm
Back
45cm
½ Back
23cm
Cycle arm
25cm
Shirt length
71cm
Neck
40cm
Sleeve length
27cm
Source: Field Data, (2011)
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3.6.1 Toileing
Toile was made after the adaptation of the pattern. The toile served as a sample for
testing the accuracy of the patterns and its conformation with the design. The toile
was fitted by the client where all flaws revealed were rectified. The patterns were
appropriately adjusted to reflect the adjustment.
The following were tools and equipments used for the toile and correction making:
Table 003: Materials for the Toile.
Materials
Uses
Cotton fabric (gray bath)
It was used for making the
toile.
Vilene
It was used for fusing the
facing for the toile.
Thread
It was used for stitching and
tacking the design.
Source: Field Data, (2011)
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Table 004: Tools and Equipments
Tools and Equipments
Uses
Pins
The pins were used for holding
pieces of fabrics together before
stitching.
Tracing wheel
The tracing wheel was used in
transferring pattern markings on to
the fabric.
Tailors chalk
The tailors chalk was use for
marking out final patterns.
Seam ripper
It was used for unpicking unwanted
stitches cutting threads hanging.
Shears
It was used for cutting out fashion
fabrics.
Table
It was used for laying and cutting
out of fashion fabrics.
Electric sewing machine
It was used for stitching or joining
fashion fabrics together.
Source: Field Data, (2011)
3.6.2. Spreading and Cutting
Before the spreading and cutting out, it was very necessary to inspect the fabric to
ensure that there were no stains, creases and any other anomalies. The fabric was
pressed to avoid creases and then placed broadly on the cutting table. Afterwards,
graining was done to attain straight edge of the fabric to get the correct positioning
of the economic pattern pieces. Positioning was done to avoid wastage.
Having spread, the following were considered:
i. The right positioning of the selvedge of the fabric
ii. The grain line
iii. Balance marks and balance notches
iv. Motifs on the surface of the fabric and on- fold sign
v. Pattern sizes
19
In addition to the above, the pattern pieces were pinned to the fabric. Pattern
markings were transferred on to the wrong side of the fabric with tracing wheel and
thread markings. Cutting was done by the guidance of the pattern pieces. The palm
was placed tightly on the patterns as a clamp to prevent shifting of the patterns.
Cutting was done in long even and small strokes with a pair of shears.
Table 005: Materials
Materials
Pictures
USES
Lining fabric(blue
cotton)
It was used to line the
fashion fabric to give
thickness and shape.
Fusible
It was used for the
collar and front
opening sections of
the shirt.
Hem it
It was used for
hemming the hem line
of the shirt to hold it
firmly.
Fashion fabric
The fashion fabric
formed the main part
of the outfit.
Source: Field Data, (2011)
20
Table 006: Tools and Equipments
Tools and Equipments
Uses
Pins
It was used for holding the pattern
pieces on the fashion fabrics.
It was used for spreading and
cutting out.
It was used for transferring patterns
onto the fashion fabric.
It was used for transferring pattern
markings from the pattern onto the
fashion fabric.
It was used for cutting out fashion
fabric and the lining.
Table(working surface)
Tailors chalk
Tracing wheel
Shears
Source: Field Data, (2011)
Below is a picture depicting spreading out and cutting out of fabric
Plates: 001 Spreading and Cutting Out
Source: Field Data, (2011)
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3.6.3. Seaming and Assembling
The collar, yoke, pleats, and sleeves were and fused appropriately with vilene.
Balanced notches were matched for tacking. Final checking was done to ensure that
the positioning was right before stitching was run.
For the shirts, the pleats were first held at the front with pins. Embroidery was done
on the back yoke. Also for the trousers, the yoke was the first to be prepared since it
was jeans. The front and back pockets were prepared and fixed.
The following were tools and equipment used for assembling the garment:
Table 007: Tools and Equipment for garment Assembling
Tools and Equipment
Seam ripper
Uses
It was a small cutting tool for ripping off stitches
and creating buttonhole.
pressing iron
It was used to remove creases, fusing and for
given straighten and even hang to the garments.
Sewing thread
It is used with the sewing machine for joining
fabric pieces together and decoration.
Over locking machine
It was used to lock and neatening raw edges of the
fabric pieces and the garment.
Tape Measure
It was used for taking measurements.
Fusible Material
It was used in fusing the garments.
Beads and Sequins
It was used to embellish the look of the garments.
Zippers, hook and eye
It was used to fasten up the opening on the
garments.
Fashion and lining
These were used in making-up the dress.
Sewing machine
It was used for the formation of stitches and
seams. It was used to join cut out pieces together.
Source: Field Data, (2011)
22
The picture below shows assembling of the garment:
Plates 002: Garment Assembling
Source: Field Data, (2011)
3.6.4. Fitting
As demanded by the design, the final garment was made to fit the client. The client
was made to wear the costume for the determination of possible flaws. Upon
satisfying the production specifications, the garment passed out as complete.
3.7. Finishing and Presentation
This was the final part of the chapter and the following were the activities in this
section:
3.7.0. Finishing
3.7.1. Presentation
3.7.0. Finishing
The excess vilene, hanging threads, and button holes were neatly cut. Identified
flaws were corrected and further fitting was done. The process continued till all
flaws were identified and fixed. All seams were closed and overlocked to complete
the making up process. Following this, all stray seams, fabrics, and thread pieces
were removed after which the costume was steam pressed.
23
3.7.1
Presentation
Presentation is the way something looks when it is shown to other people or the
way someone looks, Cambridge Advanced Learners Dictionary. The finished
costume was presented during an exhibition. During the exhibition, garments were
placed on hangers and displayed in an attractive way. After the exhibition, there
was a fashion show to climax the final presentation. The garment was worn by
models for the determination of effective fit and drape.
Plates: 003 Showing Front View of Final Design
Source: Field Data, (2011)
24
Plates: 004 Showing Back View of Final Design
Source: Field Data, (2011)
25
CHAPTER FOUR
SUMMARY, CONCLUSION AND RECOMMENDATION
4.0. Introduction
This marks the epilogue of the inquest and has been organised as listed:
4.1. Summary
4.2. Conclusion
4.3. Recommendation
4.1. Summary
The primary objective of the project was to promote casual wears in the
combination of African prints with denim. In the first chapter, it dealt with the
background, statement of the problem, objective of the study, significant of the
study, limitation of the study, delimitation of the study, definition of terms, and the
organisation of the study.
Chapter two of the project brought to bare the numerous views of other authors
about the topic for analyses. The chapter also threw more light on denim and
African print. It also treated men’s daily wear, western outfits and globalization as a
channel for adulterating the community with Western dressing. The chapter dealt
with the following sub-chapters: denim, African print, men’s daily wear, Western
outfit and globalisation.
The next chapter elaborated the production process and clearly explained the
methodology behind the design adopted. This was enhanced by the use of figures,
tables, and pictures to ensure that the essay is reader friendly. The sub-topics
treated were research, customer profile, idea development, designing, specification,
costume manufacture, and finishing and presentation.
The final chapter of the study talks about the assertions based upon which
conclusion recommendation were drawn.
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4.2. Conclusion
If the people of Africa fail to shift the preference from all foreign outfits to that of
garments made of local fashion fabric, they would still continue to wrestle at the
bottom line of the international fashion industry. The researcher concludes by
saying that interest in local fabrics is gradually drifting away and if much attention
and resources are not turn to that direction much will be lost in the near future and
at least, designers can start with the combination of African and Western fabrics.
This will simply help eradicate the problem of the society in relation to the dressing
of today’s youth.
4.3. Recommendation
Based on the study conducted, the following have been recommended:
i.
Cheaper local materials should be adopted by indigenous designers for
apparel production.
ii.
The textile industry should take the initiative in the production of denim to
make it affordable and easy to acquire.
iii.
The government and corporate world should organize seminars to talk to
students on the significance of fashion especially with the use of locally
produced fabrics and its importance to the socio-cultural development of the
country and the continent.
iv.
The fashion industry should introduce more varieties of styles into the male
outfit globally.
27
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Apple.K. (2002) Textile Art, Creative Publish Int. Lake Drive East US.
Calasibetta, C.M.T. Phyllis(2003), Fair Child Dictionary of Fashion,3rd ed.
Fairchild Publication Inc. New York.
Connie Amaden Crawford (2006) A Guide to Fashion, Fair Child Publishing Inc,
New York.
Frings Stephen Gini (2008) Fashion from Concept to Consumer, 9th ed. Upper
Saddle River, New Jersey Columbia, Ohio.
Gerry Cooklin (1984) Introduction to Clothing Manufacture, Garith Publication
Press, London.
Mary Humpheris- Fabric Glossary, 3rd Edition
Maynard(2004) Manchester University Press.
Rouse Elizabeth (1984)Introduction to Clothing Product Management, Blackwell
Publishing, UK. S
Shane Aglotsson and Derys Davis (2011)The Spirit of African Design.
Wikipidia.com 10th June, 2011
Tortora and Merkel (2003) The Fair Child Dictionary of Fashion, 3rd ed.
Winifred Aldrich (1997) Metric Pattern Cutting, Blackwell Publishing. 4thed.
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