- TAKORADI POLYTECHNIC REPOSITORY

TAKORADI POLYTECHNIC
SCHOOL OF APPLIED ARTS
DEPARTMENT OF FASHION DESIGN AND TEXTILE STUDIES
PROJECTING GHANAIAN IDENTITY THROUGH NATIONAL WORK WEAR
A CASE STUDY OF CORPORATE LADIES IN GHANA (BANKERS)
BY
LARTEY, VICTORIA KORKOR
(07081852)
JULY, 2011.
i
TAKORADI POLYTECHNIC
PROJECTING GHANAIAN IDENTITY THROUGH NATIONAL WORK WEAR
A CASE STUDY OF CORPORATE LADIES IN GHANA (BANKERS)
A PROJECT WORK PRESENTED TO THE SCHOOL OF APPLIED ARTS,
DEPARTMENT OF FASHION IN PARTIAL FULFILMENT OF THE
REQUIREMENT FOR THE AWARD OF HIGHER NATIONAL DIPLOMA
(HND) IN FASHION DESIGN AND TEXTILE STUDIES
BY
LARTEY, VICTORIA KORKOR
07081852
JULY, 2011.
ii
DECLARATION
I, Lartey Victoria Korkor declare that this project work is the result of my own original research
work undertaken under the supervision of the undersigned and that all work consulted have been
acknowledged.
CANDIDATES NAME: VICTORIA KORKOR LARTEY
SIGNATURE…………………………..
DATE :………………………..........….
iii
CERTIFICATION
I certify that the search work has been supervised and assessed in accordance with laid down
guidelines, by Takoradi Polytechnic.
SUPERVISOR
NAME: MS JEANETTE QUASHIE
SIGNATURE ………...........……….
DATE……………………………….
HEAD OF DEPARTMENT
NAME: MRS. JANE EDNA NYAME PHILIPS
SIGNATURE ……………….............
DATE :…………………………
iv
DEDICATION
The research work is dedicated to the lord God almighty whose protection and guidance has seen
me through my course successful.
It is also dedicated to my mother Madam Josephine Tsatsu, my father, Mr. Daniel Lartey and my
sisters for their love, care compassion, understanding and support during the period of my study.
May God bless them in abundance.
v
ACKNOWLEDGEMENT
My sincerest thanks to God Almighty for guiding my steps throughout my three years
programme.This research work would not have been successful without the support of my
supervisor, Ms. Jeanette Quashie whose corrections and encouragement contributed massively in
accomplishing this project work.
My next gratitude goes to the department of fashion design and technology for their contribution
and guidance. I again wish to express my appreciation to Miss Suzzy Aku Damalie for her advice
and support, to my aunty Mrs. Celestina Dansu and family, my siblings Sylvia, Tina and Sarah
Lartey, also to my friends Julius, Ernest, Elvis, Thelma and Cynthia. Lastly to all the students of
fashion department especially 2011 year group, for their care and support towards the successful
completion of my project work. God richly bless you.
vi
ABSTRACT
This project has been carried out to promote the use of African prints and show how to enhance the
corporate image of lady corporate workers using African prints for uniforms in the banking halls in
the Sekondi-Takoradi metropolis. It was also aimed at finding solution to the problem of
Ghanaians abandoning our culture in favour of a phony-Euro-American culture.
The key
instrument used for the research was observation.
The project was carried out by gathering information from existing theories from the internet and
various books from the library. In the course of the research, the researcher observed that bankers
put on uniforms made of exotic fabrics instead of the African prints. It was also observed that there
in lack of uniformity in their clothes and cuts of the design and it is limited to Friday use. The
production of the outfit underwent process such as detailed research, intensive investigation about
the customer, various idea development, costume manufacturing through to the finishing and
presentation.
The study recommended that lady bankers should show higher appreciation for African print by
adopting it as their official work wear and should be used every working day. This will improve
upon their look, mood and enhance their beauty and image. The use of African prints will help
promote the culture identity of Ghanaian society, boast its employment rate, and generate revenue
and foreign exchange. After going through the research a well designed haute couture outfit was
made as a preferable style that can be adopted by bankers for their official work wear.
vii
TABLE OF CONTENTS
Content
Pages
Title page............................................................................................................................ii
Declaration.........................................................................................................................iii
Certification........................................................................................................................iv
Dedication............................................................................................................................v
Acknowledgment................................................................................................................vi
Abstract..............................................................................................................................vii
Table of contents...............................................................................................................viii
List of tables.......................................................................................................................xi
List of figures.....................................................................................................................xii
CHAPTER ONE
1.0
Background to the study..........................................................................................1
1.1
1.2
1.3
1.4
1.5
1.6
1.7
Statement of the problem.........................................................................................2
Objective of the study..............................................................................................3
Significance of the study..........................................................................................3
Limitation ...............................................................................................................4
Delimitation.............................................................................................................4
Organization of the study.........................................................................................4
Glossary...................................................................................................................6
CHAPTER TWO
Literature Review
2.0
Introduction.............................................................................................................8
2.1
African Prints Defined.............................................................................................8
2.2
History of African Prints
9
viii
2.3
Production of African Prints...............................................................................10
2.4
Types of African Prints.......................................................................................11
2.4.1 Fancy Print..........................................................................................................12
2.4.2 Wax Prints...........................................................................................................12
2.5
Characteristics of African....................................................................................12
2.6
Colours and their significance..............................................................................13
2.7
Importance and uses of African Prints..................................................................14
2.8
Benefits of African Prints to the economy............................................................14
CHAPTER THREE
METHODOLOGY
3.0
Introduction........................................................................................................16
3.1
The design process..............................................................................................16
3.1.1 Work Book.........................................................................................................16
3.1.2 Theme Board......................................................................................................17
3.1.3 Fabric Board.......................................................................................................18
3.1.4 Sample Board.....................................................................................................19
3.1.5 Design Board......................................................................................................20
3.1.6 Projected Design.................................................................................................20
3.1.7 Design Brief........................................................................................................21
3.1.8 Specification Board............................................................................................21
3.2
Flat Pattern Making Process...............................................................................22
3.3
Making of Toile and Corrections........................................................................24
3.4
Laying and Cutting out.......................................................................................26
3.4.1 Pinning...............................................................................................................27
3.4.2 Cutting out Fabrics.............................................................................................27
ix
3.5
Garment Assembly Process.............................................................................28
3.6
Joining of pieces...............................................................................................31
3.7
Finishing..........................................................................................................32
CHAPTER FOUR
4.0
Summary.........................................................................................................33
4.1
Conclusion......................................................................................................33
4.2
Recommendation............................................................................................34
References......................................................................................................35
x
LIST OF TABLES
Table 1
Materials, Tools and Equipments................................................................23
Table 2
Materials.....................................................................................................24
Table 3
Tools and Equipments................................................................................25
Table 4
Materials.....................................................................................................26
Table 5
Tools and Equipments................................................................................27
Table 6
Materials, Tools and Equipments..............................................................29
Table 7
Tools and Equipments...............................................................................30
xi
LIST OF FIGURES
Figure 1
Work Book.................................................................................................17
Figure 2
Theme Board..............................................................................................18
Figure 3
Fabric Board...............................................................................................19
Figure 4
Sample Board.............................................................................................19
Figure 5
Design Board.............................................................................................20
Figure 6
Projected Design........................................................................................21
Figure 7
Specification Board...................................................................................22
Figure 8
Laying and cutting out..............................................................................28
Figure 9
Assembling Process...................................................................................32
xii
CHAPTER ONE
INTRODUCTION
1.0
Background of the study
Work is defined in the oxford dictionary as involving physical or mental effort, especially as part
of a job. In the ancient time, work was seen from different perspectives. Work, for much of the
ancient history of human race, has been hard and degrading. Taking into consideration the
Hebrew, classical, or medieval cultures, it was not compulsory to work therefore it was not a
norm (Rose, 1985). It was not until the protestant reformation that physical labour became
culturally acceptable for all persons, even the wealthy.
In the Ghanaian societies, work is greatly valued .Society has made it such that a man and
woman are supposed to work, earn a living and cater for their families. In jobs such as
Agriculture, Act, Banking and finance, Hospitality, Administration etc. For the purpose of this
project, emphasis will be made on workers in the banks. Two of such banks in the SekondiTakoradi Metropolis of Ghana are National Investment Bank (NIB) and Ghana Commercial
Bank. (GCB).
Bankers deals with a lot of clients who come into the bank hoping to save or invest their monies.
Since the bankers have interpersonal relationship with their client, it is expected that their outfit
make them look smart and professional.. For instance, the corporate ladies of National
Investment Bank (NIB) wear a stripped blue shirt with a brown background and a blue skirt
whiles their counterparts in Ghana Commercial Bank (GCB) also wear navy-blue skirt with an
off-white inner blouse.
1
In both cases, uniformity is portrayed with their clothing, coupled with competence and
professionalism.
In recent times, we now see more emphasis in corporate clothing and work wear related to the
service sector, where the corporate image and brand awareness plays an important role.
On Fridays however, these corporate ladies look different. Their clothing colour, cut and make is
nothing close to the corporate look they display on the other banking days in the week. With
their varied clothes, colour and style lines they look ordinary like any woman who does not work
in the banking sector. Clearly this is a shift from corporate standards in dressing as portrayed
from Monday to Thursday.
1.1 Statement of the problem
1) It appears that most Ghanaian bankers put on uniforms made of foreign fabrics and this
promotes the foreign instead of our local fabrics.
2) Ghanaians are abandoning our culture in favour of a phony-Euro-American culture.
3) It appears there is a limitation of the use of African print in our work or official wear in
Ghana.
4) It also appears there is a lack of uniformity of “Friday wear” in the banking halls. This
Shows the lack of appreciation of using African prints(Friday wear)as official wear of a
high standard
2
1.2 Objectives of the study
African prints been one of the prestigious resources that the country has produced to
promote the culture identity of the Ghanaian society, boast its employment rate, revenue and
foreign exchange. Having dealt with the problem mention above, the following are the
objectives expected to achieve.
1) To encourage corporate bodies(banks) to show higher appreciation for African prints by
adopting it as an official work wear.
2) To promote African print
3) To bring to the attention of corporate workers (bankers) the availability of high standard
quantity African prints on the market.
4) To encourage the adoption of suitable corporate designs (cuts) for Ghanaian lady
bankers.
1.3 Significance of the study
This study is important because it will help corporate workers portray our Culture and be
identified with Ghana and African prints. When the findings of this study are utilized, It will
encourage corporate workers to use the African print to form corporate identity.
It will bring uniformity in the fabric types, and designs to be used by corporate ladies.
Economic gains world be achieved through maximum purchase of African prints.
3
1.4 Limitation of the study
In the course of carrying out this research work, some difficulties were faced which cannot
be overlooked. Due to limited time and funds, the study was focused on only two banks in
the Western Region, Takoradi namely; National Investment Bank, (NIB) and Ghana
Commercial Bank (GCB) were observed.
1.5 Delimitation of the study
The study covered the various aspect of designing corporate wear with the use of African
prints and its importance to the country‟s economy. The study was limited to the Sekondi –
Takoradi Metropolis.
1.6 Organization of the study
The research is divided into four main chapters. The first chapter which is the introduction
deals with issues such as the following:
-Background of the study
-Statement of the problem
-Purpose of the study (objectives)
-Significance of the study (importance)
-Limitation of the study
-Delimitation of the study
-Organization of the study
4
Chapter two reviews related literature.
Chapter three gives a general overview of all the boards. It also gives the production plan.
Chapter four consists of the summary, conclusion and recommendation of the study.
5
GLOSSARY
African print: Bold geometric design.
Afrocentric: Centered of focused on Africa.
Appliqué: Ornamented needlework in which pieces of fabrics are attached to a fabric.
Batik: A method of dying in which the pattern is covered with wax.
Bedding: bedclothes.
Button hole: A finished opening for a button either by machine or hand used with a button to
secure the garment.
Brand: A type of product manufactured by a company under a particular name.
Colour: Element of art derived from reflected light.
Colour story: An arrangement or combination of colours.
Competence: The quality or extent of being competent.
Contemporary: Existing, modern in style or design.
Corporate: Relating to a large company or group.
Dart: A pattern making used in dressmaking that indicates an area to be stitched together in order
to shape the finished garment.
Dyestuff: Substance used as or yielding a dye.
Emphasis: Stress laid on a word.
Engraved: Work of art cut or design.
Flamboyant: Brightly coloured and showy.
Illustration: Drawing used to tell a story, give instructions, or make a product look attractive.
Illusion: An action or fact of illustrating.
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Insulate: Protected from something unpleasant.
Mood: A state of mind or feeling.
Motif: A single or recurring image forming a design.
Muslin: Lightweight cotton cloth in a plain weave.
Ornamented: Adorn or beautify.
Outfit: A set of clothes worn together.
Patterns: A repeated decorative design.
Pigment: Substance use for colouring or painting.
Portray: Depicted in a work or describe in a particular way.
Professionalism: The competence or skill expected of a professional.
Protestant: A member or a follower of the western Christian that are separated from the Roman
Catholic in accordance with the principle of the reformation.
Rave: Widely or incoherently, or something with great enthusiasm or admiration.
Reformation: the action or process of forming.
Seam: A line where two pieces of fabrics are sewn together in a garment or article.
Stitch: One complete motion of threaded needle or other implement.
Symbolism: The use of symbol to represent ideas or qualities.
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CHAPTER TWO
LITERATURE REVIEW
2.0 INTRODUCTION
This chapter discusses the related literature for the study. It is meant to provide information on
opinions expressed in relation to the study. In this chapter are the following sub-headings.

African prints defined.

History of African Prints.

Production of African Prints.

Types of African Prints.

Characteristics of African Prints.

Colours and their significance.

Importance and Uses of African Prints.

Benefits of African Prints to the economy.
2.1 African Prints Defined
Print can be defined by the free online dictionary as a mark or impression made in or on a
surface by pressure. Prints can also be defined as design applied to a fabric by means of
mechanical or hand method of printing, (calasibette, 2003). She also described African Prints as
Bold geometric design inspired by some traditional African designs.
8
2.2 History of African Prints
African prints are locally made cotton fabrics ornamented with refreshing or printed patterns.
Many centuries ago hair from animals was woven to insulate and protect homes. Hair, along with
fibers from various plants and trees, were used to create bedding, blankets, clothing, window and
wall hanging In the middle ages, textile-making was a well developed art .Exquisite linens,
cotton, woolens and silks came from Italy .African prints were normally made of cotton and
were common.
Microsoft Encarta (2007) notes that, although cotton is the most common textile fiber now in
use, it was the last natural fiber to attain commercial importance .As textile become more
sophisticated, they were also used as currency for trading. Many of the ancient designs and
weaving methods are used to and remain an important part of African lifestyles. Weaving
method and a fiber used today varies with 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 Republic in that they
incorporate raffia palm leaf to create their Kuba cloth.
Handmade looms are still used today to weave various textiles. The looms 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, dyeing, painting, or embroidery. Sometimes
soil is used to make paint, and dyes can originate from herbs, leaves, vegetables and grasses.
These are mixed with water or other chemicals such as zinc, sulfur or iron to obtain the desired
thickness and hue.
9
In the earliest times, pattern fabric existed before woven or embossed ones and this made man to
decorate his environment by means of painting fabrics. It existed to the sixth century. Before
2500BC, printed fabrics existed in Egypt. During that period, it was known that wax prints were
popular in central, East and West Africa. The development of African wax cloth began with
similar attempt by European manufactures to undercut local textile industries colonized
countries. With the effort by Dutch factories to supply machinery which made imitations of
Javanese batik to its colony in Indonesia. Later, a Belgian printer, J.B. Previnaire, working in the
Dutch town of Haarlem then, adapted a French printing machine so that it could apply a resin, a
resisting agent to both surface of cotton cloth.
The technique was rapidly modified with additional areas of colours being applied by hand using
the wooden blocks as stamps, a technique already in use in both Holland and India to imitate
batik. African wax printed cloth is for more than just a colourful and exotic made for dress. The
designs repertoire blends contemporary African concerns with imagery drawn from historical
legacy, (Clarke, 2002).
2.3 Production of African Prints
According to Calasibetta (2003), printing is reproducing a design on fabric in colour either by
mechanical means or by hand. Prints may be applied as allover, repeat patterns, border designs or
in large panel designs. Printing can also be defined as the process of manufacturing multiple
copies of graphics images. Although most people think of printing as putting ink on paper,
printing is not limited to any particular materials or inks.
10
Textiles as woven or non-woven product made from the natural cotton, silk linen and wool or
synthetic fibres (nylon, Orlon and Dacron), filament or yarns. The strength of a finished textile
can be determined by the type of weave; satin weave, twill weave and plain weave which is the
weakest of all. After weaving to obtain the fabric or textile, printing is done to decorate or
introduce designs or patterns. Printing uses the pigments and dyes employed in dying and
applied them to a pattern or design. In printing there are two basic techniques: wet and wax
printing and screen printing. The various processes of printing are described below:
a. Wax printing: wax printing as a technique used to print cloth where the pattern area is
covered with wax and placed in the dye bath and the uncovered area takes up the colour,
(calasibetta, 2003).
b. Wet printing: In both engraved-rollers printing and serene printing dyestuffs are applied
wet for optimum.
c. Engraved Roller Printing: in this technique, a separate roller engraving is used for each
colour in the pattern. The design is rolled onto the fabric as it passes through the printing
machine.
d. Screen printing: screen printing is accomplished with a design stenciled on a flat or roller
screen. The screen is placed over the fabric and colour is applied by squeegee it through
the opening in the stencil.
2.4 Types of African Prints
African prints can be categorized into two main groups. They are fancy print and wax prints.
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2.4.1 Fancy prints
These type of printed fabric do not have wax but comes out in a shaped motifs prepare with
many colours. Fancy prints are collection of roller printed cloth of which do not have the feel of
colours being separated by the wax. The wax prints often have the look and feel of a wax coating
on the surface of the fabric. Fancy clothes do not have this same feel.
2.4.2 Wax Prints: A wax print is a type of printed cloth where the pattern area is covered with
wax and the fabric is placed in the dye bath where the uncovered areas take up the colour,
(calasibetta, 2003). Wax prints are textile print works which comes out with distorted motifs and
shows wax effect on the surface of the fabric. It mostly comes out with few colours, and is label
wax print on the selvedge which shows the type of print used. Examples of wax prints include
the following: Dutch wax, from vlisco popularly known as Hollandaise; Super wax from Ghana
Textile Printing Company (GTP). The true wax prints are the most expensive. These were
originally made in Indonesia and were called batik cloth. These were taken to Europe where a
method was devised to make these in the factory without being totally handmade. Wax prints
found now are almost all roller printed. These are still made in Holland by two main companies:
vlisco BV in Helmond) and in Nigeria, Ivory Coast, and Ghana. Most of the wax printed is being
made now in China.
2.5 Characteristics of African Prints
African prints are identified as intricately entwined with local, social and political life despite
their origin and production. (Adler, 2002) wax prints are hundred percent (100%) cotton textiles
printed in bold designs with symbolic motifs and irregular designs which makes each piece of
12
fabric unique. A decorated textile describes the heritage of the African past, vibrant colours and
flamboyant designs of wax print cloth are more interesting and important to the people of Africa
today.
2.7 Colours and their Significance
According to Liddell (1981), colour is one of the most influential and exciting things in our lives.
Few people are aware of the power of colour. Studies have shown that colours affect our mood
and feelings as well as our looks. Colour can make you look shorter, taller, slimmer or fatter. The
right colour can make you feel happy and full of life. Red is a vibrant colour. It is associated with
anger, power, danger, passion, war and love. It makes you feel good and full of energy. When
you wake up feeling grumpy, you should wear something red. According to Algotsson and Davis
(1996) 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, whiles red is used for mourning robes by the Akan in
Ghana and for burial in Madagascar. Colour yellow represent fertility (like the ripeness of an egg
yolk or a fruit) and vitality, wisdom and warmth. Yellow is equally cheerful and bright. Green
signifies the renewal and growth seen in plants and represents the cycle of birth. Orange is
cheerful and warm colour. It expresses courage, friendliness, hospitality, energy and hope. Blue
represent the presence of God and the omnipotence of the blue sky. Blue also refers to a pure
spirit, one which rests in harmony. Black denotes seriousness and a union with ancestors. It
implies spiritual awareness. According to Clarke (2002), African prints are made with deep
philosophical meanings: their objectives lie in the symbolism of design and colour. The
13
importance of symbolism and colour in African prints take in to account the heritage of African
culture and value in view of this, colour influences the individual state of mind.
2.8 Importance and Uses of African prints
African prints are locally made cotton fabrics, which have refreshing patterns and motifs. The
African print serves as a belonging to Africans because of its cultural symbols and colours
introduced in them as patterns and motifs. Due to the African climate condition being hot, cotton
is very popular for most fashion and everyday wear as it does not produce excessive heat as
compared with synthetic fabrics. There are four main types of African prints: they include batik,
tie dye, wax print and java prints. In Ghana, companies that produce African prints are as
follows: Akosombo Textile Limited (ATL), Ghana Textile Printing Company (GTP), Printex and
other small scale industries. Dutch wax produced by Vlisco is from Ivory Coast.
2.9 Benefits of Adopting African Prints.
The National Friday wear programmes, an initiative aimed at projecting a unique Ghanaian
identity through the extensive use of local fabric and designs as business wear.
The announcement of the National Friday wear programme is one of the most significant acts of
freedom and independent, (P.M.D Ohene-Frimpong). The benefits for the purpose of this study
are in three folds: the corporate ladies and their company‟s image, their clients‟ perception of
them and the contribution to the Ghanaian society and by extension to the African economy. The
use of African print to the corporate ladies as their work wear will help in enhancing their
14
corporate image. Our self-image, self-confidence and culture identity are all projected in the
clothes we wear. Clothing, and for that matter the „Friday wear‟ defines and describes the lady
banker to their clients and the world at large,
Kofi-Andah (2007) admits, “I have often admired the francophone‟s for their beautiful outfits
made of African prints,…….ladies look really smart when they wear their „kaba and slit‟ made
of African prints to work place and do not reserve it only for church on Sundays”. As part of
effort to boost the local production of fabric, the government introduces the programme to
promote made-in-Ghana goods and to revitalize the textile and garment industry.
15
CHAPTER THREE
METHODOLOGY
3.0 Introduction
This chapter focuses on all the processes and procedures used in the design, pattern
making and assembling of the product (design) being adopted as one of other suitable
corporate wear designs for bankers. Figures and tables among others have been used
where necessary to further illustrate processes.
3.1 The Design Process
The design stages shows all the processes and procedures used to attain the suitable
designs for the work wear produced.
3.1.1 Work book
This book contains inspiring pictures and information about the photographs to be used
for collection. It also contains the different developed shapes which can be used for
designing. The work book also shows the various design and design detail to be used in a
collection. The motifs or shapes chosen serves as a guide in choosing the fashion fabric
for the project design. Figure 1 below shows the workbook.
16
Fig 1 Workbook
Source: Field Data, 2011
3.1.2 Theme board
The theme board is a collage containing inspiring pictures from natural or artificial
sources that gives inspiration for design or style ideas, colour and fabrics. This helps in
choosing outlines and colours for a collection. Interesting designs are chosen from the
board and developed. Some shapes were chosen individually to reflect the various outfits
including the project design. The title of the theme board is‟ AFROCENTRIC‟ and it was
derived from pictures of indigenous guitar which portrays the rich culture of Africa.
Figure 2 below shows the theme board.
17
Fig 2 Theme Board
Source: Field Data, 2011
3.1.3 Fabric Board
The fabric board contains all swatches of fabrics chosen, linings, trimmings and colour
story used in the collection. The fabric and trims and colours have been arranged
according to tint and shades of colours. The board is presented in figure 3 below.
18
Fig 3 Fabric Board
Source: Field Data, 2011
3.1.4 Sample Board
The sample board shows a variety of samples from the design. These samples are
derived from theme board. This is the board with design details in the projected design
made in smaller sizes of the same fabric and colour in the main design, examples are
pleats, appliqué, gathering, and tuck. The board is presented in figure 4 below.
Fig 4 Sample Board
Source: Field Data, 2011
19
3.1.5 Design Board
The design board shows the collection of all four designs and styles
together on one
board. Each design is presented in front views arranged to give a good collection. The
board is presented in figure 5 below.
Fig 5 Design Board
Source: Field Data, 2011
3.1.6 Projected Design
The projected design is the selected design among the four outfits on the design board.
Below in figure 6 is the projected design in front and back.
20
Fig 6 Projected design. A jacket and trouser
Front view
Back view
3.1.7 Design Brief
The outfit is produced in a printed blue and brown jacket with a plain blue trouser. The
front view of the jacket has an appliqué of a motif from the theme board on the front
panel which has a blend of the woodin and the print .The back view of the jacket is in
print. The trouser has an appliqué of the motif from the theme board which also has the
blend of the print and plain woodin. The design is accessorized with a bag and necklace.
The appliqué added more beauty and emphasis to the dress.
3.1.8 Specification Board
This board clearly shows the illustrations of the designed outfit. This brings out the
necessary features in the design. The design has been technically drawn to guide pattern
preparation. The specified measurements of the design details have been featured on the
21
board. The front and back view of the design. Figure 7 below presents the specification
board.
Fig 7 Specification Board
Source: Field Data, 2011
3.2 Flat Pattern Making Process
The flat pattern making process or Flat method was used in developing the pattern pieces.
The materials, tools and equipments used in the process have been listed in the table 1
below.
22
Table 1: Materials, Tools and Equipment
Materials, Tools and Equipment
Uses
Brown Paper
The brown paper was used in drafting
and adopting all required blocks and
final pattern piece.
Pencil
Hard pencil (2H) was used for drafting
and marking out.
Eraser
The
eraser
unwanted
was
used
markings
in
and
erasing
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 curve.
Yard\ Meter stick
It was used for making long straight
line during drafting.
Tracing Wheel
For transferring pattern markings unto
another brown paper to obtain the final
pattern pieces.
Scissors
The scissors is use for cutting out the
final patterns to be ready for laying out.
Source: Field Data, 2011
The jacket and trouser block patterns were first made to fit the sampled- size figure.
These block patterns had no style lines, thus darts at the waist and shoulders were
introduced to fit the figure using actual measurements. The block pattern were adopted to
suit the style lines like panel lines and revere collar, final patterns were cut out separately
23
ready for laying out and cutting out of the muslin (polyester) for toiling and further
corrections were made after fitting.
Figure 8 below shows the pattern making stage.
3.3 Making of Toile and Corrections
Table 2: Materials.
Materials
Pictures
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.
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Table 3: 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
For unpicking unwanted stitches cutting
threads hanging.
shears
For cutting out fashion fabrics.
Table
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
After every adaptation of the design, it is appropriate to test patterns for accuracy and fit
by making a toile .The toile was made for fitness on the bust, waist, hip, arm hole and
sleeves. The patterns were perfected to the production patterns.
Fabric Preparation
Pressing was first done to remove all creases and have the fabric lie flat on the cutting
table .Graining was done to obtain straight edge of the fabric to get the correct laying out.
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3.4 Laying and Cutting out
After the fabric preparation, the pattern pieces were spread out on fashion fabric on a flat
table for cutting out. Large patterns were first laid, and the smaller ones were placed in
between the larger ones. These were placed according to pattern markings and
instructions.
Table 4: Materials
Materials
Pictures
USES
Fashion fabric
The fashion fabric formed
the main part of the outfit.
Lining fabric(blue cotton)
It was used to lining the
fashion fabric to give body
and shape.
Fusible
It was used on the front and
back section of jacket, the
hem line of jacket and
sleeve and arm scye to give
body to these areas.
Hem it
It was used for hemming
the hem line of jacket to
hold it firm. It was used in
place of stab stitching.
Source: Field Data, 2011
26
Table 5: Tools and Equipments
Tools and Equipments
Uses
Pins
It was used for holding the pattern pieces
on the fashion fabrics.
Table(working surface)
It was used for laying and cutting out.
Tailors chalk
It was used for marking pattern pieces onto
the fashion fabric after laying out.
Tracing wheel
It was used for transferring pattern
markings from the pattern onto the fashion
fabric.
Shears
It was used for cutting out fashion fabric
and the lining.
Source: Field Data, 2011
3.4.1 Pinning: Pinning was done to hold all the pattern pieces in position on the fashion
fabric. The pinning was done in the turnings to avoid creating holes in the main fabric.
3.4.2 Cutting out Fabrics
Cutting out was done to separate the fabric to get the require design using a sharp scissors
.Long strokes were used to cut straight lines and short strokes for curved lines. The
Vilene was also cut out to fuse the various fabrics respectively. The laying and cutting
out process is presented below in figure 9.
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Fig 8: Laying and cutting out
Source: Field Data, 2011
3.5: Garment Assembly Process

All patterns were transferred unto the main fabric to make sewing easy. These
pattern markings include seam lines, darts and zip or button extensions.

Facings and collars were fused with Vilene.

Assembly of fabrics was done accordingly to get the needed design.

The garment sections were prepared in parts. The sleeves, pockets, openings,
necklines and side seams.
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Table 6: Materials, Tools and Equipments
Materials
Pictures
Fashion fabric
Uses
The fashion fabric forms
the main part of the outfit.
Fusible
It was for front and back
sections of the jacket,
armscye,
hem
line,
neckline and sleeve.
Lining
It was used for under
lining fashion fabric to
give body to the outfit.
Jacket shoulder pad
The shoulder pad was used
to shape the shoulder of
the jacket.
Thread
The thread was used for
stitching all the cut-out
pieces.
Buttons
The buttons were used in
the closure of the jacket.
Zipper(8inches long)
It was used in front of the
trouser as a closure for
easy wearing and removal
Pins
It was used for holding
fabric
piece
before stitching.
Source: Field Data, 2011
29
together
Table 7: Tools and Equipments
Tools and equipments
Uses
Tape measure
It was used for taking measurement of
the outfit.
scissors
The scissors was used for cutting thread
hangings and trimmings.
Seam ripper
It was used for cutting and unpicking
unwanted threads. It was also used for
cutting button holes.
Pressing iron
It was used for pressing down seams at
each process of assembly.
Pressing board
The various garment sections were
placed on the board to apply heat,
pressure and stem.
Hand sewing needle
The hand sewing needle was used for
hemming and tucking.
Source: Field Data, 2011
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3.6 Joining of pieces
The following were the procedures used in assembling the garment pieces:

The panel lines in front of the jacket and lining were stitched.

The seamed front panel line, facings were pressed facing the center back.

Jacket shoulders were joined with a seam and pressed open.

The fused facing were stitched to the main jacket, snipped and press flat.

The side seams of both fabrics from the arm hole to the hem line were
joined and pressed open.

The collar of the jacket was fixed.

The jacket sleeves were also prepared by stitching the two sides together
and press open. The sleeves were attached to the garment, both the fashion
fabric and the lining.

The hem of the lining was stitched and pressed.

The shoulder pads were fixed in between the shoulder of the fabric and
lining by stitching.

The lining was inserted into the fashion fabric using the round method.

The darts at the back view of trouser were stitched.

The zipper was fixed in front of the trouser to facilitate easy wearing and
removal.

Side seams were stitched together and the band was fixed.
The assembly process is presented below in figure 10.
31
Fig 9: Assembling Process
Source: Field Data, 2011
3.7: Finishing

Hook and bar was attached to the trouser.

The trouser was hemmed.

Button hole were made at the button position.

The buttons were fixed at their position and the button hole cut with a
seam ripper.

The finished jacket and trouser were given a final press and hanged.
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CHAPTER FOUR
SUMMARY, CONCLUSION AND RECOMMENDATIONS
4.0 SUMMARY
The study was about how to promote the use of African Prints for official
work wear for lady bankers to enhance their corporate image and also portray
the Ghanaian culture and be identified with Ghana and African prints. The
study was conducted through existing theories and observation. Two banks in
Sekondi-Takoradi were used as case study.
In the course of the research it was revealed that though the African Prints
was already in use there was lack of uniformity in the clothes and cuts and it
was limited to Fridays. However, observation showed that that in spite of all
the qualities and beautiful prints available, corporate workers have abandoned
it in favour of the exotic fabric and this is promoting the exotic instead of the
local prints. The researcher is in the context of this project trying to promote
the African prints for official work wear and to unfold it beauty and benefit to
the economy. Corporate bodies were also encouraged to show higher
appreciation for African prints by adopting it as their official work wear.
They were also encouraged to adopt suitable design and cuts to project
uniformity and professionalism in their working environment. A well
designed outfit was made as a preferable style that can be adopted by the
bankers as uniform for work after the research. Samples of garments designed
using the African prints for work wear were showed cased during the
exhibition and fashion show.
4.1 CONCLUSION
African inspired fashion is the new rave in the fashion industry. The use of
African prints has recovered a significant presence in the runway of fashion
shows all over the world and is becoming part of the Ghanaian corporate
entities dressing on Fridays. The corporate workers are adopting African
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Prints for official work wear and what is left to be done is adopting their use
beyond friday to every working day.
4.2 RECOMMENDATION
Base on the conclusion of the study, the researcher recommends that
information should be used to help corporate bodies (banks) use the African
prints to form corporate identity and also show high appreciation for African
prints by adopting it as their official work wear. The researcher again
recommends that fashion designers and student‟s research more into the use
of African prints explore their ideas and exhibit various designs which will
help bring out different designs and patterns. Managements of banks are
encouraged to adopt a dress code to ensure uniformity in clothes, cuts and
expand its use for everyday in order to contribute to the growth of the textile
manufacturing industries in Ghana.
34
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Text books
Calasbetta M.P Tortora, (2003): The Fair Child Dictionary of fashion. Fair
child publication, Inc. New York.
Clark, (2002): The Art of African Textile. Gallery London.
Elsasser H Virginia, (2007): The Textile Concept and Principles. Second
Edition. Fair child publication, Inc. New York.
Frings, G.S, (2008) Fashion from Concept to consumer. Ninth Edition.
Pearson Education, Inc.
Liddell A. Louise, (1981): clothes and your Appearance. The Good HeartWilcox Company, Inc.
Concise Oxford Dictionary. Tenth Edition. Oxford university press, 2000.
Google .com
Algotsson and Davis, (1996): The Spirit of African Designs.
Saho Victoria, (2009): Textile and Fabric of Africa.
Ohene-Frimpong, Prof. November 18, 2007. Friday wear,” The most
significant acts of freedom and independent, featured article, Thursday. Editor
@ modern Ghana.com.philadehpia U.S.A.
Microsoft Encarta Encyclopedia, (2007)
Free online Dictionary
http://eu Wikipedia.org/wiki/fashiondseign.
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