TAKORADI POLYTECHNIC
ENCOURAGING THE WEARING OF SMOCK MADE WITH AFRICAN
PRINTS (A CASE STUDY IN TAKORADI IN THE WESTRN REGION OF GHANA)
A PROJECT WORK SUBMITTED TO THE DEPARTMENT OF FASHION DESIGN
AND TEXTILES STUDIES OF THE SCHOOL OF APPLIED ARTS, TAKORADI
POLYTECHNIC IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE
AWARD OF THE NATIONAL HIGHER DIPLOMA IN FASHION DESIGN AND
TEXTILES STUDIES.
BY
JUDITH NARTEY
(07081810)
JUNE, 2011
DECLARATION
I, Judith Nartey hereby declare that this project work is the results of my original research
work and that all works consulted have been acknowledged.
Signature …………………………..
Date……………………….
i
CERTIFICATION
I certify that this project has been supervised and assessed in accordance with laid down
guidelines by Takoradi Polytechnic.
Name: Damalie, Sussie Aku (Ms)
Signature…………………
(Internal Supervisor)
Date………………………
Nyame –Philips, Edna Janet (Mrs.)
Signature………………….
(Head of Department)
Date……………………….
Name………………………………
Signature……………………
(External Examiner)
Date……………………
ii
ACKNOWLEDGEMENT
I wish to express my gratitude to God Almighty for His protection, abundant grace, and
strength to complete my education successfully. I will like to thank my family for their
prayers, love and financial support. Thanks also go to my internal supervisor Damalie
Sussie Aku (Ms.) for her guidance and time spent through this project. Finally I will like
to thank Rhoda Agyemang for her support. To all of the above, I say God richly bless
them.
iii
DEDICATION
I dedicate this project work to God Almighty, the maker of heaven and earth, Jesus Christ
his only son. I will praise you whiles I have breath for granting me wisdom, protection
and strength during my stay in school. I again dedicate this project to my lovely parents.
iv
TABLE OF CONTENTS
CONTENTS
PAGES
Title Page
Declaration
i
Certification
ii
Acknowledgement
iii
Dedication
iv
Table of Content
v
List of Plates
vi
List of Tables
vii
List of Figures
viii
Abstract
ix
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
v
1.6. Definition of Terms
3
1.7. Organization of Chapters
3
CHAPTER TWO: LITERATURE REVIEW
2.0. Introduction
5
2.1. Clothing
5
2.2. Traditional wear
6
2.3. Smock
7
2.4. African Prints
11
Summary
17
CHAPTER THREE: METHODOLOGY
3.0. Introduction
18
3.1. The Design Process
18
3.1.1. Material, tools and equipment
18
3.1.2. Research
20
3.1.2a. Customer profile
20
3.1.3. Design inspiration
21
3.1.3a. Theme board
21
3.1.3b. Work book
21
vi
3.1.3c. Style Board
22
3.1.3d. Sample board
23
3.1.3e. Design board
23
3.1.3f. Design brief
24
3.1.3g.Technical drawing
25
3.1.3h. Fabric and trim board
25
3.2. Design Development
27
3.2.1. Materials, tools and equipment
27
3.2.2. Measurement
28
3.2.3. Toil
29
3.2.4. Assembly
30
3.2.5. Fitting of Toil
31
3.2.6. Final Pattern Making
32
3.3. Garment Assembly Process
32
3.3.1. Fabric Preparation
32
3.3.2. Cutting out
33
3.3.3. Materials, tools and equipment
34
3.3.4. Production Plan
35
3.3.5. Seaming
37
3.3.6. Final Garment
37
Summery
38
vii
CHAPTER FOUR: SUMMARY, CONCLUSION AND RECOMMENDATIONS
4.0. Introduction
39
4.1. Summary
39
4.2. Conclusion
39
4.3. Recommendation
40
Summary
41
REFERENCES
42
viii
LIST OF PLATES
PLATES
PAGES
Plate 1. An Elegant “Kente” Drapery
7
Plate 2. Hand Woven Cloth (Kente) using a Loom
8
Plate 3. Royalty wear, Hand woven wear, Machine embroidered
9
Plate 4. A Picture of “Kparikoto” smock
9
Plate 5. Wax Print
11
Plate 6. An Elegant Adinkra Fabric Drapery
13
Plate 7. Tie and Dye Fabric
14
Plate 8. Batik Fabric
15
Plate 9. Kente Fabric
15
Plate 10. Embroidery
16
ix
LIST OF TABLES
TABLES
PAGES
Table1 Materials and tools for the designing process
19
Table 2 Tools, material and equipments for the pattern production process
27
Table 3 Tools, materials and equipments for the garment assembling process
34
x
LIST OF FIGURES
FIGURES
PAGES
Figure 1. Customer Profile
20
Figure 2. Mood Board
21
Figure 3. Work Book
22
Figure 4. Style Board
22
Figure 5. Sample Board
23
Figure 6. Projected Design
24
Figure 7. Technical Board
25
Figure 8. Fabric and Trim Board
26
Figure 9. Toil Fitting
31
Figure 10. Preparing Fabric for Pattern placement
32
Figure 11. Cutting Out
33
Figure 12. Seaming
37
Figure 13. Projected Design
38
xi
ABSTRACT
The designing of a smock using African Prints was a genuine attempt to modernize and
promote the Ghanaian Traditional smock to the people of Takoradi. This project sought
to address their lack of interest in the rather heavy weight smock which is also relatively
expensive because of the fabric used. Using best industry practices, an umbrella concept
was further developed to arrive at a v-neck embroidered smock with pleated long sleeve
with cuff. It has a scalloped upper edge at the hem and worn over a pair of trouser with
gathered details. The result indicates that designers in Takoradi could come out with such
innovative designs and advocate for their use. This in turn will help preserve our cultural
heritage such as the wearing of smock wear.
xii
CHAPTER ONE
INTRODUCTION
1.0. BACKGROUND OF THE STUDY
A smock is a coat like outer garment often worn to protect inner clothes. Smock is a
traditional and local outfit that is very popular. Smock in the local parlance is called „fugu
or „batakari‟. Smock originates from the northern region of Ghana.
History has it that smock gained popularity as early as the 12th century with most accounts
tracing it back to its origins in England. Smock served as way to make the neck and sleeve
more flexible for active work and protection from cold. This came to an end with the
beginning of the industrial revolution. Smocks in Ghana are worn mostly by village chiefs
and the elderly and show a sign of status. The more extravagant the smock, the more
privileged the wearers.
Smock being one of the best traditional wear in Ghana, is sometimes seen on highly
respected citizens such as the President, pastors, Chiefs. Smock makes you the wearer feel
very proud prestigious and Ghanaian.
1
1.1. STATEMENT OF THE PROBLEM
Takoradi in the western region is a place where there is less concentration on wearing of
smock, they also experience hot weather conditions, making the wearing of smock very
uncomfortable. The existing fabric “moutann” used in making smock is heavy. It appears
that there is no variation of designs in smock making.
1.2.
OBJECTIVES OF THE STUDY
The main objective of the study is to promote the wearing of smock by creating unique and
different styles for smock. Specifically, the study seeks to:
1. Promote the use of African prints in designing smock
2. Design and produce unique unisex smock that will suit the weather condition in
Takoradi, using African print.
1.3. SIGNIFICANCE OF THE STUDY
The results of this study, when utilized might be of a great benefit to the people of
Takoradi. It might help designers to go into the production of smock using African prints
which might also create variations. Through this the African prints might be patronized at a
higher rate might help rippled an effect in employment generation and money for the
nation. The study results might also promote the „fugu‟ as a trendy design.
2
1.4. LIMITATION OF THE STUDY
The time allowed on the academic calendar for this research was not enough for an
extensive research.
1.5. DELIMITATION OF THE STUDY
The scope of the study focused on the use of African prints to design and produce a smock,
which is comfortable to wear for the people of Takoradi.
1.6. DEFINITION OF TERMS
i. African prints are fabric that belongs to a particular place.
ii. Clothing is a garment interned to be worn on the body.
iii. “Fugu” or “Batakari” is another name for smock.
iv. “Kparikoto” is a type of smock that has a long full and very wide sleeves
v. Loom is a machine or frame for weaving cloth.
vi. Moutann is the name of the fabric use for making the smock.
vii. Smock is a loose garment.
viii. Traditional wear is a locally manufactured attire.
1.7. ORGANIZATION OF THE STUDY
This project is divided into four chapters. Chapter one is the introduction and it includes
the background, statement of the problem, objectives and significance of the study. It also
includes the limitation, delimitation and the organization of the study. Chapter two reviews
related literature while chapter three covers the methodology. The general procedures the
designer goes through to achieve the design, the idea development process and the
3
materials, tools, patterns, sewing and finishing supporting them with pictures and
illustrations. Chapter four sums up the study. It comprises the conclusion and
recommendations based on the study results.
4
CHAPTER TWO
LITERATURE REVIEW
2.0. INTRODUCTION
This chapter has been reviewed under the following sub headings in relation to the topic
under study. The topics include:
2.1. Clothing
2.2. Traditional wear
2.3. Smock
2.4. African prints
2.1. CLOTHING
Microsoft Encarta (2008) explains clothing as covering and garment intended to be worn
on the body. Clothing includes all the garment, accessories and ornaments worn by people
throughout the world. The primary purpose of clothing according to Wikipedia (2010) is
functional, as a protection from bad weather conditions. Clothes also enhance safety during
hazardous activities such as hiking and cooking by providing a barrier between the skin
and the environment. Clothes also provide a hygienic barrier, keeping toxins away from
the body and limiting the transmission of germs.In most societies, norms about clothing
reflect standards of modesty, religious practices and social status. Clothing may also
5
function as a form of adornment and an expression of personal taste or style (Wikipedia,
2010).Throughout history, many materials ranging from leather to furs, elaborate to exotic
and natural to synthetic material have been used for cloth articles carried rather than worn
(such as purses, umbrellas) are normally considered fashion accessories rather than
clothing, but hat and small dress sweaters can be called either clothing or accessories. The
source is of the opinion that clothing likely originated in the Neolithic age. But some
recent scientific research estimates that humans have been wearing clothing for as long as
650000 years. Cumming (2004) has observed that what a person chooses to wear can
reflect that person„s personality or likes. When people who have culture statues start to
wear new or different clothes, a fashion trend may start. People who like or respect them
may start to wear clothes of a similar style.
2.2. TRADITIONAL WEAR
Traditional wear is a locally manufactured attire example: “Asoka”, beads and
“Ahenemah”. Our traditional African wears have been hand picked from some of the most
beautiful and unique African attire one can find. Africans offer unique clothes that are
authentic. This gives credit to the origin of African clothing and also help promote the
economic growth of Africa (Dupsie‟s2011).The desire to link tradition and morality to
modern cultural dynamism in relation to its expression in the dress-life of Ghanaian youth
is limited. This has probably contributed to provocative, dangerous and promiscuous lifestyles of today‟s youth in Ghana by (Dzramedo,2011).He is also of the
6
view that, the attempt to assess the changing trends has significance on traditional systems
regarding clothing and adornment. The moral standing of the cultural system relating to
clothing and fashion becomes a yard stick of morality to bring to bare the importance of
realizing situation and addressing them correctly, rather than leaving it to the game of
change in fashion trends.
Plate1. Traditional wear: An elegant kente drapery.
Source: View Gallery www.Dupsie‟s, 2011
2.3. SMOCK
According to Nelson (1977), smock is a loose garment worn as an overall. The Oxford
Learner‟s Dictionary (1911) also describe smock as a loose shirt like garment with the
upper part closely gathered in smocking. Smock is a loose coat like outer garment, often
worn to protect the clothing
(wisegeek.com 2011). A smock per the forgoing can be
described as a loose garment. Smocks are made of an aggregation of single strips of hand
7
woven cloth- usually woven on a horizontal loom, and sewn together by hand or by
machine. The cloth, often in a range of patterns, is sold in strips of 30-60cm in length
(ghanadot.com2009).
Plate 2: Hand-woven cloth (kente) using a loom
source: View Gallery wisegeek.com 2011
There are various categories of smock including hand woven, machine embroidered,
royalty wear, ordinary men‟s apparel, feminine and masculine designs as well as stylish
types for occasions. A clear understanding of its various types and the appropriate occasion
and manner for wearing different smocks will lead to the enhancement of the personality of
the wearer.
8
Plate3. Royalty wear
Hand woven
Machine embroidered
Source: View Gallery wisegeek.com 2011
The smock is the most distinctive dress for Northern Ghanaian men. It is the traditional
dress and is found in northern Ghana. The material is hand woven in strips and sewn
together. Often symbolic patterns and designs are overstocked on the front and back.
(verizon.net2004).The most important Smock type is the „‟kparikoto‟‟ long full and very
wide sleeves easily for feet wide. It is normally worn only by paramount chiefs. (G T V
News2011).
Plate4. A picture of kparikoto smock
Source View Gallery verizon.net2004
9
Mariem (2009) says smock is also known as „‟fugu‟‟ a traditional men‟s garment. Smock
is an admiring beautiful garment and also there is a dazzling array of colors but it has only
two styles: short or no sleeves. Adu-kwaboa (2009) is of the view that Ghanaians usually
consider social, economic, cultural and spiritual factors before they choose textiles to
clothe themselves. This choice and the type of textiles a Ghanaian uses have influenced his
life so much so that there is the belief that even though modern fashion springing out from
these printed and dyed textiles enhance individual beauty, the craze for the fast changing
fashions in textile design has also given rise to some social. Nii Bonney (2009 ) recognizes
that, the smock is acknowledged as a bonafide national dress of Ghana (with the better
known kente cloth). Classically, it was indigenous to the northern belt and the kente cloth
to the southern region. It is always worn over a pair of trouser.
2.3.1. TYPES OF SMOCK
The round smock is a pull over style with an open neckline and flat, round collar. This
smock is reversible front to back.
The shirt smock or surrey is styled like a man‟s shirt, with a collar and a short placket
opening in the front. It is not reversible.
The coat smock worn by welsh shepherds is long and buttons up the front in the manner of
a coat. (en.wikipedia.org/wiki/smock2007).
10
2.4. BRIEF HISTORY ON WESTERN REGION
Sekondi-Takoradi is the capital of Western Region, and the fourth largest city in Ghana.
Takoradi as indicated a part of the only twin city in Ghana due to it‟s sister city. The city is
currently nicked named oil city of Ghana due to the massive discovery of oil in the
Western Region of Ghana and has attracted massive migration of people from all over the
world. (takoradi city.com,2011).
2.5. AFRICAN PRINTS
According to the Fair Child Dictionary (2007) textiles print is a general term used for
fabrics with printed patterns or designs. African prints are fabrics that belong to a
particular place, district or country such as Ghana. There are different types of African
prints such as wax print, batik and tie- dye marbling among others. The development of
African wax cloth, begun with similar attempt by European manufactures to under cut
local textiles industries in the colonized countries. In this case with an effort by Dutch to
supply machines and imitations of Javanese batik to it colony in Indonesia. During the late
ninth (19th) centuries, JB Previnare a Belgian Prainter, working in the Dutch town adapted
a French bank not printing, so that it could apply resina, a resisting agent to both surfaces
of the cotton cloth. Later, these techniques were modified with the additional area of colors
being applied by the hand using the wooden block as stamps. The art of African textiles
“Duncan Clark “(2002).Bowdich (1817) explains, however, designs are usually found on
imported cloth in a society with a strong and surviving tradition of
11
textiles production which provides a means of assimilating cheap external produced cloth
to local circumstance.
2.5.1. Wax Print
Wax fabric holds a special meaning in the heart of African. Wax prints fabrics actually
originated in Indonesia and were exported to the Gold Coast and the spread over West
Africa into Central Africa. They became extremely popular and over time the Africans
customized and personalized their own designs. Today, African wax print fabrics are
primarily made in Ghana and they have a strong cultural, social and economic importance
(The wrendesign.com,2007)
Plate 5: Wax Print
Source: View Gallery The wrendesign.com,2007
12
2.5.2. Adinkra Fabric
Adinkra cloth is one of the highly valued hand-printed and hand-embroidered cloths. Its
origin is traced to the Asante people of Ghana and “Gyaman” people. As stated in „‟the
spirit of African design‟. Adinkra means farewell and is used for funeral and to bid a
formal farewell to guest. Rattary (1927) stated that, there appear to be very few cases of
designs being printed on cloth in Africa. One is that of the well known adinkra cloth of the
Asante.
Plate6. An elegant Adinkra fabric drape
Source: View Gallery Wikipedia 2007
2.5.3. Tie - Dye Fabric
According to the Long man Dictionary (2004) tie- dye is to tie string around a piece of
material and colour it with dye in order to make a special pattern. Wikipedia, the free
13
encyclopedia explains tie-dye as the process of resist dyeing textiles or clothing which is
made from knit or woven fabric, using cotton typically bright colours. It is a modern
version of traditional dyeing method use in many cultures throughout the world. Tie-dye
can also be described as the resulting pattern or an item which features these patterns. Tiedye became fashionable in the west in the late 1950s and early 1970s hippie styles
(en.wikipedia.org/wiki/2007).
Plate7.Ttie and dye
Source: View Gallery wikipedia2007
2.5.4. Batik Fabric
According to the Longman Dictionary (2004) Batik is a way of printing coloured patterns
on cloth that involves putting wax over some parts of the cloth. Batik cloth includes
patterns, wax is use to resist the spread of the dye. The process consist of drawing on fabric
with hot molted wax so that when the substrate is dipped in a dye bath only the unwaxed
part of the fabric will take the dye. Colors are applied one top of the other, beginning with
the lightest color. (en.wikipedia.org/wiki/2007).
14
Plate 8: Batik
Source: View Gallery wikipedia2007
2.5.5. Kente Fabric
No fabric is more associated with Africa than the vibrant colors of kente cloth. This fabric
is instantly identifiable to African culture, a native to the country of Ghana. Kente is a
royal and sacred cloth worn only in times of extreme importance in Africa. The name kente
comes from the word „‟kenten‟‟ or basket, because of the cloth‟s resemblance to a basket
woven design. Authentic kente remains one of the most popular fabrics on the market
today (http///www.kente design.d.k.2007).
Plate 9: Kente fabric
Source View Gallery www.kente design.d.k.2007
15
2.6 Embroidery
According to the Collins co build (1987) embroidery is a cloth, clothing or other materials
on which designs have been sewn. Wikipedia, the free encyclopedia explains embroidery
as the art of handicraft of decorating fabric on other materials with needle and thread or
yarn. Embroidery may also in corporate other materials such as metal strips, pearls, beads,
quills and sequence. A characteristic of embroidery is that the basic techniques o stitch of
the
earliest
work
remains
the
fundamental
of
hand
embroidery
toady.
(en.wikipedia.org/wiki/embroidery,2007).Embroidery can be classified according to
weather the design is stitched on top or through the foundation fabric, and by the
relationship of stitch placement to the fabric
Plate 10: Embroidery
Source: View Gallery en.wikipedia.org/wiki/embroidery,2007
16
SUMMARY
A smock can be described as a loose garment .Smock is a typical traditional wear which
originate from the Northern Religion of Ghana. Fabric used is a hand woven in strip and
sewn together Smock are of different categories which includes machine embroidered
smock, royalty smock wear, hand woven smock. African prints are fabrics that belong to a
particular place. There are different types of African print such as wax print, batik, tie-dye.
African wax cloth, begun with similar attempt by European manufactures.
17
CHAPTER THREE
METHODOLOGY
3.0. INTRODUCTION
The chapter focused on all the processes and procedures used in the design, pattern making
and assembly stages of the product (design). Table, figures and plates among others were
used for further Illustrations.
3.1. THE DESIGN PROCESS
The creation of a design either in singular or a group of apparel pieces involves a series of
steps. Each step is closely relate to, and influenced by all other steps in the process. These
steps have been demonstrated below sequentially with pictures to illustrate further.
3.1.1. Tools and Equipments
Every good designer‟s standard is neat and accurate work, therefore, one cannot do away
with the tools and equipments used for the design process. Below are the tools and
equipment use in the design process and how they were used.
18
3.1.1a. Materials, Tools and Equipment
Table1. Materials, Tools and Equipment
Materials/Tools/Equipment
Pictures
Uses
Chip board
Pictures were pasted on it.
It was used in composing the
Snapped pictures
mood board.
Glue
It was used for pasting
pictures.
Scissors
It was used for cutting out the
chip board and the pictures.
Pencil
It was used for marking
out.
Source: Field Data, 2011
19
3.1.2 Research
The market research was done in Takoradi mainly through observation. The target group
were young adults, males. This decision was based on the realization that most of them
were not interested in wearing smock mainly because of its link with elderly and the
weight of the fabric used. The objective to come out with a modified smock by creating
some designs on them giving the smock a refreshing look using the African print.
3.1.2a. Customer Profile
The costumer profile gives description of the target customer. The board contains
information about the model using photographs to represent her preferences and needs
with some small inscription giving some details. This profile helped the designer to create
to suit the model.
Fig.1 Customer Profile
Source: Field Data, 201
20
3.1.3. Design Inspiration
The theme umbrella/ was the source of inspiration for the design. The theme umbrella/ was
chosen because of how it spreads out which gracefully which matches with the smock. The
title protection/ was premised on the mood of the umbrella/, it gives a feeling of shield.
The various concept board were developed based on the title derived from the theme.
3.1.3a. Theme Boards
Theme/Mood boar is a collage of photographic images and object arranged on a
theme/mood sized board. Ideas of cut fabric and texture, colour among others wee
developed from the theme board.
Fig.2. Mood Board
Source: Field Data, 2011
3.1.3b. Work Book
Work book contains rough work displayed on the board from the concept to the final
design.
21
Fig.3 Work Book
Source: Field Data, 2011
3.1.3c. Style Board
The style board consists of the four different styles selected from the lot created in the
work book. Below are the front views of the styles.
Fig.4 Style Board
Source: Field Data, 2011
22
3.1.3d. Sample Board
The sample board below contains examples of some of the detail designs on the garment.
Six detailed designs were placed on the sample board. There are gathers on the side and
knee of two trousers, embroidery on the neckline of two top. Pleats on the sleeve and top,
godet on two top and facing with scallop shape runs through all the four.
Fig.5 Sample Board
Source: Field Data, 2011
3.1.3e. Design Board
This board consists of the specific styles chosen from the other styles developed. The
board below present show both front and back view of the style in their original fashion
fabric. Accessories, make-ups and hair styles were applied in detail of design
23
Fig.6 Projected Design
Front view
Back view
Source: Field Data, 2011
3.1.3f . Design Brief
The projected design a smock was designed with both plain and printed fabrics. The smock
outfit has a v-neck line with embroidery, which serve as a finishing as well as a decorative
purpose. A box pleat at the side of the long sleeve which starts from the crown right down
to the edge which is inserted into the cuff which is made with printed fabric. Scalloped
facing was made at the hem of the hem of the smock using printed fabric. The trouser was
made with a plain fabric throughout with the lower path having gathers at both sides of the
trouser.
24
3.13g. Technical Drawing
This board contains the designs drawn to scale with constructional line styling to details.
The technical drawing served as a primary visual source to communicate the design details.
The front and back views are clearly shown.
Fig.7 illustration board (Flat Drawing)
Source: Field Data, 2011
3.1.3h. Fabric and Trim Board
The board as shown below contains the small swatches of the fashion fabrics and
trimmings that were used to complete the garment. The board also illustrates the fashion
fabric used.
25
Fig.8 Fabric Board
Source: Field Data, 2011
26
3.2. DESIGN DEVELOPMENT
3.2.1. Materials, Tools and Equipments.
Table2. Materials, Tools and Equipment
Material/Tools/ Equipment
Pictures
Uses
Office pins
It was used to hold patterns and
fabric together.
Tape measure
It
was
used
to
take
measurement.
Tracing wheel
It was used for transfer pattern
marks onto the fabric.
Paper cutting shears
It was used to cut pattern
pieces.
French curves
It was used for drawing curves.
Meter rule
It was used for ruling straight
line.
27
Table
It was used for layout, cutting
and sewing.
Brown paper
Patterns were on the plain
brown papers.
Source: Field Data, 2011
3.2.2. Measurement
Set of body measurements of the models were used in preparing the patterns, and then used
to adapt the design. The style lines of the final patterns were adapted with seam
allowances, pattern information and instruction were also included.
Actual Body measurement used:
Across back- 38cm
1. Bust- 84cm
2. Waist- 66cm
3. Hip- 96.5cm
4. Shoulder to Ampere- 38.5cm
5. Ampere- 66m
6. Smock length- 76cm
28
7. Sleeve length- 64cm
8. Around wrist- 20m
9. Body rise- 23cm
10. Trouser length- 70m
11. Around bottom- 28cm
3.2.3. Toil
Toiling was made using a relatively cheap fabric in making a toil, the piece was then
joined together to get a complete garment. The model then fitted to see if everything was
correct. Correction were made where necessary. Since the fabric for the projected design
was a cotton fabric, a cotton sample fabric was used for the toil. The fabric was easy to
handle but needed more pressing since it creased badly. The sample fabric was spread to
lay flat without any folds on a large table and the pattern pieces were arranged
economically on the fabric and held in position with pins to prevent any movement. The
patterns were arranged on the fabric according to the instructions on the pattern, the large
patterns were placed first, followed by the small ones, pinned and cut out.
29
3.2.4. Assembling
Smock
The round method was used in joining the fabric piece together.
1. Press garment pieces.
2. Join shoulders seam.
3. Prepare facing around the neck line.
4. Stitch darts on front and back piece of smock and press towards the side seam.
5. Join the side seams of front and back piece.
6. Prepare hem of flare lower piece.
7. Join flared lower part to top using round method of construction.
8. Attach zipper, hook and eye to the back.
Trouser
1. Neaten all the raw edges.
2. Press all the garment pieces.
3. Prepare the fly.
4. Stitch back dart.
5. Join both side seams to the knee.
30
6. Stitch two rows and pull as gathers at the lower sides of the trouser.
7. Join the gathered sides seam and the inside seams.
8. Prepare and fix the waist band.
9. Prepare and fix the bottom band as a finishing.
3.2.5. Fitting of Toil
During fitting these important points were taken into consideration, judged and altered for
good appearance as well as fit, position as well as the run of seams. After the fitting and
corrections made, the production patterns were prepared for laying and cutting out of the
fashion fabric..
Fig.9 Fitting of Toil
Source: Field Data, 2011
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3.2.6. Final Patterns making
Mistakes identified on the toil were effected on the patterns. Seam allowance of 1.3cm was
provided for economic production
3.3. GARMENT ASSEMBLY PROCESSES
3.3.1. Fabric Preparation
The fabric was inspected to check printing flaws. it was pressed to remove all crease, then
spread by hand on a large table with the selvedge facing selvedge, as well as right sides
facing. The pattern pieces were then arranged on the wrong side of the fashion fabric
economically and pinned in position with the pointed edge of the pin pointing inside and
not outside at the selvedge.
Fig.10 Preparing fabric for pattern placement
Source: Field Data, 2011
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3.3,2. Cutting Out
With all the patterns in the fabric matching and the grain line parallel to the selvedge,
which makes the garment hang well. The fabric was then cut out. Short strokes were used
for cutting curves and long strokes for straight edges. The patterns were left on the fabric
until pattern markings were transferred onto the fabric pieces cut out.
Fig.11 Cutting Process
Source: Field Data, 2011
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3.3.3. Materials, Tool and Equipments
Table3. Materials, Tool and Equipments
Materials,
Tools,
and Pictures
Uses
Equipments
Pins
It was used for holding the
fabric pieces together.
Pin caution
It was used for holding pins.
Hand needle
It was used for tacking and
fixing fastens.
Seam ripper
It was used for unpicking of
stitches.
Tracing wheel
It was used for transferring
pattern makings onto fabric.
Fabric cutting shears
It was used for cutting fabric.
Electric sewing machine
It was used for the sewing of
the garment.
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It
was
used
Tape measure
measurement.
Fashion fabric
It
was
used
to
take
for
the
construction of the outfit.
Button
It was used for fastening and
also serves as a decorative
purpose.
Zip
It was used for fastening.
Velcro
It was used for attaching and
detaching two separate pieces.
Hook and eye
.
It was used for fasten.
Source: Field Data, 2011
3.3.4. Production Plan
One garment was chosen from the four for the purpose of this report. Below are the
seaming procedure observed during production
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Smock
The round method was used to execute this work.
1. Press garment pieces.
2. Join shoulder seams.
3. Make embroidery at the neck line together with the lining.
4. Stitch darts on front and back pieces of smock and press them towards side seams.
Do same to the lining.
5. Join the sides seams of front and back.
6. Prepare hem of flare lower piece.
7. Lining the down part by cutting in a flare form for it to hang inside.
8. Join flared lower down part to the top using the round method of construction.
9. Attach zipper, hook and eye to the back.
Trouser
1. Neaten all the raw edges.
2. Press all the garment pieces.
3. Prepare the fly.
4. Stitch back dart.
5. Join both side seams to the knee.
6. Stitch two rows and pull as gathers at the lower sides of the trouser.
7. Join the gathered side seam and the inside seam.
8. Prepare and fix the waist band.
9. Prepare fix the bottom band as a fin
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3.3.5. Seaming
Fig.12 Seaming
Source: Field Data, 2011
3.3.6. Final Garment
Fastens such as hook and eye, zip and bottom are fixed at the back of the ladies
smock to close the opening, detail for easy wearing and removal of the garment.
All seams were pressed open for the seam to lie flat and for a graceful hang to
increase it beauty as well. All thread ends were trimmed from the garment on both
the inside and outside. The garment was finally pressed to do away with all creases.
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Fg.13 Projected Design
Source: Field Data, 2011
SUMMARY
The creation of a design for the apparel involves a series of steps. All the steps come in
accomplishment with the right tools and equipments. Before coming out with this design,
A market research was conducted to know the target group and also design to suit them.
The customer profile was made in other to design to suit the personality of the customer.
Depending on the design (smock), the inspiration was an “umbrella” this theme was
developed to get interesting, different designs were created in the work book, four was
selected as the style line. The projected design was the one chosen from the four,
construction of the garment based on the design was made to come out with the finished
garment and all details showing with the help of tools and equipment.
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CHAPTER FOUR
SUMMARY, CONCLUSION AND RECOMMENDATION
4.0. INTRODUCTION
This chapter is the last chapter of the study, it consists of the summary and. Conclusion
was drawn based on the result. Recommendation was made to be used to ensure that
people have interest in the wearing of smock.
4.1. SUMMARY
This project set to prove a point that our locally printed fabric can be used to produce
smock. The resultant design helped draw the attention of people on the wearing of smock
and varied styles obtainable as it was highly appreciated at an exhibition and a Fashion
show Technique style 2011 at Takoradi Polytechnic on June, 2011
4.2. CONCLUSION
This study as a whole has helped to come out with innovative designs which the designers
could follow this path to prevent the coping of styles. In conclusion, it severs as a pointer
for other young designers that smock can be modified so as to attract the interest of the
youth in to it, and by so doing help preserve our heritage.
39
The study showed that our locally printed fabrics could equally be used for the production
of many exotic and innovative designs with the same standard as those imported ones.
4.3. RECOMMENDATION
The following points are recommended to help find solution to the problem of peoples not
having interest in the wearing of smock and also a general education of the different types
of African prints and their versatility.
1. Having produced such a document, it might be very useful to certain educational
institutions and for the development of the Ghanaian society. In view of this, it is
recommended that this document be made available to all stake holders in
Takoradi to create awareness.
2. Money should be invested in the production of smock using the African prints, as
this which will bring variation between the existing and what is being shown to the
market.
3. Fashion students should be taught to research more on our traditional wear and go
into production of such wearers.
4. Organizing fashion shows and exhibition mainly on traditional wear must be
encouraged.
5. Educating people on the use of African prints for garment might be encouraged. by
so doing it will help promote the textile industry and ensure economic growth in
the country as a whole.
40
6.
It is good that technology is advancing therefore future researchers should further
improve upon the quality of this material in terms of designs.
7. Encouragement of programmes that intend to promote the use of African print such
as beauty pageants, fashion shows etc. should be done by textile and fashion
designers.
8. It is recommended that more advertisement should be made on the use of African
prints in making smock.
41
REFERENCES
TEXT BOOKS:
Clark, D. (2002). The art of African Textiles, New Edition.
Longman Dictionary, Forth Edition (2004).
Oxford Learners Dictionary,(1911). Oxford University Press.
Phylum Tortora and Markel,(2007)Fair Child Dictionary of Textiles, Seventh Edition.
Thomas Nelson and sons,(1977) Nelson Dictionary First Published, Croatia.
WEBSITE:
Dupsies 10th April, 2011.
http///www.kente design.d.k. 11th Octomber, 2007.
View Gallery verizon.net 12th September, 2004,
View Gallery Wikipedia 9th September, 2007.
Wikipedia, the free encyclopedia 9th September, 2007.
wisegeek.com 22rd Febuary, 2011.
wrendesign.com 14th April, 2007.
www.GBC.com 3rd March, 2011.
www.View Gallery Dupies 10th April, 2011
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