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SEARCHLIGHT ON GHANAIAN ICONIC CREATIVE HANDS IN DRESS FASHION DESIGN CULTURE

PH.D VIVA VOCE. SEARCHLIGHT ON GHANAIAN ICONIC CREATIVE HANDS IN DRESS FASHION DESIGN CULTURE. topic:. PH.D (ART AND CULTURE) CANDIDATE :. O suanyi Q uaicoo E ssel 9141750005. Statement of the Problem. Africa’s contribution to global fashion has received little scholarly attention

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SEARCHLIGHT ON GHANAIAN ICONIC CREATIVE HANDS IN DRESS FASHION DESIGN CULTURE

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  1. PH.D VIVA VOCE SEARCHLIGHT ON GHANAIAN ICONICCREATIVE HANDS IN DRESS FASHION DESIGN CULTURE topic: PH.D (ART AND CULTURE) CANDIDATE: OsuanyiQuaicooEssel 9141750005

  2. Statement of the Problem • Africa’s contribution to global fashion has received little scholarly attention • early Western scholars who made attempt at researching into African fashion approached it from anthropological or ethnographical standpoint creating a complete boundary of Western and non-Western dress (Rovine, 2009) 1

  3. Statement of the Problem CONT’D • Non Western fashion history, in the case of Africa, were viewed as “objects of ethnographic inquiry” (Allman, 2004, p. 2),) to retard social progress and prolong colonial domination over Africa (Nkrumah, 1963). 2

  4. Statement of the Problem CONT’D • Early studies portrayed African dress styles as open nudity practisedby uncouth people and regarded as mere object of meaning making (Hansen, 2004) 3

  5. Statement of the Problem CONT’D E.g: -- Rabine(2002) examined semiotic system of African fashion; -- how religious crusade of Islam and Christianity transformed African clothing culture (Comaroff& Comaroff, 1997; Allman, 2004); -- how Eurocentric clothing fostered the colonisation of Africa and the dress power politics in the decolonisationof the African member States (Fair, 2004; Moorman, 2004). 4

  6. Statement of the Problem CONT’D • retarded progressive fashion research in the continent and relented on exploring specific local and international markets for African designers • some studies by African scholars have investigated into how Afrocentric fashion has influenced European fashion designers (Loughran, 2009) 5

  7. Statement of the Problem CONT’D • attention was unfocussed on the creative works of Africa’s early fashion designers (Rovine, 2009) • worthy to examine the historical antecedents of Ghana’s fashion designs and designers and its contribution to global fashion 6

  8. Objectives of the Study The study sought to: trace the art-historical account of formal school fashion design education in Ghana since 1920. identify Ghanaian iconic creative hands and examine the stylistic tendencies and aesthetic dimensions in their creative dress fashion works. 7

  9. Objectives of the Study CONT’D assess the major creative contributions of the Ghanaian iconic hands to the glocalisation of fashion. classify the Ghanaian iconic creative hands into generations of fashion designers. ascertain the major challenges hampering the growth of dress fashion design in the Ghana fashion industry. 8

  10. Research Questions What is the art-historical account of formal school fashion design education in Ghana since 1920? Who are the Ghanaian iconic creative hands; and what are their aesthetic dimensions in their creative dress fashion works? What major contributions have the iconic hands made to Ghanaian and world fashion design industry? 9

  11. Research Questions CONT’D How would the Ghanaian fashion iconic creative hands be classified into generations of fashion designers? What are the major challenges that hamper the growth of dress fashion design in the Ghana fashion industry? 10

  12. Delimitation renowned Ghanaian fashion designers dead or alive; in and outside Ghana, hammering on their handiworks and contributions to national and global development. 11

  13. Delimitation CONT’D criteria for selection included: -- minimum of ten (10) years in active practise -- dress fashion shows held (exhibitions) -- quality and uniqueness of exhibits, -- awards obtained (local or international) -- major influential contributions to the field of dress fashion design 12

  14. Review of Related Literature Theoretical Framework This study is informed by object-based theory (Taylor, 2002) and material culture of fashion (Riello, 2011) Object-based theory is concerned with materiality and has to do with description and documentation to bring out, and classify garments for historical purposes. 13

  15. Review of Related Literature CONT’D Riello’s (2011) material culture of fashion makes fashion art objects central to historical studies and narratives be it sociocultural, economic and other practices of particular time period 14

  16. Review of Related Literature CONT’D costume and fashion (Hansen, 2004; Rovine, 2009; Skou & Melchoir, 2008) globalisation, glocalisation, grobalisation in the context of fashion 15

  17. Review of Related Literature CONT’D Figure 1. Multiculturalism of fashion inspiration 16

  18. Research Methodology Research Design qualitative research approach a. art-historical tool (Schutt, 2009) b. narrative inquiry research tool (Clandinin & Caine, 2008; Creswel, 2007) 17

  19. Research Methodology CONT’D Population The accessible population consisted of 100 research participants in three broad strata:  Stratum A: fashion designers 40 Stratum B: heads and lecturers of fashion, art historians 40 Stratum C: fabric printing houses, fashion design companies and dress fashion enthusiasts from across Ghana 20 Sample and Sampling Technique stratum A (all) were used and screened to arrive at twelve (12) fashion design icons using the criteria. 50% each of strata B and C. This amounted to a total sample of forty-two (42) research participants. 18

  20. Research Methodology CONT’D Population CONT’D stratum A (all) were used and screened to arrive at twelve (12) fashion design icons using the criteria 50% each of strata B and C amounted to a total sample of forty-two (42)research participants 19

  21. Research Methodology CONT’D Sample and Sampling Technique disproportionate stratified random sampling purposive sampling techniques Research Instruments Used Semi-structured interviews unobtrusive observation, Fashion show video documentaries, Field notes 20

  22. Research Methodology CONT’D Data Analysis Plan narrative analysis descriptive analysis thematic analysis (a flexible and content-sensitive tool (Krippendorff, 1980; Harwood & Garry, 2003; Cole, 1988) 21

  23. Results and Discussion History of formal school fashion design education in Ghana: • Precolonial fashion design education in Ghana was done through apprenticeship system, which was a sort of formal education; while sartorial subjects begun to feature more prominently in the curricula in 1953/1954 as preserve for females to train them as homemakers. 22

  24. Results & discussion cont’d • Twelve Ghanaian iconic creative hands in dress fashion designing were identified. They are: • Yaw Mensah Gyamfi, (68yrs +) • OzwaldBoateng(25yrs+) • Daniel MaamaMorton(46yrs+) • Yvonne KonaduNtiamoah(16yrs+) • Joyce Ababio(23yrs +) • Gregory Kankoh(16yrs+) • ElikeKofi Nkansa(20yrs +) • Kofi Ansa (21yrs) • Joe Casely-Hayford(33yrs) • Ricci Ossei(29yrs) • Beatrice Arthur (17yrs) • AdzeduTetteh(31yrs+) 23

  25. Yaw M. Gyamfi Figure 2. Kaftan decorated with pictorial embroidery of Ghanaian percussion instruments. 24

  26. Figure 3. OzwaldBoateng and his Afrocentric colour exploitation 25

  27. Dan M. Morton Figure 4. ‘4X4’ music group member in Dan Morton bespoke jacket and trouser combinations. 26

  28. Y. K. Ntiamoah Figure 5. waterproof raincoat from La Mack London 27

  29. Figure 6. Womenswear from Konadushowing elaboration and concentration at the upper part of the body 28

  30. J. Ababio Figure 7. Gown sewn with cool colouredkente fabric 29

  31. G. Kankoh Figure 8. Designs that demonstrate the use of harmonious blends 30

  32. Elike K. Nkansa Figure 9. Elike’sdesign expressing boldness in using hot colours. 31

  33. Kofi Ansa Figure 10. Haute couture design fused with calabash art, and pendants of traditional chiefs as accessories. 32

  34. J. Casely-Hayford Figure 11. Model in incredible polychromatic fabric design. 33

  35. Ricci Ossei Figure 12. Smock-like garment with military and Islamic inspired designs (left); long sleeved shirt and trouser combinations with military inspired designs (right). 34

  36. Beatrice Arthur Figure 13. Translucent sexy outfit decorated with embroidery 35

  37. TettehAdzedu Figure 14. Stitching technique used to create embroidery effect 36

  38. Results & discussion cont’d major creative contributions in glocalisationof fashion • popularisationof authentic Ghanaian/African fabrics and accessories; designers for the great top echelons Ghanaian personalities and leaders 37

  39. Results & discussion cont’d • Generations of contemporary Ghanaian fashion designers: • 1940 – 1960s(first generation) • Dan Morton, Yaw Mensah Gyamfi • 1970 – 1980s (second generation), • OzwaldBoateng, Joe Casely-Hayford, • Ricci Ossei, and TettehAdzedu • 1990 – 2000s (third generation) • Kofi Ansa, Joyce Ababio, Beatrice • Arthur, Yvonne KonaduNtiamoah, • Gregory Kankoh,ElikeNkansa 38

  40. Results & discussion cont’d • major challenges hampering the growth of dress fashion design in the Ghana Fashion industry: • influx of smuggled cheap imported dress fashion products, and retailing by foreigners (96%); low accessibility of larger quantities of locally produced fabrics (90%); and the erratic power supply 39

  41. Conclusions • Long before colonialists’ invasion in Ghana, fashion design education was handed down through the apprenticeship system which was indigenous formal education. Sartorial subjects featured in the school curricula of 1953/1954 with little employability focus; and was compulsory for females. 40

  42. Conclusions cont’d • twelve Ghanaian iconic creative hands in dress fashion identified in this study are : • Yaw Mensah Gyamfi, Daniel Maama Morton, OzwaldBoateng, Yvonne KonaduNtiamoah, Joyce Ababio, Gregory Kankoh, Elike Kofi Nkansa, Kofi Ansa, Joe Casely-Hayford, Ricci Ossei, Beatrice Arthur and AdzeduTetteh. They have had much experience, created distinctive signature styles and produce designs with interesting aesthetic dimensions. 41

  43. Conclusions cont’d • contributed in the popularisation of authentic Ghanaian/African fabrics and accessories in global circles; and served as designers for leaders and celebrities. 42

  44. Conclusions cont’d • Generation of contemporary Ghanaian fashion designers: • -- First generation (1940 – 1960s), • -- Second generation (1970 – 1980s) • -- Third generation (1990 – 2000s) 43

  45. Conclusions cont’d • Major challenges hampering the growth of dress fashion design: • influx of smuggled cheap imported dress fashion products, and retailing of dress fashion products by foreigners; low accessibility of larger quantities of locally produced fabrics; and the erratic power supply bedeviled Ghana’s dress fashion industry 44

  46. Recommendations It is recommended that: the erroneous perception that Ghanaian fashion designers had no formal education in fashion design before the coming of the colonialists must be downplayed and contested further studies in search of more of these creative visionaries must be conducted to get a comprehensive scholarly coverage of them 45

  47. RecommendationsCONT’D popularisation of authentic Ghanaian fabrics and accessories in global circles must impress on government to patent them to avoid counterfeiting of these creative works; and there is the needfor automation of local fabric production documentation of the fourth generation (2010 – 2020s) of Ghanaian iconic fashion designers since none was identified in this study 46

  48. RecommendationsCONT’D government must ensure rigorous enforcement of the laws on smuggled goods to protect Ghanaian dress fashion businesses; find more permanent solutions to the erratic power supply and consider reducing electricity tariffs 47

  49. Suggestions for Further Studies There is the need for further studies into those time periods (c. 800 – 19th AD) in making more scholarly contributions to fashion design education history in Ghana. Afro-Brazilian expatriates’ contributions to Ghanaian fashion needs further investigations. 48

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