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The Production Of Interior Decoration And Men Traditional Outfit Using Embroidery Design
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This thesis topic for fashion design focus on types of  embroidery , embroidery design machine  and types of materials used in the production of interor decoration and men traditional outfit . download the complete material below : 

 

THE PRODUCTION OF INTERIOR DECORATION AND MEN TRADITIONAL OUTFIT USING EMBROIDERY DESIGN

Abstract

This research work is on the production of interior decoration and male traditional outfit using embroidery design for men in Enugu state. The accessories includes; pillow, throw pillow, bed sheet, Pillow cases, Armrest and male traditional outfit. The researcher will source the materials for this research work in Enugu metropolis, the research will buy some of the materials that are needed for the completion of the research work from Ogbete Main market in Enugu state. The research work was carried out in IMT Enugu. The researcher analyzed the data with the use of tables and percentages.

 

The researcher found out that Lack of awareness on the new trends in the construction of men traditional outfit affects the productivity of the designers. Poor knowledge of designers on the operation and usage of new and sophisticated embroidery machines affects the designers to a large extent. The researcher equally discovered that Poor quality of materials used in the production of accessories for interior decoration affects the outputs. It was also discovered that Lack of proper orientation on the use of machines used in the production accessories affects designers in Enugu State.  Based on the findings the researcher made the following recommendation Government and NGOs should put programs in place to create awareness of new trends in the construction of men traditional outfit in the country. 

 

Designers should be educated on the operations and usage of new and sophisticated embroidery machines. Government should set up monitoring team to check and monitor the type and quality of materials used in the production of accessories for interior decoration. Designers in Enugu should be properly informed on the usage and operation of machines used in the production of accessories for interior decoration. 

 

 

TABLE OF CONTENT

CHAPTER ONE

 INTRODUCTION

Background of the study                                                          1

Aims/ Objectives                                                                     10

Statement of Problem                                                              11   

Scope of the study                                                                   13

Limitation of the study                                                             14   

 

CHAPTER TWO                                                                              

Review Of Related Literature                                                    15   

Hand-Woven Traditional Textiles (Kente)                                 16

Ashanti                                                                                    17

CHAPTER THREE

 

MATERIALS AND METHODS                                                   21   

Pillow                                                                                       21                   

Pillow case                                                                               23

Bed sheet                                                                                 22

Throw pillow                                                                            23                                                                                                           

Male traditional outfit                                                              23

 

CHAPTER FOUR

Data analysis

CHAPTER FIVE

SUMMARY, CONCLUSION AND RECOMMENDATION             31

Summary                                                                                         31

Recommendation                                                                     32

Suggestion for further studies                                                  32

References                                                                               33

 

                                                                                                                                                    CHAPTER ONE 

INTRODUCTION

Background of The Study            

Abdulrahman, A. (2011) observed that Cloth has been serving as a valued trade commodity as early as the eleventh century and continuing till the present time as a vital art form. Like all African textiles, Ghanaian cloth/ textiles communicate on many different levels, through their bold designs offbeat rhythms and motifs. According Dresner, S (2010) Even machine woven or printed fabrics today are used to communicate on various levels. Just like in every other society, cloth or textiles is so much a part of the everyday life of Ghana which is easily taken for granted.

 

Gauzin-Muller, D. (2013).  opined that the words fabric and cloth are used in textile assembly trades (such as tailoring and dressmaking) as synonyms for textile. However, there are subtle differences in these terms in specialized usage. Textile refers to any material made of interlacing fibres. Fabric refers to any material made through weaving, knitting, spreading, crocheting, or bonding that may be used in production of further goods (garments, etc.). Cloth may be used synonymously with fabric but often refers to a finished piece of fabric used for a specific purpose (e.g., table cloth).

 

According to Kang, M (2011) Clothing is a significant factor in human development. This development came as a result of the efforts of man to cover his nakedness and protect him from shame and the harsh elements of life (Payne 2010). The idea of covering the body started from the Garden of  Eden (Genesis chapter three), when the first man (Adam) discovered that he was naked. He decided to cover his nakedness with leaves which were the first immediate materials available to him. Man later graduated to the use of animal skin (hide and skin) which progressed into tanning. Tanning according to Mangut and Mangut (1999: 150) involves a series of processes whereby raw skins and hides are converted into more durable commodities. These processes are aimed at rendering the skin or hide durable by making it not 'putrefactive and at the same time yielding a product with technical characteristics suitable         for a wide variety of purposes. 

 

Lowe, I (2010) noted that The process of fabric production in course of time will develop into the use of yarns which are still collected from various sources (animal wool, silk from insect, cotton, etc), according to the technology available to or advanced by each culture. The Yoruba of South western Nigeria developed the use of fibres essentially from cotton, silk and wool which  were spun into yarns used for traditional woven fabrics. There are two major purposes for clothing as earlier mentioned. According to Lowe, I (2014) These are to conceal the sensitive parts of the body (modesty of appearance) and to protect the body from harsh elements (harsh weather and unpleasant insect bites).

 

However, there is a worldwide change in the way people view modesty, because 'it is changing from complete-covering of the body to 'Bikini' bathing suit' (Payne, 2010). Though the purposes and ways of clothing are changing from culture to culture, it nevertheless, transforms the appearance of man as it adds value to his outlook, when it is properly put together through the ingenuous hands of the artist. The sum total of this human development is the foundation for nation building. Traditional African fabrics date back to centuries prior to the advent of the Europeans.

 

The usage of African traditional fabrics is gaining acclaimed popularity in Europe and  among Africans in Diaspora, These products were initially limited in varieties, (designs and  styles); they were also restricted to the kings and chiefs, (Johnson, 2012). However, the tide has changed because the cloths are found popular among the old, the young, and the affluent Nigerians. The reason is that the fabrics are gaining historical as well as national importance. As a result of the socio-cultural factors, textile art is taught as a course in tertiary institutions. It is being practiced as a profession in textile centers in cities, towns arid villages.

 

More people are presently engaged in textile production much more than before. This is because traditional fabrics are now used to satisfy the dynamic socio-cultural and economic yearnings of the people. Traditional attires are no longer' merely used as attires to adorn the body occasionally, but have also become the status symbol of wealth, socio-cultural and religious identity of individuals. Degraff, J, (2010) (buttresses the prominent use of traditional hand- woven fabrics which are also copiously found among the Tiv: of Benue and Ebira of Kogi States of Nigeria, The Yoruba, especially from Ondo, are known for their love for the acquisition and generous use of indigenous (handmade) fabrics, aso-oke or aso-ofi (Ademuleya 2013. To celebrate the importance 'of clothing among men, different proverbs are used to accentuate clothing as a token of good personality and as a material of class distinction. The significance of traditional woven fabrics is reflected probably more in Yoruba proverbs.

 

"Adinkra" in Akan means (saying goodbye or going ahead). Adinkra is an Ashanti cotton cloth produced at Ntonso North of Kumasi in the Ashanti Region of Ghana. Printed textiles were previously unknown but for this one form of Ashanti textile which was developed around the C 18th . Graphic motifs are printed in black tar using stamps made from carved calabash (gourd). These are used to create individual patterns that have associated proverbs. Primarily developed for funerary purposes, they have also attained ceremonial status just like the Kente cloth and have similar usage but not at par value as the Kente cloth.

 

According Porteous, C (2012)  Adinkra was developed for royals to celebrate funerals. There are a plethora of symbols that the local printers choose from to create patterns that convey special messages and meanings. It usually comes printed in black tar on strong colours like black, red, brown, purple and the less traditional green- all associated culturally to mourning, seriousness and somber reflection. Over time however, various designs have been developed for celebratory events usually on white, yellow and blue- such as out-doors, special anniversaries etc. Adinkra is also created for both males and females.

 

Wax Prints

This fabric/ cloth type has provided new and versatile means of elaborating African interest in the communicative and expressive power of dress.

•       An effort by Dutch factories in the colonial times to undercut local textile production in Indonesia by producing and supplying machine made imitations of Javanese batik, back fired and was rejected but became an instant hit in Dutch Trading posts in Ghana when they were introduced here. This fabric type gained ground rapidly in Ghana as one of the many foreign imports.

•       Designs began to be adapted to fit local tastes and concerns in Ghana and West Africa in general. Specific motifs of traditional import became evident in the designs introduced.

•       Various direct printing technologies were introduced to produce cheaper imitations of wax prints (fancy prints). These can be differentiated from the Wax prints because the designs only register on one surface of the fabric but has the advantage of finer detail of design and direct reproduction of photographs.

 

Wax prints thus quickly became prestige items and trading chips whilst their imitated others were made available to the lower income group. This state of affairs still persists today.

Porteous, C (2013) Noted that The communicative potential of wax cloths is vast and varied. Commemorative designs that promote the wealthy and powerful is only one of the many. Current trends suggest the use of wax prints in sending subtle messages across in forms of imagery and associated proverbs. We won't get into the details of these here. African wax printed cloth is far more than just colourful exotic mode of clothing. Its design repertoire blends contemporary African concerns with imagery drawn from the historical colonial legacy. It provides both everyday dress and raw material for exclusive designers. It celebrates traditional fabric designs, the novel and remarkable.

 

According Schneiderman,D (2011) A network of Intermediate Technology Transfer units (ITTU's) provides training and equipment to help local people especially women set up small scale businesses in textiles. With few start-up costs (batik making being much simpler to set up than mechanized fabric making) and needing little space, many women and some men have set up thriving businesses from their homes producing very brilliant and colourful fabrics mainly for the local low income market.

 

Schneiderman,D (2010) observed that The process of batik (which was introduced into Ghana from South East Asia), is a process of patterning and colouring cloth that requires the use of wax to block the dye from parts of the cloth. Locally produced cotton is usually the preferred fabric. Other fabrics have however been experimented with by various fabric artists. It is quite labour intensive and provides employment for a lot of women locally.

 

Schneiderman,D ( 2012 stated that The patronage of this fabric declined very much in the 1980s due to various reasons including preference for cheaper alternative imports from Asia and other places as well as a social denigration of the fabric. It has however seen a revival in recent years.

The "tie/ dye" technique (which requires tying the cotton fabric in sections to resist dyes and immersion in dyes) preceded the wax resist process of batik. It has however given ground to the batik as the preferred fabric making process and the process has just become one of the techniques used in combination with the batik process to produce textiles.



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