CHAPTER ONE

1.0 Introduction

1.1 Background of the study

Embroidery is one of the important crafts being practiced by most Hausa communities of

northern Nigeria and some other ethnic groups like Nupe and Kanuri people. The world book

Encyclopedia (1974) embroidery is the art of stitching a pattern or designs on cloth with needle

and thread. This kind of needlework is sometimes called needle painting.

According to Babangida and Sani (2010), handmade cloth embroidery is practiced and popular in

many Hausa communities like Kano, Katsina, Zaria, Sokoto, Gusau, and so forth. It happened to

be one of the most important Hausa crafts that have been practiced over a long period, and is still

in existence. The handmade embroidery designs used on clothes played important role in the

cultural heritage of Hausa people, particularly of Daura. Aesthetics is one of the functions of

handmade cloth embroidery in Daura. Isah (2011) and Hassan (2011) mentioned that, the Hausa

used various motifs and designs on clothes for decorative purposes, which they developed

alongside with other traditional art works like, leatherwork, calabash decoration, body decoration

and wall decorations, as means of cultural expression, beauty and identity.

The traditional handicrafts, such as: fashion, tools and utensils were a field in which women

were creative. Methods of ornamentation and performance varied and technical patterns were

different in spite of primitive means and tools. Fashion and ornaments gained a unique creativity,

which is reflected in the ability of using tools available from the surrounding environment which

exceeds the contents of the material itself. This was the most reliable means of expressing a

unique taste (Al-Bassam& Hafez, 2010).

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One of the important tools women used to decorate their clothes with embroidery. Embroidery

has many forms, materials and application methods, as there is individual embroidery and

embroidery with other material, such as: beads.

One of the important elements which distinguish traditional handicrafts is ornamentation.

Ornamentation is usually done by embroidery and has a significant importance in traditional

clothes especially in occasional clothes where apparent places of clothes are embroidered. The

parts which are usually embroidered are the areas surrounding the neck, chest and sleeves and

sometimes ornamental methods are spread on the cloth (Al-Bassam 2005). One of the important

and most common methods of decoration as it combines both beneficial and aesthetic aspects

because of the availability of its materials (Al-Aql, 2005). Saudi Arabian regions are known for

their manual and automatic embroidery, which was not commonly known at that time (Al-

Bassam 2005, Al-Ajaji, 2015).

Textile refers to the malting of cloth. A fibre is a pliable hair-like structure of length which is the

building block of fabrics while a fabric is a finished product of textile, (Margil 1988). The most

common uses of textile products are apparel and home furnishing. Besides these uses, textiles are

indispensable to industry, agriculture, transportation, space exploration, health services and other

areas, (Macfoy 1992). Textiles in the form of clothing are among the three basic needs of Man

after food and shelter. Attitudes as expressions of feelings, thoughts and behaviors depend on the

individuals. Attitudes are often learned from family and peer groups, (Mtshall, 3000)

1.2 Statement of the problem

Embroidery is one of the crafts that have provided the local artists a means of expression as well

as a major source of revenue. This study is focus on the designing and construction of

embroidered African dress using Ankara fabric. The problem of this study is therefore, the

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examination and acceptability of embroidery work using Ankara fabric which serves as new

innovations. which is not being noticed as an entrepreneurial skills.

1.3 Broad objectives

The main objective of this study is to focus on the designing and construction of embroidered

African men dress using Ankara fabric for entrepreneurial skill.

1.3.1 Specific objectives

The specific objectives of the study are to:

 Draft pattern for the design of men dress

 Produce embroidered African men dress using Ankara fabric

 Identify the form in which students and lecturers use Ankara fabrics.

 Determine the acceptability of embroidered African men dress using Ankara fabric

produced.

1.4 Scope of the study

This study is to produce embroidered African men dress using Ankara fabric. This research

work, concentrate on the following.

 To study the demographic of consumer of Ankara fabric study area.

 To study the behavior of consumer toward the embroidered African men dress using Ankara

fabric.

1.5 Significance of the study

This study lunches into the designing and construction of embroidered African men dress with

the use of Ankara fabric for entrepreneurial skill which in a way reduces unemployment and

create more innovations to the level of fashion industry in Nigeria by embracing African fabric

and embroidery designs.

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1.6 Definition of terms

Designing:

Embroidery: embroidery is the art of stitching a pattern or designs on cloth with needle and

thread. This kind of needlework is sometimes called needle painting.

Ankara fabric: also known as Ankara and Dutch wax prints, are omnipresent and common

materials for clothing in Africa, especially West Africa. They are industrially produced, colorful

cotton cloths with batik-inspired printing.[1] One feature of these materials is the lack of

difference in the color intensity of the front and back sides. The wax fabric can be sorted into

categories of quality due to the processes of manufacturing.

Entrepreneurial skill: Entrepreneurship is the process of designing, launching and running a

new business, which is often initially a small business. The people who create these businesses

are called entrepreneurs.

Construction: is the process of constructing a building or infrastructure.[1] Construction differs

from manufacturing in that manufacturing typically involves mass production of similar items

without a designated purchaser, while construction typically takes place on location for a known

client.

Designing: A design is a plan or specification for the construction of an object or system or for

the implementation of an activity or process, or the result of that plan or specification in the form

of a prototype, product or process.

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 CHAPTER TWO

2.0 Literature Review

2.1 Origin of Embroidery

"Embroidery is the art of applying decoration by needle and thread to the surface of a piece of

woven cloth." (Staniland, 1991).

Embroidery as a means of embellishing clothing and other articles is a very ancient craft. For

example, the buttonhole stitch, still in use today, dates back to at least 8,000 B.C.E. Needles with

eyes have been found as far back as 30,000 B.C.E. while clothing decorated with stone beads and

animal teeth dates back even farther, to 38,000 B.C.E. Metal needles were invented during the

Bronze Age (2000-800 B.C.E.) and the oldest extant examples of chain stitch come from China

around 475-221 B.C.E. (Leslie, 2007). Another ancient embroidery stitch is the cross stitch,

which consists of two slanted straight stitches which cross over each other, forming an X. Cross

stitch probably originated in Central Asia and the Middle East and the oldest extant piece dates

from around 850 C.E. (Leslie, 2007).

Many of the stitches mentioned above are probably much more ancient than their oldest

surviving examples since textiles often do not preserve well. The oldest surviving pieces of

embroidery come from Egyptian tombs and include pieces such as embroidered hem panels on

the tunic of King Tutankhamun (Leslie, 2007).Other very ancient embroideries which have

managed to survive to the present day come from India (circa 2000 B.C.E), Greece, and China

(Leslie, 2007).

The earliest examples of embroidery from Western Europe and the Middle East (at least based

on surviving extant examples) date from around 700-1100 C.E. The most famous of these is the

"Bayeux Tapestry" from around 1077, which, in spite of its name, is not a tapestry, but rather

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embroidery. The Bayeux Tapestry depicts the Battle of Hastings in 1066 and is an example of

crewelwork, which is embroidery done with worsted wool thread on linen (Leslie, 2007).From

the eleventh-thirteenth centuries, cross stitch was very popular with western European

noblewomen waiting for their husbands to return from the Crusades. During this time period,

many noblewomen copied the patterns from Middle Eastern rugs into their own cross-stitched

pieces (Leslie, 2007).

Black work or Spanish Work was another type of embroidery which was very popular in many

parts of Europe during the middle Ages. Black work, which consists of simple running stitches

and back stitches, often worked in very intricate patterns which resemble lace, originated in

northern Africa and was brought over to Spain by the Moors. It is believed to have then been

carried from Spain to England by Catherine of Aragon, Queen of England from 1509-1533.

During this period in England, it became a popular substitute for lace (Hogg, 2010; Leslie,

2007). The technique continued to flourish and became very fashionable under Henry VIII when

black work on linen was found on women’s' jackets and smocks and on men’s' collars, sleeves,

and cuffs. The technique remained popular and Queen Elizabeth I is depicted in a painting from

1590 wearing a dress in which the sleeves, bodice, and ruff are completely covered in black work

(Hogg, 2010).

Some members of the British Royalty were very skilled embroiders: for example, Mary Queen of

Scots and her ladies in waiting were known for making very fine drawn work and needlepoint

pieces. For those royals and other nobles who did not embroider, there were many skilled

craftsmen and women available to supply elaborately embroidered pieces for them and also

many of these same craftspeople supplied ecclesiastical embroideries to the Church.

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2.2 Materials used in clothing embroidery

Basically, most of the materials used in the practice of embroidery in Africa, are easily acquired

or bought from the market. Thread and other materials are the main materials employed in

making of embroidery in Hausa land. For instance, Hart (2013) writes about the commonest

materials used in embroidery, and remarks that “as there are many fabrics and many threads on

the market, but it must be stressed that embroidery needs good materials if it is to be worth

doing”. The author further explains that, it is better to use good materials and make small things

than make larger articles of cheap materials. According to Heathcote (2009), “Thread is one of

the materials needed in embroidery in Hausa land, which is of two main varieties; cotton and

wild silk.

According to Boser-Sarivaxevanis (2002) in Heathcote (2009), “… to West African people

whose looms were derived from middle eastern “Semitic” types, and who probably lived in the

region between upper Senegal and the Niger bend, the cloth for their embroidery mainly comes

from cotton.” The weavers first used wool, and that by the eleventh century, this was then being

replaced with cotton. The new development in weaving was then diffused, first in a west ward,

and then in the east ward and to other parts of West Africa. The other type of thread, wild silk,

which appears to be an indigenous material, and which is produced by caterpillars of Anaphe

moths, Boser-Sarivaxe (2012) further states, is still in fairly wide spread use. Much of the wild

silk used, is collected in cocoon form in the bush in the Darazo area, north of Bauchi.

Heathcote also explains that “various foreign threads have for long been imported into Hausa

land. They include among others, silks (red and green in particular) and the metallic threads,

tisel, and sequins. Imported woolen threads are also used on the Hausa gown”. Brain (1980) in

Saaka (2014) explains that “In African continent generally, cloth has been made throughout

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recorded history even where cotton and wool are not known. In these cases, it is made from

plantain bark fibre, raffia and other types of tree materials which are beaten or stripped into

thread”. However, according to Heathcote (2009), the cloth used by the Hausa embroiderers

comes from a variety of sources ranging from expensive imported brocades to cheap cotton from

Manchester. In some cases, such cloth may even come from flour sacks. The author contends

that by the end of nineteenth century A.D., hand embroidery had become a well-established craft

in Hausa land owing to the successful establishment of cotton growing.

2.3 Tools and techniques used in embroidery work

According to Heathcote (1979), “---some Hausa embroidery tools were originally introduced

from abroad such as needle. The term commonly used by the Hausa for an average sized needle

is allura. Further examples include almakashi (scissors) and ma’alufi (needle case), though there

is an alternative for the latter: gidan allura.

Dendel (1974) writes about some techniques in embroidery such as cutting holes in fabric or

pulling out thread which may seem at first, a strange way to make fabric more beautiful. The

author states further that “A thoughtful study of this Hausa robe reveals that, much has been

taken away and much has been added to make an incredibly beautiful and rich surface. The

embroidered section of the robe is 1.02 meters wide. The large cut circles and numerous small

holes, which are apparently punched in the fabric, are enriched and entwined by innumerable

small lines of directional stitching, which gives the effect of high quality. Subtractive embroidery

done in a manner which completely changes the character of the surface of the fabric is perhaps

one of the finest examples of the African concept of mana at work, of effort and response,

between craftsman and material. Dendel (1974) adds that, the same kind of transformation was

used in making of a vest from a loosely woven material. Some of the fabric was cut and raveled

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vertically, and some horizontally. Wrapping the released fibers, contributes to the textural

quality.

The author further reports that unbleached muslin was used to make a blouse with more limited

amount of stitchery. Circles were cut out of the material after the blouse was cut. The edges of

the detached circles of fabric were turned under and basted, as were the edges of the circle, from

which they were cut out. Linen thread, in natural colour was used, and the bastings remain part

of the decoration. Looping was used to rejoin the circle to the areas from which they had been

cut. In the Hausa robe, crocheting appears to be there joining technique. Blanket stitching is

another possibility. Another variation of the Hausa technique, according to Dendel (1974), was

done by cutting many small holes in the yoke of a dress, and finishing the edges with close-set

blanket According to Umar (2010), basically the techniques required in embroidery craft of

Wudil are: having the designs on the fabric being done with the aid of pencil or any alternative.

He gives example of a design having small knots patterned with circles on the front and back of

the gown with side sleeves and rectangular neck opening, which could be created on a gown. A

design can also be made on a paper, and then transferred on to the gown. Some aspects of the

gown are separately treated in terms of stitchery, before they could be joined together to form

one flowing gown.

Another technique, as reported by Umar (2010), is that, at the top of the gown a rectangular

neck, hole is cut out and partly in-filled with a triangular panel of needle weaving, which is inset

to the wearer’s right side. A large panel of cotton fabric, the same as the main ground of the

gown, is added to the front. The applied panel is sometimes left open at the top to form a massive

pocket. The panel is embroidered either before or after application to the main gown.

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Heathcote (1979) observes that almost all the Hausa hand embroiderers who work on large

gowns, trousers, women’s wrappers make use of preliminary drawings to guide them. Neal

(1961) writes about some decorative process in embroidery such as the embroidery stitches, shell

edging, imitation hem-stitch, face scalloping, worked scalloping, appliqué, shadow work,

broderie anglaise and faggoting.

2.3.1 Functions of Embroidery

The Encyclopedia Britannica (1768) states that, “paintings and carvings from Egypt indicate that,

garments were embroidered in very early times; tomb paintings show that clothes, couch covers,

hangings and tents were decorated, and since foreigners are portrayed in ornate clothes, the art of

embroidery must have been highly developed in other countries as well as Egypt. Kabiru (2009)

in Umar (2010) reported that embroidery work generally serve functions as decorative stitches

applied to cloth apparel in different forms and styles, which have greatly influenced the socio-

cultural and economic lives of Wudil populace. Haruna (2009) in Umar (2010) observed that

different embroidery works have different meanings and values to people yet, each embroidered

work is recognized by the nature of its production, either handmade or machine made. Heathcote

(1976) in Umar (2010) mentioned that, texture and stitchery effect differ to a large extent. He

added that most embroidery works have great influence on the socio-cultural and economic lives

of the people wherever they are practised. Wudil for instance, has been practicing the trade, and

people from all walks of life patronize the embroidery markets. Haruna (2009) noticed that the

trade has been fetching benefits for many people.

More especially royal family, rich and noble persons are patronizing the products, and this has

given the trade the pride and prestige it deserves. Price (1976), for instance, states that

embroidery is used to decorate men’s clothes in Yoruba land and among the Fon of Benin

10
Republic. The author further explains that the elegant suit from Benin Republic is embroidered,

and also worked in appliqué. Sometimes, appliquéd fish on a trousers suggests that the clothes

may have belonged to the last great king of the Fon, Behanzin whose insignia was the shark.

Heathcote (1979) comments that embroidery on women’s clothes is for the most part, a recent

development, and reflects styles of decoration that had previously been in use for sometimes on

men’s garments. He adds that “dress fashions among Hausa women have been influenced by a

taste for varied colour as opposed to embroidered clothing”. According to Jefferson (1974), the

Hausa are particularly well known for their distinctive cape-like garments, or caftans, richly

embroidered with designs whose significance has puzzled historians for years. He states that

Heinrich Barth, who explored the region in 1850, described Hausa clothing in detail, but there is

no word about the significance of the embroidered symbols.

2.4 History of Ankara

Ankara, though not of African origin, was embraced by Africans due to its affordability and

texture which is suitable for African climate. The fabric Dutch wax, now referred to as African

fabric started as a mass-produced imitation of Indonesian batik in Holland by the Dutch textile

manufacturers. Javanese batik are made by hand- drawing motif on cotton cloth, it involves the

use of wax and resist dye Plate. (Shakuskaka, 2009)

Indonesian batik (Javanese batik) was introduced to Holland and other parts of Europe by their

colonial master the Dutch. In the 19th century, the fabric was mass produced in Europe using

engraving roller print machine and dye resistance resin to design motifs and produced batik

pattern on fabric. In the course of production, the Dutch manufacturers encountered some

difficulties which cause cracking effect, series of small lines and dote through which new dye

used seeped into the colors around it. Due to this, the fabric was rejected by the intending

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Indonesian market, considering it to be spoiled and a waste. The ‘spoiled textile’ was brought to

the Gold Coast by the Dutch merchants from where it spreads to other African markets where it

was well accepted. (Colins, T. 2008) Apart from the Dutch manufacturers, the English were also

manufacturing and selling wax print textile but the Dutch wax was more popular. In other to

cater for the taste of their new African customers, Dutch manufacturers made some changes to

designs and motifs done on the fabric in order for it to specifically fix into African market. The

earliest motifs used were plant and animal motifs which were believed to cut across all culture,

later, indigenous African motifs were used. By 1920, portraits of local community leaders and

chiefs were used as motifs, such fabrics were used by Africans to celebrate their leaders and by

1950s, and portraits of Heads of States and prominent politicians were used as motifs. Names

were given to prominent and popular designs with events, slogans and proverbs attached to them.

Some of the names given to the designs are ‘Alakete’, ‘Osubamba’, ‘osupaeleso’. Igbanlahun’, all

which are also name of designs on Adire cloths of the Yorubas (Akinyemi 2009).

The torso is usually the focus when dressing the body, although headwear and footwear are also

significant. Items of dress generally may be classified as enclosing, attached, or hand held.

Enclosing dress can be subdivided into wraparound, pre-shaped, and suspended categories; all

examples are found in Africa. Wraparound garments are formed from rectangular pieces of

fabric that are folded, crushed, or twisted around the body. Pre-shaped items include cut and

sewn garments along with other items, such as jewelry, that are molded or cast. Most attached

and many suspended enclosing items of dress are also jewelry, such as earrings and necklaces.

Handheld items usually consist of accessories such as a fan, purse, cane, or walking stick.

(Bukola, 2008).

Throughout Africa, both men and women wear variations of the wrapper (also called kanga, futa,

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lappa, or pagne). As a garment, the loose fit of wraparound apparel seems particularly

appropriate and comfortable to wear because of prevalent high temperatures, both dry and

humid. Wrappers are also easily made from available materials such as skins, bark (or bark

cloth), or wool, cotton, silk, and raffia for hand-woven cloth. Pre-shaped garments for men and

women in general came from contact with Europeans and Middle Easterners, as women adopted

dresses and gowns and men adopted jackets, shirts, and trousers as clothing styles. African

women and girls rarely wore pants or other bifurcated garments until jeans and pants became

fashionable for women in Europe, America, and Japan, thus beginning an influence on young

African women specially to adopt these styles for many occasions. (Debola, 2011)

The wrapper, however, is probably the most frequent and popular indigenous garment in sub-

Saharan Africa. Women may wrap cloth from their waist to their knees, calves, or feet.

Sometimes they wrap the cloth under the armpits to cover their breasts and lower body. Men

ordinarily wrap a small length of cloth from their waist to their feet, with the chest either bare or

covered. For both men and women in the twenty-first century, a bare chest is not frequently seen

in public, but remains an option for dressing informally at home. Non-Muslim Africans were

influenced by European ideas of modesty after many countries became independent in the

1960s,because they discovered that journalists and outsiders commented negatively on African

“nudity,” usually referring to bare-breasted women. In fact, some Nigerian municipalities passed

laws at that time specifically forbidding women to enter the town if they were bare-breasted.

Examples of wraparound garments abound. In Ghana, Asante men wear hand woven kente togas;

in Ethiopia, Amharic women don hand-woven shawls of sheer, white cotton; in Nigeria, Yoruba

women garb themselves in indigo resist-dyed wrappers; in Zaire, the Kuba dress in raffia skirts.

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Other examples include several from southern Africa: Ndebele and Xhosa women wrap

commercially made blankets around themselves, and Zulu men wrap skin aprons. Both sexes

among the Baganda in Uganda traditionally wore bark-cloth wrappers, as did the Masai of Kenya

and Somalis from the Horn of Africa; some continue the practice today. Masai warriors,

depending on their geographical location, wear a wrapper that is either below the knee or very

short, sometimes wrapping it around the waist and at other times wrapping it across one

shoulder. Those warriors wearing short wrappers are said to choose that style to show off their

handsome bodies. Masai women wear a skirt or cloth wrapped around their waist as well as a

blanket or cloth wrapped over their shoulders. Somali people wore leather garments of their own

making before the 1800s, but imported cotton textiles quickly made inroads and included several

options of wrapping the body for both men and women, depending on the occasion and the

weather. For festive, ritual, or ceremonial occasions, Ghanaian men wear a well-known example

of an African wraparound garment similar to the Roman toga. They take a large rectangle of

cloth, sometimes as large as six yards square, depending on the size of the man, and wrap it full-

length around the body with one shoulder uncovered. This style became internationally visible in

the1960s when the first president of Ghana, Kwame Nkrumah, wore it and was photographed in

it for ceremonial occasions, both at home and abroad. Reshaped dress involves cutting and

sewing lengths of cloth to make a garment fit the body. Common styles are shirts, blouses, robes,

and pants, or the Hausa man’s baba riga (big gown). (Ajickron, 2009)

Cross-cultural contacts influenced the design of many pre-shaped garments. The colonial impact

and trade contacts of the late nineteenth and early twentieth century’s are seen in several

women’s gowns. For example, the long gown (called boubou) made popular by Wolof women in

Senegal indicates probable Muslim and Middle Eastern origins, whereas the gowns of Herero

14
women in Namibia, Efik women in Nigeria, and the “granny” gown of women in Egypt show

nineteenth-century European contact. Men’s trouser shapes vary considerably. Along with

western fashions found across the continent, indigenous fashions also abound. In Nigeria, Hausa

men wear enormously large drawstring breeches with a “baba riga” over the top. Yoruba men

wear both wide or narrow trousers, often as a three-piece outfit along with a robe (agbada) and

shirt (dansiki). When the men’s ensemble is tailored from colorful, wax-printed cotton, the

Yoruba outfit is interpreted as being informal. If made from damask, lace, eyelet, brocade, or the

hand-woven textile of nubby, native silk that the Yoruba call sanyan (produced by a different

silkworm than the Asian one), the ensemble is considered formal.

Throughout Africa, males wear reshaped shirts and hip-length or calf-length garments with

trousers or wrappers. Finishing and decorating details distinguish many of the garments as being

associated with one ethnic group or another. In the Republic of Benin, Fon men’s ensembles

include a heavily embroidered, sleeveless tunic pleated at the neckline and flared at the hipline

that they combine with embroidered trousers and an embroidered cap. In Cote d’Ivoire and

Ghana, Man dinka and Akan men wear garments known as war shirts and hunters’ shirts.

Amulets decorate these garments and are made of animal horns, claws, teeth, or packets that

contain slips of paper with magical or mystical words written on them. Enclosing garments

include suspended and combination forms. Some hats are suspended by being perched on top of

the head and many items of jewelry are suspended around the neck or wrist. Capes (often worn

by Hausa and Fulani emirs and other royalty) are combination forms.

Pre-shaped and stitched, they are also loosely suspended from the shoulders. Items held by or for

a person complete an African ensemble. As accessory items, these include umbrellas, canes,

walking sticks, purses, handbags, fans, switches, handkerchiefs, linguist staffs, and tusks, as well

15
as weapons such as daggers, swords, and spears. Many materials are used for these items. An

individual carries an umbrella for protection from rain or as a substitute for a cane. Attendants

for a ruler carry large, decorative, and colorful umbrellas to emphasize the ruler’s position and

significance, for a ruler should not be so encumbered. Canes and walking sticks are made of

wood, ivory, or plastic; fans, of paper, leather, hide, or feathers. Fashionable handbags are

commercially manufactured; some are produced domestically while others are imported. When

wearing an indigenous ensemble, an individual often carries a bag crafted from indigenous

materials, such as domestically produced leather that is also dyed, painted, or decorated with

beads. An ivory elephant’s tusk held by an important individual indicates high status and wealth.

Many types of body modifications and jewelry also dress the torso. Tattooing occurs among

light-skinned people, like the North African Berbers, because tattoos do not show on dark skin.

Instead, permanent markings in the form of scarification and cicatrization or temporary

cosmetics (ochre, kaolin, indigo, henna, and chalk) decorate dark-skinned bodies. Many

permanent-marking procedures began to die out in the twentieth century as Africans became

exposed to Western cosmetic and body decoration practices, and interest grew in looking

“modern.” Cosmetics familiar to Westerners are easily available throughout Africa, although not

always worn or used plentifully. Again, the issue relates to varieties of skin color, for lipstick and

blush are not as visible on dark complexions as on light-colored ones. Similarly, henna— a

common cosmetic in North Africa and the Middle East—is not used by Africans with darker

skin, although it is sometimes used on the palms and bottom of the feet, which are lighter parts of

the body. Both men and women wear scented products, but frequently, African men wear

stronger scents than found among most European and American men. European perfumes and

scents can be purchased throughout Africa, but prohibitive prices preclude wide usage. Instead,

16
indigenous products are available and used, as in the case of Muslim women who stand over

incense burners to scent their clothing with the fragrant smoke. (Arifadrtif, 2009)

Africans display many kinds of jewelry. Items for the torso include necklaces, armlets, bracelets,

and anklets of many types, along with items that circle the waist, such as “waist

beads.”Necklaces vary in size and style, from large to small, fashioned from metals, beads,

shells, chains, and medallions. Some bracelets and anklets are modest in size, circling only the

wrist and ankle with metal or beads. Others are massive, used to adorn the lower arm, upper arm,

or lower leg with coils of copper or chunks of ivory. Materials used for body ornaments include

gold, silver, brass, copper, ivory, natural stones like jasper, coral, and amber, and many cowries’

shells (which often decorate garments as well). Both imported and locally produced glass beads

exist throughout Africa. Italy, Austria, and Germany historically exported glass beads to all areas

of Africa, and artisans in towns (Bida, Nigeria, for example) produce glass beads from recycled

beverage bottles. Both Masai men and women wear necklaces of imported, colorful beads that

that look like wide collars and rest on the back of the neck. Some Masai children wear miniature

examples of these beaded necklaces as well as beaded bracelets and anklets. Small disk shape

scut from ostrich shells or celluloid is used for waist beads worn by women and girls in West

Africa. These beads are decorative and also sexually attractive in intimate situations. Some make

sounds that attract attention when the individual moves. Color, texture, or fabric motif

distinguishes the dress of different peoples. All types of textiles exist from imported natural and

synthetic yarns along with domestic ones of cotton, wool, silk, and synthetics. Favorite fabrics

include plain broadcloth, lace, eyelet, damask, brocade, and velvet. Suppliers are generally

located in Africa, but import sources include the United Kingdom and such European countries

as the Netherlands and Switzerland. Asian sources include Japan, China, and India, where

17
manufacturers cater to African preferences for specific textile motifs and colors. Fashions in

material, design, and color change over time, but preferences for muted and somber colors can

often be found in some countries, bright and saturated colors in others, and dazzling whites or

pastels in still others. A printed textile used for wrappers in Tanzania and Kenya known as

kanga, domestically produced in the early 2000s, has a distinct pattern. Ordinarily, the colors are

bright green, yellow, orange, and red. The cloth is printed in repeat motifs that include a motto or

saying. These written messages communicate political or social points of view. Somali men and

women have used imported cloth for their wrappers for many years. Records from the nineteenth

century indicate that one type, inexpensive white cotton, was called merikani because it was

imported from the United States. Another imported blue fabric worn during the same period,

came from the Indian city of Surat to be used by married women as a head wrap. Identical

textiles worn for special events by a large number of people are popular in various locations. An

entire community or special group may honor significant people (usually political)by having

their portrait screen-printed on a commercially manufactured textile or T-shirt. Other times,

members of the group select a special color or pattern of either hand-woven or commercial cloth

to wear. The custom of wearing identical cloth is known as aso-ebi (family dress) and aso-egbe

(association dress) among the Yoruba of Nigeria, where it apparently began. Other groups, the

Ibo of Nigeria, for example, have adopted the custom and call their identical dress “uniforms.”

Techniques to decorate garments include embroidery, beading, and appliqué. Various robes worn

by men throughout West Africa are heavily embroidered; simpler embroidery is seen on some of

the contemporary gowns worn by women, caftans or boubous, especially those being made for

the tourist market in the early twenty-first century. Beading is found on robes of some royalty;

18
sequins and beads decorate women’s blouses, for example among the Yoruba and Kalabari-Ijo.

Appliqué is often used for ceremonial attire, masquerade garb, and trappings for horses.

The symbols and motifs used in African art, prints inclusive, often convey meanings. They are

icons that have been used for over a period of time and they have specific meaning among the

people (Akande, 2011). The use of beads in design represents an African saying that says

‘precious beads do not make noise’ meaning a good person doesn’t have to blow his own horn.

Some of the motifs used in African prints include geometric shapes, lines, Arabic scripts, Roman

letters and numerals, animal forms, flowers, leaves, seeds, musical objects, line drawing of

contemporary objects such as bicycle, cars, television, etc. The designs can be grouped into four

Women’s life (family, love, housework), town life and what it brings, (alphabet, television,

money, power), Nature (animals, flowers, seeds, leaves) and Rhythms (music, drums). The

design with bottle opener (Plate 3c&d) showcase town life with bottle opener depicting the

power it brought. Designs and colour in African prints can also portray the wearer’s tribal origin,

marital status, societal standing as well as age.

2.5 Beautiful African fabrics

The creation of spectacular material using wax is not a new innovation. The method originated in

Holland in the 1800's when a merchant, traveling to Java, saw the people wearing exotic clothing

and brought a description of the wax process home. This Holland Wax Fabrics was then

introduced to Africa in the 1900's, was instantly accepted, and has become the most widely used

textile. Murray (2009) describes the weaving activities of women in Omu-Aran in Ilorin province

as a craft done mainly to serve domestic needs. Murray (2009).

Working on the theme of African culture and beliefs, the Dutch wax fabrics designed bold and

enthralling patterns with predominating bright browns, yellows, and reds. This patterned fabric,

19
now known as the African Wax Print, has received worldwide attention. As the African Dress

Style of the nation, it is highly sought after by those in the upper class and are proudly worn as

an indication of their sophistication and knowledge of the latest trends in African dress fashion

and African fashion design. To produce this material a wax-resistant dyeing technique is used. A

design is drawn onto the material with hot wax after which it is dipped in the dye. The dye does

not penetrate the wax. While, originally this was a long process that was done by hand, there are

now machines which perform this operation. An additional benefit to the material prepared this

way is that the pattern is printed on both sides of the material making it more versatile.

This fabric is breathtaking to behold. Its outstanding beauty cannot be matched and has caught

world-wide attention. Fashion shows, which display these amazing creations, are always

filled16capacities and have a huge number of sales. The outstanding designs are now being

adapted to home and office decorating schemes as well where bright, striking colors are desired.

It requires a great deal of experience and technique to design this material. The designers

involved are top of the line and continue to produce outstanding patterns, which appeal to their

varied clientele. Many times, they travel to the various areas of Africa to learn about their myths

and legends in order to incorporate them into the design elements of the material. The result is

that many people can recognize the material as originating from their location. Perani and Wolff

(2010) explained that African people have developed rich textile traditions and distinctive forms

of dress to communicate and enhance cultural meanings. In any one cultural context, a particular

type of cloth or dress item can be a visible sign, clearly signaling gender, social status, political

office.

African women love to wear garments that represent their country and it has become so popular

it is now considered the national dress. Whether one is walking along the street or attending a

20
special engagement, the wearer soon becomes the center of attention. Wearing a gown made of

these choice fabrics is considered the height of African fashion. The timeless beauty and quality

of the fabric is apparent to anyone with or without knowledge of textiles. The small details bring

out the splendor of the larger pattern, which is only enhanced by the brilliant colors. Having a

garment made of this fabric is every woman’s dream who wishes to be known as well-attuned to

the latest fashion trends on the market.

2.6 Structure of Ankara

Ankara is a 100 percent fine cotton fabric tightly woven in plain weave before different motifs

and patterns were printed on it through various dyeing techniques using dye stuffs that dry faster

and are easier to use Ankara has good strength it is firm and smooth to touch and allows body

heat to pass through (Ogunbiyi, 2006). It absorbs moisture quickly and dries faster, an ability that

gives it a cooling effect and makes it ideal for African climate. Ankara comes in various grades

such as Real Dutch Wax, Veritable English Wax, Veritable Dutch Wax and Hollandaise Plate

1and 3. The Real Dutch Wax being the highest grade. (Ogunbiyi, 2006).

2.6.1 Etymology of the name Ankara

After independence, good quality fabrics from several countries flooded African markets,

Nigerian market inclusive. Most wax prints sold in Africa were produced in Europe without

African input. There were various grades of the Dutch wax in the market with Hollandaise

reigning at an exorbitant price, unaffordable by the poor.

The name Ankara originated from a girl named Ankara and was given to the cheaper version of

the Dutch Wax made by the Turks which was at the reach of the poor and was considered

indigenous due to its vibrant colour and motif. Over the years- with the building of textile mills

21
and the continuous production of patterns that reflect African culture and each culture having its

own preference for colour and design- African print has replaced Dutch wax.

2.6.2 The polifiliration of Ankara

Among Africans, societies, funerals, marriages and other rituals governing the physical and the

spiritual world require proper cloths (Gilfoy, 2007). In Nigeria especially, there are different

clothing for different places and events. Clothing for formal wears is usually made of fine fabric

such as Aso-oke, Lace and Batik. During the colonial period, since most West African nations

were under the rule of either English or French rule, the Dutch were seen as the ‘well meaning’

trader with Africans, this and also the fact that the texture of the fabric is suitable for African

climate made their prints to be accepted and assimilated by the Africans as part of their culture.

The prints during this period were very expensive and unaffordable by the poor but when the

cheaper version of it was made, a lot of people could afford it, hence the fabric was tagged

‘fabric of the poor’. Due to the cheapness of the fabric at this time, it was not considered to be a

fabric for occasions or special events but was used as clothing for everyday wear, then it was

used in sewing wrapper and loose blouse (Iro and Buba).(Gilfoy, 2007).

The resurgence of Ankara was brought about by the ban imposed on importation of textile in

2003 by former President of Nigeria, President Obasanjo in an attempt to develop the non-oil

sectors thereby reducing the pressure of dependency on the oil sector.

Ankara, a once before cheap fabric meant for the poor has undergone a dramatic transformation

and has become the fabric of not only the poor but the rich and the famous. In time past, Ankara

was regarded as too flowery and colourful and was reserved for cultural activities but nowadays,

the dramatic transformation has turned it to a sizzling fashion fad and an inevitable part of all

occasions.

22
The exponent of the use of Ankara in sewing different styles of skirt and blouse was late Mrs.

Stella Obasanjo. As the first lady of the nation, she showcased Ankara in different styles in

special occasions and events. The use of Ankara by the First Lady influenced Nigerian women in

using Ankara to sew different fascinating styles. The Nigerian Aso-ebi dress tradition for special

occasions such as wedding, chieftaincy burial, coronation and other special events is another

factor that brought about the resurgence of Ankara, due to this tradition, the fabric is now worn

by all classes of people.

2.6.3 Fashion trends in Ankara

Ankara has infiltrated the fashion world, it has gone beyond its use for wrapper and loose blouse

(Iro and Buba), now is enjoying the favour of contemporary fashion styles; with the skills of

creative designers, Ankara when blend with other matching fabrics, is made into endless styles

and designs for both office and formal occasions.

2.6.4 The Designers

Nigerian designers are now enticed by the light nature, array of colours and pattern of Ankara

fabric, which when understood and properly mixed and matched with contemporary fabrics

produce creative designs that expand the creativity of the designer. These days, Nigerian

designers are parading Ankara pieces in their collections. Some of the designers that boosted the

value of Ankara include Cranberry, Jewel by Tina, Aimas, I-delicious, Xuly, Tiffany, Amber,

Momo, Lunar, Gloss, etc. They now engage Ankara in making beautiful accessories such as

bags, shoes, dresses, bracelets, bangles, hair ruffles, earrings and even bikini. African fabrics are

going places with Africans at home and in the Diasporas making simple but attractive attires

with it (Sunday Times, July 2000). Ankara has gone beyond the closets of Nigerian designers, it

23
has found its way into the international runways and American celebrities such as Fergie,

Beyoncé and her sister Solange are now fans of the fabric.

2.6.5 Care of Ankara

Ankara, being a print on cotton material, has little luster and poor elasticity. It tends to colour

bleed when soaked in water if it is not a good quality, this notwithstanding, the best can be

brought out of Ankara if properly laundered and cared for.

 Washing of Ankara

Ankara can be hand-wash or machine- wash. Generally, while washing Ankara, avoid steeping

and friction to prevent colour bleeding. Hand-wash Ankara, by kneading and squeezing in cool

soap solution not detergent. Machine-wash it setting the washing machine to the low setting and

wash same color prints in cool water and rinse well in tepid water, do not tumble dry. If the

colour tends to bleed during washing, add table salt to the second to the last rinsing water, this

helps to fix the colour and use plain water for the last rinsing. To brighten up the colour of the

fabric, acid rinse can be done by adding a tablespoonful of vinegar to one quart of water for the

final rinse. For the fabric to stand well when worn, it could be stiffened by starching it in cool

starch solution and removing as much of the moisture as possible then dry the fabric in a cool dry

place, avoid exposure to bright sunlight or great heat.

2.7 Urban trends in African fashion

Luckily African influenced fashion has found a permanent home in our lifestyles not just in the

U.S market but globally, especially in the apparel market. Although the tough economy is

affecting the fashion industry in all countries including Africa, the push for recognition as a

fashion leader is still going strong, culminating in the first African Fashion Week. The Sanlana

Africa Fashion Week was a success with many celebrities attending, back stage interviews

24
galore, non-stop press, Fashion TV recording sound familiar? This fuels the fire for more African

fashions to hit the urban cities and inspire urban looks now and onward. Urban trends are unique

but we can always see a nod to African looks which complements both African and city urban

cultures. The Urban community has always embraced African trends; this remains true today.

Multi gold bangles, intricately carved wooden bracelets, multi-chain necklaces, oversized hoop

earrings, exotic hair braiding, urban beauty salons, graphic T-shirts that represent the culture and

more. Influence is also seen in the beautiful fabric prints in rich colors and tones associated with

Africa such as the famous “dashiki” with its elaborate embroidery and extraordinary colors

which was popular in the 60's and remains still today. Turbans of all sizes, prints and shapes

exist and many hats are fashioned after this look. The richly patterned kente cloth which dates

back to the 12thcentury can be seen at today’s weddings, in men’s accessories, scarves, ties and

more. The mudd cloth and batik prints continue to be part of some of the world’s most famous

silk, linen and cotton textile mills.

Fashion influence has been a two-way street. While we can find evidence of African inspired

fashion in the U.S., it appears Africa takes cues from the runway shows held in U.S., Italy, and

Paris, Germany etc. African influenced patterns sell at high ticket prices in designer boutiques

and major department stores around the world. We all know how popular the giraffe print

handbags were from Dooney & Bourke (Harry. J. 2013)

Urban and African influence doesn’t end with fashion. Take a look at what interior designers are

offering for the home. African inspired decor is offered in the urban community and globally

from Macys, Bloomingdales, Horchow, and Crate & Barrel. Let’s not forget the beautiful

African Models such as Iman and Alek who found fame in the U.S., graced magazine covers,

25
and have become icons with their own clothing, cosmetics and accessory lines in the fashion

industry.

Lastly, African-owned fashion boutiques as well as beauty salons operating in urban

communities and the internet allow consumers to have daily close connection with the

“motherland” inspiration and current trends. Merchants who have brick-and-mortar as well as

ecommerce businesses anchored in local communities enhance the connection between the city

consumer and African Fashion Trends. This connection enables the African fashion influence

toexpand and thrives in our communities and internet, while enriching the apparel industry both

in the U.S. and globally. We’re all connected to fashion. We all influence each other and drive

trends to new directions. We share in the fight for market share, brand recognition, retail success,

consumer loyalty and consistent growth.

2.8 History of clothing

In the olden days’ people used leaves Bante, Kembe, Yeri, Agbeko, Iyun the skin of animal,

feather for their clothing even as their main dress latter all this yeri, Bante, Agbeko, Kembe

clothing became their under wear. From the ancient times, beads and shells have been used for

self-adornment. Even the primitive man took delight in wearing strings of cowries round his

neck and waist. This decoration made him easily identified strings of broad round their waist.

With modern civilization, beads on outer garments shoes slippers and caps for decoration. Apart

from beads and shell features can also be used effectively (Weber 2010).

For many years the past has and no doubt it will continue to be one of the chief sources of

inspiration for designers of apparel. Source of inspiration for the designer come from history,

peasant and national customers. An effort to create new and contemporary dresses for the

modern child designers can also be turn to the past by studying the collection in great

26
measurement sculpture and pointing of various costumers worn thoroughly history. To us also

interesting source as in movies. A constant flood of new ideas is essential for the designers. For

without creative thinking there would be no original garment no new ways to clothe the human

form, no fashion and no fun in getting dressed. It is quite obvious that one be good in sketching

patterns, making draping and sewing, but still not be a designer. Many experts agree that

creatively refers to the basic ability for original thinking (Bull W.M 2012).

2.9 Clothing pattern design and decoration

Pattern Company’s comprehension collection of designs in all sizes and figure types for eyes

and both sex using dozens of basic patterns. Each one is based on the standard body

measurement for that figure type, but on includes the availability amounts adequate for a

particular of garment (Olaniyan J.O 2007).

Adaption is the change of basic pattern drafted into style required. Adaptation is done after the

alternative (if there is any). Alternative is line drawn across pattern piece and marked “Lengthen

or shorten here” Indicate where the pattern can be altered Block pattern are useful guides for

adaptation to sizes. Before on starts adopting the blocks to the desired style one has in mind or

desired. A working sketch is show as on identification of each pattern sketching is important

because it is the working sketch is a guise in making the pattern and it shows placement of

construction lines (Alawode, 1998)

Construction is after cutting out the garment, you must aim at perfection when assembling it.

The best method constructing a garment is the until the method that is completing each until

separately before joining them together. This make for a good fir. Patience is the watch-word of

good dress maker and working carefully and neatly is the secret of a well finished garment

(Egede, 2007).

27
 CHAPTER THREE

3.0 RESEARCH METHODOLOGY

3.1 Study Area

The study will be carry out at Oyo Sate College of agriculture and technology igboora, Oyo state

in the department of home and rural economics at the clothing unit.

Target group

This includes some lecturers and students in the department of home and rural economics Oyo

Sate College of Agriculture and Technology, Igboora Oyo state.

3.2 Population of the study

The population of the study is all students from the Department of Home and Rural Economics,

Oyo State College of Agriculture and Technology. The total population of the student was 360

(male & female).

3.3 Sample size

A sample size 20 students that is 10 male students and 10 female students was randomly selected

from the Department of Home and Rural Economics.

3.4 Method of data collection

The data will be collect through the use of some samples of men dress with embroidery design

by using African printed fabric (Ankara) and well-structured questionnaires

28
3.5 Materials and Methods

3.5.1 Equipment needed for the construction of male dress

Materials Quantity

Sewing machine 1

Scissors 1

Needle 3

Tape measure 1

Iron and iron board 1

Whipping machine 1

3.5.2 Measurement for Male Dress

Body Measurement

1. Length 31 inches

2. Width 38 inches

3. Back 17 inches

4. Sleeve 24 inches

5. Back sleeve 33 inches

6. Shoulder 10 ½ inches

7. Chest 16 inches

Trouser measurement

Trouser length 40 inches

Band/ waist 31 inches

Lap/ tight 23 inches

29
3.5.3 Materials Needed for Sewing

Materials Quantity

Fabric 15 yards

Thread 5 pieces

Button 4 pieces

3.5.4 Method of Sewing Male Dress

1. Pattern was drafted according to the body measurement

2. Adaptation was done on the style of male garment

3. Laying pattern on the fabric, pin, trace and cutting out the clothes

4. Joined the front and back shoulder of the garment on the wrong side.

5. Joined the yoke and attached sleeve with garment

6. Finished up the garment by the use wiping edge finished

7. Iron the garment and packaged with nylon.

30
SEWING OF MALE DRESS

31
3.5.5 Materials needed for embroidery work on Men Dress

Embroidery floss

Embroidery needle (or any needle with a large enough eye for embroidery floss)

Fabric

Scissors

Straight pins

3.5.6 Method of making hand embroidery on Men Dress

1. Select your garment

2. Collect everything you need

3. Decide on the position of the embroidery

4. Choose the design

5. Choose the colour scheme

6. Prepare the fabric for embroidery

7. Choose embroidery thread

8. Transfer the design

9. Start embroidering

10. Washing and caring for the embroidered garment

32
HAND EMBROIDERY ON MEN DRESS

33
FINISHED WORK ON AFRICAN MEN DRESS

34
3.6 Method of Data Analysis

The retrieved questionnaire will be given to a statistician

35
 CHAPTER FOUR

4.0 Result and Discussion

Four samples of African men dress designed with embroidery were given in the data presentation

and analyze in this chapter. People assessed the products for the following: - Design, Texture,

Colour, Appearance and Overall acceptability. The result of the assessment collected was

analyzed below.

4.1 Sensory Evaluation and General Acceptability

4.1.1 Table 1 (Men Dress with Coco Style Embroidery Design)

Ratings Colour Texture Design Overall acceptability

F % F % F % F %
Like extremely 15 75 14 70 13 65 17 85

Like very much 5 25 6 30 7 35 3 15

Like moderately - - - - - - - -

Like slightly - - - - - - - -

Neither like nor dis. - - - - - - - -

Dislike slightly - - - - - - - -

Dislike moderately - - - - - - - -

Dislike moderately - - - - - - - -

Dislike very much - - - - - - - -

Dislike extremely - - - - - - - -

Total 20 100 20 100 20 100 20 100

Source field survey, 2019

36
4.1.2 Discussion

Colour: The above analysis shows that 75% of the respondents extremely like the colour of the

African men dress construct with Ankara fabric using embroidery design called coco style.

While the other 25% of the respondents like the colour of the African men dress construct with

Ankara fabric using embroidery design called coco style very much.

Texture: In terms of texture, 70% of the respondents like the texture of the African men dress

construct with Ankara fabric using embroidery design called coco style extremely, while the

other 30% of the respondents like the texture of the African men dress construct with Ankara

fabric using embroidery design called coco style very much.

Design: From the above table, 65% of the respondents extremely like the design of the African

men dress construct with Ankara fabric using embroidery design called coco style, while the

other 35% of the respondents like the design of the African men dress construct with Ankara

fabric using embroidery design called coco style very much.

Overall acceptability: The result shows that 85% of the respondents extremely accepted the

African men dress construct with Ankara fabric using embroidery design called coco style

overall acceptability, while the remaining 15% of the respondents accepted the African men

dress construct with Ankara fabric using embroidery design called coco style very much.

37
4.2 Table 2 (Men Dress with Front Zigzag Embroidery Design)

Ratings Colour Texture Design Overall acceptability

F % F % F % F %
Like extremely 18 90 11 55 12 60 16 80

Like very much 2 10 6 30 6 30 4 20

Like moderately - - 3 15 2 10 - -

Like slightly - - - - - - - -

Neither like nor dis. - - - - - - - -

Dislike slightly - - - - - - - -

Dislike moderately - - - - - - - -

Dislike moderately - - - - - - - -

Dislike very much - - - - - - - -

Dislike extremely - - - - - - - -

Total 20 100 20 100 20 100 20 100

Source field survey, 2019

38
4.2.1 Discussion

Colour: The above analysis shows that 90% of the respondents extremely like the colour of the

African men dress construct with Ankara fabric using embroidery design called zigzag style.

While the other 10% of the respondents like the colour of the African men dress construct with

Ankara fabric using embroidery design called zigzag style very much.

Texture: in terms of texture, 55% of the respondents like the texture of the Trouser and round

neck shape waistcoat construct with Ankara fabric extremely, 30% of the respondents like very

much while 15% of the respondent like the African men dress construct with Ankara fabric

using embroidery design called zigzag style moderately.

Design: from the above table, 60% of the respondents extremely like the design of the African

men dress construct with Ankara fabric using embroidery design called zigzag style, 30% of the

respondents like the design while 10% of the respondents like the African men dress construct

with Ankara fabric using embroidery design called zigzag style very much.

Overall acceptability: the result shows that 80% of the respondents extremely accepted the

African men dress construct with Ankara fabric using embroidery design called zigzag style

overall acceptability, while the remaining 20% of the respondents accepted the African men

dress construct with Ankara fabric using embroidery design called zigzag style very much.

39
4.3 Table 3 (Men Dress with Free Style Embroidery Design)

Ratings Colour Texture Design Overall acceptability

F % F % F % F %
Like extremely 14 70 16 80 17 85 19 95

Like very much 5 25 2 10 3 15 1 5

Like moderately 1 5 2 10 - - - -

Like slightly - - - - - - - -

Neither like nor dis. - - - - - - - -

Dislike slightly - - - - - - - -

Dislike moderately - - - - - - - -

Dislike moderately - - - - - - - -

Dislike very much - - - - - - - -

Dislike extremely - - - - - - - -

Total 20 100 20 100 20 100 20 100

Source field survey, 2019

40
4.3.1 Discussion

Colour: The above analysis shows that 70% of the respondents extremely like the colour of the

African men dress construct with Ankara fabric using embroidery design called free style, 20%

of the respondents like very much while 5% of the respondents like the product moderately.

Texture: in terms of texture, 80% of the respondents like the texture of the African men dress

construct with Ankara fabric using embroidery design called free style extremely, 10% of

respondents like the texture of the African men dress construct with Ankara fabric using

embroidery design called free style very much, while the other 10% of the respondents like

extremely.

Design: from the above table, 85% of the respondents extremely like the design of the Trouser

and round neck shape waistcoat construct with Ankara fabric design, while the other 15% of the

respondents like the design of the Trouser and round neck shape waistcoat construct with Ankara

fabric very much.

Overall acceptability: the result shows that 95% of the respondents extremely accepted the

African men dress construct with Ankara fabric using embroidery design called free style overall

acceptability. This signifies that the style is acceptable generally by the respondents in the study

area respectively.

41
4.4 Table 4 (Men Dress with Chain Style Embroidery Design)

Ratings Colour Texture Design Overall acceptability

F % F % F % F %
Like extremely 17 85 13 65 12 60 14 70

Like very much 3 15 7 35 8 40 6 30

Like moderately - - - - - - - -

Like slightly - - - - - - - -

Neither like nor dis - - - - - - - -

Dislike slightly - - - - - - - -

Dislike moderately - - - - - - - -

Dislike moderately - - - - - - - -

Dislike very much - - - - - - - -

Dislike extremely - - - - - - - -

Total 20 100 20 100 20 100 20 100

Source field survey, 2019

42
4.4.1 Discussion

Colour: The above analysis shows that 85% of the respondents extremely like the colour of the

African men dress construct with Ankara fabric using embroidery design called chain style.

While the other 15% of the respondents like the colour of the African men dress construct with

Ankara fabric using embroidery design called chain style very much.

Texture: in terms of texture, 65% of the respondents like the texture of the African men dress

construct with Ankara fabric using embroidery design called chain style extremely, while the

other 35% of the respondents like the texture of the African men dress construct with Ankara

fabric using embroidery design called chain style very much.

Design: from the above table, 60% of the respondents extremely like the design of the Trouser

and shape end waistcoat construct with Ankara fabric design, while the other 40% of the

respondents like the design of the Trouser and shape end waistcoat construct with Ankara fabric

very much.

Overall acceptability: the result shows that 70% of the respondents extremely accepted the

African men dress construct with Ankara fabric using embroidery design called chain style

overall acceptability, while the other 30% of the respondents like the design of the African men

dress construct with Ankara fabric using embroidery design called chain style very much.

43
 CHAPTER FIVE

5.0 SUMMARY, CONCLUSION AND RECOMMENDATION

5.1 Summary

This study was carried out for the Design and Construction of African men dress using

embroidery design as an entrepreneurial skill on people’s acceptability and appearance of the

products such as different style of embroidery (chain style, coco style, free style and zigzag

style) were considered and makes it attractive which was generally accepted by the respondents.

5.2 Conclusion

Given the results of Sensory Evaluation on the Design and Construction of African men dress

using embroidery design as an entrepreneurial skill, the study hereby concluded that the samples

were accepted by people. The results of the products were to be good design, good Texture, good

Colour, Good appearance and to make sewing of Ankara (trouser and top) products as an

entrepreneurial skill.

5.3 Recommendations

 Government should provide loan for small scale business owner to improve

entrepreneurship in Nigeria skill.

 Youth that are jobless should be encouraged in making and sewing of Ankara with

embroidery design as an entrepreneurial skill, and create more innovations to the level of

fashion industry in Nigeria by embracing hand embroidery work.

44
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