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FACULTY OF APPLIED ART AND TECHNOLOGY DEPARTMENT OF FASHION

DESIGN AND TECHNOLOGY PROJECT TOPIC PRODUCTION OF DINNER WEAR
FOR A FEMALE YOUNG ADULT BETWEEN THE AGE RANGE OF 25 TO 30...

Technical Report · September 2022

DOI: 10.13140/RG.2.2.17021.84968

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 FACULTY OF APPLIED ART AND TECHNOLOGY

DEPARTMENT OF FASHION DESIGN AND TECHNOLOGY

PROJECT TOPIC

PRODUCTION OF DINNER WEAR FOR A FEMALE YOUNG ADULT BETWEEN

THE AGE RANGE OF 25 TO 30 YEARS TO ATTEND A DINNER PARTY

CONSIDERING THE FIGURE TYPE (INVERTED TRIANGULAR FIGURE) USING

AFRICAN PRINTING AND EXOTIC FABRIC

BY

RUTH ACQUAH GYAMFI

DP/FSH/20/O24

JULY, 2022
 A

FINAL YEAR PROJECT TO BE SUBMITTED TO THE DEPARTMENT OF

FASHION DESIGN TECHNOLOGY, FACULTY OF APPLIED ARTS,

TAKORADI TECHNICAL UNIVERSITY IN PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE AWARD OF DIPLOMA IN FASHION

DESIGN AND TECHNOLOGY.

ii
DECLARATION
STUDENT’S DECLARATION

I, Ruth Acquah Gyamfi declare that except for references made from other sources
which have all been dully acknowledged, this work is a true presentation of the outcome
of my own research findings that has neither been wholly nor partially presented for
another degree elsewhere.

…………………………. ………/………/ 20………….

Signature Date

iii
CERTIFICATION
I hereby certify that the preparation and presentation of this work was supervised in
accordance with the guidelines for supervision of project report as laid down by
Takoradi Technical University.

SUPERVISOR’S NAME

MADAM VIVIAN KORANKYE

…………………………. ……/……/ 20…….

Signature Date

HEAD OF DEPARTMENT’S NAME

DR. AZUAH WOMPAKEAH SCHOLASTICA

…………………………. ..…/……/ 20……

Signature Date

iv
ACKNOWLEDGEMENTS
My sincere gratitude goes to God Almighty for his protection and guidance without
which I could not have come this far. I am highly indebted to God for his protection. I
thank my supervisor, Madam Vivian Korankye for patiently guiding me through my
project. Special thanks to my parents, siblings, and friends who remained loyal to me
through the entire period.

v
DEDICATION
In the first place, I dedicate this project to God Almighty for his love and protection and
to my parents, siblings, friends, and loved ones who encouraged me to fight hard to the
end, and those who supported me both financially and in prayers.

vi
ABSTRACT
The purpose of this study was a production of dinner wear for a female young adult
between the ages of 25 to 30 years to attend the dinner party considering the figure type
(inverted triangular figure).

Four specific objectives guided the study. The study was based on experimental-
descriptive research design modeled on trend analysis, fashion innovation and
production. The report catalogues the step-by-step product development processes of
the collection based on best practice to achieve the desired results. Ruth Acquah was
profiled as customer.

The dress details include a dress of asymmetric neck line, princess seam lines, fitted
skirt, flare from the knee to the hem, trimmings for sleeve. The garment was made with
Ankara African Print and a Lisa fabric. The study is significant to the extent that it
seeks to correct the right choice of style to depict the right silhouette for the figure.

vii
TABLE OF CONTENTS
DECLARATION ........................................................................................................................ iii
CERTIFICATION ..................................................................................................................... iv
ACKNOWLEDGEMENTS ........................................................................................................ v
DEDICATION ............................................................................................................................ vi
ABSTRACT ............................................................................................................................... vii
CHAPTER ONE ........................................................................................................................ xii
1.0 BACKGROUND OF THE STUDY ................................................................................... xii
1.1 STATEMENT OF THE PROBLEM.................................................................................xiii
1.2 PURPOSE OF THE STUDY ..............................................................................................xiv
1.3 OBJECTIVES OF THE STUDY .......................................................................................xiv
1.4 SIGNIFICANT OF THE STUDY ...................................................................................... xv
1.5 DELIMITATION OF THE STUDY.................................................................................. xv
1.6 LIMITATION OF THE STUDY ....................................................................................... xv
1.7 DEFINITION OF TERMS ................................................................................................. xv
1.8 ORGANIZATION OF THE STUDY CHAPTERS..........................................................xvi
CHAPTER TWO...................................................................................................................... xvii
2.0 REVIEW OF RELATED LITERATURE ................................................................... xvii
2.1 Factors to Consider to Originating Unique Dinner Ware for Young Adults between the
ages of 25 to 30 years ................................................................................................................ xvii
2.1.1 Research and Merchandising. ........................................................................................ xvii
2.1.2 Dinner Wear Trends ........................................................................................................ xix
FIGURE ONE........................................................................................................................ xix
The model is a young Ghanaian female in a beautiful Ankara gown...................................... xix
FIGURE TWO........................................................................................................................xx
A model dressed in a white short gown made with Lycra and organza and it a dinner wear. .xx
FIGURE THREE ...................................................................................................................... xxi
A Model dressed in violet long fitted pencil dress with slit on one side for dinner ................ xxi
FIGURE FOUR ........................................................................................................................ xxii
A model in a white showy dinner wear. ................................................................................. xxii
FIGURE FIVE ......................................................................................................................... xxiii
The model is a celebrity in a royal blue dinner wear. ........................................................... xxiii

viii
FIGURE SIX............................................................................................................................ xxiv
A model dressed in a beautifully textured long gown made with an African print fabric. ... xxiv
2.1.3 Fabric trends for dinner wears. ..................................................................................... xxv
FIGURE SEVEN ...................................................................................................................... xxv
Fabrics trends for dinner ware or satin ................................................................................... xxv
FIGURE EIGHT ..................................................................................................................... xxvi
Fabric trends for dinner wear or Lycra. ................................................................................. xxvi
FIGURE NINE ....................................................................................................................... xxvii
Fabrics trends for dinner ware or African print .................................................................... xxvii
FIGURE TEN ........................................................................................................................ xxviii
Fabrics trends for dinner ware or velvet fabric ................................................................... xxviii
FIGURE ELEVEN .................................................................................................................. xxix
Fabric trends for dinner ware or Georgette. ......................................................................... xxix
2.1.4 Pattern Development Strategies Dinner Wears Pattern Development. ...................... xxx
FIGURE TWELVE AND THIRTEEN ................................................................................. xxxi
DRAPING ........................................................................................................................... xxxi
Mannequin Marking Terms ................................................................................................... xxxi
FIGURE FOURTEEN ........................................................................................................... xxxii
Block Pattern Image ............................................................................................................. xxxii
FIGURE FIFTEEN ............................................................................................................... xxxiii
A ‘toile’ ................................................................................................................................... xxxiii
2.1.5 Garment Production Strategies for Dinner Wears ................................................... xxxiii
2.1.5.1 A Production Plan or Sequence ............................................................................... xxxiii
2.1.6 Summary of Related Literature .................................................................................. xxxiv
CHAPTER THREE ............................................................................................................... xxxv
3.0 METHODOLOGY ........................................................................................................... xxxv
3.1 Introduction ...................................................................................................................... xxxv
3.2 Design Processes ............................................................................................................... xxxv
3.2.1 Research and Merchandising ....................................................................................... xxxv
3.2.2 Materials, Tools and Equipment;................................................................................. xxxv
3.2.3 Design Brief ................................................................................................................... xxxix

ix
FIGURE SIXTEEN ............................................................................................................... xxxix
Design Brief ........................................................................................................................ xxxix
3.2.4. Customer Profile .............................................................................................................. xl
FIGURE SEVENTEEN ............................................................................................................. xl
Customer Profile ...................................................................................................................... xl
3.2.5 Theme Board ..................................................................................................................... xl
FIGURE EIGHTEEN ................................................................................................................ xl
Theme board............................................................................................................................. xl
3.2.6 Trend Board...................................................................................................................... xli
FIGURE NINETEEN ............................................................................................................... xli
Trend Board............................................................................................................................. xli
3.2.6 Idea Development ............................................................................................................. xli
FIGURE TWENTY................................................................................................................... xli
Idea Development ................................................................................................................... xli
3.2.7 Color Board ......................................................................................................................xlii
FIGURE TWENTY-ONE.........................................................................................................xlii
Color Board .............................................................................................................................xlii
3.2.7 Fabric and Trimmings Board .........................................................................................xlii
FIGURE TWENTY-TWO........................................................................................................xlii
Fabric and Trimming Board ....................................................................................................xlii
3.2.8 Design Board....................................................................................................................xliii
FIGURE TWENTY-THREE ..................................................................................................xliii
Stylish Design ........................................................................................................................xliii
FIGURE TWENTY-FOUR .....................................................................................................xliii
Stylish Design ........................................................................................................................xliii
3.2.9 Technical Board............................................................................................................... xliv
FIGURE TWENTY-FIVE: ..................................................................................................... xliv
Design 1 Flat Drawing ........................................................................................................... xliv
FIGURE TWENTY-SIX.......................................................................................................... xliv
DESIGN 2 FLAT DRAWING ............................................................................................... xliv
3.2.10 Specification Board ........................................................................................................xlv

x
FIGURE TWENTY-SEVEN ....................................................................................................xlv
Specification Board .................................................................................................................xlv
FIGURE-TWENTY-EIGHT ................................................................................................... xlvi
Style Board ............................................................................................................................. xlvi
3.2.11 Sample Dress .................................................................................................................. xlvi
Table Two................................................................................................................................. xlvii
Body Measurements .............................................................................................................. xlvii
3.2.12 Cost Sheet ..................................................................................................................... xlviii
Table Three represents the cost sheet of the glamorous garments. ...................................... xlviii
FIGURE TWENTY-NINE ...................................................................................................... xlix
Fitting of toile garment ........................................................................................................... xlix
3.3 Pattern Development.............................................................................................................. l
3.3.1. Adaptation of the Dress .................................................................................................... l
3.3.2 Laying and Cutting out on Fabric ..................................................................................... l
FIGURE THIRTY-ONE............................................................................................................. li
Laying and cutting out of fabric ................................................................................................ li
3.3.3 Garment Production Processes ........................................................................................ lii
Garment production process .................................................................................................... liii
FFIGURE THIRTY-THREE .................................................................................................. liv
Mounting and presentation ...................................................................................................... liv
FIGURE THIRTY-FOUR ......................................................................................................... lv
Final garment Presentation ....................................................................................................... lv
CHAPTER FOUR .................................................................................................................... lvii
4.0 SUMMARY, RECOMMENDATION, AND CONCLUSION ................................... lvii
4.1 Introduction ................................................................................................................ lvii
4.2 Summary ..................................................................................................................... lvii
4.3 Conclusions .................................................................................................................. lix
4.4 Recommendation .......................................................................................................... lx
4.5 REFERENCES ............................................................................................................ lxi

xi
 CHAPTER ONE

1.0 BACKGROUND OF THE STUDY

Clothing is also known as apparel, attire or clothes. They are items worn next to the skin
to cover human nakedness. Clothing can be made of hide, thin sheets of materials put
together or textiles. The wearing of clothing is mostly restricted to human beings and its
feature of all human societies

The reasons for wearing clothes are to provide physical safeguards to the body, thus
protect the body from cold, heat, rain, sun and snow. Clothes are also worn for
identification; clothes help to establish who someone is or what they do. Clothes are
also worn for modesty thus covering the body according to the code of decency
established by society. Another reason for wearing clothes are for status. That is, one’s
position or rank in comparison to others.

Fashion is known as the style or of clothing and accessories worn at any given time by
group of people. Fashion is an aesthetic expression at a particular period and place and
a specific extent of clothing, footwear, lifestyle, makeup and body proportion.

Dinner ware is along flowing dress or gown usually worn at formal occasions. Dinner
wear ranges from teen and ballerinas to full-length. Dinner wear began its evaluation in
the rough country of 15th century Europe. The more elaborate the clothing the higher the
rank. The most opulent clothing was reserved for royalty available studies shows that
similar project has been done by some graduates of fashion. For example; barrow
(2019), Alban (2019), Anathema (2020) and Boateng (2021). Barrow (2019) worked on
dinner and evening wears. Anathema designed dinner dress for a student going on an
evening date using African print. Alban designed evening wear for fashion forward
personalities using exotic fabrics while Boateng designed an evening wear for Ghanaian
celebrity for an award ceremony.

According to literature, the first point to note is in creation of dinner dress for people
with the figure Albert compared to creating it for an average figure tends to depict the
right material for the figure so make my project different will make use of element and
principles of design.

xii
 Based on this research, it necessary to consider the figure when producing a garment.
Once with the element and principles of design. The important of this project is to
create dinner ware for inverted triangular figure to look attractive, to occur their bad
figure with element and principle of design.

1.1 STATEMENT OF THE PROBLEM

There is different type of body type. Examples, oval body type, diamond body type,
pear body type, top hour glass body type, and inverted triangular body type. The
following examples are explained in the following,

I. Oval body type: is a figure type bust, waist and hip measurement are close to each
other, and they have curvy and rather undefined waist line. Their hip is slightly
smaller their bucks, rounded shoulders, slim legs and therefore, there is need to
draw attention to the neck area.

II. Diamond body type: is also type of figure type with narrow hips, thighs, and
heavy waist line. Narrow shoulders and bust.

III. Pear body type: they are also with fully hips in the proportion to the upper body
and it also known as triangular figure.

IV. Top hourglass body type: top hourglass body type is when everything fits as per
the characteristics, accept the busts is slightly bigger then the hips.

V. Inverted triangular body type: the inverted body type is those with the shoulders
broader then the hips with little to waist definition. Their body follows the v and
the shoulder maybe straight, squared or Atlantic looking. Many people find it
difficult to sew for this type of shape due how figure looks like. To correct this
figure this figure, will make use of element and principles of design. Element of
design is the fundamental aspect of any visual design which includes shape, color,
space, form, line, values, and texture. The principles of designs are the rules a
designer must follow to create an effective and attractive composition. Examples,
balance, emphasis, proportion, contract, and alignment.

xiii
On the people with inverted triangular and triangular figure sometimes have problem
with the wearing of dress to depict their silhouette. To achieve that is to balance the
broader shoulders, chest and back with the narrow lower body to create a balanced
silhouette. This is achieved by making use of curves to the hips and bottom while
creating a more defined waist and de-emphasing the upper body. The asymmetric styles
help break up the chest vertically. If you have a small bust, halter necks can help
elongate your silhouette. Avoiding wide and low necklaces will also help. A pattern
details or lighter color on the lower body will also help take attention away from the
upper body.

1.2 PURPOSE OF THE STUDY

The purpose of this study is to, create a female evening ware (dinner ware) for a young
adult between the ages of 25 to 30 years going for dinner party, the project is about
considering the figure type (inverted triangular and triangular figure), the project is
about to create a dinner ware to cover the bad figure with the use of element and
principles of design from the theme board to make them look attractive.

1.3 OBJECTIVES OF THE STUDY

The main objectives of this study are:

I. examine factors to consider objectify stylish dinner for young adult with
inverted triangular and triangular figure

II. examine trends in theme corrections for young adult with both inverted
triangular figure between the ages of 20 to 30 years.

III. identify patterning’s development strategies for specific design for young adult
with the inverted figure between the ages of 25 to 30 years.

IV. identify production processes for design developed for young with inverted
triangular figure between the ages of 20 to 30 years.

xiv
1.4 SIGNIFICANT OF THE STUDY
The study seeks to promote the right choice of style for inverted triangular figure that
will depict the right silhouette for the figure. Hence it therefore important to combined
the element and the principles of design to make a unique apparel that will make them
look attractive.

1.5 DELIMITATION OF THE STUDY

The study focuses on designing (2) unique dinner wears for young adults between the
ages of 25 to 30 years reflecting their unique brand.

1.6 LIMITATION OF THE STUDY

Lots of problems were encountered in the course of the study which includes; less
fashionable dinner wears produced with exotic and local prints. High risked related with
travelling which constricted the study to the ages mainly 25 to 30 years and also
inadequate literature applicable to the study.

1.7 DEFINITION OF TERMS

African fabrics: African fabrics are bold, beautiful designs that give women’s clothing
a decidedly Afrocentric vibe. Executed in bright, eye-catching colors or high-contrast
black and white, they’re sometimes referred to as “ethnic prints” or “tribal prints. “For
instance, Vlisco does not produce fabrics in Africa but rather draws inspirations from
African sources.

Blending: Blending means the action of mixing or combining African prints with
foreign fabrics together to produce splendid outfits and make it look beautiful.

Glamorous: Glamorous means full of glamour, beauty, and excitement. Glamorous

comes from the Scottish gramarye meaning "magic, enchantment, spell.

xv
Distinctive: Something that is distinctive is easy to recognize because it is different
from other things.

Crucial: It means involving an extremely important decision or result; decisive; critical.

Adopt: It means to choose or take as one's own or make one's own by selection or
assent or to adopt a nickname.

1.8 ORGANIZATION OF THE STUDY CHAPTERS

CHAPTER ONE: It consists of the background of the study, statement of the problem
objectives and significance of the study, delimitations, limitation, definition of terms,
and arrangement of the text. CHAPTER TWO: This chapter reviews all related
literature while CHAPTER THREE: Describes the methodology used in the design,
development and production of the collection created. CHAPTER FOUR: This chapter
covers the summary, conclusions and recommendations made based on the results and
conclusions reached.

xvi
 CHAPTER TWO
2.0 REVIEW OF RELATED LITERATURE
This chapter reviews available literature related to the study.

2.1 Factors to Consider to Originating Unique Dinner Ware for Young Adults
between the ages of 25 to 30 years

2.1.1 Research and Merchandising.

Bryan and Burns 1986 declared the most important concept for achievement in the
clothing industry is that the designer needs to know his or her aficionados (target
market) and provide the merchandise miscellany desired by the customers when they
want it and location where they can purchase it. Bryan and Burns further asserted that to
determine what customers will need, want when and where they want it, a diversity of
research was conducted. Thus, this process is called “Market Research”.

Market Research is categorized into two major categories namely

I. Basic Research

II. Applied Research

Basic Research: Is a type of research approach that is aimed at gaining a better

understanding of a subject, phenomena or basic law of nature

Applied Research: Is a methodology used to solve a specific, practical issue affecting

an individual or group. This type of research is used in education and business in other
to find solutions that may improve and develop new technologies. Hence examine
factors to consider to conception unique dinner ware for young adults between the ages
of 25 to 30 years, it is also a need for assessment of the fashion boards which provide
information about preferred style or design, characteristics and market analysis. This
also provides information about general market trends. To add to it, it always a must to
identify the costumer and design the exact chosen style. (Bryan, 2007).

Conception for dinner wear dress in fashion designing is a blend of hypothetical

conception or thought process and actual organization of those hypothetical, application

xvii
of design element and principle, pertinent resources in correlation to the target
consumers personality, occasion, and fashion trends into desirable wearable outcomes.

(Burns, 2007).

Dinner wears on the other hand is predominant style prescribe by fashion to be worn
evening. Dinner wears are raveled connected fashion of day with specific attributed that
differentiates it from our everyday dress. Fabric surfaces vary from soft to rigid,
textured to smooth, and reflective to matte. Gowns maybe fluffy or close -fitting,
highlighting every curve and swell. Regardless of the variance, fashion fanatic
(aficionado) says that trend needs to be an overall emphasis on the woman’s body and
in many instances on the gown itself. (Burns, 2007).

Hence conception for dinner wears or dress fashion is to adopt inspirational abstract
thought process and actually organize those ideas, used elements of design and
principles, and important resources in relation to the target costumer’s personality,
occasion and fashion trends to get acceptable variable results. Also, the designer has to
apply a particular concept in creating and achieving the design objectives.

(Bill, 2007).

In design conceptualization, the mood or theme board can be used to bring concept or
ideas to arouse the mind to creativity. A mood or theme board can also inspire a title
and an observation of how concept is made in a designer’s mind. The composition
throughout the design is necessarily taken into notice. (Bill, 2007)

xviii
2.1.2 Dinner Wear Trends
The selecting of dinner wear becomes a difficult choice for young adults, given the
abundance of new trends offering to create a fashionable image for evening with a
garment in so many designs current trends are shown in FIG 1.

FIGURE ONE

The model is a young

Ghanaian female in a
beautiful Ankara gown.
Source: www.pinterest.com
(Retrieval on 10th February
2021)

Figure 1 is a representative of a young adult by name Deborah who is a model dressed a

fashionable African print. The dress is a sleeveless fitted long gown with straps. Also,
there is a flare from the knee down the hem. There is also a gathered flounce from the
right shoulder scouted to the knee. The African print is made in brown, sea blue,
yellow-orange, and cream colors as seen in FIG1. She has done make- up earrings,
bracelets, heel, ring and long straight hair all back.

xix
FIGURE TWO
A model dressed in a white short
gown made with Lycra and
organza and it a dinner wear.

Source: www.pinterest.com
(Retrieval on 10th February 2021)

Figure 2. Is an image of a model dressed in a white short gown beautifully made with
Lycra. It’s a bustier dress to the knee, then organza tears of flares from the knee to the
hem. The organza tears of flares from the knee to the hem. The organza of flares hem
has been finished with a crinoline to get a nice effect flowing. The model has done
makeups with white necklace, a bracelet and an earring, also wearing a black long
straight hair and in white heels.

xx
FIGURE THREE

A Model dressed in violet

long fitted pencil dress with
slit on one side for dinner

Source www.pinterst.com9
Retrieved on 10th February
20210

Figure 3 is a picture of a model, a young adult dressed in a glamorous violet evening

wear made in a lace-embossed stretchy fabric. The fashionable garment has a slit on one
side and it’s a one-hand. It has one sleeve and there is also a horsehair at the waste of
the slit section. The model is in a curled short cut hair and an earring. Also, in a bracelet
and necklace and two pair of heels.

xxi
FIGURE FOUR
A model in a white showy
dinner wear.

Source: www.pinterest.com
(Retrieved on 10th February
2021).

Figure 4 is an image of young adult, celebrity and a model dress in a white mermaid
shaped floor-length dress with a nice necklace of which has gold attached it. The
mermaid gown is made with a lycra fabric and a gold lace stitched together at the two
sides. The hem has been finished with a crinoline to give it a flowy effect. The model is
wearing long straight hair and an ear-ring, a bracelet and nails. This is also beaux and
used to attend dinners.

xxii
FIGURE FIVE
The model is a celebrity in a
royal blue dinner wear.

Source: www.pinterest.com
(Retrieved on 10th February
2021).

Figure 5 is a depiction of a model in a royal blue dinner wear made with a scuba fabric
with lace fabric. The off-shoulder dress has a sleeve. The lace is from the bust to the
under-bust. Also, the scuba fabric from the waist to the knee and from the knee has two
flares of which one flare is short and the other one is long. Black stripes are being
stitched on the flare 5 inches from the hem all-round the flare. The sleeve is made up
with lace Fabric.

xxiii
FIGURE SIX

A model dressed in a
beautifully textured long gown
made with an African print
fabric.

Source: www.pinterest.com
(Retrieved on 10th February
2021).

Figure 6 is an image of a model dressed in a long gown made with African print for
dinner. The gown is an off-shoulder gown with a puff sleeve. It is from the high to the
waist and form the waist to the knee and a heavy flare from the knee to the floor. The
puff sleeve is made with a plain fabric and a cleavage is showing at the bust area. The
model is wearing a black long straight hair, earring, makeup and a bracelet.

The trends analysis shown in this study (Figure 1 - 6) shows that all the dinner wears
styles examined were of full floor-length, short gown, body-fitting and fashionable. The
models showed skin at the upper torso and arms mainly where volume has been shown
in the dress. It has either been assimilated in the skin and sleeve parts of the garment or
trail attached. Colour is as equally reproving in the garments trends as details.

xxiv
2.1.3 Fabric trends for dinner wears.
Dinner wear fabrics as seen in the pictures shown in (figure 1 - 6) are made up of
lustrous natural fiber, such as silk or cotton that responds to various effects and
enhancing silhouettes while providing the conclusive in comfort to the wearer.

FIGURE SEVEN
Is extensively and most known used fabrics in dinner wears.

Fabrics trends for dinner ware or satin

Source: www.pinterest.com (Retrieved

on 10th February 2021).

This satin shown in figure 7 is one of the most popular choices when it comes to dinner
ware and it isn’t difficult to see why! This chic and opulent fabric has a wonderfully
shiny face, which adds depth, movement and drama. Some other notable characteristics
include;

I. A sleek and glossy face

II. Woven fabric with a very specific weave

xxv
III. Can be made from silk, cotton, wool and synthetics.

IV. Typically has a dull back

V. Highly Lustrous.

VI. Used for fashion and upholstery

Satin is one of the three fundamental types of textile weaves alongside plain weave and
twill weave. In the past, satin was made of silk and at one time, silk could only be found
and be mainly produced in china. In ancient china, there were various forms of satin
fabrics which came under several names such as Duan and basi.

Source: The primary structures of fabrics Washington D.C. Thames and Hudson.

FIGURE EIGHT
Fabric trends for dinner wear or Lycra.

Source: www.pinterest.com (Retrieved on 10th

February 2021).

Figure 8 shows a Lycra fabric, Lycra is a brand name for elastase, which is the highly
elastic synthetic fabric. Despite having different names, Lycra, Spandex and elastase are
all the same material and these fabrics can stretch to 5 - 8 times their usual size. This
fabric was originally developed by the DuPont Corporation in the 1950s but it would
not exist if polyurethane had not been invented by IG Fabre in the 1930s in Nazi
Germany. Lycra is most popular in types of garments that are form-fitting. It is
commonly used in shear underwear for men and women also.

xxvi
FIGURE NINE
Fabrics trends for dinner ware or African print
Source:
www.pinterest.com
(Retrieved on 10th
February 2021)

Figure 9 shows an African print fabric. African prints fabrics is also known as Ankara
and Dutch wax prints or omnipresent and common materials for clothing in Africa.
They are industrially produced colorful cotton cloths with batik inspired printing. One
feature of these materials is the lack of difference in color intensity of the front and back
sides. The wax fabric can be sorted into categories of quality due to the process of
manufacturing.

xxvii
FIGURE TEN
Fabrics trends for dinner ware or velvet
fabric
Source: www.pinterest.com (Retrieved
on 10th February (2021).

Figure 10 shows velvet fabric. Velvet is a gorgeous choice for a red-carpet worthy
gown. The shine, the depth, the richness, the drama, and all make this fabric perfect for
a sexy, vampy, feminine dress some qualities we love about velvet include;

I. A strong and beautiful sheen

II. A soft and elegant drape

III. A shimmering surface

IV. Very soft and textured to the touch

V. Strong and durable

VI. Smooth and touchable

xxviii
FIGURE ELEVEN
Fabric trends for dinner ware or
Georgette.

Source: www.pinterest.com
(Retrieved on 10th February 2021).

Figure 11 shows Georgette fabric. This lovely fabric is traditionally made with silk, but
it can also be made from synthetic yarns such as polyester. It is a distinctive fabric,
which has characteristics unique to itself, some of these are;

I. A crinkly, crepe like texture

II. Feels slightly rough and dry

III. bouncy, flowing drape

IV. Constructed from highly twisted yarns.

V. Has a tight weave

Georgette is always a popular choice when it comes to making gowns and dinner wears.
It holds up well to embroidery and applications such as beads and sequins, although
these should be kept light and to a minimum, so they don’t pull the fabric out of shape.

Readings reviewed under factors to consider in conceptualization and selecting dinner

wears for young adults suggest measures for design, development and production

xxix
process. The Trend sampled and reviewed in this study (FIG1 - 6) show full floor length
and fashionable designs. Dinner wears are made of luxurious fabrics such as satin,
Lycra, African print, velvet and Georgette. The fabrics must have the ability to drop.

2.1.4 Pattern Development Strategies Dinner Wears Pattern Development.

Pattern sight to explain the style and represent the component parts of the garment.
There are conditions necessary to achieve success which includes;

i. Patterns should conform to the body measurements of a particular size.

ii. Patterns should reproduce the fashion image and proportions of the designer
sketch.

iii. Patterns should take account of fabric reactions during the manufacturing
process.

iv. Patterns should reflect the details of the body surface anatomy.

Carry and Pomevoy (1992) posit that methods of achieving (1), (2), (3), (4) are
generally flat pattern cutting, modelling (or draping) and sample pattern.

Modelling (or Draping)

Modelling or Draping is the process used to make a three (3) dimensional dress patterns
with the aid of a dress form figure by pinning and placing fabric against the form to
create a garment. Most designers use muslin, which is cost-efficient and offered in
variety of weights. Draping is used to achieve the desired pattern through the first-hand
manipulation of fabric, providing the opportunity to sculpt and create one-of-a-kind
designs.

xxx
 FIGURE TWELVE AND THIRTEEN
DRAPING

Source: Field data, 2021

Mannequin Marking Terms

SH - Shoulder PL - Princess Line BP - Bust Point. BL - Burst Line. CF - Center

Line. Apex. Front.

Dart - A SS - Side Seam WL – HBL - Horizontal Apex - The highest Centre Front -
design feature Waistline. balance Line. point of the burst Vertical line that
that aids in and a reference point marks the middle
fitting of establishing the front of the
garments cross gain for the garment.
around and to front bodice.
curves.

xxxi
Cross Grain - NB - Neck Band Bias - A diagonal line Centre Back - Seam - Two or
Section of Armhole / Armscye across the grain of the Vertical line that more edges of
fabric that runs fabric to showcasing marks the middle fabric held
from selvage the maximum stretch. Back of the garment. together by
to selvage. stitches.

1. Block Patterns

Block pattern is a foundation pattern drafted to fit a specific figure. The blocks can
be drafted to fit on individual figure using personal measurements and can also be
drafted for an individual figure by substituting personal measurements of the figure
for standard ones. (Aldrich 2006). The designer uses the foundation pattern block as
basis for making a pattern for a design. They may introduce style lines, tucks,
gathers, pleats or drapes but still the basic fit of the pattern will conform to the
block used.

FIGURE FOURTEEN

Block Pattern Image

Source: www.pinterest.com
(Retrieved on 10th February
(2021).

2. Sample Patterns.

It is expected on every student or designer to combine flat pattern cutting with work on
the dress stand but many people who sow for pleasure do not have one and it is possible
to cut out patterns without a stand. Hence, it’s a very valuable piece of equipment.
Styles that look beautiful on a flat piece of paper can look ugly and distorted on the

xxxii
rounded form or the body or the dress stand but if a dress is not available, one can use
the figure of a client or a colleague.

3. Toile

Toile is defined as an early version of finished garment made up in cheap material so

that the design can be tested and perfected. The word toile is a French word meaning
“linen cloth”. Aldrich (2006) suggests that calico should be used for making toiled for
designs in woven fabrics, ensuring that the weight of the calico is as close to the weight
of the cloth as possible.

FIGURE FIFTEEN

A ‘toile’

Source: www.pinterest.com (Retrieved

on 20th May 2021)

2.1.5 Garment Production Strategies for Dinner Wears

2.1.5.1 A Production Plan or Sequence

An important aspect of pre-production and production is planning the sequence
strategies required to produce the garment. Burns and Bryant (2007) said that
production involves sewing plan and other task performed at the sewing room that
relate to completing the garment. These duty in their field include; fusible interfacing,

xxxiii
pressing, packaging and folding, applying labels, applying embroidery and bagging the
finished product.

The principle of garment production has to do with the assemblage of fabric to produce
the garment. To add to it, to enable the wearer to be able to wear and remove the
garment,

Burns and Bryant (2007) also postulate that the decoration of the garment by stitching
on the surface of the fabric, the lining and interlining of the garment. The insertion of
cords in the seams whether functional or not. As with many embellishments, many of
the technique of garment construction is designed to ensure the final look of the
garment. Garment assemblage includes; lining, hemming, insertion of cord, surface
decoration, interlining, joining and finishing.

The sequence of sewing may be determined at the time duration that the style was
calculated, the production sequence used to stitch then samples is usually the same as
the sequence used to stitch the production orders. Any problems in produced would be
corrected during then production of the samples. To determine the most important
production depends on some factors including the equipment capacities of specific
production facility (Carr & Pomeroy, 1992)

2.1.6 Summary of Related Literature

The headings reviewed included conception and designing fashionable dinner ware for
young adult with the figure of inverted triangular figure, between the ages of 25-30,
dinner wear trends, garment development and garment production. Then readings also
show that dinner wear includes not only classic clothing but also appearance and
adornment done with the help of cosmetics, appearance, hair styles and other alterations
made to the bodice, the literature review also shows then trends or then block patterns,
fabrics draping. This is consistent with fashion practice as many renowned fashion
designers develop a theme for a collection and invest in marketing that theme to
retailers, client and the public (Burns and Bryant, 1997). Also, then study shows all then
dinner wears for young adults between the ages of 25-30 years reflecting their unique
brand

xxxiv
 CHAPTER THREE

3.0 METHODOLOGY

3.1 Introduction
This chapter reviews in details the design, pattern development, design brief, customer
profile, and production processes used for the project. The chapter also describes the
materials, tools and equipment and explains techniques adopted in designing of dinner
wears for young adults with inverted triangular figure between the ages of 25 to 30
years.

3.2 Design Processes

3.2.1 Research and Merchandising

The consumer demand is the driving force in the apparel industry. The industry
expression “You can make it only if it sells” relates to the concept of the consumer-
driven market. Hence, the success of any apparel, textile or fashion companies depends
on determining the needs and wants of the consumer. (Burns and Bryant 2007, p.183).

3.2.2 Materials, Tools and Equipment;

The materials, tools, and equipment used for the construction of the harmony collection
is in the Table 1 below:

Materials, Tools Images Uses

And Equipment.

French curves It was used for

shaping armhole,
neckline, and drawing
of good curves.

xxxv
Pinking shears It was used for
knitting fabric raw
edges to prevent it
from fraying.

Glue stick It was used for

sticking fabric
swatches on the board
and brown papers
together.

Pencil It was used for pattern

works, drawings and
sketches.

Red pen It was used for writing

of pattern instructions.

Scissors It was used for cutting

of threads, fabrics,
trimmings and paper.

xxxvi
Tape measure It was used for taking
body measurement
and measuring of
patterns.

Table It was used for laying

out and cutting out.

Sewing machine It was used for

stitching the cut-out
patterns, the toile and
the main garment.

Brown paper It was used for

making flat drawings
and patterns.

Thread It was used for

stitching two pieces of
fabrics together.

xxxvii
Tailors chalk It was used for
making out corrected
final patterns onto the
fabric after laying out.

Tracing wheel It was used to transfer

pattern shapes to
paper, fabrics and
muslin.

Iron It was used for

smoothing fabrics to
remove creases before
laying out during
construction and final
pressing of garment.

Zipper It was used for

closures in garment to
help easy wearing and
removal of garments.
Cord It was used to insert in
the seams to create an
effect.

xxxviii
 Straight pins It was used for
draping and fittings
and also to hold two
pieces of fabrics
together.

3.2.3 Design Brief

The concept of the project is to design two (2) dinner wear garments for young adults
with inverted triangular figure between the ages of 25 to 30 years. The tittle for the
collection is glamorous. The designs are for females and the designs are to be worn to
dinner party programs. Considering the occasion, the design will be produced with
African Prints and foreign fabrics to depict the right silhouette

FIGURE SIXTEEN
Design Brief

Source: Field data,

2021

xxxix
3.2.4. Customer Profile
The board contains the customer’s information. The customer profile is Ruth Acquah, a
model and an entrepreneur. Figure 2 shows the profile of her lifestyle, and her hobbies.

FIGURE SEVENTEEN
Customer Profile

Source: Field data, 2021

3.2.5 Theme Board

The theme board shown in figure 3 contains a colorful and beautiful marine dark that
inspired the designer and serves as a source of reference during the design stage. The
theme was “Glamorous” and the tittle for the collection is “Stylish”. The colors and
shape of the marine dark inspired the creation of the collection. The board influenced
the choice of color pallet and trimmings and accessories used in designing of the outfits.

FIGURE EIGHTEEN
Theme board

Source: Field data, 2021

xl
3.2.6 Trend Board
The trend board in figure 4 contains fashion trends in relation to current dinner wear
fashions. It helped in developing new ideas, unique styles and choosing the right
accessories to make the garment presentable.

FIGURE NINETEEN
Trend Board
Source: Field data, 2021

3.2.6 Idea Development

The process of idea development shown in figure 5 includes the process of
manipulating the motifs from the glamorous theme board to new ideas to bring the
glamorous concept to reality.

FIGURE TWENTY
Idea Development

Source: Field data,

2021

xli
3.2.7 Color Board
The color board in figure 6 shows the color scheme derived from the glamorous theme
board, which harbored the chosen colors used in the color story. The color board
consists of the color story, color pallet and color ways.

FIGURE TWENTY-ONE
Color Board

Source: Field data, 2021

3.2.7 Fabric and Trimmings Board

The harmony fabrics and trimmings board in figure 7 contains all the sample fabrics and
trimmings needed for the production of the garments and the accessories.

FIGURE TWENTY-
TWO
Fabric and Trimming
Board

Source: Field data,

2021

xlii
3.2.8 Design Board
The glamorous design board shown in figure 8 contains the two (2) final designs for the
glamorous collection. The two (2) designs are illustrated on human figure templates and
colored as the fashion fabric showing the garment details. The ideas used were
developed from the chosen theme and trend board. My designs numbered using the
theme and tittle in combination and the abbreviated as shown:

Glamorous –Stylish Design 01(G-S DO1)

FIGURE TWENTY-THREE
Stylish Design
Source: Field data, 2021

Glamorous - Stylish Design 02(G-S DO2)

FIGURE TWENTY-FOUR
Stylish Design
Source: Field data, 2021

xliii
 I. Design details for Glamorous- Stylish Design 01(G- S DO1)

G-S DO1 is an off-shoulder dress with princess dart from the armhole up to the waist
and from the waist is fitted skirt to the knee, detachable flare from the knee to hem.
Trimmings used as sleeve.

II. Design details for Glamorous -Stylish Design 02(G-S DO2)

(G-S DO2) is an asymmetric dress with princess dart from the armhole to the waist line
and a pencil skirt from the waist to the hem with opening at one side, flounce on
opening side.

3.2.9 Technical Board

FIGURE TWENTY-FIVE:
Design 1 Flat Drawing
Source: Field data, 2021

FIGURE TWENTY-SIX
DESIGN 2 FLAT DRAWING
Source: Field data, 2021

These two (2) flat drawings represents two

dimensional views of front and back views
of the technical drawings of the Glamorous
designs .it indicates all the details and some
features of the designs.

xliv
 3.2.10 Specification Board

FIGURE TWENTY-SEVEN
Specification Board
Source: field data

In this figure is the specification board for the Glamorous design which contains small
pattern pieces of the two designs in the collections which helped the designer in the
development of the final patterns for the garments.

xlv
FIGURE-TWENTY-EIGHT
Style Board
Source: field Data

In these two figures, it represents the

specification boards of the two designs of front and back of the Glamorous designs. It
contains the small pattern pieces of the two designs. The details helped in the
production of the patterns for the designs.

3.2.11 Sample Dress

In this stage is the last stage of toile making in the design process which facilitates
between the design and the design developing process. The processes are as follows:

I. the basic bodice block was drafted for the first design using a brown paper and
the help of my curves. After the style line for the first design was drawn in and I
adopted the patterns from it and cut. The cut-out patterns were then sewn and
test fitted on a fabric like cotton lining to check the fitness of the garment on the
model. The main reason why the designer stitched a toile for the model was to
correct the little faults that might occur when the model wears the garment due
the models figure type, also because it was the first time the designer was
stitching for that particular client(model).

xlvi
 a. Laying and cutting out were done for the toile using following
procedures.

II. the next step was to make sure all the necessary instructions were on the patterns
before laying out on the fabric for the design which was supervised by my
practical project supervisor.

III. the fabric was then taken to the ironing board to press the fabric to remove all
creases in the fabric.

IV. after all the pattern pieces were then laid and pinned using the grainlines as a
guide for the directions of how to place the fabric whether straight grain or bias
grain on the toile fabric and cut out with the help of a pair of scissors.

a. every necessary mistake was corrected on the subsequent patterns for

production.

Body Parts Measured Measurements in inches

Table Two
Body Measurements Bust 33
Source: field data, 2022 Waist 26
Hip 40
Across chest 12
Shoulder to shoulder 15
Full length 65
Apex to apex 8
Shoulder to waist 16
Shoulder to apex 9.5
Around arm 16
Sleeve length 9

xlvii
3.2.12 Cost Sheet

Table Three represents the cost sheet of the glamorous garments.

Source: field Data, 2022

xlviii
FIGURE TWENTY-NINE
Fitting of toile garment
Source: field data,2021

xlix
3.3 Pattern Development
Patterns are a term from which the parts of a garments are traced onto fabric before
being cut out and assembled.

I. Patterns should show the details of the body surface of the surface anatomy.

II. Patterns must match with the body measurements of a particular body size.

a. Hence, the corrections has been noted and has affected the subsequent
patterns before any further adoption.Due to the purpose of the project
objective,only one design of the glamorous collections is illustrated
from this stage.

3.3.1. Adaptation of the Dress

I. Bodice blocks were traced onto a new brown paper and adapted to the dress
length according to the desired design of which I got the intermediate pstterns.

II. All the dart were contoured into their various style lines.

III. Seam allowances were added to all the patterns being cut out including the
armhole to the panel lines,the waistline,the hem,the side seamms,the seamlines
and the hems.

IV. After all is done ,write all the necessary pattern instructions correctly(which
includes the grainline,the grainline directions,the fold line,the pattern
number,the number of cut and notches.

3.3.2 Laying and Cutting out on Fabric

To start with any lay-out or ctting-out,first take the fabric to the ironing board and press
the fabrics and after check how the grains are running through in the fabric whether
latitudinally or longitudinally. The figure bellow shows the laying and cutting process.

I. Fist make sure all the pattern pieces are set and ready,lay all the pattern pieces
on the main fabric and lay the lining ones as well and the facings following the
directions of the grain lines and instructions.

l
 II. Pin all the pattern pieces using straight pins for it to be ready for cutting.

III. Cutting is always done with the help of a fabric scissors or shears.when cutting
be extra careful not to cut the pattern pieces . Areas like neckline,armholes ,side
seam are being cut with extra carefulnes.

IV. The lining and facings were cut using the same procedures the main garment
was cut.

FIGURE THIRTY-ONE
Laying and cutting out of fabric
Source: Field Data,2021

li
 3.3.3 Garment Production Processes
Garment production is an organized activity consisting of sequential processes such as
stitching,cutting, finishing,fitting,pressing and packaging. This process is a process of
converting raw materials into finished products. In the garment industry, there is a
saying which goes “it will be difficult to maintain the industry if production is not up to
the mark, if the preproduction phase of preparation of materials is not properly carried
out.

Production process: Round Method of stitching was used in the garment production
process.

I. First and foremost, trace all the seam allowances on the main fabric from the
patterns using a tracing wheel and a tailor’s chalk.

II. Knitting all the raw edges of the pattern pieces to prevent it from fraying.

III. All the upper front and back were fused with fusible interfacing including all the
facings.

IV. The mid upper front piece was joined to be front side piece.

V. The front and back shoulders were joined together using the round method.

VI. The facing was also joining the same way using the same method.

VII. After all the seams were sent to the ironing board and pressed opened to give it
a beautiful look.

VIII. The lining was also done the same way as the main garment was stitched.

IX. All was sent to the ironing board for pressing to give it a classic look and for it
to lie down flat.

X. Stitch the darts and the shape.

XI. Do same to the lining and press all.

XII. Cut the hard net, the lining for the flare at the knee to the hem for it to me.

XIII. Cut the gathers on top of the flare.

lii
 XIV. Fix the horse hem at the hem the flare.

XV. After stitch the skirt lining around the knee to the raw edges of the flare and the
skirt inside-out to hide all the raw edges inside the garment.

XVI. Fixed the zip, after fold the zip allowance of the lining on the zip and do bling
tacking to hide the raw edges of the zip.

XVII. Garment was fitted on the model to check the fitness.

XVIII. It was then pressed, and mounted for presentation.

XIX. The garment is set and being stitched using the round method production.

FIGURE THIRTY-TWO

Garment production
process
Source:Field data,2021

liii
3.3.4 Presentation of discussion of results

FFIGURE THIRTY-THREE
Mounting and presentation

Source: Field Date, 2022

liv
FIGURE THIRTY-FOUR
Final garment Presentation

This is the final project picture, it’s a dinner wear garment with one leg puff sleeve and
the other side sleeveless.it has a detachable flare and six paneled skirt with two heavy
flares at the knee section with its fashionable dinner bag.

The harmony garments represent the selected theme and tittle. I got the title from the
theme board of which I developed it features to get this designs.it is always a notice that

lv
the top fashion designers always create a theme for a particular set of collections being
it couture garments or any other collections. Always the theme board has to correspond
with whatever design you are creating or designing. The colors in the garment
correspond with the theme board hence it is the theme board that influenced the
designer to make the right choice of fabrics and the colors in the fabric, the texture and
durability of the fabric. The fabric that was used was Ankara African Print and Lisa
fabric and the garment was cut on a straight grain.

Source: Field Data, 2022.

lvi
 CHAPTER FOUR
4.0 SUMMARY, RECOMMENDATION, AND CONCLUSION
4.1 Introduction
This chapter consists of the summary of the study, recommendations and conclusion
based on the study.

4.2 Summary
The purpose of the study was to produce dinner ware for young adults between the ages
of 25 to 30 years, cindering figure type (inverted triangular figure). Also, the study
further went on to examine some factors which includes; examine factors to consider
objectify unique dinner ware for young adult with inverted triangular figure.

Examine trends in theme for with both inverted triangular and triangular figure between
the ages of 25 to 30 years.

Identify pattern development strategies for specific design for young adult with the
inverted figure between the ages of 25 to 30 years.

The findings show it all the factors in objectifying dinner wears for young adults
between the ages of 25 to 30 years, customers profile representing the client’s status,
personality and interests were all on the board. Also, the climate, time and the role of
the young adult’s profile were considered. With the choice of fabric, the study identified
Ankara fabrics (African prints) with blends of exotic fabrics (Lisa fabrics). Hence, the
theme was glamorous which influenced the two fabrics that were used to design the
dinner wears for young adults between the ages of 25 to 30 years. The theme
therefore went on to influence the choice eagle to use and the choice of colors in the
Ankara fabric.

Two designs were designed. Of the designs which I used African print and a red Lisa
fabric and the other of which I used peach Lisa fabric and African prints.

Design details for Glamorous-Unity Design (G-U DO1)

G-S DO1 is a gown with princess dart from the armhole up to the waist and from the
waist long fitted skirt to the hem, an opening at one side. Also, on the opening there is a
flare at opening side. A shape derive from marine dark was used at the waist line.

lvii
Design details for glamorous – stylish design 02 (G-S DO2)

G-S DO2 is an off-shoulder dress with fitted skirt to the knee and a flare from knee to
the hem, also trimmings were used to serve as the sleeve.

Flat pattern cutting was adapted to reproduce the fashion image of the designers
drawing which include: the details of the body figure, the fabric reactions during the
production processes. Also, the fabrics were all cut along the straight grain. The
measurement of the client was used in the production.

Sewing technology was adapted in producing of the garment using the round method in
stitching the garment and the use of fusible interfacing to maintain the soft nature
desired in the dress. The sewing techniques was used and the principles of garment
construction for production of dinner ware for women. Some of the techniques that
were considered are: continuity and quality, and final finished appearance package of
the garment.

lviii
4.3 Conclusions
The glamorous designs in this project were produced using African print and exotic
fabric (Lisa fabric). The two designs came out perfectly and comfortable to wear. The
glamorous dinner wear was custom-made, sized patterns and production techniques
were used to give it a perfect fit on the client. Also, design ware made for inverted
triangular figure to depict the right silhouette for the figure

lix
4.4 Recommendation
I. Fashion companies and textiles companies should be orotund in supporting
fashion student projects and organizing workshops for both designers and
students to help promote and market their brands.

II. It is recommended that Africa prints fabrics and exotic fabrics can be used to
promote Africa print.

lx
 4.5 REFERENCES
• Bryan, A. & Bell, E. (2007). Business research methods (4th Ed). New YORK:
Oxford.
• Barrow, D. (2019), The swan dinner wear for corporate women: enhancing the
tall-slim figure using colors. Unpublished project report, Takoradi Technical
University, Takoradi.
• Hansen, K. T. (2004). The World in Dress, Anthropological Perspectives on
Clothing, Fashion and Culture. JSTOR: Annual Review of Anthropology, 34,
369-392.
• Herman, A. (2002). African Textile Industry. Accessed on 30 -03-2011.
• Concept of dinner wear www.pinterest.com
• Fabric trends for dinner wears www.pinterest.com
• Toiling on www.pinterest.com
• JanKowitz, A.D. (2002). Business research projects. London: Chapman Hill. In
M. Saunders, P.
• Cross-Cultural occasional wear Fashion and Textiles Review,1 (1), pp. 51 – 63.
Retrieved from http://www.itf pgh.com/journal.
• Damalie, S. A. (2019). K. cascades Impressions: An Ethnocentrically
Consequential
• Types of fabric www.pinterest.com
• Garments Young Adults mostly wear to dinner www.phoenix.com
• Draping www.pinterest.com
• African prints http://mazuridesigns.com
• Burns, L. & Bryant, N. (2007). The business Fashion Designing, Manufacturing
and Marketing. Fair child Publications Incorporation; New York.

lxi

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