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Contemporary Kenyan Aesthetic Applied to Fashion for Young Professionals in Kenya

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Contemporary Kenyan Aesthetic Applied to Fashion for Young Professionals in Kenya THE UNIVERSITY OF NAIROBI SCHOOL OF THE ARTS AND DESIGN BDS 413: PROJECT PAPER CONTEMPORARY KENYAN AESTHETIC APPLIED TO FASHION FOR YOUNG PROFESSIONALS IN KENYA A project paper submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts (Design) at the School of the Arts and Design, the University of Nairobi By Kibuchi Lillian Waithera B05/0394/2009 Supervisor: Joan Mosomi February 2013 1 DECLARATION I declare that this is my original work and has not been presented in the past for the fulfillment of a degree course in any other university. Kibuchi Lillian Waithera Signature…………………………………………………… Date ……………………………………………………… Joan Mosomi Supervisor Signature ………………………………………………… Date………………………………………………………. Dr. Walter Onyango Director, School of the Arts and Design Signature……………………………………………… Date ………………………………………………… 1 2 DEDICATION To the Almighty God for his divine providence throughout the four years of the course. To my parents, Mr. and Mrs. Kibuchi, who provided much needed moral and financial support. To Joy, Nyash, Ciru, Wang’ombe and Karanu. To Wandati, Kishly and Wams. To my classmates, who kept me laughing throughout. And to Lambert, who taught me how to cope. 2 3 ACKNOWLEDGMENT The completion of this project paper would not have been possible but for the support of my family and friends. I salute you all. I extend my gratitude towards the interviewees, who spared me some time to chat. I am also grateful to my lecturers for their academic assistance, and to my supervisor, Joan Mosomi, for helping me find my way. 3 4 ABSTRACT It has been said that to climb the corporate ladder, women must dress for the job they want, not the job they hold. This is known as power dressing, and is meant to project confidence that is intended to translate into importance or success. Definitions of power dressing have, however, been confined to Western-styled suits or dresses. Thus young professionals in Kenya therefore mostly dress in a manner that does not reflect their cultural heritage. This paper will attempt to define a contemporary Kenyan aesthetic in fashion, and examine how it may be applied to fashion for young professionals in Kenya. The wrapped or draped form of dress is put forward as an aesthetic that is uniquely Kenyan and cuts across all cultures. Traditional modes of Kenyan dressing from different Kenyan communities are sampled to explain this aesthetic. This paper will also explore the Cradle to Cradle theory, whose goal is to design products and systems with their end of life-cycle management in mind, and to appropriate waste from one life cycle as input for the next product. The researcher explores how this mindset may be applied to fashion for young professionals, particularly in the use of the more environmentally friendly polyester fabrics. Using qualitative methods, this study investigates the fashion profile of young professionals to determine why they opt to dress like they do. It is descriptive and employs non-purposive sampling, since the main aim of the study is to obtain an overall picture of the situation. The study is cross-sectional, involving only one contact with the sample population. Data has been collected by way of non-participant observation, unstructured interviewing, written documents and audiovisual material. Observations are recorded by use of descriptive notes and photographs. Due to limitations in time and resources, the researcher sampled a total of eight young professionals. The paper proposes that fashion designers tap into traditional forms of Kenyan clothing to develop a uniquely Kenyan contemporary fashion aesthetic. 4 5 LIST OF FIGURES Figure 1 Labor Force Participation Rates by Sex and Age 1 Figure 2 Kanga draped across one shoulder and around the waist 9 Figure 3 Part of Ejiro Amos Tafiri’s Arise Africa 2012 collection 10 Figure 4 Part of Ejiro Amos Tafiri’s Arise Africa 2012 collection 10 Figure 5 Part of Folake Folarin-Coker’s Spring Summer 2012 collection 11 Figure 6 Part of Folake Folarin-Coker’s Spring Summer 2012 collection 11 Figure 7 Part of Folake Folarin-Coker’s Spring Summer 2012 collection 11 Figure 8 The Lily twist dress by Folake Folarin-Coker 12 Figure 9 Thakoon Fall/Winter ‘11, Louis Vuitton Spring Summer ’11 12 Figure 10 Rihanna wears kanga outfits by SUNO 13 Figure 11 Rachel Shebesh wears an exact replica of the Kenyan flag 15 Figure 12 Nandi married woman 16 Figure 13 The favorite wife of the Kikuyu chief, Njiri 16 Figure 14 Embu woman circumciser 16 Figure 15 Dorobo married woman immediately after giving birth 17 Figure 16 Recently married Taveta woman wearing her bridal dress 17 Figure 17 Boni girl 17 Figure 18 Buba dress 18 Figure 19 Nelson Mandela wears the Madiba shirt 18 Figure 20 Ugandan gomesi 18 Figure 21 Bogolan or mud cloth from Mali 18 Figure 22 The North African djellaba 18 Figure 23 The Ethiopian coffee dress 18 Figure 24 A sample of the East African kanga 19 Figure 25 The winning national dress design for women 20 Figure 26 A version of the national dress worn by the Kenyan volleyball team 20 5 Figure 27 The male version of the Kenyan national dress 21 Figure 28 Domestic textile and apparel market 22 Figure 29 A summary of the fashion design process 37 6 Table of Contents 1 INTRODUCTION .................................................................................................................................... 1 1.1 Overview ............................................................................................................................................. 1 1.1.1 Problem Statement ................................................................................................................... 3 1.1.2 Significance of the study .......................................................................................................... 3 1.1.3 Research Objectives ................................................................................................................. 4 1.1.4 Research Questions .................................................................................................................. 4 1.1.5 Research Purpose ..................................................................................................................... 4 1.1.6 Definition of Terms ................................................................................................................. 4 2 REVIEW OF LITERATURE ................................................................................................................. 8 2.1 Introduction........................................................................................................................................ 8 2.2 The African aesthetic ........................................................................................................................ 8 2.2.1 Color as a semiotic system ...................................................................................................... 9 2.2.2 The African dress culture ...................................................................................................... 10 2.2.3 Defining African fashion ....................................................................................................... 10 2.2.4 The global circulation of African fashion ........................................................................... 13 2.3 The Contemporary Kenyan Aesthetic ......................................................................................... 14 2.3.1 Identifying a Contemporary Kenyan Aesthetic ................................................................. 15 2.3.2 In search of Kenyan identity in dress .................................................................................. 17 2.3.3 The state of the Kenyan textile industry ............................................................................. 21 2.4 The Cradle To Cradle Theory ....................................................................................................... 22 2.4.1 Use of Polyester ...................................................................................................................... 24 2.5 Conclusion ........................................................................................................................................ 26 3 RESEARCH METHODOLOGY ........................................................................................................ 28 3.1 Overview ........................................................................................................................................... 28 3.2 Research Design .............................................................................................................................. 28 3.3 Population and Sample ................................................................................................................... 28 3.4 Data Collection ................................................................................................................................ 28 3.5 Data Analysis .................................................................................................................................... 30 3.6 Data Presentation ............................................................................................................................ 30 3.7 Summary ........................................................................................................................................... 31 3.8 Limitations .......................................................................................................................................
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