ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES

ADRRI JOURNALS (www.adrri.org) E-ISSN: 2343-6891 VOL. 18, No. 1 (6), April, 2021- June, 2021 Prospects of in Garment Production in Ghana Joseph Osei1, Rose Dogbey2, Thomas Obeng Asare3 and Michael Obeng Nyarko4 1&2Department of Fashion Design and , Koforidua Technical University 3&4Department of Fashion Design and Textiles Studies, Kumasi Technical University 1Correspondence: [email protected] Available Online: 30th June, 2021 URL: https://www.journals.adrri.org/ Abstract Fashion designers use beads to design garments thereby adding more value, aesthetics and creativity in fashion. This has not been very popular on the local market. There is, however, a growing trend of using beads in the construction of garments especially in the Greater Accra Region. This study examined the future of making in the fashion by examining the possibilities of promoting beads in the construction of garment. The study adopted a cross sectional and descriptive research designs. A total of 100 respondents were sampled from a population of 1,728,333 economically active people in the Greater Accra Region. The respondents comprised 80 economically active people and 20 fashion designers. Accidental sampling was used to sample both the economically active people and the fashion designers. Interview schedules were used to gather data from the respondents. Statistical Product for Service Solutions (SPSS) was used to process the data. Descriptive statistics such as frequencies and percentages were used to present the data. The study found that people preferred beaded garments because of their aesthetics, patterns and uniqueness. Some of the factors considered by the fashion designers in constructing beaded garments were fabric type, fabric designs, and weight of the beads. However, issues such as low level of in bead, stringing high cost of beaded garment, and the perception that beaded garments are more feminine were found to be limiting the promotion of beads in the construction of Garment. Key words: beads, beaded garment, garment construction, clothing designers [Cite article as: Osei, J., Dogbey, R., Asare, T. O. and Nyarko, M. O. (2021). Prospects of Beads in Garment Production in Ghana. ADRRI Journal of Arts and Social Sciences, Ghana: Vol. 18, No.1 (6), Pp.37-53, E-ISSN: 2343-6891, 30th June, 2021.]

Received: (March 16, 2021)

Accepted: (June 30, 2021)

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute INTRODUCTION

Beads are one of the personal adornments universally among different cultures. It is usually made with materials which are durable. The use of bead is accepted all over the world. Although, over the years, several other materials like stones have been discovered and used as but much is not seen as compared to beads. According to Nyuieko (2009), despite the existence of precious metals such as gold, diamond, silver and bronze which have been used for some years, beads have still not lost its value. This is because the usage of beads forms part of many cultures and across the world. In all aspects of lives, the bead is almost seen in the social, economic, cultural, religious, as as political lives of people. In recent times, the uses of beads are mostly attached to fashion. In fact, many beaded garments are extension or an elaboration of jewellery, and in rare cases a decorative fabric for festive wear is composed entirely of beads (Nyuieko, 2009). As a result, fashion designers are gradually promoting beads by stringing them in the making of garments. Clothing as well as Jewellery designers mostly use bead on everything from haute couture to everyday wear. According to the Victoria and Albert’s Collection (1993), garments often became objects of significance when highly valued items were attached to twinning, bark-cloth, woven fibres, and plain or decorated cotton cloth. Gillow and Sentence (1999) also indicate that for one to achieve long-term usage of the beads, it is important to secure it firmly on any article that will be attached to. There are various types of beads which can be found all over the world. These may be classified according to how they are produced and design (Sherr, 1999. Several names are given to beads with philosophical meanings assigned to it. It is normally not rare to find similar designs carrying different names and even used differently among the various cultures. Beads are derived from a variety of materials such as seeds, glass, wood, ivory, bone, horn, shell, coral, pearl, jet, , gemstones, metals, ceramics, , faiences and plastics. However, Pierce (1999) reported that the use and preference of a particular type of bead or beadwork technique for garment hinges on the perception of people. Thus, people’s beliefs and exposure to fashion from different cultures shape their perceptions on the use of beads in the garment industry. Again, positive perceptions and exposure to more beaded fashion

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute works and techniques are likely to encourage people to use beads, while the other is also likely to reduce people’s patronage to the use of beads in garment construction. Nyuieko (2009) therefore recommends that promoting beads in a particular cultural setting should first consider the beliefs and perceptions of people. In Ghana, beads are used in almost all the rites of passage of people, the bead is used on children after birth, puberty, marriage and death. It is also used in many other rites including the installation of chiefs/kings, queens and priests the bead is used. However, the usage of beads is gradually taking a new dimension. Beads are now used in the construction of garments. This is due to the massive technological improvement in the fashion industry over the years. Thus, simple are employed for couch or beads into garments. Fashion designers use beads to embellish garments thereby adding more value, aesthetics and creativity in fashion. This has not been very popular on the local market. There is a growing trend of using beads in the construction of garments especially in the Greater Accra Region. This is due to the increasing numbers of high class and modern fashion designers, increased immigration as well as increased interface with people from different cultures. The region is therefore described as the ‘melting pot’ of Ghanaian and foreign cultures. The aim of using beads in garment construction is to add innovative designs and creativity in fashion. However, this has not caught the attention of most people. It is, however, perceived that when such creativity and innovation is promoted, it will help boost the performance of local fashion and bead making industries on the international market. It is therefore important to assess this trend in fashion with the view to ascertain its relevance within the present-day culture of the people and the readiness of fashion designers to face the tests of the day and their preparedness for the future especially within the context of current trends of globalization. This study therefore examined the future of bead making in the fashion industry by examining how beads can be promoted in the production of garment. It assessed people’s perceptions on the use of beads in the construction of garments, types of beads and techniques preferred by people for the construction of garment. It also examined the technologies used by fashion designers in the use of beads in garment construction, and the challenges garment designers encounter with the use of beads in the production of garments.

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute Research Questions The study seeks to answer the following research questions: i. How does the consumer perception of garments embellished with beads affect patronage? ii. What techniques are employed by Ghanaian garment producers in beads stringing on garment? iii. What are the prospects and challenges faced by Ghanaian garment producers in embellishing garment with beads? LITERATURE REVIEW Types of beads used in garments Beads come in many sizes, colours, shapes and styles. According to Kingsley-Heath (2009), bold, large beads make a big statement, while small ones add a subtle, classy touch to apparels. But massed together, small beads can be used to make big effect when grouped together by colour or shape. A few styles most often used include seed, pony, rondelle, or the many and varied shapes of faceted beads. Different effects, from casual to elegant, can be achieved depending on which type, style or colour of beads you choose to use to make beaded clothes. Seed beads can be either clear or opaque. There are usually made of glass, although lower-quality ones are sometimes made of plastic. Seed beads are often used to create a pattern by them in place, using a grid as a pattern, the same way a is made (, 2003). They create a show-stopping splash of colour especially if one uses the semi-transparent ones that catch and reflect light. Pony beads are large compared to most other beads used on clothing or accessories. They are shaped like a can of food with a hole bored through it. Although they are usually opaque, some semi-transparent varieties are sometimes used. Pony beads seem to have an affinity for use in leather garments or accessories where they are often attached to individual strands of fringe (Sherr, 1999). Rondelle beads are shaped like flattened disks with holes bored through them. They are often used as spacers between larger beads. Rondelles are clear, semi-transparent, opaque, faceted, or even jewel-encrusted. Used as a featured bead with others taking second place, rondelles create an exciting, unusual effect. Faceted beads are truly the ‘gems’ of all beads, whether they are made of precious or semi-precious stones (Nyuieko, 2009). Inexpensive versions made of glass are widely 40

ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute available. Cutting glass beads like the way gemstones are cut increases the visibility of the bead, due to the facets reflecting and refracting the light. Faceted ones can be plastic, glass, stone, wood, bone, amber, or ivory. From whatever material they are cut, faceted beads add the sparkle of light either reflecting or refracting from them. Types of beadwork Sherr (1999) explain beadwork as the art of fastening beads to one another by stringing them together with a or beading needle and or thin wire, or sewing them to a fabric. Beadwork techniques in garment construction are broadly divided into bead , bead , bead and bead . Wells (1996) explained as a kind of beadwork where needle and thread are used to stitch beads onto a surface fabric or leather. De Miguel (2015) posited that bead embroidery is an accessory which is an essential part added to textile’s structure to beautify it. During fabric production woven, knitted, and crocheted beads may be attached to the fabric, whereas embroidered beads are always added on finished fabric. using seed beads can be done on either loom or by using off-loom stitches. When producing fabric on a loom, the beads are fixed between the ends (warp) and the picks (weft). Bead production technique involves two passes of the weft . First, the whole row of beads is wound on the picks (weft). Then the beads are pushed in between the ends (warp). The needle is reversed through the beads above the ends fixed the beads into position. is a way of incorporating beads into fabric (bead crochet technique) to create decorative effect into women’s fashion accessories. The technique is made by threading beads onto uncut crochet thread prior to crocheting. At pre-determined stitches, the crochet maker slides one bead down and joins it into the fabric. Most bead artists either use a beading needle or apply clear nail polish to the end of the thread to lock the stringed bead. According to Pierce (1999) beaded knitting is a kind of knitting in which the stitches are ornamented with ceramic or glass beads. Pierce (1999) found two main methods: the beads on in advance, and threading the beads separately as the object is knitted. The classic method is to thread beads on the yarn in advance by slipping the stitch, putting the bead between stitches, and putting the

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute bead on the stitch. The second method that offers more flexibility is to thread the bead onto the loop before it is knitted. In this case, the beads appear on both sides of the fabric. The major disadvantage of this method is that the beads must be larger, since two strands of the yarn pass through the bead. Methods for stitching beads into garments In wool embroidery, unlike the use of regular thread, there are very few stitches used. Usually, the nature of the beads determines the manner the designer should stitch the beads to the fabric. Some of the stitching methods are single bead attachment, backstitching and couching. Single bead attachment (Gerlach, 2005) is the process of adding one bead at a time to the fabric with separate knot at the back to lock the ends. This process can be used for tiny seed beads themselves or with larger beads attached with a to hold them in position. In the process the designer brings the thread from the back of the fabric through the eyelet of the larger single bead and then through the seed bead, the designer threads back through eyelet of the larger bead and continue back through the fabric. The tiny seed bead is positioned on top of the larger bead and usually adds to the beauty of the fabric surface. Backstitching technique ensures the most secure and easily controlled stitching of a bead line. It is done by using the tip of a needle to pick up five beads and sliding them down to the fabric surface. The beads are placed firmly into a row using the tip of the needle.. Stab the needle straight down just in front of the fifth bead. Stab the needle back up to the front, bringing two beads back. Pass the needle again through the two beads, and then pick up five more beads. Repeat the leap-frog movement of backing up and re-entering partway back in the previous row until the design line is covered. Another method of stitching a line of beads is by threading the beads and then couching them to the surface of the fabric with a different thread. It takes a bit of practice demands constant practice to pair the right correct amount of slack in the string with the right amount of tension in each couching stitch. Bring the needle through the fabric from the back. Add beads to the thread then place the beads down and stitch back through the fabric, making a loose row of beads. The designer bring the needle back up through the fabric together with the beads and sew the row of

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute beads down to the fabric by sewing or stitching from front to back over the thread and in between the beads. This holds the beads in place and is the most common stitch used for beading outlines or filling in spaces. Factors to be considered when designing beading garments Wells (2003) stated that weight should be considered first when executing work on beads. Wells (2003) noted further that adding beads to fabric affects the drape of the fabric. The weight of beads may distort the weave structure of the fabric or tear the fabric if the weight is too great (Pierce, 1999). On woven fabrics, areas that hang on the bias will expand or elongate much more than adjacent areas on the grain line. Considering effect of weight, one need to limit adding bead design to fabric on straight grain, or at least reduce the number of beads in bias areas. Knitted fabrics stretch much more in the horizontal direction than in the vertical direction. This may lead to draping effects of the fabric (Thomas & Lenz, 2015). Fashion designers consider the usage of the design (Kingsley-Heath, 2009). For beaded clothing, one would not want to sit on bulky beads. One should also consider of the fabric. According to Nyuieko (2009), shrinkage can occur in beadwork from two main sources, natural shrinkage of fabric when cleaning beaded fabric and shrinkage from tension on the beading yarn. Wells (2003) suggests that fashion designers should pre-shrink fabric if they have the intension of washing it or do dry- cleaning. Berlo and Phillips (1998) found the use of embroidery frame to minimize fabric shrinkage as a result of beading a fabric. It is expected that fabric designers will leave wide margins around large or heavily beaded pieces so that the pattern for the fabric piece can be re-marked after the beading is done. Fringes and trims, can be applied after the garment is completed. Appliqués are stitched differently from the beaded areas. This will reduce fabric shrinkage due to tension on the beading thread. If the garment is later damaged the appliqués can be removed (Gillow & Sentence, 1999). Fourth, beadwork needs a lot of support. Underline the beading fabric with a second layer of firmly woven fabric if necessary. Kaufmann (1993) reported that beadwork should be lined to save snagging the underlying threads. To avoid fabric rotation on the body, there should be a balance of beads on the garment.

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute METHODOLOGY The study adopted a cross sectional and descriptive research designs. A total of 100 respondents were sampled from a population of 1,728,333 economically active people in the Greater Accra Region. The respondents comprised 80 economically active people and 20 fashion designers. Accidental sampling was used to sample both the economically active people and the fashion designers. Interview and questionnaire were used to gather data from the respondents. Statistical Product for Service Solutions (SPSS) was used to process the data. Descriptive statistics such as frequencies and percentages were used to present the data. RESULTS AND DISCUSSIONS This section presents the data analysis and discusses the results using Statistical Package for Social Sciences (SPSS). The statistical employed for the analysis was descriptive statistics. People’s perceptions on the use of beads in the construction of garments This section analysed the perceptions of people about beaded garments. The aim was to assess the prospects and direction of the construction of beaded garments. The section focused on responses from the sampled economically active people. The respondents were asked to express their views on gender elements surrounding beaded garments. The results are presented in Table 1. Table 1: Beaded garments are more feminine Response Male (%) Female (%) Total (%) Strongly agree 8 (25.0) 13 (27.1) 21 (26.3) Agree 18 (56.3) 19 (39.6) 37 (46.2) Disagree 5 (15.6) 12 (25.0) 17 (21.2) Strongly disagree 1 (3.1) 4 (8.3) 5 (6.3) Total 32 (100.0) 48 (100.0) 80 (100%) Source: Field survey (2017) Table 1 shows that 25% of the respondents strongly agreed that beaded garments are more feminine, 56.3% agreed, while 15.6% and 3.1% disagreed and strongly disagreed, respectively. The results show that the majority (81.3%) of the respondents perceived beaded garments as more feminine. Table 1 further shows that most of both the males (72.5%) and females (66.7%) respectively perceived beaded garments

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute as more feminine than unisex. This is likely to affect the patronage of males for beaded garments as indicated by de Miguel (2015) that the perception of people about a particular fashion style influence their patronage and how they associate themselves with the style. Table 2: Consumers’ perceptions about beaded garment Responses

Statements Strongly Agree Disagree Strongly agree disagree 1. It appears beaded garments are 28(35.0%) 23(28.8%) 19(23.8%) 10(12.5%) too expensive.

2. In most cases beaded garments 36(45.0%) 19(23.8%) 15(18.8%) 10(12.5%) are reliable in terms of stitching quality. 3. Beaded garments appear difficult 36(45.0%) 44(55.0%) 0(0%) 0(0%) to wash. 4. There is feeling of comfort in 50(62.5%) 30(37.5%) 0(0%) 0(0%) wearing beaded garments.

Source: Field survey (2017)

Another issue explored under the section was cost of beaded garments. From the study, the majority (63.8%) of the respondents perceived beaded garments as expensive. This could also reduce the demand of most people for beaded garments. However, majority (68.8%) of the respondents were of the view that beads were mostly properly stitched into garments. The implication is that most of the respondents perceived beaded garments as durable, which could encourage some of them to opt for beaded garments. The result also shows that the local fashion designers were doing well in the construction of beaded garments. The respondents were also asked to indicate their perception about the ease of washing beaded garments. This was critical since washing is very necessary in the handling and use of garments. From the study, all (100%) the respondents were of the view that beaded garments were difficult to wash. The main complaints were

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute that the beads become loose or get detached from the garment during hand washing, and discolouring of beads after several washing. The result shows that the hand washing method is not appropriate for beaded garment. In addition, soap or detergent type used by most of the respondents in washing could also be described as less appropriate for beads, thereby causing their discolouration. The study further examined the perception of the respondents about the ease with wearing beaded garments. From the study, all (100%) of the respondents admitted that wearing beaded garments was comfortable. The implication is that local fashion designers were doing well to ensure that the weight of beads does not make it heavy or uncomfortable for people to wear beaded garments. This could encourage more people to opt for beaded garments for many of their activities and events.

Perceived uses of beaded garment

45% 55% Special Events/Ceremonies

Everyday Wear

Figure 1: Pie Chart showing perceived uses of beads Source: Field survey (2017)

As shown in figure 1, a question was posed regarding how respondents perceive the uses of beads majority, (56%) of the respondents indicated that beaded garments were more appropriate for special occasions/ceremonies whereas 44% perceived beaded garments as conducive for everyday wear. This perception by the majority of

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute the respondents is likely to reduce their interest in beaded garments. This could, however, be attributed partly to the fabric type mostly used for beaded garments and the mode of dressing of the Ghanaian people. Thus, beads are mostly used to design garments from expensive wax prints mostly used for religious activities or important occasions such as christening, marriage ceremonies and funerals. In other words, the people attach some reverence and value to the use of beads in their socio-cultural setting. As a result, not all fabrics are considered appropriate to be used as beaded garments since beads are considered precious to the people. Persons perceived to be qualified to wear bead

24%

Everyone

76% Traditionalists

Figure 2: Pie chart showing persons who are perceived to be qualified to wear beads Source: Field survey (2017)

The study further revealed in Figure 2 that the majority (76%) of the respondents perceived that everyone qualifies to wear beaded garments, while 24% believed beaded garments were for traditional persons. This perception by the majority implies that people could easily opt for beaded garments when they find them fit for any occasion or event. The view of the minority was because chiefs and queen

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute mothers use beads to adorn themselves during festive and other important occasions. The above analyses show that the perception of the people about beaded garment is critical to their use and prospects in the garment construction. Some of the reasons ascribed to the preference for bead embroidery were the fact that beads show some resemblance to local embroidery designs which they are already familiar with in terms of production skills and technology. The results show that familiarity of the beadwork technology influenced people’s preference for bead embroidery. This shows that the local fashion designers would have to gradually introduce all the other beadwork types to whip or attract the patronage of the general populace in garment construction. This will help increase the size of the market and patronage for beaded Garments in the Greater Accra Region of Ghana. Reasons cited for the preference for bead stringing included uniqueness, aesthetics and durability. On the contrary, some of the reasons indicated for less preference for bead stringing were time consuming aspect of the construction due to the manual production processes, lack of technology to enhance it designs and uncommonness in African garment construction. The sampled fashion designers were requested to indicate how they determine the bead stringing method to be used on garments. The results are presented in Table 2.

Table 3: Mode of determining bead stitching method to be used on garments Mode Frequency Percentage Customers 2 10.0 Myself 10 50.0 Bead type 4 20.0 Technology 1 5.0 Others 3 15.0 Total 20 100.0 Source: Field survey (2017)

Table 3 shows that half (50%) of the respondents admitted to determining the bead stitching method themselves in the construction of beaded garments, 20% indicated that the bead type influenced the stitching method, while 10% and 15% were

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute determined by customers and other factors, respectively. The other factors constituted fabric type and fabric design. The determination of many of the beading stitching methods by the fashion designers implies that most customers did not have knowledge in bead stitching. This gives liberty to the fashion designers to determine the bead stitching method that best suit a particular fabric and pattern designs to the satisfaction of their customers. The implication is that the promotion of beads in the construction of garments should factor into the process the training of fashion designers on the elements in determining the appropriate beading stitching methods for garment construction. This will help to encourage patronage for beaded garments. Another issue considered under the section was the technology used in stitching beads to garments. The study found that all (100%) the sampled fashion designers admitted to be using manual processes in stitching beads into garments. In other words, all the bead pattern designs were manually made. This could affect the output and efficiency of the fashion designers in constructing beaded garments as much time would be spent on constructing one beaded garment. Thus, Kingsley- Heath (2009) explains that automating many elements and processes in the fashion industry is a pre-requisite to the growth of the industry. The implication is that as the patronage for beaded garments increases, more pressure would be exerted on fashion designers if bead stitching methods are not automated. In addition, the manual stitching method for beaded garments could also affect the smoothness, efficiency and quality of beaded designs which could impede the promotion of beads in the construction of garments in the Greater Accra Region.

The study examined the factors considered by the fashion designers when designing beaded garments. The results are presented in Table 4.

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute Table 4: Factors considered when designing beaded garments Factors Frequency Percentage Fabric type 20 100.0 Weight 13 65.0 Shrinkage 2 10.0 Bead type 7 35.0 Total *42 100.0 Source: Field survey (2017) n = 20 *Multiple response

Table 4 shows that all the respondents (100%) considered the fabric type in designing beaded garments, 65% considered weight of the beads, while 35% and 10% respectively factored bead type and shrinkage into the designing of beaded garments. The results show that fabric type and weight of beads are the factors that were mostly considered by the fashion designers in designing beaded garments. These agree with the assertion of Wells (2003) that the critical of the several factors to be considered when designing and executing beaded project on fabric are fabric properties (such as type, design) and bead characteristics (such as weight, sizes and types). However, the low consideration for fabric shrinkage resulting from beading could affect the beauty of the beaded designs after treatment or washing. The implication is that most of the fashion designers did not pre-shrink the fabrics before stitching the beads to maintain positional balance and avoid natural shrinkage from treatment and tension resulting from beading thread. However, the use of embroidery beadwork by many of the sampled fashion designers could help reduce the extent of shrinkage from both tension and treatment. Nonetheless, the non- consideration of shrinkage by most fashion designers could imply that deliberate efforts, such as leaving wide margins around heavily beaded pieces and stitching appliques separately from the project, will not be put in place to avoid shrinkage from tension created by beaded thread. The non-consideration of shrinkage by most of the fashion designers could also mean that they did not have adequate knowledge on fabric shrinkages after treatment.

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute Challenges of cloth designers in the construction of beaded garments This section assesses the challenges cloth designers encounter with the construction of beaded garments. Since the focus of the section was on the cloth designers, the sample size for the section was 20. The respondents were requested to indicate the extent to which the construction of beaded garments was stressful and time consuming. The results are presented in Table 4.

Table 5: Construction of beaded garments is stressful and time consuming Response Frequency Percentage Strongly agree 7 35.0 Agree 11 55.0 Disagree 2 10.0 Total 20 100.0 Source: Field survey (2017) Table 5 shows that 35% of the sampled fashion designers strongly agreed that constructing beaded garments was stressful and time consuming, 55% agreed, while 10% disagreed. The results show that the majority (90%) of the respondent found it stressful constructing beaded garments. This was largely attributed to the manual process used in stitching beads to garments. With this challenge, the situation will be more difficult when a fashion designer must construct more beaded garments within a short timeframe. This challenge could reduce the effectiveness of efforts to promote beads in garment construction as fashion designers technically ready to support increased demands for beaded garments. The implication is that any efforts in promoting beaded garments should consider the technology used in stitching various types of beads or beadworks to garments. The stress and time-consuming nature of constructing beaded garments could cause reduction in the revenue levels of fashion designers. Attempts to speed up the manual process in stitching beads to garments could also affect the quality of the output. With this challenge, fashion designers in the Greater Accra Region could not construct beaded garments on a large scale for both the local and international markets. Another issue considered under the section was difficulty in getting the preferred beads for garment construction. From the study, all (100%) disagreed to experiencing

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute a challenge with difficulty in getting their preferred beads. The results show that the various types of beads used in garment construction were readily available in the Greater Accra Region. This could be an important factor in promoting beads in the construction of garments in the Region. CONCLUSIONS AND RECOMMENDATIONS Beaded garments are elaboration of jewellery, and in rare cases a decorative fabric for festive wear is composed entirely of beads. This has enabled fashion designers to incorporate beaded pattern designs into garment construction. People preferred beaded garments because of their aesthetics, pattern designs and their uniqueness. Some of the factors considered by the fashion designers in constructing beaded garments were fabric type, fabric designs, and weight of the beads. However, issues such as low level of technology in bead stitching, high cost of beaded garment, and the perception that beaded garments are more feminine were found to be hindering the promotion of beads in the construction of Garment. The study concludes that conscious efforts from both institutional and individual sources must be advanced to ensure effective promotion of beads in the construction of garments in the Greater Accra Region. Relative to the findings the followings the following recommendations are considered: (1) The study recommends that the National Vocational Training Institute (NVTI) in collaboration with the Ghana National Tailors and Dressmakers Association (GNTDA) should organise periodic training programmes for fashion designers on designs processes to equip them with creativity and innovation in the construction of beaded garments. Such training should include colour combinations, bead sizes and pattern designs with emphasis on males. (2) The study suggests that the NVTI in partnership with Ghana Regional Appropriate Technology Industrial Service (GRATIS) Foundation should take steps to develop automated machines and equipment for stringing beads onto garments. This would help to improve efficiency, enhance patronage and reduce stress in manually embellishing garments with beaded. (3) The Ghana Standards Authority in conjunction with the GNTDA and education institutions should embark on mass education on handling of beaded garments to ensure their durability. This could include washing procedure of beaded

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ADRRI JOURNAL OF ARTS AND SOCIAL SCIENCES E-ISSN: 2343-6891 VOL. 18, No. 1(6), April, 2021-June, 2021 Published by Africa Development and Resources Research Institute garment and the appropriate soaps for washing beaded garments to avoid discolouration.

REFERENCES Berlo, J. C. & Phillips, R. B. (1998). Native North American Art. Oxford . Oxford: Oxford University Press. ISBN 978-0-19-284218-3. De Miguel, M. (2015). Let's Hubble: A Journey into the Brand-New Beadwork Stitch. SRA Books. ISBN 978-1-909116-47-4. Gerlach, J. (2005). Best of Bead & magazine: beading projects. Waukesha, Wis.: Kalmbach Pub. pp. 46–47. ISBN 0-87116-218-0. Gillow, J. & Sentence, B. (1999). World Textiles: A Visual Guide to Traditional Techniques, Thames & Hudson. London. p. 216. Kaufmann, C. (1993). ‘The Bead Rush: Development of the 19th Century Bead Trade from Cape Town to King William’s Town, Ezakwantu: Beadwork from the Eastern Cape, Cape Town. South African National Gallery, p. 47. Kingsley-Heath, H. (2009). Albion Stitch: An Introduction to the New Beadwork Stitch. Useful Booklet Company. ISBN 0954367278. Nyuieko, V. K. A. (2009 n. p.). The bead culture among the Krobo of Ghana. PHD thesis, Faculty of Fine Art, College of Art Social Sciences, Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. Pierce, D. (1999). Beading on a Loom. Interweave Press. ISBN 1-883010-63-2 Sherr, D. L. (1999). North American Indian Jewelry and Adornment: From to the Present. New York: Harry N. Abrams. ISBN 0-8109-3689-5 Thomas, C. & Lenz, G. (2015). Diamond Weave: A complete guide to mastering the bead world's newest stitch. CreateSpace Independent Publishing Platform. ISBN 978-1-5147-3715-6. Victoria and Albert’s Textile Collection (1993). Embroidery in Britain from 1200 to 1750 - Donald King and Santina Levey Canopy Books, A division of Abbeyville Press, Inc. ISBN: 1-55859-652-6 Wells, C. W. (1996). Creative Bead Weaving. Lark Books. ISBN 1-887374-05-1 Wells, C. W. (2003). The Art & Elegance of Bead weaving. USA: Lark Books. pp. 54– 64. ISBN 978-1-57990-533-0.

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