- TAKORADI POLYTECHNIC REPOSITORY

TAKORADI POLYTECHNIC
SCHOOL OF APPLIED ARTS
DEPARTMENT OF FASHION DESIGN AND TECHNOLOGY
PROJECT TOPIC:
DESIGNING THE RIGHT OUTFIT TO SUITE THE BODY SHAPE
OF THE FEMALE GHANAIAN FIGURE
GYAMOL ARABA IDUN
07081847
JULY, 2011
DESIGNING THE RIGHT OUTFIT TO SUITE THE BODY SHAPE
OF THE FEMALE GHANAIAN FIGURE
BY
GYAMOL ARABA IDUN
07081847
A project submitted to the Department of Fashion of the School of Applied Arts, Takoradi
Polytechnic in partial fulfillment of the requirements for the award of Higher National Diploma.
JULY, 2011
DECLARATION
I hereby declare that this work is a true presentation of the outcome of my research findings and
not copied.
NAME: GYAMOL ARABA IDUN
SIGNATURE………………………….
DATE……………………………..
CERTIFICATION
I certify that this project work has been supervised and accessed in accordance with laid down
guidelines by Fashion department, Takoradi Polytechnic.
We certify that this project is a true copy of the candidate.
SUPERVISOR’S NAME: MISS SYLVIA DONKOR
SIGNATURE………………………………
DATE…………………………………
HEAD OF DEPARTMENT: MRS EDNA NYAME PHILPS
SIGNATURE………………………………
DATE……………………………….
ACKNOWLEDGEMENT
My supreme gratitude goes to the Almighty God for seeing me through this academic activity
successfully. My next acknowledgement goes to my supervisor, Miss. Sylvia Donkor who
mentored and guided me throughout the study.
Secondly, I wish to thank my parents Mr. and Mrs. Idun for their financial and emotional support
throughout the three years of studying. Lastly, my appreciation goes to the staff of the Fashion
Department for the role they played throughout the three year stay on campus.
TABLE OF CONTENTS
CONTENTS
PAGES
DECLARATION………………………………………………………………………..II
CERTIFICATION………………………………………………………………………II
ACKNOWLEDGMENT…………………………………………………………………III
TABLE OF CONTENTS…………………………………………………………….IV-VII
CHATER ONE
INTRODUCTION
BACKGROUND TO THE STUDY............................................................................................1-2
STATEMENT OF THE PROBLEM..............................................................................................2
OBJECTIVES OF THE STUDY....................................................................................................3
SIGNIFICANCE OF THE STUDY...............................................................................................3
DELIMITATION.............................................................................................................................3
LIMITATIONS OF THE STUDY...................................................................................................4
DEFINITION OF TERMS……………………………………………….…………………….....4
ORGANIZATION OF THE STUDY……….................................................................................5
CHAPTER TWO
LITERATURE REVIEW
INTRODUCTION….......................................................................................................................6
BODY SHAPE…………………....................................................................................................7
BRIEF HISTORY OF BODY SHAPE........................................................................................7-9
PEAR SHAPE…........................................................................................................................9-10
HOURGLASS SHAPE............................................................................................................11-12
VASE SHAPE..........................................................................................................................12-13
CORNET SHAPE................................................................................................................... 13-14
COLOURS.................................................................................................................................... 15
COLOUR COMBINATION…................................................................................................15-16
SIGNIFICANT OF COLOURS…………….………………………………...……………...16-17
AFRICAN PRINT..................................................................................................................…...17
CHAPTER THREE
METHODOLOGY
INTRODUCTION........................................................................................................................18
THE DESIGNING PROCESS......................................................................................................18
CUSTOMER PROFILE................................................................................................................19
THEME BOARD...........................................................................................................................20
COLOUR BOARD........................................................................................................................21
WORK BOOK...............................................................................................................................21
FABRICS AND TRIMMING……………………………………………………..............…….22
DESIGN BOARD…………………………………………………………………………..……22
TECHNICAL DRAWING…………………………………………………………………..…...23
SPECIFICATION DRAWING…………………………………………………………..………24
SAMPLE BOARD……………………………………………………………………………….25
PATTERN MAKING PROCESS…………………………………………………………....…..26
MEASUREMENT………………………………………………………………………...……..26
TOOLS AND EQUIPMENT……………………………………………………...……………..27
PATTERN MAKING PROCESS………………………………..………………………………28
TOILING………………………………………………………………………………….…....29
LAYING OUT AND CUTTING OUT OF FASHION FABRIC………………………..………29
ASSEMBLING OF GARMENT………………………………………….…………….........29-31
ACCESSORIES…………………………………………………….……………………………32
FINISHING AND PRESSING……………………………….……………………………….…32
CHAPTER FOUR
INTRODUCTION……………………………………………………………………...………..33
SUMMARY…………………………………………………………………………...…………33
CONCLUSION…………………………………………………………….…………..…….34-35
RECOMMENDATIONS………………………………………………………………………...35
REFERENCES…………………………………………..………………………………………34
APPENDIX……………………………………………………………………….……………...37
CHAPTER ONE
INTRODUCTION
BACKGROUND OF THE STUDY
Female body shape is the cumulative product of a woman's skeletal structure and the
quantity and distribution of muscle and fat on the body. There are, and have been, wide
differences on what should be considered an ideal or preferred body shape, both for
attractiveness and for health reasons. These have varied among cultures simultaneously.
As with most physical traits, there is a wide range of normality of female body shapes,
from http/en.wikipedia.org/wiki, (2011).
Human beings and their cultures have perennially focused attention on the female body
as a source of aesthetic pleasure, sexual attraction, fertility, and reproduction.
The female body occurs in a range of shapes. The female figure is typically narrower at
the waist than at the bust and hips, and usually has one of four basic shapes: banana, pear,
apple, cornet or hourglass. The bust, waist, and hips are called inflection points, and the
ratios of their circumferences define these basic shapes. Usually, the bust area will
depend on the person's weight and height, answers.com, (2011).
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It is said that the female body usually inflects inward towards the waist around the middle
of the abdomen between the costal margins and the pelvic crests. The waist is typically
smaller than the bust and hips, unless there is a high proportion of body fat distributed
around the waist. How much the bust or hips inflect inward, towards the waist determines
a woman's structural shape. A woman's body shape is an aspect of her physical
appearance, and impacts on her body image. Various strategies are sometimes employed
to temporarily or permanently alter the shape of a body. The most common include
dieting and exercise.
Every normal human being especially females have to know his or her body shape.
Designs on the various body shapes play a very important role in the lives of the people
in the world, more especially fashion designers and must be considered in all aspects of
dress making.
STATEMENT OF THE PROBLEM
Designs of garment are needed for the various female body shapes in Ghana. It appears
most Ghanaian women do not know their body shape. They therefore end-up dressing not
to suit their body shapes. Most foreign dresses do not fit the body shape of the females in
Ghana. Most designers also don‟t know the body shapes of the females in the Ghanaian
society.
It is against this background that the researcher turns to design and produce the right
outfits to suit the body shapes of the female in Ghana.
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OBJECTIVES OF THE STUDY

To design and produce garments to suit the four categories of the female body
shapes in Ghana.

To educate women on the type of body shapes they have and how to dress to fit
their figure type.

To help the female cover their figure fault and bring out the good side.
SIGNIFICANCE OF THE STUDY
The project will provide the designs for the four categories of female body shapes which
are: the cornet, the apple, the vase and the pear. It also aims at providing information
concerning female body sizes to fashion designers of Takoradi polytechnic and Ghana as
a whole. To the upcoming final year students, the project provides a systematic account
to the steps involved in designing and producing garments to suit the female shapes of
Ghanaians. The project provides information that will encourage fashion designers to
take the body shapes of people into consideration before sowing their dresses.
DELIMITATION
There are various types of body shapes but this project is restricted to four main
categories: the cornet, the hourglass, the vase and the pear female body shapes.
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LIMITATIONS
The project research was organized among the fashion design shops in the SekondiTakoradi metropolis as a population sample to the nationwide fashion designers.
DEFINITION OF TERMS
BODY SHAPE: The general shape or figure of a person is defined mainly by skeletal
structure, muscles and fat. Skeletal structure grows and changes only up to the point at
which a human reaches adulthood and remains essentially the same for the rest of his or
her life.
HOURGLASS: An hourglass body shape is considered to be the most ideal body shape
because of its proportions, both upper and lower half are approximately in line with each
other.
VASE: It is the type of body shape in which the waist measurement is less than 9 inches
smaller than the hips or bust measurement. Body fat is distributed predominantly in the
abdomen, buttocks, chest, and face.
PEAR: This is a body shape which the hip measurement is greater than the bust
measurement. The distribution of fat varies, with fat tending to deposit first in the
buttocks, hips, and thighs.
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CORNET: this is a body shape where the bust and waist are same but the hips are „at
least nine inches smaller‟ than the chest. The standard measurement is, bust 3.6″ or larger
than the hips and the waist less than 9″ smaller than the bust
COLOUR: Colour as the visual sensation, varying according to spectral energy
distribution of light which a person with normal vision obtains when light from an object
enters the human eye
ORGANIZATION OF THE STUDY
The project work is made up of four chapters and it is organized in such a way that
chapter one contains: background of the study, statement of the problem, objectives of
the study, importance of the study, delimitation , limitation of the study, key terms
definitions and abbreviations used.
Chapter two encompasses the studied and written evidence of related literature review
from the internet and books.
Chapter three is made up of the research methods used to collate data, tools and
equipments and the design procedures including idea developments.
Finally, chapter four made up of the summary of the whole project, conclusion,
recommendations and references.
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CHAPTER TWO
LITERATURE REVIEW
INTRODUCTION
This chapter gives the definitions and information retrieved from the internet and books
that falls within the domain of the project.
The topics are:
Body shape
Brief history of body shape
Pear shape
Hourglass shape
Vase shape
Cornet shape
Colours
Colour combination
Significance of colours
African print
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BODY SHAPE
From http/en.wikipedia.org/wiki, (2011), the human body shape is a complex
phenomenon with sophisticated detail and functions. The general shape or figure of a
person is defined mainly by skeletal structure, muscles and fat. Skeletal structure grows
and changes only up to the point at which a human reaches adulthood and remains
essentially the same for the rest of his or her life.
During puberty, differentiation of the male and female body occurs for the purposes of
reproduction. In adult humans, muscle mass may change due to exercise, and fat
distribution may change due to hormone fluctuations. Inherited genes play a large part in
the development of body shape.
Body shape has effects on body posture and gait, and has a major role in physical
attraction. This is because a body's shape implies an individual's hormone levels during
puberty, which implies fertility, and it also indicates current levels of sex hormones. A
pleasing shape also implies good health and fitness of the body. The art of figure drawing
defines body proportions that are considered ideal.
BRIEF HISTORY OF BODY SHAPE
From Wikipedia, (2011), the curvaceous beauty of Botticelli's Venus rising from the
waves to the buxom forms displayed in the work of 17th-century maestro Rubens (it's not
for nothing that such voluptuousness is still called Rubenesque), the most sought-after
female forms were represented by plumpness to symbolize well-fed strength and vitality
in what were difficult times (there was no NHS and vaccinations for all in those days).
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It wasn't until the late 19th century that things started to change. Back then, Victorian
women in the leisured classes were routinely tugged and pulled into restrictive corsets to
achieve that society's ideal form – the hourglass figure. The gradual tightening of corsetry
would routinely reduce a standard (for the time) 22-inch waist down to that of a handspan. As a result, the internal organs were forced to reposition themselves within the
abdomen; cracked ribs were not uncommon and the restriction of oxygen to the lungs led
to fainting fits that became routine among a certain type of society ladies. The things we
do for fashion!
The 20th century was witness to what has perhaps been the most dramatic shift in ideal
feminine beauty for centuries, if not millennia. A burgeoning feminism meant that
women, slowly but surely, were making an active mark on society and demanding an
equal place within it; and as women's activities increased, so the female body ideal
changed shape.
These days it seems that you can't open a magazine or turn on the television without
seeing some reference to women and our body shape. We're fascinated by the minor
weight fluctuations of our celebrities and appalled by the one in four of the rest of us who
are fast becoming clinically obese. But this obsession with the female form is hardly new.
In fact, the shape of women's bodies has provided a reliable marker for female
attractiveness and desirability throughout history – both for men to admire and women to
aspire to. What has changed dramatically, however, is the shape of women's bodies
themselves.
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Most Ghanaian women do not know their body shape due to this they do not dress to
cover their figure. From the researchers observation most Ghanaian female do have the
apple, pear, cornet, vase and hourglass shapes, For the purpose of this project, the
researcher delved into these four types of body shape most Ghanaian female have. I.e.
The vase, pear, hourglass, and the cornet shapes. There are four main types of body
shapes: Vase, Cornet, Hourglass and Pear. You may find that you could be a mix of two,
but there will be one that you will predominately fit into. To help you identify what shape
you have, check out the definitions and corresponding images under each category. In
Ghana the females do not have a definite body shape as the European females have. eg. A
Ghanaian lady may have bust 36 inches and have a hip measurement of 50inches.But a
European female with bust 36 inches must automatically have a hip measurement of 36
inches. Due to this, most European garments do not fit most of the Ghanaian females.
That is why the researcher is undertaken this project. Hence designing the right outfit to
suite the female in Ghana to help them dress to suit them.
PEAR SHAPE
The hip measurement is greater than the bust measurement. The distribution of fat varies,
with fat tending to deposit first in the buttocks, hips, and thighs. As body fat percentage
increases, an increasing proportion of body fat is distributed around the waist and upper
abdomen. The women of this body type tend to have a (relatively) larger rear, robust
thighs, and a small(er) bosom.
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HOW TO DRESS TO SUIT THE PEAR
Draw attention to your honed and toned top half with strapless dresses, tops and bold
motif. Choose trousers carefully- they need to skim over the offending area and the same
applies to coat. Tops and cardigans that are long and flowing (that do not dig in), with
sleeves that show off your toned arms and necklines that are open and attention grabbing.
This will draw attention away from your midsection.
Wear black coloured garments at the lower part of the body since black colour makes the
body look smaller.
Figure 1: The pear body shape
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HOURGLASS SHAPE
An hourglass body shape is considered to be the most ideal body shape because of its
proportions, both upper and lower half are approximately in line with each other.
The female body is significantly narrower in the waist both in front view and profile
view. The waist is narrower than the chest region due to the breasts, and narrower than
the hip region due to the width of the buttocks, which results in an hourglass shape. This
body type enlarges the arms, chest, hips, and rear before other parts, such as the waist and
upper abdomen.
HOW TO DRESS TO SUIT THE HOUR HOURGLASS
This is the original female fatale- so don‟t hide your curves always. Always wear top that
works with your assert like V and Scoop necks. Wear pencil skirts, puff sleeve top, waist
coat and A-line dresses make the most of your curves and give you an air of classic
femininity.ues brown and cream colours to make you look smart and cute.
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Figure 2: The hourglass body shape
VASE BODY SHAPE
The waist measurement is less than 9 inches smaller than the hips or bust measurement.
Body fat is distributed predominantly in the abdomen, buttocks, chest, and face. This
overall fat distribution creates the typical ruler (straight) shape. Big boobs, gently
curving, longer waist, hip equal boobs, slim thighs and legs.
HOW TO DRESS TO SUIT THE VASE SHAPE
A closely fitted jacket with a few buttons undone will look fibrous as will a leg
lengthening pear of trousers. Deep neck lines will enhance that mighty cleavage and look
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for a waist details to give you even more curves. E.g. Embellished dress, waist coat,
detail tops, A line skirts, boot cut trousers will fit the shape perfectly .wear blacked
dresses.
Figure 3: The vase body shape
CORNET BODY SHAPE
Normally where the bust and waist are same but the hips are „at least nine inches smaller‟
than the chest. The standard measurement is, bust 3.6″ or larger than the hips and the
waist less than 9″ smaller than the bust. Broad shoulders, small boobs, no waist, slim hips
and long slim legs are perfect examples of cornet.
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HOW TO DRESS TO SUIT THE VASE SHAPE
Learn to break up your shape with bold patterns and unusual draping. Your long lithe legs
can carry off unusual skirt. Go in for puffball or sunray pleats and make the most use of
asymmetric. Examples are scoop dress, print tops, skinny trousers, puffball skirt. Wear
black coloured tops to make the upper part appear small and green coloured garment at the
lower part of the body to make the lower part look bigger, green colours create an illusion of
weight.
Figure 4: The cornet body shape
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COLOURS
Aldrich (2007) said many designers consider colour to be the more important element of
fashion design, therefore the knowledge of colour theory is an essential part of a fashion
designer‟s education. Colour brings out the beauty of a garment.
Merkel S. (2007: 125-126) defines Colour “as the visual sensation, varying according to
spectral energy distribution of light which a person with normal vision obtains when light
from an object enters the human eye.” To support this definition, the world book
encyclopedia international (1994: 91) Explained that although we speak of seeing colours of
objects, we do not actually see them. Instead, we see the light the objects reflect. Our eyes
absorb this light and change it into electrochemical signals. The signals travel through nerves
to the brain, which interprets them as coloured images or objects.
The New Encyclopedia Britannica (1997: 469) defines colour “as the aspect of any object
that may be described in terms of hue, lightness and saturation.” This definition talks about
the name, purity and the value (lightness or darkness) of colour.
Hornby A. S (2006: 281) defines colour “as the appearance that things have that result from
the way in which they reflect light.”
According to Redmond (2008), Colour is defined “as physical phenomenon of light or visual
perception associated with the various wavelengths in the visible portion of the
electromagnetic spectrum.”
This researcher defines colour as “the natural appearance of an object sensed by the brain and
perceived with the human eye when light strikes it”.
COLOUR COMBINATION
Liddell (1981) states that colour is the first thing a customer notices about a garment
which attract him or her. In fashion designing the basic elements are fabric, colour, detail,
silhouette and trim, this plays an important role in designing. Colour combination is the
15
selection of colours to create harmony. Mixing of two or more colours to produce
primary, secondary and intermediate colours. In the aspect of fashion it is combining two
or more fabrics of different colours to create an illusion of height, shape, etc. Therefore
the researcher used brown, black, cream and green colours to create harmony in the art
piece.
SIGNIFICANCE OF COLOURS
Cream
Cream is the colour of the cream produced by cattle grazing on natural pasture with
plants rich in yellow carotenoid pigments, some of which are incorporated into the cream,
to give a slight yellow tone to the white. Used as a skin tone in some forms of art, mostly
Anime.
Black
Black is the colour of authority and power. It is popular in fashion because it makes
people appear thinner. It is also stylish and timeless. Black also implies submission.
Priests wear black to signify submission to God. Some fashion experts say a woman
wearing black implies submission to men. Black outfits can also be overpowering, or
make the wearer seem aloof or evil.
Green
Currently the most popular decorating colour, green symbolizes nature. It is the easiest
colour on the eye and can improve vision. It is a calming, refreshing colour. People
waiting to appear on TV sit in "green rooms" to relax. Hospitals often use green because
it relaxes patients. Brides in the middle Ages wore green to symbolize fertility. Dark
green is masculine, conservative, and implies wealth. However, seamstresses often refuse
to use green thread on the eve of a fashion show for fear it will bring bad luck.
16
Brown
Solid, reliable brown is the colour of earth and is abundant in nature. Light brown implies
genuineness while dark brown is similar to wood or leather. Brown can also be sad and
wistful. Men are more right to say brown is one of their favorite colours. in the fashion
world, brown makes a person broarder in size.
AFRICAN PRINT
From answers.com, African print holds a special meaning in the heart of Africans
because they each tell a story to the wearer. They ,have their own history, story and
symbol. Wax print fabric actually originated from Indonesia and it was exported to the
Gold Coast and spreaded over West Africa into Centra Africa. These fabrics became
extremlely porpular and with time the African customised and personalized their own
design. Today African wax fabric are primarialy made in Ghana and Mali, they have
strong culture, social and economic importance since there are so many varieties ofc wax
print fabrics and so many different artist telling their own stories. The colours in the
fabric often hold significance as they can represent soicial standing, age, tribal,
orientation and marital statues.
Traditional african textiles and dresses have always carried symbols and as a result, have
become powerful vehicle for mass communication, ceremonial event, political stancesand
social purposes as well.
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CHAPTER THREE
METHODOLOGY
INTRODUCTION
This aspect of the research contains the process the researcher goes through to produce
the design for the project.
This chapter entails detailed information on the following processes which was used to
produce the design.
These processes are as follows;

The designing process

The pattern making process

The garment assembling process
THE DESINGNING PROCESS
It is a process whereby the designer professionally displays visual concept to create
unique boards which reflect the theme chosen by the designer. These concept boards
created by the designer is done through the use of the element and principle of design to
achieve the theme board, color palette
fabric
technical drawing and the specification drawing.
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board, sample board, work book,
CUSTOMER PROFILE
This consist of pictures which gives information about the things the customer likes and
what the customer is made of. This helps the designer to know the customer well before
designing. Hence making the right design for the customer through the findings gained
from the profile board. These pictures include the kind of food the customer likes,
occupation, where the customer lives and the things the customer shows interest in.
The name of the customer is Nana Aba Idun, she is twenty one years old and a student of
central university college. The food she likes best is rice, and also banku and tilapia, she
is a fashion slave, she is interested in African print, beads and things related to African
culture since her mother owns an art gallery at the Elmina castle. With this information
the designer choose the theme African mask and used African fabric which will suite her
class and will be affordable for her to buy.
Figure 1 Customer profile
Source: Field data, 2011
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THEME BOARD
The theme board is collection of pictures which gives inspiration to the designer to create
an outfit.
These pictures give the designer ideas to invent new garment and accessories, through
these pictures a title is derived for the collection. Colours are also derived from the theme
board.
The theme the designer used for designing is African Mask and derived the title disguise
from the theme, since the designer is creating an outfit to suite the body shape of the
female Ghanaian figure
The picture is presented in figure 2 below
Figure 2 theme board
Source: Field data, 2011
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COLOUR BOARD
The color board is a palette of colors derived from the theme board and used for the
design.
This board gives inspiration to the designer to blend the right colors to create a line.
WORK BOOK
The work book is made up of quick informative sketches and ideas captured through the
inspiration gained from the theme, clippings, magazine and the things the designer sees.
Creativity is the act of making something new and being original. The work book is a
book in which the designer creates unique styles and develop the pictures gained from the
theme. it contain colours, trimmings, possible fabrics and written information about the
theme.
Figure 3 work book
Source: Field data, 2011
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FABRICS AND TRIMMINGS BOARD
It contains swatches of fabrics and things which will be used to complete and
complement the design. Some of the items pasted on the board are zip, button, ribbons,
beads and other things which will enhance the beauty of the garment.
DESIGN BOARD
The design board is a pictorial representation of four styles created by the designer with
features from the African mask. The sketched garments are drawn on template with the
type of fabric which will be used for the garment represented.
Figure 4.Desing board
Source: Field data, 2011
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TECHNICAL DRAWING
This is how the cloth will look like when lying flat on the table or floor. This includes the
various views of the garment, that is, front view, back view and side view.
Figure 5: Technical drawing
Source: Field data, 2011
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SPECIFICATION DRAWING
The specification board is a flat drawing of the design which show the front and back
view of the garment. It shows the outline of the pattern pieces which has been drawn and
reduced to scale of the basic block pattern and adopted to achieve the design created. The
final specification is pasted on the board with seam allowance, turnings, notches, grain
line and all the necessary pattern instructions. This is to show how the design will use the
patterns made.
Figure 6. Specification drawing
Source: Field data, 2011
24
SAMPLE BOARD
This is a prototype and the textures and technical used in making the garment. That is
pleats, gathers, patch work and beading.
Figure 7. Sample Board
Source: Field data, 2011
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PATTERN MAKING PROCESS
MEASUREMENT
The model‟s body measurements taken are as follows
Bust
-92cm
Waist
-86.3cm
Hip
-112cm
Across chest
-35.5cm
Across back
-33cm
Nape to waist
-40.5cm
Sleeve length
-61cm
Short length
-53.5cm
Blouse length
-56cm
Shoulder to bust
-25.5cm
Shoulder to waist
-43cm
Thigh
-66cm
Knee
-51cm
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Tools and equipment
Tools and equipment
Uses
Tailors chalk
For marking
Needle
For joining pieces of fabric
Brown paper
For making patterns
Seam ripper
For removing stitches
Tracing wheel
For transferring pattern markings
Tape measure
For taking measurement
Yard stick
For making straight lines
Pressing cloth
Placed on top of the garment before ironing
Paper cutting shears
For cutting out pattern pieces
Fabric cutting shears
For separating fabric
Fabric
For constructing the design
Thread
For sewing the garment
Thimble
For protecting the finger when hand sewing
Table
For laying out
Pressing table
For ironing and pressing garment
Sewing machine
For joining fabric pieces together
Neatening machine
For raw edges
27
PATTERN MAKING PROCESS
To obtain the blouse use the basic block pattern to adopt the style required from the
design.

Close the shoulder dart.

Cut waist to hem of blouse pattern.

Using waist to hem of blouse pattern slash open from hem to waist line and
spread out to achieve flare of blouse.

To achieve the shearing at the waist line cut 3inches from waist line to under bust
of blouse. Add seam allowance of 1inch and double the size around the waist to
be sheared.

To achieve decorative facing on blouse, trace around the neckline of the basic
block to the under bust of the centre front of blouse. Cut decorative facing shape
as desired.

For the scallop sleeve slash the basic sleeve and spread to achieve the desired
effect
To obtain short

Maintain the basic short pattern, add seam allowance.

Reduce dart on the back short pattern.

Cut 3 inches piece of pattern from knee to hem, double the size of pattern to be
sheared at the knee.
Figure8. Pattern Making Process
Source: Field data, 2011
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TOILING
Toiling is the process whereby a designer sews a sample of the garment with grey baft or
polyester before using the actual fabric to sew the main garment.
It is fitted on the model to outline, make corrections and adjustment on the pattern before
cutting out the main garment.
LAYING OUT AND CUTTING OUT OF FASHION FABRIC

Press the fashion fabric to remove creases.

Layout fabric on a flat smooth surface preferably on a cutting table.

Check the grain line of fabric.

Layout patterns firmly on fabric with the aid of pins, putting into consideration
the pattern instructions.

Layout large patterns first on fashion fabrics before the small pattern.

Cut out with the aid of a scissors by cutting large pieces first using long strokes
where there are straight lines and short strokes at curved areas.

Cut directly based on the marker to save fabric with the hand placed on the fabric
when cutting.

Trace all darts and pattern markings on the fabric.
ASSEMBLING OF GARMENT
BLOUSE

Press all cut pattern pieces.

Pin and tack waist dart and under arm dart before stitching.

Make shearing for the front and back of blouse.

Attach decorative facing at the centre front of blouse.

Press decorative facing to lie flat.
29

Attach patch strap to the front bodies.

Fit zip at the centre back of blouse.

Stitch the shoulder and side seam of blouse together.

Press open the seams to lie flat.

Join the sheared waist band pieces to the front and back of blouse.

Stitch the flare pattern piece to the blouse.

Tack colour to the neck line and stitch.

Stitch sleeve to the arm whole pipe to neatening the raw edges of arm hole.

Make beading on facing and the patch work on blouse.

Press finished garment neatly and hang.
SHORT

Weave patch work and stitch.

Join patch work to front short pattern.

Stitch dart of back short.

Pin and join the front and back short together with a stitch.

Pin zip to side seam and stitch.

Join sheared pattern piece to the knee.

Join waist band to the waist line with a stitch.

Press open seams and make neatening at the raw edges.
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Figure 9. Assembling of garment
Source: Field data, 2011
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ACCESSORIES

Transfer all pattern markings of bag pattern pieces onto the fashion fabric.

Pin and tack bag pattern pieces together with a stitch.

Attach lining to bag pattern piece.

Join all the sides together and fix zip.

Attach handle of bag.
BEADING
Make bead necklace with Micah thread.
Fix screw to necklace.
Make ear ring and bangles to march.
FINISHING AND PRESSING
Pressing- it is defined as the process of applying heat, steam and pressure to bring out the
shape of garment for my required out line and curves for greater hanging and packaging
appeal.
Finishing- this is the stage when the designer makes a final assessment to find out
whether the garment have achieved its planned design objectives and can be accepted.
This is done by the designer to ensure that the garment is correctly completed in detail.
The garment is inspected by the designer.
Neaten is made at the edges of garment to prevent fraying.
Lose thread ends are cut off.
The garment is pressed and finally packaged.
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Figure 10. Finished Garment
Source: Field data, 2011
33
CHAPTER FOUR
SUMMARY, CONCLUSION AND RECOMMENDATIONS
INTRODUCTION
This chapter seeks to lament on the summary, conclusion and recommendations. It gives
salient points on the summary, conclude and suggest appropriate recommendations.
SUMMARY
The aim of the project was to design and produce the right outfit to suit the various body
shape for females in Ghana.
Moreover, the study gives critical assessments based on the related literature of the
project topic and various definitions by a number of scholars to come out with a
successful project on the basis of the key words of the topic: body shapes, colour, casual
wear, fashion accessories etc.
Chapter three laments on the research tools, methods and the procedures used by the
researcher to execute the practical aspect of the project.
The final chapter summarizes, concludes and suggests suitable recommendations to the
project.
CONCLUSION
Students‟ project should not only be based the courses of study but other research that
will benefit the job market and the country as a whole. In view of this the researcher
34
undertook a project “The right outfit to suit the various body shapes for females in
Ghana”.
The researcher takes much delight in the fact that a problem has been identified and
likely to be solved through “The right outfit to suit the various body shape for females in
Ghana”. The project is meant to provide reference materials to art students. The
researcher through the execution of the project learned how to handle difficult fabrics and
how to design for women of different figure types.
RECOMMENDATIONS
The researcher recommends the following:
Fashion designers should know more about body shapes before designing for customers.
Fashion designers should provide catalogue in their shops that will educate clients on
their body shapes.
Fashion designers should know a good colour combination to suit every body shape
Takoradi polytechnic, especially fashion department should inculcate body shape and
size as a course of study.
Final year students in the fashion department should research into topics that will not
only help the school but Ghana at large.
35
REFERENCES
Hornsby A. S (2006): Oxford Advance Learner’s Dictionary, 7th Edition, Oxford University
Press, New York. (p: 158, 281 & 467)
Diane T. et al (2005).: Color Forecasting: Blackwell Publishing Ltd. New York. (p. 47, 49
50, 52, 57, 67, 68, 70&72)
Gilbert R (1989).: Living with Art, 3rd Edition, McGraw Hill, New York, (p.99)
Redmond, WA. Microsoft student Encarta (DVD), 2009, Microsoft Corporation 2009.
Merkel S (2007): Fairchild’s Dictionary of Textiles, 7th Edition, Fairchild publication, New
York. (p. 125&126)
Patrick John Ireland Fashion design drawing and presentation
Kathryn Mckelvin Jamine Munslow Illustrating fashion
Lee Widows, mcciuinesse Cat Walk: Working with models
Collin Barnes Fashion illustration: the techniques of fashion drawing,
Metric pattern cutting, Aldrich W (2004) Carlisle publishing limited, UK
www. Hangbag.com/health, brief of body shape-uk
Wikipedia, the free encyclopedia.org, 2011
Answers. com, (2011)
http/en.wikipedia.org/wiki, (2011)
www.dairlymail.co.uk,(2011)
Trinity and Susannah October 18, 2007 shape solutions,
Doris Pooser 1989Always in style, Crisp publications, Inc.
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APPENDIX
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