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GÜNEY BATI NİJERYA'DA ÜRETİLEN AFRİKA BASKI KUMAŞ TASARIMLARININ TEMEL BİLEŞENLERİNİN İNCELENMESİ.

Year 2022, Volume: 4 Issue: 2, 89 - 102, 30.06.2022
https://doi.org/10.54976/tjfdm.1088003

Abstract

Afrika baskılı kumaşlara geleneksel olarak Ankara kumaşları denir. Ekonomik değeri yüksek olduğu için başlıca tekstil ürünleridir. Bu çalışma, Güneybatı Nijerya'da üretilen Afrika baskı kumaşlarının temel bileşenlerine odaklanmıştır. Çalışma, anket araştırması tasarımını benimsemiştir. Araştırmanın evrenini, Güneybatı Nijerya'da faaliyet gösteren iki Afrika baskılı kumaş şirketinde çalışan Afrikalı baskı kumaş tasarımcıları oluşturdu. Bu firmalar A firması ve B firması olarak kodlanmıştır. Çalışmanın yapıldığı sırada her iki firmada da çalışan on Afrikalı baskı kumaş tasarımcısı bulunmaktadır. Sayı yönetilebilir olduğundan örneklem büyüklüğünü belirlemek için sayım kullanılmıştır. Veri toplamak için anket kullanıldı. Toplanan veriler, tanımlayıcı istatistiksel araçlar kullanılarak analiz edildi. Çalışma, renk, çatırtı efekti, çizgi efekti, kalın motifler ve elyafın doğasının Afrika baskı kumaşlarının ana ayırt edici bileşenleri olduğunu ortaya koydu. Afrika baskı kumaşının adını Afrika kıtasından almasına rağmen bileşenlerinin esasen Afrikalı olmadığı da tespit edilmiştir. Afrikalı baskı kumaş tasarımcılarının, Afrika merkezli tasarım öğelerini Afrika baskı kumaş tasarımlarına tutarlı bir şekilde uyarlamaya çalışması önerildi. Bu, Afrikalıları ekonomiyi olumlu yönde etkileyecek olan kumaşı daha fazla benimsemeye teşvik edecektir.

References

  • Akinwumi, T. M. (2008). The “African print” hoax: machine produced textiles jeopardize African print authenticity. The Journal of Pan African Studies, 2(5), 179-192. Amankwah, A. M., & Howard, E. K. (2013). Technical limitations of African prints and their implications on garment construction. Journal of Science and Technology, 33(1), 75–83.
  • Chichi, C., Howard, E. K., & Baines, E. (2016). Assessment of consumer preference for the use of African wax prints. International Journal for Innovation Education and Research, 4(10), 1–10.
  • Domowitz, S. (1992). Wearing Proverbs: Anyi Names In Printed Factory Cloth. African Arts, 25(3), 82-87. Essel, O. Q. (2017). Deconstructing the concept of “ African print ” in the Ghanaian experience. Africology: The Journal of Pan African Studies, 11(1), 37–51.
  • Hagen-jurkowitsch, S., & Alexander, S. (2016). An analysis of the current denotation and role of wax & fancy fabrics in the world of African textiles. International Journal of Management Cases, 12(3), 3-18.
  • Irwin, J. And Brett K. B. (1970). Origins of Chintz. (1st ed). Her Majesty Stationery Office, London
  • Isaac, K. A. (2013). Transforming classical African textile print designs to meet contemporary trends. Kwame Nkrumah University of Science and Technology, Ghana.
  • Lindholm, C. (1979). Gift of the Gods: Textiles from Indonesia. Craft Horizon, USA
  • Newman, T. R. (2007). Contemporary Southeast Asian Arts and Crafts. Crown Publishers, New York.
  • Ogunduyile, S.R (2001). Cottage dyeing industry and environmental hazards created by the use of commercial dyes and chemicals, Journal of Arts and Ideas. 6(7) 106-114.
  • Onwuakpa, L. E. (2016). Textile designs and fashion as strategic resource tools for economic development in Nigeria. International Journal of Arts and Humanities, 5(2), 111–119.
  • Tolulope, A. M., & Babatunde, O. (2013). The resurgence of ankara materials in Nigeria. Journal of Education and Practice, 4(17), 166–170.
  • Uqalo, R. (2015). The African print market. Uqalo Advisory, 1(1), 1-35.
  • Wilson, J. (2001). Principles , processes and practice. CRC Press.

EXAMINATION OF THE BASIC COMPONENTS OF AFRICAN PRINT FABRIC DESIGNS PRODUCED IN SOUTH WEST NIGERIA.

Year 2022, Volume: 4 Issue: 2, 89 - 102, 30.06.2022
https://doi.org/10.54976/tjfdm.1088003

Abstract

African print fabrics are customarily referred to as Ankara fabrics. They are major textile products because they have high economic value. This study focused on the basic components of African print fabrics produced in Southwest Nigeria. The study adopted survey research design. The population of the study comprised of African print fabric designers in the two functioning African print fabric companies in Southwest Nigeria. These companies were coded as company A and company B. At the time of the study, there were ten African print fabric designers working in both companies. Census was used to determine the sample size since the number is manageable. Questionnaire was used for data collection. The data collected was analyzed using descriptive statistical tools. The study revealed that colour, crackle effect, line effect, bold motifs and nature of fibre are major distinguishing components of African print fabrics. It was also established that although African print fabric is named after the African continent, the components are not essentially African. It was recommended that African print fabric designers should endeavour to consistently adopt Afrocentric design elements to African print fabric designs. This will encourage Africans to embrace the fabric more which will positively influence the economy.

References

  • Akinwumi, T. M. (2008). The “African print” hoax: machine produced textiles jeopardize African print authenticity. The Journal of Pan African Studies, 2(5), 179-192. Amankwah, A. M., & Howard, E. K. (2013). Technical limitations of African prints and their implications on garment construction. Journal of Science and Technology, 33(1), 75–83.
  • Chichi, C., Howard, E. K., & Baines, E. (2016). Assessment of consumer preference for the use of African wax prints. International Journal for Innovation Education and Research, 4(10), 1–10.
  • Domowitz, S. (1992). Wearing Proverbs: Anyi Names In Printed Factory Cloth. African Arts, 25(3), 82-87. Essel, O. Q. (2017). Deconstructing the concept of “ African print ” in the Ghanaian experience. Africology: The Journal of Pan African Studies, 11(1), 37–51.
  • Hagen-jurkowitsch, S., & Alexander, S. (2016). An analysis of the current denotation and role of wax & fancy fabrics in the world of African textiles. International Journal of Management Cases, 12(3), 3-18.
  • Irwin, J. And Brett K. B. (1970). Origins of Chintz. (1st ed). Her Majesty Stationery Office, London
  • Isaac, K. A. (2013). Transforming classical African textile print designs to meet contemporary trends. Kwame Nkrumah University of Science and Technology, Ghana.
  • Lindholm, C. (1979). Gift of the Gods: Textiles from Indonesia. Craft Horizon, USA
  • Newman, T. R. (2007). Contemporary Southeast Asian Arts and Crafts. Crown Publishers, New York.
  • Ogunduyile, S.R (2001). Cottage dyeing industry and environmental hazards created by the use of commercial dyes and chemicals, Journal of Arts and Ideas. 6(7) 106-114.
  • Onwuakpa, L. E. (2016). Textile designs and fashion as strategic resource tools for economic development in Nigeria. International Journal of Arts and Humanities, 5(2), 111–119.
  • Tolulope, A. M., & Babatunde, O. (2013). The resurgence of ankara materials in Nigeria. Journal of Education and Practice, 4(17), 166–170.
  • Uqalo, R. (2015). The African print market. Uqalo Advisory, 1(1), 1-35.
  • Wilson, J. (2001). Principles , processes and practice. CRC Press.
There are 13 citations in total.

Details

Primary Language English
Journal Section Research Articles
Authors

Adebayo Abiodun Adeloye 0000-0001-8705-5415

Publication Date June 30, 2022
Published in Issue Year 2022 Volume: 4 Issue: 2

Cite

APA Adeloye, A. A. (2022). EXAMINATION OF THE BASIC COMPONENTS OF AFRICAN PRINT FABRIC DESIGNS PRODUCED IN SOUTH WEST NIGERIA. Turkish Journal of Fashion Design and Management, 4(2), 89-102. https://doi.org/10.54976/tjfdm.1088003

Turkish Journal of Fashion Design and Management (TJFDM) Dergisi, Ege Üniversitesi Moda ve Tasarım Yüksekokulu tarafından yayınlanmaktadır.