WOLKITE UNIVERSITY

COLLEGE OF ENGINEERING AND

TECHNOLOGY
FASHION DESIGN PROGRAM
EDE GARMENT AND TEXTILE ENGINEERING P.L.C

PROJECT TITLE= DESIGN AND DEVELOPMENT OF

WOLLEGA CULTURAL CLOTH COLLCTION THROUGH
MODERN STYLE
Academic advisor ADBARU ESUBALEW

Company advisor TETEMKE GEBRE IYESUS

Prepared by HANCHALU DEJENE

Id number 439/09

SUBMISSION DATE: 24/2/ 2019

SUBMITTED TO: FASHION DESIGN DEPARTMENT staff

February 2019
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 DECLARATION OF ORIGINALITY
I declare that this is a true copy of my internship report. I assure in my signature this internship
experience report has not been submitted to the Institute by any other.

Hanchalu Dejene
Student Name Date Signature

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 APPROVAL BY ACADEMIC ADVISOR
To the best of my knowledge and as understood by the student this internship experience report
adheres to the provisions of guidelines of the CET… (College of engineering and technology)
Fashion design. The internship report is complete and can be presented to the internship report
evaluation juries.

_____________________ __________________

Academic Advisor Name Signature

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 ACKNOWLEDGMENT
First of all I would like to thank my God, who can make everything possible neatly I would like
to thank all staff and departments of EDE garment and textile Engineering plc for support me
during internship period. I have a great thanks to my Advisor Tetemke Geber Yeses who
honestly showed me how to perform pattern Design, construction technique and cut Finally I
want to acknowledge all workers and staff of EDE Garment and Textile Engineering plc. for the
support they provided to me.

I would also like to thank our academic advisor Teacher AdbaruEsubalew for his counseling and
support, and my classmates for bearing the hard times with me and sharing the wonderful
experience.

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 EXECUTIVE SUMMARY
My internship at EDE garment and Textile engineering PLC has been by far the most
enlightening experience of my life. Interning at one of the biggest garment and textile factory
with excellent facilities and organized working system has taught me a lot beyond class room
lessons and practices.

For my project work, I decide to study interest on Wollega cultural clothes for both
sexesespecially for youngest age between 15-30. Also my product fashionable cultural clothes i.e
modernizing cultural clothes that means using culture cloth to modern current style. I done
products like: - vest, trouser, shirt, dress within fully interpretation.

This report consists two part, part one consists have only chapter one. Chapter one deals about
the back ground of hosting company EDE garment industry. This chapter consists of brief
history of the company, the raw material and accessory supplier, raw material quality parameters,
organizational structure and work flow of the section.

Part two have six chapter it contains introduction, literature review, back ground, statement of
problem, objective of the project, scope and limitation of the project; methodology and methods
of data analysis, significant, data collection ,data analysis, work plan and resource requirement;
Result and discussion and product developmentconclusion, recommendation, summary and
reference

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 Table of Contents
declaration of originality........................................................................................................................... i
approval by academic advisor .................................................................................................................. ii
acknowledgment .................................................................................................................................... iii
executive summary ................................................................................................................................. iv
list of figure.......................................................................................................................................... viii
list of table ............................................................................................................................................. ix
Part One .................................................................................................................................................. 1
Company Profile ..................................................................................................................................... 1
Chapter One ............................................................................................................................................ 1
Company Back Ground ........................................................................................................................... 1
1.1vision.............................................................................................................................................. 2
1.2 Mission .......................................................................................................................................... 2
1.3 Objective Of The Industry.............................................................................................................. 2
Work To Bring Great Customer Satisfaction ................................................................................ 2
Reliability .................................................................................................................................... 2
1.3.1 Core Business Of The Industry ................................................................................................ 2
1.4 Man Power .................................................................................................................................... 3
1.5 Organizational Structure Of The Factory ........................................................................................ 4
............................................................................................................................................................ 4
............................................................................................................................................................ 4
1.6 Process Flow Chart ........................................................................................................................ 5
1.7 Process Flow Of The Company ...................................................................................................... 6
1.7.1 Store Room ................................................................................................................................. 6
1.7.2 Design Room ............................................................................................................................ 6
1.7.3 Cutting........................................................................................................................................ 8
1.7.4 Marker Making ........................................................................................................................... 9
1.7.5 Spreading .................................................................................................................................. 10
1.7.6 Garment Department ................................................................................................................. 10
1.8 Identification Of Strategic Products Using Qualitative Measures .................................................. 11
1.8.1 Equipment And Technology ...................................................................................................... 13

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 1.8.2 Production Capacity .............................................................................................................. 15
Part Two ............................................................................................................................................... 16
Research Work ...................................................................................................................................... 16
Chapter One .......................................................................................................................................... 16
Introduction........................................................................................................................................... 16
1.1 Back Ground................................................................................................................................ 16
1.2 Statement Of Problem .................................................................................................................. 17
1.3 Objective ..................................................................................................................................... 17
1.3.1 General Objective ..................................................................................................................... 17
1.3.2 Specific Objective ..................................................................................................................... 17
1.4 Significance Of The Study ........................................................................................................... 18
1.4.2 Benefit .................................................................................................................................. 18
1.4.1 Beneficiary ........................................................................................................................... 18
1.5 Scope Of The Study ..................................................................................................................... 18
1.6 Limitation Of The Study .............................................................................................................. 18
Delimitation ...................................................................................................................................... 19
Chapter Two ......................................................................................................................................... 20
Literature Review .................................................................................................................................. 20
Chapter Three........................................................................................................................................ 23
Methodology ......................................................................................................................................... 23
3.1 Material Used .............................................................................................................................. 23
3.2 General Working Procedures ....................................................................................................... 24
3.3 Data Collection Techniques ......................................................................................................... 25
3.3.1 Primary Data............................................................................................................................. 25
3.3.2 The Secondary Data .................................................................................................................. 26
3.4 Data Analysis .............................................................................................................................. 26
3.5 Product Development................................................................................................................... 28
3.5.1 Inspiration Board ...................................................................................................................... 28
3.5.3theme Board .............................................................................................................................. 29
3.5.4 Mood Board.............................................................................................................................. 30
3.5.5 Trim Board ............................................................................................................................... 31
3.5.6 Accessories Board..................................................................................................................... 32

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 4.2.9 Flat Sketch Board...................................................................................................................... 35
4.2.10 Illustration Board .................................................................................................................... 36
4.2.11 Client Board............................................................................................................................ 36
3.5.11 Story Board ............................................................................................................................. 36
Design One Specific Sheet ................................................................................................................. 38
Table 6 Operation Break Down Design One...................................................................................... 40
Table 8 Design Two Specific Sheet................................................................................................... 42
Table 11 Design Three Specific Sheet ................................................................................................ 48
Design Three Specific Sheet .............................................................................................................. 48
Operation Break Down For Design Three ..................................................................................... 49
Specification Sheet:-Design 4 ............................................................................................................ 51
Chapter Four ......................................................................................................................................... 57
Result And Discussion........................................................................................................................... 57
4.1 Discussion ....................................................................................................................................... 57
4.1.1 Design One ............................................................................................................................... 57
4.2.2 Design Two .............................................................................................................................. 58
4.1.3 Design Three ............................................................................................................................ 58
4.1.4 Design Four .............................................................................................................................. 59
Chapter Five .......................................................................................................................................... 60
Conclusion, Implication, Recommendation And Summary .................................................................... 60
5.1 Conclusion................................................................................................................................... 60
5.2 Implication .................................................................................................................................. 60
5.3 Recommendation ......................................................................................................................... 61
Chapter Six ........................................................................................................................................... 62
Learning Experience From Internship .................................................................................................... 62
Reference .............................................................................................................................................. 63

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 List of Figure
Figure 1 Organizational structure of the factory ..........................................................................5
Figure 2 Process flow chart ........................................................................................................5
Figure 3 Store Room ..................................................................................................................6
Figure 4 pattern making room ...................................................................................................7
Figure 5 cutting room .................................................................................................................9
Figure 6 Spreading Table .......................................................................................................... 10
Figure 7 Garment Section ......................................................................................................... 11
Figure 8 buttonhole machine .................................................................................................... 14
Figure 9 army dog machine .................................................................................................... 14
Figure 10 button attach machine .......................................................................................... 14
Figure 11 single needle machine ............................................................................................... 14
Figure 12 Products of EDE garment and Textile Engineering Plc. ........................................... 15
Figure 13 General Working Procedure ..................................................................................... 24
Figure 14 Methodology ............................................................................................................ 25
Figure 15 analysis using graph ................................................................................................. 27
Figure 16 Product display Design 1 .......................................................................................... 57
Figure 17 Product display design 2 ........................................................................................... 58
Figure 18 Product display design 3 ............................................................................................ 58
Figure 19 Product display design 4 ........................................................................................... 59
Figure 20 Story board ............................................................................................................... 37
Figure 21 Inspiration board ...................................................................................................... 28
Figure 22 Theme board ............................................................................................................ 29
Figure 23 Mood board ............................................................................................................... 30
Figure 24 Trim board ............................................................................................................. 31
Figure 25 Trim board .............................................................................................................. 32
Figure 26 Fabric board ............................................................................................................ 33
Figure 27 Color board .............................................................................................................. 34
Figure 28 Flat sketch board ...................................................................................................... 35
Figure 29 Illustration board ...................................................................................................... 36
Figure 30 Client board.............................................................................................................. 36

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 List ofTable
Table 1 man power ......................................................................................................................3
Table 2 sources of raw material ..................................................................................................3
Table 3 identification of strategic products using qualitative measures .................................... 12
Table 4 data analysis ................................................................................................................ 26
Table 5 Design One Specific Sheet............................................................................................ 38
Table 6 operation break down design one ................................................................................. 40
Table 7 Cost sheet design 1 ...................................................................................................... 41
Table 8 Design Two Specific Sheet .......................................................................................... 42
Table 9 Operation Break Down For Design Two ....................................................................... 44
Table 10 Operation breaks down for design two ....................................................................... 45
Table 11 design three specific sheet .......................................................................................... 48
Table 12 Operation break down for design 3 ............................................................................. 49
Table 13 Cost sheet design 3 ..................................................................................................... 50
Table 14 specific sheet .............................................................................................................. 51
Table 15 Operation Break Down For Design Four .................................................................... 53
Table 16 Cost sheet design 4 .................................................................................................... 55

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 PART ONE

COMPANY PROFILE

CHAPTER ONE

COMPANY BACK GROUND

EDE Garment and Textile Engineering private limited company is found in southern Addis
Ababa on the road to Sebeta, in Kolfekeraniyo sub city AyerTena area. The company is founded
by the two entrepreneurs with a capital of half a million, in June 22/2013. It was established by
entrepreneurDaguDamise. . The Company started to operate with 13 machines and 5 workers
only. Currently it expanded to have 85 machines and have about 100 workers. Apart from this,
the company is on the position to identify its strategic products and plans to expand its market
share by producing fashionable & high quality garments to meet the demand.

The company has three out let channels in the Merkato. It is producing about twenty types of
items (shirts, Polo shirts, blazers, stockings and so on) from woven and knitted textiles.
However, the company has got a priority problem which leads it to untimely production and
obsolete out puts. Its main production depends on the demands of Merkato, and if they got the

Moving item in the shop, then the materials acquisitions and production will be started for the
specific item but there is no clearly identified demand of any of its own products. It has not
predetermined pattern or demand forecast for the market; rather it follows a wind moving
approach.

Generally,

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  There is less focus for future demand, and production is only based on actual orders and on
the demands of Merkato.
 There is no clearly identified product lists for the market
 There is less coordinated marketing action due to lack of good forecasting.
 There is no collaborative forecasting.

1.1Vision

To become a big Pillar of delivering functional garments in a nation through the Moto of
“Smarten up” and at all-time strive to offer products of the highest quality and to provide
outstanding services to all our customers for the ultimate benefits of our employees and
shareholders.

1.2Mission
Provide a safe and healthy working environment that will foster teamwork, involve a process of
continuous improvement and encourage an attitude of “Do the right things first time every time”
by everyone to deliver balanced comfort and quality products.

1.3Objective of the industry

 Good governance
 Commitment
 Consistency

 Work to bring great Customer satisfaction

 Reliability
1.3.1Core Business of the industry
Manufacturing of fashionable products, Kids wear, working wear, shirts, and blazers , gown(for
many purpose),Garments made up of felt or coated fabric,Baby’s topes & other
hosiery,Overcoats, capes, wind-jackets, woven; Suits, ensembles, jackets, blazers, knitted
,Jerseys, pullovers, cardigans (sweater), etc.

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1.4Man power

Table 1man power

Employees by Duty By Profession By Terms of Employment

Administration and commercial Degree and above-3 Permanent-35
staff -5
Supervisors Diploma -6 Permanent-35
Technicians,Designers-
2
Production operators-3 Certificate and below- Total-105
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Source of raw material and their main supplier

 Cotton …………. From markato

 Polyester …….. from, kolfe
Table 2sources of raw material

Product Origin Supplier name (please)

All accessories and spare part Ethiopia Marekato

Sewing thread Ethiopia Marekato

Button Ethiopia Kolfe

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1.5ORGANIZATIONAL STRUCTURE OF THE FACTORY

Board of directors

General manger

Planning Secretary
service

Production and
technical deputy Project Commercial head
general manager manager

Marketing Procurement
Garment
manger and supply

Sale Procurement
division head

Merchandise division Store head

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 Figure 1 Organizational structure of the factory

1.6PROCESS FLOW CHART

Order taking Marker

• Design Sample
making making
•

Sewing• Number Cutting Spreading

ing
•

Quality Ironing
Trimming In line
checking
inspection

Dispatch
Final
Ware Packing
checking
house

Figure 2 Process flow chart

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1.7PROCESS FLOW OF THE COMPANY

1.7.1 Store room

This room is constructed with heavy duty during the time of establishment this room is
developed to satisfy the heavy duty by keeping stock for production time. But during different
unit expansion there is no expansion in the store room. So, they think to solve the problem is by
making satellite store in every unit that can store the amount required by the section.
The stock keeping procedure is, the required amount of the raw material is purchased using
purchasing requisite format and they send to different local textile company and if its need to be
imported them send to different agents

Figure 3Store Room

1.7.2 Design room

Designis knighting sketch of one product at ways to need and all so sketching is normal either
computer or manual sketch of a give products. Function of sketching: the function of sketching is

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to give full information about the products or representing of one object. In EDE garment
industry sketching are by manual on hared paper

Pattern making: is a basis for analyzing, interpreting and realizing the designer ideas or sketches
in the actual garment product .Values of pattern making are to get strictly measurement,
minimize of fabric wastage and for fit and balance of the body. So in EDE garment pattern
making are according to customary order by manual ways on the hared paper Sample making: is
ways of giving fully information for customer or express of one product to customary. The need
of this sample making is way of gating fed back on customer, so in EDEgarment
industry.Sample making are done in pattern room

Figure 4pattern making room

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1.7.3 Cutting
Cutting: is a process of cutting fabric into necessary pattern shapes. Is the first stage of garment
manufacturing. Under this, the cutter depends on the marker and time for straight cutting is
straight cutting machine. Garment production starts with the cutting process. In this process,
fabric is being cut into components (shapes or patterns of different garment parts). In mass
production, multiple layers of fabrics are laid on a table and large number of garments is being
cut at a time. The laid fabric stack is called as lay in EDE garment industry cutting system is
manual and amount of worker is eight among two is spreader and the left are kipping the side
of fabrics the machine availability in cutting room generally in EDE garment around 5 machine .

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 Figure 5cutting room

1.7.4 Marker making

Marker makingis the process of determining the most efficient layout of pattern pieces for
specified style, fabric, and distribution of sizes (requires time, skill and concentration) Marker
making is one of the carefully doing in garment why b/c of when one fabric wrong marker done
it obtunds great problem (its product in mass) so marker making need deep skill

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1.7.5 Spreading
Spreadingbefore spreading the raw material came from store rooms Spreading is the process of
rolling out layer after layer of cloth, smoothly without wrinkles.the most of time depend on type
of fabric either woven or knitted the spreading ways are worker out stand aligning side to side in
terms of speed and minimize of wastage all so give the good products. What we advise to heavy
duty section is that, spreading and cutting head please try to put as such place which has
knowledge about spreading and cutting.

Figure 6Spreading Table

1.7.6 Garment Department

In this garment the process start from Garment department.it is currently producing different
types of wearing apparels for the local & international market. The company has very flexible
&brand new state-of-the art technology in its design &pattern making, make up, finishing,
Embellishment& quality control units. Currently, the factory has a total of 75 sewing machines;
about 95% of the machineries are JUKI brand of different varieties. The cutting unit with full
size cutting table strengthened by the design & pattern making unit.

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Product types which are produced in Ede Garmenting factory are

 Basic and Polo T-shirt

 Brief and pajama
 Classical shirt
 Trouser
 Casual Trouser
 Work wear
 Jeans Shirt and trouser etc.

Figure 7Garment Section

1.8 Identification of Strategic Products Using Qualitative Measures

Currently the company produces about 20 types of garments in its production processes. But all
the products are not equally important to the growth of the company. Even it can be a black
opportunity which hinders the company’s core competitive edges, if the production line is
occupied of less important items frequently that it is, we identified the main product list and
evaluated based on the three parameters (Economic importance, Strategic importance and
Potential for success)

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In the table below all the items are evaluated out of five for economic importance, out of five for
strategic importance and out of three for potential for success. Ten high officials in the company
from different departments vote for all the items based on the three parameters from their
experience. The average points are given for each of the items below.

Table 3identification of strategic products using qualitative measures

S Product Economic Strategic Potential for

.No Description code importance importance success
1 Shirts; woven; M/B P001 4.425 4.48 2.89

2 Suits, ensembles, jackets, P002 3.55 4.125 2.475

blazers, etc.; woven;
3 T-shirts, singlet’s and P003 3.875 3.335 2.565
other vests; knitted
4 Suits, ensembles, jackets, P004 3.65 3.25 2.55
blazers, etch.; knitted;
5 Bedding, table, toilet and P005 2.87 3.6 2.8
kitchen linens
6 Overcoats, capes, wind- P006 3.25 3.5 2
jackets, etc.; woven;
7 Pantyhose, stockings, P007 3.25 3 1.75
socks
8 Garments made up of felt P008 3.3 3.3 1.3
or coated fabric;
9 Jerseys, pullovers, P009 2.6 2.6 1.87
cardigans (sweater), etc.
10 Baby’s topes & other P010 2.1 3.5 2.8
hosiery;
11 Pack outs P011 3 2.5 1.8

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12 Cover all P012 4.1 1.8 1.4

13 Joggings P013 2.5 2.25 2

14 Polishers dishes P014 3.25 1.8 1.5

15 Flagging’s and adverts P015 2 1.5 2.85

16 Rags of reuse P016 2.75 2.37 1.13

17 Tapestry P017 1.1 1.25 2.8

18 Curtains P018 2 1.25 1.4

1.8.1 Equipment and technology

Equipment and technologyMost of the equipment used for garment production purpose is Semi-
automatic machines. Like Single needle machine, Overlock Machines, Flat lock Machine, Button
holing machine, Button setting machine, straight cutting machine and etc.

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Figure 8Buttonhole Machine
Figure 9Army Dog Machine

Figure 10button attach machineFigure 11single needle machine

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1.8.2 Production Capacity
EDE Garment and Textile Engineering Private Limited Company is producing shirts, work
wears, Kids wears, tops, blazers and etc. Currently the company has a production capacity of
882,585 pcs of shirt equivalent per year. Regarding the workforce the Company has 100
permanent employment.
Types of product, representing the Categories
Tops& blazersWork wear, Shirts, kids, T-shirt, Polo shirt, Classical shirt. Classical trouser

Figure 12 Products of EDE garment and Textile Engineering Plc.

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 PART TWO

RESEARCH WORK

CHAPTER ONE

INTRODUCTION
Wollega have their own beautiful cultural clothes to express their own cultural styles concerning
to the time of celebration and they like to wear their cultural cloth during holly day Irreecha
festival and other cultural holiday and holly sprits like Ateetee (women festival),Gannii(festival
of Cattle) etc.

1.1Background
The Wollega Oromo are constituted of a large number of local groups with defined local
territories. It is bounded on the east by West Shoa, on the west by the Didessa River, which
separates it from Gedo, on the south-east by Jimma, on the south-west by Illu Abba Bor, and on
the north and north-west by the Benishangul-Gumuz Regional State. The total population of the
zone in 2007 was given as 1, 213,503 (CSA 2010: 7), about 86.6 percent of which lived in rural
areas and subsist on mixed agriculture

Some of these live in the north-eastern part of Wollega in the vast area between the Abay, Anger
and Didessa river valleys. The central Wollega area between the upper Gibe, Anger, Wama and
Didessa rivers is settled by the several Leqa groups (Warra Leqaa) of which the important ones
are the LeqaNeqemte, Leqa Gida, LeqaBilo, and LeqaQumba. The further north-western area
between the Didessa and the Dabus rivers is populated by the large Sibu groups.To the south of
the Sibu, in the lowland area of the present-day Qellem-Wollega administrative zone, live the
Sayyo and Leqa-Qellem groups, which were ruled by the family of Jote Tullu before their
incorporation into the Ethiopian state in the end of the nineteenth century.

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Ebantu inhabiting the large north-eastern part of Wollega, the formerly Horro-Guduru Woreda,
which became
1 These include: the Horro, Guduru, Limmu, JimmaGeneti, Jimma Rare, Jarte, Amuru, Gida and
one administrative zone (Horro-Guduru Wollega Zone) since May 2006.
2 The Sibu consisted of several sub-groups such as the JarsoSibu, Mana Sibu, NejoSibu,
BojiSibu, GimbiSibu, and AiraSibu, all of whom are found in the present north-western Wollega.
3 Ruler of Leqa-Qelem in the second half of the nineteenth century.

1.2 Statement of problem

Wollega cultural clothes more attractive. But some problem decrease the beauties’ of cultural
clothes like; loss of fitness shape of the body, heavy weight of fabric, repetition fabric cultural
cloth and etc. my project to solve this problem by using light weight fabric, making pattern to fit
the body shape, reduce repetition and also decrease the cost of fabric to access cultural clothes.
Wollega cultural clothes does not recognize current requirement among Wollega peoples.it
should have to easy fabric , access able, fitted garment, multi-function including all ages and
considering seasons.

1.3 Objective
There are two types of objective those are:-

 General Objective and

 Specific Object

1.3.1 General Objective

Design anddevelopment of Wollega cultural cloth collection through modern style

1.3.2 Specific Objective

 Identifying problem with in Wollega people related cultural cloths
 Determine the relationship of Wollega cultural cloth with today era.
 Determine and Choice the materials used to develop this cultural clothes and
equipment help to overcome this project.
 Developing Design that related to Wollegapeople culture.

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1.4 Significanceof the Study
Frist of all I was interested to make my project to develop Wollega cultural cloth through modern
style by modifying traditional clothes and develop design using patternmaking in order to reduce
forgetting culture cloth and to benefit Wollega people.This research promotes and supports to
improve other ethnic cultural cloth and also implication of identity, culture, religion social life of
thatsociety. Myresearch project focused on Wollega peopleespecially youngestclasses for middle
age between 15-30 year.

1.4.2 Benefit
The research is significant for Wollega peoples as well as Ethiopia to introduce their culture and
identity and improve the cultural cloth. It is use full for other small enterprise to produce cultural
cloth and sell their product items. I’m also beneficiary in order to scored good well result

1.4.1 Beneficiary
This researches for benefit for

 My self
 Wolkite university
 Wollega people

1.5Scopeof the Study

In the research study start from identification problem data collection, primary and secondary
design preparation, material identification product development, evaluation final presentation.
Iwill investigate the usage ofWollega cultural cloth and it used by the geographical area
ofWollega; so my project study will investigate on the effect of losing the cultural cloth
ofWollega.
The project is done on around Ayer Tena Addis Ababa Ethiopia

1.6 Limitation of the study

 Lack of exact fabric
 Lack of print in order to get exact pattern of fabric
 Lack of internet access
 Lack of lab computer in factory.

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  I cannot able to get detail of information because the far of the places(Wollega)
 Lack of material while working like; paper, French curve, tape measurement and etc.
 Keeping machine up to get free time and its consequence.

Delimitation
During period internship the company I’mfully agreeable with allworkers and also have smooth
relationship. I have get support like; -
 Getting permission when necessary
 Freedom to work at any time
 Supporting material works like:-paper, computer, sewing machine and etc.
 Coo-worker with company manager and company worker.

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 CHAPTER TWO

LITERATURE REVIEW

Culture is that which defines the way of life of a group of people and their interactions with the
environment over a period of time. Moving from the abstract to the concrete and from the
material realm to the immaterial domain, culture could be described as a thread that holds what a
society finds valuable, meaningful and appreciable. Following the models of previous studies
culture is firmly observed as being dynamic and multi-layered. From the perspective of the
intangible elements, described culture as a set of values (conscious and unconscious) evolved by
a group of people living in a society so as to shape that society with specific characteristics,
identities, attitudes and behaviors. However, within the tangible layer, culture could also be
understood in the social context of artefacts used within a particular environment.(Meaningful
and appreciable culture (Moalosi, Popovic& Hickling-Hudson, 2007),

Artifacts and its meaning The term "material culture" is often used by archaeologists as a non-
specific way of referring to artefacts or other concrete things left by past cultures. Material
culture means something else to art historians. Interestingly enough, when they speak of material
culture they look at an object within its environmental and cultural context as things left by past
cultures. The organization of cultural on the Separate goals and purposes that need to be met by
aesthetics and the way in which they are interpreted within a specific locale, visual rhetoric
widely varies based on classical cultural differences. There are innate differences in the way
people view images because our interpretations of aesthetics and practicality stem directly from
our localized cultural experiences. (Material culture and conceptual definition (Kashim 2013)

The interpretation of design as visual and material culture enables a broad understanding and
critical awareness of its meanings as material objects, images and cultural practices that position
human beings in time and space. Thus the relation between artifacts and society is intractable
relationship. This is also true for Oromo society. Numbers of researches are studied Oromo
indigenous artifacts. Their study is mainly focus on social status and economy of

20
artisans.Howeverthe relationship between material culture and society was addressed in a fairly
limited way. Additionally cultural values of handicraft in general and weaving in particular
among Maccaa Oromo did not study in detail. Thus, this paper aims to fill the existing literature
gap from Maccaa Oromo perspective. Material culture means something else to art historians.
Interestingly enough, when they speak of material culture they look at an object within its
environmental and cultural context as things left by past cultures. (Oromo indigenous artifacts
(Bartle’s 1983, Bula 2000, Negaso 2001, Waktole 2014)

Activities such as business or economic activities led to cultural industries. The idea of ‘creative
industries’ originated from a concern with the cultural industries. The core of the cultural
industry is its creativity According to Robertson historically; the earliest stage of every creation
was a piece of handicraft since every object was made with hands, using physical human skills.
This is due to the absence of automation or technology available to make anything mechanically.
The writer argues that, after development of technology handicrafts improved and adapted
according to environmental conditions, eventually becoming customary and accepted as an art
that reflects the artistic sense, feelings and cultural characteristics of a society. Creativity is
unique to every society, and involves originality, imagination, inspiration, ingenuity, and
inventiveness and in this setting traditions as well. This is a strong aspect of every culture. (The
core of the cultural industry (Okoi&Oladokun, 2009)

Weavers reports that for groom and bride cultural cloth prepared before wedding day. The boy
prepared white trouser known as kittaawith its coat. In addition to kittaa, bullukkoo is
mandatory. If he could not do that he borrows from his friend for that day unless participating on
the ceremony with other cloth impossible. The bride groom also wears kuulawith other jewelry.
The cloth identifies them from other who travels with them. Unless it is consider as loss of
safuuand bad luck for their future life. On that wedding ceremony at least bride, groom and
miinjee(best friend) must wear cultural cloth.
The girl family should prepare bullukkoo for husband and father in law (abiyyuu) and kulaaand

21
sabbataa for Mather in law (amaatii). Number of bullukkoand bale given for girl on wedding day
indicate her parent status and strength .On wedding day relative bring cloth and other as gift
which is called gonfa (gift). Five days after marriage there is ritual ceremony performs at boy
house. This ritual ceremony is called gadbaasaa. On this ritual ceremony different food and
drink are prepared and people invited. On this ritual ceremony her qarreeis shaving by her
husband. Qarreeis hair which symbolize unmarried girl. Shaving of Qarreemarks the
transformation of girl from child hood to motherhood.(Embedded meanings traditional
knowledge and values of society (Bula 2006,CD. Daskon 2010)

Shamanes are artisans those have skill of making clothes. As Bartles (1983) clearly put the term
shamane comes from Amharic term ‘shama’ clothe making. They provide ritual clothes for
Oromo people from local raw material by their indigenous knowledge. Ritual cloths are also
serving as symbol of power. According to oral source obtained from elder of Limmu district the
products of weavers are used in political and ritual practices. When Gada system was in
practiced rufahas been serving as symbol of AbbaaGadaa. This cloth distinguishes the
AbbaaGadafrom other people. Thus it is a symbol of authority. In addition to this, the weavers
also provide women cloth that they use in Ateetee and other ritual event.
(Oromo indigenous artifacts (Bartle’s 1983, Bula 2000, Negaso 2001, Waktole 2014)

Cultural cloth is needed on these event because different reason. It makes the stage beautiful
and complete. It marks identity of participants. It also indicates status and responsibility of
participant on that specific stage and in society in general. For instance AbbaaGadaadoes not be
AbbaaGadaawithout bullukkoo and rufoo. Thus cultural cloth has great meaning and symbolism
in economic, social, political and religious activity of Oromo society in general and Limmu
Oromo community in particular. In addition weavers play great role in maintaining and
promoting Oromo cultural heritage.(Dialnet-CulturalValuesOfCustomaryHandicraft-5575807
(1)

22
 CHAPTER THREE

METHODOLOGY

Methodology plays a significant role in addressing the set of goals and objectives established
above. Therefore, in this study, I employed different methods that can help me accomplish the
research objective.In my research I have looked for how people interpret and understand the
signs, symbols and colors of their cultural costumes, how they define some items as cultural
costumes and how this connects to their identity. I was also eager to see how people relate such
meaning to the material culture (in this case the cultural costumes – I limited myself to costumes
because of the fact that it is the cultural costumes that are under serious change in my
observation). To get as much information as possible regarding these issues, the research
required me to look at the case within the social context of the people under the study

3.1 MaterialUsed
 Paper
 Pen
 Pencil
 Eraser
 laptop
 Cad in Adobe photo shop
 Cad in Adobe illustrator
 sewing machine

23
3.2 General Working Procedures

Secondary
Data
collection

Problem Literature Data

identification review collection

Primary Data
collection

Development
Design
Material Product
preparation
identification

Presentation
and product Evaluation
display

Figure 13General Working Procedure

24
3.3 Data collection techniques
Data collection techniques in dealing with the topic of this research, it is necessary to collect data
that are appropriate. In order to conduct this study, data were acquired and collected from both
primary and secondary sources.

3.3.1 Primary Data

 Observation
 Interview
 Questionaries’

To recover indigenous knowledge of the inhabitants and to collect data about the study area,
officers of cultural and tourism office of Horo Guduru Wollega Zone and Guduru Woreda and
the peoples who live in and around the study area were interviewed.

By the help of culture and tourism office experts of Horo GuduruWollega Zone and Guduru
Woreda, selection of informants was conducted based on age and gender. The number of
informants depends on the number of population living in and around the study area. Before the
interview, the objective and other general description of the research was explained to the
informants. And important information was collected from the informants through field note.
Totally I asked 80 people in Wollega including married and unmarried, culture and tourism
office experts of HoroGuduru Zone and Guduru Woreda from them 85% of people accept and
they reflect their happiness and positive full suggestions concerning to my idea.

yes
no

Figure 14Methodology

25
3.3.2 The secondary data
The secondary data part of the research method was material and data analysis which is done
through
 Internet
 Books
 Previous research documented and etc.

3.4 Data analysis

The general approach to the research was a qualitative one since the research sough information
on the attitude, interpretation and perceptions of the targeted community on the issue I shall
discuss my field data. In this presentation I return to my research questions which basically ask
questions like: why is/was the idea of designing new costumes necessary to the Wollega People
and where did the idea come from? I also ask what the driving factors for this development are
and the role and reaction of the public regarding the newly designed cultural costumes.

Questioners;-

 1- Do you have interest to making new costume of Wollega culture cloth?

 2-what is the cause of no developing and not more introduce Wollega culture cloth? Why?
Table 4data analysis

Questioner Answer the questioner

Questioners 75%-yes because that cultural cloth is not developed still now so its more
number one interesting.

25%-no because the creator of that cultural cloth is un skilled.

26
Questioners 80%-yes because its producer is no making confident of production of Wollega
number two cultural cloth so one designer are making and thinking these problem solve is
skill no more research market

20% it’s no more filling the customers.

Using graph analyzing using graph

80

70

60

50
100%
40
Column1
30 Column2

20

10

0
yes no

Figure 15 analysis using graph

27
3.5 PRODUCT DEVELOPMENT

3.5.1Inspiration Board

Figure 16Inspiration board

28
3.5.3Theme board

Figure 17Theme board

29
3.5.4 Mood Board

Figure 18 Mood board

30
3.5.5 Trim Board

Figure 19Trim board

31
3.5.6 Accessories Board

Figure 20 Trim board

32
4.2.7 Fabric Board

Figure 21Fabric board

33
4.2.8 Color Board

Figure 22Color board

34
4.2.9 Flat Sketch Board

Figure 23 Flat sketch board

35
4.2.10 Illustration Board

4.2.11 Client Board

Figure 24 Illustration boardFigure 25Client board

3.5.11 STORY BOARD

36
Figure 26Story board

37
Design One Specific Sheet
Table 5 Design One Specific Sheet

1. .Product material Type color Amount(m/no)

description
Shift dress, with
Fabric tartan White 1.5m
have lining body at
Cotton
back and front body White, 0.2m
and have bounded black
seam on sleeve
lining polyester white 0.12m
place

Thread polyester white 40m

Set Style no. Haceks/01*/ Measurem (cm) Measure (cm)

Items Shift dress ent ment

Season For special

time(celebra Full length 95 Bust level 42
tion) bust 86 Waist 66
Size Taken from circumfere circumfer
model nce ence

Prepared Hanchalu Bust 19 Across 13

by Dejene separation shoulder
439/09 Shoulder 19 Bottom 90
Model Chaltu length circumfer
name ence

Fabric Black;

38
thread color white

39
Operation Break Down For Design One
Table 6 operation break down design one
Shift dress

Operation machine Seam type Stitch type Time

Preparation (min)

Sewing dart Single Super imposed 301 – 20

thread seam Lockstitch

Lining attach Single Super imposed

back and front seam
thread 30
within upper
layer

Connecting Single Super imposed 300 – 20

back and front thread seam Lockstitch
of dress

Sewing bound Single Super imposed 300 –

seam on thread Lockstitch
Assembling seam over edge 30
sleeve place
seam 500-Three
and hemming
thread over
edge

40
Trim Trimmer 15

Ironing Pressing 10

Total 125

Table 7Cost sheet design 1

Design 1 Cost sheet of

 Shift dress design1 Direct cost

Material cost Color Quantity in Cost per Total cost

meter meter
Fabric White 1.4 100
White black 0.12 200 150br
stripe

Lining White 0.12 80 9.6br

Trim Thread White 40 0.5 20br

Total material cost 193.6br

Labor cost Time devoted Price per hr. Actual cost

Pattern maker 5 20 100br

Marker 0.75 20 15br

Cutting 0.5 4.04 2.02br

Sewing 6 4.04 24.24br

Finishing Trim 0.12 4.04 1.2br

Ironing 0.1 4.04

Total labor; cost 140.44br

Total direct cost 334.04br

Total indirect cost=(20% of direct cost) 66.80br

41
Total cost =Total direct cost+ total indirect cost 400.84br

Profit (15%) 60.12br

Sell Price 460.96br

Design Two Specific Sheet

Table 8Design Two Specific Sheet

1. .Product description materia Type color Amount(m/no)
Vest and trouser, it has face in l
the front of vest and trouser
complimentary fit within vest.
Fabric tartan White 1.5m
Cotton
White, 0.6m
black

lining polyeste white 0.5m

r

Zipper Plastic white 1

Button plastic White 6

,black

Thread polyeste white 40m

r

Set Style Measurem

no. Haceks/02$ ent Meas Trous Measurement(cm)
/ chart(coat urem er
Items vest and and ent(c

42
 trouser trouser) m)
Season For special
time(celebr Full length Inseam 76
ation) 76
Size Taken from Chest Waist 86
model 99
Prepared Hanchalu Chest level Front 27
by Dejene 43 rise
439/09
Shoulder Back 33
Model Miidhaksaa length 15 rise
name Front neck Hip 91
Fabric Black; 10
thread white;Red
Back neck Thigh 71
color drop 3
Botto 38
m
Knee 63

43
 Operation Break Down For Design Two

Table 9Operation Break Down For Design Two

Operation break for vest

Operation machine Seam Stitch type Time(min)
Preparation type

Attaching front Single Super 300 – 20

vest within face thread imposed Lockstitch
seam

Making welt Single Super 300 –

pocket on both imposed Lockstitch
thread 35
side of front seam
vest

Connecting face
with lining

Sewing back Single Super 300 – 30

vest, each other thread imposed Lockstitch
within belt seam
Connecting
back and front
vest

Trim Trimmer 10

44
Ironing Pressing 10

Total 190

Table 10Operation breaks down for design two

45
 Operation mach
Preparation

Over over
locking lock
each
pieces the
of body

Side and Singl

panel
thread

Front Singl
...side
thread
pocket;
zipper
attachment

Back...welt Singl
pocket thread

Back with Singl

Assembling front; body thread
with waist
band and
hemming

Trim Trimm
46
Total
Cost sheet design Direct cost
2Design Vest and
Trouser

Material cost Color Quantity in Cost per Total cost

meter meter

Fabric White 1.5 100

White 0.6 200 270br
black

Lining white 0.5 80 40br

Trim Thread Red 30 0.5 15br

Black 2 0.5 1br

Total material cost 326br

Labour cost Time devoted Price per hr. Actual cost

Pattern maker 3 20 60br

Marker 3.5 20 70br

Cutting 1.5 4.04 6.06br

Sewing 10 4.04 40.4br

Finishing Trim 0.5 4.04

Ironing 0.5 4.04 4.08br

Total labour cost 180.5br

Total direct cost 506.5br

indirect cost=(20% of direct cost) 101.3br

Total cost= Total direct cost + total indirect cost 607.8br

Profit (10%) 60.78br

Sell Price 668.58br

47
Table 11 design three specific sheet

Design Three Specific Sheet

1. .Product description material Type color Amount(m/no)
Dress, it has very
short sleeve and
Fabric Satin White 1.3m
elastic thread at
Cotton
waist level in stripe White, 0.3m
fabric. black
stripe

lining polyester white 0.12m

Thread polyester white 25m

Set Style Haceks/03 Measurem Measure (cm)

no. & ent (cm) ment
Items Best
woman Full length 98 Bust level 40
dress bust 90 Waist 76
Season For special circumfere circumfer
time(celebr nce ence
ation) Armhole 21 Across 13
Size Taken from straight shoulder
model Shoulder 19 Bottom 105
Prepared Hanchalu length circumfer
by Dejene ence
439/09

48
 Model Hanna
name
Fabric Black;
thread white
color

Table 12Operation break down for design 3

Operation break down for design three Best women dress

Items machine Seam type Stitch type Time(min)

Preparation Shoulder seam; Single Super 300 – 30

body with neck thread imposed Lockstitch
binding and seam
armhole binding

49
 Panels Single Super 300 –
preparation thread imposed Lockstitch
45
seam
Lining with over lock
lower torso

Assembling Upper with Single Super 300 – 15

lower thread imposed Lockstitch
seam

Trim Trimmer 10

Ironing Pressing 10
m/c

Total 110

Table operation break down

Table 13Cost sheet design 3

Design 3
 Best women Direct cost
dress
Material cost Color Quantity in Cost per Total cost
meter meter

Fabric White 1.3 100

White black 0.3 200 190br

50
Lining white 0.1 80 8br

Trim Thread White 20 0.5 10br

Total material cost 208br

Labour cost Time devoted Price per hr. Actual cost

Pattern maker 3 20 60br

Marker 0.4 20 8br

Cutting 0.5 4.04 2.02br

Sewing 4.5 4.04 18.18br

Finishing Trim 0.25 4.04 2.02br

Ironing 0.25 4.04

Total labour cost 90.22br

Total direct cost 298.22br

Total indirect cost=(20%of direct cost) 59.64br

Total cost =Total directcost total indirect cost 357.86br

Profit (15%) 53.61br

Sell Price 411.53br

Table 14 specific sheet

Specification Sheet:-Design 4
1. .Product description material Type color Amount(m/no)
Vest and trouser, it has face in
the front of vest and trouser
Fabric tartan White 3.6m
complimentary fit within vest.
Cotton
White, 0.2m
black

lining Polyester white 0.5m

51
 Zipper Plastic black 1

Button Plastic White 8

,black

Thread Polyester white 60m

Set Style Haceks* Measure

no. ment Mea Trous Measurement(cm)
Items shirt and chart(coat sure er
trouser and ment
trouser) (cm)
Season For
special
time(celebr Full length Waist 86
ation) 68

Size Taken from Chest Front 31

model 91 right

Prepared Hanchalu Chest Back 29

by Dejene level 43 rise
439/09 Shoulder Hip 95
Model Daniel length 15
name Front neck Thigh 66
Fabric Black& 10
thread white Back neck Botto 37
color drop 3 m

Sleeve 20 Knee 63
length

52
 Operation Break For Shirt
Operation machine Seam type Stitch type Time(min)
Preparatio
Attaching yoke with Single thread Super 300 – 20
n
back shirt imposed Lockstitch
seam

Making upper and Single Bounded and 300 –

under collar and front super Lockstitch
thread 35
placket connect with imposed
yoke 53 seam

Inserting sleeve
 Connecting back and Army dog Lapped seam 300 – 30
front shirt and Single Lockstitch
thread
Hemming bottom

Trim Trimmer 10

Ironing Pressing m/c 10

Total 190

Operation Break For Trouser

Operation machine Seam Stitch type Time(min)

Preparation type

Over locking over lock Super 300 – 10

each pieces the imposed Lockstitch
of body seam

Side and panel Single Super 300 – 10

imposed Lockstitch
thread
seam

54
 Front ...side Single Flat. 300 – 30
pocket; zipper Lockstitch
thread
attachment

Back...welt Single Super 300 – 30

pocket thread imposed Lockstitch
seam

Back with front; Single Bounded 300 – 45

Assembling body with waist thread Lockstitch
seam
band and
hemming

Trim Trimmer 10

Total 155

Table 15Operation Break Down For Design Four

Table 16Cost sheet design 4

Design 4 Direct cost

Shirt and Trouser
Material cost Color Quantity (m) Cost per (m) Total cost
Fabric white 3.6 100
White black 0.2 200 400br

Trim Thread Over lock 40 0.5 20br

55
 Single thread 20 0.5 10br

Total material cost 430br

Labour cost Time devoted Price per hr. Actual cost

Pattern maker 8 20 160br

Marker 2.5 20 50br

Cutting 0.5 4.04 2.02br

Sewing 10 4.04 40br

Finishing Trim 0.5 4.04

Ironing 0.5 4.04 4.08br

Total labour cost 256.1br

Total direct cost 686.1br

Total indirect cost=(20% of total direct cost) 137.22br

Total l cost=Total direct cost+ total indirect cost 823.32br

Profit (15%) 123.49br

Sell Price 946.81br

56
 CHAPTER FOUR

RESULT AND DISCUSSION

4.1 DISCUSSION
This project study to discuss about Wollega culture cloth for modern style in fashionable planning
according to develop Planners’ cultural cloth. This concluding chapter will include the following: a
Summary of the study, as well as a discussion of the findings, limitations, conclusions and Implications of
the findings, and recommendations for Future research. The results and conclusions for this study can be
made for the develop planner cultural cloth. Overall, these results help determine the different aspects of
each current and future. Wollega cultural cloth.These projectproduct express one by one

4.1.1 Design One

Shift dress wear for special occasion during festival, holly day. This dress made from woven
fabric specially tartan, cotton and satin with have lining body at back and front body and
have bounded seam on sleeve place.

Figure 27Product display Design 1

57
4.2.2 Design Two
Vest and trouser used for design two,thisdesign made from woven fabric especially tartan, cotton
and satin.it has face in the front of vest and trouser complimentary fit within vest.This design
always acceptable among society.

Figure 28 Product display design 2

4.1.3 Design Three

When I design and develop design three for women in fashionable or in modern form from
satin fabric. This design made from woven fabric specially tartan, cotton and satin. This dress
is on the back having lining. Dress, it has very short sleeve and elastic thread at waist level in
stripe fabric.

Figure 29Product display design 3

58
4.1.4 Design Four
Shirt and trouser used for design four. This design made from woven fabric especially tartan,
cotton and satin. It has yoke front and back and placket in front within short sleeve. Trouser
have vast to both side and short full length. this trouser known in society called ‘’tenefanefo’’
this trouser wear expressing for hero behavior.

Figure 30Product display design 4

59
 CHAPTER FIVE

CONCLUSION, IMPLICATION, RECOMMENDATION AND

SUMMARY

5.1 CONCLUSION

Interning at EDE Garment and Textile Engineering plc has shown me what the real world
application of my career whether in management or creativity aspects. I have learned more than a
theoretical approach to the industry and what different outlooks I have to put in consideration in
order to have great professionalism in my future career as a fashion designer.

EDE Garment and Textile Engineering plc is a type of company where everyone pushes you in
the direction of growth and bettering yourself from their welcoming manner to their sincere
mentoring. I have gained confidence in myself and it helped me explore my potential. Ihave no
more information about supplementary but Iwas used as instrument to search different data
either primary or secondary by using some computer programs such as e-mail ,face book as well
as cell phone... I have no questionnaires, maps and etc.

5.2 IMPLICATION
Wollega cultural clothes reflect identity, social life, culture,ofWollega people. Culture clothes
used as the identification of limited society group. It means that culture clothes express and
symbol of oddness from other group of society. Culture itself the indication one’s society.
My project works display Wollega culture cloth that wear seasonal occasion inWollega and its
surrounding implemented by interview that express their feeling and by photo shoot.
Figure 31fakii.

60
5.3 RECOMMENDATION

I have seen cutting processing defect that there was fabric wastages. This means after they mark
on the paper the fabric they does not cut by following the line so it becomes waste this is comes
from carelessness with without using weight to hold the marked paper to the fabric so the
company have to replace the wasted fabric and this led to afford money .as I have seen the
problem it is better to cut along the line with care this helps to get the needed profit and save
extra cost.

Finally, we recommend that the factory should apply our suggestion to come-up with better
performance, standard work-culture & competent in the global apparel market and we gained
from this certificate paper from company’s managers. Interning at EDE garment has shown me
what the real world application of my career whether in management or creativity aspects. I have
learned more than a theoretical approach to the industry and what different outlooks I have to put
in consideration in order to have great professionalism in my future career as a fashion designer.

61
 CHAPTER SIX

LEARNING EXPERIENCE FROM INTERNSHIP

During the internship time I have gained the knowledge of patter making by asking and sewing
how they are doing so to help me to add something on my background know ledge. They have
shown me simple and quick way of moving pattern for the needed design.in garment process I
have seen from sample room to production line in knitted and woven process and this is nice
experience. Secondly since I am a student I have asked lots of questions and get answer from
lots of operators this gave me a nice ability to communicate company workers easily quickly and
willingly and get experience of how to conduct work and use time effectively for work and
handle responsibility. I have experience that difference between theoretical know ledge and
practical work .in theory everything is done on a paper but on practical it is done on real world so
by facing lots of problem I get lots of solution to come up with success by making practically I
develop lots of new designs created by me this gave me confidence to work new things For

example I observe knitted and woven fabric over lock machines has differentiate by their needle
type for woven there is 3 tread over lock and 5 tread inter lock and 4 tread over lock and also the
double needle lock stitch, bar tucking machines, bottoming/cover stitch machine, button hole
machine, button attaching machine I get the know ledge of operating and treading of this
machines by the time of this internship in EDE garment company.

62
 REFERENCE

[1] Oromo indigenous artifacts (Bartle’s 1983, Bula 2000, Negaso 2001, Waktole 2014)
[2] Gothic fashions (black clothing, heavy coats, poet shirts, big boots, and
makeup1990s)
[3] The core of the cultural industry (Okoi&Oladokun, 2009)
[4] The earliest stage of every creation (Robertson 1961) historically;
[5] Traditions, knowledge andvalues of society (C. D. Daskon 2010).
[6] Meaningful and appreciable culture (Moalosi, Popovic& Hickling-Hudson, 2007),

63