ETHIOPIAN INSTITUTE OF

TEXTILE AND FASHION

TECHNOLOGY
DEVELOPMENT OF WOMEN’S CAUSAL WEAR BY USING
ETHIOPIAN ORTHODOX CHURCH HOLLY ASSET (CASE STUDY
AROUND BAHIR DAR

4TH BSC. IN FASHION DESIGN

STUDENTS, NAME ID.NO
1. GENETU ABITEW BDU0904281UR
2. TAREKEGNI MILAA BDU0804757UR
3. TEMESGEN ABABU BDU0905207UR
4. TETSAFE SIMACHEW BDU0905253UR

UNDER THE GUIDANCE OF LECTURER

YOSEPH DANIEL
ETHIOPIAN INSTITUTE OF TEXTILE AND FASHION
TECHNOLOGY
BAHIR DAR UNIVERSITY

JANUARY, 2021
DEVELOPMENT OF WOMEN’S CAUSAL WEAR BY USING
ETHIOPIAN ORTHODOX CHURCH HOLLY ASSET (CASE
STUDY AROUND BAHIR DAR

BY

STUDENTS, NAME ID.NO

1. GENETU ABITEW BDU0904281UR
2. TAREKEGNI MOLA BDU0804757UR
3. TEMESGEN ABABU BDU0905207UR
4. TETSAFE SIMACHEW BDU0905253UR

SUBMITTED IN PARTIAL FULFILLMENT OF THE

REQUIREMENTS FOR THE DEGREE OF BACHELOR OF
SCIENCE IN

FASHION DESIGN

UNDER THE GUIDANCE OF LECTURER

YOSEPH DANIEL
ETHIOPIAN INSTITUTE OF TEXTILE AND FASHION
TECHNOLOGY

BAHIR DAR UNIVERSITY

BAHIR DAR

JANUARY, 2021

i
 Declaration of Originality

This subsection is compulsory. It states that the thesis constitutes the authentic work and finding
of the researcher.

We hereby certify that we are the sole author of this thesis and that no part of this thesis has been
published or submitted for publication.Our thesis does not infringe upon anyone‟s copyright nor
violate any proprietary rights and that any ideas, techniques, quotations, or any other material
from the work of other people included in Our thesis, published or otherwise, are fully
acknowledged in accordance with the standard referencing practices. Furthermore, to the extent
that we have included copyrighted material that surpasses the bounds of fair dealing within the
meaning of the Canada Copyright Act, we certify that we have obtained a written permission
from the copyright owner(s) to include such material(s) in our thesis and have included copies of
such copyright clearances to our appendix.

we declare that this is a true copy of our thesis, including any final revisions, as approved by our
thesis committee and the Graduate Studies office, and that this thesis has not been submitted for
a higher degree to any other University or Institution.

Genetu Abitew _____________________ ____________GC

Signature Date (D/M/Y)
Tarekegni Molla _____________________ ____________GC
Signature Date (D/M/Y)
Temesgen Ababu _____________________ ____________GC
Signature Date (D/M/Y)
Tetsafe Simachew _____________________ ____________GC
Signature Date (D/M/Y)

ii
 Advisors’ Approval Page

Ethiopian Institute of Textile and Fashion Technology (EiTEX)

Academic Directors Office

In this subsection, the advisor for the thesis will approve its adequacy for internal and external
examination.

To the best of our knowledge and as understood by the student in the Research Integrity and
Copyright Disclaimer, this thesis/project entitled “DEVELOPMENT OF WOMEN‟S CAUSAL
WEAR BY USING ETHIOPIAN ORTHODOX CHURCH HOLLY ASSET (CASE STUDY
AROUND BAHIR DAR)” submitted in partial fulfillment of the requirements for the degree of
Bachelor‟s degree in Fashion Design adheres to the provisions of guidelines, policies and
legislations of EiTEX during their research work and use of copyrighted material. The thesis is
completed and can be presented to the thesis evaluation committee. Therefore, I recommend that
the students Genetu Abitew, Tarekegn Molla, Temesgen Ababu & Tetsafe Simachew, with Id.
No BDU0904281UR, BDU0804757UR, BDU0905207UR & BDU0905253UR, has fulfilled the
requirements and hence hereby can submit the thesis to the Institute.

__________________________ _____________________ ____________GC

Name of Advisor Signature Date (D/M/Y)

ACKNOWLEDGMENT
We would like to thank our adviser Mr. Yosef Daniel for his generous help through out the research.
From the beginning to the end of our research he guides, give as insight and other pertinent information
for our research. And also our model Ms. Lonso Petros for she‟s willingness to be our model and for

iii
giving her time for sample fitting, final fitting and photo shooting. Finally we would like to thank
women‟s casual wears customer, retailer, priests and diacons, orthodox churches found in around Bahir
Dar and all other people who participate and put their effort.

Abstract

The research aim to add Ethiopian sense on the current women‟s casual wear, accessory and
accessing wears that can replace imported casual wear from the outside world. The research has
the purpose of making announcement to our traditional motif for Ethiopian and outside world by
looking towards to our cultural affairs, styles and believes. Adding our traditional motifs on
westernized fabrics and styles decreases impacts of outside world and it is a good step for
replacing them within our products to be competitive on the market. Theresearch is all about the
development and adaption of Ethiopian motifs from Orthodox Church holy assets for usage of

iv
them in different line of fashion industry including garment, leather and accessories. It starts
from studying ancient and current religious Ethiopian arts, heritage, and current market for the
development of casual contemporary fashion products that is compatible and not contrary to
those heritage and religious art. The research come in to the ground by collecting primary and
secondary data and making analysis of motif and art designs that are experienced in Ethiopia
making our fashion motifs on the base of those motifs creating product and applying those motifs
with the mechanism of printing or embroidering on the product.

Key word: contemporary, motif, holy asset, culture, collection

Contents
DECLARATION OF ORIGINALITY ...........................................................................................
ii

ADVISORS‟APPROVAL PAGE .................................................. Error! Bookmark not

defined.

Abstract ...........................................................................................................................................
v

CHAPTER 1 ................................................................................................................................... 1

INTRODUCTION .......................................................................................................................... 1

v
 1.1. Background and Justification ...............................................................................................
1

1.1.1 Back Ground ..................................................................................................................

1

1.1.2. Justification ...................................................................................................................

3

1.2. Statement of the problem .....................................................................................................

4

1.3. Purpose of the research ......................................................................................................

5

1.4. Objective ..............................................................................................................................

6

1.4.1. General Objective .........................................................................................................

6

1.4.2. Specific objectives ........................................................................................................

6

1.5. Scope of the study ................................................................................................................

6

1.6. Benefit and beneficiary of the research ...............................................................................

6

1.6.1. Benefit ...........................................................................................................................

6

1.6.2. Beneficiary ....................................................................................................................

7

1.7. Limitation .............................................................................................................................

7

CHAPTER 2 ................................................................................................................................... 8

LITERATURE REVIEW ............................................................................................................... 8

2.1 heritage and fashion industry ................................................................................................

8

vi
 2.1.1. Ethiopian Orthodox church ...........................................................................................
8

2.1.2. Ethiopian Orthodox Church heritage and arts ..............................................................

9

2.1.3. Ethiopian Orthodox church holy assets (ንዋየ ቅድሳት)..................................................... 9

2.2. The elements of design and principles of design ...............................................................

14
2.2.1. Motif ...........................................................................................................................
15

2.3. The role of culture in International Fashion Industry ........................................................

17

2.3.1. Causal cloths and culture ............................................................................................

17

2.3.2. Conceptual Fashion Design ........................................................................................

18

2.3.3. Previous and recent fashion works with cultural motif ..............................................
20

2.4. Literature Gaps................................................................................................................... 22

CHAPTER 3 ................................................................................................................................. 23

3.1. Materials ............................................................................................................................

23

3.2 Methods............................................................................................................................... 25

3.2.1. Research design ..........................................................................................................

25

3.2.2. Problem investigation .................................................................................................

28

3.2.3. Data collection ............................................................................................................

28

3.2.4. Data analysis ...............................................................................................................

29

vii
 3.2.5. Result and discussion ..................................................................................................
29

3.2.6. Design process ...........................................................................................................

30

3.2.7.Sampling technique ......................................................................................................

32 CHAPTER 4 .................................................................................................................................

34

4. RESULT AND DISCUSSION .................................................................................................

34

4.1. Preliminary study results.................................................................................................... 34

4.1.1. Problems on Ethiopian sense domestic products ........................................................

34

4.1.2. Other factors that pushes consumer away from Ethiopian touch casual clothes ........
35

4.2, Analysis of data‟s from interview and observation ...........................................................

35

4.2.1. Discussions on Elements of designs ...........................................................................

36

4.2.2. Discussions on Principles of designs ..........................................................................

38

4.2.3. Key concepts from results of interview and observation ............................................

40

4.3. Analysis of data‟s from questionnaires ..............................................................................

41
4.3.1. Result of customer questionnaires ..............................................................................
41

4.3.2. Result of retailer questionnaires.................................................................................. 47

4.4 Women‟s casual wears trend analysis................................................................................. 52

4.4.1.Pant ..............................................................................................................................
53

viii
 4.4.2. Skirt and dress .............................................................................................................
54

4.2. Conceptual boards .............................................................................................................. 57

REFERENCE ................................................................................................................................

66 APPENDIX

A ............................................................................................................................... 87

List of figure

Figure 1: Ethiopian orthodox church and holy assets .....................................................................

1

Figure 2: International culture based designers .............................................................................. 2

Figure 3: Ethiopian orthodox church holly assets........................................................................... 3

Figure 4: Abayna Tana market center observation .........................................................................

4

Figure 5: Western‟s effect on our clothing style .............................................................................

4

Figure 6: Ethiopian orthodox church manuscrpits .......................................................................

10

Figure 7 Censer .............................................................................................................................

11

Figure 8 Cross(መስቀል) .................................................................................................................. 12

Figure 9 Geometric motif.............................................................................................................. 16

Figure 10 Floral motif ...................................................................................................................

16

Figure 11 Novelty motif................................................................................................................ 16

ix
Figure 12 Causal cloths ................................................................................................................
17

Figure 13: Contemporary fashions in Ethiopia .............................................................................

21

Figure 14: Problem solving framework ........................................................................................

26

Figure 15: Overall flow of research methodology ........................................................................

27

Figure 16 Design process ..............................................................................................................

30

Figure 17 Procedure of data collection method ............................................................................

31

Figure 18: Lines from holy assets .................................................................................................

36

Figure 19: Shapes from holy assets .............................................................................................. 37

Figure 20: Balance on holy assets .................................................................................................

38

Figure 21: Emphasis on holy assets ..............................................................................................

39 Figure 22: Proportion on holy assets ............................................................................................
39

Figure 23: consumers questioner one result.................................................................................. 41

Figure 24: consumers question two result .................................................................................... 42

Figure 25: Consumers question three result.................................................................................. 43

Figure 26: Consumers question four result ...................................................................................

44

Figure 27: Consumers question five result ................................................................................... 44

x
Figure 28: Consumers question six result .....................................................................................
45

Figure 29: Consumers question seven result ................................................................................ 46

Figure 30: Retailers question one result........................................................................................ 47

Figure 31: Retailers question two result ....................................................................................... 48

Figure 32: Retailers question three result ..................................................................................... 48

Figure 33: Retailers question four result .......................................................................................

49

Figure 34: Retailers question five result .......................................................................................

50

Figure 35: Retailers question six result .........................................................................................

50

Figure 36: Retailers question seven result .................................................................................... 51

Figure 37: Trend analysis overflow ..............................................................................................

52

Figure 38 Women‟s wear ..............................................................................................................

52

Figure 39: Womens wear from trend research ..............................................................................

55

Figure 40 Women‟s wear ..............................................................................................................

56

Figure 41: Developed motifs ........................................................................................................ 57

Figure 42 Inspiration board ..........................................................................................................

58

Figure 43 Theme board ................................................................................................................

58 Figure 44:Mood board ..................................................................................................................
59

xi
Figure 45. Color board ..................................................................................................................
59

Figure 46 trim and accessory ........................................................................................................

60

Figure 47 material board ...............................................................................................................

60

Figure 48.client board ...................................................................................................................

61

Figure 49. Line board ....................................................................................................................

63

Figure 50: Motif board ..................................................................................................................

63

Figure 51 Conceptual sketch .........................................................................................................

64

Figure 52. Design board ................................................................................................................

65

Figure 53: Story board ..................................................................................................................

65

Figure 54: Design on final look ....................................................................................................

70

Figure 55: Design two final look ..................................................................................................

75

Figure 56: Design three final look ................................................................................................

80 Figure 57: Design three final

look ................................................................................................ 81 List of table

Table 1: Elements of design ..........................................................................................................

14

xii
Table 2 Principles of Design .........................................................................................................
14

Table 3: Literature gap ..................................................................................................................

22

Table 4: Materials .........................................................................................................................

23

Table 5: methods ...........................................................................................................................

25

Table 6: Population size of consumers ......................................................................................... 32

Table 7: fashion retailer data......................................................................................................... 33

Table 8: Questionnaires structure ................................................................................................. 33

Table 9: Design one bill of material ............................................................................................. 66

Table 10: Design one measurment chart .......................................................................................

67

Table 11: Design one operation breakdown ................................................................................. 68

Table 12: Design one cost sheet ....................................................................................................

69

Table 13: Design two bill of material ........................................................................................... 71

Table 14: Design two measurment chart ...................................................................................... 72

Table 15: Operation breakdown of design two .............................................................................

73

Table 16: Design two cost sheet ................................................................................................... 74

Table 17: Design three bill of material ......................................................................................... 76

Table 18: Design three measurment chart .................................................................................... 77

xiii
Table 19: Design three operation breakdown ...............................................................................
78

Table 20: Design three cost sheet ................................................................................................. 79

xiv
CHAPTER 1

INTRODUCTION
1.1. Background and Justification

1.1.1 Back Ground

Ethiopia is one the richest countries in the world by her traditional and cultural heritage that can
potentially inspires the fashion designer to create remarkable and outstanding design that can
break out into international market and influence contemporary fashions. Ethiopian Orthodox
church holy assets are one of those traditional and cultural heritages. And those holy assets
include many things that can be a great treasure for the development of fashion industry.

Figure 1: Ethiopian orthodox church and holy assets

Source: www. Orthodox tewahido.com/Gondor art print/field research

„The Revivalist‟ Ritu Kumar is one of India‟s foremost designer‟s draws upon museology and
art history background to create clothing using ancient designs and traditional crafts. Her outfits

1
are stunning in their richness, elegance and intricacy of embroidery. To go with this campaign,
she has started a line of clothing known as „The Revivalist‟. The premise of this clothing line is
to resurrect traditional Indian crafts and integrate them into mainstream fashion (Randhawa,
2017).

In many countries like India, Egypt and Nigeria, many designers has inspired with shapes and
motif those are found in their cultural heritages, costumes and other native things which is
worked on the product with different technique like printing, embroidery, applique and other.
Egyptians creates their own native product that are contemporary by starting with their cultural
traditional costume within the idea of „‟contemporary fashion from the land of pharaohs‟‟
(Francis, 2014).

Designers are constantly seeking and collecting new ideas and source of inspiration; good
designers need enquiring minds to continually produce new contemporary work (Yohannes,
2018). Today fashion trends could see different types of motif that are applied on the garment
surface. Traditional motifs give the garment additional aesthetic value and transfer the needed
message. Customers are always aspirated and find new things or ideas on the fashion world that
totally describe their filling, style, status and interest. Motif has the ability of communicating
what the culture of the country seems like in different perspectives and also gives strength to the
culture, the way of the people lives.

Figure 2: International culture based designers

Source: https://www.craftsvilla.com/blog/fashion-designers-indian-textiles/ (Ravichander, 2016)

2
1.1.2. Justification

Fashion leading countries like France and most successful designers makes their culture,
traditional heritage and customs a pillar for their success. They start with studying their native
treasure for their creative and most influential designs because cultural and traditional heritage
are the greatest source of inspiration (Crane, 2019). As culture, traditional heritage and norms are
the secret for the success of the designers, Ethiopian Orthodox Church holy assets can be a great
source of inspiration. So to be successful in fashion industry with our products, Ethiopian
orthodox church holy asset motifs, patterns, symbols, color, their implication, values, design
elements and principles must be studied. In Ethiopia most of causal outfits are not strong enough
in cultural motif design variations, size, color, and style. This study helps to develop new culture
based outfit based on the market demand, trend, market segmentation, size variation and, color
selection. So this helps us to prevent dependency of our wearing style on westerns fashion.

Figure 3: Ethiopian orthodox church holly assets Source:

https://www.craftsvilla.com/blog/.

3
1.2. Statement of the problem
 The use of Ethiopian cultural motif, patterns and symbols is limited to some clothing
fabrics; like shema, tibeb designs and new emerging bag designs those are still worn on
occasion and cultural festival. Most casual clothes and accessories are not strong enough
on the use of traditional and cultural motif.

Figure 4: Abayna Tana market center observation

Source:- Observation/recent market at Bahir dar gebeya

 Our wearing style is highly dependent to western‟s fashion clothing; this causes over
dominating of western culture and makes us difficult to interpret our norms and beliefs by
our dressing. Almost all of our people wear the western, American and outside world
products and design. If our dressing continues by promoting culture that doesn‟t express
us, cultural colonization riches at the peak stage and most of our cultural motif and
culture will be forgotten by coming generation.

Figure 5: Western’s effect on our clothing style

Source; www.oldtownschool.org/Ethiopian/folk dances

4
1.3. Purpose of the research
The most significance purpose of the study is to creates remarkable motif, pattern and symbols
that can be used in different area of application like contemporary fashions, phone case, car
stickers, fabrics, pottery product.

The study also aims to create Ethiopian look casual clothing by combining the motif that are
driven from the Ethiopian orthodox church holy assets with the current fashion products
characteristics and design feature that can be acceptable by most of the people. To be competitive
in the fashion industry those clothing has potential to make the people looks towards to its
culture.

This project has the purpose to show how motifs and patterns applied on the design, how the
motifs are generated from some inspiration and how to use those motif and patterns as a design
element to create design. And also it creates way that other designer can use to apply their design
elements on their design process.

The aim is to make our culture announced and known to the outside world and reduce the
dependency of our country on the outside world with some extent on the fashion industry. The
use of the motif on different area can catch the attention of the teenagers and make them less
interested in the outside fashion.

5
1.4. Objective

1.4.1. General Objective

To design and develop women‟s casual wear by studying and analysis of Ethiopian Orthodox
Church holy assets and motifs.

1.4.2. Specific objectives

 To develop pattern and symbol that can be used in textile and fashion industry.

 To study how to apply motif on the casual clothing and accessories.

 To study market and the interest of the people on traditional motif.

 To develop collection of casual clothes and accessories that have Ethiopian touch senses.

1.5. Scope of the study

The scope of this study starts with study and analysis of Ethiopian Orthodox Church holy assets
and proceeded with design development of women‟s casual clothing and accessories by applying
them in a proper way. The project covers many concepts in its content. Studying of Ethiopian
orthodox church holy assets, developing motif from the theme, studying casual clothing to apply
those motif on them, develop collection of casual clothing and accessories, studying of other
designers design process their gap and comparison of our idea with them. And the way that those
designer apply those motif in their fashion products. It includes analysing of collected data and
developing Ethiopian sense causal clothes and accessories.

1.6. Benefit and beneficiary of the research

1.6.1. Benefit

This study is important for the fashion industry to create new fashion look with traditional motif
that are both contemporary and culture based products. And it is important on making insight to
Ethiopians culture that traditional and cultural thing can be great source of inspiration. It is
important to understand how other designer run their design process and help to know making
designs on the base of cultural motif are important to create outstanding design that can make
competitive with other and increases our countries fashion industry.

6
1.6.2. Beneficiary

 Designers

 Companies

 Society

 Retailers

 Production stakeholder

 EiTEX

1.7. Limitation
There is no clear study and documentation on Ethiopian Orthodox Church holy assets and how
motif and symbols are come up for application with contemporary design.

Time limitations and difficulties on finding of materials on market.

The project does not see the acceptance of the product in the market and it does not include the
customer‟s feedback about the product after it is made.

The project will not continually see the problem on the clothing or it is some kind of terminating
project it only studies making contemporary design that is acceptable.

It requires some technology advancement that may be difficult to get.

CHAPTER 2

LITERATURE REVIEW

7
2.1 heritage and fashion industry
According to Merriam Webster heritage is something transmitted by or acquired predecessor and
it is an expression of ways of living developed by a community and passed on from generation to
generation. Human acquire culture through the learning processes of enculturation and
socialization which codifies acceptable conduct in society; it serves as a guideline behavior,
dress, language and demeanor in a situation which serves as a template for expectation in social
group (Webster, 1828).

Arthur LB discussed on his book that interaction between religion, culture and dress is
fascinating. Dress can be a window into the social world, which bound a tacit set of rules,
customs, convections, and rituals that guide face to face interaction (Arthur, 1992).

2.1.1. Ethiopian Orthodox church

According to Mary (Britannica encyclopedia) Ethiopian Orthodox Tewahido Church is the

largest of the Oriental Orthodox Christian churches (Mary, 2001). One of the few pre-colonial
Christian churches in Sub-Saharan Africa that has a membership of between 45 and 50 million
people, the majority of whom live in Ethiopia. It is a founding member of the World Council of
Churches and it is in communion with the Eritrean Orthodox Tewahedo Church, the Coptic
Orthodox Church of Alexandria, the Syrian Orthodox Church, the Armenian Apostolic Church,
and the Malan Kara Orthodox Syrian Church, having gained autocephaly in 1959 (Mary, 2001).

Ethiopia, the land of Judeo-Christianity, is one of the most ancient predominantly Christian
countries of the world. It is marked with a fascinating history, unique civilization, culture and
religious life. The Book of Genesis recounts and the name of the second river is Ghion,the same
is it that compasses the whole land of Ethiopia. The Psalmist David also says “Let Ethiopia
hasten to stretch out her hands to God” (Mary, 2001).

Church(ቤተ ክርስቲያን): - It is the people's congregation, together with the clergy, as being Christ's
body and It is a one, holy, apostolic and universal community (Yacoub, 1992). God's house
consecrated to worship and house of angels who join us in praising God.

8
Orthodox:- A faithful upright man, that do not deviate and a true believer "an Orthodox" loves
his Holy Bible, is devoted to his church and behaves as a son of God. An Orthodox believer
loves everyone in humanity (Yacoub, 1992).

2.1.2. Ethiopian Orthodox Church heritage and arts

According to Gnisci introduction of Christian elements in art and the construction of churches in
Ethiopia must have started shortly after the introduction of Christianity and continues to this day,
since about half of the population are practicing Christians. The term “Christian Ethiopian art”
therefore refers to a body of material evidence produced over a long period of time. It is a broad
definition of spaces and artworks with an Orthodox Christian character that encompasses
churches and their decorations as well as illuminated manuscripts and a range of objects (crosses,
chalices, patens, icons, etc.), which were used for the liturgy (public worship), for learning, or
which simply expressed the religious beliefs of their owners. We can infer that from the
thirteenth century onwards works of art were for the most part produced by members of the
Ethiopian clergy (Gnisci, 2008).

2.1.3. Ethiopian Orthodox church holy assets (ንዋየ ቅድሳት)

The Ethiopian Orthodox Church which has been thoroughly indigenized in the course of a nearly
two-thousand year long history of Christianity, attained the status known as Ethiopianism, which
is almost accepted as a contribution to African cultural nationalism and particularism based on a
self-conscious cultivation of African indigenous values and attitudes (Getnet, 1998).

In fact, the Ethiopian Orthodox Church is unique firstly for its isolation from other Christian
centres for quite a good number of centuries it preserves many ancient features on one hand and
the strong influence of African traditional religion and Judaism on the other. This peculiar trait of
religious syncretism which is embodied by the Ethiopian Church offers her remarkable
identity.The Ethiopian Orthodox Church, in which Jewish and Christian traditions are blended
into one indissoluble whole is one of the most remarkable features of the syncretic Abyssinian
civilization (Getnet, 1998).

Ethiopian Orthodox Church uses different equipment‟s to carried out reverence of their religion
like canticle, different religious books, candle, and censer.

9
Ark, throne (ታቦት): - A wooden box that is put on the altar for preserving the chalice during the
liturgy. On its sides is drawn some icons of the last supper, that of the lord Jesus Christ and of
some saints (Yacoub, 1992).

Religious books (agbia):-Manuscripts that used for better understanding of their religion and for
prayers according to certain hours. It includes all the prayers, Psalms, Gospel readings, and
petitions to be said at the various hours by day and night, appointed in accordance with
analogous points in the life and Passion of Jesus Christ (Yacoub, 1992).

Figure 6: Ethiopian orthodox church manuscrpits

Source:https://en.wikipedia.org/w/index.php?title=Orthodox_Tewahedo_biblical_canon&oldid=
991996663(contributors, 2020).

Censer:- A silver or copper container where embers are put and incense is burnt to be presented
to God. It refers to the Virgin holding Christ and the fire that unites with charcoal refers to the
divinity of Christ united with humanity (Yacoub, 1992).

10
Figure 7 Censer
Source:https://en.wikipedia.org/w/index.php?title=Ethiopian_Orthodox_Tewahedo_Church&old
id=994688608(contributors, 2020).

Cross(መስቀል):- An instrument of shameful execution, which became after Christ's crucifixion the
universal symbol of the Christian faith (Yacoub, 1992).

Believers praise the Cross, for through it we attain our salvation, victory over the devil and
participation in the glory of Christ and the priest uses the Cross during service, and in blessing
the people. Christ is the source of blessing through the Cross (Yacoub, 1992).

Another important form of Ethiopian art, also related to Coptic styles, are crosses made from
wood and metal. They are usually copper alloy or brass, plated (at least originally) with gold or
silver. The heads are typically flat cast plates with elaborate and complex openwork decoration.
The cross motif emerges from the decoration, with the whole design often forming a rotated
square or circular shape, though the designs are highly varied and inventive. Many incorporate
curved motifs rising from the base, which are called the "arms of Adam". Except in recent
Western-influenced examples, they usually have no corpus, or figure of Christ, and the design
often incorporates numerous smaller crosses (Chojnacki, 2002).

Engraved figurative imagery has sometimes been added. Crosses are mostly either processional
crosses, with the metal head mounted on a long wooden staff, carried in religious processions
and during the liturgy, or hand crosses, with a shorter metal handle in the same casting as the
head. Smaller crosses worn as jewellery are also common (Chojnacki, 2002).
The Lalibela Cross is an especially venerated hand cross, perhaps of the 12th century, which was
stolen from a church in Lalibela in 1997 and eventually recovered and returned from a Belgian
collector in 2001 (Chojnacki, 2002).

Distinctive forms of crown were worn in ceremonial contexts by royalty and important noble
officials, as well as senior clergy. Royal crowns rose high, with a number of circular bands,
while church crowns often resemble an elongated version of the typical European closed crown,
with four arms joined at the top and surmounted by a cross (Chojnacki, 2002).

11
Figure 8 Cross(መስቀል)
Source: https://en.wikipedia.org/wiki/Ethiopian_Orthodox_Tewahedo_Church(OrthodoxWiki,
2018).

Gospel(ወንጌል):- A silver box enclosing a copy of the four Gospels or the complete New
Testament and Orthodox‟s accept the Gospel with honor because they love the word of God that
He gave them (Yacoub, 1992).

Lectern(አትሮኖስ):-The Latin word "legere" means "to read." It is four-legged wooden or metal
bookstand, on which the lectionary (the book for the Scriptural readings in the liturgy of the
Eucharist) and other liturgical books are placed for reading. It is often in the form of an eagle
with outstretched wings. The lower part is customarily used as a storage container for books and
musical instruments employed in the services, such as cymbals and triangles (Yacoub, 1992).
There are two lecterns in every Coptic church and Most often it is decorated with ivory designs
of the cross and on it verses of the holy Bible is written down (Yacoub, 1992).

Sacred ribbon (ዝናር):-A ribbon that the priest ties up on the shoulder of the baptized as a sign of
his union with our Lord Jesus Christ. The priest also ties up a ribbon on the groom's shoulder as a
sign of his union with the bride, in Christ (Yacoub, 1992).

Flange(መቆሚያ):- an instrument used for strengthen the believer‟s to stand long time (Yacoub,
1992).

12
Ethiopian Orthodox church is rich in arts those can be the source for design elements like
line,color,texture,shape,form and shape. This provides the opportunity to use the adapted
traditional motifs on textiles and fashion to preserve the beautiful traditional art. The Ethiopian
orthodox church arts with printing and embroidery play important role in creating new designs.
Escalating demands of consumers requires modification in the fashion industry with respect to
design, colour, style and technique.

These church equipments have different elements of design to drive them and apply it in different
sector of fashion for further application of our traditional arts.

2.2. The elements of design and principles of design

The Elements of Design are the things that artists and designers work with to create a design, or
composition. The Elements are: line, shape, space, value, color and texture (Makart, 1999).

Table 1: Elements of design

Line The Graphic Unifier, Curved, Straight. Directional Thrust: Horizontal, Vertical, and
Diagonal.

Shape Naturalistic, Geometric. (The Golden Mean)

Space Large, Medium, Small. Proportion or Scale. (The Golden Mean)(Perspective)
Value Light, Dark. (Value Patterns)(Arial Perspective)
Color Hue, Chroma, and Value. (The Color Wheel)

13
Texture Rough, Smooth, Soft, Hard
The Principles of Design are achieved through the use of the Elements of Design. Each principle
applies to each element and to the composition as a whole. The Principles are: unity, harmony,
balance, rhythm, contrast, dominance, and gradation (Makart, 1999).

Table 2 Principles of Design

Unity Echoes of all elements relating
Balance With the "weights" of the segments of each element
Harmony Within each element and as a whole
Rhythm Variety and Repetition
Contrast Alternation
Dominance Within each element. (Center of Interest, Focal Point)
Gradation Modeling, (3-D effect), Transitions

2.2.1. Motif

According to the Merriam Webster motif is any recurring element that has symbolic significance
in a story through its reputation; a motif can help produce other narrative aspects such as theme
and mood. And also he describes that motif mean a decorative image or design especially a
repeated one forming a pattern (Webster, 1828).

2.2.1.1. Types of motif

A motif may be an element in the iconography of a particular subject or type of subject that is
seen in other works, or may form the main subject, as the Master of Animals motif in ancient art
typically does (Ursini, 2004).

The related motif of confronted animals is often seen alone, but may also be repeated, for
example in Byzantine silk and other ancient textiles. Where the main subject of an artistic work
such as a painting is a specific person, group, or moment in a narrative, that should be referred to
as the "subject" of the work, not a motif, though the same thing may be a "motif" when part of
another subject, or part of a work of decorative art such as a painting on a vase (Ursini, 2004).

14
Ornamental or decorative art can usually be analyzed into a number of different elements, which
can be called motifs. These may often, as in textile art, be repeated many times in a pattern.
Important examples in Western art include acanthus, egg and dart, and various types of
scrollwork.

Many designs in Islamic culture are motifs, including those of the sun, moon, animals such as
horses and lions, flowers, and landscapes. Motifs can have emotional effects and be used for
propaganda. In kilim flatwoven carpets, motifs such as the hands-on-hips elibelinde are woven in
to the design to express the hopes and concerns of the weavers: the elibelinde symbolizes the
female principle and fertility, including the desire for children (Ursini, 2004).

A motif is any element in a design. It is usually a repeated element but it doesn't have to be the
case always. In textile design there are only three big categories of motifs: geometric, floral and
novelty (Helena.D, 2017). Source; fashinista sketch (Helena.D, 2017).

Floral motif

Geometric motif Floral patterns and prints are a great part of

every design tradition. They are feminine,
Geometric motifs include polka dots, stripes,
beautiful and classic and they have a
plaids,checks and diamonds. They can be
universal appeal (Helena.D, 2017).
simple or complex, regimented or random,
straight or curvy, or somewhere in between.
Geometric prints are the most versatile and
universal of prints (Helena.D, 2017).

Figure 10 Floral motif

Figure 9 Geometric motif

15
Novelty motif

Novelty prints include everything else that

doesn't fall into these two categories. They
have a special language, visually and as an
Figure 11 Novelty motif Source;
emblem of identity for the one that wears
them (Helena.D, 2017).
fashinista sketch (Helena.D, 2017).

2.3. The role of culture in International Fashion Industry

Large-scale industrial production,the conviction that change and progress are absolute
importance and the stress on individuality form the foundation of the fashion-business. A
whole industry, advertising in its direct and surreptitious ways, creates wants and desires.”
Women don´t buy because they need something, but because they want to have fun," says
Helmut Schlotterer, head of the Marc-Cain-chain. An additional advantage for the fashion-
industry is that fulfillment recedes with every fashion-wish that is fulfilled. Some important
aspects of the culture or civilization of the affluent society are described with the term "the
American Way of life" (Gall, 2009).

2.3.1. Causal cloths and culture

Casual wear is a Western dress code category that comprises anything not traditionally
appropriate with more formal dress codes: formal wear, semi-formal wear, or informal
wear. It saw broad scale introduction in the Western world following the counterculture of
the 1960s. Not with standing sportswear, when emphasizing casual wear's personal comfort,
it may be referred to as leisurewear (Gall, 2009).

16
Figure 12 Causal cloths
Source: Casual clothing/ fashionindiafrance.blogspot.com

2.3.2. Conceptual Fashion Design

There is an increasing number of fashion designers exploiting art, architecture, product and
performance contexts as well as adopting conceptual-related and interdisciplinary
methodologies in their production, which is illustrated in the works of designers such as
Alexandar McQueen, Hussein Chalayan, Rei Kawakubo, Issey Miyake, Junya Watanabe
and Vitor and Rolf (Joe.S, 2018).

These designers have adopted a conceptual approach, and shown their works in galleries,
and also non-traditional and emergent fashion spaces. They utilize a range of media and
processes to communicate their ideas and continually extend their methodologies. These
fashion conceptualists insist on a holistic approach to the design of their collections, which
includes a key role in originating and monitoring the design concept, the development of
radically innovative fabrics and its patterns and sculptures, and their method of
communication with dramatic presentation. They suspected that a commitment to notions of
personal creativity gives young fashion designers a utopian idea of breaking down the
distinction between dull work and enjoyable leisure.This new ideology of creativity enables
fashion designers to break down the distinction between dull work and enjoyable
leisure.This explained the reason that most of the fashion conceptualists see their work

17
ideally as pieces to be hung on the wall, and more reluctantly as pieces of clothing (Joe.S,
2018).

2.3.2.1. Muccia prada

Prada‟s collections often start with this kind of head-scratch-inducing utterance, which must
then be painstakingly deconstructed, ramified and translated into needle and thread (David.W,
2015).

Prada discusses her thinking process as been different from everyone other designer, "I
follow my instinct, and even if a question arises whether what I am doing makes perfect
sense to me or others, in reality the important thing is that I truly believe in it" (McConnell,
2012).

“The titles are like watering cans for me. I use them to try to understand for myself where
I‟ve ended up, because I don‟t know. I go by instinct, which is a very important part of my
process, but after I get there, I need to understand why. I know that there is always a reason,
even if I only discover the reason two days before the show.”Muccia Prada (David.W,
2015).

 Despite the beauty of Prada‟s designs, she says she is most inspired by “ugliness.“
 Prada designs often look to sophisticated elegance, including minimal, simple lines and
luxurious fabrics.

18
  Inspired by that “ugliness,” Prada designs are often known for their “crunchy” fabrics,
like polyester and nylon, as well as their wild, art deco, and almost wallpaper-like prints.
 Prada balances ugly and ladylike with boxy, “nerdy” proportions, such as cropped legs,
oversized jackets, and quirky, mismatched separates.
 Miu Miu, Prada‟s diffusion line, takes a different approach to the design process;
Prada says she “doesn‟t think” when designing for Miu Miu.
 As a result, Miu Miu designs are more naïve, wearable, and quirky (David.W, 2015).

2.3.2.2. Ritu Kumar

One of India‟s foremost designers and a revivalist, Ritu Kumar draws upon museology and
art history background to create clothing using ancient designs and traditional crafts.
Preferring to work with fabrics like silk, cotton and leather, Ritu Kumar‟s outfits are
stunning in their richness, elegance and intricacy of embroidery. Her campaign, Beautiful
Hands, encourages the purchase of garments and accessories that showcase ethnic Indian
styles of embroidery. To go with this campaign, she has started a line of clothing known as
„The Revivalist‟. The premise of this clothing line is to resurrect traditional Indian crafts
and integrate them into mainstream fashion (Ravichander V. , 2016).

2.3.3. Previous and recent fashion works with cultural motif

According to Malik motif and patterns used more broadly in Textile industry. The
adaptation of traditional motifs and patterns is for the creation of innovative fabric designs
that could inhabit a unique place in textile field. Textile design is the design created on the
fabric. It is a decorativeaesthetic property of the fabric. It reflects the skill and craft as well
as the traditions or culture of the wearer. Textile designing is full of creativity and scope
with vast horizon, and is a demanding and emerging field. Throughout time, textile
designers from all over the world have been inspired to decorate their fabrics. The new
modern techniques create evolution in textile industry and now fabric and motifs and
patterns became more and more refine and advanced to compete in fashion industry
globally (Malik, 2018).

Colour has always fascinated man and has played a dominant role in adding beauty to the
world. It expresses emotions and ideas. Sensitivity to colour has been revealed in paintings,

19
poetry, music and costumes . The applying of colour to textile material can be done through
many ways like dyeing, printing, painting, and even embroidery or appliqué are also used to
add aesthetic appeal to fabric or textile surface. The sheer abundance of colour in form of
art and craft in India, have attracted most of the people worldwide (Negi, 2015).

Repetition or doubling of a pattern strengthens its protective forces, as does the

incorporation of geometric elements that have their basis in ancient mythology. Those often
seen in Ethiopian design include the zig zag, crescent, triangle, 8-pointed star, and cross
(Paine 1990: 140). The evil eye might also be overpowered by alternating colors along the
edge of a garment or cloth (Paine 1990: 132), and these are certainly employed in the
majority of designs woven into the tibeb, and are also seen in kemis decoration (Purdy,
2015).

Contemporary can be confusing because of its slightly has different meaning in everyday
use. It is generally mean „modern‟ or‟ new‟ but before the 20 th century contemporary
referred only to the thing that are from the same era as certain other thing the word comes
from Latin contemporaries means existing at the same period of time (Webster, 1828).

According to the definition of the Merriam Webster contemporary mean that

• Marked by the characteristics of the present period.

• Happening, existing, living, or coming into during the same period of time.

Ethiopian‟s wanted to keep the tradition motifs in the fashion but make it more wearable and
up to date with modern fashion.

This cause the designers in Ethiopia work long hours in order to combine the past with the
present. The designers started to create variety of designs that will keep up with the western
world but will leave space for the culture.

The types of fabrics, embroidery and geometric shapes in the new designs represent the
known. The fancy dresses, the trousers, the skirts, the shirts, the bright colors and all the
new items that were manufactured represented the western culture (Yohanis.T, 2019).

20
Figure 13: Contemporary fashions in Ethiopia
Source: http://www.kemisd.com, 2019.

Themes (what questions or concepts recur across reviewed literature):-

 How human arts and Traditional motifs influence the trends of fashion?
 How can traditional motifs used as inspiration for fashion designing, and to what extent
arts and traditional motifs are used as fashion interpretation?

2.4. Literature Gaps

Table 3: Literature gap
Reviewed literature Gaps
Muccia Prada (theme ugliness) Usage of only crunchy fabrics like polyester
and nylon for arts and printings.
Her products are for high class fashion users.
Ritu Kumar Uses only Indian style embroideries
Restricted to silk,cotton and leather
Malik (2018) Use motifs for textile fabric design only (not
for fashion printings and embroideries.)

21
Getnet(1998), Does not study in detail about traditional
Yacoup(1992),Yohanis(2018) motifs (holy assets) by relating with societies
culture and beliefs. And also literature‟s does
not work on those motifs by relating them with
contemporary fashion and customer value.

Ethiopian cultural motifs Restricted to some parts of clothing specially

for kemis decoration or woven into tibeb.

Causal clothes with respect to culture Introduces counter culture of

1990‟s( western‟s), not an Ethiopian culture.

Generally the literature does not study in detail about traditional motifs that related to
societies culture and beliefs. It does not work on motifs by relating with contemporary
fashion and customer value. This research works in detail on traditional and art motifs
specially on Ethiopian orthodox church holy equipment’s and heritage. No work is done
before with these traditional motifs and arts to interpret society’s culture and beliefs to the
world.

This detail studying about traditional and religious motifs helps as to get more valuable and
meaningful contemporary fashions that show our culture in all sector of fashion industry.

CHAPTER 3

METHODOLOGY OF THE RESEARCH

3.1. Materials
Table 4: Materials
Fabrics Fabric property Fabric Colour Image of fabric
structure

22
Denim High tensile Twill
strength woven White grey
Durable and Blue white
stretchable Grey
Recommended
temperature cold,
warm or hot

Polyester Durable, suitable Plain woven White

/cotton for printing, Gary
breathable
Black

Hand woven Durability and Plain woven Gary

Wool fabric residence
Moisture
absorbency
Dye beautifully

Trim and accessory  Button stitching machine

• Ironing machine
• Thread:-Cotton thread
• Heat transfer printing machine
• Zipper
Tools and equipment’s
• Elastic band
• Scissor, needle
• Inter lining  Pattern making and cutting table
• Pencil,

23
 • Button
• Body form

• Velcro  Full mannequins

 Hanger Hardware’s

Machines  Digital camera

• Single needle sewing machine  Sound recorder

• Heavy duty leather machine  Desktop Computer

• Embroidery machine Software

• 2 needle 4 thread overclock machine
 CAD Soft wear
• Bar tech machine
• Flat lock 3 needle 5- thread machine  Adobe illustrator
• Button hole machine
 Photoshop

3.2 Methods

3.2.1. Research design

According to Kassu Jilcha the research design is intended to provide an appropriate

framework for a study (Jilcha, 2019). A very significant decision in research design
process is the choice to be made regarding research approach and determines how relevant
information for a study will be obtained.

The research design is a framework for planning the research and answering research
questions. It sets the parameters of the project and determines exactly what will and will

24
not be included. It also defines the criteria by which the researcher evaluate results and
draw conclusions. Table 5: methods
Study executed in
Type of research Research methodology Type of data Data collection method

Qualitative research Primary data Questionaries‟

correlational research • Interview • Closed questions:
• Literature review • Multiple-choice
questions

Observation
Quantitative research • Personal
Descriptive research • Questionaries‟ observation
• Structured Secondary data • Mechanical
interview observation

• Observation Interview
• Structured :
• Unstructured

3.2.1.1.Problem solving framework

The problem solving framework basically represents a blueprint for the entire solution
designed for the problem (Jilcha, 2019). Let‟s say that we are building a house; we would
basically have an entire list of items that we need to acquire as resources and steps to be
executed as per the plan for the end product to look as we have envisioned. Problem solving
is also a similar story. Here, so we put methods to every steps done in the research.

25
 Ask
to identify
the need and
constraints

Improve
and Research
redesign as the problem
needed

Fashion design
Taste process Imagine
and evaluate
possible
the
solutions
prototype

Plan
Create by selecting
a prototype apromising
solution

Figure 14: Problem solving framework

Source: www.teachengineering.org/Robert Kaplinsky, fashion design process

26
Figure 15: Overall flow of research methodology

27
3.2.2. Problem investigation

Problem investigation is the first section of the research which identifies the problem and
uses different methods which helps to answer question like what the problem is, the
possible solution and how much is it serious.

Preliminary studies with

• Observation
• Structured interview
• Questionnaires

3.2.3. Data collection

For data collection the researcher used different methods and also two ways of data sources
which is primary data and secondary data.

3.2.3.1. Primary data

The primary data is collected in three methods:-

 Observation;- It carried out on the monasteries and different churches found in our case
study( Bahirdar).
 Questionaries’:- It is distributed for retailers and consumers by both paper and google
form online questions.
 Paper question distributed to the customer and collected back.
 Paper questions distributed to retailer and collected back.
 Interview:- primary data is collected by using both structured and unstructured
interviews; conducted around Bahirdar city specially for retailers, consumers and
Orthodox religion followers.

28
3.2.3.2. Secondary source
It includes reviewing literatures and different related ideas by using books, internet, magazines
and journal.

3.2.4. Data analysis

Both qualitative and quantitative analysis methods are used in this research for all analyzed
data‟s. Specially graphical analysis is a type of quantitative analysis used for questioners.
The collected data grouped into consumer and retailer questionnaires and each response
changed into percentage and analyzed with pie chart.

3.2.4.1. Women’s casual wear trend analysis

Trend research is carried out on the base of the casual wears by collecting image using
observation and social medias. Each element of the trend like color, style, design and fabric
is studied and analyzed using quantitative method of analysis.

3.2.5.Methods for result and discussion

 Brain storming method is used to discuss the result.

29
 3.2.6. Key contents of D esign process

Price Competitor

Material availability Accessories

Place

Quality Market research

Concept and boards fabric

Inspiration board

Theme board

Color board

Mood board

Trim and accessory board

Design finishing and pacing
Conceptual sketch process
trimming ironing poly packing
Illustration board

Client board Pattern making

Motif board measuring

Drafting base pattern

Fitting check manipulating basic pattern

Use full mannequin cutting pattern &pattern info

Cutting and assembling

Spreading & marker making

. Cutting &bundling
Figure 16 Design process

30
3.2.6.1. Steps for collection development process.

Identifying target market

Taking inspiration to the collection

Choose the theme for the collection

Sourcing all materials, fabric and accessory

Illustrate conceprual and final illustration

Pattern,sampling and size gerading

Review of samples

Production

Quality inspection

Excution of the collection

Figure 17 Procedure of data collection method

31
3.2.7.Sampling technique

3.2.7.1. Sampling for consumers

This research targets women‟s from age of 15-24, who lives in Bahirdar city.

Table 6: Population size of consumers

Major town Sex Age group Total population
15-19 17,628
Bahir Dar female 20-24 23,211
Total 40839
Source: (Addis ababa, 2012)

Sampling for the customer is done with the equation in mathimatical way from the whole
population and the below formula gives us the minimum sample taken from the population
(Yamane.T, 1967).

n = sample size

N = population size
e = the level of
precision

The researcher assumes a degree of variability of 0.1 and a confidence level of 95

%. n = 40839 /1+40839(0.1)2.

n = 99.7 the minimum sample taken so minimum sample is 100 customer.

3.2.7.2. Sampling for the retailer

32
Table 7: fashion retailer data
Major town Total fashion retailer,s
Bahir dar 12,251
Source: (Bahirdar, 2013 E.C)

minimum retailer‟s for

sample.

Where n= the sample size from the given population.

N=Total number of populations (12,251 retailers in our case)

e=Precision (Marginal error) 18%

Questionnaires structure

Table 8: Questionnaires structure

Questionnaires
Participant Sex Question number Question type Question area
Casual wears Females 7 questions Multiple choice Economy &
customer personal
assumption

Fashion clothes Female & 7 questions Multiple choice Fashion Market

retailers Male

CHAPTER 4

4. RESULT AND DISCUSSION

33
4.1. Preliminary study results
The researchers collect some preliminary data‟s from Orthodox religion followers,
customers and retailers by using questionnaires, observation and interview on the base of
causal cloths and Ethiopian Orthodox church holy assets. 25 question papers are distributed
for consumers and 21 is responded.

This preliminary study helps to investigate problems on women‟s casual wears that needs to
be solved. Current women‟s causal wears are mostly influenced by the western and foreign
countries specially denims from America and china. There is a shortage of native causal
clothing products those have Ethiopian sense and reflects our values.

4.1.1. Problems on Ethiopian sense domestic products

Construction problem specially stitching there is a defect of seam reaping while they are
on the fitting check.
design problem:- it is a little more wider problem most product are offered with one
color
that is mostly with in white and have no silhouette variations they are mostly with long
dress and some normal T shirt and fabric mostly on shema or menen fabric
air permeability specially they are hot at the day time and low moisture absorbance

The researcher act on the problem of the design especially this problem can solve the other
two problems specially the stitching problem. By developing good design by good stitching
and moisture absorbance and we have to do good design with good stitch. Those problems
push the customer away from the purchasing native product with Ethiopian sense

4.1.2. Other factors that pushes consumer away from Ethiopian touch casual clothes

the perception that makes foreign casual wears are more fashionable than Ethiopian touch
casual wears
supply dominancy of the foreign casual wears
advertisement limitation of the Ethiopian touch casual wears
Price expensiveness of the Ethiopian touch casual wears etc.

34
We can overcome the design and stitching problem by developing design inspiring from
native Ethiopian art, heritages, culture and custom values. Ethiopian orthodox church holly
assets are reach of Ethiopian sense elements that shows the origin of product and history by
dividing with era or period of time e.g. Ethiopian cross are generally classified in to three:-

 Gonderian shows the gonderian custom

 Lalibela cross show kingdom of zaguwe custom
 Axumite cross show axumite custom

4.2, Analysis of data’s from interview and observation

Holly assets are assets on the Ethiopian Orthodox Church used for the purpose of the sacrament.
And they are different in types or usages, some examples are:-

13 kind of cross
Flange
Censer
Holly books and also many other

Most of the holy assets are not well known by peoples means that the publicity of the hose
assets are very limited and interview results stated that holy assets are useful for design
sectors like fashion, architecture and arts. No holly assets are made for the decoration every
assets and element has their own meaning. Each assets has great power of making stability
or permit the massage of peace fullness, originality and trust for the society they transmit
those massage with their element and principle of deign.

4.2.1. Discussions on Elements of designs

Line

Line is one of element of design that we found on the holy assets and have different meaning.

vertical line indicates strength on spirituality, belief, trust, honesty and reliability.
horizontal line is for peacefulness restfulness desire to stay on the belief.
curve line we find curve line to indicate beautifulness, preciousness and
holiness. and zigzag line this line indicates the obstacle and the up and downs.

35
Figure 18: Lines from holy assets
Source: Author

Shape

The shape of the holy assets is the main thing to identify it and show their origin means they
classified as gonderian, axumite and lalibela by its shape and every shape has its own
meaning. The simplest example is the cross, it has its own meaning to transmit you cannot
invert it or change the over lapping crosses because it losses it meaning.

The researcher gets a lot of shapes that can combine and create a motif and pattern that are
ready for the usage on the women casual wears.

Figure 19: Shapes from holy assets

36
Source: Author

Color

Color has the most effect to transmit meaning and idea. And it is also a sensitive thing to
care because every color and color sequence has its own meaning. Ethiopian orthodox
church has 7 type of colors to be used as a different purpose.

Yellow:- for showing hope on the future or hope for inherit heaven.
Gray:- indicates we are rise from earth and turn back to earth.
Red:- for scarification.
Green:- for environmental wellbeing or natural stability.
Golden and silver:- indicates preciousness and holiness.
Blue:- for indicating origin of where they come or heaven is their home.

Those colors are remarkable to the eye and their combination is eye catching, this helps the
researcher to come up with well combined color to the product.

4.2.2. Discussions on Principles of designs

Balance

Balance is visual weight of an object and it is the most applied principle of design almost on
all holy assets. The researchers found both the symmetrical and asymmetrical balance even
though the symmetric one is the mostly used. Balance is used to imply nothing is missing, it
just creates neither the right nor the left is greater.

These two balance types can be used for applying motif on the women‟s casual wears to create
esthetical wear that magnifies the best esthetical view of the product.

37
Figure 20: Balance on holy assets
Source: www.Ethiopian Christian art.com/cross/.

Emphasis

When we see holy assets our eye moves from one point to another though a defined path. It
means that there is a focal point in which eye is concentrated. The researchers take this
principle to the main point that the researcher wants to show and apply to the product to
make their customer first look.

Figure 21: Emphasis on holy assets

38
Source: www. Ethiopian Christian art.com/cross/agbia

Proportion

Proportion is the relative size of the whole to each part or part to part. Trend research of
women‟s casual wears helps us to set proportion; otherwise it may cause rejection of
products by customer. Proportion is properly applied on previous arts especially on holly
assets. And the researchers use this principle to create well proportional casual wears.

And other principle found on the holly assets reputation, unity.

Figure 22: Proportion on holy assets

Source: www.Ethiopian Christian art.com/ censer/crown

4.2.3. Key concepts from results of interview and observation

Wisdom can be born and grow constantly if it had peoples that can protect it. And
also it can be improved if it had peoples that can inspire of it and dies if had no
peoples that does care about the wisdom.
Holy assets have a power to show the period of time they lived. Axumite cross,
gonderian cross and lalibela cross are some examples those can express themselves.
They indicate the dynasty identity and civilization.
Holy assets can be useful for many sectors like fashion department, architecture
department and art industry.

39
 Holy assets are not well known by the people e.g. pops usually use flange with snake
shapes engraves on it and peoples think it as a magic and some dark divine but It is
has a story related with prophet mosses and is one type of cross.
Most of domestic cultural products are offered with white color. The design have no
silhouette variations they are mostly with long dress and some normal T shirt. And
uses shema or menen fabric mostly.
Foreign casual wears have more supply dominancy and less expensive than domestic
causal products. This makes the consumers to look forward to outsider products.

4.3. Analysis of data’s from questionnaires

4.3.1. Result of customer questionnaires

The researchers prepare two forms of questionnaires for the customer on the base of their
preference, income, purchasing power and interest.

4.3.1.1 Google form questionaries’

Questionaries‟ from google form are made for the customer only. The question is on the
base of the customer need, age group of purchasing interest and price. The aim is to
participate 50 customer and found 30 responses so 60% are responded.

40
4.3.1.2.Paper questionaries’
From paper questionaries‟ 125 questionnaire are prepared and 117 are responded back. This
means 93.6% of the questionnaire is responded and it is 93.6% efficient.

1. How much Ethiopian touch casual wears have in your closet?

6% 0%

44% None
Very few (<15%)
50%
Most of them (>50%)
100%

Figure 23: consumers questioner one result

This question asked to know consumers usage of Ethiopian touch casual clothing and
dominancy of other casual clothing. It implies the perception and the influence of other
casual clothing. The result found from this paper questionaries‟ is 50% have very few
Ethiopian touch casual wear and 44% of them have none, 6% are mostly used Ethiopian
touch casual wears an lastly 0% have
100% Ethiopian touch wears. And the Google form questionaries‟ result found is 36.7%
none and 63.3% very few. This result clearly shows how much we abandoning Ethiopian
touch casual wears or how much the problem is deep.

41
Inference: 94 % of the consumers have none Ethiopian touch casual clothing‟s on their
clothing set. The researchers act on this problem by studying the casual clothes that
consumers want and add Ethiopian sense on them to make native products.

2. What kinds of wear would you prefer? Wears that are

imported from
different country
21%
Wears that are
totally traditional
Wears that have 9%
traditional test and
made with modern
ways
70%

Figure 24: consumers question two result

This question is prepared to know the preference and need of the customer from imported
wears, totally traditional, and traditional with modern ways. This helps the researchers on
which kind of wears that the customer are concentrated and willing to buy. The researcher
found the result of 70 % traditional with modern, 21% vote imported wears and the
remaining 9% is totally traditional and there is no other suggestion found from the
customer i.e. (0% on other option) from paper questionaries‟. Google form data gives us
56.7% vote traditional with modern way, 20% vote imported wears 13.3% are with other
option.

Inference: customers need is concentrated on the traditional with the modern ways; so
making casual wears by the combination of traditional and modern ways will have a great
demand or preference by the customer.

42
 3. In your point of view how much foreign designs and wearing
styles affects our designs and wearing style?

5 2
9

High

High , 101 Medium

Low
No

Figure 25: Consumers question three result

This question is performed for understanding the influence of the foreign design and
wearing style on our casual wears. This helps the researchers that how much our clothing
converted and reflect the foreign design and culture. And also it take the researchers
deeply to the problem because the problem is deep. The result found in the counting
process is 101 vote to the high affects which is 86.3%, 9 vote to the medium affects which
means 7.6% and 5and 2 for low and no effect respectively, which means 4.27%, 1.7%.
And 76.7%, 20%, 3.3% are found from google form respectively for high, medium and low.

Inference: our casual wear is highly influenced by the foreign design and wearing style.
This influence can be decreased by studying the quality foreign design and add to our
casual clothing with Ethiopian sense.

43
 4. Do you agree on the using of motif that are driven from Ethiopian
orthodox church holy assets to make Ethiopian touch women‟s casual
wears? Totally agree
Disagree
11% 15%

Agree with <50%

10%

Agree with >50%

64%

Figure 26: Consumers question four result

This question is about the agreement of the customer for using Ethiopian orthodox church
holly assets as the base of our design on the women‟s casual wears. This helps the
researchers to know the opinion of consumers regarding to religious heritages and other
reasons that push the customer away from this concept or from the final product. And the
response is 79% agree with >50% and totally agree and 21% is disagree and agree with
<50% with the vote of 75, 18, 13, 11 respectively. And Google form responses 76.7% high,
20% medium and 3.3 % vote low.

Inference: consumers accepted the concept of using Ethiopian orthodox church holy assets
as a base to create Ethiopian sense to the casual wears, almost 79% of the customer total
and >50% agreed.

5. In your point of view which elements of Ehiopian touch womens

casual wear would have to be improved?
other
1%

Price
26%
Design
Fabric 54%
19%

Figure 27: Consumers question five result

44
This question is about elements of product that customer wants to be achieved best. This is
helpful to the researchers for the way of understanding which element is troubling customer
and pushing them to other product. Results founded from this question is, 54% vote design,
26% price 19% fabric and 1% other suggestion like strength of stitch, fitting, durability and
pigmentation. And from Google form, 53.3% vote design 33.3% vote price and 13.4 % vote
fitting and fabric.

Inference: design imperfections and expensive price of Ethiopian touch casual wears affect
consumers and making them seeking other products. To make Ethiopian touch casual
clothes affordable, design and price should be improved.

6. How much is your monthly income ?

Above 6000 birr
1%
Below 2000 birr
16%

2000-4000 birr
21%
4000-6000 birr
62%

Figure 28: Consumers question six result

The question is about monthly income of the customers this helps the researcher to
determine the price of the product on the base of their income and to know the target
customer status for making products with their status. The researchers found the result 62%
have income of 40006000 birr, 1% is above 6000 birr, and about 21% is 2000-4000 and
below 2000 is 16%. And Google form respondents have 66.7% below 2000, 2000 – 4000
and 4000 – 6000 vote 13.3% the remaining is above 6000.

Inference: large number of the customers are under category of monthly income 2000 – 6000
birr, so the product made has to consider the income of the customer to set product price.

45
 7. How much would you expend to afford clothes from your monthly
income?
Below 10 %( bad)
Above 30%
14%
(remarkable
)
11%

10%-20 %( fair)
19%

20%-30 %( very
good)
56%

Figure 29: Consumers question seven result

This question is about the willing of the customer to spend money on the cloth. This helps
the researchers to investigate the intention of the customer to buy clothes and also helps to
determine the price. The result found from the response is 56% of them 20%-30%, 19% of
them is 10%20%, 11% is above 30% and 14% is below 10% . And Google form
respondents give an answer of, 33.3% below 10%, 10% - 20% and 20% - 30 % vote 53.4%
at the end 13.3 % vote above 30%.

Inference: customers mostly would love to spend 20%-30% and above 30% of their
monthly salary which is very good and remarkable. Customers have great intension to buy
clothes this can initiate the researcher and other competitor.

46
4.3.2. Result of retailer questionnaires

Paper questionnaires, 35 papers are prepared and 35 are responded back. This means 100% of
the questionnaire is responded and it is 100% efficient.

1. What kind of cloth is mostly needed by the customers?

0%
8%
16% Casual wears , Casual wears
18 High fashion
High fashion, 8
Children’s wear
Sport wear
other

Figure 30: Retailers question one result

This question answered that wich type of wears are neded by the customer and it is helpful
for identifying which wears should have to be focused to achive objective. And the result
found from the reesponse is 18 vote to casual wears, 8 vote for high fashion, 6 vote to
childerns wear, 3 votes to sport wears and 0 vote to other option. Which means in percent
51.4%, 22.8%, 17.1%, 8.5% respactiveley.

Inference: most of customers uses casual wears more than other kind of clothes this helps
promote Ethiopian touch causal clothes to the mass of the consumers and for the other countries.

47
 2. Which sex has more interest for Ethiopian made casual clothes?

Male
37%

female
63%

Figure 31: Retailers question two result

This question is about the sex that has more interest on Ethiopians touch casual wears.
Helps the researcher to investigate to which sex have the product has to be done to achieve
the objective. From this question we get response 13 for male and 22 vote for female and in
percent 32.1%,
62.9% respectively.

Inference: females have more coverage for using Ethiopian touch casual clothing than
males. So making casual wears for female can get good market and helps the researchers to
decide on the selection of gender for new product.

3. Which age group purchase Ethiopian touch casual wears mostly?

>35
4%

25-35 15-19
25% 32%

19-24
39%

Figure 32: Retailers question three result

48
On this question the most purchasing power and interest age group is identified. This helps
the researchers to identify the age groups that the products made for, because age is the vital
thing to produce product that are compatible with the customer. The result found on this
questionnaire‟s is from 15-24 accommodate 71 % of the purchase and other 29% is on the
>29.

Inference: the young age groups which range from 15-24 age has high interest and purchasing
power products has to made based on this age group.

4. What colors are most likely purchased?

other Red
17% 11%
black
20%
blue
29% gray
23%

Figure 33: Retailers question four result

The color mostly purchased by the customer is identified. This helps the researchers to
know the color that is mostly influential and trendy to relate the color founded from holy
assets. The result from this question is, red, black, gray, blue and other 11.4%, 20%, 22.8%,
28.5% and 17.4% respectively in percent and some customer specify on the other option 2
retailer say white and other 4 retailer all color are equally sold.

Inference: customers usually desire blue, gray and black colors. To catch the customers eye
towards to product, color trend should be considered and if not the product has lost demand.

49
 5. Do you believe that there is enough Ethiopian touch women‟s
casual wears are in the market?

Yes
11%

no
89%

Figure 34: Retailers question five result

This question indicates the availability of Ethiopian touch casual wears on the market. It
helps the researcher‟s to know about the supply of Ethiopian touch casual wear and also to
know about the competitor. And the result 4 vote for yes and 31 votes for no.

Inference: the availably of Ethiopian touch casual clothing is limited and most retailers doesn‟t
have Ethiopian touch casual clothing and this is one factor that affect the native casual cloth.

6. How much is the average selling price of those Ethiopian touches

wears per outfit?

20% 20%
<1500
29% 31% 1500-2000
2000-3000
> 3000

Figure 35: Retailers question six result

50
This question is about average selling price. The question create clue about the market price
of those native product and help as an input to set the price. The result interpreted in percent
form 20%, 28.5%, 31.4%, and 20% respectively from top to bottom on the pie chart above.

Inference: in the market Ethiopian touch casual wears has a price range of 1500 – 3000 birr
for one full outfit. And if the price of the product is between this range the product will be
best affordable.

7. How much Ethiopian touch casual clothes do you have to sell?

14%
14%
52% 10%-25%
20% 25%-40%
40%-50%
>50%

Figure 36: Retailers question seven result

This question is about the retailer access for the Ethiopian touch casual wears (native
product). It is most similar with question number 5 helps the availability of those wear. And
the result for the choice 10%-25%,25%-40%, 40%-50% and >50% are 51.4%, 20%,
14.2%, 14.2% respectively.

Inference: most retailers have 10%- 25% of Ethiopian touch casual wears in their shop
which is bad. So making an Ethiopian touch casual wears will have great demand by the
retailer and consumers.

51
4.4 Women’s casual wears trend analysis
Bahir dar city women‟s wear have numerous style of top and bottom and most of them are
under the category of imported wears that reflects outside world culture. And the researcher
try to see them by classifying into silhouette, color and fabric.

women casual cloth

top bottom

silhoutte
varation fabric color

pant dress and skirt

variations variation fabric color

fabric color

Figure 37: Trend analysis overflow

Figure 38 Women’s wear

Source:- www.facebook.com/bahirdar/social media

52
4.4.1.Pant

Pant is one of the most experienced wear by women‟s and most of consumers adopt it. It is
wearable in everywhere and any time of the day almost all women‟s have this type of wear.
And it has so many variation fabric type, style, length and fitness and color.

Pant length

Pant have different length specially for the female there length is start from micro pant to
the ankle level pant. And in this category there are other length variations like up to the mid
tight, up to the knee and up to the mid cuff. Women micro pant, up to mid tight pant and up
to the ankle are mostly preferable wear. Mostly those pants has some embellishment or
decoration like tear and embellishment with printing specially for ankle length pants.

Fitting

Pant has variation on the fitness when we see corresponding with the length mostly micro
and mid tight length pant are closely fitted and semi fitted. And ankle length pants are some
closely fitted and some semi fitted and very loose and mostly has tear style.

Fabric

Women‟s uses many fabrics for pants but the researcher categorizes them by fabric structures.

Knitted: these fabric are used by the women‟s next to the woven fabric and is mostly used
in the ankle length and mid tight length pants. And they have comfort because they are
stretchable and are compatible with the weather because it has great air permeability like
jersey and rib.

Woven: is the larger segment of the fabric they are used in every length pant and mostly
jeans fabric is dominant with twill fabric structure. And this fabric is suitable for printing
so women‟s uses printing on it and other woven fabric for making variation on the pants.

4.4.2. Skirt and dress

Skirt and dresses are most famous wear basically next to the pant now a day. They have
many variations like micro, mini and knee level, mid cuff and ankle length skirts and

53
dresses. Mostly ankle level and mid cuff skirt and dress has good implication among the
society and they have some fullness like dart and pleat.

Length variation

Current trend implies that different length of dresses without sleeve and different type of
fullness like gather pleat and dart are popular. Micro dress and skirt (is not mostly seen in casual
wear).

Mini dress and skirt specially up to the mid tie is mostly known in both dress and skirt is mostly
familiar by current trend.

Knee level dress and skirt (is mostly practical better than the mini dress and seen in both dress
and skirt).

Mid cuff dress and skirt (these variation are mostly found in skirt form and some dress).

Ankle level and up to the flower dress and skirt (it is mostly found in a dress)

Mini and knee level skirt and dresses are the most popular style. Skirts are mostly with the
length of mini skirt, knee level and mid cuff skirt. And dresses are mostly in the length of
mini dress, knee level and ankle level dress.

Fabric

Skirt and dress are using many fabrics with both knitted and woven fabric specially woven
fabric. Mostly they used to make skirt and dress which is knee level, mini, mid cuff skirt
and dress. Knitted fabric is mostly used for mini, micro, ankle level dress and skirt.

Woven jeans, wool, cotton,

Knitted

Pictures for the trend research

Short top, long top, strap less, full sleeve, short or no sleeve

54
Figure 39: Womens wear from trend research
Source: Bahir dar city social media groups

55
Figure 40 Women’s wear

Source: Bahirdar city social media groups

Color: is the major thing to be analyzed to make Ethiopian touch cloth because it is the
major thing to be customer first selection. Women‟s use so many color combination and
these are the most common color used by age group of 15-24 currently.

Black
White
White blue
Red

56
4.5. Developed motifs and lines

Figure 41: Developed motifs

Source: Author

4.6. Conceptual boards

57
Inspiration board

Figure 42 Inspiration board

Source: Author

Theme Board

Figure 43 Theme board

Source: Author

58
Mood board

Figure 44:Mood board

Source:Author

Color board

Figure 45. Color board

Source: Author

59
Trim and accessory board

Figure 46 trim and accessory

Source: Author

Material Board

Figure 47 material board

Source: Author

60
Client board

Figure 48.client board

Client profile Demographic
 Age:15-24
 Gender: Female
 Education: high level education
 Annual income: 2000-6000 Psychographic
 Interest: Fashion, cinema, sport, tour and travel, reading books.
 Opinion: social and culture oriented opinion
 Values: history and tradition
 Lifestyle: healthy and fresh lifestyle living with enjoying on cinema and traveling.

Psychological influence
 Self-image: strong and confident

61
  Risk involvement: takes high price and high quality in consideration
 Attitude: focus on trend, comfort and quality
 Beliefs: trendy and contemporary
Social influence
 Cultural and sub cultural: follows and catches their favorite
looks from other favorite celebrities
 Social class: high class and talented peoples  Reference
group: celebrities and fashion leaders  Household: family
first.

Market place influence

 Recognizing needs: contemporary wear with comfort and quality.
 Response to marketing and communication: shopping malls, social medias and big
market place
 Price and product acceptance: based on conformance,identity and quality level
Consumption behavior
 Situation: birth day and weeding ceremony
 Usage rate: once in 6 month
 Satisfaction: based on the brand quality , its price, and comfort

 Loyalty: being loyal to their favorite designer brands

62
Line board

Figure 49. Line board

Source: Author

Motif board

Figure 50: Motif board

63
Conceptual sketch

Figure 51 Conceptual sketch

Source: Author

64
Design board

Figure 52. Design board

Source: Author

Figure 53: Story board

Source: Author

4.7. Technical package/Tech pack

65
Design one

Table 9: Design one bill of material

Specification sheet
Date 09/05/2013 Season Spring/ Style number Category
E.C summer

Type Women‟s casual wear D1 Women‟s

Fabrication 100% denim fabric Description Jacket with knee level dress

Bill of Material
S.N Material Type
Fabrics
1 Denim Sanforized
Trims
1 Sewing Thread Cotton/ polyester
2 Embroidery thread Cotton/Polyester
3 Button Plastic
4 Zipper Metal
5 Fusing Fabric level 1
Accessories
1 Poly bag Plastic

66
Table
10: Design one measurment chart

Measurement chart

Measurement in cm Flat sketch

Upper torso

1 Full length 41

2 Center front 37
3 Center back 40
4 Shoulder length 45
5 Sleeve length 38

6 Waist circumference 70
7 Chest circumference 96
8 Biceps circumference 19

9 Elbow circumference. 35

10 Neck circumference. 38

11 Wrist circumference. 17

12 Biceps level 19

13 Elbow level 35

Lower torso
1 Full length(waist to knee 57
level)

2 Waist circumference. 70
3 Hip depth 14
4 Hip circumference 94

6
7
Table

11: Design one operation breakdown

Operation breakdown
Upper torso

No 0perations Machine type Same type Stich type

1 Embroidery Embroidery Chain stitch
2 Shoulder attachment SNLS/3TH/OL Super imposed Lock stitch class
300
3 Sleeve attachment SNLS/3TH/OL Super imposed Lock stitch class
(closed) 300
4 Side seam attachment SNLS/3TH/OL Super imposed Lock stitch class
(open) 300
5 Pocket attachment SNLS/3TH/OL Lapped seam Lock stitch
6 Hem finish SNLS Edge finish Lock stitch
7 Sleeve hem Edge finish Multi trade chain
SNLS stitch

8 Facing attachment Super imposed Lock stitch class

SNLS (closed) 300
9 Ironing Ironing Machine
10 Trimming and finishing Trimer
Lower torso
1 Dart construction SNLS ssp (open ) Lock stitch
2 Out seam attachment SNLS/3TH/OL Ssp (open ) Lock stitch
3 Waist band attachment SNLS/3TH/OL Laped seam Lock stitch
4 Zip attachment SNLS Ssp Lock stitch
5 Hem finish SNLS/3TH/OL Edge finish Lock stitch

6 Ironing Ironing M

6
8
Table
7 Trimming and finishing Trimer

12: Design one cost sheet

Cost sheet
Unit cost
Total cost
ETB
No Material Color unit Amount ETB

Fabrics
1 Denim Blue white M 2.30 160 368
Trims
1 Sewing Thread Black Cone 1 45 45
2 Embroidery thread Cone 1 50 50
3 Fusing M 0.25 30 7.5
4 Zipper plastic visible(15cm) Black Pıece 1 5 5
5 Button Piece 1 3 3
Accessories
1 Poly bag Transparent Piece 2 3 6
Total cost 484.5
Time(h
Labor cost ) No_ of labor Cost/ hour Total cost
1 Pattern making 1.30 2 8.2 21.32
2 Marker maker 0.3 1 8.2 2.46
3 Cutting 0.2 1 8.2 1.64
4 Sewing and embroidery 4 2 8.2 65.6
5 Finishing 0.5 2 8.2 4.1
Total cost 95.12
Cost component
1 Prime cost Prime cost=material cost + labor cost 579.62
2 Indirect cost Indirect cost(20%prime cost) 115.92

6
9
Table
3 Total cost Total cost=prime cost+ indirect cost 695.54
4 Profit (30%) 30% of total cost 208.662
5 Selling price Price=total cost+ profit (50%) 904.202

7
0
Design one final look

Figure 54: Design on final look

71
Table

Design two

Table 13: Design two bill of material

Specification sheet
Date 09/05/2013 Season Spring/ Style number Category
E.C summer

Type Women‟s casual wear D1 Women‟s

Fabrication 100% denim fabric Description Semi fitted dress

Bill of Material
S.N Material Type
Fabrics
1 Denim Sanforized
Trims
1 Sewing Thread Cotton/ polyester
2 Embroidery thread Cotton/Polyester
3 Button Plastic
4 Fusing Fabric level 1
Accessories
6 Poly bag Plastic

72
 14: Design two measurment chart

Measurement chart

Measurement in cm Flat sketch

Dress
1 Full length 65

2 Center front 50
3 Center back 58
4 Shoulder length 13
5 Sleeve length 65

6 Waist circumference 70
7 Hip circumference 93

8 Chest circumference 94
9 Biceps circumference 29

10 Elbow circumference. 30

11 Neck circumference. 38

12 Wrist circumference. 25

13 Hip depth 14
14 Waist depth 37
15 Biceps level 13

16 Elbow level 34

17 Hem opening 30

73
Table

15: Operation breakdown of design two

Operation breakdown

Upper torso
No Operation Machine type Same type Stich type
1 Embroidery Embroidery Chain stitch
2 Pocket attachment SNLS/3TH/OL Lapped seam Lock stitch
3 Shoulder attachment SNLS/3TH/OL Super imposed Lock stitch class
300
4 Sleeve attachment SNLS/3TH/OL Super imposed Lock stitch class
(closed) 300
5 Side seam attachment SNLS/3TH/OL Super imposed Lock stitch class
(open) 300
6 Facing attachment SNLS Super imposed Lock stitch class
(closed) 300
7 Construction for cord
8 Hem finish SNLS Edge finish Lock stitch
9 Sleeve hem Edge finish Multi trade chain
SNLS stitch

10 Facing attachment Super imposed Lock stitch class

SNLS (closed) 300
11 Ironing Ironing Machine

16: Design two cost sheet

Cost sheet

74
 Unit Total
cost cost
No Material Color unit Amount ETB ETB
Fabrics
1 Denim Blue white M 2 160 320
Trims
1 Sewing Thread Blue white Cone 1 45 45
2 Embroidery thread Golden, sliver, gray Cone 1 50 50
3 Fusing M 0.25 30 7.5
4 Button Gray Piece 10 3 30
Accessories
1 Poly bag Transparent Piece 1 3 3
Total cost 455.5
Labor cost Time(h) No_ of labor Cost/ hour Total cost
1 Pattern making 1 2 8.2 16.4
2 Marker maker 0.3 1 8.2 2.46
3 Cutting 0.2 1 8.2 1.64
4 Sewing and embroidery 3 2 8.2 49.2
5 Finishing 0.3 1 8.2 2.64
Total cost 72.34
Cost component
1 Prim cost Prime cost=material cost + labor cost 527.84
2 Indirect cost Indirect cost(20%prime cost) 158.35
3 Total cost Total cost=prime cost+ indirect cost 586.2
4 Profit (40%) Profit (50%) 175.8
5 Selling price Price=total cost+ profit (50%) 762

75
Table

Design two final look

Figure 55: Design two final look

76
Design three

Table 17: Design three bill of material

Specification sheet
Date 09/05/2013 Season Spring/ Style number Category
E.C summer

Type Women‟s casual wear D1 Women‟s

Fabrication 100% denim fabric Description Trouser with strap

Bill
of Material

S.N Material Type

Fabrics
1 Denim Sanforized
Trims
2 Sewing Thread Cotton/ polyester
3 Embroidery thread Cotton/Polyester
4 Elastic band 2‟‟ wide
5 Fusing Fabric level
1
6 Buckle Metal
Accessories
7 Poly bag Plastic

7
7
Table

18: Design three measurment chart

Measurement chart

Measurement in cm Flat sketch

Upper torso

1 Full length 41

2 Bust to back waist 28

3 Waist to bust point 27

4 Across chest (bust) 95

Lower torso

1 Out seam 106

2 Knee level 57

3 Waist circumference 70

4 Hip circumference 96

5 Knee circumference 39

6 Tigh circumference 64

7 Crotch depth 22.5

8 Hip depth 14
9 Waist depth 38
10 Hem opening 30

19: Design three operation breakdown

Operation breakdown

7
8
Table

Upper torso
No Operations Machine type Same type Stich type
1 Embroidery Embroidery Chain stitch
2 Dart construction SNLS Super imposed Lock stitch class
(closed) 300
3 Pocket attachment SNLS/3TH/OL Lapped seam Lock stitch
4 Out seam attachment SNLS/3TH/OL Super imposed Lock stitch class
(open) 300
5 fly construction SNLS Super imposed Lock stitch class
300
6 Attaching back rise and front SNLS/3TH/OL Super imposed Lock stitch class
rise (open) 300
7 In seam construction SNLS/3TH/OL Super imposed Lock stitch class
(open) 300
8 Waist band attachment SNLS/3TH/OL Lapped seam Lock stitch class
300
9 Attachment of waist band and SNLS/3TH/OL Lapped seam Lock stitch class
upper torso 300
10 Upper torso panel attachment SNLS/3TH/OL Super imposed Lock stitch class
(open) 300
11 Strap attachment SNLS/3TH/OL Lapped seam Lock stitch class
300
12 Trouser cuff attachment SNLS/3TH/OL Edge finish Lock stitch
13 Ironing Ironing Machine

7
9
Table

20: Design three cost sheet

Cost sheet
Unit
cost Total cost
No Material Color unit Amount ETB ETB

Fabrics
1 Denim Blue white M 1.60 160 256
Trims
1 Sewing Thread Blue white Cone 1 45 45
2 Embroidery thread Golden, sliver, gray Cone 1 50 50
3 Fusing M 0.25 30 7.5
4 Elastic band Black M 1 10 10
5 Buckle Silver piece 2 5 10
Accessories
1 Poly bag Transparent Piece 1 3 3
Total cost 381.5
Labor cost Time(h) No_ of labor Cost/ hour Total cost
1 Pattern making 1.30 2 8.2 21
2 Marker maker 0.3 1 8.2 2.46
3 Cutting 0.2 1 8.2 1.64
4 Sewing and embroidery 3.30 2 8.2 54.12
5 Finishing 0.3 1 8.2 2.64
Total cost 81.646
Cost component
1 Prim cost Prime cost=material cost + labor cost 463.15
2 Indirect cost Indirect cost(20%prime cost) 92.6
3 Total cost Total cost=prime cost+ indirect cost 555.75
4 Profit (30%) 30% of total cost 166.7
5 Selling price Price=total cost+ profit (50%) 722.45

8
0
Design three final look

Figure 56: Design three final look

81
Overall look of the design

Figure 57: Design three final look

CHAPTER 5

CONCLUSION AND RECOMMENDATION

82
5.1. Conclusion
The study investigates many problems on the current women‟s casual wears. The most
influential problem is that all most all of women‟s casual wears are promoting and expressing
the foreign culture and custom. They are highly influenced by the wearing style, culture and
norm of the foreign fashion. These problems highly affect Ethiopian wearing culture, style and
norms by eliminating and reducing popularity of them; this problem leads to high influence of
one country economy.

Casual wears are the most wearable clothes when we compared with other kind of wearing like
high fashion, children and sport wears. Females are mostly interested to have Ethiopian touch
casual clothes than males. This research concentrated on females age of 15 – 25 and monthly
income range from 2000 – 6000 with the willingness of expanding 10% -30% of their monthly
income for buying cloth. They are interested on wears that have traditional sense made with
modern ways. But both retailer and customer has all most none Ethiopian touch casual clothes to
sell and to wear. This problem is happened because of high influence of the foreign fashion and
design and price problem of Ethiopian touch casual clothes.

Consumer‟s questioner result indicated that 64% of customer agree with above 50% and 15% of
consumers are totally agreed on the usage of motif driven from Ethiopian Orthodox Church holy
assets to make Ethiopian touch women‟s casual wears. Holy assets are rich in element and
principle of design used for different sectors. They are great source of inspiration that show the
origin of the wears and culture of the society.

Therefore ; As the aim of the research is to add Ethiopian sense on the current women‟s casual
wears; the researcher uses Ethiopian orthodox church holy assets to make Ethiopian touch
women casual wears with age of 15 -25 who have an income of 2000 – 6000 birr by improving
design and affordable price.

5.2. Recommendation when the current casual wears are replaced with clothes that has
Ethiopian sense domestic products. But our status in wearing style is mostly not ours rather it
reflect the foreign. If we want to interpret and express our arts, culture and norms by dressing,
we have to do more researches to make wears Ethiopian sense and rehearsals to make all kind of
dressing Ethiopian touch. We have to be inspired with our native assets, cultures, norm and
83
custom; have to be proud of our things means we have develop interest on our values.
Developing and using our product has a great influence on the country economy and cultural
popularity. We have to learn from other countries like India using their native product and make
the country known with unique product to introduce internationally.

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APPENDIX A
I. Questionnaires for consumers

Dear participant

We are under graduated student in Bahir Dar university and we are conducting research on the title
of development of women‟s casual wears by using Ethiopian orthodox church holy assets as we
are researching on making Ethiopian touch women‟s casual wears that are not mostly adapted we
have an interest to participate you on our research so we are kindly requested you to full fill the
information below this will help us to reach on conclusion on our research and to improve
women‟s casual wear to Ethiopian touch casual wear
87
If there is anything ambiguous about the survey please email us with temesgenababu728@gmail.com
or call us with 0949960250/0974511416

The box will be marked on (√)

1. How much Ethiopian touch casual wears have in your closet?

None

Very few (<15%)

Most of them (>50%)

100%

2. What kinds of wear would you prefer?

Wears that are imported from different country

Wears that are totally traditional

Wears that have traditional test and made with modern ways

If there is any other please specify

3. In your point of view how much foreign designs and wearing styles affects our designs and
wearing style?
High

Medium

Low

No

4. Do you agree on the using of motif that are driven from Ethiopian orthodox church holy assets
to make Ethiopian touch women‟s casual wears?
Totally agree

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 Agree with >50%

Agree with <50%

Disagree

5. In your point of view which elements of the product would have to be improved?
Design

Fitting

Fabric

Price

If there is any other please specify

6. How much is your monthly income?

Below 2000 birr

2000-4000 birr

4000-6000 birr

Above 6000 birr

7. How much would you expend to afford clothes from your monthly income?
Below 10 %( bad)

89
 10%-20 %( fair)

20%-30 %( very good) v

Above 30% (remarkable)

II. Questionnaires for the retailer

Dear participant

We are under graduated student in Bahir dar university and we are conducting research on the title
of development of women‟s casual wears by using Ethiopian orthodox church holy assets as we
are researching on making Ethiopian touch women‟s casual wears that are not mostly adapted we
have an interest to participate you on our research so we are kindly requested you to full fill the

90
information below this will help us to reach on conclusion on our research and to improve
women‟s casual wear to Ethiopian touch casual wear

If there is anything ambiguous about the survey please email us with temesgenababu728@gmail.com
or call us with 0949960250/0974511416

The box will be marked on (√)

1. What kind of cloth is mostly needed by the customers

Casual wears
v

High fashion
v

v Children‟s wear

Sport wear

If there if any other please specify

2. Which sex has more interest for Ethiopian made casual clothes?
Male

Female

3. Which age group purchase Ethiopian touch casual wears mostly?

15-19

19-25

25-35

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 >35

4. What colors are most likely purchased?

Red

black gray

blue if any other

please specify

5. Do you believe that there is enough Ethiopian touch women‟s casual wears are in the market?
Yes

no

6. How much is the average selling price of those Ethiopian touches wears per outfit?
<1500

1500-2000

2000-3000

> 3000

7. How much Ethiopian touch casual clothes do you have to sell?

10%-25%

25%-40%

40%-50%

>50%

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III. Preliminary questions
1) What Do You See In The Current Causal Wears?
2) What Is The Reason Bihind The Problem?
3) How Much Is The Problem Serious?
4) What Is Your Opinions Regarding To Its Solution?
5) If The Problem Is Not Solved What Do You Think About Future Of Causal Clothes In
Ethiopia?
6) What Is Your Assumption If We Use Orthodox Church Holy Asset Motifs On Causal Clothes?

IV. Interview guide

Interview guide for orthodox religion followers in Bahirdar

Ethiopian institute of textile and fashion technology(EITEX) Bahirdar university

This Interview Guide Is Prepeared For Ethiopian Orthodox Religion Followers Who Live In
Bahirdar City. The Purpose Of This Interview Guide Is To Gather More Information About
Ethiopian Orthodox Church Holy Assets And Their Purpose. This Is Just Guide Not Given To
Interviewees.

93
 1 What Are Ethiopian Orthodox Church Holy Assets And Their Purpose?
2 What Are Their Types/ Catagories?
3 What Is Their Relation To Orthodox Religion?
4 What Is Your Assumption If We Use Holy Asset Motifs On Causal Clothes?
5 Is There Any Color That Used To Made Holy Assets? If Any What Is Their Meaning With
Respect To Religion?

APPENDIX B
I. Photos from field and trend research

94
Source: Field research (Author)

95
F

Source: Field research/shinbit Michael/(Author)

96
97
Source: field research Bahirdar gebeya(Author)

II. photos from product development process

Source: Author

98
Source: Author( motif development)

99